#but i understand his feelings on the whole hermes thing

[the-sky-is-full-of-light]

I saw a post back when the PJO show was announced that said something like "Watch, they're gonna cast a pretty boy to play Luke Castellan and all of you are gonna be Luke apologists."

And I'm like.

JOKES ON YOU. I WAS ALREADY A LUKE APOLOGIST

[tenwhiteandalusians]

is episode 8 the domitian arc ? more on this and EVEN MORE narratives i’ve been ignoring that the show said “actually,,,” about in 5

[ampresandian]

Okay so season 1 was definitely Percy's story like between the flashbacks and his development over the quest The Lightning Thief is Percy's Story. The whole series is Percy's story but the way they produced the first season of the show is especially Percy's, and I need them to continue to develop this in the rest of the seasons.

Season 2, Sea of Monsters, should definitely be Annabeth's. Percy (and the readers) get to know her better--she opens up to him about her past, not just introducing him to the world they share (the Olympians) but to Her World and How it Got to Be that Way. We see more of how who Percy is impacts her (esp with Tyson), and she takes on a lot of responsibility for saving their quest. Unlike the Arch or Crusty, Annabeth is the one that saves them from Circe and takes on Polyphemus one on one.

Season 3 I think is Thalia's. It's the only chance we really have, as readers, to get to know her--we're thrown into her relationship with Percy at the beginning of the book, after our only introduction to her being her saying her name at the end of som, but we travel with her on this quest, and I think flashbacks, etc. in this season should be about her. It's the best way to let the audience get to know her, and I think we need to get to know her to understand her choice at the end (and to be excited when we see her again later). We need that her sudden disappearance at the end, when she leaves without saying goodbye and just as suddenly as she appeared she's gone, to hurt and to feel wrong and making her the Character is the way to do that imo.

Botl in season 4 I think is tricky at first glance (esp since we've given Annabeth som already) but tbh it needs to be Grover's. Flashbacks can be about his time in schools as a protector, and his time searching for Pan. Grover's development is kind of sudden in this story, but I think showing him when he's younger and like as he's been off Doing Things it would be more dramatic and honestly Grover is a fantastic character that Rick seems to forget about/ignore a lot and he should make it up by showing us what his life is like when he's not with Percy (which is increasingly often) and letting us see his independence develop to the point that he's ready to take on his new mantle and be a leader.

Season 5 is obviously Luke's. Even the book is written like that. We need flashbacks to his life and childhood just as much as Percy does, and they need to humanize him and let us empathize with who he was and how he got to who he is by the end of the story before he dies. I think they should give us flashbacks to his quest here, too, and probably the conversation he clearly has with Hermes before he goes on it (he's obviously bitter when he talks about it in tlt, and he had to get his magic shoes, and I think they need to utilize having that conversation in person so we can see how Hermes tries and fails to relate to him and also to make LMM make very very sad eyes as Luke leaves because he knows his son is at the end of his time as a hero). They can milk this for all the comparisons between Luke and Percy. I think flashbacks to his claiming, and not having to move cabins but probably like getting a bed or something now that he's here Forever, and when he becomes the Cabin Counselor. How/when he meets up with Thalia. Him seeking out fights as they make their way to camp. The battles he fights on his quest, facing monsters he's working with now, getting the scar.

[wlntrsldler]

Three Hundred and Seventy-One Days | Luke Castellan

a/n: not canon-compliant! i hate this actually but i needed to write something to get me back in the zone! sunshine reader because i wanted a broody luke lol.

i. Three days.

Right before the sun sets behind the hill at Camp Half Blood, there's a chill in the air that hits Luke's skin in a way that makes him feel like he's back on the roof of his house in Connecticut. He found out about it when he returned from his failed quest when he was searching for a moment of solace, away from the pitiful eyes of the campers, away from the voice that haunted his dreams. Perched on a branch, hidden by the shade of the leaves, leaning against the bark of the tree with sticky amber clinging to the material of his orange shirt, Luke sits there until the sun disappears for the day.

It reminds him of the days he would crawl out of his bedroom window to escape the sounds of his mother's incoherent mumbling. He would sit there in nothing but a thin t-shirt and his cargo shorts, goosebumps rising on his skin, as he talked to himself. It was a bad habit he picked up in his younger years. He kept himself company at home because his mom didn't talk to him much, not really, and when she did, when her words made sense for once, all Luke could do was count down the minutes until he lost his mother again.

Before he was old enough to understand his heritage, who his father was, he used to pray to an entity he didn't believe in to give his mother moments of clarity, slivers of coherence so he at least knew something, anything, about the woman he called mom. But after the first time Luke's wishes were granted, he stopped praying. Somehow it was more painful watching his mother drift in and out of consciousness than it was living with a stranger he knew he loved, but knew nothing about.

For a year, that spot on the tree was a secret. Nobody knew that Luke would climb up there every day just to feel the breeze against his skin. Nobody questioned why the Hermes head counselor would disappear at the same time, until you came along.

"Whatcha doin' up there?"

Luke nearly lost his balance on the branch at the sound of your voice from under him. He looked down to see you smiling up at him, hands laced together behind your back. You were eighteen, the same as him, and when he first heard of your arrival, Luke was jealous. You got to have 18 years of childhood, while he was only granted half of that. It didn't seem fair.

"You should be at dinner," Luke replied, leaning back against the tree. The sun made the sky a soft orange color. The darkness of the night was creeping in through the corners of the sky, the chill he searches for each night engulfed him.

"To be fair, so should you, head counselor," You replied, analyzing the indents in the bark of the tree trunk that formed from Luke's constant climbing. You slotted your feet in the crevices, making your way to the tree branch beside Luke's. The two branches were close to each other, growing steadily until they almost touched at the tips. "Woah, this view is unreal."

"Be careful," He mumbled, clenching his jaw. "I'm not gonna take you to the infirmary if you fall and break a bone."

"Relax," You chuckled, situating yourself. "I can handle myself."

Luke nodded once and turned his attention back to the skyline. In this light, the scar across his cheek was prominent. It's healed well enough, but it still left a bump across his flesh that made Luke queasy every time he looked at it for too long. The two of you sat in silence as the sun disappeared. Luke tilted his head to look at you, only to find that you were already staring at him. He rubbed the side of his face against his shoulder as if trying to wipe away the scar on his shirt, "What are you doing here?"

You shrugged, "Not really into the whole offerings thing, to be honest."

"So you decided to wander into the woods alone?" Luke asked, "That's dangerous. There's a lot of things out here that you wouldn't believe. You can get hurt."

"But it's okay when you do it?"

"I know how to fight," Luke found himself taking on a defensive position. "You just got here."

"That doesn't mean I don't know how to fight," You replied. Your voice was calm, despite the slight bite to Luke's tone. "Just because I didn't spend my childhood playing with swords and bows and arrows doesn't mean I don't know how to fend for myself, y'know."

"The things out here are different from schoolyard bullies. I don't think you understand that."

"Are we going to ignore that I fought a hellhound on my way here or...?"

"You fought a hellhound?"

Luke wouldn't have guessed that by the way you walked into the Hermes cabin, all smiles and golden flecks of color in the irises of your eyes. You spoke in a preppy tone and he nearly had to grab his siblings by their ear to drag them away from you. If he was a betting man, he would bet that you were a child of Aphrodite.

"Mhm," You hummed, "See, I'm not so helpless."

"I didn't say you were."

"Yeah, but you implied it," You shrugged, not deterred by his tone. "Anyways, are you gonna tell me what you're doing here?"

"Well, I was trying to get some privacy," He replied. He should've been annoyed at the intrusion, but he couldn't bring himself to be upset with you as much as he should've been. "But that didn't go as planned."

"Sorry, sorry," You chuckled, putting your hands up in defense. "Didn't know keeping you company was a no-no. Maybe I do have some things to learn about camp after all."

He scoffed, "Hanging out with me should be the least of your worries."

"I dunno, I always seem to gravitate towards the broody types."

"I'm not broody."

"Right," You laughed. You turned to look at him, jaw dropping when you realized he was serious. "When was the last time you smiled? And not those fake, polite smiles you give to strangers trying to make small talk in the grocery store line, you know?"

No, he didn't know. He didn't go out much, much less to the grocery store to have conversations about the rising prices of produce or the lack of real milk options due to the infiltration of the non-dairy industry.

"I smile all the time," Luke replied, eyebrows furrowing in thought as he tried to remember the last time he smiled at someone. "I smile at campers."

"That's because it's your job, silly!" You giggled, shaking your head. "When was the last time you smiled just because?"

Luke pursed his lips, countering, "When was the last time you didn't smile?"

"When I was fighting the hellhound."

Luke felt his lips quirk up at that. It was a quick-witted response, he'll give you that. He stopped it from becoming anything more and cleared his throat.

"Okay, I'll leave you to it," You sighed, carefully stretching your legs down to the first indent on the tree. You skillfully climbed down and landed on your feet with a thud, "See you around, Luke."

Luke's mouth felt dry at the sound of his name leaving your lips. He was never a fan of his name before. He thought it sounded generic and unoriginal, but when you said it, it didn't sound half as bad as he thought it was. His stomach churned in a way that was foreign to him.

"Hopefully, not here!" He called out, watching as your figure retreated back to the main grounds. "Privacy, remember that!"

"I like the broody types, remember that!" You called back, waving to him before you disappeared into the maze of trees.

ii. Twelve days.

"You lied."

You looked up from your book with an eyebrow raised as you stared at the counselor at the foot of your bed. Luke was standing there, the signature stern look etched on his face. You placed your bookmark in your book, sitting up on your bed as you smiled at him, "Excuse me?"

He had his arms crossed over his chest, the beads of his camp necklace resting on the tops of his knuckles, "You lied. You didn't fight a hellhound."

"Okay, so I didn't fight a hellhound," You said, dragging on the word 'fight' for emphasis. "But I encountered a hellhound."

"Which you befriended."

"Which I befriended," You confirmed, "I named him Stanley. Wanna meet him?"

"No," Luke replied quickly. "That shouldn't even be allowed in here."

"He's sweet," You tutted, slipping your feet into your shoes as you stood up. "Give him a chance, I swear you'll love him."

"You're keeping a hellhound as a pet?"

"He's just a baby," You cooed, jutting out your bottom lip.

Luke felt his face twitch in half-annoyance and half-fondness. He didn't know if he found your naivete dangerous or charming, or both, but he was scared for you. You were too trusting for your own good, "He is not a baby. He's a monster."

"Don't talk about Stanley like that."

Luke rolled his eyes, falling into the same rhythm as your steps, "You don't realize how dangerous this is, Y/N."

"Here you go with the danger thing again," You teased, nudging him. Luke's breath got caught in his chest. Your simple touch seemed to burn his skin. Sparks erupted across his entire body. "Told you, I'll be fine."

"Not every monster you encounter can be defeated by the power of friendship. You can't rely on some kumbaya shit."

"Kumbaya?" You snorted, looking at him with an unreadable expression on your face. You scrunched your face up, a tiny smile tugging on your lips. "You're so...."

"I'm so what?" He questioned, planting his feet on the ground.

"Odd."

He tried not to take offense to that because while your words were like a dagger to his heart, the way you said it showed that you didn't mean it in a bad way. You seemed to be trying to figure him out, pressing his buttons, trying to see what made him tick. And you were succeeding. Luke never ventured to talk to new campers unless he was forced to by Chiron, but he couldn't fight the pull you had on him.

"Broody and odd," He said, resuming his steps, "I'm swooning."

The full belly laugh that escaped you made Luke's steps falter. Campers surrounding you looked at you, confused as to what Luke could've said that made you react that way. Surely, the Hermes Head Counselor wasn't that funny. He wasn't known to crack jokes, not since he returned. You couldn't help it, though. He said it in such a deadpan way that made your sides hurt from laughing so much.

"Just my type," You teased.

Luke didn't like how his cheeks were warming up at your comment. He's not one to flirt or be flirted with. He found girls attractive, sure, but most of them were too intimidated to talk to him so he never really had experience in that department. But he supposed since you grew up in the world, you were used to doing things like this. He wondered if you knew the effect you had on him.

"Dinner is supposed to be good tonight," He said, changing the subject. He was looking everywhere but you, trying to hide the blush on his cheeks that seemed to not want to subside.

"Oh, no you don't," You shook your head. "You are not gonna tempt me into going to dinner just so you can hide away in your tree. I'll be there, Castellan."

He grimaced. He was hoping that you'd fall for the trap, but he was learning quickly that you weren't as gullible as he hoped you'd be. Luke sighed, accepting defeat. "Fine, but can you just be careful? You've been lucky that there weren't any creatures lurking around."

"Why don't we just go together?" You asked, "So you can stop worrying about my safety and all."

"I'm not worried about your safety," He lied through his teeth. The idea wasn't bad though. It would keep him from wondering if you were attacked on your way to meet him. A shiver ran down his spine as he thought about it. He didn't like this weird protectiveness he had over you. He didn't even know you. "But fine. Meet me at the Hermes cabin after they ring for dinner."

"You got it," You saluted him playfully as you walked away, skipping to meet up with members of the Apollo cabin. How did you manage to make so many friends so quickly? And why did you insist on sticking with him when it's clear that you had other friends you could be bothering instead of him?

Luke tried not to think about it too much as he continued on with his day, but no matter how hard he tried, his mind kept pulling him back to you. During his lessons with other campers, he took mental notes of what moves he should teach you, just in case anything happened so you'd be prepared. During arts and crafts, he found himself reaching for the gold glitter because it reminded him of your eyes. This caused raised eyebrows from other campers since it was well-known that the counselor didn't like glitter post-Glitter Gate where he was shaking out glitter from his curls for days.

By the time dinner rolled around, he was thankful he stopped thinking about you, but soon realized that it was worse now that you were in front of him, all smiles and banter as you always were. It was getting harder to contain the redness of his cheeks as you complimented him in your own way.

"Lead the way, Castellan," You grinned.

Luke couldn't help but return your smile.

iii. Sixty-six days.

"Stanley, down," You instructed, leaning over to scratch the hellhound behind its ears. "Good boy."

Luke's sword was raised in a fighting stance as he watched you giggle as the hellhound nuzzled into your touch. You somehow managed to make him agree to meet the monster. Pathetically, it didn't take much for Luke to agree. It took you batting your eyelashes at him with a small pout and he reluctantly agreed to meet Stanley.

"Luke," You called him over, still petting the hellhound. "Come on, he won't do anything to you."

"I'm good right here," He grunted, holding onto his sword. "If he tries anything, one of us should be ready and you obviously have your guard down."

"He won't," You assured, "He's sweet."

"Nothing from the underworld is sweet, Y/N."

"You don't think I'm sweet?"

Luke rolled his eyes. You'd been claimed by your father, Hades, a few days ago. It made sense the more he thought about it. The hellhound wasn't sent to attack you, but to protect you. It was sent by your father to guide you to Camp Half Blood. "You're not technically from there."

"Same shit," You shrugged, patting the spot next to you on the grass for him to join you. "Come on, Luke. Come meet Stanley."

It was against everything he believed in. He shouldn't walk over to you to pet a monster like it was a stray dog on the side of the road, waiting to be rescued. But his feet seemed to have a mind of their own because before he knew it, he was walking over to you, sword tossed somewhere beside him to keep his hands free to touch the surprisingly soft fur of the hellhound.

The hellhound purred under Luke's touch, gentle and loving. If Luke ignored the scary color of its eyes, he would confidently say that it was just a dog. Luke's shoulders relaxed, "Okay, he's not half bad."

"Told you," You said, leaning against him. Luke's hands froze for a second, making the hellhound whine. He resumed his scratches, not wanting to take his chances and angering the dog. "See? Not all of us from the underworld are scary monsters."

"You're not from there," He repeated, "Stop saying that you are."

"Hades is my dad, Luke," You whispered. "So I am. I am a part of him."

"You're nothing like the gods."

There was something in his voice that made your heart pound in your chest. It was no secret that Luke's relationship with his father, and all of the gods for that matter, was strained. Luke saying that you were nothing like them with such sincerity made your head spin. It felt definite. It felt like a fact that he could never think of you as that.

"Could be nice though," You joked, trying to cover up the swell in your chest with humor. "Immortality and all."

"Nah, this one life is enough for me, I think."

"What? You're not shooting for rebirth?"

If anyone else would've asked him the same question a year ago, even a few weeks ago, he would've said no. If any of his other lives were like this one, he would decline the request if he could. All that he'd gone through in this lifetime was enough.

But now you were asking him that question with a twinkle of hope in your eyes that made him wonder if he'd judged this life too soon. Maybe there was more to life than fighting and running. Maybe the moments of life when he sits on a tree branch watching the sunset, or when he's yelling at his siblings to stop running in the cabin, or hell, even when he was petting a goddamn hellhound, were enough to make him wish for another shot at this life thing.

Maybe he just needed to learn a thing or two from you. If he could continue to know you in each lifetime, maybe he'll turn out fine.

"Maybe," Luke poked his tongue out the corner of his mouth. He blinked, "I don't know."

"Keep an open mind to it, is all I ask," You said. "I wanna find you in every universe just so I can annoy the shit out of you in each one."

He chuckled softly, not missing the smile that widened on your face as you watched him crack. "I changed my mind. No rebirth for me. I can only handle you in so many lifetimes."

"You'll grow to love me."

I know, Luke wanted to say, and that's the part that scares me the most. Throughout his years at Camp Half Blood, Luke prided himself in knowing that when push comes to shove, he can do what's necessary to succeed. It's what made him the perfect Head Counselor, the best swordsman that Camp Half Blood has seen in years. It's what made him a hero.

But now he didn't feel like that was the case anymore. He was growing soft, weak. He'd spent so much time trying to protect you and keep you from danger that he forgot about protecting himself. You found his Achilles heel and well, Luke was just waiting until he surrendered to you.

He opened his mouth to speak, "If Stanley doesn't kill me first."

If Luke could bottle up the sound of your laughter, he would.

iv. Three hundred and sixty-five days.

"Who is that?"

Luke followed Percy's eyes to the other side of the field. His lips turned up at the corners as he saw you waving at him with a smile on your face. Luke waved back with the same enthusiasm, confusing the boy beside him.

"That's Y/N," Luke responded, picking up his steps to meet you halfway. "That's my girlfriend."

"You have a girlfriend?"

"I know, shocker!" You teased, placing a kiss on Luke's cheek. Luke wrapped an arm around your waist, tugging you closer, completely oblivious to the grimace that graced Percy's face. "Mr. Stick-in-the-mud head counselor has a girlfriend."

"Hey!"

Percy scrunched his face up, "You kinda are a stick-in-the-mud. No offense."

"Offense taken," Luke scoffed, poking your side. "Y/N, this is Percy. He's new here."

You stretched out a hand in greeting, "Nice to meet ya, Percy. Welcome to Camp Half Blood."

"Are you always this preppy?"

"She is," Luke said, shrugging. "Nice change of pace from the rest of us, don't you think?"

"Sure," He nodded, eyeing the both of you. Luke's arm didn't move from your waist and you didn't seem to mind. He was too young to understand why you and Luke didn't want to have any personal space. "Are you joining us on the tour that Luke is giving me of Camp Half Blood?"

"Wish I could, but the Stolls are planning to TP the Ares cabin as a prank and I should probably stop them before someone gets maimed at Capture the Flag tomorrow," You cringed.

Luke sighed, dropping his head to your shoulder. You tangled your fingers through his curls, trying to offer some comfort, "I told them not to do that."

"When have your siblings ever listened to you?"

"They used to before you came along!" Luke groaned, "But now they only listen to the pretty counselor."

"Must run in the family," You teased.

"Shut up," Luke grumbled, lifting his head up. Percy could see the blush on Luke's cheeks and he cringed. He hoped he'd never end up like this when he became a teenager. It was obvious you had Luke wrapped around your finger. "Go stop them before Lee gives us a lecture on the dangers of resorting to violence. Again."

"I'm going, I'm going," You laughed. You placed a quick kiss to Luke's lips before waving goodbye to the two boys. Before you were out of earshot, you turned around, "Tree later?"

"See you there!" Luke replied, grinning at you until you made it across the field. He turned to Percy, scratching the back of his neck, "Sorry about that. Where were we?"

"Archery."

"Ah, right! Archery," Luke nodded, continuing his steps, "It's down this way."

Percy followed Luke through the field, staring at the signs that pointed in different directions. Camp Half Blood was huge. This tour was definitely going to take longer than he anticipated. Not wanting to continue with a lull in the conversation, Percy spoke up, "How long have you and Y/N been together?"

Percy figured that Luke would have a lot to say about you which would fill the silence. He was right. Luke smiled at the boy, "A few months. She got here last year and it's been us two ever since. Took me a minute to ask her out, though."

"Well if you liked her, why did you wait? That doesn't make much sense."

"It was complicated," He replied, "I didn't really accept that I liked her until way later. Kinda kept my feelings to myself for a while."

"Is this what being a teenager is like?" Percy asked, cringing at Luke's words. He always imagined that falling in love with someone was easy. If two people liked each other, they should be together, right?

"Yeah," Luke laughed, patting Percy on the back. "Enjoy your early years, Perce. It gets worse from here."

"Geez, you really know how to inspire confidence in someone."

The laugh that escaped Luke reminded him too much of you. There were parts of you that weaseled their way into him. He didn't understand why you laughed so hard at his deadpan comments before, but now that he was on the receiving end of it with Percy, he saw why.

Percy reminded Luke a lot of himself, back when he was younger. It was a weird thing to meet a foil of yourself, someone who you could've been if things had been different. Luke wondered if he'd be like Percy if his life hadn't been so cruel. Not that Percy's life was all sunshine and rainbows, either. Luke heard through the grapevine that Percy lost his mom during the battle with the minotaur, but at least he had a mom that he knew. He had a mom that cared for him.

Luke was dreading the day Percy got claimed. Something told him that it would cause a ripple effect. Start things that Luke wasn't ready for, not yet. Maybe he'll never be ready for it. Had he known that he'd meet you, maybe he wouldn't have said yes to it. Maybe if you had stumbled into Camp Half Blood a day earlier, he wouldn't be facing this.

Luke faked a smile, shaking away those thoughts, "Come on, archery's just around the corner."

v. Three hundred and seventy-one days.

"Thought I'd find you here."

Luke closed his eyes at the familiar voice that joined him on the tree branch. The separate branch that you used to it on morphed into his own. Two branches intertwined, a simple work of nature, but it felt like a symbol. An omen.

The fireworks illuminated the night sky. Luke had never been up here this late before. The air was cold.

"What are you doing here?"

You let out a dry chuckle, "Dejavu for a second there."

"Y/N."

You gulped, slowly inching towards him. There was a crease between his eyebrows as he stared ahead. You sighed, "I came looking for you."

"Why?"

"Luke, don't do this."

He sniffed, rubbing his eyes with his balled-up fists. He winced as he put too much pressure on his cheek, his scar stinging at the contact. It's been more sensitive lately the more he spoke to Kronos. He shook his head, "I have to."

"No, you don't," You pleaded, placing a hand on his arm. "It's not too late."

"It is. Don't you understand?" He sobbed, "It's too late."

"Why didn't you tell me sooner?"

"I didn't want to break your heart," He whispered. He felt silly saying it out loud, but it made sense to him at the time. He couldn't bare to see your face when he told you about everything. That's why he was going to leave without saying goodbye.

"How's that going for you?"

How you managed to make him laugh even during this, even during the end, was beyond Luke's understanding. He wished you didn't have an effect on him like this. It would make things so much easier.

"I'm sorry."

"For breaking my heart or for betraying all of us?"

Luke licked his lips, "Both."

You removed your hand from his arm. Luke shivered without your touch. "I'll see you again, yeah?"

"I don't know."

"I know," Tears pricked your eyes. Maybe it was the shock of it all, but you were calm. Too calm. It didn't feel real that just a few steps away, camp was in disarray because of the boy beside you. "Rebirth, remember? In every lifetime."

"Sure," He said. Maybe the hope of it all will be enough to get him through this. "I love you."

"I love you, too," You said, leaning over to place a last kiss on his lips. You pulled away as you felt your tears mixing with his, "Go, they'll come looking here soon."

Luke nodded and made his way down the tree. You watched him fade away in the distance.

[genericpuff]

hi, i know the episode came out weeks ago, but i wanted to talk about ep 277 and your essay on it. i thought it was very well thought out and had brought up lots of concerns abt apollo's other victims and the harm persephone caused to others that i just. hadn't really thought about myself because honestly this webcomic is a BLUR to me LOL. thank you for writing these insights and putting them online for others to read ! i think you manage to keep a respectful distance to rachel [1/]

Yeah, regarding how the SA was handled...

I think Rachel did exactly as well as anyone might have expected someone like her to write a plotline like that.

Honestly if Rachel really did want to do the arrow thing, I think it would have worked WAY better if she had used the arrow of hate. First of all, because it had already been established back in S2 when it was shot at him by Psyche, but ALSO because making it an arrow of love confirmed that Eros literally did what Apollo asked despite the fact that he's Persephone's best friend and should have been more suspicious of what he was going to use it for. Why not just do a bait & switch where Apollo is under the impression that it's an arrow of love but Persephone trusts in her friend and pieces it together that it's probably an arrow of hate? It would also payoff the whole "news crew being nearby" thing (as well as all the other gods that just randomly showed up) because uh oh now they all see his true nature and he can't hide behind his lies anymore!

After all, as I mentioned in my previous post about this (the one I believe you're referring to) it's not like there wasn't already foreshadowing that Apollo was going to fall on his own sword the way of Mr Waternoose from Monster's Inc, he was already showing signs of cracking under the guilt that he was feeling towards how he treated Persephone/Eris/Hermes/etc. so why did it have to be Persephone taking a massive risk by sticking him with an arrow of love that still doesn't fully explain why he would even suddenly be a changed man? Loads of people like Apollo think they're in love / define their infatuation as love so I don't see how an arrow of love would suddenly make him empathetic to her pain. Especially when, again, he still begs her not to make him confess, so the guilt he's feeling is still completely empty and unmotivated.

I will leave this with one final thing that I saw the other day that very much reminded me of the Apollo SA plotline and I think it rings very true for the misdirected conclusion of the plot itself:

One of the biggest issues of the Apollo SA plotline, at least in my opinion, is that it never really gets to the root of why people like Apollo exist. There absolutely were strong foundations for this - he's the son of a guy who's known for being a serial cheater, he's popular and egotistical and is used to women wanting him, etc. - but all of those foundations kind of fell to the wayside in favor of turning Apollo into just another boogeyman, especially to lift Hades up as a "good man" by comparison (when Hades himself also falls on this spectrum). But many people like Apollo aren't just random guys in an alleyway or conspiring with some "higher power" that's manipulating them, they're men who fundamentally do not understand consent and assault on the varying spectrums in which it exists from "SA just exists, oh well" passiveness to "I'm an actual monster who gets pleasure out of victimizing women" aggressiveness. I think there's a lot to discuss about how people like Apollo exist WITHOUT sympathizing with them, but LO manages to do neither - not only does it give us uncomfortable and unnecessary looks into the rapist's POV more than we get the victims, but it does it in a way that doesn't actually address the issue of how people like Apollo come to be, it's just "Apollo is the big evil boogeyman who raped Persephone". Not only does it not actually put enough focus on the victims, but it reduces the societal and cultural complexities of where Apollo's brand of egotistical entitlement comes from to just "some guys just be evil like that". Guys like Apollo don't just come out of the womb like that, they're often shaped into what they are by a society that both excuses them for awful behavior towards girls ("Boys will be boys!") and enables - if not outright encourages - them to objectify women as trophies that they're entitled to. Even the seemingly innocent and sentimental practice of "giving away a bride" at a wedding is rooted in these patriarchal systems, with the belief that a woman first "belongs" to her father before being "given to" her husband.

It's the part of feminism that often gets overlooked - it's not just about uplifting female voices and helping survivors speak up about and heal from SA, it's also about deconstructing and challenging the patriarchal systems that lead to SA victims being created in the first place. Sure, Apollo got sentenced to building temples in the Mortal Realm, but what is that actually doing to address the bigger topic of how men like him come to exist in the first place? Especially when it was also treated as a good thing for TGOEM to be disbanded, instead of, idk... reworking it into a women's support group for survivors like Persephone?

IDK, it's a very complicated subject that you can approach from a million different angles, I don't think that my criticizing it should outweigh the opinions of those who were satisfied with the punishment that was given to Apollo (my saying the SA plotline sucked doesn't mean you're not allowed to find your own validation in it) but I do think that, at best, Rachel ended the SA plotline the only way she could because she herself is just not equipped to tackle such broad subjects that require a lot more education, experience, and nuance than what she's capable of writing. There are definitely 1298423108 better ways that plotline could have been resolved, but not with Rachel Smythe at the helm.

And that's my many cents on that.

[sarafangirlart]

Did Kaos even explain why the three humans “destined to destroy Zeus/the Gods” are specifically Eurydice, Caeneus and Ariadne? Because if they really wanted a “we hate the gods” story shouldn’t the chosen three be. severely wronged or abandoned by the gods / the fates?

Like Oedipus? Lamia? Cassandra? Daphne? Arachne? Callisto? Hell I’d even watch a smackdown of Clytemnestra vs Artemis or Menelaus and Helen vs Aphrodite any time then watch a whole other boring show following the same bad story tropes.

They don’t really explain it no, but I was so eager for it to be over I likely missed it, this show seems surprising hesitant to show the more gruesome side of mythology, if they adapted the story that Caeneus was raped by Poseidon and they show how angry and miserable he is about it I would’ve totally been on board, tho someone mentioned that considering the current social environment is especially hostile towards trans ppl nowadays, having someone transition after assault could be bad “pr” so to speak, tho I don’t think we should bend a knee to transphobes/terfs and make representation that’s more palatable and presentable, human experience is messy and we shouldn’t shy away from that in an attempt to make bigots less hostile towards minorities bc they will always be hostile.

If they show Eurydice being angry about Aristaeus not facing any consequences for trying to assault her I’d understand that too mythology Eurydice has zero beef with Hera, but she could feel resentment towards Aristaeus and by extension Apollo (since he’d likely defend his son), gods rarely face consequences for assaulting mortals, Euripides’s Ion tackles that subject way better than all of these “Gods bad” modern retelling (tho I wish Creusa didn’t forgive Apollo bc that mf didn’t even have the balls to show his face).

Instead of Ariadne, who usually gets a happy ending and becomes a goddess herself, how about going with Apemosyne? Another Cretan princess. Her story is extremely depressing, she’s screwed over by a god and her own family, considering that half the show takes place in the underworld she’d fit right in. Considering she’ll be “coworkers” with Hermes it would especially suck for her. But considering that Dionysus is made to be one of the “good ones” even tho in mythology he brainwashed women into slaughtering their families, they’d probably portray Hermes as such too, since he’s usually simply the comic relief in adaptations anyway.

That’s another thing, they water down the gods who are supposed to be good guys and make the “bad guy” worse, in this version Hades never kidnapped Persephone that’s just propaganda in universe. The Fates and Furies are goddesses but in this show they’re against the gods bc of that meander water thing? Don’t they drink it too?

I think they realized that their hesitancy means that they won’t be showing us bad things the gods actually did and so they make up random bullshit like Hera owning tongueless priestesses and Zeus killing a kitten. Cassandra is in the show but she’s more of an exposition machine tho it’s hinted she’ll play a bigger role in season 2, but why couldn’t she be one of the three humans destined to destroy Zeus? Why aren’t any of the Trojans destined to destroy Zeus? Why do they have to be saved by Greeks? Sure Zeus in mythology had a soft spot for them but he still planned the destruction of their city (could be a decent metaphor for an abuser who says that they love their victim while still abusing them imo) but Kaos Zeus doesn’t have that goodwill towards the Trojans so why not have them rightfully take him down? In the final episode Andromache and Ariadne team up and agree to fight against Olympus, tho that reminds me of Acrisius in the Clash of the Titans remake being more of a dumb dumb than he is in the myths and started a war against Mount Olympus only to unsurprisingly fail.

I really dislike how the Trojans are portrayed in the show, clearly they are supposed to be allegory for modern middle eastern refugees in Europe yet all the main Trojan characters are played by white actors. They have such a racially diverse cast but they seem uninterested in actually representing the diversity of the Mediterranean and mythology as a whole.

[cowboys-tshot]

I keep seeing people call Eurylochus a hypocrite, and while I kinda agree, I also kinda disagree. Hear me out.

So, people's main thing with Eury is that he gets mad at Odysseus for sacrificing six men to Scylla, but he doomed all of the crew by opening the wind bag, and wanted to abandon 22 men-turned-pigs on Circe's island. (For anyone wondering where I'm getting that number, it's from The Odyssey).

But these events aren't really the same, or comparable. Let's take them one by one. (This is gonna be a long one, so I'll cut the post here for the sake of your timelines)

The wind bag. I fully understand why people are pissed at Eurylochus for doing this, and I am too. But you have to remember that he did not do this out of malicious intent. He did not know this would end in the eventual deaths of the entire crew. Even though Eurylochus was warned about the storm being inside the bag, none of them knew it would take them right to the Laestrygonians. He had no idea Poseidon was pissed off at Odysseus for blinding Polyphemus. It was a stupid decision, certainly, but the following events were not intentional on his part.

Circe's island. Eurylochus had no reason to believe there was any way of rescuing those 22 men. Circe's a goddess/witch. What the fuck are two human dudes gonna do about that? Odysseus didn't even know what he was going to do. He would not have had any solution if not for Hermes, which is not something Eurylochus could've predicted. It's pretty reasonable for him to think that those men were a lost cause.

Scylla. So far, all of the deaths have been "accidental:" 14 from Polyphemus, 543 from Poseidon/Laestrygonians, and 1 from Circe (RIP Elpenor). I am not attributing the 543 deaths to Eurylochus for the reasons detailed above. No one knew these deaths would happen. They were all sudden/unexpected. Let's take these next sixth deaths moment-by-moment:

Odysseus redirects the ship, using directions that no one else knew (Odysseus was reading the siren's lips, but everyone else was too busy catching the other sirens, and all of them had beeswax in their ears). Odysseus tells Eurylochus to light six torches.

One by one, Eurylochus watches every man that he handed a torch get brutally eaten. He himself is almost eaten, but he passes his torch off to someone else before he notices the correlation. He only realizes what's happening as the sixth man is about to die, and Eurylochus is too late to save him.

Odysseus won't even gaze at the blood left behind. But it's all Eurylochus can look at.

These deaths were planned. Odysseus knew what he was bringing his men into, and not only did he keep it from them, he sacrificed his men that didn't even know what was happening. And Eurylochus likely feels part of the blame, having been the one to light the torches, even if he didn't know the consequences of it.

Eurylochus has a right to be upset, to be angry. These are the first deaths that could have been prevented, because Odysseus could've simply not taken his men through Scylla's territory. But that's the only way to get home. Odysseus sees it as a necessary sacrifice, but Eurylochus sees it as needless. Because at this point, Eurylochus has given up hope that they'll ever get home. What is the point of sacrificing these men for a goal we will never achieve?

This is not a situation where one person is at fault. Odysseus and Eurylochus are both to blame. Like Scylla says, "There is no price we won't pay." Odysseus himself says, "You know you'd have done the same." People do stupid, dangerous, bad shit to survive. Odysseus sacrifices his men. Eurylochus still wants to live, he just doesn't see the point in trying to return to Ithaca. That's why he kills Helios's cattle. He is starving and he wants to live, even though he knows the consequences.

The whole point of all this is that people will do awful and/or stupid things to survive. Not just Odysseus.

[poppitron360]

@cometmoons so for some reason tumblr has glitched and isn’t letting me respond to the ask you sent me so I’m just gonna do it like this.

OK OK OK OK OK OK SO-

There is SO MUCH to talk about with Wouldn’t You Like. I feel like it’s hard to describe on a written post so I took the liberty of downloading a music notation app and transcribing the bits I wanted to talk about (This took me aaaages. But it was a really fun process and taught me a lot.)

Be warned this is a LONG post.

Firstly, here’s my overall take on the narrative of this song:

Odysseus is one of the smartest heroes of Greek Myth. He’s a mentee of Athena. He’s tactical. Yes, he is a fighter, but he’s for the most part a strategist and he uses diplomacy and cunning and his words to defeat his foes. Big Slytherin energy. Up until this point, that’s all he’s ever used. Eurylochus has doubted and challenged this approach, and has now come to him, saying that Circe is too powerful to defeat and that they should just run away. Odysseus “Pride is my fatal flaw” of Ithaca is insisting on fighting Circe, but is realising that he might not be able to talk his way out of it.

Hermes has now shown up like “hey ✨dAhLiNg✨how about you try something different? DRUGS!”, offering him a taste of something he’s never had before… power.

This, in my opinion, is a big step in Odysseus’ fall from man into monster, and Jay uses music in so many different ways to convey that, so let’s start with a break down of the song one section at a time:

Intro:

For most of the song, you’ve got the Lyre/Harp playing- Hemes’ signature instrument, which is significant to him because according to myth he invented the Lyre. This is the first thing we hear in the song, immediately setting up the things you need to identify his character.

Harps and Lyres are typically used in film and videogame music to give a mystical, magical atmosphere. I love how Jay blends modern (1980s) Synthpop with more classical, eclectic instruments that don’t normally fit the style. I’m assuming for budgeting reasons he’s using a VST or some kind of sample pack and not a real harp (session musicians are EXPENSIVE), but still- you hardly ever hear a harp in this kind of music but it WORKS.

The introduction played by the harp also lays out something that is shown throughout the whole song:

AEOLIAN MODE!!!!

Modes are hard to explain bc I barely understand them myself (I said music theory was my special interest, not that I was any good at it) but according to the Wikepedia article I’m reading about them right now, they were used a lot in ANCIENT GREECE. The Aeolian mode specifically was used a lot back then. The word “Aeolian” comes from�� you guessed it- the Islands of Aeolus!!!

Aeolus, being the God of the wind- Aeolian mode is this mystical, free-flowing mode that simulates the feeling of wind.

You know when you hear a high wind through a telegraph pole you get this whistling sound? That’s basically a rudimentary, naturally occurring Aeolian Harp. There’s a whole Physics lecture about sound frequencies and microtones and shit in here that I am not yet qualified to give but this kind of stuff FASCINATES me about music.

I found this 60sec short that explains Aeolian mode really well from a channel I really like: https://youtu.be/bJ6TRQ3k45Q?si=sksSz4xyf_96uMrp It’ll give a much more concise explanation than I could, but basically all you need to know is that the melodies are in this special scale.

Aeolian mode is the natural minor scale. It’s often used to feel spooky and mystical- perfect for a song like Wouldn’t You Like where this magical character is singing about a magical plant. It’s not the standard G minor scale, but something a little more twisted and not really something we’re used to hearing, giving it a mysterious quality.

This is established immediately by the harpline, and sets the entire tone of the song. We then hear his trademark giggle, and so in the first 3 seconds we know everything we need to know about who Hermes is and what he’s like.

Speaking of the giggle- I briefly mentioned Panning in my post about Scylla, and while I can’t discern any use of it just by listening, but I imagine Jay’s probably used a subtle amount of it to give the sense of Hermes flying overhead.

Panning is a thing done in audio production where you can choose how much of the sound is heard on the left or the right.

Verse 1 (“I must say”… etc.):

It’s very gentle at this point, the orchestration and vocalisation is calm and lilted. It’s very beautiful, although the minor tonality gives it a slightly uneasy feel. (Often the minor key is described as sounding “sad”, but that’s not always the case. This is a great example).

The harp melody is repetitive, giving a sense of persistence, this adds to the sense of unease. It also has elements of hip-hop, as a gentle beat comes in as the chorus starts.

Chorus 1:

Now the harp cuts out and you’ve got that synth bass-line coming in- the repetitive, insistent beats and this “four-on-the-floor” drum pattern where the bass drum (which sits on the floor) kicks on every beat (in a four-beat bar). This feeling of it almost pounding in your head on every thump.

The instrumentation is very stark, you’ve just got the vocalist, the bass, and the bass drum. This technique is used by Taylor Swift in both the songs “Look What You Made Me Do” and “Vigilante Shit”- this really makes you listen to the lyrics as there’s nothing distracting you. As this is the first time we’re hearing these words, it draws you into what he’s saying.

On the line “Wouldn’t you like to have some of the magic?”, the Lyre comes in, playing this repetitive line that goes up and down and up and down. It’s a repetitive, almost hypnotic sound.

Verse 2 (“She can turn you to an animal”… etc.):

This is when this bluesy piano comes in.

The piano is used a lot in different points of Epic- it’s an essential part of any musical orchestra pit or just a song in general, and crucial in every composers instrumentation arsenal (and was also the first instrument I ever learned to play and my first real taste of music, so it’s not like I’m biased or anything)- but it’s mostly associated with Athena as it’s her signature instrument. It’s a stretch, but my interpretation is that Hermes is trying to appeal to something familiar to Odysseus. So far the only God he’s interacted with at length is Athena, who taught him this idea of being strategic and tactical. Hermes is acknowledging that this is Odysseus’ main way of fighting, while also showing him that there could be something more to it.

The piano plays these low-octave chords in this syncopated rhythm, which adds a layer of intensity that you didn’t have in verse one. This continues into the second chorus.

Chorus 2:

The orchestration is much more intense, pulling the audience (and Odysseus) in.

I’m gonna talk a lot about the musical “language” that Jorge has established for the universe- bits of music theory he’s tied in with themes that don’t necessarily have the same connotations anywhere else, because I think it’s genius.

Jay has said that the mythical beings (Gods, monsters, Odysseus when he kills the suitors) are all able to summon non-diagetic backing vocalists to back them up. Interestingly, Hermes doesn’t use this the first time round, speaking to Ody on his level, and is now rising up and displaying the power he’s tempting him with.

This is when we first hear the backing vocalists. There’s now a group of voices, so there’s more people urging you to taste the flower. Musically speaking, the harmony moving in the same rhythm with the same words as the soloist creates a sense of movement, congruent with Ody’s temptation.

Here is where we get to how this harmony works. This is the section that will actually answer your question.

First of all, I also struggle with overstimulation so I totally get what you’re talking about. There’s a right way and a wrong way to do backing vocals, and I know from experience that writing harmonies as complex as this takes skill and practice.

I think that’s why music is so special to me. The sensory calm certain sounds and songs give me, the good kind of stimulation and the bad kind. It has always made me so curious as to why and how the choices made in music can impact a person psychologically, make the listener feel immersed in a story, inflict specific emotions.

This is what fascinates me about music theory. Yes, it should overwhelm you. Yes, it should sound wrong. But it doesn’t. It WORKS. And what’s so interesting to me is why.

Jorge describes it as “crunchy and punchy” which is honestly perfect.

He is of course, referring to dissonance.

I have been studying music most of my life, and pretty much every music teacher I’ve ever had describes dissonance as just “sounding smushy”. It’s actually “a lack of harmony among musical notes”, usually two notes next to each other played at the same time.

But why does this sound “crunchy” and not “smushy”?

The Melody remains modal, as it has done the entire song. This is our grounding, our “Home”, but the harmony does something different. It’s moving down and up, flowing like wind, like the sea. And it’s doing this chromatically- using notes from the G minor key instead of the Aeolian mode- which creates clashes. Also known as dissonance. Also known as “smushy”.

And this is where we break out the good ol’ notation! I transcribed this myself by ear, so it might not be perfect. I can sight read tablature but not sheet music, so if this is wildly off then I’m sorry. I find it easier to explain music through annotations, but in order to make this screenreader accessible, I’m just gonna cite the lyrics and explain it in the text underneath.

In this section, “Wouldn’t you like to have some of the magic? Wouldn’t you like your outcome preferred?” The melody pretty much remains on C this whole time, only changing at the end of each two-bar phrase. This gives a forceful, repetitive, driving feeling. Hermes is being very persistent here.

For the first two-bar phrase- “Wouldn’t you like to have some of the magic”- both harmonies are the same. They then split at “Wouldn’t you like your outcome preferred?”

“Wouldn’t you”- The harmony starts on G, which is the root of G minor (the key that we are in). This is diatonic (using the notes from the key)- so it sounds nice, not “smushy”.

“Like to”- We then go down to F sharp, which is dissonant to the Aeolian mode, even though it’s the major 7th of G minor. This is why it sounds “smushy”

“Have some of the”- And here is where the “crunchiness” kicks in. It’s resolving down to the flattened 7th, which is F natural. The flattened 7th is the modal note.

“Magic”- The first two-bar phrase ends in E natural, which is dissonant to the mode. The melody also ends in D, which provides a lot of dissonance with the E as they are right next to each other, which can create clashes.

“Wouldn’t you”- This is where the two harmonies split. Harmony 1 goes back to G, which is the root of the mode. Harmony 2 goes down to E flat, which is also consonant (not dissonant).

“Like your”- Harmony 2 goes down to D, which is dissonant with the note in the melody (C) because they are next to each other. Harmony 1 goes to F sharp, which is dissonant to the Aeolian mode, as said before.

“Outcome”- Harmony 1 resolves to an F, and Harmony 2 goes back to an E flat.

“Preferred”- The last two notes “smush” as F natural (Harmony 1) and E natural (Harmony 2) are a semitone apart, then both harmonies join at E natural, which clashes with the D in the melody.

So the pattern goes from “nice” to “smush” to “nice” to “smush” to “nice” to “smush” to “nice” to “even more smush” and then when the next part of the harmony starts “deep in the night” you resolve back to the G, which is the tonic note.

Why does the dissonance work in this song?

It’s passing. Going down by step and resolving to a modal note. Passing notes that resolve don’t have that smushyness. They crunch.

Dissonance is a funny thing. Often musicians stay away from it because it sounds muddy and awkward and not great, but it can at times sound quite sweet, and with skill and knowledge you can learn how to use it effectively.

It also works here because it fits with the aesthetic and Hermes’ character. We’re already in this spooky, mysterious mode. We’re in a minor key. And Jay is using all these other musical techniques to give a slightly uneasy, hypnotic feel. The dissonance feels strange- not the sweet, diatonic harmonies we’re used to hearing. This is what makes this song stand out, and what makes Hermes such an intriguing and appealing character.

There’s this “up and down” melodic pattern that occurs throughout the song in several places. While Harmony 2 is doing that, Harmony 1 is just going down, repeatedly. I find it interesting that Odysseus isn’t rising to this power, but falling to it. It hints at Hermes’ trickster nature. These musical motifs (harmony, the harpline, the synthline, etc.) go up and down and up and down and up and down like gentle waves. We’re on the ocean. It’s lulling, compelling, hypnotic. “Come hither” whispering in the ear. It’s creepy, to be honest, and shows a darker side of the song that I will talk about later.

Bridge (“Here in the root of this flower”…etc):

Jorge has talked about how this is one of his favourite bits to sing, and musically that makes perfect sense.

Firstly, you’ve gotta hand it to Troy Doherty’s amazing performance. Hermes is so expressive even without seeing him.

Quick note about vocal techniques- YOU CAN HEAR SMILES. The act of smiling changes the shape of your mouth and thus changes the quality of your voice. You can HEAR Troy break out into a smile on the line “Though it’s only for a moment, ‘til you’ve beaten your opponent”. This is also my theory as to why the line “Penelope Whyyyy, you know I’m too shyy” is so stuck in everyone’s mind. Try singing it without smiling and then try singing it while smiling. Do you think it would’ve been that catchy if Jay wasn’t such a cutie pie?

Smiling is contagious, even if you’re only subconsciously noticing it. Hearing a smile gives you that little hit of dopamine.

When we hit the bridge, the piano, bass, and backing vocals cut out. Again, it’s just drums, harp, and lead vocals. This signifies a new section of music and also does the same trick as before- drawing you into the vocalist- but this time making you focus on the melody instead of the lyrics.

This whole bit is solely in Aeolian mode. The downward motion of the bridge increases the intensity of the song, dragging you into his words, falling into the power of the root. It’s sort of a callback to the downward motion to the second harmony line.

The constant quaver rhythm of this rising and falling conjunct “stepwise” melody gives a spiralling feeling, leading downwards. The rhythm is almost conversational, which fits with a mode like Aeolian that flows like the wind. It’s also why it’s so catchy and fun to sing. I love how Jorge composes in this uncommon scale in this particular pattern to reflect this idea.

There’s also one particular detail about the rhythm of this riff that compositionally shows something even deeper:

THIS IS IN TRIPLETS.

DO YOU KNOW WHAT TRIPLETS SYMBOLISE IN EPIC???

RUTHLESSNESS.

Ruthlessness is usually a theme reserved for Poseidon, Act 1 Athena, and Act 2 Odysseus. You wouldn’t expect a “friendly” God like Hermes to be using it. But he is. He’s being persistent, constant. He is trying every trick in his bag to persuade Ody to take the flower.

Jay is VERY deliberate about his arrangements and his composition, so this is not a coincidence. He has established this “language” of musical voices, rhythmical voices, and motivic voices to symbolise all his characters and themes. It’s fascinating to me that he made this choice for Hermes. Ever so subtly hinting that the God might not be as benevolent as he seems.

Chorus 3:

The instrumentation of this new chorus is pretty similar to Chorus 2, except…

These DRUMS.

I asked my dad about these while I was staying with my parents over the Xmas holidays, and it resulted in a 5-minuite-long infodump about a specific type of drum used in 80s pop music (yeah I totally definitely don’t see the family resemblance at all /sarcasm). Any Brit in the audience might recognise this drum sound as sounding almost identical the intro to a show called East Enders (which I never watched, but was aware of) and idk if that was Jay’s intention, but the drums apparently have a long and complicated history, which I will give you the abbreviated version. (If this is too much information you can skip the next paragraph if you so wish, I realise this can be overwhelming)

Bass drum called the Simmons’ drum- electronic drum pad- famous for being hexagonal- they were radical in that they gave an electronic palette to modern dummers- they weren’t well-built and the very earliest ones were made from the same composite materials as police riot gear- caused repetitive strain injury that became known by session drummers as “Simmon’s wrist” because it was a bit like using your drumsticks on concrete (What’s that? You don’t think music is as intense as sport? Musicians get injured just as much as footballers do)- the sound is one of the most distinctive sounds in 80s music and entirely synthetic, generated through synthesis so some poor technician had to sit and programme a synthesiser to sound like a tom-tom- in the 90s and early 00s it was seen as cheap and over-the-top but is now looked on with a sense of love and nostalgia.

This is, of course, a sample of the Simmon’s drum as I doubt Jorge owns a real one.

So what does that do for Hermes? It grounds the song it its 80s retro aesthetic, creating Hermes’ unique stylistic voice. Jorge has described how he got the idea for Hermes’ sound when he saw a retro, multi-coloured lamp that made him think of 80s music. Each character in Epic has their own soundscape, and this very particular drum sound adds to it.

It also adds intensity to this final chorus. These loud, heavy drum sounds give that adrenaline rush that the previous verses and choruses have been building to, when Odysseus finally takes the flower.

Then we get Odysseus singing the “oOOOooOoOOhHHHhs” as he eats the holy moly, then the chorus ends, and we get a repeat of the harpline from the intro as he thanks Hermes for the help.

My conclusion:

Odysseus has made a Faustian pact with Hermes, the trickster god. While Hermes’s words are friendly with no ill-intent, the composition and orchestration lean more towards this idea of “making a deal with the devil”. Gods know the game, and how it’s played. You, mere mortal, do not. When they entreat mortals to do their bidding will offer riches, money, fame, success, magic, power, but very rarely are their motives sound.

This is Odysseus’ first taste of the magic that separates gods and monsters from mortals. He is able to fight Circe as an equal, and this new development teaches him that he doesn’t always have to be strategic and diplomatic, but ruthless and relentless as well.

I know that the fandom see Troy Doherty’s performance of Hermes as “omg babygirl so slayyyy!!!” But there’s actually a deeper level to what he’s doing here. He’s a trickster God, tempting and teasing Odysseus down a path of magic and power- giving him the first taste of something that will later drive him into becoming the Monster. Hermes is almost seducing him to the dark side, using rhetorical questions, waving the Holy Moly in front of his face and saying “Come on. You know you want it. Wouldn’t you like a taste of the power? Wouldn’t you like to be victorious for once?” In his lyrics describing a “taste” of the power being something almost like a temptation. Odysseus is breaking from his norm- using magic and might instead of logic, diplomacy and reasoning. While he’s doing it to save his men, this is a major step in his descent into monsterhood, and it’s fascinating how Jay does this not only lyrically, but musically as well, using what’s called “word painting” (music and words working together) to create the sense of hypnotism and manipulation.

Hermes is being:

Ruthless (triplets),

Ceaseless (repetition),

Persuasive (rhetorical questions),

And hypnotic (lilting, lulling melody).

He’s drawing you in, forcing you to listen to him (stark instrumentation focusing on the vocals, then increasing the instrumentation as the intensity progressively increases, culminating in this big, expressive final chorus with this pwerful drum sound)

Overall Jorge uses all these techniques to show Hermes manipulating Odysseus into taking the flower. By subconsciously making you feel the temptation that Ody- the Narrator- is feeling through music and orchestration.

So anyway, those are my thoughts on “Wouldn’t you like”. I didn’t even have time to talk about “Dangerous”- perhaps I’ll make a separate post about that but no promises. Thank you so much for reading if you made it to the end!

[superkooku]

Favorite character from Greek mythology + favorite myth from Greek mythology?

Favorite characters

I'll turn this into a tag game : @margaretkart @dootznbootz @sarafangirlart @aliciavance4228 @katerinaaqu @hermesmoly @go-rocksquadsfan @sanska @vint-knight .

And @anon (you can give your answer in another ask 😉).

So, I have a loooooooot of faves. This list is long.

Here are mine :

Nobody. Yeah, in reality, I hate mythology and just pretend I like it. Or I just love making puns about my favorite lying war criminal. Who didn't cheat btw.

Penelope. These two are soulmates, no ifs or buts. I always found her underrated and @dootznbootz 's ramblings on her confirm that. Cunning and sassy half-naiad queen.

"The delian twins", as I like to call them. Idk I really love their multifaceted natures of protectors and deadly huntress/inflictor of illnesses (with an affinity towards plague). And their familial bond is precious. And I like them both equally, even though I talk about Apollo a bit more ig.

Leto. She's precious. They're always ready to defend each other. Like when Apollo and Artemis killed Niobe's kids because she was disrespectful to Leto. Or when Leto came in to save her son from being thrown in Tartarus by Zeus. Or when baby Artemis helped her mother deliver her brother. She fought for her children and now they fight for her.

Hestia. Too bad there isn't more about her because I relate a lot to the concept of chilling at home and staying away from drama.

Ariadne. Because of her family's tragic history, her healing from it with Dionysus (in most versions) and overall, she's great. Also, it's funny how Theseus wanted to marry a child of Zeus but his ex girlfriend actually succeeded 😂. Speaking of her family tragedy...

Asterius. I bet most adaptation authors don't know who I am referring to 🤣. He's a man-eating monster, yes, but he grew up isolated, trapped and unloved. I feel so bad for him.

Perseus. The GOAT. Partly thanks to @sarafangirlart. I already liked him since I always knew he wanted to save his mother, but he genuinely grew on me since I read her posts. That and when I learned of his war against Dionysus. Extremely underrated story.

Athena. Idk I don't think I need to elaborate on why she's cool.

Hades. In retellings, I often hate him because he's either woobified or made into "Greek Satan" (at least in Disney he's fun), but he's genuinely cool in mythology. Morally gray Hades save me.

Hermes. From birth, he was always a little trickster. I love how many functions he has (messenger of the gods, god of merchants, thieves, communication, also a psychopomp btw). A very energetic and helpful god.

Asclepius. I think I should make a post explaining why he's great because, yeah, I don't talk much about him even though there are things to say (yeah it's because I did a lot of research on him).

And... finally... Dionysus 🤣. Of course he made it in this list. I dedicated a whole essay series about this god, come on !

Honorable mentions : Hector, Andromache, Menelaus, Demeter, Telemachus, Hephaestus, Hippolytus, Danae, Ares and many others.

Favorite myths/plays/poems

I already answered that but can't find the post. So I'll do it again, with some new answers in mind. Basically "the myths with the characters on the list".

It's either because they're that compelling or just hilarious.

The homeric cycle. Ok, an easy one.

The Bacchae by Euripides (mandatory reading if you want to understand Dionysus imo. No excuses).

The frogs by Aristophanes. Because it's funny.

Asclepius' story. Seriously I'll elaborate on it one day.

Hermes' birth story. Him stealing Apollo's cows and Apollo getting mad at his scallywag of a brother 🤣🤣. And then just him winning Apollo over with the lyre.

Pirithous and Theseus getting their asses stuck on a chair (yes this is my title for this story). I love to mock these two, especially Pirithous because... give this man a Darwin award please. No thoughts and no survival instincts in his brain 😂.

Orpheus and Eurydice. Simple but powerful.

The Argonautica. Aka a huge crossover. Seeing more interactions between all these heroes would be awesome (especially if we take every version into account 👀. So many faces...). It's funny how I love the Argonautica but never talk about Jason himself 🤣🤣. The embodiment of the protagonist who's less interesting than the other characters.

Perseus' war against Dionysus. A potential retelling about this myth would go so hard !! Especially since we could get a scary Dionysus. Hopefully it doesn't get ruined :(

Edit : some English mistakes I had to correct.

[thaliagracesgf]

i hail a cab with a goat, and make some questionable decisions at a party

next

author’s note: i want to make it, like, really, really, clear that this is not a fic glorifying sa or being a victim. what the reader goes through here is a horrible experience, one that’s happened to me and countless other women (and other people!!). this fic is for anyone who, in the words of rachel sennot in bottoms, has been “gray-area-d,” and felt completely lost afterwards, not knowing how to feel or what to think. this is one example of how you deserved to have been treated, and i’m sorry if this or something similar wasn’t your experience. 

content warnings: sexual assault (not graphic and not by luke! r is sort of tied down and has their shorts undone), violence (luke is not happy about this situation), alcohol (r is drunk), talking about it afterwards?, talking about monsters (on a regular pjo level), swearing. 

word count: 6.6k. i had a lot to say. so sorry.

this is the first fic i have written in a while, i hope you enjoy it!

⭑

seven a.m. in the camp half-blood dining pavilion saw the same faces every morning. you, silena beauregard, clarisse larue, and annabeth chase. your little group of friends spanned six years, at seventeen, fourteen, thirteen, and eleven, and your best friend, who had been off at college all year, made it eight. 

you didn’t remember becoming friends with silena and clarisse, although you figured hannah, your best friend and silena’s older half-sister, must have introduced you, and clarisse came along with her. 

you had met annabeth and hannah when you were just thirteen, when you had followed a friend to connecticut in the middle of pre-algebra. 

“do you understand any of this?” you whispered to grover. he gave you a look as if he had never seen a fraction before last week, and you sighed. your teacher, a kind old woman named ms. lucy, gave you a look. when she gave the class a new problem to work through, she came and knelt by your desk, looking over your shoulder at what you had managed so far. which was a whole lot of nothing, unless you included a sketch of grover that would make picasso proud. you shrunk sheepishly in your chair. 

you looked to your right, as if trying to see how bad it really was compared to your model, but he was gone. you turned back to ms. lucy. 

“did you see grover leave?” 

“hmm?”

“grover. did he go to the bathroom?”

“i assume so, dear. if you convert the decimal—" but grover’s things were gone. you felt terrible. you knew you were a terrible student, and ms. lucy was so kind to you anyways, but it wasn’t like grover to walk out of class like that. he was terrified of authority.

“i have to go,” you mumbled to ms. lucy, throwing your things in your bag and slinging it over your shoulder. “stomachache.” 

she looked genuinely concerned. “would you like me to let the nurses know you’re coming?”

“no… no. that’s okay.” and you ran out the door. 

it wasn’t too hard to find grover. he was sitting in an empty classroom just a few doors down, but what was weirder was that he was watching a video on the projector. weirder still, he was talking to it. you knew it was rude to eavesdrop. it didn’t stop you from doing it. 

“chiron, i can’t just leave. she’s here, and she’s in danger. she needs a protector. anything could come for her at any moment—" was he talking about you? 

a deep voice over the projector, whose face you could hardly make out through the low-quality image, answered: “i will inform her mother and she will go home. she will stay there until we can send gleeson to collect her and—"

“why can’t you send gleeson for these kids?” 

“he’s too far, it would take him a day at least to reach them. i already told you, this was a request from hermes himself. he wants his son and his friends collected as soon as possible, and—" 

who the hell was gleeson? and hermes��� who names their kid after a greek god? at least choose one with a better name than hermes. it sounded like a disease. your mother had named your brother after some greek hero, but he didn’t go by it. and at least it was, like, a human name. 

“he’s the god of travelers.” you were starting to worry that grover might be on drugs. what on earth had they put in those enchiladas at lunch? “can’t he get him, like, a car? a day could be too long for—"

“grover.” the voice boomed. that shut him up. “you will go. you will escort the son of hermes, the daughter of athena, and the daughter of zeus to camp, and then you may return to the city. this is not up for discussion.” you were really starting to think that the booming voice might have been two booming voices, but the door was closed and the audio was already crackly, so you decided it didn’t really matter. 

you heard grover’s voice say, “alright,” defeated and almost mournful, and then the message cut off. your eyes widened as you realized that grover would probably step outside any second, and you would have no excuse as to what you were doing with your ear to the wall. you turned slowly, and winced as your shoe squeaked on the linoleum floor. you started speedwalking. no sense in trying to hide anymore, you were just interested in getting as far away as possible before-

“oh, gods.” grover’s voice echoed between cinder block walls and metal lockers. “how much did you hear?”

you turned, your fingers nervously twisting the straps of your backpack. “i mean. not everything. just. you know.”

“almost everything?”

“yeah.”

“this is not good. this is really not good.” grover wasn’t talking to you anymore. he was pacing the short ways of the corridor, head in his hands, muttering to himself. “my first mission and i’ve already messed it up completely.” 

“how could you have messed it up completely? you haven’t even met these kids yet.”

“oh, gods,” grover groaned.

“woah, dude. are you like, hindu or something?”

“what?”

“you said gods. plural. i read this book—"

“okay,” grover interrupted. “you need to go home.” 

“okay. that was rude. also, it’s like the middle of the day. my mom’s at work and my stepdad will kill me if i come home early.”

“your stepfather. perfect. just climb in the back window of your room, and when your mom gets home, tell her that chiron says you need to go to camp immediately.”

“what? what the hell are you talking about? who— is that who you were talking to on the phone?”

“what?”

“the phone call. the one you were mad at me for overhearing…”

“okay. first of all, that was not overhearing, that was eavesdropping. second of all, i’m not mad. this just complicates things slightly. third of all—"

“dude, you need to—" grover glared at me, and i shut up. 

“third of all,” he repeated, “that wasn’t a phone call. it was an iris message.”

“a what?”

“nevermind. not important. ask about it at camp.”

“why do you keep talking about a camp? i haven’t been to camp since music camp in second grade, and they don’t want me back. i was really, really, bad at the recorder.”

“you played the recorder?” grover looked suddenly very interested. “nevermind. you need to go home.”

“dude. i’m telling you, i. can’t.” 

“you have to—"

“take me to connecticut,” you suggested. 

“what?”

“isn’t that where you’re running off to?”

“you can’t come to connecticut with me—"

“why not? you seemed pretty adamant on the phone—"

“iris message”

“that you needed to be with ‘her’. based on how insanely you have freaked out, i’m guessing that was me. so take me with you.”

“i know you have no idea what is going on right now—"

“thank you for finally acknowledging that important part of this conversation.”

“- but taking you to connecticut would be an astronomically bad idea. like i-would-get-fired kind of bad idea.”

“you’re twelve. how on earth would you get fired? child labor laws are—"

“i’m nineteen.” 

you laughed at that one. “yeah, sure.” 

grover rolled his eyes. “look, i really, really, wish i could explain more, but i need to go. and i really, really need you to go home.”

“ok.”

“like really, really need you to listen—" he paused. “okay? great!”

“if it means that much to you, i’ll go home.” grover sighed with relief. 

he was eating his words. and a tin can he had picked up off the street. you had followed him out of the building, watched him call a cab, and then, at the last second, jumped in after him, slammed the door, and told the driver to drive before grover could figure out what was going on. 

after your initial panic, when you realized you were hurtling up fifth avenue at three-hundred miles per hour with three old ladies behind the wheel, you had straightened yourself out, and made grover explain everything. he had, reluctantly, when he came to terms with the fact that you were in too deep to back out now.  

he explained camp, the greek (not hindu) gods, and the ladies in the front (who had one eye between them) were very helpful about filling in the details. so, so many details. he explained that he didn’t know who your parent was, just that you were powerful, and that he was planning on asking your mom before everything went up in flames.  

he explained that he was going to connecticut to escort three (now four) demigods to camp half-blood, and that they would likely be tailed by monsters the entire way back. four demigods as powerful as you, and one forbidden child — a child of zeus, poseidon, or hades, as he had mentioned — would attract a lot of attention. 

and you did. it took you a month to get to camp after you found thalia, luke, and annabeth, constantly being thrown off course by monsters, over which you got to know them better than any friends you’d had in your life (with the exception of maybe grover and your little brother). your mother was worried sick, but you iris-messaged her (grover finally got through on that one) every so often, letting her know you were okay. she was surprisingly understanding about camp. she apologized that she hadn’t been the one to take you herself, and that she had been forced to hide the truth from you for so long. the calls always ended though, when she tried to tell you who your father was. the water would shut off suddenly, the rainbow disappearing along with your mother, so you learned to avoid the topic if you wanted to continue talking. 

when thalia died, you were in shock. you sat at the edge of long island sound at camp for three days, staring into the ocean. you didn’t speak, even when you were claimed, as you sat, by your father, poseidon, and shuffled your things from the hermes cabin into cabin three. it was just another loss — you could no longer sleep in the bed next to luke’s. there were no familiar faces in cabin three — no faces at all. you were completely alone. 

eventually, an older aphrodite girl came by the cabin. she introduced herself as hannah, and she showed you around camp, forced you to sit with her and her siblings at dinner, dealing with chiron and mr. d’s disgruntlement herself, and at the campfire. she dragged you to the center of the amphitheater, dancing slowly at first, and then faster, until you were laughing and finding luke and annabeth in the crowd and dragging them to dance as well. 

you missed hannah so much. she wasn’t that far, a first year at barnard this fall, where you would hopefully be in a couple of years. you weren’t ready for college yet, you thought, so you would take a gap year (though you hadn’t been in school for years) and stay at camp, while chiron would help you convince the admissions committee (using the mist) that you had a perfect gpa, excellent extracurricular activities, and a stellar recommendation letter from a highly admired ancient greek scholar by the name of professor c. brunner.  

sitting at breakfast with you was probably miserable, you could admit. you were counting down the days until hannah came back, and your friends were definitely tired of it. but for some reason, this morning silena was practically jumping up and down with something. 

“will you stop?” you asked. “you’re shaking the entire table.” 

“i can’t, i’m sorry.” she seemed sincere in her apology. “i just— oh, you’ll see.”

you didn’t see, in fact, as someone jumped out from behind you and wrapped their arms around your head, their sweatshirt covering your eyes. “who—" you started, before you got a whiff of lavender-vanilla perfume and jumped up from the table. 

hannah. you shrieked, probably waking up half the camp. you spun around and tackled her to the ground, hugging her so tightly you would probably cut off her circulation. 

she pushed you off, laughing, and got to her feet. “it’s good to see you too, babe. what’s up with all of you? you never call, i feel like i’ve been completely cut off.” (you had iris-messaged her last week for five hours). 

“your sister is still absolutely obsessed with beckendorf,” you said, sitting down.

“hey!” silena protested.

“but of course he has no idea that he likes her.” silena turned pink. “no one here is good enough for annabeth, obviously—"

“i never said that, clarisse doesn’t let any boys near me.” you stick your tongue out at her. 

“i don’t know what you’re talking about,” clarisse said, feigning obliviousness. “you hang out with luke all the time.”

“he’s always hanging out with that new kid.” she grumbled. “or—"

“speaking of, clarisse definitely thinks this hermes boy is so cute— you haven’t met him, he got here a few months ago, but his name is chris, and i think they would be so cute together. she’s out of everyone’s league, obviously, but if anyone would be good for her—" 

“gods, you would think you’re the aphrodite kid, listening to you.” hannah smiled. she stole a bite of your french toast. 

“i’m just excited to see you,” you said, laying your head on her shoulder. silena and clarisse smirked. 

“she’s leaving somebody out here,” silena said, smiling. 

“i know, it’s weird, she never shuts up about him otherwise,” clarisse added, narrowing her eyes at you teasingly. 

“oh, who could you possibly be talking about?” hannah twirled a piece of hair. she hasn’t even been here, but one doesn’t forget their best friend’s crush of four years in a few months. 

“i do not,” you protested meekly. 

“you knew who we were talking about, though” 

“i spend a lot of time with him, that’s all. there would be a gaping hole if i told you about my day and didn’t bring him up.”

“would you stop pretending as if you aren’t in love with each other, please?” annabeth interrupted. “you’re worse than them, at least they can admit it.” she gestured at clarisse and silena. 

“i am not in love with him, annabeth.”

“you’re always starting at him.”

“i’m in conversation.”

“with your eyes. that is literally textbook romance.” 

“i could so admit if i was into him,” you say, cutting her off. “i admit things like that all the time. i told you i thought jack was cute. you know that kid from demeter?”

“we all know you made that up,” annabeth said, crossing her arms over her chest. silena gave her a light push. 

“don’t be so quick to accuse, annie.” only you and silena ever called her that. “i don’t think she made it up. i just don’t think she’s as into him as she is into him.”

“would you drop it, about luke, please?”

“hey, you said his name, not me,” silena smiled. “but sure. i don’t believe that you’re not into him, but i’ll drop it if you can prove that he isn’t into you.”

your heart sank. you weren’t sure why, but you suddenly felt nauseous at the thought. hannah’s hand rested on your knee, as if she could sense it. 

“how am i supposed to do that? i can’t read minds.” 

“hook up with jack at the campfire.”

“what?”

“flirt with him! you were just talking the other day about how you’re eighteen and you haven’t even had sex yet.” hannah covered annabeth’s ears, to which she shoved her off and glared. “jack’s, like, really hot. i saw you staring the other day.”

“when luke wasn’t around,” annabeth added, one eyebrow raised.

“you want me to have sex with jack?” 

“i’m not saying that. just flirt with him. see what happens. we’ll— she gestured between herself, clarisse, annabeth and hannah— see how luke is doing.” 

“okay, he isn’t going to be doing anything,” you said. “i don’t see what this accomplishes.” but even as you were saying it, your mind betrayed you. you thought for a second and conjured an image of strong arms holding you, soft lips kissing yours with the bonfire light in the background. maybe you were near the beach.

“we’ll see,” silena smiled. 

you didn’t want to go all the way, or anything. you knew that. but… jack was really hot. and sweet. he was always catching little kids falling off of obstacle courses with soft bushes, and growing them flower crowns. it couldn’t hurt to talk to him, see what happened. maybe he’d ask you out, or something. bring you flowers on a date. and you guessed you wouldn’t mind making out with him. 

the campfire roared in the middle of the amphitheater. the only people there were the older campers, and some counselors trickling back in from tucking kids into bed. you had helped luke with the hermes cabin, because he had so many kids to take care of, and you had none. 

you pulled the covers over katie, a girl a little younger than annabeth, who had gotten to camp a few months ago. she was still unclaimed, but with the way she spent all day in the strawberry fields, and the plants tended to shoot up around her, you were fairly sure where she belonged. 

you kissed the top of her head, and stood up, looking around the dark cabin for luke, seeing him kneeling beside a little boy, probably about the same age as katie. the boy sounded like he was crying. 

 “hey, connor,” luke whispered, rubbing circles on the kid’s back. “it’s okay. it’s okay. i get them too.” you realized that the boy must have been afraid to fall asleep. “travis is right above you, he’ll protect you, okay? nothing bad can happen to you here.”

he looked over at you, before turning back to connor. “and we can play poker tomorrow, you’re getting pretty good.”

“are you leaving?” the boy whispered, choking a bit on his tears.

“just for a little bit, kid. i’ll be back soon, i promise. i’ll be here when you wake up. i’m not going to leave you anytime soon.”

“okay,” the boy mumbled. luke pulled the covers over his shoulders, and ruffled his hair before turning to you. 

“let’s go,” he mouthed, gesturing at the door. the two of you crept outside, luke much more stealthily than you, closing the door silently. “god of thieves,” he shrugged, but he didn’t grin as he usually did when he bragged. you didn’t have to ask why, but you played along. 

“yeah, yeah, i know,” you said, rolling your eyes. “can we go now?”

“yeah, ‘course,” he said. he slung his arm over your shoulder, pulling you into him as you walked, and you couldn’t help but think of silena’s words as you rested your head on his chest.

arriving back at the campfire, you pulled yourself away from luke, walking over to hannah. she smirked at you, pulling you in for a hug. 

“you don’t have to do this, you know,” she said. 

“i know,” you replied. “i want to. he’s cute.” 

and he was, you thought, as he led you away from the campfire. you’d sat for an hour, letting the flames dance over your skin as you talked with him. he made you laugh, even blush when he grew a flower out of the stone to tuck behind your ear. when he grabbed your hand and pulled you to your feet, you felt dizzy, though that might have been the alcohol. 

as you walked further away from the amphitheater, you spun around in the grass, laughing, and he laughed with you. or at you? you couldn’t really tell, and you didn’t really care. you just wanted to kiss him. you didn’t notice that you weren’t heading near the cabins until he stopped in a little cove at the edge of the forest. 

“why are we here?” you asked, a little dazed. 

“come on,” he said. “you know why.” 

and then he was kissing you. it was messy, and made you kind of uncomfortable, but you told yourself to get over it. you couldn’t expect it to live up to the time luke had kissed you, on a dare, when you were thirteen. nothing would ever live up to that, because you couldn’t have him. he hadn’t even cared when you had left him at the party, talking up some girl you couldn’t really see on the other side of the fire.

you blinked, pulling away from jack. you hadn’t realized as you were thinking it, but you had admitted to yourself for the first time that yes: you did want luke. really, really, wanted him. you pushed back on jack lightly. 

“i’m sorry, i don’t think i can do this right now,” you mumbled, wiping your mouth on the sleeve of your hoodie — luke’s hoodie, that he had given you that night after he kissed you, when you were shivering outside, staring into space because you couldn’t understand what you were feeling. 

“come on, it’s fine,” jack replied, pulling you back into his arms. they weren’t like the arms you were picturing earlier. no, you could admit to yourself new that those had been luke’s. your mind was reeling— you knew that you couldn’t have him, that he would never like you like you liked him, but kissing jack felt wrong. not that you had really been kissing him back. 

“i want to go home,” you said, and you weren’t sure where you meant. back to the campfire, to luke and hannah, back to your cabin? maybe even back to your mom on the upper east side, who you missed every day but couldn’t live with during the year for the sake of your little brother, who was too young to know that he, too, was a son of poseidon. 

“really? you were flirting with me all night,” jack mumbled into your lips. “stay a little longer.” it was true, you had been flirting with him. you figured you could at least make out with him for a bit. you resigned, letting him lower you onto the grass, and reluctantly letting him run his hands along the hem of your shirt. 

hannah was getting worried, and luke could tell. he had forced himself off when you were clearly interested in that demeter guy, who luke knew and was friends with but suddenly hated with all his guts. he had forced himself to be interested in getting the details on silena and beckendorf, which he didn’t really realize he was getting to share with you later, resigning to glancing too often through the flames of the fire at your face, and the way the flames made you look like a goddess. no, he thought. you always looked like a goddess. 

but hannah, who had just arrived back at camp for the summer that morning, was biting her lip, and looking around with a bothered expression on her face, and luke had a horrible feeling in the pit of his stomach, that he needed to know you were safe immediately. 

he walked over to hannah, probably too quickly, and didn’t waste time asking how she was, or how college had been. “where is she?” he demanded, too forcefully. he would have to apologize to hannah later, but he only had one thing on his mind.“what’s wrong?”

“oh. hey, luke,” she said, still in a sort of trance. he snapped his finger away from her face, shaking his head.

“hannah? where is she?” 

she shook her head and widened her eyes. it was clear to luke that you had picked up that habit of staring out at nothing when you were deep in thought, usually not about pleasant things. “she’s with jack,” she said. “they left a little while ago. i just… i don’t know. i should go check that she’s back at her cabin by now.” 

“yeah, yeah we should,” luke grumbled, and started taking the steps out of the theater two at a time in an effort to get out. hannah followed— you had told him that his stress could be contagious. 

you weren’t in your cabin. you weren’t in the demeter cabin either, and the pair of them woke up a bunch of kids as you barged in, which he was sure mr. d would have a lot to say about in the morning, but he couldn’t bring himself to care. 

he ran across the basketball court, hannah close behind. 

“i have an idea of where they might be,” hannah said, pointing in the direction of the woods.

“how do you know?” 

“because i showed jack that spot when we were fourteen,” she said, grumbling. luke clearly wasn’t the only one who cared about you. 

“i thought you were gay?” luke questioned, not slowing down. 

“yeah. like i said, fourteen. people explore things, figure themselves out.” gods, she thought, men could be so incredibly stupid. 

they ran faster than ever to the edge of the woods, where sure enough, they found you, lying on a mossy stone with jack hovering over you. luke wanted to run to you immediately, but hannah held him back — no easy feat, but she managed. 

“hold on, romeo,” she strained. “you can’t just barge in there and—” then she heard it— the unmistakable sound of your voice, and the word stop.

“jack…” you mumbled. you were so drunk. you weren’t sure where you were anymore, and you didn’t really remember walking over here, though you knew you had. “jack, we can do this later, i’m tired—” 

“you’re fine, it’s fine,” he said quietly, starting to undo the zipper of your shorts. you reached down to stop him, but he pushed your hand away, and as it hit the stone, moss started growing over it, holding it there. 

“jack, stop it,” you said, more forcefully this time. you realized that he didn’t even know what he was doing, and for some reason that scared you more. he wasn’t doing it on purpose, but he wanted it— he wanted you held down, and he didn’t care that you didn’t. 

he shushed you, but looked up at a rustling in the trees, and a familiar grunt. 

luke broke out of hannah’s arms, but it didn’t really matter, because she had been letting him go anyways. he stormed across the clearing, and while you were still dazed and confused, you couldn’t miss the entirety of jack’s weight being ripped from on top of you, and you thought you saw a fist collide with his face. 

hannah, however, rushed to your side. she didn’t particularly want to see luke end up bloody and beaten in the infirmary, but she had bigger fish to fry right now: namely, you. she tore up the moss, no longer strong as jack’s focus was elsewhere, and redid your shorts for you. there were tears on your face as she pulled you to your feet. 

there was so much noise. jack was shouting at luke, but you couldn’t make out the words. you could hear the music and the gleeful sounds of counselors from the amphitheater, but it seemed worlds away from you. 

as hannah led you out of the woods, much faster than you could really manage, your head began to pound behind your eyes. a splitting pain hit your forehead, and your vision went black and spotty. you stumbled forward, relying entirely on hannah to keep you upright, but one stray tree root took you down. you swam between consciousness and a dark, dark sleep. there was screaming, it was hannah, and then the familiar deep voice of clarisse, barking orders. you thought you heard annabeth’s name, and then two strong sets of arms lifting you up, and carrying you away. 

you woke up at the bottom of the sea. no. that wasn’t right. the bottom of the sea was soft, covered in mud and sand. you tried to stretch your body, hitting plastic walls. as your eyes focused, you could make out cartoon fish swimming entirely too close to your face, and you sat up with a start, splashing water all over a corner of the infirmary. 

a kiddie pool. they had filled a kiddie pool with salt water, and left you in it overnight to soak, like one of those colorful dinosaur toys that grew in water. and the worst part was that it seemed to have worked. you felt brand new, like you had slept for a hundred years, and at the same time followed a very strict workout regimen, taken a juice cleanse and eaten like a king. you groaned, and slipped back under the water. 

you stared at the ceiling, watching wooden beams ripple with the surface of your personal ocean. you wondered if your father ever felt like this is in the pacific, if he could be that big if he wanted to. your camp necklace floated up before your face, crossing a familiar face lurking over you. 

you sat up. cara fletcher, hannah’s friend, held out some nectar. you shook your head. 

“i’m okay.”

she raised an eyebrow. 

“fine,” you sighed, taking the flask and drinking. it did help. you felt like you could take on the minotaur. 

“your friends were here all night,” she said. i kicked them out around ten because they were falling asleep on each other, and i didn’t need any more cracked skulls when they fell off the stools. 

“more?” you asked. she sighed, looking over her shoulder. 

“your boyfriend beat that kid up pretty bad last night,” she said. you didn’t see jack lying on any of the cots, but a head of dark curls lay a few beds down, and the body attached to it did not look to be in great shape.

“he’s not my boyfriend.” you answered quickly, not taking your eyes off of luke. “is he okay?”

cara seemed to make out which he’s you were referring to. “i wasn’t talking about him,” she said. “hannah told me what happened. if you ask me, luke didn’t do nearly enough damage.” 

“don’t tell him that,” you said. “and he’s also not my boyfriend,” you added as you processed her words fully. 

“not yet, he’s not.” hannah said, strolling in with three bagels in hand.

“i thought i told you to go to bed,” cara scolded, taking her bagel. “you’re going to drop dead one of these days.” hannah smiled, ignoring her as he sat down next to her and put her arm around her shoulders.

you glance between them, ideas churning in your mind, but they were quickly interrupted by the bagel being shoved in your face. you had always thought that the harpies must have spent some time in the city— they made a dam good bagel.  

“so.” hannah started. “you are going to tell us everything you’re thinking right now, because i see you looking over at him every two seconds, and don’t think you’re getting out of any of it.”

“i’m eating,” you grumbled. hannah reached to snatch the bagel away, but cara swatted her hand back. 

“she’s recovering.” you stuck your tongue out at hannah. 

“i don’t care,” hannah said. “spill.” 

“look, i don’t even know what happened last night—” 

“because you were really, really, drunk,” she interrupted. 

“do you want me to speak or not?” you demanded. 

“okay. fine. but just so you’re aware, he swooped in and defended you, and beat the shit out of that little asshole, who, just between us, mr. d is fucking fuming with.” trust hannah to get distracted two seconds in. demigod adhd was no joke. “he dragged him to the big house this morning himself, severe concussion and all, and according to lee, chewed him out for about an hour. something about the sanctity of drunkenness and how it is not to be weaponized… even chiron was surprised.” she paused for breath. 

“anyways, the point stands— he,” she nodded her head at luke, “was quite literally your knight in shining armor, and if you still don’t think he is absolutely enamored with you—” and you were pretty sure you heard a cot creak— “then i swear on my mother i will call her down and force her to do something about this because i cannot take it any longer.” 

“he was just being a good person, hannah,” you muttered. “he’s just like that.” 

hannah looked as though she were about to scream, but cara rubbed her hand along her thigh, calming her before she spoke herself. 

“there’s something more than that, isn’t there?” she asked softly, and you thought she was staring directly into your soul. “there’s a reason you don’t think he likes you.”

you hesitated, splashing the water around in your pool and making eye contact with a cartoon fish as you worked up the courage to say what it was you knew you had to get off your chest.

“before last night,” you started, your voice cracking as you spoke, “it was just me thinking i wasn’t pretty enough, or good enough for him. that he wouldn’t look at me because there are so many other girls at this camp who are obsessed with him. and i don't think i realized that i liked him either. but now…” a sob came from the back of your throat, and you looked up at hannah, tears streaking your red face. 

“why would he want me now?” you sobbed.

“hey. stop that,” hannah started. “what jack did to you wasn’t your fault, and everyone knows that.” she was trying to make you feel better, but the news that your pathetic love life was the talk of camp wasn’t exactly reassuring.

“it was, though,” you said quietly. “i led him on. i never told him no that strongly, and i was flirting with him all night. what reason did he have not to think… not to…” you were hyperventilating now, your words coming out in broken syllables. 

“i’m a fucking slut, and now everyone knows it,” you managed. you sank back into the water to slow your breathing, but tears still streamed down your face. 

“that’s bullshit,” came a voice from elsewhere in the infirmary. you could have thrown up then and there. you pulled yourself up by the walls of the kiddie pool, looking down the aisle as luke castellan limped towards you. his scarred eye was bruised and bloodshot, and he had a massive scrape running up his left arm, and that was just what you could see. the tears began to fall faster. 

“luke…” 

you were thirteen years old again, at the top of half-blood hill, holding grover upright. you were watching desperately as he stumbled upward, through the pouring rain, carrying a screaming little girl who was trying with all her might to run back and help her friend. all four of you were sobbing, exhausted and beaten. seeing them all like that was ten times more painful than the gash in your side. 

“that’s bullshit,” luke repeated. you got up from the pool and held his face in your hand, inspecting the bruise. you took the rest of the nectar cara had given you, holding it to his lips, but he pushed it away. “you’re not a slut,” he said. suddenly everything about your conversation came rushing back to you, and it hit you that you had just admitted to him that you were in love with him. 

you turned your head. hannah and cara were gone, slipped out the back door. you turned back to face luke, face red and tears pouring over your skin.

“that wasn’t your fault. you didn’t owe him anything. he‘s disgusting, and deserves to have his fucking dick cut off.” you laugh, despite everything. 

“i think mr. d may have actually taken care of that,” you whispered. 

“good.” you looked at him for a while. his eyes were so beautiful, a deep, deep, brown that reminds you of the otters that hung mysteriously around your upper east side apartment when you lived in the city.   

“why did you have to fight him?” you asked, reaching up to his face again. 

“you were in trouble,” he said. 

“luke.” the tears were threatening to fall again. “you could have seriously hurt yourself. i just… why? why not just pull him off of me?” you needed an answer. you needed to know why, why on earth he had put so much of himself in front of you, in front of jack’s fists.

he looked down at you, a pained expression on his face. “you know why,” he whispered. 

he looked down at your lips, and you shook your head softly. you looked down at your feet. you were so afraid, afraid that he wouldn’t be interested now that you didn’t want… that. from him. yet— that you considered looking up and letting him kiss you.

he shocked you when he wrapped his arms around you and held you close to him, holding the back of your head into the space between his chest and his shoulder. 

“okay,” he whispered. “that’s okay.” then, softer. “i love you.”

you couldn’t say it back. not yet, not now. but you held him tighter, holding on to him like he was the only thing stopping you from falling into tartarus. 

“i’ll be here forever,” he spoke into your hair. and you believed him. 

the hermes cabin hosted a movie night that night. you were watching the incredibles two, at a request from connor stoll, who was currently involved in an intense argument with annabeth over which installment was better.  

“i think i’m going to start calling you that,” luke whispered in your ear. “jack-jack.” you glared at him. “‘cause, you know, your last name’s jackson-” 

“yeah, dude, i got the joke,” you said. you rolled your eyes, nuzzling your head into his chest. you could stay like this for a while, you thought, and as you closed your eyes, you felt him press a kiss to your head — something you had told him was okay. you couldn’t wait to bring him home for a weekend. maybe annabeth, too. you couldn’t help but think she would get along great with your brother.

⭑

a/n: hello loves! i hope you enjoyed this, please please leave any feedback or anything, and let me know if you would like me to continue this story/write more of luke and the reader's past. i hope people enjoyed the little hints at percy! so excited for this reader and to explore all her relationships.

[lukecastellanshandholder]

You do understand that Luke groomed and used teenagers, also asked a teenager if she loved from when she was sixteen and he was 23…

(I only dislike Luke, I don’t completely hate him, but reading your account description made me wonder…)

*sigh* ok, I’m going to try my very best to be nice and explain Luke’s character. (I only say this because I’ve made countless posts about these things already, but you seem new so I’ll explain)

First of all, Luke himself was groomed by Kronos for about 2 whole years before the events of The Lightning Thief took place. Kronos started coming to Luke in his dreams shortly after his quest to retrieve a golden apple from the Garden of Hesperides. Kronos came to Luke with his offer to help him dethrone the gods when he was upset and thinking irrationally because of his (very justified) anger towards Hermes. After this, Kronos continued to haunt Luke’s dreams, making him think that they both had the same goals.

Luke had always wanted a better life for demigods and for their godly parents to treat them better, he never wanted to hurt other demigods (as is plainly said in The Diary of Luke). While Kronos just wanted to gain power over Olympus again and to reshape the world. However, Kronos convinced Luke that he didn’t want to bring harm to demigods and that he could help Luke achieve his goal.

When Luke started to realize that Kronos just wanted power and that he no longer wanted to help Kronos, Kronos tortured him with nightmares. He was verbally and mentally abusive, driving Luke to near insanity until he broke and became Kronos’ perfect little soldier.

“But Luke groomed and used teenagers!” First of all, what do you think that the gods and Chiron do to all of the children at camp Half blood? They use those poor kids to run their errands and fight their wars under the guise of offering protection from monsters in the mortal world. And Camp half blood had been around long before the Titan Army was established.

Secondly, do you think that the gods are such good parents to their children that they didn’t have other kids who would willingly want to dethrone them? Because we have at least 2 examples of demigods who wanted to dethrone the gods for their own reasons. Ethan Nakamura and Alabaster Torrington. Ethan could’ve cared less about putting Kronos in power, he just wanted minor gods and their children to be treated better. Then Alabaster couldn’t have cared less about Luke but did want to see Kronos in power only because he would treat his mother, Hecate, better than Zeus did. So to say that Luke groomed every demigod who joined is completely ignoring the fact that the gods were terrible parents who have wronged so many of their children.

And third, Kronos was the one who wanted that army to fight against the army that Camp Half Blood had been building for years. Kronos was the one with all of the control, because once a demigod joined they were put under a haze. They were under Kronos’s influence and didn’t come out of it until Luke killed Kronos. So to blame Luke for the use of those demigods is also completely ignoring who had the true power in the situation. The gods and the Titans started this feud hundreds of years ago, Luke, Percy and the other demigods were just dragged into it.

Now about the whole Annabeth thing. I’m 100% sure that when Luke asked her if she had loved him, it was meant as in platonic/ familial love. As we see in The Diary of Luke (the only story that we ever see from Luke’s POV) we always see him thinking of Annabeth as nothing but a little sister or even a daughter. The only person that we ever see him show romantic feelings towards is Thalia when they were on the run together before going to camp. Well, except for Kelli, but I feel like that’s a special kind of situation.

“But Percy said-.” Percy is the most unreliable narrator out there, and he was a jealous teenage boy. Of course when Percy has a huge crush on Annabeth and he hears Luke ask Annabeth if she loved him, that Percy is going to think he meant it in a romantic way! He doesn’t have all of the information about practically anything going on! Now I’m not saying anything against Percy, but again he didn’t have all of the information and was just going off of what he thought he knew.

“But Annabeth said in the Heroes of Olympus series that-!” In this situation, Annabeth is also an unreliable narrator. Think about it, if you have or had a crush on someone and they asked you if you ever liked or loved them, aren’t you going to automatically assume that they mean it in the same way as you do? Aren’t you going to assume that they meant in a romantic way and think that they also had a crush on you? And again, I’m not saying anything bad against Annabeth but, the only time we get to hear from Luke’s POV about Annabeth he’s always referring to her as his little sister. So, are we going to believe what Luke says in his own point of view? Or are we going to believe what two people without all of the information think Luke meant?

So yeah, if you were wondering if I like Luke, the answer is yes! He’s one of my absolute favorite characters because his story is so interesting and intriguing to me.

No, I don’t blame Luke for what the gods and Kronos caused. I don’t think that he’s some evil monster like most of the fandom seems to think he is for some reason. Luke is a victim of the gods and Kronos. He was used just like every other demigod and in the end, died a hero.

I hold the actual villains of the story (Kronos and the gods) accountable for their actions instead of just blaming everything on one of their victims.

[audreyscribes]

Ω PJO DEMIGOD HEADCANONS: 🌌CHAOS: PRIMORDIAL OF VOID 🌌

Author’s note: *put head into hands* Alright, so I may or may not have went off from the usual formula (Do I even have a formula for writing these at this point?) and I think I may have made the primordial demigods here more cryptid cause they’re the literal by-product of primordial beings that are also half-mortal? I won’t be including the usual blurbs at the ending cause all of them are probably pushing the word limit Tumblr has but worry not, I made up for it by putting more storylines into the whole thing. PRIMORDIAL DEMIGODS MASTERLIST: [LINK] Chaos will be referred with She/Her pronouns accordance to the PJO books that were used. These pronouns do not however define Chaos as an entire entity and are merely used as an identification.

You were crafted into existence by Her. All you remember the earliest moments of your life was just nothingness; it wasn’t dark neither bright; it was neither space nor matter as you simply existed. You had little thoughts but at the same time, you just knew you existed for a reason. You knew time was passing until one day something happened. Nothingness became something as you rose up from the void, up from Tartarus, then you found yourself on Earth. Your form was just a form but had no real details, but with the information you learned from the void and existence, you shifted through existence before you decided to copy the forms of beings. The first days of existing you went through from a cell, to a tiny insect, a tiny creature, an animal, before you felt Chaos’ hands forming you to a bi-pedal creature of humans.

With the whispers of the wind, the knowledge hidden in the water, you heard Chaos’ message and knew you were a demigod of Chaos, an agent/warrior of Chaos themselves. It was time for your mission; but what?

As you walk the earth and experience what it means to exist, you slowly find out about your purpose. You begin to see the fine line between the world of monster and gods, and the world of humans. Then you see there are those who walk in between those lines, belonging to both but neither just one. You find yourself being found by a satyr who guides you with many others to sanctuary before you come across a camp, who are just like you but not really. There you are put with the Hermes cabin and you learn how to be ‘human’ both good and bad. With your time in camp, you learned how to live and take on traits that formed your personality, wrapping yourself in the cognitive reality made by the demigods as you fit in almost seamlessly into this life.

You go through the Titan wars and the war with Gaea, learning about the Roman side of the Greek gods…and as you felt the giants awaken, some part within you tickles before a blooming burning feeling takes over your being…and then when you feel Gaea awaken once more, then you know.

You fight protecting your new home and family against the Romans, you raze towards a direction as if guided. Then as your blade clashes upon another, you and your opponent lock eyes, before you know they’re a child of Eros, hiding they were as a child of Cupid. They widen their eyes at you, realising who and what you are, you both lower your weapons and talk.

Then when Gaea is defeated, you know it's not the end as both you and the child of Eros know that this is the beginning; and now you know what your purpose is; for long ago, Chaos was aware that there would be more children of the Primordials and as his agent and avatar, you are to meet them.

You have the ability to create and hence manipulate anything. Within reason however. You can technically produce something out of nowhere but at the same time you can’t. You’re no longer part of the void and Chaos itself, you weren’t attached to the endless flow of knowledge of everything and nothingness. So to produce something out of nowhere is to create it from your own memory and understanding of it; with your own energy of what it is. Of course you know some things but you don’t really know it. So as you’re put to walk on Earth, you have to experience the world and things as they are. An example would be an apple: you could technically make an apple appear but unless you have looked and examined an apple, held an apple and tasted it, the apple would not be an apple. Even then, your taste of an apple would be reflected in the apple you have created, and even then, there many other kinds of apples out there. So while it is a very powerful ability, you have much to learn about the world around you in order to utilise it properly.

You could technically summon and transport those into the void, but it is a very dangerous and risky power as it would take everything around you, even yourself. If you’re not careful, you may lose hold on your own powers and undo the form you’ve put on yourself and fade into Chaos’ embrace once more. Think of it like a black hole but more…void.

On the other hand, you can perform acts of alchemy really well. Not just modern, mundane alchemy ‘science’ but like those fantastical alchemy. How much of it is magic, who knows but alchemy is also very open to you.  Aside from following the laws of equivalent exchange, “something cannot be created from nothing and that in order to create something, something of equal value must be exchanged and lost”, this is an asset you can use being a child of Chaos…just don’t sacrifice an arm and a leg for it though. 

Your key features are your deep, void like eyes. If people stare at them too long, they’ll see the depths of the universe that is comprised in your being. All the knowledge and truth of the universe and reality hides behind your eyes and be careful in letting people see through them. Those who are lost will find themselves lost, their being taken in back into Chaos. Those who seek truths and deny it will go insane and be burdened with it. Your form is also a fragile thing.

You must remember that you are tether to this realm, a being that walks, breathes, eats. Eating and drinking is less of a requirement but one that reminds you that you are half-mortal. Watch yourself and remember that you are consuming or else whatever enters your mouth will disappear into the void. If you find yourself drifting off, you might come undone and that small portion of Chaos will be unleashed. It will take time for you to stitch back yourself into a form, only if you remember quick enough.

[the-storyteller78]

Ok, midterms are officially done and I’m finally getting my Vengeance Saga thoughts together. HERE WE GO.

I will be very frank. This was not my favorite saga. I did really like portions of it, and I was still left gobsmacked and mouth agape by the end of it, but overall, it was not one of the stronger sagas. Of course, I have nothing but respect for Jorge and all the amazing voices who contributed to this musical. Epic is still very dear to me, whatever qualms I may have. And I have the privilege of yapping on Tumblr without having done any of the work in figuring out all the logistics of creating a musical, so just remember: These are my opinions. Just me blabbering cus I like talking about Epic.

(And I know this would be very unconventional, but when the stage production of Epic comes out, I almost want there to be an intermission sort of thing after the Wisdom Saga or something. I don’t know how that would work out, but I feel like it would provide an indication of how much time has passed for Odysseus on the island.)

“Not Sorry For Loving You.” I felt nothing. I understand that Calypso has suffered because of her punishment of isolation, and I sympathize with what she had to go through. But I do not like her at all. I loathe her. Her tragic backstory does not give her permission to keep a man prisoner for seven years and ignore his desperate pleas to be allowed to leave. It does not give her leave to constantly pursue him when he has unequivocally told her that he is married and very much NOT. INTERESTED. And that’s barely even touching on the implications of sexual harassment. I was not happy with the choice to make Odysseus say that he loves her at all, even if it’s not romantic, but I was honestly very satisfied by the absolute stone-cold expression he had in Gigi’s animatic. That is not the face of a man who cares one bit about someone who kept him captive.

Anyhow. Moving on (because I’ll never stop talking about it if I don’t).

I really feel that “Dangerous” and “Charybdis” could’ve been combined in some way. Look, I love Troy Doherty’s voice. Every verse he sings in Epic is such a jam. But I have to say that “Dangerous” is probably one of the less narratively important songs in the entire musical. We know the journey is dangerous; it’s BEEN dangerous the whole time. No reason that would change now, especially with Poseidon still after him. And I know some people think “Charybdis” could be taken out, but I kind of like that the idea of him being dropped into this super scary situation right after leaving Ogygia but rallying himself and declaring that he’s still fighting. He’s not giving up. The way I see it, Odysseus’ lyrics in “Charybdis” are a meaningful specifically because he is returning to himself, he’s not willing to just die anymore like he was seriously considering on Ogygia. He has hope. I think it would be interesting to have “Charybdis” come right after “Not Sorry For Loving You,” have Hermes appear towards the end of the song, then have Odysseus sing his adorable little Penelope I’m coming home my love don’t worry moment. I don’t know how that would work out musically, but I’m sure someone could figure it out.

AND THEN POSEIDON POPS OUT OF THE OCEAN. “Get in the Water” was pretty intense; I don’t really have much to say about it. The voices of his mom, Eurylochus, and Polites echoing around him as he teeters on the brink of death had me teary-eyed. I’ll be real though, I’m not sure why the wind bag was relevant. It was such a lose-lose situation. If he doesn’t open the bag, he gets drowned by Poseidon. If he does open the bag to survive and fight Poseidon, he can’t go home. Either way, he loses. Was it like that on purpose because Zeus was trying to be a jerk even after flash-frying his daughter??

(Also, I don’t know what the physics or whatever of a super powerful storm bag jet pack is, but I somehow doubt it would be a viable option)

“600 Strike.” I wanted to like this song. And I will freely admit, the ending had me breathless and absolutely on the edge of my seat. However, I was definitely struggling not to cringe when he yelled 600 strike. I don’t know why. I was trying so hard to be cool about it, but I just could not. And I don’t get how he beat Poseidon with a regular old sword in the middle of an ocean. AN OCEAN. WHICH POSEIDON CONTROLS. We saw how helpless Odysseus and his crew were against Poseidon in “Ruthlessness,” and now he just goes down after a few blows from Odysseus who, by the way, does not have any divine enhancements or support at the moment. The wind bag doesn’t give him super strength. His sword isn’t magically able to cut a god. How is he suddenly able to beat him? The power of friendship?? At least the trident doing damage makes sense because it’s Poseidon’s own weapon. Which brings me to my final point. Like I said earlier, the end of “600 Strike” was really impactful. However, because I don’t think it makes sense for Poseidon to have been in that position to begin with, I can’t say that it sat entirely well with me from a narrative standpoint. I’m not sure what I would’ve liked to see, but maybe I’ll make a separate post about it once I mull it over some more.

OK THAT’S A WRAP. Thanks to everyone who managed to get to the end of this rant. Went waaaay longer than I expected, but what can I say. I’m just a girl.

[katerinaaqu]

Hello :) firstly I wanted to say that I love your analyses and I love all the information and knowledge you’re able to give us, thank you soo much for that.

Secondly since you know so much especially about the odyssey and Odysseus and I’ve recently seen a post where you explained the calypso situation I wanted to ask if you’ve made such an in-depth analysis on the Circe situation? I’m convinced the whole thing wasn’t consensual but there are always ppl saying stuff like “what Hermes said isn’t important” “Circe was at his mercy when she asked him to do the deed with him so he tricked her into doing it” “Odysseus was invulnerable to her powers so that means he wasn’t in danger meaning he willingly slept with her” and since I haven’t read the odyssey in a while I wanted to ask you .

Tysm for your time and I hope you have a wonderful day

Hello and you are very sweet! I really feel happy you do enjoy them and I am also grateful to receive comments and thoughts from you under my work 🙏 it always means so much when people get interested in the ancient texts much more when they honor me with their trust on tye matter.

I believe you are referring to my latest answer then where I re-analyzed the Calypso matter.

OF COURSE I can! I would be happy and delighted to especially since their relationship is so complicated and fascinating to begin with. The way in which it evolves in a very interesting degree and the way both characters share common traits is also fascinating. Circe is called also wily or with tricks which also seems to correspond to the essence of Odysseus himself. A power couple no doubt. But indeed so misunderstood by the media and their interpretations.

So here goes sorry if this is long:

I find it so interesting how far selective interpretation goes 🤔 😆 I find it interesting that indeed there are people out there that read the passage where Hermes SPECIFICALLY mentions how Odysseus has no choice and say that "oh it doesn't matter really!" Hahaha so to be more precise the passage goes as such;

Then you shall not refuse the goddess's bed if you want her to release your comrades, and she shall offer entertainment to you

(Translation by me)

The passage is clear. Hermes tells Odysseus he has no choice but to accept the bed of Circe's if he wants to save his men and see them again in human form. I find it quite interesting that people ignore that or they claim it is unimportant to the plot. This is literally the reason why Odysseus is there. What is more I find the notion of the moly immunity funny because Circe was not a force to be reckoned with only with her magic. In fact Homer also writes afterwards;

However make her swear a sacred and great oath that she will have nothing else bad in store for you so that she won't hurt or unman you when she has you stripped naked.

(Translation by me)

Hermes clearly states that Circe does not need to turn him into an animal to be dangerous. In fact as someone else said before me, it almost seems like Circe might as well kill or castrate him while she has him naked and vulnerable. Hermes clearly states that Odysseus is not safe even if he is immune to her power at that specific moment. It also shows that Circe could harm him at every moment and the only reasons she didn't were this promise that he extracted from her and perhaps her own feelings for him (curiosity or other). Throughout the passage Odysseus was speaking on the fear he was feeling even from moment number one;

And she opened the fine doors calling me in and I followed her with a heavy and grieving heart

(Translation by me)

Odysseus was literally frightened. All the time. As he said he had a grieving heart (ἀκαχήμενος ἦτορ) and he continued to be distrustful of her and afraid even if he had extracted that oath from her.

However my heart could not be pleased for I was distracted as my mind was always thinking on dark thoughts

(Translation by me)

I adore how Homer uses the word ἀλλοφρονέων (=to think differently, to be distracted) but the word αλλόφρων also used in modern Greek to speak on someone who is mad or crazy and is also used as a phrase to indicate someone who is not just worried but someone crazy in fear. Odysseus has extracted the promise, he has accepted the attentive care of Circe and her handmaidens in the bath and he is now sat before a real feast and he is crazy in fear and doubt. His continuous sense of anxiety is obvious in the passage. So to say that Odysseus was just fine and that the whole adventure with Circe was a breeze and that he was safe against her just because he had eaten the Moly at that time seems to me funny since every part of the passage shows how he was afraid. What was more, there is no guarantee that the Moly would protect him forever from Circe's magic not to mention that as we said before, even without her magic Circe had plenty of aces up her sleeve starting from her animal entourage till a potent knife at the time that she had Odysseus under her mercy (thus the need for a promise on her part).

Also even if we say that Moly would keep him immune forever, what about his men? His men had not consumed Moly and it was obvious that the only reason that Odysseus was there was to rescue his men. What guarantee did he have that Circe wouldn't enchant his men again if he misbehaved? Quite frankly as I said above, Circe's likeness for his boldness or potentially his mind plus the oath he extracted from her seems to be the only thing that prevents Circe from using his men as hostages once more. Quite frankly the whole adventure with Circe was a very big hostage business. Odysseus was thinking on his men's safety (not to mention the rest of them waiting by the ship) apart from his own and as you see he was already very much afraid as it was.

I also find it interesting that the reason why Circe seems to be getting Odysseus immediately to her bed is that she knew he would come. Just like Polyphemus knew by a prophet that Odysseus would blind him (although she didn't know the nature of the person that would blind him) Circe says that she knew from Hermes that a certain Odysseus would arrive at her isle on his way back from Troy. So in one way someone to say that Circe was out of options seems at least funny as a notion. It seems that she knew who was coming she just didn't seem to know the conditions that would bring him there.

Now was Odysseus attracted to her?

In my opinion there is no doubt about it as he describes how beautiful Circe was. Would he consider to sleep with her if it weren't of Hermes's advice? In my opinion no. Odysseus would absolutely be finding Circe attractive given her beauty and her divine nature, which is no surprise there but finding attraction to one person and act on it are two different things. In my humble opinion I do not think that Odysseus would act according to that attraction. Would he be curious on the experience with an immortal goddess? Absolutely. He is a naturally curious person and he wants to gain knowledge from other experiences in his life. Would he act up that one? Again I think not.

The reason why I think so is that the essences of loyalty in marriage are not as cut and clean as we usually think of in modern times. True if we judge from Hera myths, it was not preferable for a man to have extramarital affairs but it was generally tolerated. Agamemnon speaks on the affairs he had and many others had affairs. Odysseus would have no reason to hide his actual attraction towards Circe (and he doesn't given how he does speak on her very warmly eventually). Throughout his narration he mentions many things negative about himself including but not restricted to; the conquest and enslavement of Ismarus, his mistake to insult God Poseidon, self-destructive thoughts, feeling of fear towards Circe or Calypso, his moments of sadness and isolation etc. All of these things would be considered embarrassing or even diminishing for him. Why would he hide affairs at a world that was more tolerant towards the affairs and instead say all these others that would make a king or a warrior embarrassed?

Now there is an interesting question of course as to why did Odysseus remain there for a year?

It is indeed food for thought to think about it because once his men were back to human form in theory he could leave right? That in my opinion is not cut and clean like that. For once he had to wait until his men were back to good health and spirits to travel and he might as well take advantage of Circe's hospitality to refill their batteries. However there is also the moment where in the Odyssey his men arrive personally and scold him that he forgot about their country and their homeland for the arms of Circe. So one can think indeed; did Odysseus indeed forget himself?

In my opinion it is possible. His men are not the only ones who wanted to refill their batteries. So was Odysseus. In fact he has MUCH MORE in his plate than the average human already. He has already been at war, he has the war crimes on his mind anyways and he has also witnessed most of his men dying in horrifying ways (Cicones, Polyphemus, Laestrigonians etc) and he has just witnessed the results of his actions as well with the Curse of Polyphemus and the way that the sack of Aeolus fiasco happened. Odysseus already was suffering a lot. Regardless of the fact that he was always afraid of her, the hospitality she offered was very much needed. He could rest and enjoy some safety of dry land for a change after everything he had been through and Circe kept her promise and was a very good hostess to them. Odysseus too needed that break. It is possible that he forgot himself at the care of Circe and quite frankly Circe seems to be also wishing to keep Odysseus by her side so she does seem to make it as easy as possible for him to stay.

So Odysseus enjoying some nice rest after so long, even in the arms of a goddess that scares him makes it cheating? In my opinion no. What is more it seems that the fear of Odysseus was always apparent. It seems that he was avoiding requesting from Circe to let them go the whole time. It almost felt like he was putting the whole thing off out of fear for her anger and refusal. He almost seemed to be gathering off the guts to tell her. When his men straight out demanded it he didn't seem to have a choice but to comply. So it shows how scared he was when he literally BEGGED Circe to let them go by falling on her knees.

And then I climbed onto Circe's beautiful bed and hugging her knees I begged her to set us free with a cry.

(Translation by me)

So basically Odysseus felt helpless before her and he had to do the employing ritual to her (you can see my other post about this ritual) so that he would be sure that Circe wouldn't refuse him or be angry at him. That same fear continued later for when he came back from the Underworld, he preferred to stay by the ships. He was literally brought back in by Circe herself who gave him some advice.

But while most part of the text in the Odyssey indeed implies the lack of free will or lack of options etc someone would think why would Odysseus be considered a cheater in the hands of Circe?

I think the answer lies to the general idea that many people have that we should consider Odysseus as an unreliable narrator and that all the details he lists are lies to cover his cheating.

Although as a logic seems to be very generalized, and it COULD hold some water in regards to some details, I still am not convinced as mention above that Odysseus is lying here. For starters he was already very emotional when speaking to the Phaeakes and an emotional Odysseus is the most honest Odysseus (we saw his emotions betraying him with Polyphemus, with his revelation with the Phaeakes or later with Penelope). Odysseus was already in a very strong emotional state so I do not think his narration is inherently doubtful. What is more, he does seem to have so many details in his narration about himself that are not positive about himself. He would have no reason to hide the specific one. And Odysseus mentions how Circe never had his heart before (see also my other answer here). I cannot find much of a reason for him to lie about that when he has literally admitted everything else that could paint him in an unpleasant light (especially his hubris with Polyphemus).

So to sum up yes I think he was being forced. His men were held hostage and he had to save them. Circe was never helpless regardless of the situation and she had many different ways to kill him if she wanted to. Would he be curious anyways? Absolutely. Would he act according to that curiosity? In that case I think not. He does say so himself and his imprisonment in Calypso's island in his narrative was supported by other characters and the poet so why would he lie for Circe either. One can definitely think about his emotions and how strong they would be about Circe but I think regardless of that, he wouldn't have necessarily act towards that curiosity given how his psychological state was originally

But I guess this is everyone's guess.

I hope this helps. It definitely it is up to you what you want to interpret and I will be happy to offer more passages inside the future reblogs and such! ^_^

[11queensupreme11]

RECORD OF RAGNAROK: THE APOCALYPSE OF THE GODS HAS ME SO HYPED

first of all... i am so excited for this, WE GET A NEW CAST OF GODS WOOHOO!!! more people for me to swoon over, yaaaaay 🤤🤤🤤

but anyway, one thing i noticed is this:

there are only twelve names on there and zeus' is missing, even though we obviously know he ends up fighting anyway.

THIS JUST TELLS ME THAT MY THEORY ABOUT THERE BEING A 14TH ROUND IS GETTING CLOSER AND CLOSER TO BECOME REAL 🥳

the "14th round" theory is actually already quite popular around the fandom, but i believe that this current round (okita vs susano'o) is gonna end in a tie, thus enacting the 14th round for the leftover human vs new god to fight. i just feel like the results of this round are too predictable (with okita most likely winning), so i think the mangaka's doing this on purpose to shock us with a tie!

so yeah, i believe that the end of the spinoff is gonna conclude with someone winning, only for SURPRISE, they gotta beat the final boss: zeus. obviously, they get their asses wiped and zeus goes on to join ragnarok. but then the 14th round comes up and they need another god fighter, and that's where the winner of the gods' tournament comes in

anyway, another cool thing we learn is about the existence of "outer gods". from what i'm getting, that's basically what they call the 'black sheep' of the gods??? they seem to be disliked or something because of how uncontrollable they are and the little regard they have to the rules/society (ie. ra going against the council to try and kill humanity anyway, cú cuchulainn being undesirable because of his status as a demigod, etc.)

i don't know if i'm understanding this right (so pls correct me if i'm wrong), it seems to me that zeus is using this as a ploy to get rid of a majority of the outer gods? like the gods tournament is used to lure them in so they could kill each other and become less of a problem for the other gods??? idk, i was a lil lost during zeus', hermes', and ares' convo, so i'm gonna try and read it again

i wanna try and add them into arsenic blues simply because they seem so cool 😅 i just wanna write some brief interactions between them and percy, but so far we've only been introduced to so little of them and i'd have to wait months to meet the whole cast 🥲

and unfortunately, i fear this might be just as long as ror

these are the matches, with three rounds total and 13 fights, just one less than ragnarok 💀💀💀 so uh yeah, this spinoff is gonna take a while 😭

i'm mostly excited about cú chulainn, leviathan, and hydra!!!

obviously, for cú chulainn i'm gonna have to change canon a bit and make him either like a pre-ascension heracles demigod (a human with the strength of a god) or a demigod like how i wrote the valkyries.

and as for leviathan, remember my old post about beel being a dilf and making a bunch of monsters, demons, and gods to kill him and how leviathan (and basically the other sins) were created by him, thus making him their daddy technically? i feel like it'd be funny if i kept it that way for leviathan lmao 😂 plus, leviathan is a SEA SERPENT meaning WATER POWERS and i just love having percy bond with water ppl (and pissing poseidon off) 😂

then there's hydra.... the only hydra i know of is the monster from the greek myths so unless they're allowing a monster join, i think hydra's gonna be a god here???? idk, but it'd be funny since percy got attacked by the hydra during her quest LMAO

[zmb1eslut]

Luke Castellan x hypnos!fem

tags: non-romantic relationship, fluff, Luke's pov.

summary: Luke Castellan was found by the way out his nightmares.

1,6k words

-

Luke remembered it quite clearly, the night in which the whole... something between them came to be what is now.

He was sweaty and drained, being the only wishful thought he felt brave to feed, for the air to reach his lungs so he could run a little further. He had lost all his will, and he was now running on the only thing stronger than his determination, his fear.

Both Titan and kid could feel it, that night he was fated to succumb to the torture. His mind had already given its last pleadful breath when his foot tripped and his face met the floor. And he now cannot phantom the thought of how different his life would be if he hadn't lifted his head, she hadn't been there.

Luke saw her sitting, with a blank expression on her face, looking down at him. His hand reached for her never expecting to actually be aid, she took it and pulled him towards her. Once they were close to each other she said to him in a bizarrely sweet voice "Your screams were getting too loud". That was the last time the girl acknowledged his presence, as well as the last time he felt that sort of fear.

Somi kept rescuing him like that every night. She never explained why. Luke never asked her either. He would only sit there in what he guessed were the girl's own dreams, and wake up in the morning with just a thin grasp of the events.

Most things about the dreams (and the dreamer herself), were awfully confusing for the swordman-boy. He felt like she looked at reality with an eager infatuation, like she knew that guy better than the arbitrary rules that defined him ever could. Being inside her mind perhaps was making a number on him. Perhaps that's why she at some point stopped posing as the spacey buzzed girl everyone meditated with at times, and held herself in a homely sort of normality he developed a liking for.

She showed a part of her no one else ever saw. Altough it would probably be more precise to say she eventually stopped hiding it. Being honest with himself, Luke admitted that he toyed with the idea of him having found her.

She acted exasperated, bored, mean. She behaved like any person he would never mistake for her on the other world would behave. Their exchange right now was especially out of character.

She had entered his dream, as every night. She stepped in front of him and pushed his shoulders down, when he fell, he was met with the softness of a bed. Tonight's dream was apparently on a room. "Sorry for the mess." She said to the boy's surprise. He wasn't opposed to a change on their routine.

"Kinda used to it and all." he said. She answered with an understanding nod. "Did anything happen?" the Hermes boy asked just to keep this anomaly alive, to which she sighed.

"Evan just left." Curiosity flourished on the boy's throat.

"Like the real one?" the girl took way too long to answer and started stroking his hair while she thought.

"No... the dream one. But I'm pissed at him. And that's a naptime dream" she answered as if it was obvious. Even more questions arose, so she explained "Those are the dreams you aren't supposed to watch." Huh...

"What dreams I'm not supposed to watch?"

"You know, Castellan." she really meant it, he didn't had a clue. She got close to him to whisper teasingly, even knowing no one would really be able to hear. "The inappropriate ones" Oh.

He understood fast though, making sense of what teenager needs usually were. "I was naive on that one, wasn't I?"

"I mean..." she said chuckling while walking away from him. She sat down on a chair in front of a desktop. The place was humorously colorful.

"Ok. But like... Evan? Does that happen often?" He asked almost gossiply.

"I mean! Not anymore! He's a total prick." that made him laugh.

"Is he?" Luke asked, enjoying seeing her so annoyed, especially as he wasn't the cause.

"Yes. And you know what? I hate that, I hate this. Cause he goes around just getting the fuck he wants, and then pretends he 'didn't mean it like that'. Then I get mad, and he thinks I'm pretty when I'm mad, and I get pissed off when he says that, and then I'm horny when I'm pissed. And you know what? He doesn't deserve horny me." Sometimes she just was that unexpectedly honest. Luke just listened amused. She looked up and let out a frustrated groan. "And now I have to take care of you." That made him laugh, but he didn't want her to know that.

"C'mon I'm not that difficult" he pretended to be offended.

"No. But right now you're truly inconvenient" He put his hands up in the air as his sign of surrender before laying down in the bed. She stayed silent for a minute and Luke almost thought they went back to normal. The girl usually was quiet and still, looking lost into the air, or, only the contrary, highly invested in a task and barely paying him attention. Now she was neither, the chair was slowly spinning with her wearing a childish expression. She controlled every aspect of every scenario he had observed, and even when she didn't feel like going strong at it, she would prove her domain by popping something for him to distract himself. He took note of that when he saw a ray of sunlight entering the window, leaving a path she was now following in his direction. She was standing in front of the side of the bed again. "Sit." she said, way too used to having control over here. And, listen, he wasn't about to oppose an emotional all powerful being. Once he stood straight, she st looking taller than him, barely. She supported her arms on the top of his head. And sighed again. "I hate men".

"Oh, they are terrible" he teased.

She stayed silent for a bit, he was just being used as a table. Then he heard her. "What do you think about... weird". He understood perfectly.

"I've met so many demi kids, that word just simply lost meaning at some point"

"Ok, then..." she took a step back and looked at him now, lowering her head a bit. "do you consider me pretty?" He took a second to look at her, then shrugged and nodded. "Great then... tell me when to stop." She said while sitting on his lap, with both her legs at his left side, and reaching for his left hand. The girl held it against her face and started nuzzling against him. He couldn't ignore the thought that her actions weren't sexy at all, not as much as they were needy. She was like a cat looking for attention, and he truly didn't mind. He lifted his right hand to caress her hair, and she gave in to the touch. She had closed her eyes and moved the hand of her face down to her outer thigh.

His strong hand gripped her skin, almost performatively. He flirted using a lower voice. "What do you want?" his nose under her jaw, his breath against her neck.

The answer came only with her voice, as she didn't even bother to open her eyes or explore his touch. "I'll let you know when you're doing it wrong." Moody, bossy, and assertive. This was not more than a game for them. This was just a caprice. What is wrong with wanting things that feel right?

The girl held onto his left bicep and hid her face on his neck. They just stayed like that for a couple minutes. Somi hiding on his arms when Luke faintly felt the scent of her hair.

"Why did you rescue me?" wasn't enough to disrupt the comfortability of their scene.

"I already told you why."

"I wasn't screaming tonight."

Then the silence prolonged itself for longer than he would have chosen. The girl just gently pushed his body with hers, making them lay on the bed, side by side, looking into the ceiling.

"We... don't really know each other." He agreed with the sentiment on silence. "But, we both have been here for years so I know you know me." Of course he did. "And everybody knows you." He felt like he didn't quite know what she meant by it. "Luke 'the greatest swordsman in the last 300 years' Castellan, a born leader whose smile has infatuated half our population of half-bloods, who is always there to help when someone gets hurt."

Luke analyzed those words for a couple of seconds. Apparently not enough seconds. "Do you... like me?" She laughed.

"I don't mean it like that!" She then took a pause and moved her head to look at him, he followed. "What I'm trying to say is. There are so many children looking up to you, learning from your effort, going to sleep smiling because they know you'll be there to protect them, and when they fail... you don't make them feel like they failed you. I guess for a second I realized how much our spirit was relying on you. I thought maybe you needed someone to rely on too. I'm sorry if I'm making it awkward now." He didn't know how to answer, her eyes on his were feeling heavy for a second so he escaped by closing them. He didn't know how to answer so he just breathed and hugged her, hoping she wouldn't tease him about his heart rate. She didn't. She hugged him back.