The Riordanverse is, ultimately, a children's series so it's expected that the nitty-gritty, darker details of certain things get omitted. Still, I think it'd be interesting to see the demigods, each raised for slaughter in their own way, be the soldiers, the victims, the prey that they grew up to be for both godly and mortal reasons.
Percy always keeps Riptide in arm's reach, always keeps his fingers curled around it, ready to unsheath it every waking moment. He sits and stands with his back flush against walls, eyes and ears always open to seek the slightest hint of danger. He trusts Paul, he trusts Chiron — he still watches every minute shift of their expression, of their body for warning signs. He keeps outside Dionysus's range, ensures he always has an open exit within reach. The smell of alcohol makes him dizzy, nauseous; his thoughts leave his body sometimes, when it gets bad enough.
Annabeth keeps a packed bag at the bottom of her closet when she stays at her family's home; she has places she can stay and her parents and Chiron have been good, but her feet still itch when they frown a time too many. Nobody knows she still sees spiders sometimes, feels her skin itch with their crawling. She makes Percy swear he'll never leave the room before she wakes up unless it's truly necessary. She puts boards on her bed's edges so she'll never fall while she thrashes from nightmares; falling would only make it worse.
Leo sits far from any open fires and leaves if people start roasting meat; Plan C is used sparingly once he isn't constantly fighting for his life. His tool belt can't make food, but it stores more granola bars than he could ever carry without it. He makes himself near-unnoticeable earplugs after New Year's and he avoids looking at himself; his body is too whole for being blown to pieces and half the time he's sure the chunks are rotting around Camp Half-Blood where they should've fallen. He tries to keep from unnecessary interactions; he can't have things tying him to some place, not when he's mapped out dozens of escape plans. He smiles longer and wider than ever before.
Hazel doesn't wear jewelry; the only exception is a wooden bead bracelet Nico gave her after she rejected a golden necklace. Walls close in around her, dust and liquid clog her throat, stones crush her bones– she comes back to the present. She clings to affection like a drowning man to a piece of wood, but keeps watch for signs that it'll turn against her. Silence haunts her every step; she keeps an MP3 player and headphones with her at all times to drive it away.
Frank gathers up his form and pours it into a mould of himself, does what he can to keep it from spilling through the cracks. His fingers are littered with scars and scratches, with a trail of broken mirrors left behind in their wake. There are always voices arguing in the back of his mind — not his father's, but not his own, either; just a phantom screech pulsing through his head. He drowns them by sinking into new responsibilities, new dangers, shaping himself to fit while trying to remain himself. The crackle of burning wood follows him everywhere he goes and he can do nothing to down it out — only stare at whatever he had managed to save from his suicide to remind himself he does not need to worry about it; he has already crumbled into ash.
Piper dives into Oklahoma, into mortality, like she'll suffocate without it. She remains far from everything, though not far enough to be out of the loop, because she needs to know about every prophecy, every end of the world, every step and challenge her friends face. She calls them on a bronze-infused phone, not a rainbow, even if the camera and the notifications and the everythingness of it blind her like a spotlight and the thrum of electricity runs through her veins like venom. She paints her face a bit misshapen here, a bit discolored there, a bit unsettling everywhere, and Shel understands. She understands and she loves her and she says it's beautiful not in aesthetics but in the potential protection it provides, as Piper intended.
Jason had learned every rule with the mere intention to break it, to tear through the chains of military life that had been clamped around his throat for as long as he could remember. He had chased life, rather than the survival he had clung to for so long — packed every second of his ticking down time with it. Finally with freedom, but so little time with it, he snatched every piece of it he could: a mortal highschool, a movie theatre, a mall shopping spree, a room of his own — all carefully documented in stacks of journals, ever breath of air and glimpse of the sun, with copies upon copies stashed away so that his memories could never again slip away like sand between his fingers, so that his friends had something of him left, after his life of nothingness.
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can’t talk about it
[ID: Black and white comic of Vash and Wolfwood from Trigun Maximum. The comic starts with the sounds "thud, thud, click". Vash, mid-action of peeling an apple, turns to the sound, noticing who it was that entered, and says, "Oh, Wolfwood, you're back." He resumes back to his apple in the next panel as he speaks, "Where'd you go? You snuck out of bed quickly this morning..." Wolfwood's hand then enters the panel, hovering over Vash's cheek and Vash looks up as Wolfwood asks, "Can I?" Vash responds, "Not going to talk about it?" while using a hand to gently hold Wolfwood's hovering hand and presses a kiss to his inner palm.
Vash then gets up fully, setting down the knife down on the table and the apple onto a plate, He leans into Wolfwood as Wolfwood explains, "Had to meet someone. Nothing interesting to talk about." Vash kisses Wolfwood's left cheek and a hand moves to cup his other cheek while muttering, "You're being vague." Wolfwood says neutrally, "If yer really that curious, keep askin'. We can talk about that instead of doing this." Vash leans back and responds, "Let's talk after, since... You look so tired."
The panel pans to a close up of Wolfwood's downcast eyes, bags heavy underneath his eyes. He doesn't allow Vash to sit in that moment for long though, then saying, "Yer not helping, Spikey. Being all slow with it... I could fall asleep right now." He moves his hand to start unclasping Vash's coat, starting from his collar. Vash with red cheeks, responds briskly, "Oh, shut up. I'm worried about you. I can't be worried?"
The final shot shows Wolfwood's back to the viewer while Vash's softened expression can be seen as he holds gently onto the side of Wolfwood's face and a hand firm on his waist. Wolfwood responds, "I'm fine, seriously," pausing for a moment before continuing, "Is it okay to still..?" Vash responds, "Yeah, it's okay."
The next image is a shot from later that night after the previous comic. Vash and Wolfwood are now in bed, half naked. Wolfwood's buries his face into Vash's chest, his arms wrapped around him, while Vash is petting at his hair. Vash reminds him, "Hey. You said we'd talk about it." Wolfwood pauses for a moment before piping up, "In the morning? I'm sleepy." Vash says, "Okay..."
The next two pages start from the morning after. Wolfwood is already fully awake, pulling on his outer jacket as he says to Vash, whos' still bundled in his blankets, "Breakfast is on the table. Make sure to eat it. I'm going to grab some things in town and then we're leavin'. Got it?" Vash says, "Mh." Wolfwood responds, "Good. See ya in a bit." The dialogue starts to shift into Vash's inner thoughts now, as he gets up and eats toast, thinking, "Wait. Weren't we supposed to... talk about it?" The next shot then shows him fully up, meeting Wolfwood in town. He carries a half worried expression with him while Wolfwood slides on his glasses for him. A quick panel shows Wolfwood's tired expression from the night before and quickly juxtaposes with Wolfwood in front of him who's smiling gently, the shades covering his eye bags. Wolfwood asks him, "Still not awake yet?" Vash pauses, his thoughts stirring, thinking, "Oh. I guess I was getting ahead of myself... thinking you owe me that kind of honesty." He smiles at Wolfwood and responds, "I'm awake!" His thoughts continue, "Maybe one day, you'd trust me enough to share your burdens."
The final image shows Wolfwood pulling at Vash's cheek and Vash complains, "Owwwww why..." Wolfwood quickly says, "You were thinking something stupid, right? It's all over yer face." Vash mutters, "Nooo, I wasn't..." END ID]
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The way BG3 approaches revenge is so interesting. It never says anyone is wrong to kill someone who's done them harm, but it does say that doing so alone won't fix the trauma.
Aylin just feels empty after killing Lorroakan. Astarion admits killing Cazador didn't feel how he expected it would either; he feels numb for a while and it changes his perspective on things. Karlach kills Gortash and it isn't satisfying, because he never felt sorry for the life he took from her and now she has to grapple with how little she has left.
Again, they weren't wrong to crave that catharsis and the safety it brings them. But revenge is never the end of healing. It's only the beginning. Choosing to live again is maybe the best revenge there is.
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Alucard is a boydad but vladcard is a total girldad. I can't explain it but that's the vibes they're giving off,,,,,
Peak characterization my dear anon
Alucard is a boydad stuck with a daughter
(it doesn't change at how he'd treat her if she was a son she still suffers either way)
"LOCK THE FUCK IN"
"Shut up"
Fatherly disappointment followed by resignation (also him calling her an idiot for a minute straight)
And ofc. These gems
Peak boydad. He calls her 'sport'
Vs
Peak girldad Vlad
THAT'S A PROUD DAD RIGHT THERE!!!
He brags about her all the time. You never hear the end of it.
"Yeah, your kid went to Harvard? Cute. My daughter tho--"
He brings her everywhere, and is always there when she's struggling (somehow predicts it). A guy comes within a 20 mile radius of her and he whips out the shotgun. He cuts up apples and places it on her desk without a word and he compliments her hair and outfits and he let her paint his nails when she was little. The first person who made fun of him for having poorly painted sparkly nails got stabbed in the kidney.
Also, he already has a dad laugh.
Overall, maybe Hellsing is actually about Boydad Alucard's journey to becoming a girldad
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