#meta chasing

[casualevan]

Advice for anyone and everyone getting into tabletop mini games from 40K to Conquest to Star Wars. Never ever ever EVER let anyone talk you into or out of buying a mini because of "their rules." Rules come and go but plastic/resin is forever.

You're gonna be spending time and money building and painting all these lil toys. Do it cuz they look cool and fun to paint. NOT because they have super awesome rules FOR NOW, and don't pass or miss out on something you LIKE because their rules are trash FOR NOW.

[damphexagon]

The kids that play my game.

[britney-rosberg06]

“why don’t they ever suspect Luke why don’t they realize it’s Luke why are they so quick to suspect Clarisse and not a Hermes kid”

guys, Luke is the perfect child. Thats the whole point! He gave his offerings he said his prayers he went on his quest he proved his loyalty to Chiron, to the gods, to his dad. And he did it all with a smile. They have no reason to suspect luke! Luke is the best of them!

Ares could’ve come to that meeting waving a big sign that said “LUKES THE LIGHTNING THIEF” and they still wouldn’t have believed him.

Because they also don’t want it to be Luke.

They love Luke. Luke takes care of them Luke protects them Luke is everything they want in an older brother. It doesn’t matter how blaringly obvious the writers get about who the real thief is. They will ignore every sign, every red flag, every warning, until Percy is dying of poison deep in the forest and Luke is gone.

[aficionadoenthusiast]

jason's 13 years at the super disciplined camp and several years as a leader of said camp mean it is very unlikely that he is any shade of feral, except for maybe a few minor idiosyncracies that all camp jupiter kids have because they all spent time at the wolf house, but since they all have these traits, they might be considered cultural rather than feral. however, annabeth chase, who was famously left alone until she was seven and was raised by an ancient greek horse man that used to live alone on a mountain, a barely sober god of mental illness, several other mythical beings based on animals, and approximately 37 different traumatized, exhausted, and desperate teenagers at an unregulated summer camp where she learned how to be scary by studying greek monsters, would definitely be somewhere near feral.

[aroaceleovaldez]

i have suddenly become obsessed with a theme that HoO established but never proceeded to extrapolate on, which is:

You are Percy Jackson, and you have been swapped with a boy who was allegedly everyone's favorite person, but they have decided to replace him with you. They just met you. You stand next to his best friend and the people he's known his entire life. In his home. In his cloak. In his place. They stopped looking for him.

You are Jason Grace, and you have just found out you have a long lost sister who completely replaced you in her life with this girl you just met. Your lives and personalities are mirrors. She is you, living the life you were robbed of.

You are Annabeth Chase, and you have just become starkly aware that you have been inhabiting the void left behind by your best friend's long lost brother. You and Luke were just replacements for him. Now you have to look him in the eyes when he has nothing and know you took that life from him.

You are Piper McLean, and you have just found out your relationship is fake and built entirely on the memories of Annabeth Chase. You have been given a boyfriend when hers has been taken away. You have no idea how much of it is real or not but regardless you feel like if your relationship isn't exactly in their image that you have failed.

You are Leo Valdez, and you have just learned that you are the echo of your great-grandfather. You are not your own person. You just exist to be a mirror of him. A doppelganger. An actor and stunt double facing all the danger he never had to but wearing his face. To be there for his best friend decades later simply because he couldn't. You are playing a role. A seventh wheel and a pawn for a goddess who carefully sculpted your entire life for her own purposes.

You are Hazel Levesque, and the only reason you are alive is because your brother couldn't save your his sister. You are a consolation prize. An apology. Your existence here is misplaced in every way but you inhabit it anyways.

You are Frank Zhang, and you are a shapeshifter. Inhabiting your own body feels strange and clumsy when you could be literally anything at any time. You are anything and everything and live your life with the simple certainty of knowing exactly how you will die.

[helpallthenamesaretaken]

walker really wasn't lying when he said that percy was a double edged sword and every side of him had an opposite side too. there are times percy acts very slow, and some times he is the most brilliant strategist in the series. there are times when he cannot understand the other persons feelings, but there are times when he is the most emotionally intelligent character ever (like when he figured out the core dynamics of the legion members by one session and he was the only one in cotg to not lose his maturity when he turned seven). there are times when hes a humble and nice person, but there are times when he lashes out out of short temper. there are times when there are also times when he's acts like a giggly teenage girl dreaming about his kids, and there are also times when he's the most pessimistic bitter person with the whole 'im going to die in a few days, so what?' attitude. percy jackson really is a double edged sword

[bibxrbie]

"Luke Skywalker isn’t like the old Jedi. He saves Vader with his attachments!”

Wrong!

Luke Skywalker, at the end of Return of the Jedi, after his confrontation with the Emperor drags Darth Vader through the destructing Death Star. He’s desperate, knuckles white under the heavy weight of his father’s body, a little boy dragging his dad to safety. He sets Vader down for a moment, to catch his breath or maybe to get a better grip. He goes to grab Vader again, but Vader, uncomfortable and in pain, asks Luke to take off the mask. He wants to see Luke through his eyes instead of the eyes Palpatine built for him. Luke refuses, says that removing the mask is a sure way for Vader to die. Luke doesn’t want Vader dead, he wants Vader alive. Not to hold him accountable for his many evil acts, but for the same reason why Luke Skywalker can’t kill Darth Vader; Vader is his father and Luke loves him.

And yet, after a moment, Luke removes Vader’s mask. He doesn’t want to, he hesitates, but he removes the mask with enough slowness to allow Vader to take it back. In that moment, Luke sets aside his desire for Vader in his life, sets aside his desire to see him live, and sets aside his entire mission, the reason he was even on the Death Star in the place. In his compassion for his father, Luke stays with Vader until he dies. It is this moment where we see him be the best damn Jedi he can be. I’d even argue that this moment is the greatest example of non-attached love we see. Because Luke lets Vader go! He lets his father die, and in some ways, by removing the mask, he too kills Vader, he stays with him until his last moment, gives him the kindness of granting his last wish and finally chooses Vader.

And Luke doesn’t have to do this. If Luke Skywalker’s love for his father was an attachment, he would ignore Vader and continue dragging him to the escape pod, put his desire for a father as his central focus and ignore Vader’s wants and discomfort. Maybe he would even save him. But he doesn’t. Instead, he watches as Vader dies.

He builds a Jedi burial for his father and watches it burn the remnants of Vader and Anakin Skywalker away. He mourns Vader, he mourns what they could’ve had as father and son, considers what ifs and maybe-if-I-did-this. Vader/ Anakin is released from his mortal body, from his ���crude matter’ and Luke lets him go. He says one final goodbye to Anakin. Then, he joins Leia, Han, Chewie, Lando, and the rest of the Rebels and celebrates their victory. He lives in the present and celebrates what he has instead of what he lost.

Luke Skywalker is THE Jedi. Everything about Luke Skywalker serves as the foundational cornerstone of the Jedi, everything about the Jedi as a culture and philosophy is reflected in his character. Luke’s desire for the New Jedi Order isn’t to throw away the values of the old Order, but to vitalise them, breathe life back into dying lungs, and rebuild a path that people set out on their way to destroy. (Yes, his Order is different from the Old, but that’s because it has to be. He doesn’t have the resources or the safety of the Old Order.) The philosophies of the Jedi are difficult and they aren’t for everyone, and like the perfect Jedi that Luke is, he struggles and stumbles and sometimes he even rejects it. But, no matter how far he falls, it is a way of life he chooses again and again and again. It is a way of life that welcomes him back each time

[bvckbiter]

house of hades really gave us a “luke was right” moment for percy and a “if anger is what percy needs to survive then so be it” moment for annabeth and then went nowhere with it

[secriden]

Wild take, but when Style says, "It's okay to love," I really don't think it's actually about love at all.

Let's consider the context leading up to this point: Fadel drives Style to an abandoned factory in the woods and leaves him alone to go and brood for a while. At least part of Fadel's goal is to scare Style, to give him a hint that Fadel is more dangerous than he seems.

But Style doesn't back down, doesn't go running, evidences no sense of self-preservation or worry; and at least on some level it's a clear sign that he trusts Fadel. Despite Fadel literally punching him in the stomach; despite Fadel mocking Style's honest and wanton desire; despite Fadel chasing him away, he still trusts Fadel to keep him safe.

Imagine how frustrated Fadel must be feeling. Style was only gone for one morning, but it was enough for Fadel to become painfully aware that he did not actually want Style gone from his life. He knows now that he won't have the strength to keep refusing Style's relentless pursuit, so he needs Style to be the one to walk away from him instead.

And I think this was a final, last-ditch attempt to make Style run away.

Notice that Fadel starts out rather threatening: "I don't like you messing up my life. My life has been planned out. You're disrupting it." At this point, Fadel could have still turned this violent; attack Style and leave him injured in an abandoned warehouse, and I'm not sure that wasn't still on Fadel's mind at this point. He's incredibly aggressive at first: shoving Style back against the bar, caging Style in between his rigid arms, rattling the metal frame behind Style to show his anger.

But oh, in the heat of the moment, the truth slips out. Fadel is admitting that Style has the power to bring change into his highly regimented and structured life. He's admitting that his desire to keep Style in his life has eclipsed his need for control and structure, in spite of himself.

The truth breaks Fadel open in ways that none of Style's machinations and schemes could. He finally recognises that it is his own feelings that are the true cause of his anger and frustration.

This is the point when Fadel finally gives up on the idea of hurting Style to chase him away. His voice softens (Joong's delivery of "I miss you" makes me weep), his shoulders finally relax, he stops caging Style against the bar and instead it's almost a tentative suggestion of a desire to hold Style.

And I think Style understood this on some instinctive level. Because if you watch Style very carefully, there's a moment of genuine fear when Fadel first shoves him against the bar and then he takes a grim breath like he's fighting off a sense of despair at the at the start of Fadel's rant. Like he could tell this one was going to be a 'make or break' kind of situation.

But when Fadel begins to unravel, when he admits that he was looking for Style when he was gone, there's this almost hopeful, anticipatory look that slowly blooms on Style's face. He's so hungry to see where this goes, and he's gets this intense almost wild look on his face when Fadel pauses to search for his words.

It's incredibly important that Style waited at this point. Style, who talks endlessly and without thought. Style, who demands that his story and his thoughts are aired first. Style, who has been telling Fadel this lie time and time again before Fadel’s feelings made it true... Stops. Waits. Stays silent. Because Fadel had to get there himself or not at all.

Dunk does something incredibly subtle here, but it blew me away: Style does not blink once throughout the entirety of Fadel's rant UNTIL he says "I don't like that I miss you". And that's when Style finally blinks as if it’s finally safe to take his eyes off Fadel. As if there's a wave of relief washing over him as the tension (and sense of danger) finally breaks.

He also does this incredible thing where he softens the look he's giving Fadel right before he drops his eyes down to Fadel's lips. (Joong has always been excellent at this, but Dunk didn’t really get that many opportunities to do this in previous roles). Style is treating this moment so carefully, and there's a purposefulness to this kiss that was entirely absent from the ones Style initiated in the locker room in episode 2.

I also think it's really important that Style was the one to kiss Fadel here. Not just because it juxtaposes the kiss in the store room, but also because Style has shown a strong preference for Fadel taking the initiative. He has been consistently creating opportunities for Fadel to lay hands on him, right from episode 1 when he put the Heart Burger pin on his chest and put his arms behind his head in welcome (and surrender).

But for this to be a functional relationship, Style has to take ownership of his own desire for Fadel. He cannot remain physically passive any longer, because this is the start of something bigger than just the thrill of being wanted. Style is looking beyond what he wants, potentially for the first time, to what his partner needs.

And I wonder, is this maybe the first time Fadel has allowed himself to be kissed since his ex left? There's something so fragile in the wide-shot. The way Fadel only has one hand barely touching Style's hip, while he's still got his other hand clenched tightly around the metal bar like he's desperately holding onto a lifeline. I have so many emotions about this.

Which is why I think this line wasn't really about love at all. This was Style responding to the vulnerability he sees in Fadel and offering reassurance in return. Because Fadel is strong and doesn't need protection, but oh yes he does, for it is his heart that is in danger of shattering.

There's an incredible line in episode 13 of Love In The Air, when Sky (in the aftermath of an extremely traumatic event and after finally revealing the full truth that he was sure would drive Prapai away) turns to Prapai and asks, "P'Pai, can I really love you?" Sky is asking if his fragile heart is really going to be safe in Prapai's hands.

And I think this is exactly what Style is getting at here: He's telling Fadel It's okay to love me. That Style is safe to love. That Fadel can take the risk to let Style into his heart because Style isn't going to take it lightly.

And it's this reassurance that finally allows Fadel to let go: both figuratively (as he starts to take control of the kiss and the encounter) and literally (as he transfers his hold from the metal bar to Style's body). Even the contrast in the wider shots between the kiss before Style says "It's okay to love" and after is startling.

This wasn't really a love confession, not in the conventional understanding of it. But for Fadel, who's mother "loves" Bison and himself for their utility and usefulness, perhaps the assurance of safety is more important.

And for Style, who seems so naive and inexperienced and ignorant of the way the world works in ways that suggest he's never truly had to grow up, this is far more significant. Because he's taking responsibility of someone else's heart for the first time in a way that I don't think he's ever allowed himself before. I said before that Style would be forced to grow up and I do believe this is what we are seeing here.

So no, I don't think this was the moment of "falling in love" but I do think this was the start of something real and meaningful and purposeful that could have eventually blossomed into love for the both of them.

[cynicalclairvoyantcadaver]

WHO HERE THINKS THAT WE SHOULD'VE GOTTEN MORE ANNABETH AND POSEIDON MOMENTS? You know how Athena disapproves of and threatened Percy? Well………….DO THAT WITH POSEIDON AND ANNABETH! Let them meet. Let Annabeth squirm. Let Poseidon smile, but let it not quite reach his suddenly cold green eyes. Let him size her up, and let her be found wanting. LET HIM SILENTLY THREATEN HER NOT TO HIT PERCY AGAIN! Let him disapprove of Annabeth's nickname for him! Let Percy defend it, defend Annabeth from Poseidon! Let Poseidon tell Percy that if things don't work out (in a way that he implies that he hopes it doesn't work out) that he can hook up with a sea nymph or naiad or something! I just feel like this was SUCH a missed opportunity. To show that Poseidon loves Percy and thinks that he can do better than a plain daughter of Athena! (At least Poseidon thinks so).

Can someone write this, please? I would, but I already have something else going on.

I wish Rick would do this in the show. Unfortunately he probably won't :(

[tarragonthedragon]

the way all the different mythologies overlap in riordanverse books just makes me think about how fucking annoyed you would be if you had like literally just finished saving the world from set or whoever and suddenly the graeco-romans lose their storyline and the world falls anyway to gaea

[murderousjelliebean]

Once again, there is discourse in the Percy Jackson fandom about Black women playing characters that were white in the books. And they're only going after the women. Andra Day is playing Athena, which makes sense, given that Leah Jeffries, the actress for Annabeth, is also Black. Andra Day is now facing backlash for this. Leah Jeffries got harassed online when her casting was first announced. I couldn't find ANYTHING on Lance Reddick or Aryan Simhadri getting flak for playing Zeus or Grover. Why is it only the women?

[fantastic-nonsense]

I think people who genuinely wanted Percy to rebel against the gods and overthrow the system kind of...miss the whole point of the series

The question is not whether or not the gods deserve to rule; the books are kind of unambiguous that they don't! That the gods are generally undeserving of their children's loyalty is the one thing that Percy and Luke both agree on! But PJO is less about divine right to rule vs. ruling via consent of the governed and more about improving dysfunctional family systems. It's not about whether unfair rulers deserve to continue ruling; it's about forcing the gods to be better, fairer rulers and a better, fairer family given limited alternatives.

Because what are the alternatives, as presented to us within the scope of the original PJO series?

Option 1: allow Kronos to topple Olympus and take over. Clearly not a viable alternative for all of the reasons the books show us.

Option 2: the demigods overthrow the Olympians and rule the world themselves. Okay. How's that going to work out long-term, given demigods are mortal and cannot control or protect their parents' domains? Demigods will die out within a generation or two, so that's potentially a one-generation short-term solution, and then everyone's right back where they started. Except worse, because now the world has been out of divine balance for a century and the gods have a completely legitimate bone to pick with all demigods. Materially worse outcome.

Option 3: demigods ignore the gods and their will entirely. They integrate into the mortal world, refuse to participate in quests or talk to their parents, and pretend prophecies don't exist. Except that's clearly not a viable option, since we see that demigods usually can't safely exist in the mortal world without monsters coming after them, the gods are cruel enough to use blackmail and engage in hostage situations to get demigods to act as heroes, and prophecies have a way of coming true regardless of everyone's best attempts to circumvent them. Again: materially worse outcome.

And for Percy, for the demigods at Camp Half-Blood, for Luke and for everyone else who defected....for the most part, they don't actually have an inherent problem with the gods ruling them. They just want to be acknowledged, valued, and loved by their families, to be treated as more than a tool for their parents to wield whenever their services are needed. That was the core thesis of the demigod rebellion, which was wholly separate from Kronos' specific motivations for overthrowing the Olympians, and it's why Percy's asks at the end of TLO were what they were.

The point was always that had Percy grown up in a slightly more dysfunctional family environment...had he grown up with Frederick Chase's seemingly conditional love or May Castellan's madness instead of Sally Jackson's steady, quiet, unconditional love...he could have turned out like Luke. Like Ethan. Like the dozens of demigods who defected from camp to join Luke's cause. Percy could have turned out just as a bitter and angry and vengeful. Just as ready to tear down the system. Just as willing to betray and kill his own family for the sake of making a point.

But instead, Percy openly reprimands the gods for abandoning their families and using them as cannon fodder in their own petty disagreements. He forces them to acknowledge and claim their children. He demands that everyone who is part of the godly family be recognized and accepted, not just those related to the Twelve Olympians. He asks for those unjustly punished (like Calypso) to be set free and accepted back into the family. Because that's the point at the end of the day: not forcing bad rulers to step down, but changing an insanely dysfunctional family system that the gods and demigods are all members of into a better, safer, and more accepting environment for demigods to grow up and live in.

Overthrowing the gods wouldn't solve the problem at the heart of the series, which is the gods' shitty parenting and family management skills. It would only exacerbate the massive familial fault-lines that Kronos exploited and leave the demigods open to more godly manipulation. Which is why the series ends as it does, with Percy using his wish to tangibly improve the lives of his family instead of selfishly improving his own life (via accepting immortality/godhood) or overthrowing the gods. Because the conflict isn't about the gods as rulers. It's about the gods as parents.

PJO's core thesis is Percy, who grew up knowing unconditional familial love, looking at this whole world of children who didn't and saying "that's not fair. Gods should be better than this!" But instead of destroying them the way Luke wants to, instead of overthrowing them and putting himself on the throne, he instead challenges them to be better parents and family members. To be part of the solution instead of the problem. And Percy's demands don't solve everything, but they were necessary first steps! Without forcing the gods to acknowledge a bare minimum floor of inclusion, the cycle would simply begin all over again the next time a major conflict popped up.

So that's the problem Percy solves and how he successfully fulfills the prophecy: by believing that the gods had the capacity to change and forcing them to break the cycle of familial abandonment, he preserves Olympus and takes the first steps towards a new status quo, one that is objectively better for demigods than the one he grew up in. That's why he succeeds, and it's why Percy overthrowing the gods would have made for a much less satisfying ending than what actually happened.

[aficionadoenthusiast]

percy wanted so badly to not be the hero in his own story that he became the hero in everyone else's

annabeth wanted so badly to find a hero to finish her own story that she became the hero in percy's

[shhhhimwatchingthis]

I see a lot of people talking about the duel between Luke and Percy, and while a lot of people are correctly interpreting the moment where Percy cuts Luke and immediately apologizes and lowers his guard as another moment revealing Percy's fatal flaw --loyalty and love for his friends, an inability to contemplate betrayal and a habit of giving mercy/redemption to those people-- I think a lot of people are misinterpreting, or glossing over the next moment--when Luke retaliates

people seems to be reading the moment where Luke strikes Percy back, knocking him to the ground and drawing blood as a comment on Luke's cruelty and violence,(in contrast with Percy's loyalty and mercy) and while i don't think that's wrong, I think a better way to look at the moment is that Luke's reaction reveals his fatal flaw.

its never explicitly stated in the books, But Rick Riordan mentioned it after The Last Olympian in interviews. Lukes fatal flaw is Wrath. he is angry, blindingly, overwhelmingly angry at the gods, and Kronos is able to manipulate and twist that anger until things go so far Luke is forced to destroy himself to save the world

The duel between Luke and Percy is such a brillant scene, yes because Luke and Percy are foils, yes we see Percy's fatal flaw in Crystal clarity. but we see Luke's too--he reacts in a surge of anger knocking Percy to the ground, making him bleed, ignoring Percys apology because in the moment he doesn't care about reconciliation only revenge, he hesitates only just before killing Percy, his rage taking over. Luke doesn't make Percy bleed in this scene in a moment of cold or calculated cruelty. its swift burning and unthinking anger. its his doom. because the next moment Annabeth reveals herself, sides with Percy, and Luke runs off, isolated, where, if you've read the books, he becomes even more tragically isolated from his friends and vulnerable to Kronos' manipulation

Loyalty and Wrath cost them both in that fight. their fatal flaws indeed.

[thankstothe]

"Son of Coma Guy" season 3, episode 7