#interaction: beholdenning

[sayhwaet]

Seminars are encouraged at the monastery. They help others learn from their peers while strengthening friendship at the same time. Well… most seminars. This seminar, on the other hand, is on… the basis of keeping one’s composure? That’s what the paper says, after all. “Learn how to withstand interrogations that may test your emotional and physical strength.” What wasn’t included in the description was that the instructor would attack you the moment you arrived at the meeting place! By their words, they’ll chase you and your partner through a booby-trapped forest to raise the tension, but if you’re caught… Well, they only smile at you and count down. [Grants Sword +1]  (starter for @beholdenning and @fangedjustice)

Well, this was just spooky as shit, wasn’t it? 

He knew this fancy school took its learning more seriously than some, and had the resources to deliver on its promises, but when he'd heard about this composure and survival seminar, he'd been expecting something in a classroom, delivered by one o' them bishops with a stiff upper lip and a stick in his ass. 

Beowolf swiped at the fog before him, frowning a bit before he shifted his weight forward. 

He had not expected for them to be carted to the middle o' damn nowhere in bumfuck Aed, with the mist curling in close to his body and the branches reaching toward him like grasping fingers tugging at his tunic. Truly some bogeyman shit you told a child to keep them from wandering too deep into the black woods alone. 

His partner for the time being was of a hardy sort, same as he – the kinda man who'd taken some licks, but had dished 'em out just the same. Surely didn't need the composure – from what he'd seen, Lloyd was methodical as hell, with them wolf-eyes o' his. 

But their pursuer... he'd seen neither hide nor hair of the thing, man or woman, since they'd ridden into the woods and their mounts taken back to the monastery. Hadn't heard 'em, neither – nor, it seemed, had any of the animals, chittering happily as they did, scattering only when Beowolf and Lloyd moved through the crackling underbush cautiously. 

Beowolf cocked his head, shifting to a crouch and turning so his partner could better see the hand signals he was making – Agustrian, sure, but there had to be some level of universality to the gestures, yeah? 

Scope around, quick scout. Find its location first, then skedaddle. 

Stop Shaving, You Don't Have a Beard

[secretcircuit]

i love my sister so much and we are very close but she keeps putting herself, and, by extension, me, in situations where shes interacting with our parents, & then she is unhappy about it, so she wants me to be there with her, which creates friction in our relationship bc i dont like interacting with my/our parents that much... i know everyone reaches these conclusions in their own time, but like, simply dont go lol!!! u wont have a shitty time with them if u dont go!! i empathize but im not gonna also go be miserable if i dont have to be!!

[blaiddllodi]

The motions of the knight were unlike any that Dimitri had ever seen. Guided and stiff, as with a marionette, but instead of rattling, unsteady movement it was rigid, mechanical and…almost graceful. Dimitri attempted to shuffle his cards to mimic the precision of the other, but his clumsy hands were not made for this sort of work.

The cards were shuffled, in the end, and the deck was placed neatly in its allotted slot on the playing field. At the other's cue, he too drew the five beginning cards, and then silence settled upon them.

For half a moment it was the same sort of tension as before a true battle, where the time stilled around them and Dimitri knew nothing but the wind that carded gently through his hair. The calm before the storm, it had always been called, and in spite of the mundane circumstances, Dimitri found his pulse jump.

He coughed, smiling a touch awkwardly. That was silly, this was no real battle. They were merely two comrades, playing a game…

"Er…shall I go first then?" Waiting for a response, Dimitri's hand moved to the top of his deck and he drew another card. A beast card, though alike to the warrior from earlier, it required specific conditions to be called forth.

"I…will set this card down defensively, and then I will set this arcana tool." Not a bold opening statement, but a safe one - if the knight elected to attack his defensive wall, then there may be some blowback from its high defensive power. Or so he hoped.

fym the cards have hearts? // dimitri + denning

[deepseamuse]

it's kind of funny how I'm aroace and generally avoid romance and sex in fiction, but the first time I really felt connected to a character in an IF he was the horniest I've seen an RO so far

[joanofarchaic]

venting...

[birdmenmanga]

Look I don't think Sagisawa and Karasuma are exhibitionists per se but I do keep putting them in situations where you look at them in the corner of a dark room and think "hello? get a fucking room." This is because the enormity of their desire for each other disgusts them! so they choose these inconvenient places to press a kiss up to the other, five or six seconds tops, before pulling away. the laws of decorum reign supreme after all.

[service-animal-shadow]

god. i really am just some little cartoon hedgehog, sometimes.

[maximumzombiecreator]

It's such a shame for the entire TTRPG industry that actual plays are both one of the biggest on-ramps for new players and also such a bad representation of TTRPG playing in general. It makes it so that the hardcore TTRPG nerds are barely interacting with one of the main recruiting grounds for players.

I just feel like we'd be less beholden to Hasbro's shitty monopoly if fewer players were getting their expectations from improv comedians, and more of them were learning from transsexuals with several terabytes of itchio pdfs and strong opinions on which folklore creatures are most fuckable.

[please-picturemeintheweeds]

^article with sources about climate change and concerts! I’m feeling grumpy that this article doesn’t mention the way the stadium boarded up the air vents, and that a lot of the articles about this situation don’t mention that Taylor’s team was personally handing out water when the venue staff was telling them not to. Yes, Taylor’s a capitalist, and capitalism is to blame for this situation, but she isn’t all powerful and she isn’t actually responsible for Ana’s death- the venue is.

I hope that this causes international outrage at the way venues treat people during concerts because tragically, this is the reality we now live in where heat is one of THE LEADING causes of death world wide due to climate crisis, and companies are not morally or logistically equipped to care for human beings in extreme heat events. Let this be a warning to venues around the world that heat will kill, and that the venue is responsible for occupant safety. Shit.

[capesandshapes]

If you're an American and you're really scared about the Trump administration overtaking the Institute for Museum and Library Services, I'm just going to quick break down how this works on the library side from someone who has worked in libraries, made the director handbook for libraries in my system, managed archives, and continues to engage with libraries pretty actively:

-Federal funding for the bulk of libraries in the US is far less than most people think it is. This is because the majority of libraries are sustained by local and state taxes in their area.

-Typically new developments like growing stem programs, hotspot services, and adding library locations is done through federal grants. In a few select states because of how they've structured their libraries and how new their libraries are to the system, Federal grants do technically still pay for ebook services and (less frequently) day to day operations in libraries that have less foot traffic, but still serve an important role to the communities surrounding them. A few libraries do pay additional staff via federal grants, but typically core staff are funded via state and local taxes.

-There's a whole lot of reasons why libraries are funded the way that they're funded, part of it is that conservatives at one point did argue that a library should provide enough value to its community that like it is supported only by the local and State taxes, which is a valid reason.

Another argument for why libraries don't take more Federal funding that's been popping up a lot in the 2020s is that taking a significant portion of your funding on a federal level would make you more beholden to the federal government and encourage them to begin making restrictions that impact the ecosystem of libraries and what you are allowed to have on the shelves, which likely wouldn't necessarily serve your patrons. It also would basically mean that book banners would have a place to go to push their agenda wide scale.

-all this is not to say that this isn't going to hurt libraries.

This is going to hurt a lot of rural locations, independent libraries, and summer reading programs-- which are important resources for education, socialization, and just the general well-being of our nation's youth.

These programs provide an important break for parents who have months-long stretches where their kids are suddenly home all of the time and don't have the same easy social access that they had before.

I cannot put into words just how important summer reading programs are for communities, they provide so many opportunities for kids to learn and interact and foster a lifelong appreciation of reading.

Even if you have just read a hundred books to get an ice cream cone, you were reaping the emotional and social benefits of reading, we learn so many cues in communication from reading and so much empathy.

I cannot put into words how much reading impacts child development. When you teach a child to read and you teach a child to read well, you are giving them tools to communicate with the world around them-- and summer reading programs help maintain and in some cases supplement the skills that kids develop during the school year. Learning is not something that should be restricted to just 9 months of the year.

Reading programs are important programs to the development of our nation's youth!

A lot of the additional summer programming is done through grants, and while a lot of states have really expansive Grant opportunities, the federal funding cuts in other areas are likely going to result in people looking really close at what we're spending on and why.

-one of the most important things that you can do for your state libraries is continue to use their services, show that you appreciate what they offer. If you want a program to remain, you have to be an active part of it.

Most libraries are allowed to count services in patron numbers to show interest in ebook catalogues and other things, but visiting in person and using community courses when you can helps further support the existence of branch locations.

Some states are likely going to get hit harder by this than others that have larger systems, but you using and talking about your local library helps make a case to hold onto the funding they have and look into additional ways to replace federal funding.

-what is an ungodly awful part of this is that we're going to see a lot of national libraries get hit hard by this. And national/federal libraries are typically legal libraries and special topics libraries.

It's a lot of historical preservation, information about our environment and agriculture, medical research, and technology AS WELL AS collections/limited libraries that were created via federal funding to inspire diversity and inclusion. A lot of these libraries don't have bustling locations to inspire funding via foot traffic, but they do provide resources to our library ecosystem. A really important way that they do this is by making large print, braille, playaways, and other ability aids accessible via the interlibrary loan system. They even scan items that are too fragile or precious for transport so that patrons and different systems can use them.

Just running down a short list of times that national, federally funded libraries have really helped my patrons via interlibrary loan services: one of the various libraries for the deaf and blind provided me with the cds that I needed in order to allow a patron to read the next cj box book while long haul trucking, I have received copies of photographs of people's parents on reservations via interlibrary loans and using grant funding have also uploaded photos of people's family members and newspaper articles that are relevant to their family history, I've actually received sheet music for a trombone player as a result of the various music libraries , and there was a niche queer library that mailed us so many books that were requested because we didn't have access to any of the 1970s queer pulp paperbacks and a patron desperately wanted to read the books that she had seen on shelves when she was growing up but never been brave enough to check out. (The art on their covers was wonderful)

THESE ARE IMPORTANT SERVICES TO OUR LIBRARY ECOSYSTEM. We want these services and access to these collections to remain, because you never know what is going to happen to you in this life, and because people deserve the opportunity to interact with their own history and their own culture. These will be lost if these libraries are no longer funded.

SO WHAT DO WE DO?

What can you as an ordinary person do?

1. Kick up a fight and make sure that you are hounding your lawmakers the moment you so much as sniff someone trying to defund your libraries.

2. Use all the resources that you can to show that they actually matter to you and do so while understanding that because life gets busy, your usage is also advocating for other people in the community who don't currently have the time to use those resources but would appreciate them later on.

3. Make sure you're talking about libraries and what they offer to other people, a lot of people don't know what their local library has going on.

4. Take the time to volunteer and look into ways to donate not necessarily money, but your time and resources to the library. Not every library takes old books, but some that won't put your books on the shelves will put them in the library book sales. Not every library allows volunteers to shelf, but they do often allow for people to join their friends of the library organization and help raise money and come up with community events and staff them.

5. You can donate money, but I want to note with donating money, that not every library is structured the same.

Please check with your local librarian how their donations work.

I have worked at libraries in the past where we got donated money that went into the city slush fund, and are late fees also went into the city slush fund... Which was used on a road. Not a road near us, but just a road. One that actually kind of fucked a lot of people over.

We actually had to come up with a separate method of donation for monetary things that classified them as being earmarked for specific services and usage so then the city couldn't take it. Which is insane but you know.

We would take money from patrons and ask them if they wanted to go into our general fund, or if they would like it specifically to go towards the repair of our roof.

A lot of people once they realize the reason why we were asking about the repair of our roof did in fact get heated about the way that the city was treating us, but the city still fought back about whether or not we would get to hold our own donations rather than specifically earmarked ones.

Just having people know how our donation system worked and fight for us to actually hold the money that had been donated specifically to us did make a difference in the end, because suddenly we had a roof. And, you know, some people lost seats in elections.

EDIT:

-YOU CAN ALSO START A BOOK CLUB THROUGH YOUR LIBRARY, WHICH IS SO IMPORTANT!!!

Most libraries will give you a free place to meet and promote your event, you can also engage with your community and make new friends,

aaand something that's really important is that you can show your support to the books that you love.

Not only do book clubs encourage foot traffic, they help promote different niches of offers, and form lasting community bonds. Heavy book club usage has in my experience actually shaped when we had our library hours. Like to the point where we added an extra day a week because they were coming in so frequently and they had indicated that they would keep coming in with even more people if they were able to come in on the weekend.

It also allows libraries to show that our space is being used, and have like a solid number of formalized meetings that happened there and helped us exist.

You can start a book club for almost anything in most cases, though most libraries ask for a lack of profanity in the name of your organization, and if you formally affiliate with your library then most branches help clubs acquire their books at the same time and arrange resources for whatever events you have planned.

[5arcasmw]

i know this has been talked about before but I CANNOT stop thinking about solas saying "please, rook, I do not wish to fight you"

like???

this is a man who has constantly betrayed, injured, and even killed his closest friends and confidants over and over and over again for thousands of years. he killed (or tranquilized) his oldest friend and former general just because he said "hey maybe people deserve rights" and he practically killed one of the last remaining embers of the woman he used to love. the woman he used to be conpletely beholden to. the woman he literally BURNED OFF OF HIS FACE so he could have enough power to tear down the veil.

and yet

he still refuses to hurt rook, and only lays a hand on them out of pure desperation during the sacrifice/worst ending when he literally has no other choice.

AND EVEN IN THAT ENDING he could have just turned them to stone and plucked the dagger out of their hand like he did to their companions but he DIDNT

he wanted to see the old world restored with them. if rook wasn't there to see it too, then what was the point?

even if your rook has a primarily negative/hostile relationship with him HE STILL DOESN'T KILL THEM!! HE STILL WANTS THEM TO LIVE!!!

if it really came down to it, though, solas probably would have killed them in order to tear down the veil and "fix" his mistake, but i KNOW that rook's death would have been one of, if not his biggest regret.

idk... i just think it's really interesting how solas becomes so obsessed with rook in his own way, more than almost anyone else we've seen him interact with. he could have killed them at any time, turned them to stone as soon as elgar'nan was defeated, but he didn't. he wanted them to see the old world restored with him so badly that it inevitably lead to his downfall.

[crownofefflorescence]

You, a mortal, awaken in an unfamiliar land of heat and sand, staring into the unfeeling mask of a spindly stranger who claims to rule the deathless kin of the air.

Beholden to an unremembered promise to assassinate their disgraced twin sibling, bound for an eldritch garden hidden somewhere in the arid plains, and compelled by an enchantment you do not understand, certain choices are beyond your control...

...yet even so, the power of life and death is forever fated to slip through immortal fingers. It lies within your hands, and yours alone. Many questions plague you, but only one can you answer.

What will you do with it?

GARDEN OF BONES is a 17+ interactive work-in-progress with an emphasis on relationships, and includes some content that may be triggering; complete warnings will be included within the game and updated if necessary.

CHARACTERS

The Younger (M/F)

Weary of being disregarded and mocked for their aspirations, the Younger has their golden eyes set on not only their realm... but yours as well. Yet they need their disapproving sibling and crowned ruler out of the way, for good, and only a mortal can kill an immortal. Will you be their weapon?

The Elder (M/F)

A banished ghost haunts a garden removed from the flow of time; they had not considered that their beloved twin would stab them in the back... and now they are doomed to rise and fall by your hand. How far will you take this lie?

The Mortal (N/A)

A forgetful assassin, sent to dirty your hands on behalf of an immortal ruler from another realm. Cling to the past with bitterness or longing, or abandon it all if you wish. Forge a path built on vengeance or mercy. What will you sacrifice?

Note: as the siblings are identical twins, both ROs must be set together, so you will have the opportunity to play the game with immortal sisters or immortal brothers as your romantic options and potential allies.

FEATURES

CURRENT FEATURES

⮞ fey-adjacent immortal folk ⮞ 2 M/F selectable romance options (one of them is very ill-advised) ⮞ 45 minute playtime ⮞ customize your appearance ⮞ shape your personality ⮞ flirt (or don't) ⮞ decisions

PLANNED FEATURES

⮞ a curse (may or may not be discovered) ⮞ bones (quite a lot of them) ⮞ angst ⮞ finished romantic route ⮞ finished platonic route ⮞ more creepiness ⮞ riddles ⮞ revenge

Everything here is subject to change.

LINKS

DEMO | ITCH.IO | RO INTROS

Current word count: 50,000.

I find friendships to be equally as captivating and fulfilling as romantic affection (and also fully support your right to antagonism and arson if desired) so expect me to do my best to ensure that each route is as lovingly detailed as possible!

Thanks for your interest and I hope to craft a most distressing and positively delightful journey for you.

Ask me anything!

~ Effie

[shorthaltsjester]

so, so many thoughts about ashton’s words and position re the gods but nothing really struck me as much as “i’d like to see them pray to us.” (or whatever the exact wording is) because yeah, that’s extremely ashton, that’s the same attitude of a person who has been hurt and broken by life in an unfair manner and tried to absorb a shard because they thought it would fix it, ignoring all warnings that it would make it worse, and then insisting it wasn’t about power, despite the fact that it explicitly was about power — the power to render their life fair. it becomes increasingly clear every time that ashton opens his mouth that, along with being an incisive translation of certain kinds of punk politics to exandria, ashton is more set on vengeance than justice, even if he insists his motivation is that the gods are a source of injustice, it seems more like what he admitted after the shard: he’s spent his life looking for someone to blame, and while he’s happy to hate himself, it took a while for them to realize they were an agent in their own story, culpable for the life they’ve lived. ashton looks at the gods and sees a metaphorical vehicle of all the harm and hurt and pain that’s befallen him due to people in positions of power and cannot (or refuses) to see that a) the gods position isn’t actually all that powerful without the mortals who choose over and over to fulfil divine will for good or evil or in between and b) the gods already have a relationship to mortals that is akin to prayer.

and this is all extremely in character, as much as a lot of ashton’s comments echo many a political stance that makes me roll my eyes, it’s always with an attitude of yes of course ashton would say that. what is mildly more irritating (or perhaps concerning) is the readiness with which aspects of the audience concur with ashton’s assessment, when we have seen countless interactions of gods with mortals that shows us that the gods, though not actual prayer, have a very similar kind of belief in mortals that they ask of those who believe in them. like, vox machina had two episodes dedicated to talking to the gods, where it was revealed that the everlight didn’t just know pike but has beholden to her as the one who brought her back into import. where vex proved herself to pelor not just through completing his challenge but by having long been an imperfect but true source of good for the family she’s chosen that they convinced pelor that vex was a suitable champion by pointing out that she has earned several of their belief, she protects the same city pelor blessed with the sun tree, she’s protective and protected, and her heart and her intelligence are equally sound when it comes to her ability to make judgements, (all things we’ve learned since c1 are important to pelor) resulting in pelor deciding he would also believe in her. where ioun pointed out that while she keeps all stories, scanlan is a storyteller, and what could she possibly cherish more than that.

each god when vox machina spoke to them was quick to correct them when vox machina suggested things like their paths being determined or their lives being beyond their control or the world being down to the will of the gods. vex apologizes to the everlight for not realizing that the gods were really beings and she tells vox machina that she doesn’t ask for the belief of all, only those who wish to give it, as the gods chose to give mortals the ability to choose as they wish upon anything, including their faith in the deities. when vox machina asks pelor to whether they should do something with vecna’s eye, he insists that they make the decision whether they’d like to destroy it or use it — he will help however they decide, but he insists it’s on them to choose the outcome. they speak with ioun, who knows their and every story, and she tells them that the gods do not choose the individual fates of mortals, it is up to every person to choose who they will and will not be, and sometimes that guides them to places the gods have predicted, but never without the choices a mortal makes to arrive there.

the concept of belief throughout the three campaigns has been an complex and ever shifting one — as it deserves. in campaign 1, it’s largely in the context of coming to understand what it means to believe in gods when they obviously do exist, but what are you believing in, and why might you choose not to. in campaign 2, jester’s presence complicated things by pointing out that it isn’t just the divinity of the gods that earns them their power but that belief itself is a kind of divinity and with yasha, caduceus and fjord we see that the role of the gods isn’t just power-granting, it comes to be an essential part of many of those who follow the gods. and in campaign 3, we’ve seen both of those explorations come up but the difficulty is we have none of the perspective of someone who actually believes — even fcg was new to worship couldn’t offer much insight on what the loss of the gods might do to people who believe in the gods not because they grant power but because like jester they were lonely and the found a friend in one, or if like yasha they were lost and were saved by one, or if like fjord the asked for help and were aided by one. to be clear i don’t think this a weakness of the story being told — i think it’s a particularly interesting aspect of bh’s position, but i do think it weakens the perspectives of thinkers like ashton who haven’t even heard what a god means to some people, let alone taken seriously the pain that losing the gods would constitute for countless people.

so, ashton might be particularly charged against the gods — even to the point of being the only one to outright make a noise of disagreement when it’s brought up that while bells hells disagree on specifics, they all agree on saving the gods — and he has plenty of reasons to have that position that can easily result in the audience going, yeah, i understand why he’s made that judgement. but that is not the same as hearing what ashton has said and going (with all the knowledge we the audience have that ashton does not) “he’s right, actually” when there are two campaigns telling you, explicitly, “he’s not.” and this isn’t me saying things can’t be revealed that complicate or recontextualize knowledge from previous campaigns, i’m just saying that, thus far, if anything, campaign 3 (especially downfall) has only cemented the degree to which the prime deities have to believe in mortals.

truly the first thought i had when i heard ashton say his line about the gods praying to mortals instead was the fact that several of his party members received a vision from the raven queen asking for help, that fcg asked the changebringer if she was scared and she said yes, that earthbreaker groon looked at imogen and saw her self-doubt And the belief that bells hells has in her anyway and kord reached through him to tell imogen that she had the potential for greatness and that the gods are counting on her. the prime deities have long been praying to mortals, they believe in the power of mortals (for good and ill) — that’s exactly what downfall was about. the power that gods still have is entirely mediated by the mortals who believe in them, who choose to believe in them. the power of mortals does not have those bounds, and while that doesn’t mean they get to sling 9th level spells at will and multiply their damage by 10, it does mean that, in this particular moment in exandria, ludinus’ power is a much more likely (and, historically and contextually proven) source of injustice than the prime deities.

beyond the magic limitations and considering the ill-fitting metaphor of the gods as being a position of power in a sociopolitical sense, the distance of the gods means that if they want to manipulate people into maintaining their position, it’s quite difficult to do. in comparison with ludinus “cult tactics” da’leth, it strikes me as odd when the parts of the cr audience react to the prime deities doing things like . allowing mortals agency (which, as every existentialist writer ever has correctly pointed, out is both a burden and gift) as if it is actually a long-con manipulation or something.

anyway, TL:DR, ashton is an a interesting character whose beliefs and ideas make sense given his placement in the story and their experiences, but an audience who has seen campaigns 1-3 and says they agree with him with their whole chest should definitely consider either a) rewatching or b) taking a critical thinking or media literacy class

[apas-95]

I think the 'problematic media' issue is composed of two principle parts, one superceding the other.

Firstly, and the most important to address to cut the discourse off at the head; yes, media is a vector by which social systems reinforce themselves. This is the purpose of propaganda, and this dynamic is completely intelligible to us if we consider the cases of 'person whose sole source of online interaction was 4chan, and who exclusively watched History Channel hagiography about fascist war machines', or 'person who developed inappropriate ideas about sex through watching misogynistic media'. It is plainly clear that it is both possible and common for media to influence people ideologically, as an apparatus of a given social system. Material reality dictates which social systems are given ideological hegemony in media, but media is in fact an effective tool of those systems.

Secondly, while acknowledging the first point, it is not the dominating factor, here. While media can and does influence people ideologically, often commandingly so, it is not some sort of cognitohazard. It is plainly possible to watch, even repeatedly over an extended timetrame, some given piece of fascist propaganda, or abuse apologia, or what have you, without becoming any more beholden to its ideas - if anything, becoming more opposed. The crucial thing, here, is that doing so requires some level of understanding and defence against the ideas presented. Someone with no rebuttal to fascist positions, with no even kneejerk dismissal that what they're taking in is fascist, is unlikely not to internalise something if they're surrounded by fascist media. On the other hand, someone who has been innoculated with opposing political theory, who is capable of recognising the social systems being reinforced by a given communicative work and reasonably countermand them, can watch a thousand misogynist movies, read a thousand racist books, peruse a thousand transphobic news articles, and leave with only stronger convictions to oppose these systems. Clearly, the dominating factor here is not the content of the media itself, but the content of the audience - whether the audience is able to sufficiently recognise, interrogate, and oppose the messaging in a given work.

All this is to say - yes, media can and does influence beliefs, but that that influence is completely subordinate to the question of whether the audience has any level of political theory or critical analysis. A liberal reading fascist literature, not holding any real theoretical opposition to the content of fascism, is safe so long as they can recognise and reject basic fascist signifiers. A feminist is able to recognise misogynistic logic in a given work. A communist can recognise and countermand reactionary spin in a news article or wikipedia page. While the politically-unconscious man will not recognise that his favourite sitcom is instilling him with absurdly sexist views on marriage, the issue here is not the media itself. Fundamentally - the issue of 'problematic media' is one best and principally solved by the development of political theory and political education, not by any suppression of the media itself, which is cumbersome.

[cynthiav06]

Respectfully, did Percy Jackson even have any character development throughout the original series?

He doesn't have any flaws. He chose to take the prophecy from Nico, but he was always going to be the prophecy child.

He's good at the start and good at the end with no development unless you count being traumatised and depressed from a war as development, which it's not.

Not trying to be rude, sorry if I seem rude.

Worry not. It's a perfectly reasonable question and should usually be applied to most character studies. Also, buckle up. This is going to be long. Very long. It took me a while to get the time to post this and even more time to actually get my thoughts together. Like a lot of time. (To anyone who doesn't want to read the horrid mess of a post this is there's a partition at the end, after which all the most important points are summarized. ) Just skip to that, but hopefully, someone reads this whole thing because it took me eons to write.

I can see why you think that way, and it is contributed more so by Rick's absolute incapability of not recycling the dead horse that is the original pjo dynamics. He has inhibited character growth from almost every single character where all their epiphanies and character change in the end amounts to nothing, and they regress back to how they used to be, and any and all deviations their personality had are either dismissed or suppressed.

Percy is the victim of the latter. In the first book, he was a child, not particularly concerned with saving the world or being a halfblood. His life had been worse enough, and the halfblood situation had made it abysmal. Percy was living goal by goal. He wanted to get through the field trip, then through the semester, then through the Gabe interactions all so he could finally see his Mom, the one good thing about his life. Then that upends completely, and his only reprieve, the trip to Montauk, his safe place becomes the start of a series of grand tragedies in his life.

Sure, he stayed at the Camp, not willingly but for safety. He had nowhere to go, his life had been turned upside down, his mother was dead, and he wanted to go home, to have his mother back. He couldn't have cared less about the Gods and the world ending, but as soon as Chiron mentions Underworld, Percy is back on solid ground. He has a goal again. Get Sally back. He does everything to reach that goal. He fights monsters, prays to a godly father he refused to acknowledge beforehand, manipulate the press and the Gabe situation, bargain with immortal deities and such, and negotiate his way out of most of those bargains. All the while keeping in mind that he has a traitor to deal with, but Percy is the definition of "deal with one thing at a time. If it's not an immediate concern, it can wait." He does all that and is rewarded for it by being able to live, getting his mother back, and a taste of the life he has doomed himself to, and he almost seems to accept it. He even wonders if Camp Half Blood could be his home.

We see Percy do this throughout all the books. He is constantly changing his intentions, his goals, and his opinions on everything. He is also caught in his internal conflict of being with or against the Gods. The thing is, Percy has very little time for reflection as he is jumping from one existential threat to another, and yet he still manages to grow in the small ways. You need to see it individually book wise rather than over the whole series as Rick messes up terribly with character arcs and developments of literally every other character.

He begins by not caring about Poseidon's existence or his proximity, but in the end, he, too, is beholden to the intrinsic need of having a father. He, too, wants Poseidon to care for him like a father and is therefore hurt by being called a mistake. He knows Poseidon claimed him as a weapon against Zeus so he could rectify someone else's mistakes and restore Poseidon's reputation; who if not Percy would understand this manipulation the best? But the best lies are the ones you want to believe in, and so Percy keeps his silence because, of course, he wants to believe his father genuinely cares for him and loves him. Who doesn't?

He didn't want to be the hero, but by the end of the first book, when he is called one, he doesn't dislike the feeling. He accepts if only a little that this is to be his life now, and as the series progresses, he adds to the pros and cons.

In the Sea of Monsters he is very happy that Gabe is gone and it's just him and his mother again but by the end of it he has gained a new family member in Tyson and is very happy of the fact. He even manages to get over his initial hostility of Clarisse somewhat when he understands her situation.

Titan's Curse is all about Percy learning about the number of forces at play in the world of demigods. He tries to get along with the Hunters and Thalia; it doesn't work. He ends up almost losing Annabeth, someone who he considers a close friend by now. And so we see Percy spiral a little, show more of his anger issues as he interacts with Thalia or even Young Nico just after Annabeth falls from the cliff. Angry and impatient, he goes on his own quest.

I know most readers remember it as Percy, Annabeth, and Grover or the main cast always working together, but it's almost never like that. Somewhere along the way, Percy always ends up doing his own thing, which works because he best works on improvisations. It's Percy's plans that always end up working the most more so than Annabeth's. Just putting it out there.

Then it's just Percy having the worst month of his life. Annabeth is in mortal danger. No one seems to be hearing his opinions between Thalia and the Hunters. Then Bianca dies and Percy because he is Percy is completely and utterly guilty over it.

Note that Percy says he will do his best to keep Biancs safe and not outright promise to keep Bianca safe. But his non-existent self-esteem and other factors withstanding he blamed himself for it completely. Then Zoe dies, and Percy has lost yet another person he thought he needed to keep safe.

Percy is angry at the gods, but he is not surprised by their actions. But he is Percy, and he is determined to change the ways of Olympus, so he pressures the Council and his father to keep the Ophiptaurus, the very creature that threatens to topple their rule. It's his small was of rebelling, and Percy is always rebelling against the gods in his own way, almost never playing into their hands because as much as he despises Luke, he agrees with Luke too and unless he finds a better way to deal with the situation than what Luke is employing he too would have to one day follow in Luke's footsteps.

Now Percy, who trusts Chiron, even thinks of him as a secondary father figure realizes that Chiron for all his compassion for mortals and demigods will always in the end do the bidding of the Gods'. So he makes the snap decision to hide Nico's parentage from Chiron and from everyone else because Percy realizes no matter how much he loves or cares for certain people in his life, they are beholden to answer to a higher power he cannot gainsay, so he will have to take some secrets to the grave. He learns that in the end, some things he needs to shoulder himself.

And of course, the guilt of Bianca's death is no lesser, so he does the only thing he thinks can give him some relief from it. He takes the prophecy for himself, saving Nico and hoping it's enough to alleviate himself of this bile inducing sensation in his gut called guilt that is swallowing him whole.

Now, the Battle of Labyrinth is the most crucial. This is the book with maximum stress on Percy from all ends. From Sally dating Paul and Percy having to prove he is worth Paul's confidence in him in Goode, from Annabeth who is quite literally snippy and passive aggressive through the whole book either due to Rachel or due to her own prophecy even though Rachel and Percy are the two people who got them all out. Then there's the Nico situation. He knows Nico is spiraling, which is making Percy spiral and further strengthening his own guilt. And on top of all this, the Luke situation. Percy is literally caught between an enclosed space, with all four sides closing in on him rapidly while he is fending off mortal danger.

All this repressed tension is fully let loose when he explodes Mt. Helen's. And this is the tipping point. Percy wants to take the choice of Calypso's Island if only briefly and not because he loves her or anything of the sort but because it's his one escape. From everything from his own doomed prophecy. Yet again, Percy is trapped by his own fatal flaw. Personal Loyalty. So he chooses to carry out his responsibility because he has given himself no other choice.

If that wasn't enough of self-realization, he is faced with the horrifying realization of the devastation his power has wrought. His loss of control has single handedly released the greatest threat to Olympus. Hephaestus tells Percy he doesn't know the limits of his own, and by the gods, does that terrify Percy. Up until now, Percy knew his powers were dangerous, but now he knows that he is also dangerous; that he is the real danger. And it's not a reality he wants to ever confront, so he coils his power and holds it tight in a leash. (It's why Percy's burts of power always begin with an unraveling sensation in his gut or something breaking inside himself)

He is somewhat soothed by Poseidon's reassurance because not only does Poseidon not blame him, he also solidifies Percy's faith that he is doing the right thing. And if Poseidon sprinkles in the fact that Percy is the favorite child then who is he to deny himself the comfort of such sweet lies because, of course, Percy thinks it's a lie and of course Percy basks in it. He knows better than to trust gods, he knows better than to trust even his own allies because at the times like this, they will do and say anything to appease him, after all the fate of Olympus depends on him, does it not? And neither the Gods nor the demigods will risk a falling out with him at times like this.

He asks his father if he can help but is denied because he is needed here. Then he does his job as told, and Charlie dies. It's on him. He is struck with twice as much guilt. Over Beckendorf, and then over the state of Atlantis. He asks again if he can help his father and is denied again yet scorned by his father's family, for he can't even help them with the mess he started (or so he believes).

This is why Percy goes with Nico's plan of using the Styx. Because he assumes Nico of all people who already hated him has no reason to curry for his favor. But he makes a mistake. After all, Nico needs his father's favor, and Hades needs Percy gone. Percy can't really blame the kid, but he does anyway because why not? He is angry, he is furious, and everything is slipping from his fingers. He is going to die. Everyone is going to die, and it's all on him. It's all his fault, AGAIN. So he rages at Nico because for at least one single moment, he wishes this were someone else's burden, especially Nico's, but Percy's taken it for himself, and it's too late to back out now.

So he fights and manipulates and negotiates. Titans, River gods, his own demigods. Because don't forget Percy knows there's a mole and that's also his problem. Everything is his problem. All that work and so many dead. Silena, Michael, Ethan, and many more on both sides, and he is trying everything he can to make it better to fix things because, again, he thinks it's his fault. Imagine doing all that, and Rachel tells him he is not the hero, and Percy bristles because no, he doesn't want to be a hero, but of course, it offends him. Because, if he's not the hero, then it's not his burden, and then what the hell is he doing all this for if, in the end, he is not the hero that can save Olympus? Does that mean he read the prophecy wrong, and now he is going to get everyone killed because he wrongly assumed he isn't the hero. He is angry and impulsive, and he snaps at even Hermes. Because now HE is spiraling.

And somehow, it's all over with Luke killing himself, and it dawns on Percy, the truth. So despite all the hate because why wouldn't there be hate, Luke has singlehandedly tried to kill Percy more than Percy can count, and he calls Luke the Hero. Makes the choice because he believes in Annabeth's faith and Hermes's faith in Luke. It pays off and that's all that matters.

Finally finally it is all over. the Gods owe him, and finally, he has an answer on the path he wants to take to change the gods. He denies immortality because he is Percy Jackson, he is Sally Jackson's son and he knows better than to let others dictate the flow of his life, because he has better plans than wasting away inside for eternity, dancing on someone else's tune. He fights for the demigods, the non-Olympian gods and their children who Olympus has failed to do justice to, for Nico, and in some way for himself.

Then it's not over at all because Rachel has taken Blackjack and Percy knows the truth of the Oracle and he loves Rachel far too much to let her even try. But it works and she is okay; he can't be with her but she is alive and she is okay and Percy is extremely grateful for that.

But then there's a new prophecy, and even though he tries to find some peace with Annabeth, he knows it's not over. It's never over for him. But he can forget about it until he can no longer afford to ignore it.

___________________________________________

Of course, Percy repressed his trauma. The last time he let it out, he released the literal bane of the gods out. Do you think Percy could live with something like that happening again? What choice does he have? There's no one who can understand him. NO ONE. Not even Annabeth.

You can see him accept his role as a leader and grow more into it. In son of Sobek or even in Son of Neptune. He is more serious and more authoritative because he has so many people depending on him, so many expectations hanging on him. We can also see Percy's anger issues get out of hand. He is spiraling, the readers know he is spiraling, and Percy knows, but he can't do ANYTHING. HE IS LITETALLY DYING OR BEING ATTACKED, HE CAN'T, HE JUST CAN'T.

BUT WE KNOW IT'S THERE BECAUSE WE CAN SEE HOW MUCH PERCY HAS GROWN INTO SUICIDAL TENDENCIES. AND HE CAN'T ACT ON THEM MOST OF THE TIME BECAUSE OTHER PEOPLE ARE DEPENDENT ON HIM AND HIS FATAL FLAW WON'T ALLOW HIM TO PUT HIMSELF OUT OF HIS MISERY.

BUT WHEN HE HAS DONE EVERYTHING HE POSSIBLY COULD, AFTER HOUSE OF HADES, HE LETS POLYBOTES'S POISON CHOKE HIM, ALMOST KILLING HIM IF JASON HADN'T INTERVENED. THANK GOD FOR JASON GRACE.

Percy was this sassy, heavily independent, "I do my own thing" kid and now he is someone with more responsibilities than anyone with most of his free will stripped and most of his hopes ruined or deemed impossible. IT'S TRAGIC AND IT'S EXCRUCIATING AND HE CAN'T DO ANYTHING BECAUSE HE THINKS IT'S MAKING OTHERS HAPPY. IT'S SUCH A HORRIBLE SITUATION. IMAGINE BOOK 1 PERCY? HE WOULD HAVE LET IT BLOW UP IN EVERYONE ELSE'S FACE BEFORE HE EVER LET HIMSELF BE SO BROKEN.

I have seen so many people say how Percy is the standard hero who is always good and never makes bad choices, and I wonder which books they read. Percy always makes the supposed "right" choices at the cost of himself. His fatal flaw enabling his moral compass and the sheer guilt of the lives lost. He can't escape. He hates the gods, he hates the quests but he loves his family and friends so dearly, there's nothing he wouldn't do for them which means Percy is suffocating, drowning, choking in his own misery, his repressed trauma,his self loathing and being crushed to death by the weight of lives, responsibilities and expectations only he can hope to fulfil.

And one day Percy won't be able to take it. His lapses of control will increase in magnitudes so great, his inner rage will level the world. Destroyer, like Athena predicted, Destroyer like Kronos wanted and Destroyer like his name means.

Not every hero needs a villain arc. Percy is inspiring because after all this shit and all these horrors. He is still good, but WE NEED TO UNDERSTAND THE TOLL OF IT. PERCY IS STILL GOOD BUT AT WHAT COST? LOOK WHAT IT'S DONE TO HIM.

Rick has such a great potential for an arc like that but he is going to fuck it up, I know he is but I hope readers realize where it's all leading to and how much Percy has changed and how much he has sacrificed. Also, @hermesmyplatonicbeloved , @ogjacksonsimp , @cynicalclairvoyantcadaver , @helenofsparta2, @fourcornersofcreation thoughts? Did I stray too far from the canon, or am I getting it right at least a little? Because this post took days, I have no idea what it has devolved into.

[gl1tchr]

Invincible Spoilers ahead!!!

The way everyone is reacting to Conquest, I'm so excited for everyone to meet Thragg. He's fascinating. He was unceremoniously elected Grand Regent amidst the great culling, barely a young man himself. His rise to the throne predates the existence of the World Conquering Committee, he doesn't conquer planets himself, *ever*. He's a delegator, he sits in his throne room and orders his generals to do these things, he hasn't interacted with a species other than his own kind in hundreds of years.

The Viltrumite Standard is being very stoic and unfeeling, a huge trait of toxic masculinity. A great example of a Viltrumite who isn't and gets shunned for it is Conquest because he expresses joy, enthusiasm, humor, etc. that isn't viewed as acceptable. Thragg also expresses an inappropriate emotion quite often; frustration. Thragg gets extremely temperamental when things don't go his way, he shouts and throws *tantrums*. He's a boyking in a gigantic man's body ordering around planet-demolishing war machines, but he isn't shunned. Why? Most likely because anger isn't seen as one of those "unacceptable" emotions thru the lens of toxic masculinity, but I think it's also because other Viltrumites actually kind of understand what he is. He's just a despot filling an empty throne, he isn't even actually *emperor*, he's Grand Regent, literally only tasked with keeping the seat warm until they can find Argall's heirs. Now eons later, it seemed to be an impossible feat and they sort of just accept him as de facto leader, but he's still only *Grand Regent Thragg*. In a weird way, I think his people pity him for his position.

Thragg isn't a war tactician, he's never personally lead an army. He's extremely strong and can absolutely fight, but all Viltrumites are taught that. The everyday operation of the empire is largely delegated to his second hands like Kregg and Thula. Thragg is fascinating to me because all he's ever known is his planet and his people. He cries for his planet when it's destroyed. He values every Viltrumite life, even traitors. He's the opposite of Conquest - in his heart, he genuinely is beholden only to his Empire, and that actually makes him really tragic to me. Just like Conquest, he's never known love or affection. All he knows is his planet, his culture, and his people. And it's all getting taken away from him. And like a child having its favorite blanket taken away, he kicks and screams and lashes out.

I love Thragg.