#i will in fact elaborate further

[deadliestpieceontheboard]

i think katelyn is the one who proposes to aaron and i have a list of reasons why but number one is that i think he deserves that

[crystallizsch]

sigh i had an epiphany

book 4 is just a whole ass scooby doo episode huh

[aroaceleovaldez]

I HAVE BEEN REMINDED OF SOMETHING i think i've made a post about it before but maybe it's just sitting in my drafts. idk, whatever, I will ramble again. Said thing that reminded me was a tiktok by madison_murrah about how the PJO TV show doesn't get the balance between mundanity and magical correct for pjo and I want to expand on that cause while a.) it totally is a problem in the show and i take issue with it, b.) it is also a problem in later books and i ALSO take issue with that too and i would like to elaborate on it

this got long so ramble of the day below the cut:

so the thing is that PJO is actually pretty unique in it's approach to hidden world modern fantasy. like, hidden world modern fantasy is a decently established genre with a ton of examples, but there's a reason why PJO stands out so much, and that's because technically it's NOT "hidden world." There is very intentionally no distinction between the mundane world and the mythological, at least in first series. They 100% overlap. And you do not necessarily need to be "special" to see the "mythological world-" some mortals are totally naturally clear-sighted, a lot of kids are clear-sighted, and it's like 50/50 for if mortals can become clear-sighted. In fact, most demigods aren't immune to the effects of the Mist, all that really matters is if you're actually thinking about being able to see through it. And there's a reason for that!

In general, this format of the "hidden world" modern fantasy serves two purposes: One, as the series is meant to introduce people to Greek mythology and explain why it is relevant and how it can be relatable in modern contexts, it intentionally juxtaposes myths against modern concepts: Medusa runs an apparently average garden statue store. Procrustes runs a mattress store. The entrance to the Underworld is in LA at a record store. Circe lives on an island paradise that's secretly dangerous. Hydras are like chain donut stores that seem to pop up on every corner. Perseus and his mother struggle in Perseus' childhood but get a happy ending. Calypso has an island paradise where the challenge for the hero of our story is being tempted to leave behind his goals. The plot of Sea of Monsters is blatantly the Odyssey, and it's about Percy trying to get to his best friend (who he shares a literal psychic link to) who is in danger of getting married to someone awful (a literal monster) to help you understand Odysseus trying to get back to Penelope and how important to each other and in sync they are. Battle of the Labyrinth is Theseus and the Labyrinth and it's Percy/Theseus trying to protect his home and his people and fellow kids (like Nico) from the dangers in the maze. These are all supposed to help us understand what is actually going on in those stories.

We also still see how Greek mythology influence shapes and influences western culture in general in their world (which is supposed to be our own and so uses real-world examples) - in government, in architecture, in pop culture - Mythomagic is clearly supposed to be your standard TCG like Magic The Gathering. And in general there is no distinction between where the mythological ends and mundane begins - Camp Half-Blood is both a magical training space for demigods and your run of the mill underfunded summer camp, complete with cheesy camp songs and t-shirts and crafts. Olympus is located on top of the Empire State Building which is operating completely as normal except for when a demigod asks to go to a non-existent floor. Your best friend with a muscular disease in his legs is secretly a satyr. Your brother with down syndrome is a cyclops. Your teacher in a wheelchair is secretly an immortal centaur. Your crappy algebra substitute is a literal fury. But also they're still your teachers. The satyr is still your best friend, the cyclops is still your brother. And that brings me to the second aspect of all of this (which i have talked about before [here] and [here]) - the other purpose it serves is that it is an extension of the overarching disability themes that form the core of the series.

The entire reason that meshing of mundanity and magical is so intertwined is entirely because it's part of the disability metaphor, specifically inspired by early 2000s parenting/teaching concepts for children with disabilities, particularly learning disabilities, as trying to reframe disabilities as "superpowers" to empower kids (and still exists in some more modern forms - like referring to disabilities as "being differently-abled") (I talk about it in my previous post on the subject but this generally fell out of favor due to many kids/students finding it belittling of their struggles) - this is why we get the description of ADHD and Dyslexia being framed as "demigod superpowers." In the series this structure is intentionally made to encourage kids to reframe how they view disabilities in general as not something negative but something interesting and fantastical that they may be more open to engage with - and PJO does this in a really nice way where a lot of the disability struggles are still acknowledged and treated sympathetically. Kids still get bullied, Percy and Annabeth struggle in school or with reading/spelling, they grapple with both internal and external ableism. The entire reason for the titan war in the first series, at least from the demigod perspective, is criticizing flawed systems meant to support disabled people that don't do their job effectively or let too many people fall through the cracks. The Mist "hiding" the "mythological world" from mortals (and even some demigods) is about how most abled people (and some undiagnosed people) don't recognize disability struggles until it affects them personally. None of these things are glossed over! It's handled with nuance and care! The series says "you can be disabled and you can be like these fantastical heroes - not in spite of your disability, but alongside it. Neither negates the other." The series was explicitly made so Rick's disabled son could see himself in a hero and learn about mythology for school. Those are the two pillars of the entire franchise: Disability and learning about mythology.

So, when you mess with that "hidden world" structure, the entire thing falls apart and it immediately doesn't feel right, because it's no longer serving either of those two purposes when it needs to be fulfilling both. Late-series Riordanverse has a tendency to compartmentalize the mythological and keep it entirely sectioned off from the mundane. Think about first series and even TKC versus later series - how many mortal characters are there? what do they do? are they just in the background or do they interact with the main cast frequently? are they more than just family or an extension to the main cast? First series we see Percy's classmates frequently, Percy talks about his mundane experiences at school, multiple mortal parent characters (and other mortal characters like Rachel) are active participants in and vital to the plot. We even see a lot of background mortal characters. In TKC, not only are all the magicians technically mortal, but also Sadie's completely mundane best friends help her out. Now think about HoO, or ToA, or even MCGA. Think about the mortal characters in those series. How important are they? Out of the important ones, how much are they in mundane situations versus being almost entirely involved in something mythological? How many aren't related to any of the main cast? How many aren't actively working for a god? The answer is basically zero! Why is that? Because Rick stopped letting the mundane exist. The entire draw of the main series is that Percy does continue to live this mundane life and that adds to his mythological life and makes the balance and meshing between them interesting, but basically all mundanity ceases to exist by HoO. Camp Jupiter is an isolated entirely magic town. Percy and Jason's schools are full of mythological beings as basically the only people they interact with. The Tri's headquarters is an entire giant building in New York City that they completely control that just so happens to ALSO be directly across the street from the local Oracle's house, because even where Rachel lives isn't allowed to be mundane anymore. Why is Olympus just at the top of the Empire State Building versus the Tri having an ENTIRE building? That feels weird and unbalanced, particularly given the difference in importance between those two! Because one is playing into that balance of the meshing of mundane and magical and the other isn't! The show continues this trend. It doesn't allow any of the mythological to exist within mundanity like it functions in the books, which creates a completely different atmosphere and doesn't allow those spaces or scenes or characters to serve their actual narrative purposes, either making it easier to understand mythology contextually or what disability metaphor or representation is occurring there.

It's part of the problem with show!Percy being too mythologically-savvy - Percy is supposed to be the mundane lens unfamiliar with mythology that the audience is learning by proxy through. That's the entire point of the series! If you have Percy already know everything because he's already too ingrained into this mythological environment from the start, and he just exists in this entirely magical world where he understands everything immediately then the literal target audience of the entire franchise (students being introduced to mythology) is left behind! That's part of why the pacing of the show feels so bad! It's rushing through every scene that's more or less the same as the books, particularly anything mythological, because the show is assuming you've already read the books and already know enough mythology to know what it is and what happens and that you don't want to see it again, so it rushes through. The show doesn't explain things that it presumes you already know - worldbuilding, character decisions, basically any mythology, etc, so it doesn't even bother with it.

Later books in the franchise do this too - as long as it's tangentially Greco-Roman mythology, or if it's anything to do with the main series like a reference in TKC or MCGA or etc, it's not going to elaborate much if at all. HoO speeds through Jason's introduction to CHB, and the only reason we get much introduction to Camp Jupiter is because it's actually new. We're no longer trying to contextualize or learn about mythology, it just all becomes set-dressing and references thrown at you rapid-fire as filler. By late HoO and into TOA and TSATS and such, we're not longer even within the realm of pretending like we're adhering to mythology at all. Why is Iris a vegan? Why is Rhea a hippie? Dunno, don't care! Literally doesn't matter! Why are the pandai panda/elephant-monsters and the troglodytes frog-monsters when that's not part of their actual history at all? Well a.) literally just word associations and b.) possibly a little bit of racism (they're supposed to be humans from India and northern Africa, and you made them monsters. cool. okay. and their plotlines totally aren't horrible within those contexts. awesome. please try thinking literally at all next time, thanks). We're not even bothering to look at mythological instances anymore for a basis, a lot of it's written like we're just going based on the first results on google (hi Menoetes and the cacodaemons - the latter of which is not even spelt correctly once in the entire book - which is weird because they do say "daemon" so they know the word. Not that the cacodaemons are mythologically accurate at all because then they would be humanoid. Instead they seem to just be inspired by the things from Doom). None of it serves the purpose of the narrative at all; we're literally just making random choices, some of them quite distasteful! In large part due to refusing to acknowledge the actual contexts of the myths and how that might translate into something similar or equivalent a modern setting to help conceptualize it - something the first series did inherently by design. And we need this! A.) So that you're less likely to make bad decisions because you are inherently thinking about the historical and cultural contexts of these things and how to compare/explain it, and b.) because the audience for later books/the other series and the show is going to be the same as the first series! Those nonsensical references may be at best cameos to people who are already familiar with them, but if your intended audience is new to mythology then making references like that is just going to leave people out of the loop! You don't shift your target audience in the middle of a franchise!

Later books in the series and the show are failing to understand what the first series was actually doing narratively and how it was approaching these subjects and its audience. When you fail to do that, it completely messes up the general worldbuilding and the core themes and intentions of the franchise as a whole. Once you lose touch with that you might as well just be writing a completely different franchise. You need to approach it from the same lens or else it will feel completely off, because otherwise you've lost all base touchstones that make the series what it is.

[max1461]

I am an anarchist.

[vivitalks]

it is bananas crazy to me that two of the most life-changing, worldview-redefining quotes from the good place are both said by michael, a former demon.

like yes he's making some great points but let us never forget that "what matters isn't if people are good or bad. what matters is if they're trying to be better today than they were yesterday" and "people improve when they get external love and support. how can we hold it against them when they don't?" are both quotes from a fire squid wearing a ted danson suit

[butchdykekondraki]

cccc maintags are so scary why are people talking about minds vers of apathy in here. like. i Really dont think she'd have an apathy that feels like a very. heart centric thing. considering its named after a fucking emotion and all

[diathadevil]

Hello welcome to 2013

I’ve just finished my first playthrough of this game and now I’m having Aoba brainrot going on. Nothing but a swiss cheese in my head.

[numbuh424]

I don't know if anyone else will appreciate this but if there are any other Death Note fans out there who also enjoy the TV show Taskmaster I am making a DN on Taskmaster AU so self-indulgent and I am pleading that you make yourselves known to me cause I can't be alone in this

[slumbergoblin]

[antirepurp]

you know, they Could just say that silver has been lying when he talks about his world and the way he travels back to the past. they could still make a storyline about post-06 silver that dips into existential horror and does something interesting with him. they still have the opportunity to determine some rules for the way time-travel works and do so without looking directly at the player and spelling it out for them. like silver hasn't had significant appearances outside of forces and spin-offs after his debut and thus his exact position in the world is vague at best and highly up for interpretation. most doors are still open. they could still make him canonically interesting

[always-a-joyful-note]

Today in Idolish7 keeps surprising me: Crimes Actually Have Consequences

[kiwibirdlafayette]

im being deadass the hamilton brain worms need to leave so bad because i cannot be listening to satisfied and go "oh yeah! bdubs!"

[deadrlngers]

something about astarion having the words of a poem embroidered on his shirt

[narugen-moved]

hoshimina is so good because mina can’t handle knives/blades/swords (not even a kitchen knife) and hoshina has low aptitude for firearms… they are literally made for each other

(mina having such great firearm strength naturally and hoshina born into a sword specialist family and cultivating his family’s art for years)

[limitlessscion]

Extremely tame Sunday stuff abt his first relationship ig

Satoru's first sexual experience was with Airi Imai.

The Imai family has served the Gojo family for many generations and her mother Suzume was one of many of Satoru's caretakers as a child. Airi had a crush on him for pretty much forever, and as young teenagers they'd shared their first kiss. Feelings were mostly one sided from her, Satoru's half fuelled by curiosity and the urges of puberty.

At the age of 18, after dropping out of his 4th year of school Satoru returned to the clan and forcibly took over as the clan head before the previous head, Masato Gojo, had been ready to relinquish power.

In the busy political chaos that followed, Airi made her move, having never gotten over her crush and their past childish relationship. She'd asked him out while he was mired in the stress of paperwork and fighting the Jujutsu leadership on getting Suguru's death sentence revoked. He'd admired her forwardness and decided to give it a go, if for nothing else than that her company was pleasant and it pissed the former clan head off that he was dating a servant.

She'd made her move on him very quickly, and they'd shared one passionate night together with a lot of making out and physical intimacy....and then Satoru just went to sleep before anything happened LOL. Just did not get the obvious message. He's asexual/extremely demi and just not that good at social cues in general tbh.

Anyways she'd made her wishes more explicitly clear the next night and they did do the thing. The relationship only lasted a few months, when Airi realized Satoru did not love her the way that she loved him. For him it'd been a fun distraction and a source of positive attention, but he had not invested emotionally in her at all. Airi also honestly had a very flawed perception of who he was as a person, something she'd learned during their time together. She was the one who broke up with him, and eventually moved out from the clan to become an Assistant Supervisor.

[lulabo]