#how to get to Crete

[cookinguptales]

getting back into my greek mythology phase as an adult is so weird because like the stories are such a dear and a familiar part of my childhood (and honestly part of what helped me extricate myself from an abusive evangelical environment) but I've also grown a lot as a person since then so I can't help but view them through different lenses, y'know?

such as:

the lens of a religious studies scholar who can't help but be fascinated with vernacular religion, apotropaic magic, cultural variation in ritual, and hints that these stories might be signs of clashing religions from different regions

the lens of a feminist who's a lot less willing to accept some of the ideas that I accepted as a child who'd been raised in a very religious environment

the lens of a grown-ass adult who could probably save enough money to go see these places that were so unreachable as to be near-fictional to me when I was a child

[bunbunbunni]

Oouughh was watching upcoming/demo games w my partner and there was one that looked like if Warframe hard focused on the biotech aspect only and it was grosser (compliment)

[clown-eating-pig]

I really love gertrude robinson bc how often do you get an older woman character who just really sucks? She sacrifices ppl that trust her. She is so focused on keeping the world from ending that she completely doesn’t notice one of her assistants routinely torturing the others. She dismembered a guy. She does her job badly on purpose. She’s cunning and sneaky. She dares her murderous, immortality seeking boss to kill her. She gets murdered by her murderous, immortality seeking boss. She’s not particularly friendly. She somehow had access to plastic explosives. She’s a manipulator and a liar. She’s bound to the avatar of destruction. She helped a guy get rid of a pig by telling him to put it in conk crete. She is like the opposite of a sweet little grandma and that’s beautiful.

[greatdenimbeast]

Diamond Castle au- introducing, Shadow, Muse of History, Astrology and Astronomy

Once a mortal in ancient Greece, moulded from clay by an inventor and brought to life by the blood of a god, he spent his years caring for his ill sister, Maria. Doing his best to assist his creator in finding a cure. Since the blood of god ran through his veins and, seeing that his existence was a miracle in of itself, it stood to reason that he could be the miracle that helped save her

Cuz he was quite literally born yesterday, his sister loved to tell him stories about historic events, tales of gods and heroes to teach him about the world and how it cane to be. She was a damn good storyteller too, always leaving Shadow craving for more.

His favourites were the ones related to the stars, the constellations, so much so that Gerald noticed and taught him how to properly chart them

Maria wasn’t allowed to leave the house, her grandfather fearing that the elements would be too much for her and that often made her sunny demeanour dull and, looking to cheer her up, he did his best to find ways to brighten her mood until found one that worked

He entertained his bed-ridden sister with tales of history, of old dead heroes, of gods, of prophecies, things that he had picked up from local traders and travellers when he was out running errands for Gerald.

Maria was enthralled by them, hanging off of his every word

“The island of Crete truly holds such a monster?”

“It’s travellers gossip, but who’s to truly say.”

He wasn’t as good of a storyteller as she was but he did keep record of every story he could, and Maria loved it so that was all that mattered

As Maria got worse, Shadow started praying and giving offerings to the god Asclepius and the god Apollo, he doubted they would come to his aid but if there was a chance they could help he wanted to be sure.

But it was getting harder to cure her, some of the medicinal herbs they needed grew far off and the merchants that brought them to the markets to sell them kept marking up the prices out of greed. So Shadow, who had been blessed with inhuman speed, was sent off to pick the herbs himself, allowing him the opportunity to venture and see more of the world and bring back more stories, even making a few of his own, slaying a few monsters on the the way

The soldiers for the nearby king didn’t make it easier, tormenting the people for laughs, outright stealing, sometimes outright killing people when they refused to cave to their demands. Gerald was always being pulled away from his work for a cure to craft machines and statues for the king, the only reason the soldiers were unable to harm him or Maria when he refused was because of Shadow being there to protect them.

This became an issue when the king decided that he wanted Shadow

Soldiers stormed the house and workshop, taking the inventor prisoner, dragging him away to the castle and as Shadow tries to get Maria to safety she pushes him out of the way of blade and gets stabbed through her stomach

Shadow blacks out.

When he comes back, his hands are covered in blood, the bodies of dead soldiers litter the floor, his ears are ringing.

The only other breathing Shadow could hear besides his own was the shaky, laboured breaths of his older sister

He rushed to her side and examined her, the wound was deep, too deep. He tried his beat to clean up the blood but he could barely see what he was doing past his own tears. As he did he prayed, to his other father, to Apollo, to any god that would listen, to please save his sister, to not let her die

Then Maria’s hand squeezing his stopped him

“Sh…Shadow… o-one more story…”

“Maria please, please, i have to treat this, I won’t let you die, i won’t let you, i can’t let you die!”

“One…one m-more… please?”

“…okay… okay, one more story.”

So he shakily told her a story, about the fabled diamond castle, the birthplace of music, home to the museum of music. He struggled to remember parts of the story but Maria shakily helped him fill in the blanks

Then as the story concluded, Apollo made his presence known and applauded the two on how exemplary their storytelling was. It turns out Shadow has gained Apollo’s attention for a while, ever since he started praying to him and he had an offer for him

He wanted him to be his muse, an inspiration, a god. Initially Shadow wanted to refuse until Maria winced and coughed in his arms, then he got an idea

“…Lord Apollo I will accept this honour on one condition, that you heal my sister of her wounds and her ailment so that she may live as freely as she wishes.”

Apollo accepted these terms and gave Shadow, ambrosia (the food of the gods). It burned away his mortality and left him a god

And Apollo fulfilled his part of the deal, healing his sister, and did Shadow one better by turning Maria immortal so that she may be Shadow’s attendant to assist him in his duties before whisking them both off to the diamond castle

50 years later Shadow meets the next muse

[ancientcraftnoccultism]

Introduction To Candle Magic

Ancient Craft & Occultism

___

By KB

Introduction

Welcome back witches in training! We've been covering a lot of ground bases lately, especially within the realms of spellwork. Today, we're going to take that a bit further by opening our horizons to the infinite world of Candle Magic! In this lesson, we're going to discuss basic color magic, the history of candles, and how to use candles in your craft. Let's get to it!

A Brief Candle History

The exact origin of the candle is quite a debate among historical scholars, but there is a large sum of evidence that suggests candles made of beeswax were used in Egypt and Crete as early as 3000 BCE. Other early candles were fashioned using tallow-soaked tapers manufactured from fibrous materials like rushes. Rushlights were one of the first types of enclosed light we are aware of, yet they were unlike candles as we know them today because they lacked a wick. The impoverished continued to utilize them for centuries because they were also inexpensive to produce.

It may come as no surprise that the Romans are credited with creating the first wicked candles by continuously dipping a roll of papyrus into tallow, a converted form of beef or mutton fat, while wrapping it around a length of twine. Candles were still used in the same manner, but they had superior quality and a longer lifespan than rushlights.

However, candle production was not only practiced by the Romans. Wicked candles were "invented" by numerous other ancient civilizations who also used local plant-based waxes. The eulachon fish, which is so oily that when dried, it would burn like a candle when you ignite one end, was used as a candle by tribes in Alaska and Canada. The Chinese used wrapped ricepaper as wicks. In India, wax was created from the fruit of the cinnamon tree.

Candles, in any form, were a significant component of religious rites throughout this time. The Jewish Festival of Lights, Hanukkah, was originally documented around 165 B.C. Constantine, the Roman emperor between 306 and 337 A.D., mandated the use of lamps during Easter celebrations. Indeed, from roughly the time of Constantine, lights have played a significant role in religious events and signify the purifying light of God.

Candle flames were seen by ancient peoples to reveal enigmatic things. One could experience an altered state of consciousness and see gods, spirits, or the future by gazing into a flame. In a magic ceremony for "dreaming true," or getting information from dreams, the late Egyptians of the third century B.C. utilized lamps and possibly candles. He retired to a pitch-black cave that faced south and sat there gazing into a flame till he saw a god. Then he went to sleep, hoping that the deity would show up in his dreams and provide him with the answers he was looking for.

The Roman Christian scholar Tertullian fiercely objected to the ancient Pagan practice of lighting candles and lights during religious ceremonies, calling it "the useless lighting of lamps at noon." Candles and lamps were used in Christian rites from the fourth century, but candles weren't put on church altars until the later Middle Ages, starting in the twelfth century. Consecrated holy candles are used in ceremonies for blessings, atonement for sins, and the exorcism of demons, all of which were instituted by the Catholic Church.

Using Candles In The Craft

Candles have long been used as versatile tools, but in witchcraft, they can also be used for divination, spirit sensing, casting spells, and a variety of other things. Let's jump right in.

Divination - Reading the wax and observing how the candle really burns are the two most popular techniques for candle divination. You must observe the candle's burning pattern, including its height, flickering, and the presence of many flames, in order to make a prediction based on how it burns. Two flames could indicate assistance from the afterlife in achieving your objective. Even the hues of the flame may give you a clue as to how well your efforts are going. However, there is no agreement on what these indications signify. While some practitioners hold that a candle that burns tall and strongly indicates that one's request will be granted, others draw attention to the fact that the wick's length and quality, as well as an air vent, can affect how the candle burns. Prioritize your intention over the candle's burning process. You can always read the wax once it hardens, or pour the wax directly into cold water for it to harden and then interpret the symbols, much like you would with bone throwing, or scrying. Personally, I also like to pay attention to the smoke and interpret the way the smoke from the candle flows in order to interpret surrounding energies.

Spirit Work - Fire scrying is the most common way to communicate with spirits, and as it's the only method with candles I have experience with, that's what I will be discussing here. I encourage you to do your own research into spirit communication outside of my suggestion, because I'm sure there are plenty other methods out there. Again, there is no base consensus in a means to interpretation, as spirits and practitioners alike have different ways of communication. Just like with any other scrying, its imperative to stay connected to your personal energy while connecting with surrounding energy to properly interpret the signals you are receiving. Connecting with deities is also possible using this method of Candle Magic.

Rituals/Spellwork - In rituals and spells, candles are used to increase vibrations, represent specific elements and other important objects or creatures, use symbolism, and seal items like letters or spell bottles. Even candle spells can be created simply lighting a candle with intention. It is very common to carve, dress, and anoint candles in aid for ritual and spellwork as well. Fire being the main force driving the work, of course.

Worship - Candles are often used as offerings for various deities. Symbolism, color, and dressings can all play a part of this as well. They are also used as a beacon for an entity to guide you through your working.

Candle Correspondences

When undertaking serious candle work, choosing the right candle colors is crucial. Each hue has a unique meaning and possesses unique abilities. It's crucial to pick colors that align with your aims while working with candles in spells or rituals. Please remember that this is a very basic list and that the things you will read in your personal correspondence are far more significant than anything you will read here.

White - Attraction, Purification, Protection, Balance, Clarity, Grounding, Healing, Hope, Innocence, Optimism, Peace, Truth, Willpower

White can take the place of any other color when not available. Just a bit of visualization is required.

Black - Acceptance, Afterlife, Banishing, Binding, Determination, Endings, Justice, Loss, Release, Break, Security, Grief, Negativity, Patience, Persistence, Rebirth, Strength, Self Control

Red - Assertiveness, Courage, Creativity, Energy, Desire, Loyalty, Motivation, Power, Survival, Change

Yellow - Action, Communication, Learning, Finances, Business, Intellect, Inspiration, Knowledge, Wisdom, Stimulation

Pink - Acceptance, Affection, Beauty, Compassion, Healing, Family, Harmony, Kindness, Longevity, Nurturing, Partnership, Prosperity

Green - Abundance, Agriculture, Beauty, Creativity, Family, Fertility, Healing, Luck, Environment, Nurturing

Purple - Authority, Enlightenment, Spirituality, Emotions, Imagination, Influence, Truth, Wisdom, Overcoming Fear

Orange - Adaptive, Ambition, Confidence, Courage, Discipline, Energy, Freedom, Justice, Positivity, Pleasure, Stimulation, Travel

Blue - Honesty, Truth, Trust, Dreams, Sleep, Mental, Wisdom, Leadership, Fertility, Marriage, Healing, Study

Brown - Endurance, Animals, Balance, Courage, Grounding, Stability, Protection

Silver - Awareness, Intuition, Money, Purification, Potential, Stability, Success, Celestial

Gold - Abundance, Ambition, Money, Happiness, Power, Influence, Solar energy

Even if you aren't aware of it, the type of candle and the type of wax it is made of may have an impact on your craft. It can all come down to functionality or magical implications.

Taper Candles

Taper candles are tall, thin candles with a tapered top; they are often placed in vintage, smaller candle jars and are more ornamental and symbolic. Shorter taper candles are typically used to seal objects with wax. They can, however, be utilized for any task.

Pillar Candles

There are many different types of pillar candles, but these are the ones I see used almost exclusively. They differ from being short and fat to being tall and slim. They can be utilized for a variety of purposes, but I've found that rituals are where they're most useful.

Votive Candles

Votive candles are little and barely taper more at the base. They are frequently placed in glass candle holders and are used as offerings to deities. Given that their modest, tapering size is what makes them votives, their sizes rarely fluctuate. But they do come in a variety of colors. They are often white.

Tealights

Tealights are tiny, thin, and short candles. You can use them to make offerings, perform spells and rituals, decorate, or even keep wax warmers warm. I frequently observe this kind of candle being used, largely because they are the least expensive candles available.

Now, let's go over some of the different wax types.

Beeswax

It used to be difficult and dangerous to obtain beeswax, which added to the candle's mystique and spiritual power. Beeswax is a natural substance that burns more slowly, making it a premium item among contemporary candle spiritual practitioners; yet, because of its price, it may not be the best choice. Beeswax candles are available in a wide variety of shapes, sizes, and hues and can be rolled, poured, or dipped. Longer ancestral rituals that demand higher vibrations and purpose work best with these candles.

Soy

People who use earth magic sometimes like soy candles since they are natural. Although they tend to burn for a shorter period of time than beeswax candles, they keep fragrances quite well. When dressed, they can also be extremely fragile and challenging to mold or carve. The majority of soy candles are already housed in glass. They are most effective when utilized in ancestral rituals for healing and rebirth.

Paraffin

Since it's a byproduct of the petroleum industry, many people consider it to be less natural than the available alternatives. The fact that it releases chemicals like toluene into the air makes it a poor choice for poorly ventilated areas. Other than providing the foundation for candles, I haven't discovered any sources that discuss the magickal powers of paraffin itself. I found a few for petroleum jelly, which is frequently used as a foundation for herbal salves, but they mainly praised how simple it was to use as an ointment. Even our non-human ancestors may have used petroleum, according to some sources, which makes it a solid foundation for ancestor magic.

[dootznbootz]

Odysseus always trusted Penelope. He was ordered to lie to her and it hurt him to do so. Penelope was distrustful of this stranger until she had absolute solid proof.

There are way too many people talking about how "Odysseus lies to Penelope. What a prick!" and it makes me sad/mad as that's not the case at all

The whole "Odysseus usually always has a reason to lie" maybe upcoming essay aside, He was literally commanded by Athena to not tell anyone. And it was with Penelope that he had the hardest time keeping up the act with. Not only because she's smart af and figured him out almost immediately (that essay coming soon too) but because he was trying to keep himself from crying with her.

I think people forget that he is disguised to look like someone else completely. If a random man claimed to be your missing husband, wouldn't you be scared/freaked out?

Anyways, the 3 most important people in his life are Penelope, Telemachus, and Laertes. He lies to all three.

Telemachus: Lied by letting Eumaeus answer him and still under the orders from Athena, did not cry or reveal himself until Athena allowed him to. (I read it as him being in shock. Last time he saw him, Telemachus' hand could only wrap around one finger and now he's as big as him. a bit shocking to say the least)

Laertes: He teared up seeing him but still was a little shit.

Penelope: He was trying so hard to keep from crying, tried to noodle his way out of lying to her, Under Athena's orders. still couldn't help but basically flirt with her.

Also to get this outta the way: No, it wasn't a matter of trust. He is shown to trust her right away. As this happens even before he gets the chance to speak with Penelope.

Staunch Odysseus glowed with joy to hear all this— his wife's trickery luring gifts from her suitors now, enchanting their hearts with suave seductive words but all the while with something else in mind.

(Book 18, Fagles)

If Odysseus does not trust her, why is he so happy to see her "flirt" with the suitors? It's because he KNOWS what she's doing and knows she doesn't actually want them. If he didn't trust her, he would be upset by this.

Now for the "it hurt to lie to her" bit.

Athena's command:

"Tell not a single person in the palace, man or woman, that you are back from your wanderings; but endure all vexations in silence and submit yourself to the indignities that will be put upon you.'

(Book 13, Rieu)

If you are my son—truly of our blood—                                            let no one hear Odysseus is back home. Don’t let Laertes know or the swineherd, or the slaves, or Penelope herself.

(Book 16, Johnston)

And the people he did reveal himself to, he only did so after being given permission by Athena.

Athene spoke to him. 'The time has come,' she said, 'royal son of Laertes, Odysseus of the nimble wits, to let Telemachus into your secret, so that the pair of you may plot the downfall and death of the Suitors and then make your way to the famous city. [...]

(Book 15, Rieu)

He talks to Telemachus before talking to Penelope.

I’ll stay here, so I can stir the servants even more— and your mother. As she laments, she’ll ask for each and every detail.”

(Book 19, Johnston)

Odysseus is already sweating about having to lie to her

The next part would honestly be me just inserting almost ALL the text for this so I'll go into a summary. It's all in Book 19.

Penelope asks him where he's from. And instead of answering, it's a tsunami of compliments. Calling her flawless. Comparing her to a king. etc, etc,

Probably because he couldn't help himself and had to babble about how wonderful she is Who wouldn't? before finally ending with "Please don't ask me where I'm from. It makes me sad."

Penelope, probably overwhelmed by his praise, immediately goes into how "her beauty left with her husband. It did not. And where did you say you were from again?"

"Fine! I'm from Crete..."

And we all know that as soon as she starts crying, after a lovely description of how her tears "melted", he talks about how hard it was for Odysseus to hold in his OWN tears. Lying to her and unable to comfort her was painful for him! As he did not want to!

Lord Odysseus in his heart felt great pity for his grieving wife,                                 but he held his eyes steady between his eyelids, like horn or iron, and he kept up his deceit and concealed his tears.

(Book 19, Johnston)

Even with him revealing himself to Euryclea, when she cried out to Penelope, Athena made sure she didn't hear! It's most likely that he wouldn't be able to tell her even if he wanted.

She spoke, and her eyes glanced over at Penelope, anxious to tell her that her husband had come home. But Penelope could not see her face or notice, for Athena had diverted her attention.

(Book 19, Johnston)

He desperately wanted to be with her again. Literally daydreaming about it!

Then Dawn appeared on her golden throne. As she wept, lord Odysseus heard her and lost himself in thought. To his heart she seemed to know him and was standing beside his head.

(book 20, Johnston)

Clearly doesn't trust her. /sarcasm

It's PENELOPE that has trouble trusting him. And rightfully so! While she was very certain that was her husband, there was so much going on and of course, she's cautious! He looked like an elderly stranger at first, why is he hiding from her? He somehow took out all those men with only a little help, Athena isn't telling her anything, Helen was kidnapped and she did not want that to possibly happen to her too, etc.

He even understands her cautiousness to be reasonable.

As she spoke, lord Odysseus, who had borne so much, smiled and immediately spoke to Telemachus— his words had wings:   “Telemachus, let your mother test me in these halls. She will soon possess more certain knowledge. Right now I’m filthy, with disgusting clothing on my body. That’s why she rejects me and will not say I am Odysseus. [...]

(Book 23, Johnston)

He even trusted her completely to take care of everything while he was gone before. And he does again when he wakes up and goes to see his father. Telling her about how she too wise to need instruction

Odysseus (and Penelope as well) is well-known for his cunning tricks and how his loyalties are often blurred but one thing that is for sure about him is that he trusts and is loyal to Penelope full-heartedly. He spent every day missing her and their son and wanting to go home to her. The only moment we see his trust in her waver is during the Treebed scene, (which is what she wanted to test).

They are "like-minded". 😭

[poetrylesbian]

NEED TO RANT BC I AM HAPPY FOR MY MUM. cant believe my mum (studied ancient history in high school, has a degree in literature and ancient history, has been teaching ancient history for nearly 40 years) finally got to visit greece and italy. with a loving partner, after being divorced twice. after one of those husbands emotionally and financially abused her. and the first one cheated on her. and her loving partner took her to the acropolis in athens. and in front of the caryatids (which she always wanted to see, she has a poster of them above her desk at work) he proposed to her. and the ring he chose wasn't even ugly. and she went to delphi and crete and now she's been in italy for the week. she went to pompeii. she's probably taught HUNDREDS of students about these places. she can recite shit about them off the top of her head. she knows more about ancient history than anybody I have ever met. she made a 200-slide powerpoint and a booklet for her partner so he could be prepared for the trip. and, because he's perfect for her, he fucking read all of it. and now she's gonna get married to this man who I actually love a lot because from the beginning he has treated her family like his family. he's basically already my stepdad. and even though im pissed a little because she always promised me that we'd go to greece and italy together, im happier because nobody deserves this more than her. and i just think its amazing that at 57 these amazing things are finally happening for her. and our relationship hasn't always been perfect but i do think she deserves this happiness. im so emotional about it. and im really excited for her partner to become official family. and im so grateful that he helped make this trip happen for her. her last husband hated that she had kids and avoided her family and fucked with her and me a lot... he lied to her about money... he treated us badly. her more than i will ever know. he destroyed her self esteem. and now she has this man who is so generous with not only the money he has but his time, his love, etc. he cares so much about her family. and he proposed at a place she's been dreaming about visiting her whole life. how great is that! im just so relieved. her trip is almost over but im so happy she went on it. okay rant over.

[lwolfcat429]

Hazbin hotel; Adam's daughter

I don't think Adam would get anyone pregnant, at least his not the happiest about it, so Sera made him (yes, created one like how God created humans and how Adam Crete the Exorcist) a daughter from magic and clouds. Thus, the angel reader.

Respectfully, Adam is not a great dad. Lute, Sera and any other angel is practically raising this kid. Why did Adam want a kid, to up stage or be the better version of Lucifer only to be worse than him. But Adam, when he saw his daughter's eyes open for the first time... He felt human again. He felt love for the first time since he met Eve. He loves his daughter.

But he doesn't know how to parent! he tries but fails. Growing up his daughter didn't hate him, didn't resent him. Just thought he was a cool guy with a weird way of saying he cares. He gives his daughters weapons, all sorts of junk food, let's her do whatever she wants. Literally Sera and Lute step in so she didn't grow up spoiled.

When Charlie comes to heaven, she runs up to her all happy, saying how pretty Charlie and vaggie are, which they blush and say thanks. Adam and lute picked her up, whispering about how their (Charlie and vaggie) evilness will infect her. (Like it is a disease).

She doesn't hate Charlie, she thinks she's cool and also wants to see sinners rehabilitate. Adam and lute have a hard time saying no to the kid because she is so good hearted

[genericpuff]

The Elephant in the Room - Queer Erasure and Westernization in Lore Olympus (and all its horrid stepchildren)

This is one people have been asking me for a while now, and I've been waiting for the right inspiration to hit, as is required for my ADHD hyperfixation-fueled rants. After recently watching a video that did an objective review of Cait Corrain's Crown of Starlight, I felt now was the time, because Crown of Starlight effectively proves exactly what Lore Olympus - and other Greek myth interpretations like it - has issues with.

And I want to preface this post with one question - why do we keep getting these Greek myth adaptations written by queer women that still wind up perpetuating toxic heteronormative culture?

Buckle up, because this one's HEFTY.

In that aforementioned review of A Crown of Starlight, there were a lot of points that came up about how Cait wrote the female protagonist - Ariadne, wife of Dionysus - where I immediately stopped and went, "Wait, this sounds awfully familiar."

It should be mentioned briefly for anyone who's unaware - Cait Corrain is an author who was recently (and still) under fire for using sock puppet accounts on GoodReads to intentionally sabotage the ratings of other debut authors, many of whom were her own peers or from the same publishing imprint as her (Del Rey), and most of whom were POC. I mentioned in that previous essay that I just linked that Cait Corrain is a fan of Lore Olympus and decided to give it 5 star ratings from these alt accounts, not just de-legitimizing the reputation of the books she bombed, but also the ones that she praised (including her own book, because of course she had to leave an obvious calling card LMAO). I felt it necessary to tie Cait into my discussion of white feminism in LO and its fanbase because people like Cait are exactly who we're talking about when we dissect the intent and consequences of LO's writing - much of its brand of "feminism" seems to only be catered to a specific kind of woman (i.e. white women who fetishize queer people/relationships) and seem to encourage/embrace violence towards women if those women aren't "behaving correctly" or just aren't fortunate enough to be white and rich - and so Cait choosing to give Lore Olympus 5 stars in her hate-raiding and even have it visibly in the background of her headshot photos was... not exactly disproving my argument that these are the types of people LO caters to and encourages, to say the least.

But then I watched Read with Rachel's "Did It Deserve 1 Star" review of Crown of Starlight and it cemented my assumptions and concerns regarding Cait's intentions and influences even more.

As a brief tangent, I've read A Touch of Darkness by Scarlett St. Claire. It very obviously is using Lore Olympus as its blueprints, but it's not super obvious that if you didn't read Lore Olympus or weren't aware of it, you probably wouldn't notice. It's still not a great book on its own, it's riddled with writing problems, but at least it can call itself its own thing to some degree.

Crown of Starlight is just blatant Lore Olympus fanfiction pretending to be original, even down to its marketing (which I'll get to shortly) but swapping out Hades and Persephone with Dionysus and Ariadne, and setting the entire story in space. Why is it in space? There doesn't seem to be any actual necessary reason for this, it just is, go with it. I'd be willing to accept this because changing up the setting of pre-existing stories can be fun (god knows I loved the premise enough of Lore Olympus being a modern day Greek myth retelling that I had to go and make my own version of it that's still in that modern setting) but as RWR says in her review:

"... we're told that it's the 'island' of Crete, but then we talk about commbands, airlocks, [holo-shields] and it wasn't really written in a way that I felt meshed 'Greek retelling' and 'sci-fi' in a cohesive way."

Needless to say, Crown of Starlight unsurprisingly suffers from the same problems Lore Olympus does, where it will try to "subvert" the original myths by changing their setting and characters and then doing absolutely nothing interesting with them to justify those changes.

To really drive my point home that Crown of Starlight is undoubtedly Lore Olympus fanfiction, Lore Olympus was literally used as a comparison point in Crown of Starlight's marketing which is a fair tactic to use to advertise to a specific niche or demographic, and while some have argued that Cait isn't technically the one to come up with that marketing jargon, it's made much more clear that she used that comparison herself when writing and pitching the book because it is quite literally just Lore Olympus with a different couple in space, right down to the main female protagonist being part of a purity cult. And of course it wouldn't be a bad Wattpad romance if it didn't have our main female protagonist Ariadne talking about how inconvenient her MASSIVE BREASTS are and of COURSE Ariadne is a poor innocent uwu babygirl who needs a man to come in and rescue her from the evil purity cult and of COURSE it hints at them eventually having raunchy sex just for it to wind up being milquetoast bondage and of COURSE it all just winds up taking traditionally queer characters and stories and turning them into this sanitized Disney-esque plotline where the boy and girl were always meant to be together and nothing else matters except their love-

And that, at its core, really just screams "this is bad LO fanfiction". From the stylization of the book's writing which never outgrew its "adorkable fanfiction writing" phase-

"Realizing that I'm being gaslit by my entire world doesn't make it easier to deal with, but hey, at least I still have some part of my soul!" - an excerpt from Crown of Starlight quoted from RWR's review timestamp 13:03

-to the "creative" choices made to turn Ariadne into a chastity cult girl whose resolution is obviously going to be to have what's implied to be dirty raunchy sex just for it to be like... the most tame level one bondage stuff;

-to the classic "she breasted boobily down the stairs" focus on Ariadne's body and breasts and sex appeal that's being kept in check by that pesky purity club.

And that's really disappointing because I had seen people say, "Yeah, Cait did an awful thing and deserves to be removed from her publishing schedule, but it's a shame that that book was written by Cait because it's actually a really good book!" because now it's just making me even more sus of people's Greek myth adaption recommendations (I'm still mad at BookTok for convincing me that A Touch of Darkness was worth reading). All I could think while listening to some of the excerpts quoted by RWR was that if I didn't know about Cait Corrain and read Crown of Starlight blind, I'd undoubtedly assume it was being written by a heterocis guy... but it's in fact being written by a queer woman.

And this is where I segue into talking about the root of this problem, where the calls are really coming from - Lore Olympus and its erasure of queer identities and relationships, despite also being written by a queer woman who should know better.

I could think of no better character to help carry this essay than Eros.

Unlike many of the characters in LO that Rachel has managed to straightwash by changing their motives entirely or straight up changing their identity from the source material (ex. Zeus, Apollo, Crocus who was turned into a flower nymph, Dionysus and Achilles because they're both literally babies, the list goes on), Eros has largely remained the same on paper who had zero reason to not be queer within the story.

Eros is still the god of love in this, he's still a guy and presumed to be an adult, but we NEVER see or explore him having relationships with anyone other than Psyche, aside from a brief mention of organizing orgies in the beginning that's used as a quick joke and then promptly never mentioned again.

Just like with Crown of Starlight and A Touch of Darkness and all these other "dark romance" stories, it's that brand of "pretends to be sexually liberating but isn't actually" writing, where they'll briefly mention orgies or sex-related things and then beat around the bush or avoid involving them entirely like a kid at Sunday school who doesn't want to say the word "penis".

(fr out of all the corny and awful slang for genitals I've seen used in stories like this, "a certain part of my anatomy" is definitely one of the most boring and stupid, like for god's sakes Hades you're both adults and at the beginning of this comic you thought she wanted to bang in the kitchen, why are you suddenly talking like a 7 year old boy LOL)

All that aside, while Eros might still be hinted at being queer and sex-positive, it's only as vaguely as possible so that the story can quickly move on to focus on him and Psyche or, better yet, Hades and Persephone. When Eros isn't deadset on finding Psyche, he's being the gay best friend for Persephone, who he has NO right having a friendship with when he introduced himself by intentionally getting her as drunk as possible with the intent of dumping her in Hades' car as per his mom's command. It's brushed off later as "well Aphrodite maaade him do it, for Psycheee!" but Eros still agreed to potentially put Persephone in danger over a relationship that had NOTHING to do with her and was also mostly his fault in its fallout (which Artemis calls him out for, but of course, like all the other times characters have called out the actual issues in the story they're inhabiting, they get brushed aside so that Persephone can talk about Hades):

Now, the Eros and Psyche plotline is one I've talked about before here and not the focus of this essay so I'll keep this tangent brief, but it's absolutely wild to me that Rachel took a story about a woman going to the ends of the earth to prove her love for someone whose trust she broke (a common theme in a lot of Greek myth stories, such as the myth of Orpheus and Eurydice) and turned it into... woman of color gets turned into a nymph slave for Aphrodite to 'test' Eros, a test that isn't clear at all in what it's trying to achieve, and wait hold up, didn't Eros actually fail that test by kissing Ampelus while completely unaware that it was Psyche-

This is just that episode of Family Guy where Peter justifies emotionally cheating and eventually physically cheating on Lois because "well you were the phone sex lady the whole time so no harm done!", isn't it? (×﹏×)

Anyways. It's all very convenient that the comic will hint at queer rep just to either have it be a constant question of whether or not they're actually queer (ex. Morpheus) OR to have it be promptly swept under the rug to make way for other characters/plot points. It's like when mongie tried to be "inclusive" by writing a stereotypical vaguely Asian character with no specific ethnicity just to get angry at her fanbase for calling her out on this that you can't just call a vaguely Asian character "representation" of anything (because Asia is MASSIVE and covers so many different ethnicities and languages and cultures).

Eros is only as gay as he needs to be to fill the role of "gay best friend" for Persephone.

Krokos is no longer a male lover of Hermes but a flower nymph created by Persephone because... apparently we can't dare imply that Hermes would be into anyone besides his unrequited childhood love, Persephone.

Achilles is introduced as a baby even though it makes no sense in the comic's own timeline where Odysseus is presumably already a well-known hero in Olympus, so much so that he was invited to the Panathenea.

Apollo is turned into a flat-out rapist who's only concerned with getting Persephone at all costs and when that doesn't work, he tries to get ANOTHER flower nymph (Daphne) who's actually genuinely interested in him (contrary to the original myth, there's that "swap it subversion" Rachel is known for) to cut her hair so she'll resemble Persephone more because we can't have a single plot point not resolve around Persephone.

Despite there being loads of genderbent characters already, Morpheus is supposedly the only one we're supposed to assume is specifically trans and not just a gender-flipped version of a Greek myth character. Why? Not because Rachel stated so explicitly, not because the comic has actually explored her identity as a trans woman, but because the readers just assumed it in good faith and Rachel was clearly fine with taking credit for trans representation that's only there via assumption (and only confirmed via her mods in Discord, which is... not how you establish canon information in your comic, Rachel.)

Hestia and Athena are part of a chastity club, until uh oh how convenient that they're secretly in a relationship with each other even though it further vilifies them and their morals, particularly Hestia who was promptly called out for being a hypocrite for taking Persephone's coat gifted to her from Hades while secretly being in a relationship the whole time. Not only does the Hestia and Athena relationship manage to commit queer erasure - of two gods who are considered icons in the aroace communities - but it also makes the only two lesbians in the story come across as assholes AND ON TOP OF THAT ALSO manages to somehow invalidate queer sex and relationships as being legitimate due to the even deeper implication that breaking their chastity vows "doesn't count" because it's not a male x female relationship. It's the 'ole poophole loophole all over again.

And then there's Artemis, who has MORE REASON THAN EVER TO BE IN THE PLOT but keeps being conveniently ignored. Her finding out about Hestia and Athena doesn't get any more screentime than her going "oh you're in a relationship, okay" , we never see her question the true intentions of TGOEM or what it means to her, we never see her have any opportunity to carve out her identity beyond just being Apollo's twin sister (it tries to at times, but then immediately goes nowhere with it, amounting to just poetic word salad), and she really just comes across as what a lot of people assume aroace people to be - alone and standoffish, because obviously someone who's nice and a good person would be in a relationship, there has to be a reason they don't want to have sex or fall in love, and that reason obviously has to be that they just hate everyone and want to be alone forever (￢_￢;) Then again, like many of the queer characters in LO, I don't know if I can definitively call her aroace because it's kept as vague as possible, and - going by Rachel's answers to these questions way back in her Tumblr era - apparently people can't be gay and ace at the same time-

There are undoubtedly loads more examples that I could cover here but that goes for practically any essay I write about LO - the more you peel it apart, the more you start unearthing some really questionable and frankly mean-spirited stuff. Queer people feel largely ignored in LO, alongside many of its derivative offspring such as A Touch of Darkness and Crown of Starlight, and it really speaks to how so many people - queer women, no less - have somehow managed to bastardize and sanitize what were traditionally very queer stories with queer characters. It's like these people think "olden times" and can only get as far as "women were slaves and men were rich assholes". Like, yeah, okay, that was the case for many cultures, but not all of them, and for some of them it wasn't as clear cut as that, many had misogynist power struggles in them while also still celebrating women and queer people in their own way. Greek myth is full of stories of women being forced into marriage or being made the victims of assault, but many of them are supportive of women and their struggles, unlike works like LO that somehow manage to be less feminist and sympathetic to women and queer people than these works from thousands of years ago.

This is another topic that's surely meant for another post, but it really speaks not only to the straightwashing and whitewashing of Greek myth, but also the Westernizing of it. That's not to say Rachel Smythe and Cait Corrain and Scarlett St. Claire are intentionally trying to whitewash another culture's works here, but if you're raised predominantly on Western media, you're undoubtedly going to absentmindedly adopt ideas about society that are primarily molded around Western beliefs .

And this is apparent in LO, while Rachel is from New Zealand, you can tell she grew up on a lot of Western media and its influences are sorely showing through LO's worldbuilding, character designs, and narrative choices. That "modern setting" that I mentioned before is much less Greek and a lot more adjacent to The Kardashians which lends to the theories that most of the media that Rachel consumes is American. Rather than actually going to the effort of doing her research on Greek culture, she seems to just prefer defaulting to the easiest assumption of how modern society is across the board - a generic Los Angeles clone with big glass skyscrapers and pavement walkways. She rarely ever draws food or clothing from those time periods; despite this story being about gods she's spent so little time on the people who passed on the stories about those gods, the mortals, and the gods themselves rarely feel like gods, rather just like Hollywood celebrities covered in body paint. The clothing feels very generic and uninspired with often very little Greek influence, even though Greek clothing is designed around Mediterranean living which you could do a lot with, to such an egregiously Western degree that Hades and Persephone's wedding was Christian-coded. The food... well, there ISN'T any because as we've seen, like the stereotypical American child, Persephone apparently only wants chicken nuggies and Skittles for dinner, so we never see her eat; and not only do we not see Persephone eat, but Rachel weirdly tries to use Persephone's vegetarianism as some kind of anti-capitalist characterization when much of the Greek diet is predominantly vegetarian. It's NOT HARD or uncommon to be a vegetarian in Greece!

(it looks like they're literally all eating the same thing so IDK what Hera is referring to here, it looks like they're all eating toast and lettuce LMAO)

All that's to say, much of LO - and the books like it that I've gone over here - are written with this idea that every culture - including the one that it's trying to adapt - was subject to the same ideas that Western culture lives by in the modern day - that being a vegetarian is "counterculture" in every culture, that the notion of sexual purity is enforced in the same way it's enforced in the Western education system (cough Christianity cough), that queer or otherwise "unconventional" relationships should stay inside the bedroom and not be seen. As much as Rachel claims she wants to "fight the patriarchy" and "deconstruct purity culture", all she winds up doing is reinforcing it through a Westernized lens, which is, as I've talked about before, very indicative of right-leaning white feminism and what it embraces and promotes - being a "good woman" who follows the rules and willingly becomes part of the system that's oppressing them because that's what "good women" do. Women who are confidant in their sexuality are evil and should be shunned for being "sluts". Women who are in relationships with other women "don't count" as real relationships the same way heteronormative relationships do, and cannot be trusted because they're likely trying to spread an agenda that's designed to brainwash heterocis women. Women should only aim to achieve marriage and their entire personality has to be built around their true love. Women are allowed to be kinky, but only as kinky as roleplaying the exact same gender structures that puts the man in a position to dominate a woman, and it should always and only ever be with her first love who she marries immediately, no one else.

This is exactly what the critics are getting at when they hold LO - and its creator - accountable for the messages it's been sending for five years to its audience of middle aged women and young girls. Having a demographic is fine, if this were just a comic for girls it would be fine, but it becomes a lot more problematic when that demographic is being fed toxic power fantasy stories based on a culture that's being gentrified and sanitized of all its original messaging and characterization right before our eyes. It feels blatantly misinformed from the very beginning in its intention to be a "feminist retelling" of Greek myth, because somehow Lore Olympus manages to be less feminist than these stories drafted and written by men from 2000+ years ago.

I opened this essay with a question: why do we keep getting these Greek myth adaptations written by queer women that still wind up perpetuating toxic heteronormative culture?

I think cases like these really highlight how deep the heteronormative brainwashing from childhood onward goes. That, despite these writers being queer or women, still manage to reinforce the same ideas and tropes and harmful predisposed notions that were designed to be used explicitly against queer people and women. These are things that we can't ever stop challenging, and asking, and truly deconstructing, because it runs deep in many of us who grew up on popular media even as innocent as Disney. Learning about more complex social concepts like sexism and misogyny and queerphobia doesn't automatically absolve us of those very same biases that have been both blatantly and subtly ingrained into us since childhood. All that said, Rachel being bisexual does not mean she's not capable of straightwashing; Cait Corrain being a queer debut author with a POC main character didn't stop them from targeting other POC debut authors at their own imprint; being part of any minority group or identifier does not automatically protect you from perpetuating the cycle that you, too, likely had enforced upon you at some point or another in your life. The fact that these creators and writers are still perpetuating that cycle to begin with is indicative of why it's a cycle at all - it takes work to break on a subconscious level because those cycles are specifically designed to target and hijack the subconscious.

At its worst, do you really think Lore Olympus can claim to be a feminist retelling that's "deconstructing purity culture" when the creator herself admittedly never fully identified or understood sexism until her mid-30's and has the audacity to say her audience is "harsh" on the female characters that she constantly vilifies through her own narrative?

"I feel like female characters in general, people will be a little harsher on them and sometimes way harsher on them, and I used to be like.. before I started writing the story and like making a story I was like yeah, sexism is not that bad, and [now] I was like oh it's bad. It's quite bad [laughs], so like, I don't know, I feel like the female characters in the story don't get so much of a pass. But this isn't consistent across the board, it's not all the time" - Rachel Smythe, in an interview with Girl Wonder Webtoon Podcast

If Lore Olympus truly was just a series meant to be for fun "no thoughts head empty" drama and spice, that would be fine. I've said it time and time before on this blog and I'll say it again: I wouldn't have an issue if Rachel was just writing a story exclusively revolving around heterocis men and women. I'm just frustrated and tired and annoyed that she keeps lying about it, and doubly so that this comic and its creator who claim to be "feminist" have inspired other people in the same headspace to continue to perpetuate that cycle through works that are clearly inspired by LO and never challenged the things LO promoted - violence towards "unconventional" women, violence towards POC, and erasure of queer people. And worst of all, for writers like Cait Corrain, it's more than just writing a really bad book with really bad messaging, it's going so far as intentionally targeting those same groups of people that are regularly vilified in works like LO - people who are just existing, who don't pose a threat to anyone, but had the misfortune of becoming the target of a white woman's insecurity.

I don't know what the answer to this problem is. I don't know what form the solution will come in, if any, to address the ongoing issues with Greek myth adaptions that are being sorely written through an "America as the default" point of view and praised for "rewriting the script of Greek mythology", quite literally cultural appropriation happening live right before our eyes all for the sake of cheap entertainment. Maybe it'll take the failings of works like Crown of Starlight to really get people talking about it. But so long as the roots of these works - such as Lore Olympus - are still being protected and marketed en masse by the same kinds of people who don't see the issue in Americanizing other cultures and their stories, then Lore Olympus and Crown of Starlight will not be the last ones to cause harm to the source material - and the cultures that source material is born from and a part of - they're taking from.

I opened this post with a question, and I'm going to close it with another to really leave it as food for thought. That question comes from another video that I'll link here for you to watch at your convenience that spends even more time diving into and discussing the nature of works like this that have seemingly attempted to "deconstruct" the very dogmas that they still wind up reinforcing all the same.

Does the romance genre have a white supremacy problem?

(yes. yes, it does.)

[basicallyaturtle]

never been part of a tag game, sounds really fun! tagged by dear Lanvender, @khan-crete

Do you make your bed? A freshly decrumbed, stuffed animal arranged and dirty clothes removed bed feels great. How often do I do this? We mustn't ask (like once or twice a month) that's all making the bed entails for me, I just have a fitted then normal sheet and blankets

Favorite Number? 4 4 4 4 4! I've loved four my entire life she is like a goddess to me. 2+2 2*2 2^2, divides into halves twice. can only compete with sixteen, whose status and 2^4 and 4^2 is nice, but not as symmetric. 37 and 73 have a place in my heart as the 12th and 21st primes, but not a large place compared to 4

What's your job? What do I get paid for? undergrad lab TA, what do I do? grad research in low energy nuclear physics

If you could go back to school, would you? In school technically still. Would I rewind time to experience school again? highschool no college yes. would I go back for another college degree? I could be convinced if it would be cheap and unobtrusive to my current schooling. Was always torn between physics and linguistics. I made the right choice but I always wonder what if.

Can you Parallel Park? I have done it, on the driving test, like four or five years ago. I think I could do it again, but not too confident

Do you think Aliens are real? Eh, probably in a 'the observable universe 9.3e+9 ly across, it must have happened more than once' kinda way, but not in a 'they've been feeding us tech for thousands of years or are visiting us' kinda way.

Can you drive a manual car? Never tried, hubris tell me yes, anxiety with even normal cars tells me I'd probably fuck up the transmission while trying to leave the driveway. gonna say yeag

Guilty Pleasure? I think like cheesy childhood disney live action movies?, generally I'm pretty full chested about the things I enjoy

Favorite Type of Music? yeah, hard, a lot of vocaloid, which isn't reallly a genre, a lot of edm genres from like old school monstercat, a lot of jrock by way of anime OP's of show's I've never watched then finding other songs by those artists. some rock music though that genre is also extremely expansive and I'm not sure how I'd categorize a lot of it. Generally my music consumption consists of a group of maybe five songs completely unrelated on repeat for months at a time and genre is not a huge factor in that

Do you like puzzles? twisty puzzles like rubik's cube type puzzles are really fun working, towards doing a 3x3 blindfolded but challenging, I used to do jigsaw's with my mom but over the course of a very long time because we'd get frustrated. crosswords, but I'm no good at them

Favorite Childhood Sport? Soccerrrr. Wish I'd stayed with it, but there were only a couple more years before there wasn't a league for my age group anyway, been trying to get back into it recreationally

Do you talk to yourself? I do, but as if I'm talking to someone else. I prefer not to do it because I'm not content with my voice atm, but I find myself doing it a lot especially when getting stuck on research stuff trying to talk it out or I will say a comment to someone I disagree with outloud rather than typing it and posting it. A lot of this is to my reflection which is probably part of the reason it feels like someone else lol

Tea or Coffee? tea all the way. drank iced sweet black tea my entire childhood and started drinking it hot with milk in college. I was the kind of person that disliking coffee was a sort of pillar of my tastes, but then a few years ago made it with like half milk and a lot of sugar and like it, lotta people wouldn't call that coffee, but eh.

First thing you wanted to be when you grew up? The actual first thing was everything. I would amalgamate like all the stereotypes of things kids want to be into one so a firefighter-astronaut-whatever else. When I got a better sense of my interests, inventor, so I guess like product designer, but what that meant to me was I got to sit around and think of neat gadgets and items then figure out how to make them like freeze ray, time machine, clone gun, that kind of thing lol. the first practical idea of a job I wanted was theoretical physicist in like middle school, which I kinda am now so success I guess

What Movies do you Adore? not much of a movie person, but like to watch movies other people are interested in with them, love castle in the sky, LOTR, howl's moving castle, your name, probably others in those categories I don't know about yet or have forgotten and I have a strong soft spot for childhood halloween movies like twitches and halloweentown

I'm curious what @arc-archernar and @charyou-tree have got to say if they'd like to, and anyone else that wants to participate!

[starlingflight]

A/N this is too long to count as a drabble but I have no self control.

Prompt: I20 — She went to the toilet and on her way back, opened the wrong door.

AO3 or read below:

“Did I mention it's infused with the natural rejuvenating properties of the spring?” Hermione asked for what must have been the fourth time since they'd begun the uncomfortably hot walk back from the ancient Grecian temple.

“Yes,” Fleur replied shortly. “You did.”

If Hermione heard her, she did an excellent job of not showing it as she continued. “It's said to have exceptionally powerful healing capabilities…”

Ginny stopped listening, letting Hermione's voice become a distant buzz which melded with the far-off rush of the sea sounding from the bottom of the cliff. Not for the first time, she wondered how exactly Ron and Harry had managed to get out of this particular excursion.

She kept her eyes focused on the villa, which finally came slowly into view ahead of her as Ginny tried very hard not to think about her dry throat, or the sticky sweat running down her back, or just how bloody warm it was.

It really shouldn't have been called a villa at all, in Ginny's opinion. The house – mansion – was huge, rising up against the dramatic backdrop of foliage-covered hills that lay behind it, shimmering like a brilliant white jewel in the blazing Greek sun as the three of them approached it.

Finally, they reached the whitewashed front steps. Ginny retained just enough self control to stop herself moaning in relief as they stepped through the rustic front door and into the blissfully cool air of the villa's lavish interior.

“I'm going to the bathroom,” she announced, cutting off Hermione's seemingly never ending lecture on the magical properties of ancient Greek amulets.

“I will get some wine,” Fleur said, her tone more like a command than a suggestion, but not one that Ginny currently felt inclined to argue with. “We will meet you by the pool.”

“I'm just going to put this in our room,” Hermione said, holding up the offending bronze amulet, which flashed eye-catchingly in the sunlight coming through the villa's many windows.

The three of them went their separate ways; Fleur headed straight ahead, towards the ridiculously opulent kitchen; Hermione turned left towards the wing – wing– that housed her and Ron's room for the week, and Ginny went right, hoping she could remember the route to the bathroom.

Upon locating it, Ginny went directly to the marble sink, set beneath a mirror which covered the whole wall, giving an excellent view of her red, and blotchy skin, and the way her hair, now damp with sweat, clung to her neck, hanging limply around her shoulders.

Desperately, she turned the shining golden tap, sighing in relief as a gush of cold water met the bare skin of her arm. She cupped her hands together, gathering pools of water and splashing it over her hot, irritated skin.

The relief, however, was fleeting, lasting mere seconds before the water evaporated and Ginny felt the closeness of the mid-afternoon heat surrounding her oppressively once more. Longingly, her mind filled with tempting images of the azure pool awaiting her outside.

She turned the tap again, ending the stream of cool water, before spinning on her heel intent on her new destination.

Her mind wasn't fully on the route to the bedroom that had been claimed by herself and Harry; Ginny was much too preoccupied fantasising about her plans to change into the smallest bikini that could still be considered acceptable for a family holiday, before sinking into the pool's inviting water for the rest of the afternoon.

It didn't become clear she'd chosen the wrong door until she'd already pushed it open and her lips had parted slightly in surprise at the scene that greeted her.

The room she’d entered was not their bedroom at all, but rather the small, richly decorated, library beside it, which she'd only bothered to enter once so far in the two days since they'd arrived in Crete, intent on finding a book for beside the pool. It was not, however, the shelves lined with books that captured Ginny's attention now, but rather the sight of Ron, who was balanced on one knee, holding a sparkling diamond ring aloft to Harry who was standing in front of him, one hand clasped in Ron's.

They both turned, evidently alerted to Ginny's presence by the creak of the door, identical looks of horror on their faces.

“Oh,” Ginny heard herself say.

“Ginny!” Ron hissed, dropping Harry's hand as though it was as burning hot as the sun outside.

“It's not what it looks like,” Harry added, nervously running his now-free hand through his hair.

The corners of Ginny's mouth twitched, her shock giving way to a great deal of amusement as she battled to keep her expression blank. “I'm so sorry to intrude.”

Harry shook his head vehemently. “You're not – obviously you're not – we were just –”

Ron shoved the delicate looking ring roughly back into his pocket as he stood, turning to her with panic in his eyes. “You weren't supposed to see–”

“It's alright,” Ginny assured, unable to stop her smirk from spreading across her face as they both rushed to give an explanation. “All I ever wanted was for the two of you to be happy – I'd assumed it would be with me and Hermione, but the heart wants what the heart wants, I suppose.”

“My heart doesn't–” Harry started.

“Don't be ridiculous!” Ron proclaimed at the same time.

“I'm not being ridiculous,” Ginny said through a laugh. “You know, Ron, when Mum taught us to share, I'm not sure spouses were what she had in mind.”

Ron surged forward, grabbing Ginny by the arm and pulling her into the room before kicking the door shut behind them. “Don't be so loud!”

Ginny rolled her eyes. “I don't think there’s much chance of Hermione hearing me from the other side of this ridiculously large house.”

Ron turned sharply to look at her. “Who said anything about Hermione?”

“Well, I'm assuming the ring’s for her,” Ginny countered reasonably. “...Unless you actually are planning on stealing my fiance, which would make the rest of this holiday very awkward.”

“Obviously it's for Hermione,” Harry confirmed quickly, shooting Ron a look that quite clearly said, 'help me out here.’

“Don't tell her,” Ron begged Ginny, ignoring Harry altogether. “I haven't figured out how to do it yet – Harry was helping me.”

Usually, having Ron at her mercy in such a manner would give Ginny an immense sense of satisfaction, on this occasion, however, she felt only a warm rush of affection for her brother and an uncharacteristic willingness to help, not that she would say as much to his face.

She crossed her arms, leaning back against the nearest bookshelf as she looked expectantly between Harry and Ron. “And what have you two Masters of Romance come up with so far?”

Harry frowned indignantly at her dry tone. “I got you to say yes, didn't I?”

Ginny shushed him with a wave of her hand, which incidentally bore the evidence of the truth of his argument in the form of a ruby and diamond engagement ring. “This isn't about us.”

She returned her attention to Ron, her eyebrows rising in silent question.

“Well,” he said weakly, the tips of his ears turning magnificently crimson. “I thought I could do it here – the island is nice – and I have the ring so the time seems right –”

“I told him not to overthink it,” Harry cut in, obviously pained by Ron's stuttered attempts at an explanation.

Ginny caught his eye and suddenly they were both grinning. “Was that before or after he got down on one knee for you?”

“Before,” Harry confirmed, unabashed now that the shock of being caught had worn off. “You interrupted the actual proposal… Ron's still waiting on my answer.”

Ginny shrugged unapologetically, her shoulder bumping against the leather-bound books behind her. “I can't say I'm sorry to have come in between the two of you.”

Harry sighed wistfully. “You never are.”

“You never want me to be.”

“Can you stop flirting for five minutes!” Ron snapped. “I'm trying to do something life changing here!”

Ginny dragged her eyes away from Harry's and back to Ron who was now leaning heavily against the antique sofa beside the window. “Harry's right, you're overthinking it. She was very charmed by the temple this morning– take her there at sunset and ask her.”

“Today?” Despite being on a Mediterranean island in the height of summer, Ron suddenly turned so pale it was hard to believe he'd ever seen the sun in his life. “You think I should ask her today?”

“Yes,” Ginny and Harry said in unison.

“You said yourself the time seems right,” Harry reminded him.

“Really, there's no time like the present,” Ginny concurred.

“But I don't know what to say,” Ron croaked, looking desperately between Ginny and Harry.

“‘Will you marry me?’ Is usually a good starting point,” Harry suggested.

Ginny hummed in agreement. “Yeah, that bit's quite key, I'd say.”

‘Will you marry me?’ Ron mouthed the words as though they were completely foreign to him. He suddenly bore a striking resemblance to his teenaged self in the run up to a Hogwarts Quidditch match, and for the first time since she'd entered the small library, Ginny felt as though she was intruding.

“I'm going to go,” she said gently, taking pity on Ron in the face of the enormous task ahead of him. “You two can keep practising.”

“You could stay?” Harry suggested. “We could probably use the help.”

Ginny shook her head, her part in this mission becoming clearer to her by the second. “I'm going to go and let Hermione talk my ear off about ancient Greek magic customs for the rest of the afternoon so she doesn't notice you're both missing.”

She and Harry shared a look of equal parts amusement and exasperation as Ginny took a step towards the door, both no doubt wondering which of them had the more challenging task ahead of them.

“I'll come and rescue you soon,” Harry assured her.

Ginny smirked at him as her hand found the door handle behind her. “Just promise me you'll try to resist Ron's charms.”

[monkeyfaced-trickster]

Inspired by a poll someone else posted months ago, I want to challenge you all to a little game to test your Lupin III knowledge. We all know how silly the series can get, but how smart is your threshold for the weird?

Can you guess which of these plot points was completely made up by me?

Jigen challenges Lupin to steal back a euro bill he deposited in the bank or else clean the hideout for a whole year.

Descendants of Sherlock Holmes, Lew Archer, and Kosuke Kindaichi are riding a blimp as part of a rich guy's challenge for Lupin to steal his prized ruby.

Lupin steals an Italian church's mummified crocodile, which turns out to have a map hidden in its stomach that leads to the secret treasure of a Satanic cult.

Lupin is challenged by a duo of destitute handymen into opening a safe that can only be opened by someone with literally 0 IQ.

Fujiko fakes her death in order to locate Lupin's hidden treasure in Crete, which is guarded by a shapeshifting minotaur robot.

Goemon accidentally fishes a corpse out of the Hudson river and is subsequently haunted by the ghost of a young lady in an aerobics outfit.

A former child star spreads a tabloid rumor that Lupin stole her pet cat. Also, her cat eats pencil shavings for some reason.

Lupin goes to a doctor to have his athlete's foot treated, but the doctor uses his skin sample to create Lupin clones for profit.

Zenigata thinks he's a Russian gentleman thief after suffering from amnesia, and he keeps stealing Lupin's thunder.

Lupin becomes a Confucian priest after drinking a special elixir that was filtered through a philosophy book.

This poll will run for a week, after which I will reblog it with the correct answer and a breakdown of which plot points happened where.

[greekmythcomix]

How-Odysseus-met-Penelope headcanon

Odysseus is a headstrong fellow as we know. His success with the boar and the pride of his grandfather has established his name in the local area, and, frankly, he’s enjoying that fame and finding out who he really is and he neglects getting married. His parents despair of him, because they need their heir to have an heir to prevent them getting usurped by some nobler, richer king from the mainland should a power vacuum emerge, but their boy is getting older and much more interested in gallivanting and hunting with his slave pal Eumaeus, telling great stories in drinking sessions with the other young nobles of the island, and getting into scrapes than he is settling down and providing the grandchildren. Women long-term just don’t interest him. What can a much younger, uneducated, unadventurous partner possibly have to interest him, aside from moments of physical gratification?

 When the hand of Helen is up for grabs, Odysseus reluctantly goes along with all the other Greek kings. He knows he doesn’t have a chance really – he’s the prince of a backwater island and there are kings of literal cities here. But he goes because it’s a chance to meet people, and he does: Lycomedes of Crete, the Amythaonides  Thoas, Podarkes and Protesilaos, Menestheus and Elephenor[1], Ajax, and the Atreides, Menelaus and Agamemnon, who has also come without intention to marry – he’s already married to Clytaemnestra, sister of Helen - but to support his little brother and, presumably, throw his weight around.

 But he does meet someone. Leaning on a pillar near the back of the Megaron of Tyndareus, watching the other suitors argue in front of the king about who has brought the best gifts, he realises a girl is standing next to him, copying his bored recline and crossed arms. He is surprised. Moreso when she nudges him with her shoulder – how forward – motions towards the other suitors and shakes her head in silent laughter. I gather you’re not really here for her, she says. I bet you’re here for no one, she says, though it looks like, for a loner, you’ve made some friends? Odysseus looks to where she’s pointing and sees auburn-haired Menelaus smiling over and giving a little wave.

 He's alright, Odysseus replies, definitely a bit lovestruck but a good sort. I hope he wins. Otherwise he’ll be insufferable.

Hmm, says the girl. Odysseus is instantly intrigued.

What do you think Helen wants? Odysseus asks. Oh, says the girl, after the narrow escapes she’s had already, all she wants is protection, and someone nice to look at. I warned her that might get dull, but she’s adamant. Mostly, I think she wants to be somewhere where she’s not being gawped at all the time, but I’m worried she’s not thinking about the long term.

What about you though? He asks. He speaks without thinking, because, for the first time, it doesn’t occur to him to do so.

 She shrugs. They’re all the same, she says, looking for a prize. I’d rather have a conversation.

 Days later, Odysseus approaches Tyndareus with his plan to protect Helen and her choice of husband from future reprisals from those rebuffed: an oath, to be sworn on the dissected corpse of one of Sparta’s famous horses, joining the suitors together in blood. He’s quite proud of the idea: it’s simple, but looks dramatic and piety will keep it in place. He might have had some inside help with choosing the animal victim that is the symbolic centre of the oath to be made, and now Odysseus has a price of his own for this help: Tyndareus must speak with his brother, Icarius, on behalf of this prince of a backwater island, so that Odysseus might just also return home with a wife.

[1] From the papyrus BKT V.1 28-30 (P. 9739 R) ttps://berlpap.smb.museum/die-freier-der-schoenen-helena/?lang=en#:~:text=The%20surviving%20fragment%20deals%20with,and%20Protesilaos%2C%20Menestheus%20and%20Elephenor.

[kneelingshadowsalome]

I loooove your Minotaur!Konig, mythological AUs are my favorite ❤️

Asterion is such a sweetheart with his love, but I can only imagine how he gets when he's jealous/protective. I see Asterion settling into domestic life as a husband and a sailor relatively easily because it's all he's ever wanted (more than what he wanted/thought possible if he's being honest), but all it takes is one man making aggressive advances on his wife and he's the dreaded Minotaur of Crete who cut through hundreds of soldiers to get through the palace and slaughter the king himself. All those feral, animalistic traits come rushing back tenfold when it comes to her, the center of his universe and the only goddess he'll ever worship. So it doesn't matter if it's a simple fisherman, a famed warrior, a prince from foreign lands, or the son of Zeus himself. Asterion had slit the throat of a demigod before; Theseus, a rival who he disposed of bitterly before he had even met his wife, the unfamiliar poisonous feel of envy trickling through the Minotaur's veins as Theseus mentioned a woman he'd come to the labyrinth with, a woman who would change his fate and make him different from the other heroes who had tried and failed to kill the Minotaur and escape that infamous maze. Yet the divine hero fell as easily as the others, and she ended up changing Asterion's fate instead, guiding him through the hell that had imprisoned him since he was a child, holding out her hand to him and bringing him out of the darkness of the Labrinyth and into the light. Asterion would kill a thousand heroes and kings for his love, become Death itself and burn down the world and the heavens alike just to keep her safe, keep her with him.

Anon you depicted him & his devotion so beautifully…

He has a lot to learn when it comes to society and living among people: the first time they were at the marketplace and she started to barter with some shopkeeper, he thought the bargaining male was insulting his woman. So he marched forward, grabbed him by his clothes and raised him to the chalked wall until she ran to him and explained the situation – amused while the poor shopkeeper almost pissed himself. She got a very good price after that!

And he will absolutely turn into a demigod, this chthonic warrior whenever he feels his beloved is under a threat or if someone tries to take her away from him. It’s not even about him being jealous (although he is that too): he just sees himself as the most able protector she could choose, and anyone who dares to challenge that will get stomped to the ground.

Clearly, she favors him between the furs as well, so it’s no use to try and snatch her away with perfumed beards, shallow promises or playful charms… She always runs her fingers through his hair, chest, head or thigh, looks at him with stars in her eyes. She obviously doesn’t need some shaved “hero” with an eloquent tongue when she has a bull like him.

Bulls don’t have time for philosophy and neither does she: his goddess prefers a strong man who can carry heavy loads and make her moan in bed. And whenever he does talk, he says what he thinks. It always makes her either gasp or smile so at least he doesn’t bore her to death like those oiled, fancy men… She likes his comments in bed, too, he can tell. To him, it’s nothing earth shatteringly special to wake her up in the middle of the night and announce that he’s hard. The thing between his legs was made for her pleasure after all, so why should he keep it to himself?

She always acts as if he has both done something wrong and extremely right because it always ends in her saying that perhaps he should fuck her then. Soon enough she's begging under him, clawing his back like a cat, sighing that she loves him.

He always tells her that he loves her back, as many times as he has to to make her shatter in his arms.

[caesarflickermans]

A TENTH ANNIVERSARY INTERVIEW WITH SUZANNE COLLINS

On the occasion of the tenth anniversary of the publication of The Hunger Games, author Suzanne Collins and publisher David Levithan discussed the evolution of the story, the editorial process, and the first ten years of the life of the trilogy, encompassing both books and films. The following is their written conversation.

NOTE: The following interview contains a discussion of all three books in The Hunger Games Trilogy, so if you have yet to read Catching Fire and Mockingjay, you may want to read them before reading the full interview.

transcript below

DAVID LEVITHAN: Let’s start at the origin moment for The Hunger Games. You were flipping channels one night . . .

SUZANNE COLLINS: Yes, I was flipping through the channels one night between reality television programs and actual footage of the Iraq War, when the idea came to me. At the time, I was completing the fifth book in The Underland Chronicles and my brain was shifting to whatever the next project would be. I had been grappling with another story that just couldn’t get any air under its wings. I knew I wanted to continue to explore writing about just war theory for young audiences. In The Underland Chronicles, I’d examined the idea of an unjust war developing into a just war because of greed, xenophobia, and long-standing hatreds. For the next series, I wanted a completely new world and a different angle into the just war debate.

DL: Can you tell me what you mean by the “just war theory” and how that applies to the setup of the trilogy?

SC: Just war theory has evolved over thousands of years in an attempt to define what circumstances give you the moral right to wage war and what is acceptable behavior within that war and its aftermath. The why and the how. It helps differentiate between what’s considered a necessary and an unnecessary war. In The Hunger Games Trilogy, the districts rebel against their own government because of its corruption. The citizens of the districts have no basic human rights, are treated as slave labor, and are subjected to the Hunger Games annually. I believe the majority of today’s audience would define that as grounds for revolution. They have just cause but the nature of the conflict raises a lot of questions. Do the districts have the authority to wage war? What is their chance of success? How does the reemergence of District 13 alter the situation? When we enter the story, Panem is a powder keg and Katniss the spark.

DL: As with most novelists I know, once you have that origin moment — usually a connection of two elements (in this case, war and entertainment) — the number of connections quickly increases, as different elements of the story take their place. I know another connection you made early on was with mythology, particularly the myth of Theseus. How did that piece come to fit?

SC: I was such a huge Greek mythology geek as a kid, it’s impossible for it not to come into play in my storytelling. As a young prince of Athens, he participated in a lottery that required seven girls and seven boys to be taken to Crete and thrown into a labyrinth to be destroyed by the Minotaur. In one version of the myth, this excessively cruel punishment resulted from the Athenians opposing Crete in a war. Sometimes the labyrinth’s a maze; sometimes it’s an arena. In my teens I read Mary Renault’s The King Must Die, in which the tributes end up in the Bull Court. They’re trained to perform with a wild bull for an audience composed of the elite of Crete who bet on the entertainment. Theseus and his team dance and handspring over the bull in what’s called bull-leaping. You can see depictions of this in ancient sculpture and vase paintings. The show ended when they’d either exhausted the bull or one of the team had been killed. After I read that book, I could never go back to thinking of the labyrinth as simply a maze, except perhaps ethically. It will always be an arena to me.

DL: But in this case, you dispensed with the Minotaur, no? Instead, the arena harkens more to gladiator vs. gladiator than to gladiator vs. bull. What influenced this construction?

SC: A fascination with the gladiator movies of my childhood, particularly Spartacus. Whenever it ran, I’d be glued to the set. My dad would get outPlutarch’s Lives and read me passages from “Life of Crassus,” since Spartacus, being a slave, didn’t rate his own book. It’s about a person who’s forced to become a gladiator, breaks out of the gladiator school/arena to lead a rebellion, and becomes the face of a war. That’s the dramatic arc of both the real-life Third Servile War and the fictional Hunger Games Trilogy.

DL: Can you talk about how war stories influenced you as a young reader, and then later as a writer? How did this knowledge of war stories affect your approach to writing The Hunger Games?

SC: Now you can find many wonderful books written for young audiences that deal with war. That wasn’t the case when I was growing up. It was one of the reasons Greek mythology appealed to me: the characters battled, there was the Trojan War. My family had been heavily impacted by war the year my father, who was career Air Force, went to Vietnam, but except for my myths, I rarely encountered it in books. I liked Johnny Tremain but it ends as the Revolutionary War kicks off. The one really memorable book I had about war was Boris by Jaap ter Haar, which deals with the Siege of Leningrad in World War II.

My war stories came from my dad, a historian and a doctor of political science. The four years before he left for Vietnam, the Army borrowed him from the Air Force to teach at West Point. His final assignment would be at Air Command and Staff College. As his kids, we were never too young to learn, whether he was teaching us history or taking us on vacation to a battlefield or posing a philosophical dilemma. He approached history as a story, and fortunately he was a very engaging storyteller. As a result, in my own writing, war felt like a completely natural topic for children.

DL: Another key piece of The Hunger Games is the voice and perspective that Katniss brings to it. I know some novelists start with a character and then find a story through that character, but with The Hunger Games (and correct me if I’m wrong) I believe you had the idea for the story first, and then Katniss stepped into it. Where did she come from? I’d love for you to talk about the origin of her name, and also the origin of her very distinctive voice.

SC: Katniss appeared almost immediately after I had the idea, standing by the bed with that bow and arrow. I’d spent a lot of time during The Underland Chronicles weighing the attributes of different weapons. I used archers very sparingly because they required light and the Underland has little natural illumination. But a bow and arrow can be handmade, shot from a distance, and weaponized when the story transitions into warfare. She was a born archer.

Her name came later, while I was researching survival training and specifically edible plants. In one of my books, I found the arrowhead plant, and the more I read about it, the more it seemed to reflect her. Its Latin name has the same roots as Sagittarius, the archer. The edible tuber roots she could gather, the arrowhead-shaped leaves were her defense, and the little white blossoms kept it in the tradition of flower names, like Rue and Primrose. I looked at the list of alternative names for it. Swamp Potato. Duck Potato. Katniss easily won the day.

As to her voice, I hadn’t intended to write in first person. I thought the book would be in the third person like The Underland Chronicles. Then I sat down to work and the first page poured out in first person, like she was saying, “Step aside, this is my story to tell.” So I let her.

DL: I am now trying to summon an alternate universe where the Mockingjay is named Swamp Potato Everdeen. Seems like a PR challenge. But let’s stay for a second on the voice — because it’s not a straightforward, generic American voice. There’s a regionalism to it, isn’t there? Was that present from the start?

SC: It was. There’s a slight District 12 regionalism to it, and some of the other tributes use phrases unique to their regions as well. The way they speak, particularly the way in which they refuse to speak like citizens of the Capitol, is important to them. No one in District 12 wants to sound like Effie Trinket unless they’re mocking her. So they hold on to their regionalisms as a quiet form of rebellion. The closest thing they have to freedom of speech is their manner of speaking.

DL: I’m curious about Katniss’s family structure. Was it always as we see it, or did you ever consider giving her parents greater roles? How much do you think the Everdeen family’s story sets the stage for Katniss’s story within the trilogy?

SC: Her parents have their own histories in District 12 but I only included what’s pertinent to Katniss’s tale. Her father’s hunting skills, musicality, and death in the mines. Her mother’s healing talent and vulnerabilities. Her deep love for Prim. Those are the elements that seemed essential to me.

DL: This completely fascinates me because I, as an author, rarely know more (consciously) about the characters than what’s in the story. But this sounds like you know much more about the Everdeen parents than found their way to the page. What are some of the more interesting things about them that a reader wouldn’t necessarily know?

SC: Your way sounds a lot more efficient. I have a world of information about the characters that didn’t make it into the book. With some stories, revealing that could be illuminating, but in the case of The Hunger Games, I think it would only be a distraction unless it was part of a new tale within the world of Panem.

DL: I have to ask — did you know from the start how Prim’s story was going to end? (I can’t imagine writing the reaping scene while knowing — but at the same time I can’t imagine writing it without knowing.)

SC: You almost have to know it and not know it at the same time to write it convincingly, because the dramatic question, Can Katniss save Prim?, is introduced in the first chapter of the first book, and not answered until almost the end of the trilogy. At first there’s the relief that, yes, she can volunteer for Prim. Then Rue, who reminds her of Prim, joins her in the arena and she can’t save her. That tragedy refreshes the question. For most of the second book, Prim’s largely out of harm’s way, although there’s always the threat that the Capitol might hurt her to hurt Katniss. The jabberjays are a reminder of that. Once she’s in District 13 and the war has shifted to the Capitol, Katniss begins to hope Prim’s not only safe but has a bright future as a doctor. But it’s an illusion. The danger that made Prim vulnerable in the beginning, the threat of the arena, still exists. In the first book, it’s a venue for the Games; in the second, the platform for the revolution; in the third, it’s the battleground of Panem, coming to a head in the Capitol. The arena transforms but it’s never eradicated; in fact it’s expanded to include everyone in the country. Can Katniss save Prim? No. Because no one is safe while the arena exists.

DL: If Katniss was the first character to make herself known within story, when did Peeta and Gale come into the equation? Did you know from the beginning how their stories would play out vis-à-vis Katniss’s?

SC: Peeta and Gale appeared quickly, less as two points on a love triangle, more as two perspectives in the just war debate. Gale, because of his experiences and temperament, tends toward violent remedies. Peeta’s natural inclination is toward diplomacy. Katniss isn’t just deciding on a partner; she’s figuring out her worldview.

DL: And did you always know which worldview would win? It’s interesting to see it presented in such a clear-cut way, because when I think of Katniss, I certainly think of force over diplomacy.

SC: And yet Katniss isn’t someone eager to engage in violence and she takes no pleasure in it. Her circumstances repeatedly push her into making choices that include the use of force. But if you look carefully at what happens in the arena, her compassionate choices determine her survival. Taking on Rue as an ally results in Thresh sparing her life. Seeking out Peeta and caring for him when she discovers how badly wounded he is ultimately leads to her winning the Games. She uses force only in self-defense or defense of a third party, and I’m including Cato’s mercy killing in that. As the trilogy progresses, it becomes increasingly difficult to avoid the use of force because the overall violence is escalating with the war. The how and the why become harder to answer.

Yes, I knew which worldview would win, but in the interest of examining just war theory you need to make the arguments as strongly as possible on both sides. While Katniss ultimately chooses Peeta, remember that in order to end the Hunger Games her last act is to assassinate an unarmed woman. Conversely, in The Underland Chronicles, Gregor’s last act is to break his sword to interrupt the cycle of violence. The point of both stories is to take the reader through the journey, have them confront the issues with the protagonist, and then hopefully inspire them to think about it and discuss it. What would they do in Katniss’s or Gregor’s situation? How would they define a just or unjust war and what behavior is acceptable within warfare? What are the human costs of life, limb, and sanity? How does developing technology impact the debate? The hope is that better discussions might lead to more nonviolent forms of conflict resolution, so we evolve out of choosing war as an option.

DL: Where does Haymitch fit into this examination of war? What worldview does he bring?

SC: Haymitch was badly damaged in his own war, the second Quarter Quell, in which he witnessed and participated in terrible things in order to survive and then saw his loved ones killed for his strategy. He self-medicates with white liquor to combat severe PTSD. His chances of recovery are compromised because he’s forced to mentor the tributes every year. He’s a version of what Katniss might become, if the Hunger Games continues. Peeta comments on how similar they are, and it’s true. They both really struggle with their worldview. He manages to defuse the escalating violence at Gale’s whipping with words, but he participates in a plot to bring down the government that will entail a civil war.

The ray of light that penetrates that very dark cloud in his brain is the moment that Katniss volunteers for Prim. He sees, as do many people in Panem, the power of her sacrifice. And when that carries into her Games, with Rue and Peeta, he slowly begins to believe that with Katniss it might be possible to end the Hunger Games.

DL: I’m also curious about how you balanced the personal and political in drawing the relationship between Katniss and Gale. They have such a history together — and I think you powerfully show the conflict that arises when you love someone, but don’t love what they believe in. (I think that resonates particularly now, when so many families and relationships and friendships have been disrupted by politics.)

SC: Yes, I think it’s painful, especially because they feel so in tune in so many ways. Katniss’s and Gale’s differences of opinion are based in just war theory. Do we revolt? How do we conduct ourselves in the war? And the ethical and personal lines climax at the same moment — the double tap bombing that takes Prim’s life. But it’s rarely simple; there are a lot of gray areas. It’s complicated by Peeta often holding a conflicting view while being the rival for her heart, so the emotional pull and the ethical pull become so intertwined it’s impossible to separate them. What do you do when someone you love, someone you know to be a good person, has a view which completely opposes your own? You keep trying to understand what led to the difference and see if it can be bridged. Maybe, maybe not. I think many conflicts grow out of fear, and in an attempt to counter that fear, people reach for solutions that may be comforting in the short term, but only increase their vulnerability in the long run and cause a lot of destruction along the way.

DL: In drawing Gale’s and Peeta’s roles in the story, how conscious were you of the gender inversion from traditional narrative tropes? As you note above, both are important far beyond any romantic subplot, but I do think there’s something fascinating about the way they both reinscribe roles that would traditionally be that of the “girlfriend.” Gale in particular gets to be “the girl back home” from so many Westerns and adventure movies — but of course is so much more than that. And Peeta, while a very strong character in his own right, often has to take a backseat to Katniss and her strategy, both in and out of the arena. Did you think about them in terms of gender and tropes, or did that just come naturally as the characters did what they were going to do on the page?

SC: It came naturally because, while Gale and Peeta are very important characters, it’s Katniss’s story.

DL: For Peeta . . . why baking?

SC: Bread crops up a lot in The Hunger Games. It’s the main food source in the districts, as it was for many people historically. When Peeta throws a starving Katniss bread in the flashback, he’s keeping her alive long enough to work out a strategy for survival. It seemed in keeping with his character to be a baker, a life giver.

But there’s a dark side to bread, too. When Plutarch Heavensbee references it, he’s talking about Panem et Circenses, Bread and Circuses, where food and entertainment lull people into relinquishing their political power. Bread can contribute to life or death in the Hunger Games.

DL: Speaking of Plutarch — in a meta way, the two of you share a job (although when you do it, only fictional people die). When you were designing the arena for the first book, what influences came into play? Did you design the arena and then have the participants react to it, or did you design the arena with specific reactions and plot points in mind?

SC: Katniss has a lot going against her in the first arena — she’s inexperienced, smaller than a lot of her competitors, and hasn’t the training of the Careers — so the arena needed to be in her favor. The landscape closely resembles the woods around District 12, with similar flora and fauna. She can feed herself and recognize the nightlock as poisonous. Thematically, the Girl on Fire needed to encounter fire at some point, so I built that in. I didn’t want it too physically flashy, because the audience needs to focus on the human dynamic, the plight of the star-crossed lovers, the alliance with Rue, the twist that two tributes can survive from the same district. Also, the Gamemakers would want to leave room for a noticeable elevation in spectacle when the Games move to the Quarter Quell arena in Catching Fire with the more intricate clock design.

DL: So where does Plutarch fall into the just war spectrum? There are many layers to his involvement in what’s going on.

SC: Plutarch is the namesake of the biographer Plutarch, and he’s one of the few characters who has a sense of the arc of history. He’s never lived in a world without the Hunger Games; it was well established by the time he was born and then he rose through the ranks to become Head Gamemaker. At some point, he’s gone from accepting that the Games are necessary to deciding they’re unnecessary, and he sets about ending them. Plutarch has a personal agenda as well. He’s seen so many of his peers killed off, like Seneca Crane, that he wonders how long it will be before the mad king decides he’s a threat not an asset. It’s no way to live. And as a gamemaker among gamemakers, he likes the challenge of the revolution. But even after they succeed he questions how long the resulting peace will last. He has a fairly low opinion of human beings, but ultimately doesn’t rule out that they might be able to change.

DL: When it comes to larger world building, how much did you know about Panem before you started writing? If I had asked you, while you were writing the opening pages, “Suzanne, what’s the primary industry of District Five?” would you have known the answer, or did those details emerge to you when they emerged within the writing of the story?

SC: Before I started writing I knew there were thirteen districts — that’s a nod to the thirteen colonies — and that they’d each be known for a specific industry. I knew 12 would be coal and most of the others were set, but I had a few blanks that naturally filled in as the story evolved. When I was little we had that board game, Game of the States, where each state was identified by its exports. And even today we associate different locations in the country with a product, with seafood or wine or tech. Of course, it’s a very simplified take on Panem. No district exists entirely by its designated trade. But for purposes of the Hunger Games, it’s another way to divide and define the districts.

DL: How do you think being from District 12 defines Katniss, Peeta, and Gale? Could they have been from any other district, or is their residency in 12 formative for the parts of their personalities that drive the story?

SC: Very formative. District 12 is the joke district, small and poor, rarely producing a victor in the Hunger Games. As a result, the Capitol largely ignores it. The enforcement of the laws is lax, the relationship with the Peacekeepers less hostile. This allows the kids to grow up far less constrained than in other districts. Katniss and Gale become talented archers by slipping off in the woods to hunt. That possibility of training with a weapon is unthinkable in, say, District 11, with its oppressive military presence. Finnick’s trident and Johanna’s ax skills develop as part of their districts’ industries, but they would never be allowed access to those weapons outside of work. Also, Katniss, Peeta, and Gale view the Capitol in a different manner by virtue of knowing their Peacekeepers better. Darius, in the Hob, is considered a friend, and he proves himself to be so more than once. This makes the Capitol more approachable on a level, more possible to befriend, and more possible to defeat. More human.

DL: Let’s talk about the Capitol for a moment — particularly its most powerful resident. I know that every name you give a character is deliberate, so why President Snow?

SC: Snow because of its coldness and purity. That’s purity of thought, although most people would consider it pure evil. His methods are monstrous, but in his mind, he’s all that’s holding Panem together. His first name, Coriolanus, is a nod to the titular character in Shakespeare’s play who was based on material from Plutarch’s Lives. He was known for his anti-populist sentiments, and Snow is definitely not a man of the people.

DL: The bond between Katniss and Snow is one of the most interesting in the entire series. Because even when they are in opposition, there seems to be an understanding between them that few if any of the other characters in the trilogy share. What role do you feel Snow plays for Katniss — and how does this fit into your examination of war?

SC: On the surface, she’s the face of the rebels, he’s the face of the Capitol. Underneath, things are a lot more complicated. Snow’s quite old under all that plastic surgery. Without saying too much, he’s been waiting for Katniss for a long time. She’s the worthy opponent who will test the strength of his citadel, of his life’s work. He’s the embodiment of evil to her, with the power of life and death. They’re obsessed with each other to the point of being blinded to the larger picture. “I was watching you, Mockingjay. And you were watching me. I’m afraid we have both been played for fools.” By Coin, that is. And then their unholy alliance at the end brings her down.

DL: One of the things that both Snow and Katniss realize is the power of media and imagery on the population. Snow may appear heartless to some, but he is very attuned to the “hearts and minds” of his citizens . . . and he is also attuned to the danger of losing them to Katniss. What role do you see propaganda playing in the war they’re waging?

SC: Propaganda decides the outcome of the war. This is why Plutarch implements the airtime assault; he understands that whoever controls the airwaves controls the power. Like Snow, he’s been waiting for Katniss, because he needs a Spartacus to lead his campaign. There have been possible candidates, like Finnick, but no one else has captured the imagination of the country like she has.

DL: In terms of the revolution, appearance matters — and two of the characters who seem to understand this the most are Cinna and Caesar Flickerman, one in a principled way, one . . . not as principled. How did you draw these two characters into your themes?

SC: That’s exactly right. Cinna uses his artistic gifts to woo the crowd with spectacle and beauty. Even after his death, his Mockingjay costume designs are used in the revolution. Caesar, whose job is to maintain the myth of the glorious games, transitions into warfare with the prisoner of war interviews with Peeta. They are both helping to keep up appearances.

DL: As a writer, you studiously avoided the trope of harkening back to the “old” geography — i.e., there isn’t a character who says, “This was once a land known as . . . Delaware.” (And thank goodness for that.) Why did you decide to avoid pinning down Panem to our contemporary geography?

SC: The geography has changed because of natural and man-made disasters, so it’s not as simple as overlaying a current map on Panem. But more importantly, it’s not relevant to the story. Telling the reader the continent gives them the layout in general, but borders are very changeful. Look at how the map of North America has evolved in the past 300 years. It makes little difference to Katniss what we called Panem in the past.

DL: Let’s talk about the D word. When you sat down to write The Hunger Games, did you think of it as a dystopian novel?

SC: I thought of it as a war story. I love dystopia, but it will always be secondary to that. Setting the trilogy in a futuristic North America makes it familiar enough to relate to but just different enough to gain some perspective. When people ask me how far in the future it’s set, I say, “It depends on how optimistic you are.”

DL: What do you think it was about the world into which the book was published that made it viewed so prominently as a dystopia?

SC: In the same way most people would define The Underland Chronicles as a fantasy series, they would define The Hunger Games as a dystopian trilogy, and they’d be right. The elements of the genres are there in both cases. But they’re first and foremost war stories to me. The thing is, whether you came for the war, dystopia, action adventure, propaganda, coming of age, or romance, I’m happy you’re reading it. Everyone brings their own experiences to the book that will color how they interpret it. I imagine the number of people who immediately identify it as a just war theory story are in the minority, but most stories are more than one thing.

DL: What was the relationship between current events and the world you were drawing? I know that with many speculative writers, they see something in the news and find it filtering into their fictional world. Were you reacting to the world around you, or was your reaction more grounded in a more timeless and/or historical consideration of war?

SC: I would say the latter. Some authors — okay, you for instance — can digest events quickly and channel them into their writing, as you did so effectively with September 11 in Love Is the Higher Law. But I don’t process and integrate things rapidly, so history works better for me.

DL: There’s nothing I like more than talking to writers about writing — so I’d love to ask about your process (even though I’ve always found the word process to be far too orderly to describe how a writer’s mind works).

As I recall, when we at Scholastic first saw the proposal for The Hunger Games Trilogy, the summary of the first book was substantial, the summary for the second book was significantly shorter, and the summary of the third book was . . . remarkably brief. So, first question: Did you stick to that early outline?

SC: I had to go back and take a look. Yes, I stuck to it very closely, but as you point out, the third book summary is remarkably brief. I basically tell you there’s a war that the Capitol eventually loses. Just coming off The Underland Chronicles, which also ends with a war, I think I’d seen how much develops along the way and wanted that freedom for this series as well.

DL: Would you outline books two and three as you were writing book one? Or would you just take notes for later? Was this the same or different from what you did with The Underland Chronicles?

SC: Structure’s one of my favorite parts of writing. I always work a story out with Post-its, sometimes using different colors for different character arcs. I create a chapter grid, as well, and keep files for later books, so that whenever I have an idea that might be useful, I can make a note of it. I wrote scripts for many years before I tried books, so a lot of my writing habits developed through that experience.

DL: Would you deliberately plant things in book one to bloom in books two or three? Are there any seeds you planted in the first book that you ended up not growing?

SC: Oh, yes, I definitely planted things. For instance, Johanna Mason is mentioned in the third chapter of the first book although she won’t appear until Catching Fire. Plutarch is that unnamed gamemaker who falls into the punch bowl when she shoots the arrow. Peeta whispers “Always” in Catching Fire when Katniss is under the influence of sleep syrup but she doesn’t hear the word until after she’s been shot in Mockingjay. Sometimes you just don’t have time to let all the seeds grow, or you cut them out because they don’t really add to the story. Like those wild dogs that roam around District 12. One could potentially have been tamed, but Buttercup stole their thunder.

DL: Since much of your early experience as a writer was as a playwright, I’m curious: What did you learn as a playwright that helped you as a novelist?

SC: I studied theater for many years — first acting, then playwriting — and I have a particular love for classical theater. I formed my ideas about structure as a playwright, how crucial it is and how, when it’s done well, it’s really inseparable from character. It’s like a living thing to me. I also wrote for children’s television for seventeen years. I learned a lot writing for preschool. If a three-year-old doesn’t like something, they just get up and walk away from the set. I saw my own kids do that. How do you hold their attention? It’s hard and the internet has made it harder. So for the eight novels, I developed a three-act structure, with each act being composed of nine chapters, using elements from both play and screenplay structures — double layering it, so to speak.

DL: Where do you write? Are you a longhand writer or a laptop writer? Do you listen to music as you write, or go for the monastic, writerly silence?

SC: I write best at home in a recliner. I used to write longhand, but now it’s all laptop. Definitely not music; it demands to be listened to. I like quiet, but not silence.

DL: You talked earlier about researching survival training and edible plants for these books. What other research did you have to do? Are you a reading researcher, a hands-on researcher, or a mix of both? (I’m imagining an elaborate archery complex in your backyard, but I am guessing that’s not necessarily accurate.)

SC: You know, I’m just not very handy. I read a lot about how to build a bow from scratch, but I doubt I could ever make one. Being good with your hands is a gift. So I do a lot of book research. Sometimes I visit museums or historic sites for inspiration. I was trained in stage combat, particularly sword fighting in drama school; I have a nice collection of swords designed for that, but that was more helpful for The Underland Chronicles. The only time I got to do archery was in gym class in high school.

DL: While I wish I could say the editorial team (Kate Egan, Jennifer Rees, and myself ) were the first-ever readers of The Hunger Games, I know this isn’t true. When you’re writing a book, who reads it first?

SC: My husband, Cap, and my literary agent, Rosemary Stimola, have consistently been the books’ first readers. They both have excellent critique skills and give insightful notes. I like to keep the editorial team as much in the dark as possible, so that when they read the first draft it’s with completely fresh eyes.

DL: Looking back now at the editorial conversations we had about The Hunger Games — which were primarily with Kate, as Jen and I rode shotgun — can you recall any significant shifts or discussions?

SC: What I mostly recall is how relieved I was to know that I had such amazing people to work with on the book before it entered the world. I had eight novels come out in eight years with Scholastic, so that was fast for me and I needed feedback I could trust. You’re all so smart, intuitive, and communicative, and with the three of you, no stone went unturned. With The Hunger Games Trilogy, I really depended on your brains and hearts to catch what worked and what didn’t.

DL: And then there was the question of the title . . .

SC: Okay, this I remember clearly. The original title of the first book was The Tribute of District Twelve. You wanted to change it to The Hunger Games, which was my name for the series. I said, “Okay, but I’m not thinking of another name for the series!” To this day, more people ask me about “the Gregor series” than “The Underland Chronicles,” and I didn’t want a repeat of that because it’s confusing. But you were right, The Hunger Games was a much better name for the book. Catching Fire was originally called The Ripple Effect and I wanted to change that one, because it was too watery for a Girl on Fire, so we came up with Catching Fire. The third book I’d come up with a title so bad I can’t even remember it except it had the word ashes in it. We both hated it. One day, you said, “What if we just call it Mockingjay?” And that seemed perfect. The three parts of the book had been subtitled “The Mockingjay,” “The Assault,” and “The Assassin.” We changed the title to Mockingjay and the first part to “The Ashes” and got that lovely alliteration in the subtitles. Thank goodness you were there; you have far better taste in titles. I believe in the acknowledgments, I call you the Title Master.

DL: With The Hunger Games, the choice of Games is natural — but the choice of Hunger is much more odd and interesting. So I’ll ask: Why Hunger Games?

SC: Because food is a lethal weapon. Withholding food, that is. Just like it is in Boris when the Nazis starve out the people of Leningrad. It’s a weapon that targets everyone in a war, not just the soldiers in combat, but the civilians too. In the prologue of Henry V, the Chorus talks about Harry as Mars, the god of war. “And at his heels, Leash’d in like hounds, should famine, sword, and fire crouch for employment.” Famine, sword, and fire are his dogs of war, and famine leads the pack. With a rising global population and environmental issues, I think food could be a significant weapon in the future.

DL: The cover was another huge effort. We easily had over a hundred different covers comped up before we landed on the iconic one. There were some covers that pictured Katniss — something I can’t imagine doing now. And there were others that tried to picture scenes. Of course, the answer was in front of us the entire time — the Mockingjay symbol, which the art director Elizabeth Parisi deployed to such amazing effect. What do you think of the impact the cover and the symbol have had? What were your thoughts when you saw this cover?

SC: Oh, it’s a brilliant cover, which I should point out I had nothing to do with. I only saw a handful of the many you developed. The one that made it to print is absolutely fantastic; I loved it at first sight. It’s classy, powerful, and utterly unique to the story. It doesn’t limit the age of the audience and I think that really contributed to adults feeling comfortable reading it. And then, of course, you followed it up with the wonderful evolution of the mockingjay throughout the series. There’s something universal about the imagery, the captive bird gaining freedom, which I think is why so many of the foreign publishers chose to use it instead of designing their own. And it translated beautifully to the screen where it still holds as the central symbolic image for the franchise.

DL: Obviously, the four movies had an enormous impact on how widely the story spread across the globe. The whole movie process started with the producers coming on board. What made you know they were the right people to shepherd this story into another form?

SC: When I decided to sell the entertainment rights to the book, I had phone interviews with over a dozen producers. Nina Jacobson’s understanding of and passion for the piece along with her commitment to protecting it won me over. She’s so articulate, I knew she’d be an excellent person to usher it into the world. The team at Lionsgate’s enthusiasm and insight made a deep impression as well. I needed partners with the courage not to shy away from the difficult elements of the piece, ones who wouldn’t try to steer the story to an easier, more traditional ending. Prim can’t live. The victory can’t be joyous. The wounds have to leave lasting scars. It’s not an easy ending but it’s an intentional one.

DL: You cowrote the screenplay for the first Hunger Games movie. I know it’s an enormously tricky thing for an author to adapt their own work. How did you approach it? What was the hardest thing about translating a novel into a screenplay? What was the most rewarding?

SC: I wrote the initial treatments and first draft and then Billy Ray came on for several drafts and then our director, Gary Ross, developed it into his shooting script and we ultimately did a couple of passes together. I did the boil down of the book, which is a lot of cutting things while trying to retain the dramatic structure. I think the hardest thing for me, because I’m not a terribly visual person, was finding the way to translate many words into few images. Billy and Gary, both far more experienced screenwriters and gifted directors as well, really excelled at that. Throughout the franchise I had terrific screenwriters, and Francis Lawrence, who directed the last three films, is an incredible visual storyteller.

The most rewarding moment on the Hunger Games movie would have been the first time I saw it put together, still in rough form, and thinking it worked.

DL: One of the strange things for me about having a novel adapted is knowing that the actors involved will become, in many people’s minds, the faces and bodies of the characters who have heretofore lived as bodiless voices in my head. Which I suppose leads to a three-part question: Do you picture your characters as you’re writing them? If so, how close did Jennifer Lawrence come to the Katniss in your head? And now when you think about Katniss, do you see Jennifer or do you still see what you imagined before?

SC: I definitely do picture the characters when I’m writing them. The actress who looks exactly like my book Katniss doesn’t exist. Jennifer looked close enough and felt very right, which is more important. She gives an amazing performance. When I think of the books, I still think of my initial image of Katniss. When I think of the movies, I think of Jen. Those images aren’t at war any more than the books are with the films. Because they’re faithful adaptations, the story becomes the primary thing. Some people will never read a book, but they might see the same story in a movie. When it works well, the two entities support and enrich each other.

DL: All of the actors did such a fantastic job with your characters (truly). Are there any in particular that have stayed with you?

SC: A writer friend of mine once said, “Your cast — they’re like a basket of diamonds.” That’s how I think of them. I feel fortunate to have had such a talented team — directors, producers, screenwriters, performers, designers, editors, marketing, publicity, everybody — to make the journey with. And I’m so grateful for the readers and viewers who invested in The Hunger Games. Stories are made to be shared.

DL: We’re talking on the occasion of the tenth anniversary of The Hunger Games. Looking back at the past ten years, what have some of the highlights been?

SC: The response from the readers, especially the young audience for which it was written. Seeing beautiful and faithful adaptations reach the screen. Occasionally hearing it make its way into public discourse on politics or social issues.

DL: The Hunger Games Trilogy has been an international bestseller. Why do you think this series struck such an important chord throughout the world?

SC: Possibly because the themes are universal. War is a magnet for difficult issues. In The Hunger Games, you have vast inequality of wealth, destruction of the planet, political struggles, war as a media event, human rights abuses, propaganda, and a whole lot of other elements that affect human beings wherever they live. I think the story might tap into the anxiety a lot of people feel about the future right now.

DL: As we celebrate the past ten years and look forward to many decades to come for this trilogy, I’d love for us to end where we should — with the millions of readers who’ve embraced these books. What words would you like to leave them with?

SC: Thank you for joining Katniss on her journey. And may the odds be ever in your favor.