i think we should start openly mocking male creatives who can't figure out how to write women. like actually i think it's embarrassing that it took elliot page transitioning for christopher nolan to give him a good role. why did it take like ten years to get the first female lead in a marvel movie? why is it a Known Fact that stephen king can't write women? why is 50% of the population omitted from large ensemble works? i asked my friend to name a movie directed by a man with a majority female cast and he said ghostbusters 2016. ghostbusters. ghostbusters. g
a very loose collection of thoughts because i haven't slept in more than fifty hours, but one element that always gets to me about the homeric epics and a lot of greek mythology overall is the tragic emotional divide between gods and humans. it's like there's a constant insurmountable gap of perception there, most of all in regards to mortality, between the deathless and the bound-to-die: of course the gods are aware that all mortals will eventually die, but they seem on the whole unable to truly understand and sympathize with just how brief mortal lives are or how massively the gods' involvement (and entitlement) can derail and shorten those lifespans.
that tragedy hangs over the entirety of the iliad to me. it's exemplified in how, when achilles is going mad with grief over patroclus, zeus empathizes with and wants to comfort achilles' immortal horses instead. countless human lives have been and will be lost or ruined from this god-driven war, but the perspective zeus understands and feels an emotional connection to is that of animals that can't die. sure the gods mourn their mortal offspring (like sarpedon) when they fall, but the grief comes across as very brief and possessive, like the loss of a favourite doll. (of course, they can just make more demigods later. they have all the time in the world after all)
(thetis is obviously the big outlier here, which might be part of why i've always been obsessed with her. i'd say thetis' preoccupation with her son's finite lifespan is downright extreme among the gods. there are other immortals who can sympathize with her grief, like hephaestus, but not empathize. she is an oddity among them.)
to me it's central to the odyssey too. especially, as elizabeth vandiver points out (as i carefully set my "days since fawning over vandiver" counter to zero) in book 13. odysseus, as gently as he can, tells athena that there were years of his long journey he felt completely abandoned by her and he was weighed down by doubts if he'd ever see his home again, and she pretty much brushes him aside letting him know she never worried because she knew he'd get home eventually. eventually. vandiver makes a point here that 10 extra years to athena can't possibly mean what 10 extra years mean to odysseus. he has missed out on seeing his son growing up, he's longed for his wife and parents and home for a significant chunk of his life. it's a very brief exchange but a tragic moment to me. he tries to explain and she's simply unable to understand the weight of it, and dismisses it with a single line.
but that divide makes sense to me. the gods have eternity to do whatever they want. we know they fear imprisonment and servitude and discomfort and humiliation (all of which makes sense of zeus' sympathy for the immortal horses) -- essentially temporary things to them. not anything as definite and final as death. they can't choose to know what it is to fear death, or how the finite nature of human lives impacts just about everything homeric human character do (kleos anyone?). there's just no bridging that gap.
Something neuroscience-y that helps with prose: attention is selective. A character will not notice everything in a room. They will notice what matters to their goal, fear, desire, training, wound, or obsession. A jealous character notices hands. a hungry character notices food. A soldier notices exits. A lonely character notices pairs. Description becomes character when attention has a bias.
The vacation motif is something that runs throughout all of PJO and I think analyzing it really gives insights into Percy’s psyche and coming of age.
The very first thing we learn about Percy is that he does not want to be a half-blood. He does not want his demigod life. And another one of the first things we learn about Percy is that he has bad luck on field trips, and this is where he has his worst monster encounter to date. Most kids associate field trips with a break from normal class work, sort of like an extended recess. But Percy doesn’t get that luxury, and we learn in a very powerful way that his problems are going to follow him wherever he goes. This is reinforced almost immediately, when Percy and Sally go on vacation to Montauk. And again, the mythical world follows them there, and comes crashing down on top of them.
And I think it's all really encapsulated right there: vacation is supposed to be fun, but because Percy isn't a normal kid, this is often reversed in his life. Fun and danger collide in all kinds of unusual ways, and this is used to show how he is struggling to find his place in the world.
The core of this vacation motif is camp, though.
Camp Half-Blood is a summer camp, and this in and of itself is significant. In a literary genre full of Training Academies and Magic Schools, the PJO books played with that literary convention in a way that is undoubtedly similar (group of Powered children being educated in supernatural ways), but unique - the world is not safe for them. They go to camp as a respite from the world. Camp is for fun and games and, most importantly, safety. Especially profound to me when the books are modeled around the theme of how neurodivergent kids struggle to navigate the school system. The goal of camp is actually not to train kids and send them out into the world. We learn this from Annabeth early on - she wants to go prove herself and she hasn’t been permitted. Because Camp is the only safe place in the world for kids like them. Sally tells Percy that sending him to camp might mean saying goodbye for good, and Annabeth connects the dots for us that this is because, unless he’s an unusually weak demigod, he won’t be able to live a normal life in the real world.
We’re also told “the real world is where the monsters are.” Literally true - but think of how this frames camp. The mortal, human, ordinary realm is what is “real.” Despite the fact that it’s really not ordinary at all- the supernatural world is still very much alive and real, outside the safe boundaries of camp. The Ordinary World and the Extraordinary World are popular fantasy concepts, and I think pretty self-explanatory. But what’s interesting about PJO is that they’re exactly the same, with one layered on top of the other and crosscurrents between the two that constantly interact. If monsters are part of the “real world,” then this posits camp as a break from the harsh realities of life.
The “real world” - the mortal world, the world beyond camp, is dangerous and scary to the campers, and specifically to Percy. That’s where his quest takes place, that’s where he faces all of his most arduous challenges and trials and obstacles. For a brief moment, he experiences camp as the Extroardinary World - full of magic, new challenges, where he must prove himself. But it doesn’t last long. By the end of his first real day there, he remarks, "We sang camp songs about the gods and ate s’mores and joked around, and the funny thing was, I didn’t feel that anyone was staring at me anymore. I felt that I was home." And thus he comes to see it the same way Annabeth introduced it to us - it is now to Percy (and by extension, to the reader) what is familiar, what is safe.
What's interesting about this though is that, again, it's a summer camp - it's not designed for kids to live year-round there, even though many of them do. There's no school for them to attend, there's not an adequate or healthy system of structure and discipline, there's not any means or even any hope of growing up. Because CHB is not meant to produce healthy, well-adjusted adults. Some use this as an example of poor worldbuilding, but I really don't think it is - I think it's trying to show us that camp is meant to be a vacation for kids who need to blow off steam. It wasn't supposed to replace healthy, stable homes or traditional education. It's getting used for a purpose that it was never intended to fill and it can't fill. These kids have no other options - they don't have healthy and stable homes, mortal schools do not accomodate their needs, and they have no choice but to stay there, because the world is so dangerous for them. The campers are stuck in this state of perpetual immaturity and adolescence because there is no clear path by which a demigod can become an adult, and the reason for this is simple: most of them don't live that long. This disharmony creeps into the illusion of the fun summer camp and ruins it. Once you see it, you can't unsee it - camp only exists because these kids have parents who can't be bothered to care for them, and most of them won't get to grow up. That reality is enough to make you go crazy, and that's why the conflict at the heart of this series is the kids revolting against their parents.
This motif of the "vacation from hell" is saturated in the rest of the books. As Percy tells us, "You deal with mythological stuff for a few years, you learn that paradises are usually places where you get killed." And we have many examples of this:
Waterland - once completely serviceable water park. Now abandoned, remodeled by godly antics to be a trap.
The Lotus Casino - a mythical version of a real place that people go on vacation - lures you in with the promise of every fun thing you could imagine, offers you anything you could desire. And it's a trap.
The Princess Andromeda - a cruise ship, that real families were using for vacation. One with real attractions and amenities! And it’s a trap.
Circe’s Island - a resort and spa, again, that women are literally using as a vacation. Another trap.
Polyphemus’ Island - “looked like a Caribbean postcard.” Its nature magic is so strong it has been luring satyrs to their deaths for centuries. In other words - it’s a trap.
Calypso’s Island - another beautiful paradise, and the source of Percy’s quote. While the threat to his life is nonexistent here, for her, it’s a prison. Yet another trap.
But. Again. The core of the motif is camp, and what it means for demigod life, and specifically what camp means to Percy.
At the end of Lightning Thief, Percy seriously considers living at camp year-round:
The decision should have been easy. I mean, nine months of hero training or nine months of sitting in a classroom—duh.
But there was my mom to consider. For the first time, I had the chance to live with her for a whole year, without Gabe. I had a chance be at home and knock around the city in my free time.
I remembered what Annabeth had said so long ago on our quest: The real world is where the monsters are. That’s where you learn whether you’re any good or not.
I thought about the fate of Thalia, daughter of Zeus. I wondered how many monsters would attack me if I left Half-Blood Hill. If I stayed in one place for a whole school year, without Chiron or my friends around to help me, would my mother and I even survive until the next summer? That was assuming the spelling tests and five-paragraph essays didn't kill me.
What is fascinating to me about this internal conflict is that for Percy, the outside world very much IS a scary and unpleasant place. He reflects on Annabeth's quote, but takes away the exact opposite of what she meant by it. Whereas she was excited for the challenge, Percy is afraid of it. He sees the mortal world as dangerous and he hates school. He only wants to go back because of his mother, and the city. And I think this is kind of profound - it shows you what makes Percy tick. What Percy really longs for is a sense of stability and normality - which are maybe worth the monster attacks. Maybe. He's unsure. He's so conflicted he waits until the very last day to make a decision. Because the decision is not really about where he wants to live - it's about which kind of world he wants to live in, and how he rationalizes his hopes for the future with the reality of how dangerous and scary his life is.
We see in the beginning of Sea of Monsters that camp very much does feel like a vacation to Percy. He wakes up on the morning of the last day of school, excited that "tomorrow, I'd be on my way to my favorite place in the world—Camp Half-Blood." His day sets off on a bad note because of his nightmare about Grover - notably, Sally knows something is off with him, but he doesn't get into it much, because, "We didn't talk much about the other part of my life. We tried to live as normally as possible." If it wasn't obvious enough already - Percy really struggles to integrate his demigod life with his "normal" life. He lives in two separate worlds and likes to keep the lines clean. Of course, that doesn't work out for him. And this is what it is to be a demigod - the mythical world and the normal world bleed into one another, whether he wants them to or not. I think he'd like it if camp could be fun, and the mortal world could be mundane. But in reality, both are dangerous - and the choice is only an illusion, as we will see when Thalia's tree is poisoned.
The physical destruction of camp becomes an expression of the conflict between demigods. Invaders get inside the once-safe walls. Further shattering the illusion of safety for the campers. Monster attacks get more frequent and more dangerous. Camp stops being fun. Notably, Percy specifically describes, "Instead of playing volleyball in the sandpit, counselors and satyrs were stockpiling weapons in the tool shed" and "camp felt like a military school. And believe me, I know. I've been kicked out of a couple."
These passages serve to remind us that, again, camp is usually fun. Yes, the campers train, and we're told many many times that camp teaches them how to survive. But it's not a military school, and this assessment sits at odds with Percy's primary association, and he finds it disturbing.
In the end, our heroes are able to return camp to the status quo, but not before everyone has to learn the very hard lesson that the magic borders of camp are the only thing that makes it possible for them to grow up and have any sense of safety.
And I think setting Titan's Curse in winter just compounds this effect, because we're confronted with a camp that is very different from the one Percy is used to. The weather is our primary clue: "I'd never seen Camp Half-Blood in winter before, and the snow surprised me ... I thought it would be warm and sunny, but instead the snow had been allowed to fall lightly." And like, in this case, the camp still has a very homey and festive vibe, it's not that there's anything wrong with it, per se - it's that, again, to Percy, camp is eternal summer vacation. So even if it's nice, the snow is 'off.'
We're also told they're losing campers - because demigods are joining Luke. And the emptiness of camp bothers Percy, too.
They still do most of their typical camp activities, but the effect is dampened by the mood of the campers, Annabeth's disappearance (obviously), and the time of year. The fact that Percy is at camp at all in the winter means the neat lanes of his life are converging - mortal and mythic world colliding, not able to be neatly separated anymore. Compounded by the fact that his mortal life is getting turned upside down, too: because his mom has a boyfriend now, and the dynamic at home is changing. I think Rachel Elizabeth Dare's introduction as a mortal girl who can see through the Mist also adds to the overall effect of the lanes getting muddled, as does the fact that Kronos' army is shown to be using mortal mercenary soldiers, now.
The illusion of safety at camp is mostly gone, too - foreshadowed by the couple mentions of Clarisse's mysterious absence that winter (looking for the Labyrinth entrance).
Which brings us to Battle of the Labyrinth.
At the start of this book, I think we see more of the lines of Percy's life starting to converge. Notably, Annabeth is coming "all the way from camp" to meet him in the city - this out of their usual dynamic. We can't miss that, because Sally doesn't let us. (and mind you, this roughly a 3 hour trip for Annabeth, so yes, it is extremely telling) And obviously, this signals to us that their relationship is changing - becoming more mature. It's outside the bounds of childhood now, and I'd wager there's also some significance that it's not just a camp crush, anymore - something that plenty of kids can relate to in real life. Percy and Annabeth have seen each other outside of camp before, but every instance that we have seen is them going to do some sort of demigod mission together - Annabeth picks him up in SOM on her way to camp, Percy picks Annabeth and Thalia up on their way to meet Grover in TTC, and that's it, otherwise. This is a reversal of that.
And then there's the role of Rachel Elizabeth Dare - which is essentially to lead the quest, despite being a mortal. Major reversal of expectations. There's also the fact that for the first time ever, we see Percy talk to Sally midquest! And he brings Annabeth with him! Sally is usually reserved for the first couple and last couple chapters of the books, but she gets a significant chunk of the chapter and an in-person convo right in the middle of the quest.
We also end this book in the mortal world - we don't usually follow Percy back home from camp, it ends when he's leaving. This time, we get an entire chapter in his "real life" at the end of the novel. Again, worlds blending - in a major way, with Percy seeing his godly dad and his mortal mom in the same room together, for the first time in his life (kinda beats you over the head with the symbolism, that one). But this time Percy is obviously carrying weight from what he's been through - "'You’ve had a rough summer,' [Paul] said. 'I’m guessing you lost someone important. And…girl trouble?'" Him ending his summer burdened and moody is unusual - camp is supposed to be the vacation, the mortal world is what's hard. That's reversed, now.
And we get this delicious line towards the end of the story: "I couldn’t decide which seemed less real—New York, or the crystal cave where I’d watched a god die."
But I think the biggest use of the motif is the stakes of the quest - the invasion route, straight into the heart of camp. When Luke's army comes through, it permanently shatters the illusion of camp being safe and fun, and instead turns it into a war zone. And we see that camp changes for Percy - irrevocably:
"That night was the first time I actually saw camp burial shrouds used on bodies, and it was not something I wanted to see again." - but of course, he will, next summer.
"I’d never been scared in the forest before, though I knew there were
plenty of monsters. Still, I thought about yesterday’s battle, and I wondered if I’d ever be able to walk in those woods again without remembering the horror of so much fighting."
"The rest of the summer seemed strange because it was so normal. The daily activities continued: archery, rock climbing, Pegasus riding. We played capture the flag (though we all avoided Zeus’s Fist). We sang at the campfire and raced chariots and played practical jokes on the other cabins."
I think this makes an interesting juxtaposition with the end of SOM. The campers attempt to go back to normal summer activities, but it is tainted, now. For Percy, I'd argue that the illusion of summer camp is totally shattered, and this is the moment where he starts to associate camp with hardship, suffering, and responsibility that he's not fully ready for.
His love interests in this book each play a key role in how this develops. Annabeth is a demigod, Rachel is a mortal, and Calypso is an immortal. Percy goes to camp with Annabeth, he goes to school with Rachel - not exactly rocket science where he sees them fitting into his life, lol. And Calypso is escapism - quite literally represented through a "permanent vacation" - she reveals a path to him that he had never even considered before, one to immortality. Three paths emerge, for Percy: accept that demigod life sucks and face it anyway and in the process gain a unique home and a unique family, reject it outright and try to lead a normal life, or become immortal. And the last one might feel sort of out of place, right, because that's not a real option to most demigods - but it is, to Percy, so it matters that it rears its head in this book as a legitimate choice!
Percy associates Annabeth closely with demigod life and camp (and like, I mean, duh). Percy has always been open about how hard it is to be a demigod, but there was relief from the madness, they got to have fun together, he fit in and camp and had real friendships there, and it offered the only safety he could actually depend on. But now that's not true, anymore. Camp doesn't go back to feeling safe, now it just feels constantly heavy and exceptionally painful. It's exactly the same in his relationship with Annabeth:
Annabeth and I pretty much skirted around each other. I was glad to be with her, but it also kind of hurt, and it hurt when I wasn’t with her, too. I wanted to talk to her about Kronos, but I couldn’t do that anymore without bringing up Luke. And that was one subject I couldn’t raise. She would shut me out every time I tried.
“Listen, Annabeth—” I thought about Mount St. Helens, Calypso’s Island, Luke and Rachel Elizabeth Dare, and how suddenly everything had gotten so complicated. I wanted to tell Annabeth that I didn’t really want to be so distant from her.
Then Argus honked his horn down at the road, and I lost my chance.
“You’d better get going,” Annabeth said. “Take care, Seaweed Brain.”
She jogged down the hill. I watched her until she reached the cabins. She didn’t look back once.
Annabeth is going back to camp. Her path is set, her mind is totally made up, she's not conflicted. She's not looking back, and he quite literally is.
Rachel serves a unique role in Percy's life - it's not as simple as "she represents the mortal world" I don't think, because she's got her own stuff going on. Rachel, like Percy, is conflicted about her place in the world, whereas Annabeth is not. They see a likeness in each other, and it forms the backbone of their friendship. She accesses the mythical world in him, finds an anchor through which to navigate it. And in so doing, she sort of serves as a foil for him, showing him just how unusual his life really is:
“... Look, I’m sorry I got you involved in this.”
“No, you were right,” she said. “I can see the path. I can’t explain it, but it’s really clear.” She pointed toward the other end of the room, into the darkness. “The workshop is that way. The heart of the maze. We’re very close now. I don’t know why the path led through that arena. I—I’m sorry about that. I thought you were going to die.”
She sounded like she was close to crying.
“Hey, I’m usually about to die,” I promised. “Don’t feel bad.”
She studied my face. “So you do this every summer? Fight monsters? Save the world? Don’t you ever get to do just, you know, normal stuff?”
I’d never really thought about it like that. The last time I’d had something like a normal life had been…well, never. “Half-bloods get used to it, I guess. Or maybe not used to it, but…” I shifted uncomfortably.
The danger that is routine to Percy and Annabeth has a deep impact on Rachel, and she's scared for him. I think this empathy really means something to Percy, honestly - it's validating to have someone acknowledge his fear, when he's so used to stuffing it down.
Which brings us to Last Olympian!
This summer, Percy is actually calling up Rachel to avoid Camp - because his life has now fully reversed. It is August when we first find him, nearly at the end of the summer, and he's not at camp - because now camp is now the place that is stressful, scary, and dangerous:
"the more serious things got at camp, the more I found myself needing to call up Rachel and get away, just for some breathing room. I needed to remind myself that the mortal world was still out there, away from all the monsters using me as their personal punching bag."
In some ways, the camp hadn't changed. But you couldn't see the war by looking at the buildings or the fields. You could see it in the faces of the demigods and satyrs and naiads coming up the hill. There weren't as many at camp as four summers ago. Some had left and never come back. Some had died fighting. Others—we tried not to talk about them—had gone over to the enemy. The ones who were still here were battle-hardened and weary. There was little laughter at camp these days. Even the Hermes cabin didn't play so many pranks. It's hard to enjoy practical jokes when your whole life feels like one.
If you wanted to leave camp during the summer, it used to be you had to come up here to get a quest. This summer, that rule had been tossed. Campers left all the time on combat missions. We had no choice if we wanted to stop Kronos.
And the offer on the table to Percy at the beginning of the book? Whether or not he wants to go on vacation with Rachel.
I think it reads as kind of humorous that he ever even considered the offer - by the end of the next week, he's going to have jumped in the Styx, defended Manhattan, lead an army, fought Titans, and been offered godhood. It's kind of funny to imagine the possibility that he's actually just chilling on a beach in St. Thomas with Rachel. But of course, it's really not about the offer at all - nor did Percy ever seriously consider it, I don't think. It's more about what it represents:
"I seriously needed a vacation. This summer had been the hardest of my life. The idea of taking a break even for a few days was really tempting."
(Everyone pls remember that this poor kid is FIFTEEN YEARS OLD.)
Percy is struggling with responsibility, and he has always struggled with what it means to be a demigod. Rachel, too, is struggling, and her and Percy are currently coping in the same way. She literally tells him: "Let's pretend we're a couple of normal people."
This is presumably what Percy and Rachel have been doing together all summer.
But it's really not as simple as that, because Percy has also been doing combat drills and war training all summer. We're told about the mission with Beckendorf that Percy has been involved for weeks in the planning of the mission. When he goes to camp after the Princess Andromeda gets blown up, he alludes that, along with the other campers, he's been doing combat missions all summer, too.
I think it's a misconception that Percy just blew off camp completely - no, the picture we actually get is that he shows up for battle training and stays on call for missions, and then he leaves when it gets to be too much to handle. I think it kinda goes without saying that this is very much not like him, and it's specifically in here to show us that he's not doing well. And it's pretty obvious that he's not doing well, because even Chiron thinks he "needed a break with your... mortal friends." I think there may even be a chance that Chiron was the one who encouraged Percy to leave camp in the first place, because the kid is nothing if not committed to running himself into the ground.
It is also very clear that Annabeth is not doing well, either - but they're coping in different ways. Percy is saying that his "ADHD brain did not like concentrating on depressing stuff" (which has been amply demonstrated for us in canon!). Annabeth, on the contrary, appears to be hyperfixated on finding solutions - not doing her hair, forgetting to clean her bunk, wearing the same clothes every day - up to her eyeballs in Daedalus' laptop sorting through ideas that might help the war effort. (We're not actually told what, specifically, she's been sorting through - but her immediately recognizing Athena's reference to "plan 23" gives you a pretty good clue as to why she's so absorbed in the laptop).
And I think this is the core of what their fighting is really about that summer - yes, obviously her jealousy over Rachel, and the fact that they can't agree on Luke. But I think it's pretty clear that Annabeth associates herself so closely with camp and the demigod world that she takes Percy's avoidance personally. And of course, there's the fact that him ditching her in favor of a mortal (her perspective - I don't think that's what's actually happening, and the fact that he's here having this argument with her is proof to the contrary) puts pressure on her childhood wounds. So while him bringing up Rachel is what triggers the argument, the content of it is actually largely about camp and their differing perspectives on how to cope with the war stress:
"We'll just have to be ready."
"How?" I said. "Look at our camp. We can't even stop fighting each other. And I'm supposed to get my stupid soul reaped."
She threw down her scroll. "I knew we shouldn't have shown you the prophecy." Her voice was angry and hurt. "All it did was scare you. You run away from things when you're scared."
Yeah yeah I get it she's mad he won't ask her out and good for her. But there's more than just that!
Underneath that - or maybe inextricably tied to it - is her being frustrated that he's so cynical about camp, and that he's no longer optimistic about surviving the war. Annabeth is a lover and fighter - it's been her personal mission to save Luke and Percy since she was 12 years old. She's trying to be optimistic about their chances - and I think in a very real way she needs to believe this. She says they'll "have to be" ready - I think that's very in line with how our Hubris Girl sees the world. I have no other option, so therefore, I will make it happen.
Percy's default response, on the other hand, is toward depression and isolation and pessimism. And she's had to watch him choose that all summer - wallowing, from her perspective. And he kind of is - Percy has actively resisted making a choice about the Styx for an entire year at this point. We already know from the Lightning Thief that deadlines aren't real to him until he's staring one in the face. Percy struggles with choosing to be an active participant in demigod life - he wants to avoid it, and yet he cannot, because his loyalty compels him to fight for his friends.
Which is why Annabeth's final lines in this fight are the most significant of all:
"If you don't like our chances," she said, "maybe you should go on that vacation with Rachel."
"Annabeth—"
"If you don't like our company."
"That's not fair!"
This exchange succeeds in: allying Annabeth with camp, implying Percy still has not made up his mind about the kind of world he wants to live in, and challenging Percy on whether or not he's finally ready to face his responsibilities.
And I actually think Percy's kind of right here: it's not really fair to ask him this, considering he has yet to not come through. He's given everything he can to the war effort, how is it fair to accuse him of this?
But I think it's more about how he sees himself - is Percy merely a victim to the perils of demigod life (he's not fighting the war, the war is fighting him), or is he, like Annabeth, someone who is choosing to be here, choosing to walk the hard line of a heroes journey not just because she has to, but because she wants to?
This challenge has such an effect on Percy that he actually initiates the start of the war himself: "To get this war started. It's time I found Luke."
I think you could argue that Percy didn't actually have a choice in whether or not to step up to the plate. But that's only because, fundamentally, he is a hero, and he is a demigod. He just didn't know how to accept it, before.
In this book, the mask gets pulled off camp completely, when Chris Rodriguez says, "There's no point in defending camp if you guys die. All our friends are here."
To Percy, camp has represented many things - safety, home, vacation, danger, training, friendship. And that's because camp is just a place for kids like Percy, who need to reconcile two different aspects of their nature, and live in two worlds despite not fitting perfectly into either. Camp's not really about vacation, and it never was - it's really about family. A family that is messy, and complicated, represented by it's strange collection of cabins that don't fit well together - a family Percy has always struggled very much to accept that he's part of.
The choice that has been built up over the course of the series is, naturally, to hand Luke the knife. But Percy gets another monumental choice that truly encapsulates his journey:
"I thought about the Three Fates, and the way I'd seen my life flash by. I could avoid all that. No aging, no death, no body in the grave. I could be a teenager forever, in top condition, powerful, and immortal, serving my father. I could have power and eternal life.
Who could refuse that?
Then I looked at Annabeth again. I thought about my friends from camp: Charles Beckendorf, Michael Yew, Silena Beauregard, so many others who were now dead. I thought about Ethan Nakamura and Luke.
And I knew what to do."
And this takes us right back to the beginning, actually.
Because Percy never wanted to be a half-blood. Being a half-blood is dangerous. It's scary. Most of the time, it gets you killed in painful, nasty ways. And we've got a list of names here that are proof of that. And Percy never wanted to be one in the first place.
But he chooses to stay that way!
More than that - he appears to be finally able to embrace this part of his life with optimism. When Percy says "for once, I didn't look back" - I don't think it has anything to do with him marching confidently into the mortal world for a change, or choosing to outgrow his childhood at camp, or anything like that. I think it's to show he's finally made peace with both sides of his nature, and can now accept who he actually is.
Remember when Xbox was going to basically ban used games for the xbox one, and Playstation made fun of them with that video titled "how to share games on Playstation" and it was just one guy handing another a game disk? And now Playstation is getting rid of physical disks entirely
"kids are so whiny and annoying" you want them to be dependent on adults and obedient and silent and convenient but also independent and not needing anything but also without any sense of autonomy and agency but also going outside and getting off their damn phones but also staying inside so they don't get into trouble but also recognizing they have it good but also that the new generation is mindless and stupid but also just say what they want in clear and emotionally mature words but also stop asking for things AND you want them to not be pissy about it? get real
when someone is a christian they are not constantly asked their position on the holocaust the transatlantic slave trade the extermination of native americans or any of the thousands of atrocities committed by christians so why do muslims get asked about terrorism and jewish people about israel and are grouped in with specific bad people while christians are not required to explain themselves??
I know I mentioned how Inej didn't doubt Kaz alone when she was being held hostage aa she assumed Nina was the only one who'd have actually fought for her a couple times already, but you know what really kills me about that?...
How utterly dissonant it is from the reality of how Matthias Jesper and Wylan felt while she was away. Inej is so loved and admired by ALL the Crows is borderline insane; Kaz (for the readers) and Nina are obvious cases, but like-
As soon as Inej is kidnapped and Kaz mentions getting back at Van Eck without even saying her name, Wylan Jesper and Matthias immediately make it about her because that's the important thing, and that carries on for the entire following week- literally everyone is pissed Kaz refuses to openly make it about Inej when that's what they're all thinking about first and foremost including Kaz but that's not the point.
She assumes Matthias might come to save her to back up Nina, but he personally holds Inej in such high regard for her bravery and skills, he's among those who felt like she deserves better than Kaz and he was shocked when he found out she was beaten in combat despite days of starving herself and poor rest- and the guy has been a trained soldier for a good chunk of his life.
She doubts Jesper would prioritize her over the money he needs, but the guy sacrificed his guns, his most beloved item and one that brings him comfort other than his weapon of choice, so that he could successfully do his part in Kaz's plan to take Alys and do the trade.
She doesn't even register Wylan as an option, but he felt responsible for her situation simply because Jan is his father, he's the one who tries to respect Inej's moral code when they're holding Alys hostage and he's so confused by Kaz's insanely violent reaction because "Isn't this all about Inej?".
And yeah, of course everything going on with Kaz, and Nina thinking of Inej to push through addiction withdrawal, just...
Inej is the heart of the Crows and everyone knows it except her.
A few months ago, I said on this blog that in my head PJO is an anime with a badass opening credits. I meant it quite literally, like I can actually picture this OP in my head, with all the shonen tropes like Percy walking around pretty backgrounds, cool fighting scenes with lots of camera movements and huge statues of the Gods standing ominously in the background, Nico standing in the rain till Reyna and Hazel and Jason come for him and a ray of sunshine breaks throught the clouds and light hits his hopeful face, GIMME ALL THE TROPES hahaha. Doing the whole opening would be impossible for a single person but I really wanted to try one big “shonen” group shot, so here you are !!! This actually took me AGES, I’m not kidding, the folder for this on my computer is named “batshit crazy ” for a reason, it may not look like it if you don’t know animation but a really huge amount of work went into this. I think it’s actually the biggest thing I ever did for a fandom. I can’t say how many hours I spent on it since I didn’t count, but let’s say I started this in September and spent a lot of week ends and most of my Christmas holidays on it, and I just finished it this week. I had a lot of fun though !!! And I learned a lot too, this was my first time trying to animate japanimation style, with not many in-betweens and ultra dynamic poses. So yeah, I hope you guys will like it !
I want to thank fimyuan and bisexualjason for keeping me motivated with their lovely comments through the project, even when I was complaining about my own decisions to animate friggin’ skeletons, hahaha. Another big thank you to my friend Wekake who went through the animation frame by frame and spotted all the little compositing mistakes that remained ;p
A few words on the process : I animated and colored everything in TV Paint, drew the background in Photoshop, and composited everything in After Effects. The song is an extract of the Yowapeda opening “Reclimb” by Rookiez is Punk’d because I wanted something very distinctively shonen but no lyrics, and I like that song ^^ I animated directly without any model sheet references which is definitely not how you should do it, hahaha, hence the design inconsistencies, but honestly even my madness had its limit and I didn’t want to spend more than a year on this thing ;p
Thinking about how Aang returned to a world that forgot the Avatar, Korra struggled in a world that outgrew the Avatar, and now Pavi must face a world that hates the Avatar.
Aang grew up overwhelmed by the responsibilities of the Avatar, and when he awoke he had to contend with a greater evil than he'd ever imagined while also finding ways to restore faith and joy to a jaded world.
Korra grew up hearing stories of Avatars that basically painted them as superheroes, and while she felt fully prepared to punch evil in the face she didn't know how to handle a modernized society in which the Avatar must fill a political role.
Both of them face a conflict between their internal selves and their duties as the Avatar. Aang is peaceful in a time of war, while Korra is direct in a time of intrigue. In other words, they seemed at first like the wrong Avatars for their era. The world obviously needed Aang, but they didn't believe that he'd ever be able to save them. The world didn't seem to have a place for Korra, but she nevertheless proved that she could bring balance.
I'm curious to see how this trend continues with Pavi, since at first glance she seems pretty well-adjusted to her setting. Unlike Aang and Korra, who were thrust into new worlds where their previous skills weren't very useful, Pavi grew up in this post-apocalypse and seems to navigate it fairly well. Additionally, despite people hating the Avatar now, a period of strife with some obviously bad stuff happening to everyone is kind of perfect for an Avatar, since it's an opportunity for a hero to save the world.
At first, Pavi's situation looks very similar to Aang's: the world is in danger, and it needs an Avatar. However, since it seems like Korra had something to do with the creation of this new setting and I refuse to believe that she will be wholly in the wrong, I wonder if this new series might go even further into the nuance zone. It could be that Pavi's conflicts will combine the apparent simplicity of Aang's era with the genuine complexity of Korra's, so that the only way to save the world is to ignore the big looming threat and instead do some other (far less simple) reconstruction. In that case, everyone hating the Avatar would really add to Pavi's conflict, since she is already dealing with a world that doesn't expect her to do the right thing. Maybe she'll be torn between the easy thing that seems right but doesn't actually fix things and the difficult thing that seems wrong but will somehow be what the world needs. It could reinforce that being a good Avatar isn't about blending into what people want from you. Aang proved that peacefulness is necessary in order to end war, and Korra proved that strong direction can lead to the root of a complex conflict. Maybe Pavi will prove that being hated isn't as bad as being cruel.
as much as everyone loves "the power of love won't save us, we need the power of incredible violence" i'm sorry to rain on your parade but we've actually tried that about ten million times as a species, and you'll be shocked to hear the power of incredible violence, without the power of love behind it, is just brutality. the power of incredible violence has been ruling (various parts of, and then the entire) world for the past 5,000 years. ours is not that damn special.
like yes use that gun you found but WHY are you using it? on who are you using it? what would make you stop using it? is your goal to live in a world where every problem is solved by violence, or is your goal to do the violence necessary to live in a world where that necessity is unthinkable?
Last year, I befriended a Catholic seminarian. We've gotten to be pretty decent friends. Seeing as he was staying in town for the summer and I wasn't, I entrusted him with caring for my plant.
He did a wonderful job, but as he was returning my plant to my custody, he explained "I watered her every other day, I gave her new dirt, moved her into the sunshine, prayed the rosary-"
"What?"
He looked at me, confused. "Isn't she a plant you pray with?"
"No," I said slowly. "She's a prayer plant. That's the... colloquial name of the plant."
Upon seeing his stricken face, I realized something went wrong. Turns out, this entire time, he's been including my plant in on his prayers and leaving her near icons.
Listen, totally cool. My plant becoming Catholic is a great deal for her not dying over the summer. But now I must navigate this interfaith household. Keep me in your thoughts.
