#i know they're just joking but people on here certainly seem to take those jokes very seriously idk and I'm starting to take it to heart

[purpurussy]

I know this is 100% my personal problem and idk if anyone can relate but as an afab person with some weird gender shit going on I kinda hate it whenever dnp make jokes like "you know us we don't like pussy/tits" etc like 😭 I love that they have fully healed from the comphet "fyi I like vagina" era but I hate being made to feel like a Woman™ because of my anatomy if that makes sense. Like my brain interprets it as "we don't like those traits because they make you a woman and we're gay" idk it gives me like a weird wave of dysphoria every time they say it 😭😭 the first time I watched BIG I interpreted Dan's monologue about "I don't care what kind of anatomy you've got going on, I don't feel attracted to the signs on bathroom doors" as being like trans inclusive but I fear he's walked it back with these constant jokes dsdfghjkl and to be clear I'm not saying anyone is obligated to find me or my body type attractive like that's not what this is about. It's just the equation of genitals/anatomy with gender idk. And this is not even really something that's specific to dnp and I know there's a lot of discourse about genital preferences or whatever idk idk maybe I should've just sent this to phannieconfessions and allowed everyone to take it in the worst possible faith over there. I just need to get it off my chest

[ellecdc]

thank you, McLaggen

inspired by the TikTok audio of Phil Dunphy saying "if you ever say anything disrespectful about my wife again, I'll kill you. Sorry, I don't know why that sounded like a joke; I will actually kill you."

James Potter x fem!reader who was apparently 'too much' for McLaggen

CW: they're at a party, readers last relationship left her feeling small, but she loves James and is all good now

It took a bit of unlearning when you found yourself in a relationship with James Potter. 

He sensed your hangups immediately; as if you were a duffle bag containing paraphernalia and he was a well-trained drug dog.

He noticed the way you seemed to fold in on yourself when you were excited, the way you cut yourself off when you began rambling, and the way you seemed to make yourself smaller as if that was what was required for the people around you to feel comfortable.

“Why do you keep snuffing out your own light, lovie? I miss your spark.” He’d said to you one night.

In all honesty, you hadn’t been aware you were even doing such a thing.

But you certainly knew why. 

Though your mother always told you to never look back on life with regrets, you’d spent about a year in what you now consider to be a rather unfortunate relationship with Tiberius McLaggen. 

And though you hadn’t noticed he’d been doing it; by the time your relationship ended, you realised you were perhaps a mere shadow of the person you used to be.

He’d ended the relationship after suggesting you were ‘too much’.

The irony of it was you were the smallest you’d ever been at that point; the ‘least’ you that you could possibly be. How could you be ‘too much’ and diminished at the same time?

You spent a lot of time reflecting after that, but it seemed that when you and James started your relationship, those old habits and qualities made their way back into your subconscious and it took James pointing it out for you to even notice.

You were glad he had, though. He was lovely, and he was caring, and he loved you. He loved your energy, he loved your passion, he loved your excitement, and better yet, he loved sharing those qualities with you.

All of the traits that your ex had deemed unseemly or unflattering were the traits you loved most about James, and in turn what he most loved about you.

And why would you deny such a lovely person of anything they wanted?

You just couldn’t.

So the two of you had been dating for nearly five months already, and you felt more comfortable in yourself than you ever had before.

You thought perhaps that this was just the effect James had on people; you found it almost impossible for any of his friends to be anything but their best selves when they were in his presence. 

You loved him immensely for it. 

You were getting a first hand look at exactly that from your spot on the arm of the sofa as you watched Peter throw his head back in boisterous laughter not usually seen from the typically soft spoken marauder. James didn’t even spend any time being smug about eliciting such a laugh from the cushion below you before he was complimenting Remus on his jumper, knowing very well that Sirius was the one who picked it out for him - and also knowing Sirius would absolutely take full responsibility for the compliment - only to coo about how sweet they were together and leaving both boys blushing messes. 

You had almost forgotten you were sitting in the middle of a Gryffindor party when someone sidled up beside you.

“Lookin’ good, Y/N.” McLaggen commented as he looked you up and down.

You fought the urge to grimace as you narrowed your eyes at him. “Tiberius.” 

“Didn’t think I’d see you here; not really your scene, is it?” He commented with an air of casualty you knew was entirely for show. “I’m here with my new bird; she’s in Gryffindor.” He carried on without waiting for you to respond.

You hummed in acknowledgement as you looked around the room. “It doesn’t look like you’re here with anyone, McLaggen, seeing as you’re standing here talking to me.” 

“Come now, can’t old friends catch up?” He said salaciously. 

“We’re not friends, Tiberius.” You retorted forcefully.

He held his hands up in mock surrender as he chuckled at you. “Down girl, no need to get all jumpy now. You always were a bit of a handful, weren’t you?” 

You didn’t even have a chance to tell McLaggen where to shove it before James was standing up from his place hidden behind you as McLaggen’s face fell. 

“Ah, if it isn’t Tiberius McLaggen; kicked off the Ravenclaw quidditch team, failing Astronomy, received a mere acceptable in Herbology last term, and totally shit the bed with the most beautiful girl in Hogwarts. I’ve heard so much about you!” James recounted with faux cheer as he stuck his hand out to McLaggen, forcing the bloke to give him an awkward handshake as James stared at him hard.

James Potter was still flashing his (what should be award winning) smile, but it never met his eyes which were no longer their warm hazel. 

“Sounds like you’re the one I have to thank.” James carried on as he dropped McLaggen’s hand, wiped his own hand off on his trousers and threw his other arm protectively, possessively, affectionately over your shoulder. “Turns out if you hadn’t been such an absolute fucking tosser and fumbled the best thing to have ever happened to you, I wouldn’t have my sweet, gorgeous girl here. Congrats on losing the most lovely little thing to have ever looked your way; now sod off before I decide to do something that might just be worth making her frown over.”

You were unsuccessful in hiding your snort of amusement as you hid your face in James’ shoulder and listened to McLaggen scoff and stalk away. 

“Merlin’s tits, Prongsie! Did anyone else know James could be mean!?” Sirius cackled as the two of you turned back towards the group. 

“I don’t think I’ve ever seen James end a conversation without at least wishing someone a good day.” Peter carried on.

“Did you actually threaten the sod?” Marlene continued.

“No, I didn’t threaten him.” James muttered somewhat petulantly. “I promised him pain if he ever spoke to my girl like that again.”

The group cheered as you felt a shy yet pleased heat spread across your face and you shoved your face back into James’ shoulder.

James, for his part, accepted you eagerly and rubbed his hand up and down your arm as he pressed a kiss into your hair. 

“I’ll never let anyone make you feel small ever again.” He promised quietly; whether he was promising himself, or you, or McLaggen, you weren’t entirely sure.

What you were entirely sure of was that it was a promise he intended to keep.

[eats-all-your-shoes]

A FEW HERMITCRAFT FIC RECS BECAUSE THERE ARE NOT ENOUGH FIC REC POSTS!! (mostly alternate universes because i love aus SO much)

Alternate Perspectives by Boxmaker: Etho & Beef, Etho & Bdubs & Beef, Cub & Scar. Complete, 71k

[Etho is just an exceptionally normal guy living his best life. Until he becomes one of the few people to gain superpowers and gets approached with an enticing offer…

He's in over his head, isn't he?

Or: My Etho-centric atypical take on a superpower au, which devolves into something much bigger]

(i LOVE ethos powers in this it’s so cool)

Humanity (yours makes me sob) by Anonymous Bdubs & Mumbo, Bdubs & Xisuma, Bdubs & Etho, Mumbo & Xisuma Complete, 2.2k

[What defines a human?

Bdubs used to know, he doesn't anymore.

------

Bdubs is a human who lost what made him human sometime in his life. Mumbo accidentally finds it with a few words and an illness.]

Ties That Bind and Beseech Thy Soul by Interjection Grian & Mumbo, Grian & Taurtis Complete, 6.1k

[There's a doll with no face save for two black eyes that seem to pierce your soul. A doll with a red sweater and dark jeans and an even darker stare. A doll that inspires terror and curiosity and hope.

They may have underestimated the ease of containment for this one. Certainly, a select few individuals seem to believe so.]

(SCP crossover, though i don’t think much knowledge of scp is needed for this!!)

Documents Recovered From The Hermittopia Exclusion Zone, Joe Hills-Centric Complete, 2.9k

The descendants of Empires have contained and secured a reality-breaking tower from the age of myth. One day, a message from an ancient cosmonaut appears, as though flung between dimensions. This message begins:

Howdy, y’all! Joe Hills here, writing as I always do from a doomed world.

Long experience has taught me that all worlds are ultimately doomed, so that’s not an especially cool or helpful thing to say. Do you know the saying that goes: "If all your stories end with, 'and then something bad happened for no reason', maybe you’re the problem"? It’s good to keep in mind but I’m pretty confident it’s not relevant to this particular situation.

First, I do my best to spread sunshine wherever I go, not cataclysm. Second, in this case, the doom is clear and imminent! The moon is about to crash into the earth.]

(another SCP crossover, little/no knowledge of the foundation is needed, this is SO GOOD. SUCH A BANGER.)

Human Faces (in human places) by KiwiFruitWritings, Bdubs & Etho, Etho & Xisuma Complete, 9.7k

[On season eight of Hermitcraft, the moon's slow approach means that the night isn't really all that dark, anymore.

This proves to be problematic for some people. Bdubs suffers keenly from insomnia, and Etho struggles a bit more than the average person without a proper shadow.

These struggles lead to problems, principle of which is thus: no one knows what's behind Etho's mask- except Etho.]

(cryptid etho my BELOVEDD)

So, what’s with the coat? by dry_toast Etho & Bdubs, Etho & Beef, Etho & Bdubs & Beef Complete, 2.4k

[Bdubs wonders about the winter coat that Etho always wears]

(this entire series is so good!! and everything the author does too)

attempt thirty-three by Bee_4 Joe & Cleo, Joe & Scar, Joe & Cub Complete, 13k

[A glimpse at the thirty-third time Joe Hills has woken up on Monday at 6:00 AM, and the attempt he makes to stop doing that, ideally, or at least get closer to a state where he doesn't have to live these four days ever again.]

(AAAAAA LOVE THIS!!! and everything bee writes really)

Battle Scars by Riacte False & Ren & Hbomb & Fruitberries, False & Ren, Everyone & Everyone 26/?, 169k

[They are the crafters, the designers, stuck in 3-H, in the "H as in the Hermit" class. Discriminated and bullied by all those above them just because they're bad at sports. Everybody ignores, underestimates, and laughs at them. They are easy targets, the weaklings, the jokes of this damned school that’s ruled over by Stanley “Stan” Twitt.

Until four people get sick of it all.

Minecraft Championship never saw this coming.

-

A dramatic retelling of the MCC9 Blue Bats' legendary victory in fanfiction form. Hermit centric]

(long read but WORTH IT)

[shoegazingmonad]

crazy update wow jade died n the point just got blown to smithereens or whatever but DETRITUS KID SPOTTED!!!! WOO FINALLY

And though I feel like it's pretty obvious since this doesn't look like a race / species we've seen in the comic and everything in the text would suggest these are the species' Dirk and Rose have been creating, it's confirmed by the (==>) (symbol for events taking place in the black hole) changing to a ==> (symbol for events taking place outside the black hole) meaning that the panel above is from the Meat timeline!!! Joy!!

Time to talk about what piques my interest with this anonymous critter here; Starting first with their quirk.

o-------* < this thing they keep typing right here, as I gleaned from the last sentence, is implied to represent a bomb. With 'o' as the bomb itself, '-------' as the wire / rope and '*' as the spark. The quirk itself certainly suits the situation pretty well considering the latest developments in the Candy timeline, though in a way I'm not really sure how to word or put together.

You've got this laser hitting a point of highly concentrated narrative energy - which I'm guessing is the symbolic "bomb" in this sequence, which makes the "spark" the laser, but the thing that gets set on fire and slowly burns up is the curtains, and, in turn, leads to the o-------* bomb in GC's text also setting off?

Anyway whatever. Another point on explosives here is that this kid seems to be awfully fond of those "volatile materials" as they say such themselves; and also because when the quirk stops counting down their computer blows up. Which to me would suggest they've either got plenty of bombs in (what I'm assuming is) their home or are just experiencing really explosive weather. Though they do hint at devastating explosions at the beginning of the log, in a way that makes them seem super aware of what's about to happen, so I've no idea what to make of that.

And regarding explosive weather; my first assumption about the o-------* was that it was supposed to be a meteor (o) and a portal (*), and the ------- shortening represented it falling from the sky. Though I quickly realised that it didn't make much sense, the idea still sticks with me a little, since the placement (space) and use of the laser to clear out the surroundings reminded me of sburb's meteors.

There's also another lead on the bomb situation though thanks to GC clarifying their interest in explosives as "a real addiction" to a Vriska of all people because it brings to mind 8-balls, and from that, it's explosive, just as circular cousin, the cue ball.

Though I'm not suggesting that the explosives GC is interested in are cue balls; as I don't think they are, I do think it is interesting that they bring up oracles (especially after the o-* symbol runs out), as it's a word that has been used to describe cue balls before.

And whilst on the topic of oracles - it's 'AA' that's referred to as 'like' one, and even used to replace the 'o' in GC's quirk for a joke.

Pretty weird that this AA kid is used as a substitute for the bomb here. Most I think it'd be suggesting is that they've got some kind of unmentioned advantage similar to the cue ball thanks to divine intervention (Dirk or Rose fucking around, or perhaps Terezi).

Thankfully GC goes into detail about this AA kid, and gives a brief mention of a TC, all of which I'll be talking about next.

The first thing that comes to mind regarding these pals is that, similarly to Vrissy, this mystery friend group also uses the 12 (or so, since we currently don't know how many participating kids we have here) chumhandle acronyms that the beta trolls used. Which, in turn means it wouldn't be all that wrong to think they're associated with whatever beta troll they share the acronym with in some way.

If there's anything to be taken from this right now (which seems to be quite little, since we've only got 3 and we don't even know what the other kid's stand for) I'd say it's just pretty funny and kind of cute that the kids using Vriska and Terezi's acronyms are friends.

And now about my general observations on these kids:

GC. From what we've got so far it seems like they're a pretty negative person, in the way that they (rightfully?) assume the worst of most situations but are easily pressured into / out of them. They also REALLY like Vrissy, or at enough so that AA mentions her joining them in sburb as a bargaining point to get them to play too. Though the way they not-so-subtly beg Vrissy to join them and the outright confession of their lack of friends would also suggest that they're just lonely and awkward and may not be too close with the friends (?) they say they're playing it with.

AA, mysterious as they are right now still gets a lot of description on behalf of GC. One thing that stuck with me though is the way they call her 'an oracle', backtrack and say she isn't really, and then instead insist that she's something else, magical in a way that they don't understand but believe. (hope player much????)

Most of GC's descriptions make her sound pushy, overbearing and a little too knowledgeable on the circumstances at hand. "If it's one thing she gonna do it's bug or fuss or meddle" might not be the most reliable description to go off since it's told from the biased POV of one frustrated kid aware the game their friends want them to play is going to kill them. And it's probably not helping that the friend insisting you play is also the one informing you it'll kill you, if the way GC admits they 'know it will' and immediately prompts a conversation about AA's habits is anything to go by.

TC only gets about one line of note worthy information and it's when GC refers to sburb as "TC's game" which implies they were the one who's adapted it / helped develop it similar to what Sollux did for Sgrub. Nothing about TC themselves is brought up besides that they're friends with AA and GC (obviously).

Lastly I want to bring up the question of what species this kid is. Bare minimum to go off here but the hands don't really look aquatic or mammalian, more reptilian than anything. The GC makes me think of Terezi, too, so my first assumption is perhaps some sort of dragon? If so would Terezi have a hand in making some of these things, or would Rose have made it?? This is just vague silly guesses but whatever. The o-------* could also simultaneously function as a bomb and dream bubble who knows. Horrorterrors, Satyrs, Dragons, Nymphs whatever man. I gotta know

That's all I can think of for now. I'm already so fascinated with this singular kid and whatever the hell kinda social circle they've got going on so if they psyche out again and throw the focus someplace else for another 500 pages I'm gonna bawl

[luhafraser]

Let me be clear: although many think I don't have a real life, I do. I'm not just a Tumblr account... I have a family, dogs and a cat. I'm currently recovering from bronchitis 😮‍💨🫁, and dealing with the school holidays 👧🏼🛝 and lots to do at work. 🤯🤯🤯 That's why I'm not at all sorry for being MIA... I have my priorities, my family and my health...

I've said it a few times... Sam and Cait's shitshow is just a pastime for me... So back off, nasty Anons... You're wasting your time here🖕😜

---

It's not a real timeline, but look at this amazing script... Brilliant... 😝🤣

1) Sam in London; 2) a "fan" says Sam was with a "female friend"; 3) Susie in London; 4) P's innuendos; 5) Susie posts latergrams in a hotel room and gym, it looks like one of rooms at the Firmdale hotels; 6) P says she won't publish without a real evidence 🤣; 7) Susie returns to her home; 8) Another "fan" says she saw Sam on a flight to Gran Canaria; 9) Sam shows himself in a mysterious room on IG Live; 10) Sam's small group of stalkers (surprisingly, they're not the evil shippers 😜🤣) certainly discover that it's not a room in a luxurious hotel (the kind Sam usually stays in) ***(Sam has people monitoring his online steps and who he follows on Instagram, etc... Nothing new there... But I'm curious how someone who isn't a fan gets "here"?! And this fandom have some here, they are not fans of Sam and Cait or Outlander. See below 😉); 11) P releases the name of the new blonde; 12) the current blonde posts several pics/videos showing some gym in Gran Canaria and an airbnb Villa; 13) Sam's voice appears in two of the blonde's videos; 14) B posts the blonde's airbnb Villa; 15) The war of the "queens of Mordor" begins (I don't believe anything about this war, but it's funny and keeps people entertained, just what SamCait and PR want); 16) B says that airbnb Villa is not the place where Sam did his Live; 17) B goes back on what she said, and shows that the male SH and the female SH are in the same Villa 🤣; 18) Chaos begins in the fandom; 19) Sam appears in Austria/Audi Ambassador stuff; 20) blonde posts with her son at her home (latergram... 🤦🏻‍♀️); 21) Ok... Susie, Sarah, who will be the next S? ⏰️

😜🤣

***⬇️

Script to look like James Bond... Women and cars... ?! 🤦🏻‍♀️😬 No, you are not Bond, Mr. Heughan... Sorry! 😝😂

---

But on the other hand...

You know.. I'm not on the "gay train", but hey... I can't blame anyone who thinks he's gay. And have you noticed how several women, linked to Sam, are always traveling to paradisiacal beaches or going to gyms with their gay friends... ?!? You don't even need to follow them on Instagram to know this, there are accounts here that posted everything about them... All that was missing was their blood type... 😝🤣

"Hawaiigate Oops Gran Canaria gate" didn't seem like a good script to prove that Sam occasionally has affairs with women... Even because the place is known for...

But, it certainly moves things around here... Just saying 🤷🏻‍♀️😂

---

OMG... Laughing a lot with #Samarah... 🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣

---

And Sam/PR decided to fix a flaw in the script and his speech, something that became a joke in this fandom, at least among shippers...

There are women in Glasgow, people! After 10 years, he finally had time to meet a woman there...

Amen 🙌

🤣🤣🤣

---

I find it very difficult for a taurus man, who calls himself a romantic, who is used to staying in hotels like those from the FS and Firmdale chains and who has already made this type of comment...

Taking his supposed girlfriend to a place with these reviews... 🤔😬😂

After 10 years, Sam knowing how this fandom is, being the guy who claims to preserve his loved ones, would he leave breadcrumbs for "fans" to create a new story if he was really dating this woman? I'm amazed that she, with a son, gets involved in this shitshow, but who will know her reasons.... Even Cait used her pregnancy and child in the Belfast promo.

---

Let's see if Sam will follow P's wishes and take Sarah to the TCND event... And let's pray 🙏.

I see THE RING 👰🏼‍♀️ #Samarah 🤣🤣🤣 This didn't even take 7 days, it seems! 🤣🤣🤣

---

I still spend my free time looking at what SamCait shows and what this fandom says because I want to see the end of this shit, when Sam no longer has P or B and his onlys... One day Sam and Cait will fall into oblivion and that's why that they keep feeding this whole circus... What, or rather, who would Sam and Cait be without all this crap? I think it's funny that Sam pulls all this on himself... Except during promo, he's the one who moves things around here (right now Gran Canaria gate, Austria trip, Scottish Sun article, a new company with an enigmatic name... It could be SDFGINEEDTHISSHITSHOWCVBN 😝🤣, "Audi Quattro",...). But to me... This seems like something from someone protecting their loved ones, taking on all the shit for himself. Although, every now and then Cait needs to show that she is alive and with her husband by her side.

I watch and wait... And I know I'm not alone in this! 🧘🏻‍♀️😜

[howlingday]

swashbuckler au: weiss and jaune end up having a duel, and while weiss can't say he's the best swordsman she's ever faced she can say that he's the most adaptable fighting she's ever seen tldr: jaune pulls some jackie chan improvisation using the environment in unorthodox ways to win fights. slapstick action comedy ensues

Part 1

---------------------------------------------------

You know those awkward family dinners? The ones where the room is tense and feels like it's filled with gunpowder, and all it takes is just one word to set it all off? Yeah, those ones.

Well, Jaune usually felt that every dinner since taking up his father's mantle as the Hero of Aquadia. Tonight, however, was especially tense since the four people hired to hunt him down were also here, eating his mother's special occasion chicken and spice. Now there was heat to help the spark.

"Hah... Hah..." The girl in red huffed as she reached for her glass of milk.

"Is it too hot?" Mom asked. "I usually cut back when we entertain guests."

"My sister never really liked spicy food." Joked the older girl. "Dad used to joke they're the reason she drinks so much milk."

"You sure he wasn't just milking you for a laugh?" Jaune's dad pointed at her with his fork, receiving a fork-point back.

"Please, don't give her any material." The girl in white said with a sigh. Jaune couldn't explain what it was, but there was something about her that seemed... familiar. "Anyway, what exactly is our task in Aquafia? Beyond the scope of capturing this "folk hero" running around in the city?"

"He's not a folk hero."

...

The room was quiet at that. Everyone was staring at me. Why was everyone staring at me? Don't tell me I-

"Care to elaborate on that, Mr..?"

"A-Arc." Jaune gulped chicken. "Jaune Arc. Short, sweet, and rolls off the tongue. The ladies love it."

"Do they, though?" Ruby asked.

"Yes, do they, Jaune?" His father sneered with a sinister grin. Sometimes, Jaune hated his father.

"Please excuse my son's outburst." His mom stated, dabbing her lips with her napkin. "He's a fan of La Lama Lunga de la Aquadia."

"The who the what?" Ruby asked.

"The Longblade of Aquadia." Blake answered. "The hero we met in the street earlier."

"And failed to capture." Mother said over folded fingers. She wasn't happy. Trust me, I'm an expert at making Mom not happy.

"He's crafty." Yang replied. "Really gave us the slip in the harbor after that Grimm attack."

"Haha! Oh, I wish I could have seen that!" Jaune's heart swelled at his father's words, even if these girls were giving him too much credit.

"And the city thanks you for protecting her citizens from the Grimm." His mother tried to get the discussion back to the mission. "But in regard to your real task, you can discuss the details in full with my son and my husband. I try not to involve myself in these childish escapades of heroism."

Jaune sank a little at that. "Sit up straight!" Okay, he sank a lot at it, but could you blame him? His mom just called him, as fancy as possible, out as a child playing hero! Still, his dad was stillin his usual high spirits. Kinda made him wonder how she never caught Dad when he was La Lama Lunga.

"It seems weird, though," The young girl said, "that the mayor of Aquadia would want to capture the hero of her city."

"He's a relic of the past, Ms. Rose." Mother dabbed her lips as she stopd up. "And though we are grateful for his protection in ages past, we must look to the future. If we wish to establish good relations beyond Aquadia, we must prove that we do not rely on fairy tales for our protection, and certainly not on vigilantes, either."

"So to make Aquadia a viable trading partner and member of the kingdom, you want us to hunt down the city's only protector?" Blake asked with a raised brow.

"We have guardsmen and a militia of retired soldiers acting as our reserve defense." Circling the table like a shark, the mayor made her case. "If Aquadia can prove we are just as capable as the northern cities in Vale, then we can prove that we are not merely a tourist trap of a bygone age."

"Oof, politics." Dad said. "Think it's time I called it a night. This talk of fairy tales and whatnot is giving me indigestion."

"We should also head back." Ruby said. "Thank you for the meal, but now it's time for Team RWBY to get to work! Starting tonight!"

Jaune swallowed his chicken a little hard, and started coughing up spices. Everyone stared at him again.

"S-Sorry." He said. "Uh, wrong hole."

---------------------------------------------------

You know what the best part about being a hero in your city? The nighttime patrols. Just you, the chirping creatures of the night, and the pale moon shining into the caldera city at midnight. It's almost therapeutic.

Jaune understood what his mom was getting at, bringing the other cities closer to them by getting rid of the one aspect that separates Aquadia from everywhere else on Remnant. Kinda like how Mistral has that famous sport lady. Pyra, or something.

Still, he doubted she would be getting hunted down just so her city can build economic ties to the rest of the kingdom.

Coming from the docks where an old woman was saying her prayers in a window beneath him, Jaune kept being reminded of why he loves this city. The teenage kids sneaking around after curfew, the young lovers holding hands in gondola rides, the white glyph shining right in front of hi-

Wait a minute.

"Hold it right there, llama loonga!" The girl in white from before swiped her blade at him. Jaune barely had time to catch it as he brought his own blade to his defense.

"It's actually La Lama Lunga, princess." Jaune shoved her away.

"It's heiress, actually." The girl held a fencing position, and judging by her stance, she meant it.

This was bad for so many reasons.

First, this would be completely different from Grimm or rowdy thieving hooligans. He was fighting a genuine huntress, an actual fighter. What little he learned about them ws in one ear and out the other. What? Huntsmen just aren't as fascinating as La Lama Lunga.

Second, his opponent was not only a trained warrior, but she was actually trained in the same weapon as he was! And making this particular dilemma even worse was Jaune didn't know how to actually fence. Sure, he's got the basics from what his dad taught him, but this was a huntress with a semblance.

And that semblance was-

"Are you going to just stand there and stare at me while I arrest you?" She asked, getting closer. "If so, then by all means, continue."

Taking his own stance, he gulped. Come on... Remember what Dad taught you. 'If you ever find yourself outmatched, there's no shame in running.' Jaune took a step back. 'Unless your opponent is smaller than you, then you definitely should feel ashamed.' Jaune kept his feet planted.

She got closer. Oh crap, this really happening to him, isn't it? Oh crap, oh crap, oh crap-

"CRAP!" Jaune leapt out of the way of her thrust. He stepped on his back feet over and over until he caught himself on the edge of the rooftop.

Suddenly, nothing came to his mind. All of his father's lessons fell away as he realized this would be how he died. How the legend ended. He wanted to cry. He wanted to curl into a ball. But neither option was available. So instead...

"AAAAAAAAAAAAAAAAAAAAAAAAAAGH!" La Lama Lunga ran forward, swinging his blade wildly at the foreign girl. Fear filled her eyes as she backed away, unsure of how to respond! His movements were too sporadic, too unorthodox! She'd never seen a fighting style like this before!

Suddenly, he tripped and fell over, dropping his weapon. He rolled forward, almost falling over the edge. Reaching down, he grabbed a potted flower and tossed it at her. She ducked, narrowly missing a bruise, only to be forced on the backfoot by the vigilante once more when he grabbed his blade again. Then...

"AGH!" She fell off! Jaune ran over to the side and looked down, finding the girl landed safe and sound... into a compost heap.

---------------------------------------------------

"HAHAHAHAHAHAHAHAHAHAHAHAHA!" Yang couldn't stop laughing at breakfast, smashing her fist on the table.

"IT'S NOT FUNNY!" Weiss screeched from inside the shower, on her third attempt to clean herself of the stench. "WHY WOULD THIS CITY EVEN NEED COMPOST?!"

"Apparently, the compost helps improve the soil development for the farms outside the caldera." Blake answered, reading the info pamphlet on compost provided. "The humid air compounded by the naturally occurring chemicals produced in the water make for an improved-"

"IT WAS RHETORICAL, BLAKE!"

"Jeez, this guy really is no joke." Ruby sighed. "Not only to escape all of us, but he managed to beat Weiss, too!"

"N... Not really that hard, Rubes." Yang breathed.

"SHUT UP, XIAO LONG!"

"But don't you worry." Yang pumped a thumb to herself. "With me and Blakey on the case, ain't no way sword boy is gonna last another night."

[idiotic-b-gilson]

The Prank Theory: Or, Why Toby won't make an explicit announcement that Kris' pronouns are they/them despite that obviously being canon.

Disclaimer: people who use they/them for Kris are NOT the butt of the joke here. Although calling it a prank might be a little misleading to begin with, you'll see why.

I know for a fact, judging from my dashboard, that I am not alone in being mad at people misgendering the humans of Undertale and Deltarune (although, I will admit I used to be part of the problem up until quite recently). And we all wish for Toby to just go out and publicly announce that Kris, Frisk, and Chara use they/them only, that Mad Mew Mew is canonically transfem, etc., just to stop all the misgendering. It would certainly be nice and very helpful for the LGBTQ community. However, after giving it some thought, I've come to the conclusion that it most likely cannot happen, and the reason why is the Prank Theory. Treat it as an explanation, but not an excuse.

I came up with Prank Theory over something that's completely unrelated to the above, funnily enough. You see, I have this headcanon that Asriel Dreemurr is not cisgender. I'm not entirely sure what his gender is, but he's not cis male for sure. And I've seen a variety of different takes on this concept. For example, AUs like (Ask) Fallen Royalty by @starlightshore present Asriel as having transitioned in a more feminine direction ((A)FR specifically describes her gender as feminine nonbinary). Others still write Asriel (chiefly the Deltarune one) as transgender male (I've mostly seen that take in NSFW fanfics on AO3, which is a shame cuz it has great potential beyond that. Please tell me where I can find more). Other others still, like my beloved mutual @sukifoof, have proposed that Asriel might be agender. And, let me be clear about something: those are all great ideas, and I love them. But I started to wonder, which of these ideas is the closest to canon? Like, if we also factor in authorial intent, which of these options would fit under it, and which ones wouldn't? That was when I came up with Prank Theory, as a way to kind of imagine at least one aspect of said authorial intent.

Spoiler alert, according to Prank Theory any kind of transfeminine Asriel is incompatible with canon, but again I want to make it clear that that doesn't mean I think they're "wrong" or "bad" or anything like that, and I want to reiterate my endorsement of writing Asriel this way. Besides, my theory could be completely wrong, so...

So, after all that stuff, what does the Prank Theory actually say? Well, in summary: Undertale and Deltarune are some of the most "woke" video games ever made, but conservatives and reactionaries don't seem to have realized that yet, funnily enough. Now, calling it a prank is a wee bit misleading, since it implies that tricking right-wingers into loving a video game with a very progressive setting and message was at least part of what Toby intended. And I don't believe that's the case. He simply makes video games he wants to make, and they just happen to reflect his views on the world, and these views just happen to fly over the heads of some people.

This in and of itself would probably not make it a huge problem for Toby to put in one of his newsletters, or even in an X (as in, former Twitter) post, a correction regarding the genders of his characters. However it does start to become a problem when you factor in that the UTDR community has hundreds of thousands of people in it (although as of the March 2024 it might be a rather liberal estimate), and many of them would be quite pissed off if the video game they like had "suddenly" "gone woke" (ignorant of the fact that both it, and its main creator have been openly "woke" the whole time). And that is a problem in the current environment, because it means that Toby, as well as other people on the UTDR dev team, would be at a significant risk of hate and harassment, which in the Year of Our Lord 2024 could lead to Angel knows what.

On a more cynical capitalist (and much more speculative) level, attracting political controversy this way could sour Toby's relationship with big video game companies which have (as far as I know) played an important part in why Toby's got basically unlimited resources to work on the game of his fever dreams. They saw the widespread, universal acclaim that UT, DR1 and DR2 received, and drew the conclusion that DR3-4 (and the future chapters) will also get a similar reception, and they will get great returns no matter how much money they pour into it. This belief could be shaken if Toby attracted the ire of his transphobic fans by correcting their misgendering of his characters, and thus limiting the reach Chapters 3 and 4 would otherwise have (but again, this is pure speculation, I'm not an economist, nor do I know how much companies like Nintendo have actually invested in Deltarune. So I could be, like, way off).

And that is, in the end, why I believe Toby Fox will not make a statement regarding the canon gender of any UTDR character, at least not while Deltarune is still in development. After it's finished I think he might feel free enough to take that step. But we'll have to see.

Now, I don't know if I'm right. I feel pretty confident in my own theory, but there's a good chance I missed something. So, if I did, please lemme know. In the meantime, let's hope Toby will disprove my theory soon and set things right. And I'll see you around.

[seeminglydeathlessredshirt]

Ramblings on Bioshock Infinite

So, I've decided to start writing down how I feel about what I'm playing here rather than wait for my friends to be online so I can infodump at them.

Anyway, Bioshock: Infinite. The original was pretty alright. I didn't get all the way through it because I was getting a bit tired of Rapture and some other little annoyances, but it was a perfectly decent experience. Skipped past 2 because once again, not in the mood for spending a dozen more hours underwater, and went right to the one that people fuss about all the time to see what the fuss is all about.

I shouldn't have gone out of my way to see what all the fuss is about.

Spoilers for an 11-year old game will follow, but I do not recommend going out and checking this out yourself.

To its credit, the game does have a very strong opening. The welcome centre/church you arrive in offers absolutely gorgeous visuals and a strange yet interesting blend of Christian motifs and the weird sort of reverence built up around the founders of America. "Gee," I thought, "maybe this will be a game that finally tackles religion in an interesting and nuanced way that doesn't just feel like it was written by a 14-year old who just discovered Reddit." Unfortunately, it doesn't(if anyone knows a game that does, please let me know.) After a level where you walk around and take in the sights of Columbia(an experience that feels like walking into a veritable wasp nest. Either one, take your pick), you're thrust into your standard action game plot shenanigans. Kill a bunch of guys while someone rants at you over an intercom, go through various setpieces, all that good stuff.

Is the killing actually all that fun? For a certain stretch of the game, yes. You have some okay abilities, a good selection of weapons to choose from, and takedowns are pretty cool as well. The skyrails scattered around some maps are gimmicky, though a welcome addition(the irony of a game like this leaning heavily on what are basically rollercoasters is not lost on me.) But somewhere past the halfway point, it takes a steep nosedive. The weapon list gets bloated to hell and back, and a combination of the carry limit of two plus the tendency to only ever give ammo for everything you don't want to use drags it down. Enemies also seem to get substantially spongier and more numerous, which makes fights incredibly unsatisfying. Bioshock was already firmly in that grey area between immersive sim and combat sandbox, and Infinite is neither of those. Everything feels so much less versatile, there's no thinking outside the box to be done here.

As for the rest of the story, you may have heard about how centrist it gets, and I am sad to report that everything they said was true. What really gets me is how it's already setting up the "both sides are the exact same thing" even before the characters would have any reason to think that. They're literally basing this entire viewpoint off of "oh, the workers are being violent about overthrowing their oppressors, that's super bad, right????" This game also does try to tackle things like racism but I don't exactly have a good eye for whether or not something tackles that matter maturely, so all I'll say is that it feels very surface-level and inconsequential. "Inconsequential" can sum up everything else in this paragraph too because it's all eventually abandoned for !!Dimensional Shenanigans!! This is what the last few levels are taken up by entirely and all it accomplishes is covering over a weak attempt at social themes with an even weaker attempt at sci-fi themes. The ending is certainly a bit more batshit than you'd expect for your standard seventh-generation slop, but it can't salvage this. The fanservice just reminded me of a somewhat better game. I would make a joke about this game only having two characters, but then it goes out of its way to say "yes, there really are only two characters."

I am not playing the fucking DLCs.

[theultimatekamehamehavoc]

It's time for the fiend! Spoilers of course

For one, Syo here actually breaks the formula I have with these designs, Syo not really working or going out most of the time unless she's heavily disguised. However, I tried my best to ensure she was given some love! So, for her "casual" attire, it's rather simple looking. It's got some LORE though with Syo trying to reform from her murdering days and Komaru helping out in making this outfit! Most of the materials are just thrifted such as the boots with the rest being slightly modified. It holds up rather poorly and has it's flaws. However, Syo seems to like it. Toko, not so much. Toko finds it ugly, no matter how much Komaru tries to give her the puppy eyes, asking for Toko to give it a chance. I also want to take note the bracelet she has on as well as the hat. I thought it would also be cute if Komaru made her a little friendship bracelet. Toko also has one but she finds it childish to just be wearing it out an about (she's not really into much jewelry anyway). Thus, Toko just keeps it on her nightstand. Syo, however, fears nothing and has no shame. Speaking of which, the hat. I was a little lazy with the details but it is indeed one of those "Woman love me, Fish fear me" hats. Syo did the embroidery on it (Syo being oddly good with crochet and sewing) and Toko despises. And, the worst part is that Syo did an amazing job on it which makes Toko hate it even more whenever she ends up in it after Syo finishes fronting. Toko's at least a bit grateful though that Syo doesn't go out that much. Toko is already mortified waking up in the outfit. It'd be way worse to be waking up in one of the ugliest garments present in the apartment while in public. As for Syo's "work" attire, it's just Toko's attire for work with slight Syoifications (Jackifications?) made with the zipper being undone revealing a little pouch she has on, and sleaves rolled up. She even has Toko's purse worn slightly different as well! Thought it would be cute to do! Also, for the pouch, Her iconic scissors are absent, being held deep in a vault somewhere with Byakuya as a safety precaution. Syo doesn't mind too much though. For one, she knows they're safe even though she likes to joke that Byakuya's doing unspeakable things with them which he just sighs at. Additionally she's not planning on murdering anyone anymore as I feel she holds pride in her killing SPECIFICALLY with those scissors. So, she wouldn't be using any random pair. But also, her being reformed and all. Besides, the scissors being held in the care of Byakuya it's not because of the potential of Syo starting all over again with the murders anyway. It's more about the potential of the whole "Toko is Genocider Syo and is a serial killer" thing coming out and as a way of showing that Byakuya does care for Toko, aloofness or not. I like to headcanon that, though footage of the Killing game were indeed broadcasted, for one, the Future Foundation were the main people to see it. Additionally, the average civilian would probably not a bit too busy trying to save their own lives than to be keeping up with the news regarding the Ultimate's in Hopes Peak. Not saying that some of that info wouldn't be able to get out. Some of it certainly could have and added to the despair and all. As to regards on where the footage is held, it's with Future Foundation in partner with Byakuya. Perhaps a bit of Kyoko their too and a bit of Makoto as well though I feel all the survivors pitched in on having the say on what to do with it. After all, it IS the recording of all their Hopes Peak trauma, though I don't think they'd want to destroy it oddly enough. This concept of course has room to change but these are the main thoughts Plus, it's fun to think about as, with Syo in the picture in this AU, the concept of whether the people know or don't know about the whole "notorious serial killer Genocider Syo is sorta just an alter of Toko Fukawa" is something that has to be addressed to SOME extent .

For her physical build, it's just Toko's. What really changes is the undergarments anyway. Though they are not colored her, they are very much bright red, very garish. All of her undergarments are which contrasts with Toko's more frilly and pretty undergarments. One other bit to mention is Syo's hair! It's nothing too crazy, just Toko's hair out of the pony tail and ruffled to high hell! Syo makes it work though.

That's Syo done! Hope I did her justice! Tried my best ;-; (1) | (6)

[ramblings-of-a-mad-cat]

Pokemon And Their Trainers

An in-depth analysis of the Pokemon world and its culture (hereafter referred to as the “Pokeverse.”) Where I’ll attempt to understand just what these beings actually are, and how they relate to the humans of their universe. 

For this post, I will reference the video game lore, but I will, to a large extent, be pulling examples from the anime. While I can understand why this might invalidate my points to some of you, I truly think the anime should be considered fair game. It depicts what the Pokeverse is truly supposed to be like, as the writers intend it to be, unhampered by the restrictions of a video game. 

So here’s the million dollar question. Are Pokemon slaves?

At this point, I know that the Pokemon fandom and the general public have a well-established and largely iron-cast interpretation of what it means to be a Pokemon Trainer, but today I’m going to attempt to challenge that interpretation. Because on the whole, it’s not especially flattering, and I think it’s false. You’ve seen the jokes, and the video essays, and the parody comics. You’ve seen it all. People have criticized Pokemon for the premise of the game effectively being a system of romanticized slavery. That the heartless humans kidnap these innocent animals and force them into sadistic dog-fights to further their own power, to the point where it is a global, televised sport. Ask anyone and they’ll tell you, Pokemon…are slaves. It's animal abuse. Those who argue it are in denial.

The funny thing is, most people don’t argue it. Which is because, to a large extent, most people don’t care. It’s just a video game, right? It’s not as though the Pokemon are outwardly suffering. Pokemon fans seem to just accept this premise and live with it, because the Pokemon world is bright and enjoyable and the formula of the games is simply addicting. To most people, the problematic premise of this universe isn’t a big deal. Nobody takes a passionate stance against it, apart from Gamefreak itself of course. They have little choice but to dismiss these claims, to argue against them…but nobody really listens. The franchise may do the best it can to play up the whole “friendship” angle, but the majority of fans, casual and otherwise, would say they’re not fooling anyone.

I disagree. 

I’m not saying these points don’t have merit. To a degree, they do. But this conclusion about the Pokeverse is not the only one that can be drawn from analyzing this world. It's also based on several assumptions, headcanons, and interpretations of this world’s symbolism. I interpret these things differently myself, and I’ll try to explain how. But the bottom line is that humans and pokemon exist together in this world and have a unique relationship. Our world has humans, but not pokemon, so one can assume that the Pokemon are a deliberate symbol of…something. What that something is will probably vary based on who you ask, but just about everyone seems to interpret them as the “animals” of their universe. As in, living creatures who are not human. (Because Humans…are also Animals, and that’s kind of the whole point right there, but I’m getting ahead of myself.) 

We seem to draw an inherent comparison between Pokemon and #RealWorld Animals, which is where all of this stems from. I believe this is a mistake. Or if nothing else, it’s not the definitive interpretation of what they are. If anything, the closest comparison I can think of is…maybe Angels? But even that doesn’t truly describe their role. The more the Pokeverse gets fleshed out, the clearer it becomes to me that catching and training Pokemon are completely misunderstood concepts. They’re not really comparable to anything in real life, certainly not the training of animals or the keeping of pets. I genuinely don’t think that the relationship between Trainer and Pokemon has an equivalent in our world. 

I do understand where the impulse to make this comparison comes from. Of course people look at Pokemon and see animals. After all, they're living, breathing creatures, magical creatures that coexist with humanity. A not insignificant number of them do resemble real-life animals or are otherwise based on them. The most crucial bit of evidence for this idea is that the Pokeverse, by all appearances, lacks “real world” animals of its own. There are no recognizable creatures from our world to speak of, apart from humanity. So I can see how people reached this conclusion and I get why they draw the parallel.

However, it’s just not a fair comparison to make. Not at all. 

Some animals do have the means to defend themselves, of course. But Pokemon have abilities on another level entirely. They’re basically magic. They have superpowers unique to themselves. Can a human spit fire? Tunnel a hole in seconds? Can they summon storms in the blink of an eye? Can a human block all damage with Wonder Guard? The answer is no. They cannot do this. Humans are one race, and a relatively mundane race at that. While they are distinctly separate from Pokemon…that doesn’t make them superior. It doesn’t make them more powerful. The sheer variety in Pokemon species, not to mention the variety of their powers, means that if war was to break out between the two communities…the humans would not win. It wouldn’t even be close. 

Pokemon are baked deep into this culture. If you had to guess which of these two societies was here first, would you really guess humanity? I wouldn’t. Just look at the spiritual side of this world. It has deities who are confirmed to exist, who created this world as we know it..and they’re all Pokemon. Who knows where the humans even came from, but the Legendary Pokemon are the ones who fashioned the universe.

It is vanity to assume that Humanity is the dominant species of the Pokeverse.

They are not in charge of this world - they could never be. Pokemon explicitly range from human to above-human level intelligence. The humans attempt to understand them, but the Anime clarifies that they’ve chosen to name the Pokemon based on their speech patterns. Pokemon don’t “say their name” and nothing else. It’s the reverse. They speak unique languages that the humans elected to name them for. By contrast, Pokemon can clearly understand human language. There’s no way around it, they are smarter than us. So it’s no surprise that they have their own communities and systems, totally independent from humanity. However, there are also countless Pokemon who choose (read: CHOOSE) to work with humans, on individual and group-wide scales.

In fact, Pokemon and Humans may not be so different at all.

They may descend from a common ancestor. There is consistent flavor text that verifies this, stating that on a fundamental level, Pokemon and Humans are all but the same. Perhaps humankind and Pokemon weren’t always separate beings? Perhaps they were once one and the same? It’s pure conjecture, but according to the Library in Canalave City, there was a time in the ancient past when Pokemon ate at the same table as Humans and would even marry them sometimes. That last bit of trivia is cut from the English version, undoubtedly because of the popular interpretation I discussed earlier. Fans see Pokemon as animals, and the dubbing team probably wanted to avert any weird implications. 

What’s odd is that in Legends: Arceus, which takes place in the ancient past…humans and pokemon have clearly already been separated, and have no relationship beyond hostility and fear towards each other. There are exceptions, of course, but by and large, the idea of a “Pokemon Trainer” is a new concept to the humans in Hisui. I’m getting very off topic now, but it does make a fan wonder. Just what happened to separate pokemon and humankind? They were as close as kin at one point, before some kind of split occurred, and it’s taken countless generations for them to redevelop a closeness...there’s a greater mystery here that isn’t relevant to the topic at hand, but these questions are worth asking. Either way, the point is that the two communities are almost fated to come together.

The Pokemon are drawn to humanity, and whether they invest in an official “trainer” or not, they seek out humans just as often as the humans go looking for them.

The pokemon will form these partnerships out of their own desire. A desire for what, you may be asking? I think it varies, but when it comes to the Trainer/Pokemon relationship, we can assume the typical goal is shared strength. The human and the pokemon form a symbiotic relationship in the Training system. This is stated numerous times, especially in the Anime - A wild pokemon will never reach their full potential. Not without a Trainer. You see? It isn’t only the humans who benefit from this relationship, and the Pokemon understand this. The vast majority of them want to be caught, they seek a trainer who can help them harness their powers. 

Mewtwo decries Pokemon Training as Slavery during Mewtwo Strikes Back. Pikachu contradicts him, and Ash literally puts his life on the line in the effort to prove him wrong. Much later, in Lucario and the Mystery of Mew, the same question comes up. Lucario asks if Ash is Pikachu’s “master” and Ash rejects that terminology. Because Pikachu is his best friend, nothing less. There is a reason why the word is “Trainer” and not “Master” or “Owner.” Because Pokemon Trainers do not own their Pokemon. Full stop. The Poke Ball isn't a prison. It, and the PC Boxes from the games, are implied to be a kind of virtual reality. The Poke Ball is a symbol, a convenience more than anything else, but not a requirement. Ash is living proof. The Poke-Ball may be the norm, but if you're claustrophobic like Pikachu, or you're just not feeling it, you can abstain. Ash has never treated Pikachu as a captive. (Except for that one time…)

Okay, I’ll address this real quick. Yes, Ash did drag Pikachu along with a rope in the first episode, and used rubber gloves so that Pikachu could not retaliate. I’m just gonna have to call that #EarlyInstallmentWeirdness. This was Generation 1, this was back when Ghost Types were literally dead Pokemon. Besides, Pikachu had already shocked Ash unprovoked, so the rubber gloves were arguably self-defense. I guess you could make the case that Ash didn’t “truly” become Pikachu’s Trainer until the end of the episode. But in general, the writers have shaped this world beyond what was established in the very beginning, and perhaps they’re deliberately trying to counter the claims of slavery and animal abuse, but even if that’s true…it doesn’t mean make the contributions less canon.

How it started.

How it's going.

Never mind. What about catching pokemon? That’s still messed up, right? 

There is an obvious counterargument to be made to my stance, a Donphan in the room, and I won’t ignore it. The counterpoint here is that capturing Pokemon is almost always done against their will. Or at least, that’s how it’s traditionally done, and the norm in the games remains consistent. Still. Ash winds up befriending the majority of his Pokemon instead, and he’s far from the only trainer we see doing so. James is another human who recruits his teammates primarily through his own likable qualities. You might argue that while obtaining a Pokemon can happen without fighting, that style is unusual. But again, based on the anime, it doesn’t seem to be that uncommon. I think what’s considered rare is that Ash seems to specialize in doing this despite his intended goal of training Pokemon for battle. 

But, whatever. Capturing Pokemon through battle still happens, right? It happens quite a lot. The examples that differ from this norm don’t erase that, nor do they erase how repugnant it is. After all, the Trainer is cornering a creature who more often than not, was just minding their own business. (A wild pokemon is very often the one to initiate battle, but never mind.) The trainer then forcibly kidnaps them after violently assaulting them. Even the term “capturing” pokemon has problematic connotations. No way around it - on paper, this sounds bad. It sounds horrific. But if I may, I’d like to offer a different perspective based on what I’ve been able to observe of the Pokeverse’s culture. First of all, I’d like to offer a scalding hot take about the violence of Pokemon battles. This may be where I lose a lot of people, but hear me out. 

I challenge the idea that a Pokemon battle is “violent.” 

Or at least, I don’t believe the characters consider it to be violent, not in the same way we understand it. A pokemon battle isn’t assault, because they’re not human. But it’s also not animal abuse, because the Pokeverse doesn’t have animals. Again, it’s worth remembering that Pokemon are supernatural creatures with magical powers, and I’d say their powers, the “moves” they learn, play by different rules than conventional fighting. There’s actually quite a bit of evidence to suggest that this is true. 

In Mewtwo Strikes Back, the Pokemon very specifically fight their clones without access to any of their actual moves, after Mewtwo psychically blocks their powers. Everything about this scene is meant to convey tragedy. All of a sudden, a series that’s been all about battle is preaching against violence. Sure, we can call it bad writing, executive meddling, or anything we want. But ignore the Fourth Wall and ask yourself, why would the characters react this way in-universe? Why is it that Pokemon battling has always been okay, but in this one instance, it’s not? The movie goes to great lengths to show us that the Pokemon are hurting each other. Which we don’t normally see.

The only difference? The Pokemon aren’t using their normal moves.

From this, we can conclude that the typical, conventional Pokemon battle, where the two pokemon fight using their special abilities...it doesn’t hurt them. It may tire them out, but a Pokemon Center can heal basically any injuries in record time. Nurse Joy is some kind of miracle worker…or maybe she isn’t. Maybe The Pokemon are being tired out from their battles, but not actually harmed in the long term. This would explain why Pokemon attacks don’t cause lasting damage to humans, either. Get hit with a Flamethrower? Don’t worry, you’ll just be temporarily stunned and have soot all over your face. The doylist explanation is, once again, that it’s a children’s cartoon, but that doesn’t explain what’s happening in-universe. Team Rocket has been electrocuted by Pikachu a near-infinite number of times. So how are they even alive? 

Simple. Pikachu isn’t actually trying to kill them. Because of course he isn’t. It’s quite possible that Pokemon moves simply are not capable of inflicting serious damage, or perhaps Pokemon have an inherent resistance to them. But I suspect it’s not a lack of ability that stops Pokemon moves from being violent…but an almost universal choice. That when Pokemon go on the offensive with their powers, or at least, when they direct said powers at humans…they are always pulling their punches. That’s why the fight on New Island was so grotesque - the Pokemon were not remotely familiar with battling that way, engaging in true violence, and there’s little doubt that they were figuratively and literally scarred by that night. 

It’s no wonder they never use their powers to cause actual bodily harm to anyone - I wouldn’t be surprised if there’s some kind of sacred, unspoken taboo among Pokemon against doing so. A taboo that wouldn't be known to the newborn clone Pokemon on New Island. A taboo that may not have existed centuries ago, in say, the ancient times of the Hisui region. But present day, communities of Pokemon are more civilized, and they a working relationship with human society that ranges from neutral to friendly. We’re in head-canon territory now, but this kind of law among pokemon kind makes a lot of sense. There may be Pokemon out there who break this taboo, but they would be few and far between - probably outcasts among their own kind. It would add a new dimension to Pikachu's refusal to fight back against his clone counterpart.

Again, this scene makes a point of telling us over and over, that what we’re seeing is wrong. “Pokemon aren’t meant to fight. Not like this.” That line right there is precisely the point. Battling isn’t meant to be like that, and in practice, it almost never is. There’s a reason why Pokemon almost never actually die in battle, and only get “very weak,” a condition that is cured flawlessly with the medical science of a Pokemon Center. It’s almost like a Pokemon’s powers create a kind of invisible simulation system, allowing them to spar with their opponent safely. Because that’s what a Pokemon battle is, at heart. It’s a test of skill. It’s meant to just be friendly sparring. A kind of sport that the Pokemon and Trainers engage in together, and it’s stated many times that they need to be in sync to have any hope of a successful career in professional matches. Again, I refer you to Mewtwo Strikes Back. The Pokemon were able to use their powers collectively to restore Ash to life. There’s clearly a lot more to a Pokemon’s power than just combat. That part is nothing more than recreation for them. 

I realize that I deviated tremendously from the original question about capturing Pokemon, but I feel that it’s important to address this point. 

Pokemon Battling is not violence. It’s effectively a sport that all sides consent to playing, a sport that has safety measures practically built in, as well as further precautions offered like the Pokemon Center. In that sense, it's more or less just another interpretation of Pokemon Contests, and Showcases, and everything else. A human helping a Pokemon study their powers and use them to fullest potential. This is the reason why I don’t actually consider a Trainer fighting a wild Pokemon to be so obscene. However, that only addresses the question of violence. Trainers are still kidnapping Pokemon against their will, right? That’s why one has to “weaken” a Pokemon to catch them. Well, believe it or not, I’m going to debunk that too. 

Barring exceptions, the wild Pokemon must be exhausted to the point that they can no longer resist a poke-ball, before you can obtain them. Their opinion about being caught is always a non-issue. By all accounts, it doesn't seem as though this is acceptable. But even this, I think, is part of the cultural dissonance. Among other things, we don’t know what the little “click” of the Poke-ball actually means. It signals that the capture was a success, but is that the Pokemon choosing to yield, or the Poke Ball’s technology locking them in? It’s a little ambiguous, I’ll freely admit as much…but I would argue that the former idea isn’t impossible. Again, wild Pokemon, generally speaking, actually want to find a Trainer. The first episode of the anime even hints that certain wild Pokemon are jealous of those with trainers. With that in mind, why is catching them even a fight to begin with? 

I’ll tell you why. When a wild pokemon battles a trainer, they are essentially giving that trainer a test.

They’re gauging the trainer’s abilities to bring out the potential of their pokemon. If you’re a trainer, and your pokemon defeats another pokemon in the wild…you’ve just proven beyond a shadow of a doubt that your pokemon is stronger than the wild one. You have now proven that you have something to offer, you’ve passed the test. The wild Pokemon now realizes that it stands to learn something, to grow more powerful, by accepting your tutelage. That’s why it’s considered acceptable to the pokemon to follow a trainer after they are overpowered and captured. It’s like…right of conquest, but with fully informed consent. 

Consent is key here, and I believe this cultural understanding to be the reason that most pokemon are immediately comfortable with following the trainer who caught them. While one might argue that they don't really have a choice anymore...that simply isn't true. The anime clarifies that Pokemon can release themselves from a Poke-Ball whenever they want. Misty’s Psyduck is the most iconic example of this, but there are countless others.  In theory, a Pokemon could just leave a trainer who they find unsatisfactory. Actually, that’s not just a theory. That’s canon. Something that most people don’t seem to realize (or at least, they forget) is that it’s not just Trainers who ditch Pokemon they no longer want. It happens in reverse as well.

Pokemon can and do abandon their trainers, if they deem said trainers to be unworthy of their talents. 

Remember when I said that I would be chiefly referencing the anime, because it’s the most reliable depiction of what the Pokeverse is supposed to be like? This is exactly what I was talking about. Because obviously, this never happens in the games. Your Pokemon don’t just disappear from your party or PC boxes, because that would be an incredibly stupid and unfair mechanic. But in the anime, where the relationships between pokemon and trainer are more fleshed out? In the first season, Bad To The Bone is about a Marowak who chose to ditch his trainer after said trainer had his badges stolen. While the Marowak eventually changed his mind, at no point did any character voice the idea of trying to return him by force. It was Marowak’s choice and no one else’s, which is why the trainer was heartbroken.

But that’s not a one-off, it’s not the only example. There are quite a few. Due to a misunderstanding, Gym Leader Pryce once believed his Piloswine had abandoned him. Then there’s Ash. Always the mother hen, he’s adopted many pokemon who were abandoned by previous trainers, but the opposite has also happened. His Snivy, and his Greninja, are both Pokemon who were explicitly stated to have had previous trainers whom they chose to leave, because they didn’t feel understood. Typically, it seems that Pokemon choose to leave because they feel as though the unspoken contract that is “pokemon training” has been violated somehow, or they’re otherwise not getting what they signed up for. This is why the traditional method of “catching” pokemon is so vital. Because it’s an honor system.

Any time a human does attempt to force a pokemon into submission or otherwise harm them through any method that is not the traditional system of capture, the story treats them as unquestionably villainous for doing so. The other humans react in horror, and attempt to stop them. This is because forgoing the “defeat them in battle” route and instead using some kind of technology or whatnot to claim the Pokemon is seen as dishonorable at the best of times, and evil at the worst of times. The Trainer is ignoring the agency of the Pokemon. Attempting capture in the conventional way is a mutually accepted system, the wild Pokemon know and understand that a trainer may attempt to take them, and if they really don’t want to be said Trainer’s pokemon, they can always choose to leave after they are captured. But the use of other means takes that choice away from them. These villains, usually the evil Teams, are using methods of capture that fail to demonstrate to the Pokemon why they are a worthy Trainer, and likewise rob them of the ability to judge them as unworthy. 

So yes, there are exceptions, but for the reasons I have described, I fail to see how the idea of “slavery” is applicable to properly trained Pokemon.

They have the power to attack their trainers whenever they choose. Sometimes they do. They have magical abilities that enslaved humans in real life do not have. Legends: Arceus does a great job of highlighting just how dangerous Pokemon could be toward their human counterparts if they really wanted to be. They also have the power to leave. A Pokeball is not a chain. The only time a Pokemon struggles to escape a Ball is when it is first used on them, and the connection is initially forged. But, as I’ve talked about, I believe this to be a ceremonial process and little else. Trainers will immediately send out freshly caught Pokemon to heal or train, and the Pokemon don’t run. But once again, they could. What is stopping them? Ash’s Charizard never saw fit to abandon him, but if he had, what could Ash have actually done about it? Basically nothing. He’d get a flamethrower to the face and then Charizard would fly off. The same thing is true for any of Ash’s Pokemon, or the trained Pokemon of any Trainer ever. 

There’s another Donphan in the room that I’d like to touch on real quick. I’ve talked a lot about how the anime clarifies the nature of Pokemon and their relationship to their Trainers…but I also mentioned that the developers have openly tried to beat back the claims of animal abuse, of slavery. The anime speaks for itself, but what about the time Black and White openly addressed these criticisms? You were probably waiting for me to bring it up, but the truth is, I don’t have much to say. The idea of Pokemon and Trainers having a symbiotic relationship, and needing each other…the idea that they shouldn’t be separated…all of that is touched on in the games, but the subject is mostly used as a scapegoat by a wannabe dictator.

I have yet to see any character in Pokemon honestly make the same comparison that critics make in real life, and I doubt we ever will see that happen. It’s just not an idea that can be properly explored in the Pokeverse, because our world is unknown to them. Our way of doing things isn’t something that any in-universe Trainer could hope to understand. It’s an entirely different culture. The way we personally view Pokemon as creatures is colored by our context, by the fact that we’re on the outside, peering into this world with the perspective of a society that doesn’t have Pokemon. To the humans, this is the way their world works. Team Plasma came the closest to approaching that idea, but even then, they were the villains. It was made abundantly clear that they were wrong. 

In theory, Pokemon are servants at the whims of their Trainers. In practice, they’re actually the ones with real power and the relationship is balanced, nuanced, and heavily based on mutual trust.

In theory, Pokemon are the wild animals of their universe. In practice, they have no equivalent to our world. They are, as we're told many times, "wondrous creatures." They have no explanation.

In theory, Pokemon are forced to engage in senseless violence day in and day out. In practice, Pokemon battling is an art form that the Pokemon themselves choose to pursue, and it is not remotely dangerous. 

Thanks for coming to my Ted Talk. If you need me, I'll be hunting for a shiny Wattrel.

[hassedah]

Beliath meets MC's family:

Hi! How are you? I hope you are well! ^^

Here's Beliath's part for the headcanon: the boys meet MC's family.

I hope you enjoy it, the next one should normally be on Ivan. ^^

Have a good day and take care of yourself! ^^

-----

He couldn't be less stressed. Seriously, nothing could be worse than your encounter with his mother, who tried to kill you both, as well as his sister and everyone in the manor. That meet with your parents? That's nothing, after all, they're certainly not going to try and kill you both in a demonic ritual to gain power. So, Beliath simply observes the landscape through the car window while you're driving, he's in a great mood and chats to you about anything he can think of. Ethan has ordered you not to give him the wheel under any circumstances, and from the look on the doctor's face, it didn't occur to you to disobey him. But the closer you get, the more questions Beliath asks.

"Where were you going for fun? It looks like a small town. -There's a park in the centre of town where we used to meet up for a chat after classes. -I see. There wasn't much to do… -There's a shopping centre nearby and a café. -Sounds boring… Isn't there a nightclub? -I didn't go to nightclubs when I was underage and no, there aren't any… the only nightclub is the Moondance. -Pff, I think I'd die of boredom… Well, it's nothing against you or your town, it's just that there's not enough activity for me… -We used to get together a lot at the clothes shop too and at the beach in the summer. -That's not going to convince me that it wasn't supposed to be boring," replies your vampire with a pout. What are we going to eat? -I don't know. -Do your parents know how to cook? -Yes, they can. They can cook. -Good, or can they just cook pasta? -They can cook better than Vladimir and Ethan, if that's what you're worried about. -It's no great feat, even with one hand tied behind my back and a blindfold on, I could cook better than them. -I know, I know, Beliath," you smile, patting his thigh, "you're an excellent cook, no one can do as well as you. Are you happy or do you want more compliments? -Keep saying what an exceptional person I am, your compliments warm my heart."

You laugh softly before starting to list all the compliments you can think of, which seems to be enough for Beliath, who grabs your hand to kiss it.

"You mustn't get home too late, my skin looks terrible if I don't get my ten hours' sleep. -Your skin is always beautiful, my darling. And in the worst case, we'll be sleeping at my parents' house. -Could I see your room at your parents'? -I'll see… if you're nice during dinner. -Hey! I'm always nice! You've never met a nicer vampire than me! I'm the best! -Okay, if you want," you answer, laughing. You're the best, but I won't show you my teenage bedroom unless you're nice. -I'm sure there are star posters all over the walls, just like in the films, and maybe some stuffed animals too, and a chair that used to be your wardrobe. -You're well-informed, aren't you…" you say, giving him a quick glance. -It's because of all the teen series I've watched. -I'm sorry to tell you that teenagers in TV series generally have a much more eventful life than ours… -Rah, boring! You're not sneaking out? Parties till the sun comes up? Chaotic proms with whirlwind romances? Urbex? I've heard it's all the rage at the moment, with lots of young people doing it at Moondance! -Well, you can do those things, but they rarely end up with vampires, dead people or werewolves hiding in the dark corners… "

There was a short silence before you felt Beliath lean towards you, a brief glance towards him and his mischievous smile made you sigh.

"It wasn't because of Urbex outing that you fell into the mansion? -What do you want, Beliath, my life is worthy of a teen series," you joke. -It's a bit like that series," continues your partner, "you know with the girl at highschool who falls in love with a vampire who has a brother… what's that series called again? -That's far too vague a description for me to give you an answer, Beliath. -Yes, they go to school and fight other vampires. -That's what I'm saying, it's just too vague for me. -Maybe… I'll ask Ivan when we get home. I'm sure he knows. -Try to find out more information about it, even Ivan won't be able to answer you otherwise. -She's got one friend who's a witch, and the other's a blonde. Rah, I can't remember. The mayor, his son was a werewolf and there were deaths all the time."

You smiled as Beliath continued to give you information about his series, each one as vague as the next. This kept him busy for the rest of the journey, because even when he'd parked outside your parents' house he still couldn't remember the name of the series, but he'd told you about at least the first two seasons.

"It's all right, Beliath, we'll ask Ivan when we get back. We've only just arrived."

Your vampire leaned back in his seat to observe the house before exclaiming.

"MC! There are garden gnomes! It's a real series house! -Well, not everyone considers garden gnomes a threat to their flowers."

The jab at Vladimir, who wasn't there to defend himself, made your partner laugh. You parked just outside the house before getting out of the car. Once he was beside you, he slipped his hand around your waist before kissing your temple, then your cheek, then the corner of your lips. You laughed before gently pushing him away.

"Beliath, concentrate a little, my darling. -I won't be able to kiss you as much once we're at the table, let me refuel first, I'll be very nice afterwards I promise!"

You rolled your eyes in amusement at his pleas before taking his face in your hands to kiss him back. Even if Beliath didn't tell you, you could see that he was much more clingy and tactile with you since his mother attacked you.

"Happy?" you asked after you'd moved away. -Mh… can I have one more to be sure?" asked Beliath with a smile. I haven't had time to think about it too much… "

You gave in to kiss him again and felt his arms close around your waist to pull you closer.

"MC, bunny, you're not going off to war, there's no need to kiss each other like that."

You sighed as you waited for the voice of one of your parents before letting your head fall back against your partner's neck, just above you you could hear Beliath laughing softly.

Your parents were waiting for you on the doorstep, and on seeing them Beliath immediately began his charm routine, which couldn't have worked any better. He was charming, the ideal son-in-law, polite, funny, helpful, and above all, his loving gaze and gestures of affection never ceased towards you.

"You make a lovely little couple," exclaimed one of your parents. It reminds me of my youth and our first family meal. Do you remember that too? -Oh yes, a nightmare," your parent winced at the memory, "I ran over your grandmother's rosebushes when I parked. She sulked for the rest of the evening and chased me away before dessert. -That's not going to happen to me, I'm not allowed to touch the car," joked Beliath. -Aren't you driving? -Ethan lent us his car to come here," you explained, "and I've been instructed not to let that dear boy touch it. -I drove his car into the ditch once, and he's never forgiven me. -Oh! You weren't hurt?! -No, the car, on the other hand," joked your vampire before laughing."

You continued chatting in the entrance hall. Then your parents invited you into the living room, where you settled down for an aperitif. Beliath was next to you on the sofa, while your parents sat in the armchairs. Throughout the aperitif, your vampire led the discussion with ease, seeming totally in his element and occasionally stopping briefly to kiss your hand or cheek before answering a new question from your parents, who were totally under your boyfriend's spell.

"What about your parents? What do they do for a living? -My father died before I was born and my mother, well…"

Beliath smiled mischievously and, sensing the nonsense coming, you cut your partner off before he could start talking nonsense.

"She's dead too. -Oh," exclaimed your parent, "that can't be easy, you've been alone for a long time? -Only a few months, Beliath laughed and you frowned, hoping to persuade him to keep quiet."

At least her laughter could always pass for stress or embarrassment, which it really could be, you know that your partner often sweeps problems under the carpet by joking about them.

"And you have no other family," worries one of your parents. -I have an older sister. We get on very well. -It can't be easy every day. You're young. -Oh, it doesn't matter. I've got MC so it's all good."

You were saved from further questioning by the ringing of the oven bell as your parents got up to prepare the main course in the kitchen and put the aperitif away. You took advantage of this moment to turn back to Beliath.

"Don't tell me you were going to talk about the fight between us and your mother? -It was a joke to see how he would react. -A human probably wouldn't find it very funny. I think my parents would freak out if you told them your own mother tried to kill you in a demonic ritual."

Beliath shrugged with an amused look before leaning in to kiss your cheek.

"Don't tell them that, all right. -Right… sorry, darling, I didn't mean to upset you," replied Beliath with a smile that he wanted to be contrite but was far too amused. -I'm not upset. I was just afraid of what you were going to say. -I won't say it… even if it's the truth. -A truth my parents aren't ready to hear. -And yet, you don't think they'd be proud to have a child who dared to fight a powerful succubus to save partner. -I'll fight all the succubi you want, my love, but you must never tell my parents. I don't think they'd be thrilled to hear the news. -Not thrilled? When their child has the courage to slay a demon to save frail partner? smiles Beliath before kissing you. -My frail partner, who also happens to be half-demon and half-vampire. -And who raves every day about the power and courage of the person he loves. -You don't have to charm me, my darling, I've been charmed for a long time. -I have to tell you how exceptional you are! I could compliment you for hours and never get tired of it."

You smiled in amusement at your vampire, before kissing him, Beliath responded to your kiss with passion before being interrupted by a call from one of your parents in the dining room. You got up to join them and the discussion continued in a pleasant manner as the dishes were served. Beliath was tasting every dish and singing the praises of your parents' cooking. You could tell by the look on their faces that they were flattered, and also that your parents had outdone themselves in the kitchen in terms of the quantity and quality of the food.

"Do you cook?" one of your parents finally asked. -Yes, I do. I do most of the cooking with Raphaël. -Béliath is very talented in the kitchen and it's always a pleasure to eat what he's prepared for us," you added. -Don't the others cook?"

You exchanged a glance with Beliath before sighing at the same time.

"He could probably cook, but that would be risking setting fire to the manor," you reply. -Aaron and Ivan still manage well. -Yes, they can make pasta, that's something… but Vladimir and Ethan. -Well, I don't mind cooking with Vladimir, but I don't want Ethan in my kitchen. I like him a lot, but I sincerely think he confuses cooking with scientific experimentation… sighed Beliath. -It can't be as bad as all that, try one of your parents. -Vladimir nearly blew up the microwave… three times."

Your parents were silent for a moment before looking at each other and back at you, obviously expecting a joke, but you said nothing more and after a moment one of your parents exclaimed.

"And I thought I wasn't very good in the kitchen… -They're making an effort, though," you tried to temper. Vladimir managed to make sandwiches last time."

The discussion turned to the cooking skills of each of your housemates, you didn't hesitate to criticise Vladimir and Ethan's cooking and your parents seemed quite curious. This went on for a long time before the discussion turned to other subjects.

"MC didn't tell us what you do for a living? -What do you mean? -What's your job?" rephrased one of your parents. -I'm a barman," smiled Beliath after giving you a smile, he was proud to have remembered the lie you had planned for this situation. -Barman! -Yes, it's a rather amusing job, I talk to people all night long, they tell me their gossip, I know everything that's going on in the city without even needing to watch the news or open a newspaper, the music's pretty good and on top of that I know how to make excellent cocktails! -Oh, we'll leave that to you next time. I'd love to try a cocktail made by a professional."

The discussion continued for a long time as your parents began to tell you about the parties and outings they used to go to when they were young, you winced at some of the information you would have preferred never to know, but it didn't faze Beliath at all as he also recounted some of the evenings he had spent at the manor, sometimes stopping for a brief moment to stroke your hand or your back, as if not being in contact with you seemed unimaginable to him. Talk of your parties at the manor slowly led to talk of your flat-sharing.

"I understand you live in a shared house," one of your parents asks. Who owns the house? -Vladimir owns it. -That's not a very safe way to live," worried one of your parents. Aren't you afraid you'll have to move from one day to the next? -Not a chance with Vladimir," you immediately reassured your parents. No matter how much he complains about us being there, he can't stand to be alone and he needs us for a lot of things. -I confirm. We only let him go shopping once with Aaron, and he didn't come home all day. We had to go and look for him. He'd got lost in an IKEA and couldn't find the way out."

Your parents remained silent for several seconds looking at you before you sighed.

"The worst thing is, I'm not even surprised. -The worst thing is that he doesn't assume it. He told us he wanted to redecorate and that he hadn't seen the time, while we found him sitting on a sofa like a kitten abandoned in a cardboard box. -Your flat-share looks… rather hectic," said one of your parents after glancing at your other parent. You must not be bored. -Everything's fine most of the time," reassured Beliath with a smile, "it's just that we're rather… -Original? you offered. -Exactly."

Your parents looked a little worried but Beliath resumed the discussion as if nothing had happened and after a few minutes they seemed to have completely forgotten their worries. They finally got up to fetch the desserts from the kitchen, and your vampire took advantage of the moment to turn towards you, dropping his head on your shoulder and mumbling.

"Oh MC, I'm exhausted. It's been years since I seriously socialized with humans without using my vampire powers. Tell me it's almost over? -There's still dessert and coffee, darling. -I can't… well… maybe if you kiss me… -Béliath -A little one? I feel faint."

You sighed, as amused by his behaviour as by his complaints, and then kissed him. You felt your partner smile under the kiss and you parted just before your parents returned to serve dessert. The discussion then resumed about the flat-sharing.

"But now that I think about it, it must be tiring being a barman, isn't there too much noise for you during the day? It can't be easy to rest after a night's work. -Vladimir and Raphaël are very sensitive to noise so we're careful, you explain, and Béliath is a very heavy sleeper. He wouldn't wake up even if the roof fell in on his head. -It's because I'm helping Aaron to look after everyone. Once I've decided to sleep, there's nothing to wake me up for. -It must be nice to be able to sleep like this," says one of your parents. Me, the slightest noise wakes me up. -Pleasant, it depends for whom," you reply. It's rather difficult to wake him up. I have to shake him. -All you have to do is try to make like Sleeping Beauty, maybe I'll wake up with a loving kiss. -I can imagine, Sleeping Beauty is fine with me as long as I'm not forced to fight a dragon with my bare hands. -And a werewolf?"

Your parents looked at you strangely as you burst out laughing, then you shook your head.

"Leave poor Aaron out of it, darling. The others give him enough of a hard time as it is."

The discussion returned to poor Aaron and his workload, about which your parents were a little worried. At one point, without you knowing when, Beliath moved his chair closer to yours so that you were shoulder to shoulder. Sometimes he would lean over and kiss your cheek or whisper something in your ear. Finally, you accompanied one of your parents to the kitchen while Béliath was monopolised by the discussion with the other. Kidnapping would be a more accurate word, given that he couldn't leave the discussion to come and help you.

"He looks charming," smiled your parent as you were left alone. I've rarely seen such a smiling young man. -Beliath is a very sunny person," you replied. He's almost never in a bad mood and he knows how to put a smile on other people's faces. -I'm glad to hear that. I was a bit scared at first when you told us you'd found love. We imagined the worst, and what an idea it was to go out doing urbex, you could have hurt yourself or even worse.

You heard Beliath stifle a laugh in the dining room and sighed.

"I'm fine. I've already told you. I met Beliath in this manor and we both fell under each other's spell. Nothing more serious happened. -All the same. I don't mind. You look healthy, but we didn't hear from you for several months, we were worried sick. -I know, I'm sorry, but you see everything's fine now. -You can't imagine how worried we were. I never thought I'd see you again."

You continued to reassure your relative before returning to the dining room. As soon as seated, Beliath kissed your hand again before smiling mischievously, you didn't need to be inside his head to know that he had heard the whole discussion, your gaze didn't convince him to keep quiet and before he could say anything you kissed him, silencing your partner immediately. Meanwhile, the coffees were served and Beliath took his and resumed the conversation.

After the coffee, the discussion went on for a long time, Beliath and you were both getting tired and all you wanted to do was go back to the manor and get some rest. Unfortunately, your parents didn't think so and continued talking without giving you a chance to make them understand that it was time for you to go home.

Finally, after yet another pointless discussion about the weather and the seasons, you managed to tell them that it was time for you to go home and get some rest. Your parents followed you into the hallway, continuing to chat, and finally, after promising them several times that you'd see them again soon, you got in the car to leave.

Once on the road, Beliath let his head rest against the window before sighing.

"I'm not going to Moondance tomorrow. We're taking Ethan's portable DVD player and having a movie and spa night."

You nodded without taking your eyes off the road. You arrived well after midnight and decided to go up to your room after briefly telling Vladimir and Raphaël about your evening. After changing into more comfortable clothes, Beliath dropped onto the bed, and you came over to lean against his shoulder.

"We won't have had time to visit my teenage bedroom," you whispered before kissing him. You're not too disappointed? -We're going back there anyway. -There's no doubt about it, my parents adore you. -Everyone adores me, I'm an exceptional person and I have a partner who's just as exceptional as I am. Am I not the luckiest vampire on the planet? -You're very lucky indeed," you laugh. I must be too, to have you in my life."

[alicepao13]

Hudson and Rex S01E12 - A Cult Education

Oh, by the way, the order of the episodes might be slightly different. I'm just following the order the rips I have are in. As Hudson and Rex has completely standalone episodes, bar a couple exceptions, this doesn't really affect continuity. But I'll start writing the episode titles so that there won't be any guesswork needed.

There was already a mention of Joe's ex wife being an addict in earlier episodes but in this one we get deep into it. It's not a "happy" episode by any means. It also makes me wonder what "I had to explain trans people to my kids" people do with concepts like addiction. Their children don't have any questions about that?

So Joe met Wendy when she was an informant? That may actually explain why he never took action when Charlie kissed Eva. I'm joking. Like hell any of the writers remembered Joe's backstory in S4 and in S6 they'd certainly forgotten Camilla wasn't his biological daughter and he'd adopted her through marriage.

Charlie: Don't worry, if your mom is innocent, I'll find proof. I've got lots of tools at my disposal. But mainly Rex. Rex will do all the work.

Charlie and Sarah are talking about how awesome Joe is to have stuck around for Wendy and support Camilla. Show, don't tell, guys. There was no need for this conversation.

How dare he dangle the ice cream like that in front of Rex.

The fact that Camilla fooled security to get to the cells explains so much about later episodes.

"They may have excellent lawyers but we have Rex" Unless he can rebuke arguments in court, I don't think he can do much in this case.

Really weird that the weird little cult didn't move the drugs after they realized that there was an investigation about them.

When was the last time those two sat in a professional manner around each other? Again, not complaining lol

Sarah: When was the last time you've eaten? Charlie: Does gum count?

Charlie: I tried to get home to rest and actually got as far as the police parking lot before somebody tried to take me out.

Not that I don't like attempt's on Charlie's life, but what exactly was the intent here? Even if he was killed, someone else would have taken over the investigation and I bet it would have more eyes on it after that.

From what I've known about Canada from this show, everyone wants to go to that Fogo Island.

Leave it to Jesse to spot identical printer patterns. Or whatever they're called.

"Printer flaws are like finger"- No, Charlie.

I don't know a lot about having a dog but from what I do know, having a routine is important. Does not seem to be the case in this show.

I also don't know a whole lot about drug addiction either, so I chose to focus on the things I could talk about. The episode definitely does a good job of showing how supportive Joe was as a husband and a father.

[lostcauses-noregrets]

Before I say anything else I want to make it clear that I have so much respect for you Lost and I love your blog so much it's very precious to me but I want to be honest for once. I am an Eruri shipper, the reason why I am here in the first place, but before that I'm an Erwin fan and have always been and the amount of hate he gets is increased dramatically recently. And I mean of course twitter where the fans interact directly more than tiktok, tumblr or instagram. And the reason Erwin gets all that hate is because of this fandom. I don't say this on twitter or anywhere else because I am very shy but that's how I feel and I am pretty sure this will be seen as Eruri hate. But Eruri fandom on twitter is very much different and way bigger than here on tumblr. And they are very vocal. Most of the time it's fun, banter, jokes and things like that. But a part of the fandom is very vocal about their dislike for every other ship. They literally won't let anyone ship Erwin with Mike or Levi with others, especially Hange. They always mock Levi's fangirls and honestly, I don't appreciate how they talk about Levi (like something to be owned and only belongs to Erwin) or how often they insult other characters like Mike or Hange or "getting in the way of their ship". This isn't a problem for me personally because I am in the Eruri fandom and I choose who I interact with, I have an idea of who to follow and who to mute. But a regular person who doesn't ship Eruri doesn't know about that they often see those takes or jokes and this is one of the main reasons (apart from serum bowl) that Erwin gets so much hate. I would be pissed off, too if people always talked about Erwin like a guard dog or someone to be owned or a mindless lovesick idiot. I honestly forget why I like this ship when I see so ooc takes about them and I need to go back to manga to remember why. And I honestly don't understand why everyone is so defensive when another character's fan talks about this issue. Just because we like the same thing doesn't mean we are one, I am not responsible of other Eruris actions and it's okay to admit that there is a good amount of toxic Eruris. Just like any other ship. These days it feels like a big part of Eruris on twitter are very nice to Erwin for completely wrong reasons and mischaracterizing him and often cause the hate he receives. And I know you will probably disagree with that and it's okay but please don't take this the wrong way it'd kill me if you called me a hater or anything bad like that. I'm just a little frustrated with the fandom, every time I see an Erwin tweet I can't help it and click on it and oops it's once again started with an Eruri tweet mocking others or Levi or Hange or other ships whatever. It's getting worse than Armin stans to be honest.

So I have a policy of not responding to “I’m an Eruri but…” asks because they tend to be disingenuous at best, and outright abusive at worst*  I’m going to make an exception this time though, because I’ve had a number of asks like this. 

First of all, every fandom has fans who prefer arguing with other shippers rather than enjoying their own ship and the Eruri fandom is no exception.  There has always been a small minority of Eruri fans who are vocal in their dislike for other ships and characters and who seem to revel in provoking drama.  The fandom is far from unique in that respect, every fandom I’ve ever encountered has its fair share of troublemakers.  I’ve lost count of the number of fans I’ve blocked from every corner of the SnK fandom over the years.  If someone is starting shit, I don’t want them on my timeline. 

Here’s the thing though, I keep getting anonymous asks from people freaking out about all the drama and hate in the Eruri fandom, and I honestly don’t know where that’s coming from, because I’ve seen very little of it.  Certainly there are fans who hate other ships and characters, they're just a fact of life in fandom. I’ve got a particularly persistent “Anon” in my inbox right now who clearly dislikes Hanji.  I’m studiously ignoring them because a) I’m not interested in airing ship or character hate unless it’s Zeke; and b) they are very much in the minority.  I’ve been in the Eruri fandom for 8 years and I can probably count on one hand the number of Eruri fans I’ve met who hate Hanji. Quite the opposite in fact.  90% of the Eruri fics I’ve ever read feature Hanji as Erwin or Levi’s beloved best friend or wingman. Similarly, I have never seen anyone saying that you can’t ship Erwin and Mike.  Really?? I used to write extremely smutty Mikeru / Mikeri / Mikeruri fics but I’ve never heard so much as a peep of complaint. In fact one of my Mikeruri fics is my third most popular fic with almost 20K hits. 

Now, I’m not so naive as to think that drama doesn’t exist just because I haven’t seen it.  I probably spend more time on twitter than I do on tumblr, but I’ve got a comprehensive block list which means I avoid most of the bullshit.  However I usually pick up on the aftermath of any drama because people I follow tend to talk about it. What I have seen recently is people complaining about one or more trolls who are leaving abusive comments on AO3 and Curious Cat, and I’ve also seen fans getting abuse for fundraising for charities.  Doesn’t get much lower than that tbh. With one or two notable exceptions, who I’ve now muted, I haven’t seen large numbers of Eruri fans mocking other shippers and belittling Levi and other characters. So you’ll understand my confusion about your ask.  Perhaps the hate is real and I’ve just missed it.  Perhaps this has become a self-perpetuating rumour. Perhaps there’s something more disingenuous going on.  If you could give me more concrete examples of this bad behaviour, which is apparently rife in the fandom, I might be able to formulate a more nuanced response.  As it stands, I honestly don’t know how you want me to reply to this ask Anon. You’ve said that how the Eruri fandom behaves isn’t a problem for you and that you choose who to mute and who to interact with, but from what you’ve said here, it sounds like this is a problem for you.  I hate to break it to you Anon, but if that’s the case, it’s not a problem I can solve. 

I have no doubt this reply will provoke another flood of Anon hate, all of which will be ignored and deleted. That’s pretty much my last word on the matter. 

* If you think this is an exaggeration, here’s the most recent “I’m an Eruri but” ask I got just a couple of weeks ago.  This shit isn’t new, it’s been going on for years. 

[babyrdie]

Would you be interested about talking more about Jason and his character? I’d love to hear more about what you like about his characterisation in general, and how Apollonius describes him 🙂 /gen

Sure! Sorry for the delay, there was a lot to say since I don't usually talk about Jason here.

A few details first:

I was immensely inspired by Fernando Rodrigues Junior's translation because he wrote essays about the poem at the end of the edition, and they were very helpful. Credit to him. In addition to him, I looked for other academic opinions that better explained what I think. However, any opinion is still an opinion, be it mine or those of academics, and therefore you can certainly disagree.

When I refer to Jason as a non-traditional hero, I am talking about Argonautica. Pindar, for example, writes him in a traditional way. I’ll mention other sources here, but the focus is still Argonautica. Also, I'm going to assume that Argonautica uses the popular version of the myth (including Jason's family context and his ending with Medea) for character opinion purposes, but I'm aware that the text doesn't explicitly state anything.

I have reread considerable parts of the Argonautica (which is part of the reason I took so long to respond), but I haven’t reread it in its entirety. My memory may therefore be deceiving!

You asked about Jason, but I talked about Medea too because their developments are connected.

I'm not fluent in English and the translator is an ally, so please forgive any mistakes.

I'll take this opportunity to say that I think the debates surrounding the mythological Medea and Jason tend to be a waste of time, which is why I've given up on looking for anything about them here. Most of the time, people are making long posts about how Medea is cruel for killing her children as if people need constant reminders that killing your child (or children in general) is wrong. And no, someone posting something silly like "Medea is a queen" doesn't mean they don't know that Medea is cruel. People post about how Achilles and Odysseus are just little guys all the time and no one makes a post about how they're war criminals every time someone posts something like that. Because in the case of male characters, people realize it's a joke and in the case of female characters, people simply lose the ability to understand jokes. You have the right to sympathize with male characters who were also cruel, but you need to explain yourself if you do the same with cruel female characters. As for Jason, he's restricted to "the guy who was cruel to Medea" and apparently no one makes an effort to comment on anything more interesting about him, especially about the poem entirely dedicated to his journey. There are a lot of heroes who weren't as nice people as Jason either, but they at least get a chance to be explored in another way. It seems that most people don't want to talk about the complexities of the characters, most seem more focused on reaffirming obviousness (Medea is cruel) and reducing characters to a single thing (Jason is a bad husband). I'm incredulous that people don't comment, for example, on how Jason is innovative in Argonautica. No one comments on how Medea and Jason as a couple have an incredible dynamic and that part of the flavor of this couple is precisely that they're not cute and healthy. "Ah, but their marriage sucks!"...yes, it sucks! That's part of the fun! They're doomed, that's the point! Even Apollonius clearly knows about it, as I'll talk here. And it's not like I expect people to make deep, knowledgeable posts... I'm also just looking at mythology as a hobby and having fun with no major pretensions. I just wish the topic was less restricted, you know. Something other than debating Medea's morality or simply complaining that Jason is a bad husband. Likewise, trying to defend the morality of any of these characters is equally a waste of time.

Fernando (the mentioned translator) comments that, although Argonautica deals with many themes, by far the one that has most attracted academics to discuss the poem is the validity of the supposed heroism in the character of Jason. And, honestly, reading Argonautica I can see why. The elements of “young hero” and “hero who goes on a mission because he was ordered” are treated in a somewhat…different way here?

Okay, let's take Achilles and Perseus as an example, since I've already introduced them in this post. According to Pseudo-Apollodorus, Achilles was 15 when he joined the army, and even authors who don't give an exact age agree that he was very young. This is also visible in the iconography, since Achilles is always depicted beardless. His being young is part of the tragedy, but in the end he’s still a fearsome hero. His youth doesn’t inhibit his power, so to speak. Perseus is young (I'm not sure if he was a teenager or a young adult, though) and he went on a mission not because he wanted to, but because he had to — because of his mother, Danae, by order of King Polydectes. But in the end, Perseus is still heroic. He not only kills Medusa but saves Andromeda from the sea monster and returns home to save his mother, Danae. And he has divine help in this, but the divine help factor is something common for heroes. The thing is: Perseus doesn't need other people (note the term people, which excludes deities) to do things for him. Neither does Achilles, for that matter. Jason in Argonautica isn't like that. He’s young, he’s insecure, he’s passive, he’s unresponsive, he has people doing things for him all the time. Even the heroine of the poem, Medea, is more active and determined than he is, which is not exactly a common characteristic in Ancient Greek works. He isn’t fearsome like Achilles and he is not brave like Perseus.

In academia, Jason's character raised doubts. Among those who study ancient Greek literature, he seems to be...well, he's not like the others. Fernando comments on how Auguste Coaut, Alfred Körte, J.W. Mackail, C.M. Bowra, F. Wright, and G.W. Money all seem to think that Jason lacks something that makes him heroic — by ancient Greek standards — or even something that makes him a protagonist — i.e., the focal character who moves the narrative forward. The reasons are similar: he's passive, he's not brave, he has a weak presence, he's uninteresting, and some say he's selfish — in the sense of not doing something that benefits others. Compared to the other characters, Jason seems surprisingly lackluster to some readers, which is unexpected for a hero protagonist. When you read The Iliad, Achilles definitely doesn't seem like a weak presence or a coward. Same with Odysseus in The Odyssey and with other characters like Perseus and Heracles when their myths are told. None of these characters seem to need, for the most part, other people (note that I say people, not deities. Deities helping heroes is common) to solve things for them at all times. If anything, it's Achilles who is the most active of the Greek warriors in the Trojan War, it's Odysseus who is the main voice throughout the poem, it's Perseus who helps Andromeda and Danae, it's Heracles who overcomes his conflicts. They may receive help, but you can see that they’re capable. You don't question their capabilities at any point. Jason, on other hand, is very much questioned.

I'll give a summary, just to make it more understandable for those who haven't read it and to refresh the minds of those who have. The summary is focused more on Jason's attitudes or lack of attitudes, so it is not a summary of Argonautica itself. For example, I didn't describe Apollo's importance in the text because it doesn't really affect what I want to talk about. There are several myths mentioned by Apollonius that I didn't mention, and I also didn't mention all the reported fates of the Argonauts.

In Book 1, we have:

As Jason is leaving Ioculs, Apollonius points out that he’s hot like Apollo. Jason doesn't volunteer to be the leader and instead asks the Argonauts who should be the leader. Obviously, everyone chooses Heracles, the most experienced of the crew, but Heracles says that the job should go to Jason because he's the one who brought them together. And just because Heracles said it, the Argonauts agree. So not only did Jason not volunteer to take the lead, he wasn't the first choice. Furthermore, right at the beginning, Jason is already crying because he misses home (bro really wasn’t excited about this mission). The ship's seats are drawn at random, with the exception of Heracles and Ancaeus, who by unanimous decision are given the middle seat. Also by group decision, Tiphys is given the position of helmsman.

After making sacrifices to Apollo and Idmon, who is capable of divination, assuring them that they will return with the fleece but that Idmon is destined to die in a distant land, the Argonauts are both happy and saddened by both news. While everyone was having fun drinking and eating, Jason was despondent and thoughtful. Idas taunts him, insinuating that Jason is a fearful coward and that Idas, on the other hand, is strong and courageous. Jason doesn’t respond to Idas, but Idmon gets angry and reprimands Idas for not comforting a discouraged comrade with appropriate words. Idmon and Idas argue and the one who stops the argument is Orpheus singing and playing. The most Jason does is stop Idas from attacking Idmon, but all the Argonauts do that and not just Jason (that typical moment when a lot of people try to break up a fight lol).

When they land on Lemnos, an island of only women (they killed the men) who had even armed themselves to defend themselves, Jason's way of avoiding conflict is through eroticism and not heroism. Because he’s beautiful and charming, he’s captivating (like, all the women of Lemnos thought he was really hot lol). Thus, the heroes avoid conflict with the women and even spend days having sex (in Jason's case, with Hypsipyle, the queen of Lemnos). And it's not Jason who reminds the heroes that they have a mission to accomplish, but Heracles is the one who does. Heracles, who had stayed to guard the ship Argo, has to go and remind everyone that they have a mission and that the Golden Fleece won’t go to Iolcus alone. 

They disembark at the place of the Deliones, ruled by the newly married king Cyzicus. That part wasn't a problem for them, as Cyzicus was a good host. When they left, they were attacked by six-armed giants (known as Earth-born men) because such monsters were created by Hera as a trial for Heracles. However, Heracles dealt with them all. They set off again and it was night when the boat was moved to get closer to Deliones' home again without anyone noticing that they were on the same land they had been on before. The Doliones, who were constantly having problems with other people, thought the Argonauts were enemies and attacked them. Jason then kills Cyzicus without recognizing him and subsequently the rest of the Argonauts kill other Doliones. Only later did they realize that they had killed their own allies and spent three days mourning. Cyzicus' widow hanged herself.

Then they set off. As they sailed, a bird made a noise. Mopsus, hearing the animal, realized that it was a sign of good omen (birds were considered signs in divination) and told Jason where they should go and what to do. After doing what Mopsus said they should, they rowed again. When the sea became too strong, Heracles alone rowed hard enough, but ended up breaking his oar. They’re in Mysia and Heracles orders them to prepare something to eat while he goes to get wood to make a new oar. However, Heracles is accidentally left behind in Mysia along with the Argonaut Polyphemus (Heracles wanted to look for Hylas, who had been taken by the nymphs while looking for water, and so didn’t embark in time. And Polyphemus was the one who heard Hylas screaming, so he also stayed to help Heracles) without Jason noticing the absence. When the Argonauts notice Heracles' absence, Telamon accuses Jason of doing it on purpose so that Heracles wouldn’t overshadow him, and Jason doesn’t even defend himself. Telamon tries to get Tiphys to return for Heracles, but Boreas' sons (Zethes and Calais) stop him. The situation only ends when the god Glaucus intervenes and explains that Heracles was left behind by divine will, as he must finish his labors rather than continue with the Argonauts.

In Book 2, we have:

The Argonauts arrive at the home of the Bebrycians, whose king Amycus has a habit of challenging travelers to fight him in a boxing match. He then orders the Argonauts to choose the bravest warrior and doesn't even care to know who they are, which angers Polydeuces. That's why it's not Jason who volunteers, but Polydeuces (Helen's brother. The Dioscuri are part of the Argonauts and Polydeuces, specifically, is the demigod of Zeus. Castor is the son of Tyndareus). And indeed, it’s Polydeuces who defeats Amycus. This caused Bebrycians to attack the Argonauts, which led to a fight in which the Argonauts won and sent their enemies running (like, literally). One of the Argonauts comments that if Heracles was still with the Argonauts they probably wouldn't have gone through this, since Amycus would hardly challenge Heracles.

At one point, they stop at a place near the house of Phineus, an elderly and blind seer who is daily tormented by harpies because of a divine punishment imposed by Zeus. The Argonauts want to free him from the problem with the harpies, but it isn’t Jason who does it, but Zethes and Calais (demigods of the god of the north wind Boreas). Phineus, being a seer, prophesies to the Argonauts the challenges they will have to face. What he says leaves everyone scared, including Jason, who even takes a while to respond to Phineus because he’s so shocked.

They have to pass two rocks that move to crush those who sail between them, but they manage to advance. Not because of Jason, but because the goddess Athena helped them and the helmsman Tiphys was skilled. After they pass the Clashing Rocks with Athena's support, Tiphys notices how fearful Jason is and tries to comfort him telling him that they have divine help (in this case, Athena) and that Phineus, who is a seer, said that the voyage would continue well. Discouraged, Jason gently responds that he shouldn’t have accepted Pelias's imposition and instead should have never set out because he fears that he will lead all his companions to their deaths. However, the Argonauts motivate him and he regains the motivation to continue.

At one point, they are attacked by a wild boar and Idmon dies because of the animal. The Argonauts are obviously alarmed, but it isn’t Jason who resolves the situation. Peleus is the first to react and wounds the animal, and Idas is the one who delivers the fatal blow. Later in the journey, the helmsman Tiphys dies from an illness.

After losing their companions, the Argonauts are sad and don’t continue their journey. Jason, as their leader, doesn’t motivate them and instead joins them. Ancaeus, driven by Hera, motivates them to continue without fear and yet Jason does nothing. Peleus, however, is motivated and tries to encourage Jason, who dejectedly says that he thinks they have an evil fate awaiting them in a hopeless mood. And then Ancaeus, still driven by Hera, simply decides not to waste time with Jason and moves the ship himself. Hera is really motivated to bring Medea to Iolcus lol

Further on, they pass by the island of Ares, and one of the island's birds attacks Oileus, causing him to stop rowing. In the face of this attack, Jason does nothing. The ones who resolve the situation are Clytius, who kills the bird, and Eribotes, who tends to Oileus's wound. All of this without Jason's order. Furthermore, it’s Amphidamas who gives the suggestion that prevents the birds from stopping attacking them: to make noises to scare them away.

Later, the Argonauts encounter the sons of Phrixus, who had brought the Golden Fleece to Colchis years ago, in trouble after being shipwrecked. One of them, Argus (not to be confused with Argus, Arestor's son, who built the ship Argo), asks the Argonauts for help. It’s Jason who diplomatically mediates the situation, noting that this is part of Phineus' prophecies. After helping the sons of Phryxus, Jason takes the opportunity to ask them to reward him by helping him get the Golden Fleece. Argus, however, tells them about how cruel, powerful, and a demigod of Helios Aeetes is. This leaves everyone frightened, and once again, Jason does nothing to lift their spirits. But Peleus cheers everyone up.

Sighting Colchis, it’s Ancaeus who tells them that they must choose a strategy on how to approach Aeetes. Argus advised them where they should anchor the ship, so Jason gave the order for Argus's advice to be followed.

In Book 3, we have:

The Argonauts are still on the ship, unnoticed. Athena and Hera then think about how to get them the golden fleece. Hera wants to know if they should advise/influence them to try to deceive the king with smooth words or if Athena has a scheme in mind. Both then thought about what to do, until Hera gave an option: ask Aphrodite to make her son, Eros, make Medea fall in love with Jason.

On the Argo, Jason once again wants to know the Argonauts' opinion on his plan and encourages them to speak up, stating that as common cause is common cause, so is the right to speak. The plan is for the Argonauts to rest on the Argo while Jason, the sons of Phrixus, and two other comrades go to the palace to speak with Aeetes. He will then first see if, with words alone, he can deal with Aeetes or if it will be necessary to resort to more violence. Jason thinks it’s better to first test speech before violence, and comments that years before Aeetes welcomed Phrixus, so why assume that he would immediately be antagonistic to foreigners (in the future we will discover that Aeetes actually hates foreigners and only accepted Phrixius by divine order from Hermes). The Argonauts by mutual consent accept Jason's idea, and the comrades chosen to go along with him and the sons of Phrixus are Telamon and Augeias.

They easily go to the palace without being interrupted by the Colchians because Hera helped them to go unnoticed along the way. Medea quickly calls her sister, Chalciope, as she is Phrixus' widow and the mother of his children. Next come Aeetes and his wife, Eidiya. Taking advantage of the distraction, Eros shoots Medea, who immediately falls in love with Jason.

Aeetes asks his grandsons what happened and who these strangers are, and Argus, who is the oldest, answers. Basically, he describes the Argonauts in a very complimentary way, talks about how they saved him, says that they need the fleece to end a curse and even says, “Hey, Jason’s grandfather is Cretheus. Cretheus is Athamas’ brother. Guess who Athamas is? My grandfather! In other words, we’re related!” Aeetes gets furious because he thinks the Argonauts want the throne and tell them to leave, and threatens that he would have beheaded them if he hadn’t eaten with them. Jason tries to calm him down with his typical sweet and flattering words, but then Aeetes proposes to give him the fleece if Jason successfully completes a practically impossible task. Faced with this, Jason immediately becomes discouraged and thoughtful, but finally, desperate, he says that he will accept even if it is destiny to die because he has to carry out the order imposed by a king. Afterwards, Jason gets up and leaves with his companions while Apollonius describes that he is so hot that he surpasses everyone in beauty.

Argus suggests to Jason that he get help from Medea, as she is a follower of Hecate. He says that he can try to get her to contact Jason by asking his mother, Chalciope, to speak to Medea, since they are sisters. Jason accepts the suggestion. Returning to the Argo, Jason says that Aeetes has given the task of plowing the field using two fire-breathing oxen and planting seeds that create warriors (these are the seeds of Cadmus, who used them to form the first Thebans) and that it is Jason's duty to kill all the warriors on the same day, and he says that he accepted because there was nothing else to do. All the Argonauts are silent and desperate because no one (this includes the demigods in the group) there thought that this is a task that any of the Argonauts could accomplish. Again, it is Peleus who encourages them and comforts Jason. The Argonauts are excited and prepared.

Argus, however, stops the Argonauts and tells them that they must wait, as he will try to get help from Medea since she is skilled in the arts of Hecate. There are again bird signs, and Mopsus interprets to them that this is a positive sign that they should get help from Medea. All the Argonauts agree because they remember Phineus' words, except Idas. Idas finds it shameful that they’re asking for help from Aphrodite and not Ares, mocks the bird signs and thinks it’s bad that they focus on begging "waekling girls" instead of engaging in acts of war. The Argonauts murmur among themselves, but none actually say anything. Jason, as usual, ignores Idas and tells Argus to do as he was suggested, so Argus leaves to speak to his mother.

Argus talks to Calchiope, who agrees to talk to Medea that the foreigners want her help. She asks Medea to accept for the sake of Calchiope's children, but Medea would have already accepted for Jason anyway. Medea then prepares the necessary drugs and, at night, leaves to give them to Jason at the Temple of Hecate. Hera decides that she will make Jason more attractive to Medea, and Apollonius says that he has become so attractive that even the Argonauts are amazed and Mopsus immediately feels a good omen. Mopsus was supposed to go with Jason, but Hera tells him through a raven that no maiden will allow herself to be seduced with strangers around, so Mopsus assures Jason that it will be successful e but that he will have to go alone. Jason and Medea meet at the Temple of Hecate and the general idea is that they flirt with each other, Jason uses sweet words to convince Medea to help him (she is unsure about being a traitor to Colchis), Medea notices how hot Jason is, they blush and there is a promise of marriage in exchange for the help (it is not a hard promise for Jason, as he likes Medea and likes the idea of ​​marrying her). So they return to their proper places, Jason having the drugs that will help him in the task of Aeetes. Jason tells the Argonauts that it was a success and everyone is happy, except Idas who continued to sulk.

For the first time, Jason is able to have a moment of martial prowess all to himself as he successfully accomplishes Aeetes' task, including killing the warriors born from the seeds. However, he’s also only able to do so because Medea helped him by giving him drugs that made him temporarily invulnerable (in fact, he knew it would work because he had previously sprayed the drug on his equipment and had the Argonauts try to break it to see if it was invulnerable). Jason is compared to both Ares and Apollo. Apollo has been used before, but Ares to describe Jason is clearly a characteristic unique to this event of marcial demonstration. 

In Book 4, we have:

Hera urges Medea to leave with the Argonauts, as she wants her to be Pelias' punishment (he dishonored Hera). Medea runs to the Argonauts and tells them that she will put the fleece-guarding serpent to sleep and take the fleece herself, as long as Jason truly marries her under divine witness. Jason is happy, comforts her and makes a vow to Hera that he will make Medea his wife. They shake hands, as if making a deal. While being taken away on the Argo, Medea is sad to say goodbye to Colchis, but Jason comforts her.

They stop at the place where they will get the fleece. It is Medea who uses her drugs to put the guardian beast of the golden fleece to sleep. And during this process, Jason is described as being afraid while Medea does everything. She tells him to get the Golden Fleece, and then he goes and does it. The two return to Argo, where Jason shows the Argonauts the fleece and tells them to get ready as Aeetes will certainly come after them. Jason puts on his war armor and stands near Medea. Argus suggests where they should go and Hera gives a sign of good omen, which encourages the Argonauts and makes them do what Argus said.

The Colchians pursue the Argo, which makes Medea extremely angry (it’s said that she wanted to set the ship on fire, to get an idea) and Jason has to calm her down. She tells him that she has a plan to kill Absyrtus, her brother who is pursuing them, and Jason agrees to go along with the plan. Absyrtus is tricked and killed by Jason in front of the temple of Artemis, and her brother's blood splashes on Medea. Jason performs a sort of ritual to atone for murder (to avoid retribution from the Erinyes) and buries Absyrtus. The two return to the Argo, where Peleus encourages the Argonauts to row vigorously. Furious at the death of their prince, the Colchians are more than willing to pursue the Argonauts, but are prevented by Hera.

Zeus was angered by what Medea and Jason did to Absyrtus, and he wanted them to purify themselves with Circe on Aeaea. But none of the Argonauts knew this, so they passed right by the island and Zeus caused them to get lost. Hera, knowing what Zeus wanted, makes them turn back (there is a scene where she literally screams to warn them). Circe helps them, even recognizing that Medea is related to her because Medea has the bright eyes of the descendants of Helios.

Hera convinces Thetis to have the Nereids help the Argonauts to safe passage, using Achilles to do so (basically, he and Medea here are destined to marry in Elysium. So helping the Argonauts is helping her son's wife). Thetis goes to the Argo and, visible only to Peleus, simply tells him what needs to be done and then leaves. The Nereids really help them.

They arrive at the Phaeacian island, but the king wants to hand Medea over to Aeetes so that there will be no trouble. Medea, who is no fool, repeatedly begs Arete, the queen, not to let this happen. Arete is moved by Medea and goes to speak to her husband, Alcinous. Alcinous says that if Medea isn’t married, then he will hand her over to Aeetes because he is her guardian. But if Medea is married, then he won’t hand her over since she must stay with her husband. Arete sends a herald to warn Jason that he must marry Medea. The Argonauts celebrate the wedding of Jason and Medea, although they both wanted to marry at Ioculs with Jason's family present (in fact, Hera even sends nymphs to the wedding. And Medea and Jason consummate the marriage on a bed covered with the Golden Fleece). The next day, Alcinous agrees to help them, gives them gifts and Arete gives Medea handmaidens. The Argonauts set off and the second fleet of Colchians (remembering that the first was stopped by Hera) gives up pursuing them.

The Argonauts are stranded in Libya. Unable to get out, the Argonauts lose hope and quickly become discouraged. Medea and the handmaids too. Nymphs from Libya appear to give advice to Jason, who passes it on to the group. Peleus (yes, him again. He’s been working hard) interprets the instructions correctly and they finally make it out of there. They arrive at the Garden of the Hesperides and are very thirsty, so Orpheus asks them if they know of a source of water and promises to honor them when they return home. They reply that Heracles had previously come, killed the serpent and stolen the golden apples, and before leaving, he became thirsty and struck a rock and made water gush out for him to drink. The Argonauts go to drink from this new spring and one of them mentions that, even from a distance, Heracles was still of help to them.

Many things happen, including the presence of the god Triton to advise the Argonauts, but when they pass through Crete a bronze giant named Talos tries to stop them. However, Medea says that only she is capable of subduing Talos and so she alone deals with him using spells. The poem ends with the Argonauts arriving at Pegasae.

As you've probably noticed, Jason is a character who is constantly insecure and afraid. He has no attitude most of the time, he gets discouraged easily and has to be motivated by the Argonauts (when the opposite would be expected and Jason, as the leader, would be the motivator). He also doesn't defend his honor when he's accused (which is strange, considering how this was handled in Ancient Greece). He has people constantly solving things for him (whether they're arguments or bigger things), and when Jason is the one who solves something, he does it through the erotic aspect rather than the heroic one or using diplomacy instead of force. He has a mission imposed on him, he cries when he leaves to go on the mission and, in the middle of it, he even wishes he had never gone. Even when he accepts to do the task imposed by Aeetes, he once again reaffirms that he was ordered by a king and that there's nothing he can do about it. In the first two Books, Jason's character is considered by many to be almost irrelevant, with his greatest martial feat being accidentally killing someone he shouldn't have (Cyzicus). Instead, other characters take temporary prominence with each challenge faced. From Book 3 onwards, Jason's character gains prominence, although he evidently shares the prominence with Medea, who is also more grounded and a more appealing character to most readers than he is.

In John Frederick Carpescken's opinion, the protagonist of the story isn’t Jason as an individual, but the Argonauts as a group. The poem doesn’t begin by talking about a specific hero, as The Iliad does with Achilles and The Odyssey with Odysseus, but about men in group: “Beginning with thee, O Phoebus, I will recount the famous deeds of men of old, who, at the behest of King Pelias, down through the mouth of Pontus and between the Cyanean rocks, sped well-benched Argo in quest of the golden fleece” (translated by R.C. Seaton). In later moments, different characters have their qualities emphasized and most of them are quite necessary for the narrative to work. The poem doesn’t end with Jason like The Iliad and The Odyssey; in fact, it ends with the group's arrival at Pagasa. For this reason, Jason's weak presence isn't necessarily a thing that causes narrative problems in the unit, since he isn’t really the protagonist.

Gilbert Lawall doesn't see it that way. He sees Jason as a weak leader who is more of a victim than an active player, since he is only brought to where he is because of Apollo's prophecy and Pelias' plan. During much of the narrative, other heroes, especially Heracles, solve the problems. But he sees this as Apollonius' intention. For him, Jason being weak in Books 1 and 2 and starting to gain some prominence in Book 3 isn’t a mere coincidence, but a purposeful choice by Apollonius as a way to demonstrate a narrative about Jason's growth. With Hypsipyle, he learns that it’s possible to use eroticism as an ally tool. With Cyzicus, Jason becomes more alert after accidentally killing an ally and it’s intentional that, after this episode, force is the last resort (because, when it was the first, it caused this). With Phineus, Jason learns to be merciful, as he sees what happens if he displeases the gods (although it doesn't work out very well, as Jason commits a crime outside Artemis' temple in Book 4). Such teachings, however, aren’t about becoming a hero, according to Lawall. Instead, Jason is the opposite of a hero, he’s an anti-hero. He achieves things by being treacherous and relying on the help of others. Thus, Argonautica demonstrates the corruption of the traditional hero narrative.

Charles Beye believes that Jason is indeed the protagonist, and he thinks that Apollonius clearly emphasizes this. But he doesn’t think that Jason is some kind of anti-hero, he simply thinks that Apollonius deconstructs aspects of the Greek epic epic genre. Since Argonautica is a deconstruction, it makes sense that the protagonist also represents a deconstruction. In his interpretation, what Jason seeks to represent is a love hero. He’s a hero who is beautiful, charming and achieves things more through erotic power than through any other aspect. Heracles being forgotten in Mysia is, therefore, intentional from a narrative perspective, because Heracles, being a typical hero of a Greek epic epic, doesn’t fit into a poem that seeks to deconstruct this.

Graham Zenker also believes that Jason's main weapon is erotic power. But Apollonius' intention is not to deconstruct the epic's narrative, but rather to contribute to it with a new aspect: a narrative in which eros prevails and Jason, as the protagonist, is also represented by this. Idas, who throughout the poem opposes Jason whenever he has the opportunity, is a kind of representation of an obsolete type of heroism. In this case, the type that acts impulsively and violently. The greatest example of this is when he disagrees with the plan to get Medea's help, something that is accomplished through the erotic sphere, and ends up being wrong, since Jason only accomplishes Aeetes' task thanks to this. More than once, Jason's beauty is emphasized. Upon arriving in Lemnos, he has a detailed description of his beauty and charms the women, twice he is compared to a bright star (once with Hypsipyle, once with Medea) and once Hera highlights Jason's beauty when he goes to meet Medea. Furthermore, according to Zenker, Jason constantly avoids force and prefers diplomatic means, with force being a last resort. He often prefers to make group decisions rather than making them himself, including regarding the crew leader. When given confusing advice when the heroes were lost in Libya, Jason wanted to hear everyone's opinion. At no point does he have superhuman feats on his own, as the only time this happens is when doing Aeetes's task, and in that case he was under the influence of Medea's drugs. For Zanker, Jason's indecision and fear are purposefully written to make him more human and relatable.

Francis Vian sees Jason as the most human hero of the crew, and that is why he is the main character — because Apollonius is interested in portraying a human hero rather than showing heroes doing great deeds. In fact, while all the Argonauts embark on a quest for glory of their own free will, Jason is only there because it was forced upon him. Jason isn’t even thinking about honors; he is thinking about a peaceful life when he returns to Iolcus. While Pelias wants to get rid of Jason because he fears that he will take the throne because of Apollo's prophecy, Jason himself never shows any interest in being king.

Personally, I’m immensely inclined towards some of these interpretations (all mentioned by Fernando, remember), especially Zenker's.

In my interpretation, Jason is in fact extremely human and, next to other more impressive heroes, he actually can look quite pathetic. He’s afraid and insecure and at no point does he repeatedly complain about how shameful this is, he’s just that way. The poem doesn’t constantly judge the character for demonstrating characteristics considered as “weakness”, it just introduces this as a casual part of the narrative. There is no feeling that we are seeing a moral lesson, you know. It’s different from the way, for example, ancient authors wrote the myth of Achilles hidden as a girl in Skyros. Many condemned — even directly — the attitude as unmanly and unheroic and Achilles’ attitude of choosing war was seen as Achilles recovering the honor that was lost, to eventually become the ideal of male youth (I have already posted about this). Here we don’t have that, here Apollonius does not seem to have any intention of necessarily portraying this as a horrible defect that urgently needs to be corrected. Yes, the other characters sometimes get irritated with Jason, but this is simply something normal that happens when a bunch of men spend days together at sea. I mean, the characters also get irritated by other Argonauts. Furthermore, although I see Jason as the protagonist and not the typulation itself, I still find Carspecken's observation regarding the poem's opening in comparison to the Homeric poems pertinent. Let's see:

“Rage—Goddess, sing the rage of Peleus’ son Achilles, murderous, doomed, that cost the Achaeans countless losses hurling down to the House of Death so many sturdy souls, great fighters’ souls, but made their bodies carrion, feasts for the dogs and birds, and the will of Zeus was moving toward its end. Begin, Muse, when the two first broke and clashed, Agamemnon, lord of men and brilliant Achilles.”

The Iliad. Translation by Robert Fagles.

Tell me, Muse, of the man of many ways, who was driven far journeys, after he had sacked Troy's sacred citadel. Many were they whose cities he saw, whose minds he learned of, many the pains he suffered in his spirit on the wide sea, struggling for his own life and the homecoming of his companions. Even so he could not save his companions, hard though he strove to; they were destroyed by their own wild recklessness, fools, who devoured the oxen of Helios, the Sun God, and he took away the day of their homecoming. From some point here, goddess, daughter of Zeus, speak, and begin our story

The Odyssey. Translation by Richmond Lattimore.

Beginning with thee, O Phoebus, I will recount the famous deeds of men of old, who, at the behest of King Pelias, down through the mouth of Pontus and between the Cyanean rocks, sped well-benched Argo in quest of the golden fleece.

Argonautica. Translation by R.C. Seaton. 

[This translation is in prose format.]

Homer opens both poems by addressing the Muse (Fagles translates as Goddess). This is because the Olympian Muses, often associated with the god Apollo, were deities of art and knowledge and believed to be sources of inspiration for poets. In the Theogony, for example, Hesiod credits his poetic ability to the Muses, who inspired him. Apollonius does not begin by addressing a Muse, but rather Apollo. But he isn’t asking Apollo to sing or tell anything (not asking Apollo for inspiration, as Homer is asking the Muse), he’s simply saying he will begin with him since it’s Apollo's prophecy that inspired Jason's mission.

Homer then gives an idea of ​​the theme of the poem (in The Iliad, Achilles' anger that will lead many to death and which was caused by a conflict with Agamemnon. In the Odyssey, the long and exhausting journey that Odysseus has after leaving Troy) and it’s notable that in both cases the main hero is emphasized. Achilles is referred to directly by name, while Odysseus is the "man of many ways", recognizable by that being the character's epithet. But Apollonius not only does not mention Jason by name, he simply doesn’t mention him directly at all, instead he refers to the Argonauts as a group. When your read it, you has the impression this isn’t about Jason having a journey, it’s about the Argonauts being on a journey. This is different from Odysseus who, although he also has a story with crew members, is still very obviously more prominent than the others.

This, of course, could open the door to the interpretation that the protagonist is, therefore, the Argonauts as a group and not Jason in isolation, as is the case with Achilles and Odysseus. Personally, I think that is a valid idea as well. But I also find it intriguing how, even at the moment when this was supposed to tell about how Jason is the hero of the poem, the credit is fairly shared with Jason's companions. And, since he’s a character who is written in a diplomatic way and who clearly understands the idea of ​​"unity is strength", I think it makes perfect sense for his character. In my interpretation, this is an early indication of what Jason's personality is like: a diplomatic person, a person who considers the abilities and opinions of his companions equally. He isn’t the leader who will give orders and they will obey and he isn’t the leader who will be remembered above the others, he’s the leader who is willing to listen and who doesn’t mind others taking the glory. In order to please the crew, Jason was perfectly willing to allow Heracles to be the leader.

In fact, the moment when Apollonius invokes a muse is in the opening of Book 3, where he invokes the muse Erato as a play on words with the name Eros, since Eros is part of the theme of the poem. And this time, he actually talks specifically about Jason instead of the Argonauts, which is quite convenient. Like, if in Books 1 and 2 Jason is often overshadowed and the Argonauts clearly stand out in many moments, it is from Book 3 onwards that he gains prominence. And, curiously, it’s precisely in Book 3 Apollonius opens the poem similar to Homer. But there is still a difference from Homer: Achilles is remembered for having led many to death because of his anger and Odysseus is remembered for having endured a long journey, while Jason... well, he’s remembered for being loved by Medea and right after that Apollonius talks about the power of Aphrodite. To me, this is just another sign that when Jason finally gets his moment to shine, his main skill is being loved/desired. It's the strength of Eros and Aphrodite that are primarily on his side, not martial gods.

[1] Come now, Erato, stand by my side, and say next how Jason brought back the fleece to Iolcus aided by the love of Medea. For thou sharest the power of Cypris, and by thy love-cares dost charm unwedded maidens; wherefore to thee too is attached a name that tells of love.

Argonautica, Book 3. Translation by R.C. Seaton.

Another moment in which he does this is in Book 4, although this time the protagonist is neither the Argonauts (as in book 1) nor Jason (as in book 3), but Medea. While the Argonauts are associated with the conquest of the Golden Fleece and Jason with the conquest through eroticism, Medea is a maiden with wiles. To me, this indicates that Medea here isn’t just a helpmate to the hero, as she was in Book 3, but is now a heroine herself.

[1] Now do thou thyself, goddess Muse, daughter of Zeus, tell of the labour and wiles of the Colchian maiden. Surely my soul within me wavers with speechless amazement as I ponder whether I should call it the lovesick grief of mad passion or a panic flight, through which she left the Colchian folk.

Argonautica, Book 4. Translation by R.C. Seaton. 

Also, like Perseus, Jason doesn't seem to want to embark on a quest for glory. He goes because it's a task imposed on him, and in any case, Jason wonders if he should have gone. Furthermore, he's not shown to be seeking a large fee upon returning home; most of the time, what he seems to want as a reward for returning is safety, since Jason is constantly fearing for his own life and the lives of his crew. But unlike Perseus, Jason doesn't become a traditional hero during the journey. He continues to be a non-traditional hero, and in the end he still manages to do what is necessary. While Perseus is, to me, special because he is a hero who doesn't seek glory, Argonautica Jason is special not only because he doesn't seek glory but also because he doesn't have any truly glorious attitudes (something Perseus has).

Regarding Jason's hesitation in relation to the mission, we have some examples:

Pelias imposes the mission (Book 1):

[5] Such was the oracle that Pelias heard, that a hateful doom awaited him to be slain at the prompting of the man whom he should see coming forth from the people with but one sandal. And no long time after, in accordance with that true report, Jason crossed the stream of wintry Anaurus on foot, and saved one sandal from the mire, but the other he left in the depths held back by the flood. And straightway he came to Pelias to share the banquet which the king was offering to his father Poseidon and the rest of the gods, though he paid no honour to Pelasgian Hera. Quickly the king saw him and pondered, and devised for him the toil of a troublous voyage, in order that on the sea or among strangers he might lose his home-return.

Jason, still at the beginning of the trip, already misses home (Book 1):

[519] Now when gleaming dawn with bright eyes beheld the lofty peaks of Pelion, and the calm headlands were being drenched as the sea was ruffled by the winds, then Tiphys awoke from sleep; and at once he roused his comrades to go on board and make ready the oars. And a strange cry did the harbour of Pagasae utter, yea and Pelian Argo herself, urging them to set forth. For in her a beam divine had been laid which Athena had brought from an oak of Dodona and fitted in the middle of the stem. And the heroes went to the benches one after the other, as they had previously assigned for each to row in his place, and took their seats in due order near their fighting gear. In the middle sat Antaeus and mighty Heracles, and near him he laid his club, and beneath his tread the ship's keel sank deep. And now the hawsers were being slipped and they poured wine on the sea. But Jason with tears held his eyes away from his fatherland. [...]

Jason wishes he had never accepted the mission (Book 2):

[619] He spake, and at once he sped the ship onward through the midst of the sea past the Bithynian coast. But Jason with gentle words addressed him in reply: "Tiphys, why dost thou comfort thus my grieving heart? I have erred and am distraught in wretched and helpless ruin. For I ought, when Pelias gave the command, to have straightway refused this quest to his face, yea, though I were doomed to die pitilessly, torn limb from limb, but now I am wrapped in excessive fear and cares unbearable, dreading to sail through the chilling paths of the sea, and dreading when we shall set foot on the mainland. For on every side are unkindly men. And ever when day is done I pass a night of groans from the time when ye first gathered together for my sake, while I take thought for all things; but thou talkest at thine ease, eating only for thine own life; while for myself I am dismayed not a whit; but I fear for this man and for that equally, and for thee, and for my other comrades, if I shall not bring you back safe to the land of Hellas."

I agree tha tJason avoids violence on the Argonautica, and most of the time, violence is mostly committed by other crew members. Jason doesn't want to be traditionally masculine, he wants to resolve things calmly. In Book 3, he explicitly states he don’t like using force as first recurse: “And let us not merely by force, before putting words to the test, deprive him of his own possession. But first it is better to go to him and win his favour by speech. Oftentimes, I ween, does speech accomplish at need what prowess could hardly catty through, smoothing the path in manner befitting”. He doesn't want to reaffirm his ideal manhood by reinforcing his leadership by taking decisive and self-efficient actions, he wants to know what the group thinks and wants to respect their decision. In Book 3, he even says “My friends, what pleases myself that will I say out; it is for you to bring about its fulfilment. For in common is our task, and common to all alike is the right of speech; and he who in silence withholds his thought and his counsel, let him know that it is he alone that bereaves this band of its home-return”. He doesn't get upset when Heracles is chosen as leader, although he is honored to be chosen as leader later. He doesn't want to resort to violence when there are other means, such as eroticism, to choose. If he can avoid a fight on Lemnos, why not? If he can lessen the difficulty with Medea's help, why not do so? Even if Idas disagrees, in the end Idas and his need to show himself as a hero of brute strength got him nowhere, while Jason and his new resources succeeded. On the other hand, in the two episodes of violence that Jason was emphasized, it resulted in something negative for Jason himself, and not just for the victim. In the Book, he accidentaly killed the one who had hosted him, and this resulted in the suicide of the king's young wife. In Book 4, the plan to kill Apsyrtus takes place in front of the temple of Artemis and both he and Medea need to turn to Circe to be purified of the crime.

Jason is, in fact, a social and realistic hero. Given the ancient Greek tradition of epic heroes with superhuman abilities and immense courage, it isn’t surprising that many academics accustomed to analyzing heroes in the Homeric model have read Argonautica and found Jason to be a dull character. However, I disagree. Jason isn't dull in Argonautica because he doesn't fit into epic heroism! Actually, he's special because he doesn't fit into epic heroism!

At the core of Jason’s heroic persona, therefore, is collaboration. He is gifted at forming  and shaping his relationships with women and men, crewmembers and foreigners alike. At  Pagasae and Colchis, for example, he reveals a keen interest in nurturing the crew’s sense of  commonality (cf. ξυνός, 1.336, 337; 3.173), and at the end of Book 1 he proves his dedication to  upholding the camaraderie of the men when he forgives Telamon, fostering the crew’s loyalty to  himself and to one another (1.1337-43). This commitment to group cohesion is celebrated in  Book 2 when the Argonauts dedicate a shrine to Homonoia (Unity) and make solemn oaths “to  aid one another for all time (εἰσαιέν) with unity of mind (ὁμοφροσύνῃσι νόοιο)” (2.714-19).15  Jason is also anxious to cultivate good relations with people outside of his crew: over the course  of the poem, he frequently embraces the value of diplomacy (cf. συνθεσίας, 1.340), and his  experiences with Hypsipyle at Lemnos (3.721-910) and with Medea at Colchis (esp. 3.948-1147)  confirm his talent at wooing women. Jason is a social hero. He is also remarkably realistic. While Achilles and Odysseus are certainly imbued with  realism on the level of emotion, relationships, and various experiences they face, on a strictly  heroic level they are superheroes. Achilles’ strength is impossibly incredible. Odysseus’ dependence on strategy and cunning is more believable than Achilles’ biē, but the sheer degree  of excellence Odysseus possesses in a variety of fields is not: in the world of the Odyssey, he is unmatched in mētis (passim), strength (e.g. he throws a heavier discus further than any of the  Phaeacian nobles, Od. 8.186-98), archery (e.g. the contest with the suitors, Od. 21.404-23), and  hand-to-hand combat (e.g. he wins a wrestling match against Philomeleïdes, Od. 4.341-46, and  slaughters dozens of suitors in Book 22). In contrast, Jason never once does something beyond  human ability, excluding the contest at the end of Book 3 where he relies on Medea’s magic to  accomplish the impossible tasks Aeetes has set. Jason is a credible hero with credible skills.

Iliadic and Odyssean Heroics: Apollonius’ Argonautica and the Epic Tradition, by Rebecca van der Horst, pg 7-8. 

[Mêtis = wisdom/craft/skill, biē = strength]

Another interesting detail is the clear lack of connection between Jason and Chiron in the Argonautica. Pindar, before Apollonius, had already written Jason as one of Chiron's students and even says that the name "Jason" was given to him by Chiron, without revealing his previous name. This is, in some ways, similar to the version of the myth in which Achilles was originally called Ligyron but was renamed Achilles by Chiron (see Library 3.13.6). This version also doesn’t belong to Classical Greece, since in Archaic Greece Hesiod had already written that Jason taught by Chiron on Pelion.

Scholiast on Homer, Od. xii. 69: Tyro the daughter of Salmoneus, having two sons by Poseidon, Neleus and Pelias, married Cretheus, and had by him three sons, Aeson, Pheres and Amythaon. And of Aeson and Polymede, according to Hesiod, Iason was born: "Aeson, who begot a son Iason, shepherd of the people, whom Chiron brought up in woody Pelion."

Catalogues of Women, frag 3. Translation by H.G. Evelyn-White.

[...] Deep-thinking Cheiron reared Jason under his stone roof [...]

Nemean Ode, 3.50. Translation by Diane Arnson Svarlien.

“[...] But you know the chief points of this story. Good citizens, show me clearly the home of my ancestors, who rode on white horses. For I am the son of Aeson, and a native; I do not arrive in a strange foreign land. The divine centaur called me by the name Jason." [...]

Pythian Ode, 4.75. Translation by Diane Arnson Svarlien.

Apollonius, who is from Hellenistic Greece, postdates both Hesiod and Pindar. I find it really unlikely that he wouldn’t have heard of the idea of ​​Jason being educated by Chiron in childhood either through oral or written tradition. One could argue that there may not have been room in the narrative to fit this detail, but in fact there was. In Book 1, Chiron appears and with him goes his nymph-wife Chariclo who carries Achilles in her arms. Chiron's intention is to offer Peleus the chance to see his son. If, for Apollonius, the relationship between Chiron and Jason was as relevant as the relationship between Chiron and Peleus or Chiron and Achilles, he would have had a great opportunity to show it in Book 1 since Chiron was watching the Argonauts leave. In Book 2, the myth of Chiron's birth is told and again Chiron's relationship with a student is emphasized: Aristaeus, the son of Apollo and Cyrene, who wanted to maintain her maidenhood but was carried off by Apollo to Libya; In Book 4, Hera says Chiron and the nymphs are caring for Achilles on Pelion. 

So we already know of the following relationships:

In Book 1, we know that Chiron has a wife (unnamed, but I assume it's Chariclo, since she's his wife in other sources), is raising Achilles, and has come to see Peleus. That's 3 relationships. One of them is his wife, and therefore a romantic relationship. Since Chariclo is the one holding Achilles, it seems they're both responsible for Achilles. As for Peleus, Chiron in mythology is depicted as being fond of Peleus (depending on the source, he and Chariclo are both Peleus's grandparents via his mother Endeis), and that seems to be the same case here.

In Book 2, we know that his father is the titan Cronus and his mother is the nymph Philyra. The reason he was born half-horse is because Cronus turned into a horse at the last minute so that Rhea, his wife, wouldn't notice him cheating on her. In addition, Apollo took his and Cyrene's son, Aristaeus, to be raised by Chiron. So we already know his genealogy and we also know that Rhea is involved in the myth. We don't know his relationship with these three characters in the birth myth, but we do know that Apollo saw Chiron as a trustworthy figure, and that's why Apollo himself entrusted Aristaeus to him.

In Book 4, Hera tells Thetis about Achilles being raised by Chiron and the water-nymphs on Pelion. Hera and Chiron know each other, as is notable because Chiron knows the Olympians in general and this is even indirectly mentioned in the Argonautica with the idea of ​​the marriage of Thetis and Peleus being celebrated by the gods (the place of the celebration is usually on Pelion, it is on this occasion that Chiron gives the spear to Peleus that Peleus gives to Achilles. The one that Homer says only Achilles can lift). Again, we have Achilles as a student. Here we also have water-nymphs in the role of taking care of Achilles, so apparently Chiron here also has a relationship with the water-nymphs, since he entrusts his student to them. Maybe because his wife is a nymph too? Maybe because he's used to them, since they live on Pelion?

Given that it’s possible to infer so much about Chiron's relationships, including two students, even when the character only has a brief physical appearance and doesn’t even really interfere in the narrative, it seems unlikely to me that Apollonius would leave out Jason and Chiron's connection simply for "lack of opportunity". In fact, the Argonautica itself references several different myths, it is like a big crossover. Indeed, in my opinion it makes no sense for Apollonius to be silent about this part of the Jason myth if he really considered this myth. Thus, I think Apollonius didn’t consider Jason being raised by Chiron, which, given the lack of typical characteristics of the heroes taught by Chiron, makes sense. And Pseudo-Apollodorus mentions a version in which Jason lived in the country: "Jason loved husbandry and therefore abode in the country" (Library, 1.9.16). I imagine that this or something similar was probably the case for Apollonius as well. I personally prefer this version of Pseudo-Apollodorus compared to Hesiod and Pindar's, but that's because I find Jason more interesting the less typically heroic he is. And let's face it, being raised by Chiron is really obvious a traditional heroic motif.

Jason being with Chiron isn’t explained as far as I know (it could be my mistake), so I just assumed it was maybe because of Jason's family drama. I mean, Tyro had the twins Pelias and Neleus — that's Nestor's father! — with Poseidon, and with king of Iolcus Cretheus she had Pheres — that's Admetus' father, Admetus is the one who was served by Apollo for a while and who is Alcestis' husband —, Amythaon and Aeson. Pelias and Neleus were abandoned by Tyro because they were Poseidon's sons and she was afraid (detail: Poseidon tricked her by pretending to be a river god she loved. She didn't even know it was Poseidon. See Library 1.9.8) and so they were found and raised as commoners, but were later recognized and returned to being royalty (see Pseudo-Apollodorus' Library, Menander's Epitrepontes and Aristotles' Poetics). But Pelias was determined to be king of Iolcus and came into serious conflict with his brothers, which led to Neleus leaving Ioculs and founding Pylos (see Description of Greece 4.2.5), Pheres leaving Iolcus and founding Pherae (see Library 1.9.14) and Amythaon apparently following Neleus to Pylos (two of his sons went with Neleus according to Diodorus Siculus’ Library of History 4.68.3 and, according to Pindar in Pythian Odes 4.125, he was in Messania. Pylos is located in Messania). The only brother who remained in Iolcus was Aeson, and I can imagine why Aeson and his wife — she has several possible names — would think that sending Jason to Chiron was the best option. But honestly, it just makes the idea that Jason could be living a simple life in the countryside instead of sheltered with Chiron more appealing. This kid who grew up loving the countryside and didn't really think about being anyone special, this kid who wasn't raised by a wise centaur and who was already involved in a twisted family plot before he was even born. This child who grew up to set off on a journey he wasn't sure or confident about, but who survived to return victorious and with a devoted wife. This man who, along with his wife, left a trail of destruction. This wife whose extreme devotion proved to be capable of extreme hatred as soon as he dared to abandon her after everything she had done for him. The development seems more interesting to me with the version where he's not with Chiron, honestly.

Returning to Argonautica, Jason’s beauty is also different from the beauty of traditional heroes, especially the Homeric ones. Many heroes have been described as beautiful, but in Jason’s case his beauty is mainly emphasized in moments when it is clearly associated with his mission. Achilles’ beauty, for example, has no intrinsic role in his mission. Although Athena beautified Odysseus in The Odyssey, Odysseus’ achievements have no relation to his appearance. And in any case, Odysseus in his normal state (without Athena’s interference) isn’t repeatedly emphasized as objectively beautiful: after all, that isn’t his defining characteristic. His defining characteristic is his mind, something that is indeed emphasized. Likewise, even if Achilles is objectively the most beautiful of the Achaeans, his strength is still emphasized more than his beauty. Because Achilles’ main ability isn’t charm, it’s being strong beyond human capacity. Big Ajax is described as the second most handsome of the Achaeans, but this doesn’t interfere narratively with the character. Agamemnon is also handsome and even compared to three gods — Ares, Poseidon, Zeus —, but again: that doesn’t define him.

Now, let's look at some examples:

Here, in Book 1, Jason is compared to Apollo and this happens just when he is starting the journey.In addition to Apollo representing the ideal of young men, which includes the ideal of young men's beauty, he is also a deity involved in Jason's mission. After all, the prophecy came from him, and in addition, Apollo is also present at other points in the poem. Therefore, I particularly interpret it as reinforcing that Jason is objectively handsome as much as the association of Jason and Apollo. But there are academics who theorize that it's a kind of parody, since, as Jason hasn't done anything yet, there is no reason for this comparison with a god to happen.

[292] Thus with moaning she wept, and her handmaidens, standing by, lamented; but Jason spake gently to her with comforting words: "Do not, I pray thee, mother, store up bitter sorrows overmuch, for thou wilt not redeem me from evil by tears, but wilt still add grief to grief. For unseen are the woes that the gods mete out to mortals; be strong to endure thy share of them though with grief in thy heart; take courage from the promises of Athena, and from the answers of the gods (for very favourable oracles has Phoebus given), and then from the help of the chieftains. But do thou remain here, quiet among thy handmaids, and be not a bird of ill omen to the ship; and thither my clansmen and thralls will follow me." [306] He spake, and started forth to leave the house. And as Apollo goes forth from some fragrant shrine to divine Delos or Claros or Pytho or to broad Lyeia near the stream of Xanthus, in such beauty moved Jason through the throng of people; and a cry arose as they shouted together. And there met him aged Iphias, priestess of Artemis guardian of the city, and kissed his right hand, but she had not strength to say a word, for all her eagerness, as the crowd rushed on, but she was left there by the wayside, as the old are left by the young, and he passed on and was gone afar.

Here, in Book 1, Jason's beauty is emphasized when he’s on Lemnos. And it’s precisely his beauty that causes the conflict to be avoided.

[721] Now he had buckled round his shoulders a purple mantle of double fold, the work of the Tritonian goddess, which Pallas had given him when she first laid the keel-props of the ship Argo and taught him how to measure timbers with the rule. More easily wouldst thou cast thy eyes upon the sun at its rising than behold that blazing splendour. [...] [774] And he went on his way to the city like to a bright star, which maidens, pent up in new-built chambers, behold as it rises above their homes, and through the dark air it charms their eyes with its fair red gleam and the maid rejoices, love-sick for the youth who is far away amid strangers, for whom her parents are keeping her to be his bride; like to that star the hero trod the way to the city. And when they had passed within the gates and the city, the women of the people surged behind them, delighting in the stranger, but he with his eyes fixed on the ground fared straight on, till he reached the glorious palace of Hypsipyle; and when he appeared the maids opened the folding doors, fitted with well-fashioned panels. Here Iphinoe leading him quickly through a fair porch set him upon a shining seat opposite her mistress, but Hypsipyle turned her eyes aside and a blush covered her maiden cheeks [...]

[I shortened the description about Jason's equipment and didn't put Hypsipyle's dialogue to make it shorter and kept the parts that highlight his beauty. But the description of Jason's clothing here is a deconstruction of Homer's typical arming scenes.]

In Book 3, the first time they see each other after the Argonauts are received by King Aeetes, Jason's beauty is described as far more remarkable than that of his companions. Medea is described as admiring Jason's appearance and "honey-sweet words." Notably, she isn’t admiring things like strength, courage or achievements, but rather Jason's beauty and the way he speaks well, both constituent elements of courtship/flirting.

[396] He spake outright; and Jason rose from his seat, and Augeias and Telamon at once; and Argus followed alone, for he signed to his brothers to stay there on the spot meantime; and so they went forth from the hall. And wonderfully among them all shone the son of Aeson for beauty and grace; and the maiden looked at him with stealthy glance, holding her bright veil aside, her heart smouldering with pain; and her soul creeping like a dream flitted in his track as he went. So they passed forth from the palace sorely troubled. And Chalciope, shielding herself from the wrath of Aeetes, had gone quickly to her chamber with her sons. And Medea likewise followed, and much she brooded in her soul all the cares that the Loves awaken. And before her eyes the vision still appeared -- himself what like he was, with what vesture he was clad, what things he spake, how he sat on his seat, how he moved forth to the door -- and as she pondered she deemed there never was such another man; and ever in her ears rung his voice and the honey-sweet words which he uttered. And she feared for him, lest the oxen or Aeetes with his own hand should slay him; and she mourned him as though already slain outright, and in her affliction a round tear through very grievous pity coursed down her cheek; and gently weeping she lifted up her voice aloud: "Why does this grief come upon me, poor wretch? Whether he be the best of heroes now about to perish, or the worst, let him go to his doom. Yet I would that he had escaped unharmed; yea, may this be so, revered goddess, daughter of Perses, may he avoid death and return home; but if it be his lot to be o'ermastered by the oxen, may he first learn this, that I at least do not rejoice in his cruel calamity."

In Book 3, Hera beautifies Jason before meeting Medea. Clearly, Hera saw that beauty could be useful for the mission.

[919] Never yet had there been such a man in the days of old, neither of all the heroes of the lineage of Zeus himself, nor of those who sprung from the blood of the other gods, as on that day the bride of Zeus made Jason, both to look upon and to hold converse with. Even his comrades wondered as they gazed upon him, radiant with manifold graces; and the son of Ampycus rejoiced in their journey, already foreboding how all would end.

Here, in Book 3, they meet at Hecate's temple, where Jason speaks to her in order to convince her to help him. Again, his beauty and manner of speaking are emphasized as part of the reason Medea is in love with him. Plus, it’s precisely Medea's passion for Jason that makes the mission a success.

[1131] Thus he spake; and her soul melted within her to hear his words; nevertheless she shuddered to behold the deeds of destruction to come. Poor wretch! Not long was she destined to refuse a home in Hellas. For thus Hera devised it, that Aeaean Medea might come to Ioleus for a bane to Pelias, forsaking her native land. [1137] And now her handmaids, glancing at them from a distance, were grieving in silence; and the time of day required that the maiden should return home to her mother's side. But she thought not yet of departing, for her soul delighted both in his beauty and in his winsome words, but Aeson's son took heed, and spake at last, though late: "It is time to depart, lest the sunlight sink before we know it, and some stranger notice all; but again will we come and meet here."

In Jason's case, his attractiveness isn't just a detail, it's an intriguing part of his character. It's the most valuable weapon he has. And he seems to be, at the very least, unconsciously aware of this. After all, the way Jason behaves with Medea when they meet at the Temple of Hecate is amusingly akin to negotiation, something we already understand Jason enjoys using as a tool rather than immediate violence.

That is where Jason comes in, love-hero extraordinaire. Similar to Jason's interaction with Hypsipyle at Lemnos, Jason's first meeting with Medea near the temple of Hecate is cast in heroic light but celebrates erotic, not martial, prowess. As Jason sets out from the Argo to join Medea, he is described in grandiose, heroic terms: "Never before had there been such a man in earlier generations, neither among all the descendants of Zeus himself nor among all the heroes (ἥρωες) sprung from the blood of the other immortals, as on that day Zeus' wife had made Jason, both to behold and to converse with. Even his very comrades marveled as they gazed upon him, radiant with graces (xapítɛoσiv)” (3.919-26). Jason stands above all other heroes not for his skills as a soldier or a strategist, but as a symbol of attractiveness and charisma. To quote Beye, "[These lines] convey the grandeur of any traditional epic hero's entrance into battle, except that kallos and kharitas replace menos." He brings as weapons not a sword but his charm and sexual allure. Notably, while Athena similarly beautified Odysseus before his meeting with Nausicaa (6.229-37), Homer only notes that Athena made him appear taller and stronger with prettier hair; there are no sweeping statements about Odysseus looking more spectacular than any other hero ever born. That is Jason’s own special privilege as the “Eros-Heros”. And Jason does not even technically need Hera's help to stand out as a sex magnet: at Lemnos, without any god's embellishments, he attracted all of the women's eyes (3.774-86); at Colchis, after first meeting with Aeetes, Jason departs with his companions and Apollonius notes how "wondrously among all of them the son of Iason was distinguished for his beauty and graces (κáλλεï Kai Xapítɛooi)" (3.443-44); and Medea, too, has already become spellbound by his natural attractions (esp. 3.451-58). Jason appears to be, quite simply, a stud. And this appraisal of the hero is even more pronounced if, as some scholars propose, the gods are interpreted not as actual characters in the poem but as "allegorized psychology" (Beye [1982] 126), namely, that Cupid's arrow is not real but rather serves as a dramatization of how Jason's own sexual attraction provokes and inflames Medea's passion. Regardless, Jason's sexuality is—with and without divine help potent, and Apollonius is clearly bestowing on that eroticism heroic flavor. 

When Jason is compared to the rising Sirius, a simile used in the Iliad to describe Diomedes and Achilles right before their most significant contributions to the Trojan war, Apollonius further suggests that Jason's meeting with Medea is a kind of aristeia. As soon as Medea catches her first glimpse of Jason, Apollonius jumps into a simile that compares Jason to the star Sirius: “But soon he appeared to her longing eyes, striding on high like Sirius from the Ocean, which rises beautiful and bright to behold (каλòç μèv ȧρíÿηλòç t' έσidéolai), but casts unspeakable grief on the flocks. So did Jason come to her, beautiful to behold (кaλòc εioopάaolai), but by appearing he aroused lovesick distress" (3.956-60). The adjective "beautiful" (kaλòc) appears twice in this passage in the same metrical position. In contrast, when Diomedes (II. 5.1-8, preparing to enter the battlefield for his aristeia) and Achilles (II. 22.25-32, advancing on Hector for their final climactic battle) are compared to Sirius, the star is conspicuous for its brightness (μάλιστα / λαμπρὸν παμφαίνῃσι, 5.5-6; λαμπρότατος, 22.30), not its beauty, and the gleam of Sirius is specifically connected to the sheen of the heroes' armor (Diomedes' helmet and shield; Achilles' bronze breastplate). The focal point in Homer is on the Iliadic warriors' tools of war. In Apollonius, Jason's only weapon is his attractiveness. And yet it is no less effective at producing physical symptoms similar to death in Medea: her heart falls out of her chest, her eyesight darkens, and her body freezes, unable to move (3.962-65). Jason conquers through passion, not steel. Therefore, as Beye says, Apollonius sets the stage for Jason's interaction with Medea in this scene to be "almost a preliminary aristeia” ([1982] 137). Like Diomedes who is about to commence his famous rampage and Achilles who will soon kill the best of the Trojan warriors, Jason will be participating in an event that will determine his fate as a hero. He cannot win Aeetes’ trial alone, and thus far, acquiring Medea’s assistance has been the best (and only) feasible plan presented to the Argonauts. Jason's success, therefore, is vital. It is, without a doubt, the most important moment in Jason's career thus far.  And he performs admirably. His keen blend of diplomacy and romance cuts through all of Medea's indecision and wins him her full support. In his first speech, Jason sets up (as he did earlier with her father) many of the hallmarks of successful negotiation: Argus — continuing in Jason's role as intermediary between the Greeks and Colchians — is the one to arrange the meeting, and when Jason meets alone with Medea, he notes that the two of them have come to the table "with good will for each other" (ἀλλήλοισιν εὐμενέοντες, 3.980), observes that the temple of Hecate provides neutral and safe ground for their deliberation (3.981), emphasizes his status as a suppliant and guest in her land (3.985-989), and states that Medea should be upfront about her questions and conditions (3.3.978-79, 982). When Jason and Argus were dealing with Aeetes, they proposed subduing the Sauromatae as payment but made it clear that they were open to pursuing other forms of payment per Aeetes' desire ("as it is pleasing to you yourself, just in that way it will come to pass,” 3.350). Similarly, within the first eight lines of his first speech, Jason twice tells Medea that she should feel free to ask for and speak whatever she desires (3.979, 982). As with Aeetes, Jason is willing to parley.

Ilidiac and Odyssean Heroics: Apollonius’ Argonautica and The Epic Tradition, by Rebecca van der Horst, pg 123-126.

[Aristeia = when a character proves himself to be an aristo, that is, the best. It’s the character's moment of prominence, traditionally linked to a martial demonstration. For example, Book 16 of The Iliad is the aristeia of Patroclus. The author is suggesting that Jason's moment of "aristeia" is his conquest of Medea, as this is indeed his greatest achievement in Argonautica. As for the quote “[These lines] convey the grandeur of any traditional epic hero's entrance into battle, except that kallos and kharitas replace menos”, it’s like: "[These lines] convey the grandeur of any traditional epic hero's entrance into battle, except that beauty and graciousness replace violence”]

The importance of eros to the success of the mission is most evident in Book 3 in the scene where Aphrodite, the goddess of love and sexuality, at the request of Athena goes to her son Eros, the god of eroticism, and asks him to influence Medea. He does so, and Medea immediately falls in love with Jason, begins to feel immensely affected by him, and is slowly becoming more obsessed. If it weren’t for Aphrodite and Eros, either the literal gods or the concepts they represent, would Jason have succeeded? And the most interesting part is that this element of Eros/Aphrodite in association with Jason's victory is an element that exists even in sources other than Argonautica. For example:

Pindar's Pythian Ode says that Aphrodite taught Jason, which highlights that Jason's skill at flirting was useful. An interesting detail is: Pindar is temporally earlier than Apollonius, which indicates that, although Jason's realistic nature fits with the Hellenistic period (Apollonius' time), the characteristic of associating Jason in some way with Aphrodite or Eros was already present in Classical Greece (Pindar's time).

[...] And the queen of sharpest arrows brought the dappled wryneck from Olympus, bound to the four spokes [215] of the indissoluble wheel: Aphrodite of Cyprus brought the maddening bird to men for the first time, and she taught the son of Aeson skill in prayerful incantations, so that he could rob Medea of reverence for her parents, and a longing for Greece would lash her, her mind on fire, with the whip of Persuasion. [...]

Pythian Odes, 4.200. Translation by Diane Arnson Svarlien.

[Son of Aeson = Jason. Persuasion = Peitho, a goddess typically depicted alongside Aphrodite and whose persuasive power, which she personifies, can be associated with erotic persuasion.]

Euripides, also from Classical Greece, wrote Jason in the play Medea dedicating the success of the Argonauts' mission to Aphrodite.

Jason It appears, woman, that I must be no mean speaker but like the good helmsman of a ship reef my sail up to its hem and run before the storm [525] of your wearisome prattling. Since you so exaggerate your kindness to me, I for my part think that Aphrodite alone of gods and mortals was the savior of my expedition. As for you, I grant you have a clever mind—but to tell [530] how Eros forced you with his ineluctable arrows to save me would expose me to ill-will. No, I will not make too strict a reckoning on this point. So far as you did help me, you did well. But in return for saving me [535] you got more than you gave, as I shall make clear. First, you now live among Greeks and not barbarians, and you understand justice and the rule of law, with no concession to force. All the Greeks have learned that you are clever, [540] and you have won renown. But if you lived at the world's edge, there would be no talk of you. May I have neither gold in my house nor power to sing songs sweeter than Orpheus if it is not my lot to have high renown!

Medea, 522-545. Translation by David Kovacs. 

[He’s replicating Medea who, having discovered that Jason intends to abandon her for Creusa, had retaliated that Jason only succeeded because of Medea's help.]

Orphic Argonautica, of unknown authorship, has many similarities to Apollonius' poem, including the roles of Aphrodite and Eros.

[...] Then, on the advice of Hera, Medea of the unlucky marriage was conquered by the allure of Jason; for the Cytheran mother of love, Aphrodite, sent desire into her, and the most ancient one [Eros] sent an arrow into her heart. [...]

Orphic Argonautica, 858. Translation by Jason Colavito.

Hyginus' Fabulae directly mentions Aphrodite's interference. I'm using it as a source of Greek myth because Hyginus basically tells Greek myths adapted to a Roman audience, hence the Roman names. He even sometimes cites which Greek author he’s referencing, including mentioning Apollonius.

[...] He had carried her across when others who had passed over despised her. And so since she knew that Jason could not perform the commands without help of Medea, she asked Venus to inspire Medea with love. At Venus' instigation, Jason was loved by Medea. [...]

Fabulae, 22. Translation by Mary Grant. 

[Juno = Hera. Venus = Aphrodite.]

Ioannis Tzetzes, while writing a Byzantine scholia of Lycophron's poem Alexandra, told of how “Love is also called "Iynx" and a certain bird called "seisopygis", which the witches use for love potions” and, in explaining the myth of the bird, mentions that Aphrodite gave it to Jason while teaching him how to woo Medea, a version similar to Pindar's.

[...] So, they say, this Iynx was first given by Aphrodite to Jason, teaching him how to charm Medea. They say that this Iynx was a woman before, the daughter of Peitho or Echo and Pan, and having bewitched Zeus for the love of Io, she was pursued by Hera and turned into a bird. Others say that the Iynx is a very melodious lyre, hence everything desirable is called Iynx. [...]

Ad Lycophronem, 310.

Even in sources where neither Aphrodite nor Eros are directly mentioned, the success of the mission is often linked to Medea's love for Jason, as this is what made her help him. To avoid having to quote excerpts, some sources that describe such a correlation are Library by Pseudo-Apollodorus (1.9.23), Library of History by Diodorus Siculus (4.46.4), Olympian Odes by Pindar (ode 13). It’s also notable how Hera, the goddess of marriage, plays an important role in Jason's mission, as she wished to take revenge on Pelias for not honoring her (Library of Pseudo-Apollodorus even specifies that Pelias committed sacrilege by killing a person inside Hera's temple, this is in 1.9.8). So Jason's mission isn’t only interfered with by deities associated with love and eroticism like Aphrodite and Eros, but also with the interference of the goddess of marriage, Hera, who purposely plans Medea as an evil for Pelias — an evil motivated by the desire to be useful to Jason, since that is the reason why Medea tricks Pelias' daughters into killing their father. 

This, of course, doesn’t mean that only deities associated with sexuality and marriage are involved, since, as I said, Apollo (this one is very present, but not as active as Hera) and Athena also participate. If we count non-Olympians, we still have: the Nereids, who help the argonauts; the Nymphs of Libya, who advise Jason; Glaucus, who warns them about the Zeus's plan for Heracles; Triton, who also advice them. Perhaps the Hesperides could also be considered, since they indicate where there is water to drink. Of the non-Olympian deities, most are related to the sea, which makes sense given the sea voyage (Glaucus, Thetis and the other Nereids, Triton. Although it’s interesting to remember that Thetis's help still has to do with the sphere of marriage, since it is influenced by Medea being her future daughter-in-law. Hera's first attempt to convince Thetis was also through marriage, as she mentioned Peleus as an Argonaut, although this aspect didn’t work). The nymphs of Libya are associated with the foreign land aspect, which also makes sense.

Having established that I believe in the interpretation that Jason’s mission will be accomplished through love and eroticism rather than martial power, I want to comment on how Aphrodite persuades her son Eros, here depicted as a child, to influence Medea. Aphrodite finds him playing with Ganymede, the young Trojan kidnapped by Zeus for being too beautiful. But Eros is a cheat and continues to cheat at the game while laughing at Ganymede’s frustration, which angers Ganymede and causes him to give up the game and leave — Ganymede here also seems to be a significantly juvenile figure, since the text narrates him and Eros, who we know is depicted as a child, playing dice as “as boys in one house are wont to do” and Aphrodite calls him an “innocent child.” Aphrodite approaches and reprimands Eros for gloating after winning unfairly, and then tells him that she will give him a new toy if he can make Medea fall in love with Jason, which Eros accepts although he’s initially suspicious of the proposal. But it turns out that this is no random toy, it’s a golden ball that belonged to Zeus himself and has detailed description. Such elements seem too specific for a supposedly simple scene of a mother convincing her son with a toy, and this has certainly led to possible interpretations in academic circles.

[...] Amid this farrago, one item commands special attention: the golden ball with which Aphrodite bribes her spoiled and willful son Eros when she seeks to win his aid for the proposed scheme. Apollonius describes the ball in some détail (although, as we shall see, commentators find it difficult to agrée on its appearance and construction) in Aphrodite's speech to her son, as follows: I will give you the beautiful toy of Zeus, which his dear nurse Adrasteia made for him while he was still a child in the Idaean cave, a well-rounded sphère. You'd get no finer one from the hands of Hephaestus. Its circles are wrought of gold, and around each one twofold rings whirl in a circle.  The seams are hidden, and a dark blue spiral runs over them  all (3, 132-40).  

Furthermore, this marvelous ball, when thrown, leaves a gleaming  trail, like a shooting star (ἀστὴρ ως3, 140-41).  Students of thè poem hâve long suspected that this toy is not merely  a child's plaything. While they recognize that its significance is far  greater than the brief description might suggest (thè bali never actually  appears in the poem), they characterize it differently. Accordingly, we  are told that the ball represents either «thè earth», «thè universe» or  «Planetenkreise und Sonnenkugel»; or that its ornamentation has «sans  doute une signification astronomique». Two associations hâve quite  properly led them to recognize the ball's importance. First, in the  visual arts, a ball associated with the adult Zeus regularly symbolizes  his power over thè universe4. Second, Adrasteia, the nurse who gave it  to him, frequently represents thè inevitability of fate that her name  implies. A third association will remove any doubt about the weight  we must accord this symbol, and that is the following fact.   Apollonius is alluding to a contemporary didactic poem, Aratus’  Phaenomena, in a fashion that makes it certain that the bail represents  the spherical cosmos. Recognizing this allusion clarifies two further  issues. First, it sheds light on the much-debated question of the ball's  physical appearance. Next, and more importantly, the implications of  Eros' control of the bail taken on startling — even alarming — force.

Eros Ludens: Apollonius' Argonautica 3, 132-41, by Mary Louise B. Pendergraft, pg 95-96. 

[This book by Aratus mentioned by Pendergraft describes constellations and weather signs. It’s available online at Theoi]

Therefore, the toy being so specific may seek to represent a power of cosmic origin, represented both by the clearly cosmic theme of the object’s appearance and by the fact that its former owner was none other than the king of the gods and, therefore, the one who has great power over the cosmos. Eros, in fact, was immediately introduced as a cunning and deceitful figure who obtains victory through reprehensible means — a child who doesn’t accept being told “no.” And it’s now this unstable figure who holds the power of the narrative.

When we realize that the marvelous toy, once Zeus's and now Eros', represents a model of the cosmos, we can feel only shock at the farreaching implication of the scene: the universe is but a bauble used to bribe a spoiled child. Now, Apollonius did not create the figure of Eros with a ball, but he did give it an almost unprecedented significance. When Anacreon pictures him as a ballplayer (Fr. 302 Page) or a dicer (Fr. 325 Page — the game at which he is cheating Ganymede in Argon. 3) he plays with the lives of individual men: he is ruthless, perhaps, but not of universal relevance. Eros does play a cosmic role in some other contexts: in Orphic writings he has a cosmogonic function. He holds the globe in artistic representations as well: on Roman coins, on gems, and on small bronzes — all, apparently, dating later than our poem. These traditions imply a belief in the creative power of Eros, of love as a guiding force in the world, a notion reminiscent of Empedocles' λórns or Lucretius' Venus. They portray, in short, the force of attraction, of fertility and life, ruling the cosmos. Radically different is the character Apollonius gives to his Eros. This deity evokes no awe or reverence; rather, he is simply a most unpleasant child. His mother complains of his temper, his shamelessness, his wickedness; she can win his cooperation only through bribery (3, 90-99). Greedy, suspicious, and heartless, he laughs at Ganymede's distress at being cheated; he is wheedling and impatient; distrusting even his mother, he counts his dice before entrusting them to her (3, 114-30, 145-55). Yet our investigation has made it clear that we must take him seriously, since his toy is nothing less than the universe. The closest parallel to such a figure is none of those we have mentioned, but rather Alcibiades' notorious shield device, where Eros wielding Zeus's thunderbolt provoked outrage by its arrogance. We can appreciate the response of Alcibiades' contemporaries by comparing Apollonius' vignette to Aratus' Phaenomena, a comparison he invites through his deliberate evocation of this source for his heavenly globe. «From Zeus let us begin» is the famous phrase that opens the poem; «we all depend on him in every way; for indeed we are his offspring». The Stoic poet also stressed the regularity and predictability of the stars and their movements; their reliable pattern, the visible form of the celestial sphere, is clear evidence of Zeus's providential care for his creatures: «he, kindly to mankind, gives us sure signs»>. Apollonius transforms this lofty and reassuring symbol by presenting the cosmic orb as a plaything for a selfish and petulant boy. The fate of the universe, as well as of individuals, is controlled neither by Adrasteia the inevitable nor by a providential father-god; events are not fixed or predictable; rather, everything is subject to the love-god's self-gratifying whims. The figure of Eros ludens has become an emblem that well represents the non-traditional and anti-heroic ethos of the Argonautica.

Eros Ludens: Apollonius' Argonautica 3, 132-41, by Mary Louise B. Pendergraft, pg 101-102.

[The aforementioned shield of Alcibiades is described by Plutarch: “But all this statecraft and eloquence and lofty purpose and cleverness was attended with great luxuriousness of life, with wanton drunkenness  and lewdness, with effeminacy in dress, — he would trail long purple robes through the market place, — and with prodigal expenditures. He would have the decks of his triremes cut away that he might sleep more softly, his bedding being slung on cords rather than spread on the hard planks. He had a golden shield made for himself, bearing no ancestral device, but an Eros armed with a thunderbolt. The reputable men of the city looked on all these things with loathing and indignation, and feared his contemptuous and lawless spirit. They thought such conduct as his tyrant-like and monstrous”. Perhaps the implication of this image with Eros having the power of Zeus was a kind of mockery of the way Alcibiades was sometimes seen as excessively lustful by the Greeks. You can read it here.]

Thus, Argonautia is a poem that not only doesn’t follow what is traditionally expected, but has as its theme love. Love isn’t only a pleasant concept, but also a destructive, selfish, suspicious and deceitful concept represented in the childlike figure of Eros, who now holds the power of the narrative when in more traditional narratives (such as the Homeric poems) it should be Zeus (the former owner of the toy). Ironically, these adjectives that can be used to describe the way Eros is represented in Argonautica also fit with what we know Jason and Medea's relationship will become. These signs are already showing up in the narrative, especially in the character of Medea, who is in fact destructive and deceitful if necessary for her beloved. Therefore, when Jason chooses to employ eros as a weapon he isn’t simply being weak, but is using a dangerous power. In the same way that Eros didn’t care about Ganymede's frustration for the sake of his own satisfaction, Jason and Medea will leave a trail of destruction with each questionable action that Medea will take for the sake of love.

As for his dynamic with Medea in Argonautica… I got the impression that I was reading characters with at least partially reversed gender roles! Who is the character that causes desire in other people, beautiful, fearful, insecure and who receives help from his love interest? Jason! Who is the character who is firm, courageous, active and who will achieve conquests in exchange for the hand of her beloved? Medea!

In mythology you usually see mortal men somehow making conquests for a beautiful woman (often the woman's high status is also part of the reward). Some examples: anything involving Helen; Odysseus, who marries Penelope either in exchange for solving Tyndareus's problem or by winning a race against other suitors; Pelops, who had to compete for the hand of Hippoddamia; Hippomene, who had to prove himself in competition with Atalanta to marry her; Perseus, who saved Andromeda from death and thus won her love; Heracles, who fought with the river god Achelous for the hand of Dejanira. In other cases, although the man doesn’t directly do anything for the marriage, he still marries a beautiful — and high-status — woman as a reward for some virtue/achievement of his. Some examples are Cadmus, who received the goddess Harmonia as his wife thanks to his importance in the founding of Thebes, and Neoptolemus, to whom Menelaus gave his daughter as a wife as a reward for participating in the Trojan War and thus fulfilling the prophecy.

Well, Jason doesn't do any such things. He certainly didn't receive Medea as a reward, since Aetes didn't actually authorize the marriage and the only deity who is actively willing their marriage is Hera, and this is usually attributed to her wanting revenge on Pelias (here in the Argonautica this is the reason as well. It's mentioned at the beginning of Book 1, and then Hera mentions it in her line in Book 3 and it’s repeated in the narrative of Book 4) and not wanting to reward Jason. He also didn't gain Medea's interest because of his deeds, after all she fell in love with him before he had even proven anything significant — Eros shot her with the arrow. And while Medea is described as beautiful and even a princess of status, these are certainly not the main characteristics about her that make Jason want her as is the case in the examples I gave. In fact, the reason Jason promises to marry Medea is because of her talents — i.e. Medea's help in saving Jason. And such talents aren’t skills expected of a good wife like weaving — an example is Penelope, whose weaving theme is a strong characteristic and whose character was used as an example of an ideal wife —, the talents Jason is placing value on is her ability to make drugs and, depending on the version, even her capacity for violence, which wasn’t an element men generally looked for in their wives in mythology.

On the other hand, divine interference (Hera who spoke to Athena, who asked Aphrodite, who made Eros interfere) aside, the reason Medea falls in love with Jason isn’t his heroism or his typically male virtues. Most of the time, I got the impression that the most striking characteristic of Jason to Medea was his beauty. She wasn’t heroically saved by a fearless man like Andromeda was, she didn't see her suitor defeat a god to get her as Dejanira, she didn't have a horrible situation in her home resolved by the foreign hero as Ariadne, etc. And, madly in love with Jason, Medea wants to have him through her usefulness rather than her beauty, modesty, or status (she has all these characteristics, though. Even modesty! She seems quite shy in Book 3, in fact). She wants him to see how she can save him, and she wants that to be enough to make him want her too. She wants him to see how brave and capable she is of achieving victory, and for that to seduce him. Furthermore, Medea's desire for Jason is clearly more emphasized than Jason's desire for Medea, which is also unusual for ancient Greek literature in the case of characters who actually form a couple. I say "actually form a couple" because I'm obviously not referring to cases like Phaedra x Hippolytus or Echo x Narcissus, because in those cases the male characters didn't simply show less interest than the female character...they really didn't want anything to do with them! This isn’t the case with Jason here, Jason actively takes action to establish the relationship. He isn’t a victim. The reciprocity of Jason's love is a matter of debate, as at times his supposed romantic feelings for Medea seem to be mixed with an interest in her usefulness. Personally, I interpret it as him finding her beautiful and interesting rather than merely convenient, but I don't think he will ever love Medea as she loves him.

In Emotion, Genre and Gender in the Argonautica of Apollonius Rhodius, pp. 52-217, Dimitra Karamitsou discusses gender roles in Greek literature. She explores Homer's epics and gender roles in tragedies and comedies, but unfortunately I won't comment on what she said because it would be too long for an already long post. So I'll stick to Argonautica only, although I won't show everything she explored and I'll focus only on what she said about Jason and Medea, since that's the focus of the post. Note that she's Greek and read Argonautica in Greek, so she's definitely not analyzing it with the same translation as us. Also, her text is also in Greek, which is why I'll summarize it instead of excerpting it. On the subject, she says:

In the Argonautica, Apollonius follows the idea of ​​women with intense emotions. This wasn’t uncommon for the Hellenistic period, as seen in Callimachus' Hecale, Moschus' Europa, and finally in Theocritus' characters: Simaetha of Idyll 2, Gorgo and Praxinoa of Idyll 15, and Alcmene of Idyll 24. The increasingly popular identification of women with intense emotions in the Hellenistic period is due to the strengthening of the female role of the period, both in the domestic and in the public sphere. Thus, female characters become the object of greater interest for Hellenistic authors, also influenced by the desire of the literature of the time to distance itself from more typical ideas, which sometimes included challenging gender stereotypes. In the Argonautica, the woman is not related to the heroic man and, instead, is more focused on the erotic sphere unlike the focus on chastity. This is consistent with the characteristic of Hellenistic literature of emphasizing eroticism. The strengthening of the female role in the narrative of the Argonautica is also evident in the number of female monologues and even dialogues between women and men, compared to previous epics. They are, however, still characterized mainly by more traditionally feminine emotions in literature, such as fear, anxiety and sadness. However, Karamitsou comments that the subversion of gender roles on both sides is notable in the Argonautica. In fact, women (especially Medea) begin to occupy a leading role in their own right and take typically masculine actions that develop the plot. This is a consequence of the tendency of Hellenistic poets to wish to turn to less explored ideas.

Jason's main emotional characteristic is his lack of anger. For example, he is not shown to be angry with Pelias despite all that he has done. The only time Jason is associated with anger throughout the poem is indirectly through the simile in Book 3, when he is doing Aeetes's task, which compares him to a wild boar ready to attack the hunters. Otherwise, Jason's lack of anger is evident throughout the rest of the poem. When Telamon fundamentally underestimates Jason's worth, he does not get angry despite this being the typical attitude of a male character in epic. In fact, throughout the poem, Jason treats Telamon kindly. For Karamitsou, Telamon offending him is not something that actually offends him, but something that makes him feel honored. Jason, as a leader, is less concerned with rewards and more concerned with companionship, which includes keeping his companions comfortable enough to be honest with him even if it’s in a negative way. For her, the value of friendship for Jason is confirmed when, after the situation is resolved, Jason is happy to know that Telamon would defend him with the same fervor that he defended Heracles if necessary. The terms μῆνιν and μενέηνας in Jason's speech denote anger, but in the first case he only states that being considered negatively by Telamon is not capable of making him angry, and in the second case he says that he would only be angry if the accusation referred to a material belonging. In this way, Apollonius indirectly associates anger with material belongings.

When Jason doesn’t participate in the festive atmosphere, Idas associates this with cowardice and insults him. Thus, while Telamon interpreted Jason's lack of reaction as indifference to Heracles and therefore a betrayal, Idas interpreted Jason's lack of reaction as a sign of cowardice and therefore a weakness. In both cases, Jason's heroism is questioned. In Idas' case, his name is not even mentioned after Idas's insult, since Idmon immediately takes action to defend him and, therefore, is the one whose name is mentioned. Jason's name appears again only when he, along with other Argonauts, tries to prevent Idas and Idmon from fighting physically. Thus, not only is he not overcome by anger, but he doesn’t want his companions to be. The other moment when Jason is expected to become angry, even by Hellenistic literary standards, is when Aeetes not only threatens him but also the Argonauts as a whole. He could, with right, respond to the insult in an angry manner. However, he addresses Aeetes calmly. While Aeetes gives an emotional speech, Jason gives a rational speech. He doesn't just try to calm Aeetes down, he tries to flatter him. This works, as Aeetes doesn't actually take any immediate violent action. It's notable that Jason is much more active in responding to Aeetes' insults compared to Telamon and Idas' insults, since in the case with the Argonauts he didn't even respond to them. This is because Telamon and Idas are angry fellows, while Aeetes is actually a threat. So while Jason's passivity has been criticized, it’s important in reaffirming the character's moral code (avoiding anger and violence) and in establishing him as a diplomatic and composed hero.

Another recurring emotion of Jason is embarrassment. When he is unable to make choices, the narrative depicts him as embarrassed. He’s often portrayed as introspective, often silent and apathetic while thinking. For her, this can be characterized as embarrassment or apathy, that is, the inability to allow oneself to experience an emotion and externalize it. Jason's constant refraining from experiencing emotion is sometimes contrasted with the experience of emotion by a female character. When they say goodbye, Jason's mother is quite emotional, while Jason seems mostly apathetic. When the women of Lemnos show their attraction to him, Jason simply looks at the ground. When he says goodbye to Hypsipyle, she’s clearly being quite emotional while Jason seems mostly practical. For Karamitsou, this is a consequence of Jason's indecision about how to deal with situations, which leads him to appear apathetic, which in turn can be a source of irritation to other characters. This is also contrasted with male characters, in this case the Argonauts. Jason shows no emotion when he learns that Heracles has been abandoned, unlike the others. While everyone is celebrating, Jason is not. Although Apollonius's decision to portray two Argonauts (Telamon, Idas) condemning this attitude may make it seem like he does, this isn’t the case, as demonstrated by the amicable way in which both episodes ended without Jason changing his personality. Jason's emotional detachment is positive, as it balances the tense atmosphere of the other Argonauts. He’s constantly perplexed and embarrassed by his own indecision, which often leads Jason to leave the final word to other characters. This characteristic manifests itself as indecision and apathy and, in a way, reaffirms the character's self-control and diplomacy. 

Jason is also constantly afraid, which often leads to embarrassment. When Tiphys dies, he is saddened by his death and embarrassed by the lack of a solution to the problem of the absence of a helmsman. Aeetes's announcement makes him afraid, which causes him to become embarrassed. Karamitsou says that, although this contrasts with the previous view that apathy and indecision are related to self-control and diplomacy and therefore not negative, the two views do not cancel each other out, but coexist. Feeling afraid is simply human, and although Jason initially feels embarrassed, he tends to be able to deal with it appropriately and calmly rather than reacting too negatively. Jason's sadness and fear also make him a pessimist, as repeatedly throughout the poem he thinks that he or his companions will die. Even at the moment Jason accepts his most heroic task (Aeetes's task), he’s pessimistic in saying that he has no choice. Such a pessimistic trait may characterize him as someone with a weak psyche. Karamitsou, however, mentions the possibility that he may have used pessimism deliberately to test his companions, which is when Jason becomes depressed after passing through the Clashing Rocks. This is a possibility due to the way the terms are used in Greek, which may suggest a lie in Jason's behavior. If this was indeed the case, it worked, as the Argonauts cheer up in an attempt to cheer him up. Therefore, although sadness and fear are characteristics that get in the way of the mission, they also serve to demonstrate the character’s humanity.

Jason is also a romantically involved hero whose erotic relationships are important to moving the plot forward. However, he is different from the love interests. While Hypsipyle is shown to be much more loving and mournful, Jason not only doesn’t reciprocate the feeling to the same extent but he also doesn’t seem to have a real problem with leaving her behind. In fact, he seems more concerned with their possible child than with her. This may, perhaps, make him an opportunist. This is also true of his relationship with Medea. While Medea repeatedly shows her love in different ways, Jason is limited to mostly verbal promises. In the Temple of Hecate, Jason's soft words still seem more like an exercise in rhetorical skill than entirely sincere words. He also, in a way, manipulates Medea by comparing her to Ariadne while conveniently leaving out the detail that Theseus abandoned Ariadne (I’ll comment on this later). In Euripides' Medea, Jason acts in a similar way, as he admits that he prefers to abandon Medea in favor of Creusa because this will bring him fewer difficulties since Creusa is a princess of Corinth and Medea is a barbarian. Despite being an erotic hero, this characteristic concerns more the desire that Jason inflicts on others and less about the desire that Jason himself feels for other people. Jason's love as a weapon shows how love is the driving force of Apollonius' poem.

While Jason’s main emotional characteristic is his lack of anger, Medea’s main emotional characteristic is love. Although initially born from the direct intervention of Eros, the feeling seems to develop into a real characteristic of Medea. Thus, despite the obvious divine interference, there is still the element of realistic emotions in the narrative. Medea is primarily motivated by her love for Jason, which at one point is described as τρέλα (madness) and makes her indecisive, something Medea attributes to weakness and attributes to divine responsibility. Her love for him, however, initially arises from an idealized version of him. After all, even before they interact, Medea is already thinking of him in a very idealized way.

Furthermore, Medea is clearly more affected by love than Jason. At night, Medea's sleep is interrupted by a dream she has in which Jason comes to Colchis not for the golden fleece, but to ask her to marry him. This dream represents how her love for Jason is also a challenge to her expected loyalty to her father, a dilemma whose outcome we already know. Upon waking, Medea wakes up screaming and desperate, almost as if it were a nightmare. The passages that describe Medea's love are influenced by Sapho and Archilochus, with descriptions of “symptoms” of passion such as: inability to speak, cold sweat, paleness, tremor, blushing, ringing in the ears, internal burning, accelerated palpitation, weakness of vision, inability to move. In one scene, Medea also glances at Jason sideways through the veil she wears, which may represent a maiden looking at the source of her desire through a "barrier" (in this case, the veil, which is also a symbol associated with chastity).

Although initially a pure love, even typical of a young virgin, throughout the narrative it’s associated with characteristics such as deceit and magic. The etymology of the name Medea is a clue to the reader of the evolution of a seemingly innocent young woman into a cunning character (Medea means something like "planner, schemer"). The magical characteristic is reinforced by her connection with the goddess Hecate, her kinship with both Circe and Pasithea, and her own abilities as a sorceress. Apollonius uses πολυφάρμακος (polypharmakos, meaning "knowing many drugs/maybe charms", similar to the schemer Odysseus' epithet polytropos, meaning "of many resources"), and interestingly the term is used both when Medea is the chaste virgin of Book 3 and when she’s the treacherous witch of Book 4. The connection of love with magic occurs when Medea's primary way of proving her love is by offering to help Jason through her magical abilities. The deception associated with love, on the other hand, is initially introduced in the conversation with her sister, where Medea lets her sister think that she’s motivated by helping her nephews and not by her love for Jason.

However, such youthful love evolves to resemble a forced contract. Furthermore, Medea flees Colchis not motivated by love, but by fear of Aeetes's reaction. When Jason makes vows to Hera, he and Medea part hands as if in a business agreement. She also doen’t marry for love, but because it’s necessary for Alcinous to help the Argonauts, which includes Medea herself. This, coupled with Jason's interest in Medea's love being motivated by the usefulness of her love, makes this love doomed from the start, since it was formed entirely on need and fear. Even when she asks Arete for help, she does not use her love for Jason as a reason for sympathy, but rather fear of the consequences. Her love begins as an intense mental state, which is then externalized with intense physical symptoms. Its nature is dual. Initially it is identified with pure amorous desire, but later it’s associated with trickery and magic, losing its purity. The role of Medea's love in the narrative plot is crucial, as it’s Jason's main 'weapon' to complete the mission.

Like Jason, Medea is also embarrassed and indecisive, although in her case it’s about a specific dilemma: her father or her future husband. Choosing Jason means being a traitor, choosing to lose her home and her family's honor. Medea is often described as unsure of which decision to make, which is why Jason has to convince her in the Temple of Hecate, for example. This is also why the dream of marrying Jason causes her to wake up with a nightmare-like reaction. And when she does choose Jason, Medea really has no other option but to marry him. This is why Medea not only asks the Argonauts to take her with them to avoid Aeetes' punishment, she makes Jason swear by Hera that he will marry her. By marrying again, Medea is able to obtain a new home, a new family, and her honor is restored, since the betrayal is justified by a wife's behavior in helping her husband. Her indecision, however, diminishes when she helps Jason and, throughout the narrative, disappears. Therefore, in her case, her embarrassment and insecurity are more related to her role as a woman and her maidenhood. It’s shameful that she would consider betraying her father, who is her guardian. It’s also shameful that, as a chaste young woman, she would desire Jason in this way. After she actually chooses Jason, this disappears. Thus, it doesn’t seem that indecision is a fixedly defining characteristic of Medea, but rather occasional/occasional, although it actively affects her.

Medea, like Jason, is also afraid and sad. But if Jason's fear is triggered by his mission, Medea's fear is triggered by the lust/love she feels for Jason (sometimes she feels sad because she loves him) or by Jason's own fate (sometimes she feels sad when she sees him or imagines him in threatening situations). However, these feelings are later replaced by a feeling that Jason does not demonstrate, but that Medea does: anger. The presence of this emotion is particularly striking in Book 4, confirming the transition in Medea's personality. Medea, by giving the Golden Fleece to Jason, is metaphorically giving him her own chastity. For this reason, feelings related to the dilemma of chastity no longer have space after this moment in the narrative. Anger also represents Medea's development in love, which ceases to be fanciful and idealized and becomes full of doubts and suspicions. The main cause of Medea's embarrassment was her desire to help Jason, and so by having this dilemma suppressed, this emotion is also suppressed. But it still exists, as shown by the way Medea looks away at her brother's death. This moment marks the moment when the new Medea emerges, so much so that when she kills Talos there is no embarrassment in her attitude.

Medea's development can also be seen through her veil, especially by analyzing five scenes. The first time is when she falls in love with Jason, the second is when she prepares to meet him at the Temple of Hecate, the third is when she leaves home to go with Jason, the fourth is when they kill her brother, and the last time is when she kills the bronze giant Talos. Initially, the veil is described as white/shining, to symbolize Medea's purity and beauty. In the Absyrtus scene, she covers her face with the veil out of shame for the murder. In the Talos scene, Medea doesn’t wear a veil, which represents her change as someone who is no longer a chaste and ashamed young woman. The veil is also a link between Apollonius' Medea and Euripides' Medea, as in the play she kills Creusa, Jason's bride, by giving her a poisoned veil as a gift. Thus, the veil demonstrates Medea's change from an innocent and chaste young woman to a cunning witch.

Returning to the theme of anger, unlike Jason, Medea is verbal about being angry. Angry, she confronts Jason and complains about his real motivations, indicating that she distrusts him. This distrust will become correct, because in the myth Jason breaks the only promise that Medea demanded (to maintain a marriage with her). She seems to consider Jason's sweet words as deceitful, which makes her furious, because Medea believes that it’s thanks to her willingness to defy her own home for him that Jason has the Golden Fleece. In her speech, she calls him “son of Aeson”, suggesting estrangement. Her anger makes her want to harm the Argonauts and herself, as it even makes her want to set fire to the ship. When she ran for the Argonauts to take her with them in their escape, Medea practically demanded Jason's vows to Hera as a way of forcing him to prove the sweet words that had made her help him. The idea that Jason could have ruined so much of her rationality that he made her risk her place in her family, home, and society and yet he couldn’t reward her angers Medea. It’s also in the midst of her anger that Medea then plans her brother's death, the first undeniably reprehensible act she commits. She also personifies anger in her defeat of the giant Talos, as she glares at him with hostility, invokes vengeful Chthonian deities such as the Erinyes, and is ultimately filled with destructive rage when she defeats him.

Thus, both characters subvert gender roles within the Greek epic genre. Jason isn’t a traditional hero and, consequently, he isn’t a traditional man either. The absence of characteristics such as pride, anger or even martial skills makes him immensely different from Achilles and Odysseus. Unlike Achilles, Jason clearly doesn’t care about his honor. Contrary to Hector's opinion that vanity and association with eros are negative characteristics of Paris, Jason uses both as his main weapon. Jason's characteristic of being a listener also doesn’t resemble Homeric leaders. Agamemnon only cares about public opinion at critical moments; general opinion isn’t part of his usual leadership strategy. Odysseus not only doesn't ask for opinions but also doesn't try to see the reaction of his companions, he just gives orders and the others execute them. On the other hand, Jason constantly wants to hear opinion and constantly observes the reaction. Where Agamemnon easily takes offense to Achilles and treats his suggestion to hand over Chryseis as disrespectful to him and consequently punishes Achilles for it, Jason doesn’t do anything similar. Even when Idas and Telamon directly insult him, Jason doesn’t punish them. Although he uses more strategy than force, he still does’t resemble Odysseus in this situation, for the one who actually has a similar type of cunning to Odysseus is Medea, as represented by her epithet that parallels Odysseus' epithet.

Similarly, Medea isn’t a Homeric female character. In Book 3, she even resembles the Homeric characters, as she’s chaste, beautiful and expresses her emotions especially in private environments with her feelings directed towards male figures — in this case Jason and Aeetes. Something similar to Helen from The Iliad and Penelope from The Odyssey. She helps Jason, but this isn’t enough to differentiate her entirely from the Homeric model of a female character, since she’s still not the protagonist of the conquest, but rather Jason, who is described as doing the tasks. For example, Odysseus is assisted by female figures while the main conquest is still his, since he is the protagonist. The Medea of ​​Book 4, however, does not fit the role of the woman in the epic, since she is more like the woman in the tragedy. Similar to characters such as Euripides' Iphigenia and Sophocles' Antigone, Medea defies gender restrictions and abandons the domestic environment for the public environment and begins to assume the leading role. Similar to Phaedra and Euripides' Medea, Medea has an uncontrolled passion that threatens the people around her. Anger as Medea's main emotion is also a characteristic more typical of tragic female characters, rather than female characters in the epic. Furthermore, Medea goes from being a helper to becoming an active participant. For example, she’s the one who kills Talos, something that wouldn’t happen with any mortal female character in Homeric poetry. And as already mentioned, it’s Medea who is indirectly associated with a Homeric hero, in this case Odysseus, through the use of similar epithets. Although she’s associated with Ariadne, who isn’t a Homeric heroine but is still a traditional female character in mythology, Medea herself says that she isn’t like her. Unlike her, Medea isn’t a helper, but an active protagonist, and she also doesn’t live happily ever after in a marriage. Furthermore, the deconstruction of Medea's chastity is also not something that Homer does with female characters.

Now that I've commented on Dimitra Karamitsou's interpretation, I want to comment on something that I found interesting while reading Argonautica: Medea’s willingness to be helpful to Jason is a parallel to Ariadne’s willingness to be helpful to Theseus. Both princesses who, loving a foreign hero, offer the help that will guarantee their success with the only condition of obtaining a marriage. And maybe this makes my opinion strange, since Ariadne is clearly not a character who subverts gender roles, but I think they have differences that make it possible to coexist the idea that Medea isn’t a character who fulfills the typical gender role and the idea that Medea can be a parallel to Ariadne. The difference, of course, is the personality and the type of help. Ariadne isn’t portrayed as someone who has a volatile and dangerous personality and the help she offers is a guide thread for Theseus to follow, and not something like drugs or even murder. 

I mean, can you imagine Ariadne doing that?

[350] Now when the maiden had mused upon all this, sharp anguish shook her heart unceasingly; and quickly she called forth Jason alone apart from his comrades, and led him aside until they were far away, and before his face uttered her speech all broken with sobs: "What is this purpose that ye are now devising about me, O son of Aeson? Has thy triumph utterly cast forgetfulness upon thee, and reekest thou nothing of all that thou spakest when held fast by necessity? Whither are fled the oaths by Zeus the suppliants' god, whither are fled thy honied promises? For which in no seemly wise, with shameless will, I have left my country, the glories of my home and even my parents — things that were dearest to me; and far away all alone I am borne over the sea with the plaintive kingfishers because of thy trouble, in order that I might save thy life in fulfilling the contests with the oxen and the earthborn men. Last of all the fleece — when the matter became known, it was by my folly thou didst win it; and a foul reproach have I poured on womankind. Wherefore I say that as thy child, thy bride and thy sister, I follow thee to the land of Hellas. Be ready to stand by me to the end, abandon me not left forlorn of thee when thou dost visit the kings. But only save me; let justice and right, to which we have both agreed, stand firm; or else do thou at once shear through this neck with the sword, that I may gain the guerdon due to my mad passion. Poor wretch! if the king, to whom you both commit your cruel covenant, doom me to belong to my brother. How shall I come to my father's sight? Will it be with a good name? What revenge, what heavy calamity shall I not endure in agony for the terrible deeds I have done? And wilt thou win the return that thy heart desires? Never may Zeus' bride, the queen of all, in whom thou dost glory, bring that to pass. Mayst thou some time remember me when thou art racked with anguish; may the fleece like a dream vanish into the nether darkness on the wings of the wind! And may my avenging Furies forthwith drive thee from thy country, for all that I have suffered through thy cruelty! These curses will not be allowed to fall unaccomplished to the ground. A mighty oath hast thou transgressed, ruthless one; but not long shalt thou and thy comrades sit at ease casting eyes of mockery upon me, for all your covenants." [391] Thus she spake, seething with fierce wrath; and she longed to set fire to the ship and to hew it utterly in pieces, and herself to fall into the raging flame. But Jason, half afraid, thus addressed her with gentle words: "Forbear, lady; me too this pleases not. But we seek some respite from battle, for such a cloud of hostile men, like to a fire, surrounds us, on thy account. For all that inhabit this land are eager to aid Apsyrtus, that they may lead thee back home to thy father, like some captured maid. And all of us would perish in hateful destruction, if we closed with them in fight; and bitterer still will be the pain, if we are slain and leave thee to be their prey. But this covenant will weave a web of guile to lead him to ruin. Nor will the people of the land for thy sake oppose us, to favour the Colchians, when their prince is no longer with them, who is thy champion and thy brother; nor will I shrink from matching myself in fight with the Colchians, if they bar my way homeward." [410] Thus he spake soothing her; and she uttered a deadly speech: "Take heed now. For when sorry deeds are done we must needs devise sorry counsel, since at first I was distraught by my error, and by heaven's will it was I wrought the accomplishment of evil desires. Do thou in the turmoil shield me from the Colchians' spears; and I will beguile Apsyrtus to come into thy hands — do thou greet him with splendid gifts — if only I could persuade the heralds on their departure to bring him alone to hearken to my words. Thereupon if this deed pleases thee, slay him and raise a conflict with the Colchians, I care not.

Argonautica, Book 4. Translation by R.C. Searton. 

[Chased by the Colchians, Medea becomes enraged and needs to be calmed by Jason. She then tells him of her plan to kill her brother, Apsyrtus, who is chasing the Argo.]

And when I say that this parallel exists, it isn’t me merely linking the myths, it’s something Apollonius himself does. 

In Book 1, the Ariadne element was already present in some ways because of the Isle of Lemnos, as Queen Hypsipyle is the daughter of Thoas, a son of Dionysus and Ariadne (he was the only male from Lemnos to survive, as his daughter secretly helped him escape). After the erotic involvement between Hypsipyle and Jason and the necessity of the Argonauts' departure (remembered by Heracles), they say goodbye. Hypsipyle assures Jason that if he returns to Lemnos he can be king, although she herself feels that he won’t return. She then wants Jason to promise to remember her and asks what she should do if she finds out she's pregnant. Jason fears that he may not return home, so he asks her that if she has a son, she should send him to Iolcus to be raised there as a comfort to Jason's parents. Thoas' ancestrality, however, isn’t immediately stated in Book 1.

In Book 3, Jason is described as wearing “dark robe, which Hypsipyle of Lemnos had given him aforetime, a memorial of many a loving embrace”, a gift that wasn’t mentioned in Book 1. Remember that detail!

Anyway, let's continue with Book 3! After Jason met and talked with Medea, the myth of Ariadne and Theseus is introduced into the dialogue between the two by Jason. He tries to comfort her since she seems sad and insecure, and in the process he assures Medea that she will be known for being great, in the same way that Ariadne was known for having been important in the victory of the hero Theseus over the Minotaur. Basically, it's as if Medea is Jason's Ariadne. More specifically, he says: “[...] In days past the maiden Ariadne, daughter of Minos, with kindly intent rescued Theseus from grim contests — the maiden whom Pasiphae daughter of Helios bare. But she, when Minos had lulled his wrath to rest, went aboard the ship with him and left her fatherland; and her even the immortal gods loved, and, as a sign in mid-sky, a crown of stars, which men call Ariadne's crown, rolls along all night among the heavenly constellations. So to thee too shall be thanks from the gods, if thou wilt save so mighty an array of chieftains. For surely from thy lovely form thou art like to excel in gentle courtest." 

This comparison returns in their conversation because, at a certain point, Medea asks Jason to talk more about Ariadne. After all, wasn't he the one who compared Medea to her? He, however, changes the subject and doesn't finish the story.

[1063] Thus she spake, and cast her eyes to her feet in silence, and her cheek, divinely fair, was wet with warm tears as she sorrowed for that he was about to wander far from her side over the wide sea: and once again she addressed him face to face with mournful words, and took his right hand; for now shame had left her eyes: "Remember, if haply thou returnest to thy home, Medea's name; and so will I remember thine, though thou be far away. And of thy kindness tell me this, where is thy home, whither wilt thou sail hence in thy ship over the sea; wilt thou come near wealthy Orchomenus, or near the Aeaean isle? And tell me of the maiden, whosoever she be that thou hast named, the far-renowned daughter of Pasiphae, who is kinswoman to my father." [1077] Thus she spake; and over him too, at the tears of the maiden, stole Love the destroyer, and he thus answered her: "All too surely do I deem that never by night and never by day will I forget thee if I escape death and indeed make my way in safety to the Achaean land, and Aeetes set not before us some other contest worse than this. And if it pleases thee to know about my fatherland, I will tell it out; for indeed my own heart bids me do that. There is a land encircled by lofty mountains, rich in sheep and in pasture, where Prometheus, son of Iapetus, begat goodly Deucalion, who first founded cities and reared temples to the immortal gods, and first ruled over men. This land the neighbours who dwell around call Haemonia. And in it stands Iolcus, my city, and in it many others, where they have not so much as heard the name of the Aeaean isle; yet there is a story that Minyas starting thence, Minyas son of Aeolus, built long ago the city of Orchomenus that borders on the Cadmeians. But why do I tell thee all this vain talk, of our home and of Minos' daughter, far-famed Ariadne, by which glorious name they called that lovely maiden of whom thou askest me? Would that, as Minos then was well inclined to Theseus for her sake, so may thy father be joined to us in friendship!" [1102] Thus he spake, soothing her with gentle converse. But pangs most bitter stirred her heart and in grief did she address him with vehement words: "In Hellas, I ween, this is fair to pay heed to covenants; but Aeetes is not such a man among men as thou sayest was Pasiphae's husband, Minos; nor can I liken myself to Ariadne; wherefore speak not of guest-love. But only do thou, when thou hast reached Iolcus, remember me, and thee even in my parents' despite, will I remember. And from far off may a rumour come to me or some messenger-bird, when thou forgettest me; or me, even me, may swift blasts catch up and bear over the sea hence to Iolcus, that so I may cast reproaches in thy face and remind thee that it was by my good will thou didst escape. May I then be seated in thy halls, an unexpected guest!"

Argonautica, Book 3. Translation by R.C. Searton.

In Book 4, Hypsipyle's cloak returns. It is one of the false gifts offered to Apsyrtus in Medea's plan to deceive her brother. We learn that the Graces (best known for being Aphrodite's companions) wove it for Dionysus, and that Dionysus and Ariadne conceived Thoas on it. The divine cloak was then given to Thoas, who gave it to Hypsipyle, who gave it to Jason.

[421] So they two agreed and prepared a great web of guile for Apsyrtus, and provided many gifts such as are due to guests, and among them gave a sacred robe of Hypsipyle, of crimson hue. The Graces with their own hands had wrought it for Dionysus in sea-girt Dia, and he gave it to his son Thoas thereafter, and Thoas left it to Hypsipyle, and she gave that fair-wrought guest-gift with many another marvel to Aeson's son to wear. Never couldst thou satisfy thy sweet desire by touching it or gazing on it. And from it a divine fragrance breathed from the time when the king of Nysa himself lay to rest thereon, flushed with wine and nectar as he clasped the beauteous breast of the maiden-daughter of Minos, whom once Theseus forsook in the island of Dia, when she had followed him from Cnossus. And when she had worked upon the heralds to induce her brother to come, as soon as she reached the temple of the goddess, according to the agreement, and the darkness of night surrounded them, that so she might devise with him a cunning plan for her to take the mighty fleece of gold and return to the home of Aeetes, for, she said, the sons of Phrixus had given her by force to the strangers to carry off; with such beguiling words she scattered to the air and the breezes her witching charms, which even from afar would have drawn down the savage beast from the steep mountain-height.

Argonautica, Book 4. Translation by R.C. Searton.

Hoping to comfort and convince Medea, Jason compares her to Ariadne, to whom Medea is related by blood, though Jason probably did not know this when he made the comparison (her mother is Pasiphae, whom Apollonius claims is the daughter of Helios and therefore the sister of Aeetes, Medea's father. This makes Medea and Ariadne cousins). What he wants is for her not to feel bad about betraying her father and helping the Argonauts, assuring her like Ariadne she will become famous for providing aid to a foreign hero. However, when Medea asks Jason to tell her more about Ariadne, he changes the subject. He purposely doesn’t tell Medea that Theseus, the hero she helped, abandoned her on the island of Naxos. After all, how would that be any comfort to Medea? For all Jason knows, this could very well make her not help him. The association of Medea with Ariadne is already an sign: no matter how helpful Medea is now or even how Jason begins to reciprocate her feelings, this couple's ending will not be happy just as Theseus and Ariadne didn’t live happily ever after. Apollonius certainly seems to recognize the ending of Ariadne's story in Argonautica, after all, he tells us the story of the cloak Hypsipyle gave Jason: an item used by both Dionysus and Ariadne, now married and parents of Thoas, father of Hypsipyle.

Another way to know that this couple is doomed is through a line from Hera. In Book 4, Hera tries to persuade Thetis to have the Nereids help the Argonauts. Using Peleus, one of the Argonauts, as an argument is useless, since Thetis actually clearly has a negative opinion about their forced marriage (something that Hera seems not to really take into account and that, in fact, she was partly responsible for since she was the one who chose Peleus as Thetis' husband). Knowing this, Hera uses a person she knows will convince Thetis: Achilles, her son. She informs Thetis that Medea will be Achilles' wife in Elysium and, therefore, Thetis' daughter-in-law and for this reason she must help the Argonauts, since Medea is among them. This convinces Thetis, who gets the Nereids to help them. But if, after all, the poem introduces us to a love story between Medea and Jason starting in Book 3, why would Medea have to marry another man in Elysium? So, ironically, when Jason compares Medea to Ariadne, he’s trying to achieve success but is premeditating the tragic ending he will have.

They won't be together, something foreshadowed in Jason's comparison and reinforced in Hera's argument. The same love that guaranteed Jason future glory — by returning with the Golden Fleece thanks to Medea's help — will not persist for long. So, even if through seduction Jason has achieved conquests (peace with Hypsipyle and support with Medea, ironically both linked to Ariadne, who here is the exemplary representative of the trope of the young woman who helps a foreign hero), this will have greater consequences than he thinks. Even Apollonius recognizes the destructive power of Medea's love when he relates how, out of love for Jason, Medea planned her own brother's death and was an accomplice in a sacrilege (remembering that the murder took place in front of the temple of Artemis).

[445] Ruthless Love, great bane, great curse to mankind, from thee come deadly strifes and lamentations and groans, and countless pains as well have their stormy birth from thee. Arise, thou god, and arm thyself against the sons of our foes in such guise as when thou didst fill Medea's heart with accursed madness. How then by evil doom did she slay Apsyrtus when he came to meet her? For that must our song tell next.

Argonautica, Book 4. Translation by R.C. Searton.

Ironically, the cloak given to Jason is used in this scheme, as the excerpt I mentioned above in the post says. The cloak that represents Ariadne's happy ending, since it’s important for her relationship with Dionysus. The cloak that represents the love of a father for a daughter, since Thoas passed it on to Hypsipyle (a love reinforced by the fact that, while the women of Lemnons killed all the men, Hypsipyle saved her father). The cover that represents the love of a woman who knows she will never see her beloved again, as Hypsipyle gave something so important to Jason as a memory of her. This same cloak is the one used in the plan to murder Apsyrtus as one of the fake gifts, a plan devised by Medea who, in her destructive love, went so far as to wish her brother dead. Personally, I like to interpret this as a sign of how Medea's love is different. It is not the happily ever after love that Dionysus and Ariadne share, it is not a lasting love like Thoas and Hypsipyle, it is not the love of Hypsipyle's longing for Jason. It is an excessive love, it is a love that resembles madness. Medea told Jason that she can't compare to Ariadne and really, they are not the same. And Jason won't be her Theseus, after all he will really make her his wife, but he won't be her Dionysus either, because they won't be happy. The thing — seduction, love, eroticism — that made Jason capable of accomplishing the mission is the same thing that will ruin him.

And I think it is possible to reconcile Argonautica Jason with the Jason of other sources. I have already mentioned what I think about Chiron's involvement in Jason's education (I prefer when there is none) and I have already used other sources to reaffirm the idea of ​​eroticism surrounding Jason and the voyage of the Argonauts — in addition to, of course, having to use other sources to provide context for Jason's family. The thing is, let's analyze what Jason does after the voyage with the Argonauts in the other sources according to the popular version, which is: death of Pelias, Jason and Medea in Corinth, wrath of Medea and death of Jason.

After returning to Iolcus, Jason wanted Pelias punished. In one version, he wants to punish Pelias for sending him on such a dangerous mission (Fabulae 24), and in another he wants to punish Pelias for killing his father and younger brother Promachus and somehow causing his mother to commit suicide (Library of History 4.50.1-4, Library 1.9.27). Although the details vary, Medea, knowing that her husband wants Pelias dead, offers to do it herself, and Jason agrees to let her do it for him (note: in Library, it’s Jason who urges her to do this rather than her offering). And Medea actually does what she promised, tricking Pelias' daughters into killing their father while they think they are rejuvenating him. Then there are two versions: despite gaining power over the palace (albeit violently), Jason doesn’t keep the kingdom and gives it to Acastus, Pelias' son, or else he is expelled by Acastus. Either way, he and Medea go to Corinth after this. In a version in which Aeson isn’t dead he is rejuvenated by Medea, although the context of the original Greek is lost (Nostoi frag 2). If Ovid was faithful to the original context of the myth in his Metamorphoses, then Jason asked her to take part of his life to extend Aeson's life and Medea didn’t want to do this to Jason. Instead, she rejuvenated Aeson without having to take any of Jason's life. She later used the fact that this feat had become famous in Iolcus to convince Pelias' daughters that she could rejuvenate their father.

In Corinth, Medea and Jason lived for years as a married couple and had children, whose number and names vary depending on the source. However, Jason eventually wanted to abandon Medea for another woman. Through a possible marriage to Creusa, daughter of the Corinthian king Creon, he could try to start a new life. A new beautiful wife, a father-in-law who clearly views him favorably, and the elevation of status through marriage. The best-known version of the myth is from Euripides' play Medea, in which Jason not only acts completely asshole to Medea but also belittles her when she reminds him of how much she helped him. Not only was he going to betray Medea, he also agreed to have her banished from Colchis, since her presence there was uncomfortable because she was feared by Creon. When confronted about this, he tells Medea that he could not refuse the opportunity to marry a princess from Colchis and reminds Medea that, after all, she is still a barbarian woman and therefore does not represent the same status as Creusa. He offers to give Medea money to cover the costs of the children (yes, Jason didn’t mind his children being exiled either. He only keeps the children after Medea herself suggests it, although she did it as part of her revenge plan) and says that in the future she can still be his lover. This makes Medea furious, which causes her to execute a plan that results in the death of Jason's new wife and new father-in-law and she also kills both of their children and doesn’t allow Jason to give them a funeral as she says that she will do this herself while leaving in the sun chariot that was a gift from her grandfather Helios. This probably wasn't the oldest version of the myth, since there are indications that perhaps the oldest version was the one in which Medea leaves her children in the temple of Hera before fleeing and the Corinthians kill them (Pausanias mentions this version, if I'm not mistaken. In any case, possibly the first myth of Medea didn't include a mother who killed her children), but I consider this one because I like it better despite being more cruel.

In Euripides' version, Jason is destined to die crushed by the planks of the Argo, the ship used by the Argonauts on their mission and built with Athena's advice, for having dishonored his marriage vows to Medea. Apparently, Euripides' scholia also mentions a version in which Jason dies after being struck by lightning and also mentions that he died while sleeping on the Argo. According to Diodorus Siculus (who, by the way, presents a considerably different version of the myth of Jason and Medea), Jason killed himself. According to Hyginus, Jason was killed by Medea along with Creusa and Creon. Regardless of the version, his death is either quite tragic or quite pathetic.

But what then? Jason keeps turning to Medea for help, whether to kill Pelias or to rejuvenate Aeson. And even while dismissing her as a “barbarian” while Creusa is a Greek princess, Jason suggests that they eventually remain lovers, which shows that he still wanted to keep her (given how unaffectionate Jason is in this play, I’m more inclined to believe that it was for Medea’s usefulness or as a stupid attempt to calm her down, knowing her temper). By dishonoring his marriage vows to Medea, Jason receives a disgraceful end. In the end, Jason continues to have his most memorable moments linked to Medea’s usefulness (Pelias’ daughters) and in the end he continues to use relationships to his advantage (in this case, marriage to Creusa). And the act of discarding her as a wife still screws him over. She was the one who made him rise to glory, as the mission was only a success because of her, but she was also the one who made him have a miserable end. Jason still only achieves repeated success while he’s in a relationship with Medea. The other more typically heroic myths of Jason also tend to portray him in a group/team setting like in the Argonautica, as is the case with the Hunt of the Calydonian Boar myth.

So I think it’s possible to connect Argonautica to other sources. In Book 4, Jason has already done a really horrible thing, he committed sacrilege by killing Medea’s brother in front of the temple of Artemis. After all, he still has the potential to do evil things. And given the way love is portrayed as a destructive force in Argonautica, the mere act of being with Medea, who we know to be destructive, certainly makes him capable of causing misfortune himself. Also, Apollonius makes Jason out to be like an ordinary, human person, but isn't that what Jason was? He really was an ordinary person. But what about after returning from such a dangerous mission successfully? It wouldn't be strange if fame made him arrogant and, knowing that he can count on Medea's help, it wouldn't be strange if he increasingly used violence as a practical tool. And, thinking that he can keep Medea's help while using other women to gain status in the same way he gained status with Medea (not through marriage, but because she influenced the outcome of the mission), he’s still a Jason who uses his romantic/sexual/marital relationships to get what he needs. And since his fame was indirectly built through marriage, the destruction of said marriage is the destruction of Jason himself.

One way in which the transition is reflected is by repeated allusions to Jason and Medea’s doomed marriage. Throughout Books 3 and 4, in the lead up to their actual marriage at Argon. 4.1127–69, scenes in which Medea appears contain moments that can be read symbolically as representative of her relationship with Jason. For example, her veiled (or unveiled) face is repeatedly mentioned (3.444–7, 3.828–35, 4.41–6, 4.465–7), which both highlights her status as an unmarried girl and draws the reader repeatedly to Medea’s use of vision as an erotic signifier. 3 Moreover, the narrator twice draws on comparisons to grieving wives to elucidate Medea’s emotional turmoil (3.656–64, 4.1062–7); these two unhappy similes hint at a similarly unpleasant end to Medea’s relationship with Jason. Furthermore, Medea enacts a series of symbolic marital rituals as she flees her home (4.26–49), transferring into Jason’s protection during the night and leaving symbols of her virginity behind for her mother. These are some of the key ways in which wedding imagery pervades Medea’s representation throughout Books 3 and 4. In addition, the actual wedding between Jason and Medea contains aspects of wedding ritual; all of them are, however, undermined by the unsuitability of location, time and context. Queen Arete gauges from her husband King Alcinous that he intends to decree that Medea should only belong with the Argonauts if she is already married to Jason. This provokes a midnight marriage, performed in secret, with an armed guard and an unenthusiastic couple (οὐ μὲν ἐν Ἀλκινόοιο γάμον μενέαινε τελέσσαι | ἥρως Αἰσονίδης, μεγάροις δ᾽ ἐνὶ πατρὸς ἑοῖο, | νοστήσας ἐς Ἰωλκὸν ὑπότροπος· ὧς δὲ καὶ αὐτὴ | Μήδεια φρονέεσκε· τότ᾽ αὖ χρεὼ ἦγε μιγῆναι ‘The hero Jason wished to hold the wedding not in Alcinous’ land but rather in the halls of his father, having returned home to Iolcus. So too did Medea wish this: but necessity forced them to join there’, 4.1161–4). 6 The marriage scene itself, performed out of necessity rather than will, provides an inauspicious beginning for their marriage and allows for the pos- sibility that the eventual failure of their marriage can be traced to as far back as its origins.

Wedding Imagery in the Talos episode: Apollonius Rhodius, Argonautica 4-1653-88, by Sarah Cassidy, pg 442-443.

[prophecydungeon]

man, the gulf between season 8 wash and chorus trilogy wash (or even season 10 wash!) is actually completely and utterly bonkers

Serious Competentman things wash does in recovery one and season 6:

takes down a hornet with exceptional competency

faces down the meta one-on-one multiple times

calmly disposes of many dead bodies, including those of his former teammates and friends

shoot (at best) or kills (at worst) several guards at headquarters

with the crowning "oooooh boy" achievement being: he kills south in cold blood

which is like, alright! neat! we have now gotten another Serious Compenentman freelancer, and this all tracks more or less to what we've seen tex, wyoming, york, and south do. wash in season 6 is the reality check to the reds and blues; he's the straight man (...ykwim) to their brand of insanity.

by season 8, wash is so completely off the fucking rails that he's the one that needs a reality check character. doc plays that part for both wash and maine* in season 8; he's the token blood gulch haha funnyguy character who both offsets our Serious Antagonists and occasionally mediates between them, and he's there to alleviate the tension. (to the audience, at least. our Serious Antagonists have no time for jokes.)

this is epitomized, imo, when they're in the desert dealing with the aliens and trying to find the (discarded) epsilon unit:

wash: you sure that's what he's doing? doc: well, my alien-to-english is a little rusty. i would suggest we get one of those translator balls, but we've got enough jerks around here already. maine: [speaks] wash: i agree. we should just kill most of them. the last one left alive will talk. doc: (patiently) wash, you just can't kill everybody you meet. wash: why not? doc: uh... well, now you've put me on the spot. i don't really have an answer for that. seems like a bad idea, though. karma?

wash has killed people before - many people, in fact! - and he's certainly far from squeamish about it, but this is on an entirely different level. he isn't playing the straight man to the blood gulch guys here. he's entirely serious about killing this group of aliens and so is maine. sure, this is a big and significant turn from how he acted in season 6, but who he is by the time the chorus trilogy rolls around makes this person from season 8 almost entirely unrecognizable.

other things wash does during his baddie arc include:

shooting lopez

(functionally) killing donut

probably genuinely would have killed doc at multiple points if he didn't prove himself useful in one way or another

treating maine exceptionally poorly, even though they were at least superficially friendly at some point in the past, until it serves him to be slightly nicer

(he's also mean to doc, but they don't have a history)

tucker's character arc (rightfully) gets the most screen time in the chorus trilogy, but wash's and carolina's growth - while a little more understated - is also not at all to be discarded. season 8 is wash's ugliest moment** and boy is it fucking bleak. he's mean to maine and verges on downright cruel until things start to go his way; he acts entirely out of selfishness to clear his own name; he's willing to throw anyone and everyone under the bus and kill his way to the finish line. and then he doesn't.

he survives but he doesn't really succeed in clearing his name, and he doesn't really earn his redemption, per se, but we get reminded multiple times over the rest of the series that he was that terrible person at one point and he isn't anymore. going backwards from the chorus trilogy to season 8 is almost enough to cause whiplash and the way his growth gets shown from that point on (while also taking a back seat) is so gratifying. he tells locus, "[...] you’re too afraid to take responsibility for what you’ve done. I know I used to be a real piece of shit, but at least I’m trying to do something about it." and he does! that's the thing. he does.

*i'll die on this hill; see the "elaborate on that" "no" video.

**i say this knowing fully and completely that if wash did not have his baddie arc, i would not like him half as much as i do

[maxphilippa]

Bro I wanna write a Soap x Trophy fic, I need someone to help smoothen out their dynamic.

Are they just the usual "Good girl x Jock" or "I can fix him"?

Alright! Here's something from a personal perspective and on how I imagine their dynamic to be (without Limegold Jokes in the way cause I do hc that Trophy is just some guy after he's with people he loves + had so much trouble getting with), if it comes to a Trophy that still needs to become a better person and Soap who has a generally kind view of others, here's how I'd say it would go + some notes.

Soaphy's Dynamic with Pre-Redemption/Half-Way-Through-Redemption Trophy.

Trophy is NOT a jerk, he is a jock. Most stuff I've seen of him? Trophy being a complete asshole, when that's really not quite true. Of course there's definitely some anger issues he has to work through and he needs to get more comfortable with being himself rather than a stereotype (in a harmful way to himself and others), but here's also the thing. He DID got better once he arrived to Hotel OJ, he still picks up on Cheesy and such, but he's not an complete bitch to begin with.

He's "softer", more relaxed, he's not focused on winning or anything because there isn't a prize. He seems to prefer being alone if anything! He likes photography and finds butterflies nice! He eats cacao nibs and drinks herbal tea and takes care of himself! But he's still pretty strong and most likely works out! Just... doesn't know how to get close to anyone because there's an image he has to put, and can still be pretty mean/rough at times. But he does seem to be just. A bit chill nowdays.

Now, Soap. Oh, Soap. Despite the fact that in my own opinion she was under-developed, and doesn't really bring out too much for her character other than her obsession with cleaning and some scenes, there's still something I like about her. She's sweet and kind, considerate and gentle. She cares about others well-being! And she cares so SO much about everything being on place. But she's not only sweet and kind. She ALSO has a strong attitude because she won't let anyone put her down by any means, and if stressed enough, she shows to be pretty strong and to react out of spite. However most of times she's just chilling.

This two personalities are so different yet match well in a way. There's nothing that they share but just finding a comfort on eachother on a very very weird way. I wouldn't say that it's "good girl x jock" or "i can fix him", but rather a, "i want to become a better person for you and i don't know why and i hate it x oh thank you", in a slowburn type of way.

Because Trophy isn't mean/rough to Soap at all, and I'll put an small scene they had together for an example! When Tissues sneezed on Trophy, Trophy was certainly frustrated/disgusted, until Soap made her way to him and 'polished' Trophy (cleaned him from the bacteries), and Trophy doesn't push her away or anything. He just. Stares at her and seems a bit awkward. But he's not mad or anything, he just lets her do so.

Their dynamic is complicated to be fair. They're complete opposites but still somehow managed to hang out well. I think that they would start off very awkwardly until Trophy starts becoming a better guy for Soap and he doesn't know why. Soap doesn't want to fix him, but rather wants to show him that he can be a better person if he truly wants to. Trophy is very much in denial but still thinks about it at times as well.

But that's how I see them too. It's completely fine if they are a jock x good girl or i can fix him for you! But it's how I think their dynamic would work out as well? At least on this settling of not fully redeemed Trophy?

if it were fully redeemed Trophy i'm so certain that he would be so cringefail and in love with her and he sucks so bad at approaching those feelings. and soap is oblivious. "hahaha wow you're such a good friend trophy!" "i need to kiss you" "what" "WHAT?" /hj

Thanks for asking!