because there was a great battle

Thank you everyone for the sharing the last two skam seasons with me. I’ve had a great time and I’ve shared some incredible moments with you. I’ve laughed, cried and ranted angrily mostly alongside you, but sometimes because of you (hehe). 

I hope everyone takes some wisdom from skam with them here on out; Remember to be yourself, to always be kind because people are fighting a battle you know nothing about, and to live life to the fullest because life is NOW. Remember that you’re not alone and that everything has a meaning. And above all: love begets love. 

Descendants 2 Novel Blinders Off. It might not be as great as I first thought.

****SPOILERS FROM THE NOVEL*****

I canceled the other post I made because thinking more about it. I don’t know what to think anymore. 

Other then I was very wrong in shipping Uma x Harry together because, in the novel, Harry and Gil lock lips. 

Also, some of the things in the novel felt too weird to be in the actual movie. Like Dude talking or Uma, that becomes big and Mal becoming a dragon. If Lonnie was in the final battle then why didn’t they show it more? If Harry and Gil kiss then why did everyone in the cast hint that there is something between Uma and Harry, why does Harry act like he had feelings for Uma in the What’s my Name song? And another thing in the novel they don’t address the fact that Mal and Harry used to date, neither actually acts like there is used to be something there. 

I’m just so confused.

I don’t know how much it’s gonna happen in the movie too, I guess that’s progress for Disney if the actually do the gay kiss on screen. 

The more I think about it the less awesome it looks. It’s like having something so shiny at first you think it’s amazing and real gold, but then you look at it better and you realize it’s not real gold and it isn’t even that good.  

They hint at redemption maybe for Uma but don’t explore it. There is another awesome WOC in the final battle that’s barely in the trailer. Why won’t they market all of that? Lonnie and the gay ship. 

This is so confusing. The movie might still be great, and the story does look consistent and very good. But it feels like Disney and everyone involved in the movie talks about one thing, and the book does a totally different one. 

Anyone that read the book wants to talk about it?

Maidens of the Lakes

I bet all my blood that Rahab has vampire oracles known as his Maidens of the Lakes. They each peer into Nosgoth’s lands of omens and fates - good or ill, and they reside in each direction their corresponded lake is at.

Maiden of Tears, Lake of Tears to the west. The Great Southern Maiden, Great Southern Lake to the south. Maiden of Serenity, Lake of Serenity to the east. And Maiden of Lost Souls, Lake of Lost Souls to the north.

They’d contact Rahab telepathically in a suitable distance, or even teleport via water streams. None are battle oriented - except the Maiden of Lost Souls. Because it’s so far north with little water streams to travel safely, they’d need to conceal and strike from mists.

There’s no Maiden of the Dead, Lake of the Dead. Either they died by hysteria and madness since the only thing they peered was the Elder God itself, or just doesn’t need to be one since central Nosgoth is in the Empire’s heart.

2

The Oscars’ “In Memoriam” tribute left out trans actress Alexis Arquette

  • In an interview with ABC News, Patricia Arquette chided the Academy for leaving out her sister Alexis Arquette, a transgender actress and activist with credits in movies like Pulp Fiction and The Wedding Singer.
  • “I was really pissed off the academy left out my sister Alexis in the memoriam, because Alexis had a great body of work, but Alexis was one of very few trans artists that worked in the business,” she told the outlet.
  • Arquette died in September after battling what People later identified as an “AIDS-related illness.” Read more (2/27/17 2:24 PM)

anonymous asked:

hey, can you break down the differences between the adventure zone and critical role for me? i haven't listened to either and now i'm curious

Oh gosh, okay. They’re delightful but… very different approaches to the same general idea (broadcasting a D&D game), and I think the fans of one show tend to have a sort of skewed impression of the other show, so here’s my thinking.

Just the basics, to begin with: The Adventure Zone started running in late 2014, and it’s an audio-only podcast in which the McElroy brothers and their dad start a brand-new D&D campaign from scratch. Critical Role started running in early 2015, and it’s a video podcast in which a bunch of best-friend voice actors started filming the D&D campaign they’d already been playing for years at home with the same characters. TAZ is (generally) prerecorded and lightly edited down, CR is 100% live. Both have a lot of howlingly funny and surprisingly touching moments, both get a lot more intense the more you get into them, and both are good shows that are a Good Time, especially when they make you feel things you didn’t sign up for. The main canon of TAZ is currently 56 one-hour-long episodes, with new episodes every two weeks, and CR is currently 85 four-hour-long episodes, with new episodes every week. Most of the reason for CR’s absurd length comes down to (a) three times as many players, and (b) no editing.

The DMs both put a ton of work into the world, but they also have very different approaches. Griffin (TAZ) is DMing for the first time, while Matt (CR) has talked about how DMing D&D games for the past 20 years is what got him interested in acting in the first place. The world of TAZ is much more of a sci-fi/fantasy hybrid, while CR sticks more to traditional fantasy.

TAZ plays fast and loose with the rules, which can be both a delight and a frustration for storytelling reasons—for instance, until the latest arc both spell slots and HP were not really tracked, which means (a) Griffin has had to come up with incredibly creative ways of introducing risk and limitations to the game, and (b) those incredibly creative ways can start to get pretty damn brutal. The mechanics of the game feel like an imposition on the story, most of the time—it’s rare that you get a dice roll that makes a huge difference to the plot (but when you do, as in the most recent episode, it’s pretty darn cool). As a result, the biggest spanner in the works of Griffin’s plans tends to be in the form of out-of-the-box thinking from his players, which they excel at; I think there is a tendency to railroad the plot as a result, but it’s a good story and it’s well worth a little bit of elbowing to keep everyone on track. Magical items also play a huge role, with viewers of the show submitting awesome new trinkets for the heroes of the story to use/abuse/completely forget about.

Because CR tilts more towards the rulebook (although Matt gets more than his fair share of shit for homebrewing and letting things slide and defaulting to the Rule of Cool), chance plays a much bigger role in the story. Matt’s simultaneously battling some incredibly creative players and dice that seem determined to roll as dramatically as possible. Entire subplots have been wiped out by a strategic roll, and in order to be able to adapt to that on the fly, Matt has to be hyper-prepared and have a lot of possible branching points. It’s absurdly open-world, especially now that the characters have the ability to travel instantly through different planes of existence, and Matt keeps pace with a story that feels more character-led than DM-led; railroading is practically nonexistent, which means you get incredible plot developments and super-deep characterization… but it also sometimes leads to long circular conversations trying to figure out what to do next. Because the players are all actors, there’s also a lot more that’s just straight-up improv theater: it’s not unusual (especially lately) to go for verrrry long stretches of riveting conversation without anybody rolling dice (I can think of a moment where Matt could’ve just had everyone fail a charisma saving throw against an NPC but instead just straight-up charmed them all in real life with words).

I’ll put it this way: CR is a basketball pickup game between friends who’ve been playing together so long that they kind of have their own home rules going and stick to them. TAZ is out there playing fuckin’ Calvinball. Both are great fun, but if you go into one expecting the other you’re in for a bad time.

Both shows have a lot of great NPCs, although Critical Role’s format gives them a lot more time and depth to shine (there are episodes where an NPC will have as much or more “screen time” than some of the player characters). Both shows have LGBT representation among player characters and NPCs alike that, while not perfect, is generally improving as the show goes on. For me personally, one of the more frustrating things about going from CR to TAZ was going from three female player characters and a metric fuckton of extremely deep characterization for all the female NPCs to no female player characters and many great and memorable female NPCs who nevertheless don’t get too much screentime or development just because of the the structure of the show.

TAZ is pretty shaky throughout the first arc (Griffin’s fighting a bit of an uphill battle getting everyone to sit down and actually play the game, which is funny in and of itself), but things slowly start to come together and the real potential of the show becomes clear once they break the heck out of the 5e Starter Set. I think the “Murder on the Rockport Limited” arc is what started to pull me in, and it’s not until the latest arc that I’m starting to get the character development I really crave in that show. Critical Role also takes a little while to find its footing, and to me the Briarwood arc (starting around episode 24) is where the mood of the show starts to solidify, with episode 40 and beyond really pushing from “this is cool, I’m enjoying how these interpretations of fantasy tropes are sometimes kinda unusual and off-the-wall!” to “how is this the most honest and genuine character development I’ve ever seen in media what the heck is happening here”.

So yeah. TAZ isn’t total chaos with no plot or effort put into it, CR isn’t a humorless wasteland of mathematical minutiae and rigid formulaic approaches. Both shows are great fun, both are IMO in an upswing and getting better and better as they go along, and I heartily recommend them both if you know what you’re getting into. Have fun!

anonymous asked:

You always seem to have all the answers. What do we do to stop Trump? I feel helpless. I know of the elections in November for Senate, Congress, etc. what can we do in the meantime?

I took this question really seriously, so I asked my parents to help me answer this. Here is what my dad said: 

Here is what my mom said: 

Here is what I say: 

First of all, I am sorry for referring to you as “kid” to my folks. It was just a shorthand I used for them to understand in a simple way that I think you are someone younger than they are. They are professors/teachers, and are often tasked with communicating effectively with young people. (also, sorry if my dad misgendered you? I guess kid = boy in his head)

Next: Yes. To what my parents said. When I feel helpless I often turn to them because they are so blisteringly smart and compassionate, and if I seem strong and like I have all the answers, it’s because I come from an incredibly supportive family. I wanted to share that with you. 

  1. Furthermore, staying informed in the time of “alternative facts” is an act of resistance. Knowing is half the battle. There’s an app called Countable that will keep you informed of the latest developments in your local government and issues you care about. 
  2. Because our representatives are firmly planted in the last century, online activism doesn’t cut through the noise to them—but phone calls do. Here is a website called 5calls.org that helps you make those calls with a script, and is especially effective if you (like me) have social anxiety. 
  3. Here is a great “Stop Trump” reading list that @batlordart compiled. 
  4. Don’t focus on a mountainous goal like “stopping Trump” and instead expend your energy on things that will make you happier and healthier.
  5. Thriving is our first act of resistance.
  6. Don’t despair. I could vibrate with the conviction of how fiercely I believe it: we will get through this.
Thoughts on Patroclus

Friendly reminder that Patroclus should not be remember simply as “Achilles’ bitch”.

Friendly reminder that Patroclus was a little shit. He had the power, the looks and the skills, and he knew it. Not only he excelled at battle; he did it while taunting his enemies all the fucking time cause he was going to win and he knew it.

Friendly reminder that he was the one guy who got to call out on Achilles, something no one else dared to do. In fact, men went to ask him to call out on Achilles because everyone was scared of him. Except for Patroclus.

Friendly reminder that Patroclus had advanced medical knowledge, something extremly rare at the time. He healed many of his friends and comrades during battle. Hadn’t it been for him, many great warriors would have died.

Friendly reminder that Patroclus was loyal to a fault. He was always by Achilles’ side in battle. He never disobeyed Achilles orders. The one time he did, was the time he died.

Friendly reminder that Patroclus was kind and had a soft heart. He cried because while Achilles’ Rage lasted, he wouldn’t let any of his men enter battle, Patroclus included. And while Achilles’ troops were hiding in their ships, the rest of the Greek army got crushed. Patroclus felt so powerless and helpless because he couldn’t do nothing as he saw his comrades dying.

Friendly reminder that Patroclus had a character crisis. He had to decide whether obeying his Lord’s commands and abandoning his friends in battle, or going against his Lord’s wishes and engaging fight.

Friendly reminder that he refused to stay behind like a coward. He chose to enter battle, but since he was a honourable man he told Achilles about it. Friendly reminder that he managed to sway Achilles’ Rage. Friendly reminder that he managed to convince Achilles to let their troops rejoin the war, thus returning the victory to the Greeks.

Friendly reminder that Patroclus was flawed. He committed hubris. He got so battle drunk and was so excited by the prospect of finally ending the war, that he disobeyed Achilles’ direct command not to fight near the walls of Troy, and chased the Troyans back to the limits of the city. To the place Achilles had specifically told him not to go because it would be too dangerous. Friendly reminder that this one flaw is his downfall.

Friendly reminder that Patroclus doesn’t go down without giving one hell of a fight. Friendly reminder that Patroclus was so strong that Apollo (the God that protected Troy and Hector [Troy’s heir to the throne]) had to face him and repel him four times. Four times. A god. If that ain’t badass, then I don’t know what could be. In the fourth time, Apollo got inside Patroclus’ head and made him dizzy. Patroclus fell and Apollo removed him from his armour- Achilles’ armour. Patroclus ended up unprotected, vulnerable and dizzy in the middle of the battle field; so a random dude saw the opportunity and stabbed his back with a spear. But was that enough to make him go down? Oh heck no. The pain snapped him out of the dizziness. Patroclus realized he was in a very troublesome situation so he decided to fall back… but at that moment Hector engaged him in battle. And Patroclus wouldn’t retire from a direct combat, oh heck he wouldn’t. Even though he knew this was probably the way he would die, he fought with his all.

Friendly reminder that lacking his armor, tired from battle, with a spear wound on his back and only Achilles’ sword left as weapon, Patroclus faced Hector, Troy’s greatest warrior and didn’t fear.

Friendly reminder that when Hector sheathed his spear in Patroclos’ stomach, Patroclus thought about the love of his life.

Friendly reminder that with his last breath Patroclus smiled at Hector and told him “You are a dead man. This will be your downfall”. Friendly reminder that until his last moment, he was a little shit.

Friendly reminder that Patroclus is a flawed, well-rounded, badass character and that he deserves so much more than his current position as “Achilles’s love interest”.

What if when Dean and Seamus were separated they hadn’t told the other about their feelings for the other

So while Dean’s on the run Seamus is terrified because his best friend is in danger and he never had the chance to tell him how he feels

And Dean doesn’t know where Seamus is because he doesn’t know if Seamus’s mother would let him back to Hogwarts. So while trying his hardest to survive he’s worried about his safety. Whether he’s at Hogwarts or his family ran off somewhere else

And when they see each other, Dean barely recognises Seamus because of his puffy face but he knew it was him because he recognised his blue eyes immediately

And when Seamus runs to hug Dean he tries his hardest to not burst into tears. Especially when he finds out Dean didn’t have his wand, no means of protection for almost a year

But they’re holding each other for the first time in almost a year and they’re just so incredibly in love with the other

And while they’re out on the battlefield while surrounded by so much death, the always impulsive Seamus tells Dean he’s so fucking in love with him and he’s crying because he’s scared they’re not going to make it through the battle. But Dean says it back to him. And they kiss in the great hall both crying because they almost didn’t have this

Harry Styles Vocal Health on SNL

Hello!  So first and foremost I wan to put out there how much I love Harry and his voice.  Dear god it’s SO COOL and unique.  I love how when he’s in good vocal health he has all these different textures to it- the gruffness of his chest voice, the purity of his falsetto, the power of his belt.  When the studio version of SOTT came out I couldn’t sing his praises enough.  His voice sounded SO HEALTHY.  He was making such good choices!!!  Everything was relaxed and well supported.  He let the song build naturally.  He MUST have gotten some solid vocal training over his break because that isn’t something that can just happen over night.  I was very impressed and very proud.  I was also a bit nervous to see if these changes would hold when he started performing live….and…..it looks like I had good reason to be nervous.  

Here’s the thing. There are a few reasons I’m so hard on Harry in particular when it comes to poor technique. First, compared to the other guys, his technique is the only one that’s actually physically DAMAGING.  Could the other guys benefit from proper training?  Sure.  Of course.  Every singer can.  Even those who have been singing for years still should train on a regular basis.  But the other boys’ bad habits are just that- bad habits.  They aren’t going to do long term damage, not the way Harry’s are.    The second reason is BECAUSE I know he can do (AND HAS DONE!!!!!) so much better!!   I know he’s CAPABLE of so much more and so yeah, I’m hard on him because of that. And finally, I know exactly what he’s doing physically and exactly what’s going through his mind because I have the same exact bad habits and I can see him using the same exact thought process as to why he slips into these again.

Harry is the Ultimate Performer. He wants nothing more than to put on a good show for everyone, even if that means sacrificing his own vocal health.  Now, that’s isn’t a HUGE problem…until it KEEPS happening.  Which is what happened with OTRA.  And possibly might be happening now, although that remains to be seen.  One performance of one song slips into an entire show of this slips into two shows of this slips into the entire tour and wham, you’ve got nodes.  I think the biggest problem with Harry’s performance last night is he doesn’t trust the material or HIMSELF to sell it the way it is.  He feels he needs to overcompensate and big Big and Bold right from the start and that song is not built to be sung that way.  He started at a level that he couldn’t sustain throughout the entire thing and had nowhere to go.  That’s when he ran into trouble.  

As soon as he opened his mouth, I knew it wasn’t going to go well.  Don’t get me wrong, he sounds fantastic in the beginning…but like I said, there was nothing for him to build upon because he already started it at too high a height. His voice sounded raspy to me too, raspier than usual.  That can be caused by a few things- he could have been dehydrated (you can’t sing right if you don’t pee white!), he could have been tired (we know he’s a morning person and that show is pretty late for him), he could have strained his voice at the concert the night before, he could have over rehearsed, he could have smoked a bit.  I don’t know what the cause was, but he didn’t start off the evening in the best vocal health, especially for a song that’s very difficult to sing.  I also think he KNEW that so again, he tried to overcompensate for that by pushing.  

There is so much tension throughout his whole body, particular his shoulders on up.  I’m sure a lot of that is due to nerves.  I’ve said it many times before and I’ll say it again: the SNL stage is one of the hardest venues for artists to play.  There’s something particularly rough about it.  He’s also always had problems tensing up his face when he sings, but it what was particularly striking to me was that he did it during the falsetto parts.  That should have been EASY for him to sing.  That’s something light and relaxed.  Almost a break from the tension of the rest of the song…and yet he looks like he was in pain.  Which makes me wonder if he WAS in pain.  it’s hard to tell, but it almost seems like the second time he does it he pushes it more to a mix than a pure falsetto. 

It’s notable to me how relaxed the second syllable of  “bullets” around 2:44-2:48 is compared to the rest.  THAT is what the whole thing should have sounded like.  it’s relaxed and he’s got a great vibratto on it that comes straight from the diaphragm there- compare that to how tight “bullets” are the second time he sings it in that phrase at 2:58ish-3:04.  Why did you change what you were doing, sir??? In fact, to me it seemed like he KNEW it sounded good the first time and did his cute li’l dance and then came back to it feeling like “yeah I got this…” and then tightened right back up again.  because he didn’t trust himself.  

Thennnnnn the bridge happens.  And this is what i mean by he had nowhere to go.  THIS should have been his first belt it out moment.  but he pushed too hard too quickly and his voice just…wasn’t there.  It was tired.  The first scoop up to the first “we” was off key because of it and I think he knew it which made it even worse and MORE tense to the point where he just didn’t have the vocal agility to flip into his fasletto again for “learn”.  And then we’ve got the “it’s just what we know” which was just a poor choice.  I have a feeling he nailed that MULTIPLE times in rehearsals and mannnnn if he was in good vocal health how killer would that have sounded!??!!?  But instead, we got what’s called harmonic distortion which is SUPER VERY YIKESY AND A BIG SIGN OF HOLYSHITYOU’REDOINGDAMAGE (i sincerely hope he has an appointment with an ENT this week and gets scoped to check that out).   This was another instance of him trying to put on a great show and overcompensate for what he probably felt was lackluster vocals (which for the record WERE NOT THAT BAD.  I’m picking it apart because…well, it’s what I do.  and i don’t think I would have had too much of a problem if it weren’t for the super damaging choices he ended up making).  

From there he’s thinking “Oh shit that was bad…I REALLY fucked up…better step up my game and make the end better!” and once again tries to overcompensate and push a voice that’s already been pushed to the brink.  there just wasn’t more in there for it to give.  He couldn’t sustain it.  He had already given everything that there was go to give.  

When it comes to ESNY, it was a much better performance.  I think it’s partially due to the fact that it’s an easier song to sing and partially due to the fact that he was playing guitar so he wasn’t as much in his head (Side note: CAN YOU BELIEVE HE FINALLY BLESSED US WITH HIS GUITAR SKILLS?????).  His belty part towards the end wasn’t as good as it could have been, but I think that’s just due to the fact that his voice was kinda shot and that’s the best it was going to be.  It wasn’t TERRIBLE and obviously it could have been better, but I am curious to hear the studio version to see if there’s more belting that he just wasn’t comfortable with last night.  I could have done without the facial affectations because it just adds more tension and tension is bad, kiddos  But I think it’s a stylistic choice and I’m trying to pick my battles here.  Additionally, as we’ve seen in gif form his li’l neck vein was popping out so yeah he was tensing up pretty good there…but again, it wasn’t as terrible as it could have been since the song itself isn’t as taxing vocally.  

All in all, the performances were great, especially if you’re not as picky as I am. I know this was his first time singing live in well over a year and SNL is high stress and it’s his first time out there ALONE.  I’m curious to see what happens on Graham Norton and if he improves his technique. I’m also really curious to see how he’ll be on tour as well. I do wonder if he’ll lower the key of SOTT so it’s not as taxing.  No one would really notice and it would make things a little easier on him. It’s just frustrating because I know he has it in him to do it well.  We’ve HEARD him do it well.  But he just doesn’t trust himself enough to do that and that kind of breaks my heart a little.  Thankfully, he’s young and has time to learn.  He can still break these habits and make new, healthier ones and learn to trust himself more.

BUDDY.  YOU GOT THIS.  YOU HAVE AN AMAZING VOICE.  YOU ARE A FANTASTIC SONGWRITER.  YOU HAVE GREAT TECHNIQUE WHEN YOU PUT YOUR MIND TO IT.  YOU ARE A KILLER SHOWMAN WITH A TON OF CHARISMA.  PLEASE TRUST THESE THINGS AND STOP PUSHING YOURSELF BECAUSE I DON’T WANT TO SEE YOU DAMAGE ANYTHING.  

Love,

B <3 

amysantiagone  asked:

In Rogue One, Cassian Andor states that he's been fighting for the rebels since he was 6 years old. Assuming he meant literal combating, would his personality be similar to that of a child raised for combat? Would there be any differences?

This is sort of a yes and no, as all children involved in violent conflicts from an early age are affected by it. However, the children who take part in rebellions aren’t in the same category of the child soldiers discussed on this blog before, though they absolutely share similarities.

Kids involved in rebellions are rarely used as frontline combatants. They’re far too valuable for that. Instead, they function as informants, carriers, and, occasionally, saboteurs. They’re not the one who picks up the gun to shoot down enemy soldiers in a safe zone. They’re the ones who move the gun past the security perimeter or receive it from the old man or woman who did and plant it. They’re the ones hanging around befriending enemy soldiers in bars or cantinas so they can tip their friends off about where the troops are moving to next. Children, women, the elderly, those generally viewed as non-combatants, the ones that society overlooks or views as “safe” are often the backbone of any resistance movement.

They get the goods, they move the packages, they carry the messages between resistance cells, they sometimes take care of the equipment, and they do most of the footwork that allows a resistance to engage the enemy. When they do fight, it’s generally in the form of sabotage like finding and slipping poison into the enemy troop’s stew, planting bombs, or because survival necessitates it when their cover is blown.

As a child, Cassian Andor would have a background common with other children in rebellions depicted in media like ‘Phan Duc To’ from Good Morning, Vietnam! (1987) and the children involved in The Battle of Algiers (1966).

If you’ve never seen Good Morning, Vietnam! I just spoiled the movie.

The Battle of Algiers is a great movie if you’re looking for an honest overview of how rebellions function on both sides of the conflict or just a treatment on the French colonization of Algeria. Fair warning, it is not an english language film. Kiera Nerys from Star Trek: Deep Space 9 is another decent character to look at when wanting to model a background for a resistance fighter who joined as a child. G’kar from Babylon 5 and the entire Narn/Centauri conflict is also an excellent example of the enduring hatreds and issues brought by colonization.

One of the qualities you see in these children and then again as adults is pure, unadulterated hatred for their oppressors. More so than the other kinds, they hate. Often to the point of becoming a new version of the enemy their resistance was attempting to drive off.

Cassian would’ve spent a lot of time hanging around rebel fighters, doing odd jobs for them until the day came when they were short a man or needed a message run by someone who wouldn’t attract attention.

If this has started to sound like spycraft, well, you’re not far off. Resistances don’t have the luxury of major battle offensives like an army, and even guerilla warfare is actually a step up from what happens on the ground, and there is a common word you’ll find familiar for what they do: terrorism.

The actions of a resistance fighter and the actions of a terrorist are one and the same, the only difference is in who is telling the story. If you want to investigate real resistances without the judgements, study up on World War II, the French Resistance, and the Maquis.

Yes, that Maquis not the one from Star Trek.

On the ground resistances are rough and ready, they’re often split apart into distinct cells comprised of only a few agents, and almost no one knows who is higher up the food chain. This is important because it protects the other operating cells and resistance leadership in case an operative is captured by the enemy.

For the most part, whether you’re writing historical fiction or a foray into science fiction, the philosophy, goals, and strategy of a resistance will remain the same. What changes is how they go about operating within their setting because, like spies, a resistance requires the author have a solid grasp on how the enemy functions, the details in how they hold power, the technology they have access to, and how their army works.

On a literal and literary level, the Resistance is about disruption. Whether they’re sabotaging train tracks, blowing up food transports, or bombing nightclubs, their goal is to disrupt everyday life and make it as unpleasant as possible. They’re ghosts in the system, you’ll never know where or when they’ll strike, and they’re out to destroy enemy moral every way they can. A resistance drives the enemy from their homeland by making the cost of holding it no longer worthwhile. Though, historically, this is often impossible unless the majority of the population joins the cause and/or the tide of public sentiment back home within the enemy’s homeworld or nation turns against the invaders. A resistance occurring against the powerful within their own homeland is much, much more destructive.

What marks a character like Cassian, who grew up in a resistance movement, more than other children engaged in violence is first and foremost betrayal. Betrayal from without, betrayal from within, the people he’s lied to and betrayed, seeing many friends vanish overnight or die, and never quite knowing who he can trust. He probably has very few friends left alive from his early days with the Rebellion, and more than likely experienced the Imperials wiping out his cell(s) on multiple occasions. He worked his way up the ranks until he became an operative working closely within the Rebellion’s inner circle.

Star Wars is functionally much more clear cut than the real resistances that occur throughout the world.

Happy writing!

-Michi

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Some Little Things I Love About Camp Camp

-The fact that these children swear and talk about philosophy and violence and have perhaps read Lord of the Flies yet obviously still don’t know everything and it’s both hilarious and adorable.
-Max is good at sewing and knitting
-David learning to pick his battles with Max the more time they spend together at Camp
-Every single one of the kids is weird, which is so great because OF COURSE kids are weird
-There’s really no romance plot because they’re all ten or something so it’s cute friendship development
-The implication that Camp Campbell has always kind of been a complete fucking disaster of a sorts but David just keeps on trucking
-THOSE FUCKING RAP SONGS AT THE END OF EACH EPISODE
-Their mascot is a Platypus that quacks

Shiro Meta: “I want you to lead Voltron”

So a lot of people have been talking about why Shiro chose Keith to lead Voltron if anything happened to him. I’ve seen this attributed to Shiro’s favouritism or bias towards Keith, but I have another take on things: Shiro’s choice of Keith as his successor reflects his own insecurities about his suitability as leader.

We know Shiro harbours serious doubts about his ability to lead Voltron. In 1x09 Shiro hears Sendak’s voice in his head telling him “Did you really think a monster like you could be a Voltron Paladin?” And in 2x03 when Allura tells him: “You are the Black Paladin now, not Zarkon,” Shiro disagrees: “Yeah, well - the Black Lion may have a different take on the matter.”

See this? This is the face of a man who fully expects to get spat out of his Lion again at any moment. (If you want a really long and interesting meta about Shiro’s relationship with the Black Lion following the S1 finale, read {it’s all about trust} by @headspacedad)

Coming out of that battle with Zarkon in 1x11, Shiro no longer knows if the Black Lion trusts him, or if he can trust her. And it’s easy to see why: the Black Lion forcibly ejected him from the cockpit in the middle of battle. He thought they’d bonded; now it seems like they haven’t.

{relationship status: IT’S COMPLICATED}

But his insecurities go deeper than that: during that climactic battle at the end of season 1, not only was Shiro ejected from his own Lion, he also had a full-blown panic attack onboard the Galra ship and had to be rescued by Hunk and Allura. Allura - the person he’d come to rescue in the first place - ended up saving him.

Right after this battle, an injured Shiro crash-lands on an alien planet and tells Keith: “If I don’t make it out of here - I want you to lead Voltron.” And it’s not just because he’s injured. He thinks he’s failed as a leader. And in that moment, he probably fully expects the Black Lion to reject him again. Or maybe he expects Allura to take him aside and just quietly tell him “Look, it’s not working out. We need to pick someone else as the Black Paladin.” Because how can you lead Voltron if you can’t even keep control of your own Lion? How can you lead Voltron if you panic in the middle of battle?

For the record: I think Shiro is DEAD WRONG and he’s an amazing leader and I have so many feelings about how great Shiro is and what it means to see a mentally ill character in a leadership role but I DIGRESS. The point is: Shiro spends much of season 2 battling his own feelings of inadequacy about his position as Black Paladin.

Shiro’s line that “The Black Lion may have a different take on the matter” reflects his own belief that the Black Lion doesn’t want him as a Paladin. He thinks she’d rather have someone else - someone who’s less of a walking disaster. And again: I really don’t think she does, and I have SO MANY THOUGHTS about this that I will probably write up at some point, but that’s not the point. The point is Shiro firmly believes that he’s not good enough to be the Black Paladin, and that the Black Lion would rather be piloted by someone else.

Someone like Keith.

Remember that battle at the end of season 1? Whilst Shiro was getting spat out of the Lion and having a panic attack, Keith was doing this:

Yep, just casually taking on Zarkon one-on-one, without hesitation. Not only does Keith intervene to save the Black Lion from Zarkon’s grasp - he also fights Zarkon head-to-head, repeatedly charging back into the attack with no regard for his own safety.

Shiro must have seen and heard this and thought: “That’s the kind of Paladin the Black Lion deserves. That’s the kind of Paladin she wants.” A brave and decisive leader, not a hot mess. Someone who’ll charge at Zarkon head-first; who can keep it together in the midst of battle. Shiro thinks he should have been the one battling Zarkon, not Keith. As Black Paladin and leader of Voltron, he should have been the one to charge at Zarkon and try and take him down. Instead, he was having a panic attack, and Keith was the one who stepped up.

Shiro chooses Keith to be the next leader of Voltron because he thinks Keith is the kind of leader Voltron needs, and the kind of Paladin the Black Lion deserves.

It doesn’t particularly matter that this choice doesn’t make a lot of sense, or that the team might be better off with a more cool-headed and thoughtful leader. This is not a rational decision on Shiro’s part. It’s a decision rooted in his own insecurities. His decision-making is flawed: not because of bias or favouritism, but because of his own sense of inadequacy. He looks at Keith and sees someone who will take on Zarkon without hesitation. He looks at himself and sees a failure. And he concludes that Keith is the kind of Paladin the Black Lion wants - that she would rather have Keith than him.

And the Black Lion spends most of season 2 proving him wrong, but that’s a meta for another day.

(thank you @bentfire for the screencaps btw)

ree-fireparrot  asked:

How realistic or unrealistic are battle couples, provided they have sufficient mental discipline? Is it even realistic to have two people working together to fight the same opponent hand-to-hand, or is focusing on both your opponent and your partner too much? What if one person is a distraction (by fighting the opponent head-on) so the other person can stab them in the back, so to speak? Is that too risky?

You’re asking a lot of questions here and most of them have absolutely nothing to do with having a romantic relationship with your working partner.

Some things first:

1) The relationship between a battle couple and any platonic working partnership are not really any different in most cases except that they share a romantic relationship.

2) You don’t need a functional or professional partnership or partnership at all to fight in a group or gang up on an individual.

3) Fraternization just as often falls into casual sex as it does a romantic relationship, if not more often.

4) Almost none of what you’re asking has to do with romance.

Falling in love on the battlefield happens, it happens a lot. Combat is a high stress environment and people are people. Just because something isn’t a good idea or is unprofessional doesn’t mean it won’t happen, it just means you’ve got an added benefit of complications.

Some people can handle romantic relationships with an SO who also engages in combat, even one who engages in combat with them. Those are the ones who can compartmentalize between being on the battlefield and being off it. However, if they can’t (there is a very good possibility that they can’t) then it becomes a real problem. When they can’t handle the stress or the distraction, if they can’t put the romance aside, then their relationship puts everyone at risk, including their mission.

When you’re fighting, especially with a goal in mind, one person’s life cannot be more important than the mission.

It takes a significant amount of trust for a battle couple to function because their romantic partner cannot afford to jump in and save them when things start going sideways. Both participants need to be the kind of people that when the choice is between their partner or the mission, they choose the mission.

This concept is one that’s very difficult to grasp if you’re setting out to write a romance, because most of the normal steps you’d take to fulfill that romance will leave the battle couple hamstrung and unable to function. You can’t have the guy or girl jumping in to save their guy or girl when it looks like they’re about to die, they have to trust their partner to save themselves.

That is hard.

This is a very difficult state to handle emotionally. Imagine, you are at risk of losing your loved one at all times and you can’t do a damn thing about it. You can’t obsess or brood over it, because you can’t afford that kind of distraction. Whether they’re right in front of you or on a battlefield somewhere else, you can’t think about it. You’ve got to focus on keeping yourself alive, because that keeps everyone else alive, and by doing what you can you help to ensure the survival of both your loved one and your team. You’ve got to do your job, even when you’re about to lose everything you ever gave a damn about and its within your power to stop it.

A true battle couple is one who exists in complete equality, trust, and partnership with their significant other on the battlefield. They keep a cool head and a cool heart while in the midst of gut wrenching emotional turmoil. They don’t baby, they don’t hover, they don’t keep a careful eye on, and they don’t obsess until the fighting’s over. They don’t sacrifice their own life or their own body to keep their lover from getting injured. They don’t break position.

If they do any of the above, they will both die and so will anyone who is relying on them. If you are writing characters where the relationship is more important than the mission, more important than the team, more important than surviving the fight in front them then you have, narratively speaking, a serious problem.

This is not a bad one to have in a story or an unrealistic one in life, romantic relationships on the battlefield are built around this concept, but it does need to be addressed. If its not, tragedy strikes.

If you’re writing a battle couple, you need two characters who when faced with the choice between saving their loved one and stopping the bomb from blowing up downtown Manhattan, they pick the bomb.

And, in fiction, that’s not normally what love is.

It also has to be both of them, they both need this very specific outlook to function while in combat together. If one has it, but the other doesn’t then tragedy strikes. If neither have it, tragedy strikes. They need to be on the same page.

The reason why the military and other combat groups prohibit fraternization is because romantic relationships inevitably fuck everything up. If they can handle it, great. However, the all to likely outcome, for either one or both parties involved, is they can’t.

They’ll do it anyway though, because people are people.

When you engage in violence, that violence and training separates you from the general population. You’ve been through experiences that most people cannot comprehend or relate to and that makes maintaining relationships difficult. There’s a lot to be said for being in a relationship with someone of similar background, who can empathize with your experiences, who has been through what you’ve been through. You don’t need to look much further than the rate of divorce among the FBI or CIA to understand just how difficult maintaining a relationship in an incredibly stressful environment is.

As humans, we crave having a partner we can relate to. With whom we can share our secrets. Who won’t judge us for the terrible things we’ve done. When you have to rely on each other for survival, attraction, desire, even love becomes easy. It’s often a false sense of connection built on desperation, one which if born inside the environment won’t function outside of it, but that doesn’t mean it feels any less real.

When you might die tomorrow, sometimes you just want to feel something, anything at all, and that’s where the causal sex comes in.


Casual Sex:

In mixed gender units, casual sex is really common. Not romantic relationships, mind. It’s just sex, and it doesn’t go any further than that. It’s desperation, it is all about sensation, and a reminder for the participants that they are alive.

When dealing with these types of relationships in your fiction, its important to remember that the emotional component is neither needed nor wanted. They’re not looking for comfort. They’re looking for sensation, to feel something before they (potentially) die.

Because the author controls everything in their fictional world, it can often become difficult to remember and insert qualities like the random chance of dealing with the unknown. We’ve often got characters that are necessary to the plot, who become identified as “safe”, and behave differently because they know they’re going to live through the fight or battle to get to the end of the story.

It becomes important to learn to live in the moment. To live in the twilight hour on the night before a battle, to be unsure, when the character doesn’t know what will happen next. If you don’t then there is a whole array of human emotions, experiences, and terrible choices that you’ll never touch on in your fiction.

If you don’t, you’ll be all the poorer for it.

The Two on One Battle: Real.

You don’t need to be in a relationship, or even particularly well-trained, to accomplish this. Two versus one happens a lot and the pair off usually wins because eight limbs trumps four. One person locks up the individual, the other circles and attacks on vectors they can’t defend from. We’re social animals. Our natural instincts will help us more when we’re fighting in a group as opposed to fighting alone.

1 v Group is a bad situation to be in if you’re the one, and it doesn’t matter how well trained you are. Numbers will kill you.

Part of the reason why you see single characters fighting groups in movies and other fiction is to establish that they’re great fighters. The problem is that this has become so widespread that we now think fighting a group is easier than fighting a single, skilled individual. This is untrue. The group will kill you because the individuals within the group can move onto vectors that cannot be defended.

What your describing in your question in a battle between three people in a two on one is normal behavior, its standard tactics. However, you’re also demonstrating the exact kind of behavior for why two people engaged in a romantic relationship should not be on the battlefield together.

If you’re ever sitting there and wondering if something that is a basic and bog standard tactic is now, suddenly, too dangerous because your characters are dating then that is the exact problem.

Things that are normal suddenly become too risky, and the focus transitions to preserving their lover’s life rather than making use of their significant advantage over their enemy.

That is the exact kind of thinking which will cost them their lives, and for no benefit at all.

Good job.

-Michi

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Black Paladin lance headcanon...au?

I have seen a lot of black Paladin lance head canons and idea of how it will work, so I thought maybe I’d share my own ideas.

To start of, Shiro is in the Astral plane with Black looking over him, and Shiro isn’t really sure how to get out, and Black won’t tell him how to get out, only that he needs to rest, and he can’t talk with the other Paladins to tell him where he is. But he can see and can hear them through Black.

Shiro sees everyone trying to figure out what happened to him, but after weeks of them fleeing battles with the Galra and trying to find Shiro, they all agree that until they find Shiro, they need to have someone be the black paladin. Keith of course reveals the fact that Shiro wanted him to lead, and approaches Black. Shiro is obviously very supportive of this (cough cough-bias-cough) but Shiro is surprised to see that Black is apprehensive about Keith piloting him. but Black allows it since it is Shiro’s wish for Keith to lead.

So Keith is the black Paladin, and Shiro is very happy to see that Keith is leading the team. Only that, he isn’t leading very well. Many times he runs off on his own in battle and leaves the others with half baked directions and no real orders or a half baked plan that he usually abandons to go off. Shiro sees that more times than not, one of the Paladins is always heavily damaged and spend days in the healing pods. Now Shiro is starting to see that he might have overestimated Keith’s ability to lead, but he still trusts that Keith will get the hang of it. But as time goes on, Keith still is doing his own thing. That’s when Shiro notices that Lance, who is always questioning Keith’s decisions, has been giving orders whenever Keith runs off , and his plans have some real form of orders, and not just that, but they work with the skills of Pidge and Hunk, even Allura when she joins in the fight. It’s his plans that gets everyone out of a battle in one piece, it’s his plans that even wins some of the battles. But it’s not until Shiro sees Lance going to the hangars to talk to Blue about how mad he is at Keith, not because of him being the leader, but at how he leads the team. He tells her about all the times Keith has left during battles to ‘follow his instincts’ and leaving the team with no clear idea of what the plan is or what to do. He’s mad that even though it’s clear that Lance has been the reason that they win a battle, he doesn’t get any recognition for his plans, that Allura and the others just assume that Lance knows Keith’s plan when Keith goes AWOL, they assume that it’s Keith plan and not his own. But most of all, Lance talks about his insecurities about his position on the team, and how he misses his home. Shiro’s starts to understand that he was wrong with Keith leading the team, and because of his favoritism, he didn’t see that there was another option in his team. A better option that everyone has more or less been taking advantage of. Shiro tells the Black Lion that he was wrong, that he shouldn’t lead the team if he didn’t see how Lance was struggling. Black tells Shiro that it’s ok to make mistakes, as long as we make an effort to correct them. Black then asks again, who should lead Voltron while Shiro is stuck there. And Shiro doesn’t even hesitate to say….“Lance should lead.” At first, Keith is not happy with being kept out of Black. He’s even more furious that Black let Lance in and not him. But he can’t say that he isn’t glad to back with Red. And after awhile, he realizes that Lance is a really good leader. Yes, he doesn’t lead like Shiro does. He leads his own way, helping others see their full potential, putting the other’s strong points to use as well as listening to their ideas and being able to create or change his plans at a moment. Lance is a great leader, because he doesn’t just lead the others he relies on them. While Lance is in charge, they never lose a battle, and have gained more allies in their fight against Zarkon. One such ally is able to help them get Shiro out of the astral plane, and the first thing he does is give Lance a huge hug and thanked him for leading the team in his absents. Lance is happy to be back with Blue, but even more so now that Shiro includes him in strategy meetings, relies on him more during diplomatic meetings. But mostly glad that Shiro’s talks with him and Hunk more, getting to know them so that he’ll be able support them better. So there’s my idea about how black Paladin Lance going down. I hope you guys liked it!

Update: I am actually writing a fic on this on AO3. If you haven’t read it and want to, it’s called ‘rose colored glasses make it hard to see’.

So I usually don’t comment much about the anime, but I have to say I’m especially bugged about how Mikasa’s character is handled this episode.

Levi says this to Eren, telling him not to lose sight of the goal and how they can’t afford another mistake. It’s not that this line to him is uncalled for or anything – it even calls back to Carla’s words to him from the flashback in the first episode this season – but this was originally meant to be directed towards Mikasa. And for a good reason.

-Chapter 37

It’s an acknowledgement of her blunder from the Female Titan arc. It’s great because this shows a major flaw of hers – she lets her emotions get the better of her when it comes to Eren in particular. When she and Levi chase after the Female titan to retrieve Eren, she’s hellbent on getting revenge when she sees an opening. When she acts on this impulse, Levi has to intervene so she isn’t hurt or even killed in the process. He’s injured as a consequence. 

There’s a small moment in the manga that was cut from the anime in which Mikasa recognizes her mistake cost Humanity’s Strongest to be sidelined during the battle at Stohess. 

-Chapter 33

Mikasa acknowledging that she didn’t restrain herself and needs to be responsible for her actions is crucial to her character development. Except the anime seems to be completely glossing over that, which is a shame.

It’s not impossible that this will be addressed later, but as of now I can’t help but be skeptical at how her character is portrayed in the anime. When they don’t include these moments, it runs the risk of her simply being the girl who’s all about protecting Eren and nothing more. 

Solangelo realization/cuteness overload

Has anyone else noticed how in THO Nico never leaves Will side. He has literally just been so stubborn as to say I am never leaving Will’s side. He has made sure he can eat at there table. Is paired with him for capture and flag and other things like that. Even when the battle broke out with bronze butt he told Apollo “and Nico too. I have a doctors note”.
Even when he shadow travels to the chariot he takes Will with him.

I think it’s because Nico is scared of losing him. He loses everyone he loves. But this time he’s making sure this one says with him.

Also I think it’s great that Will is ok with it. He makes sure Nico can stay beside him as long and as much as he wants. Because he understands what Nico has gone through and wants him to be happy. And if that means being his shadow he is ok with that.

Every phrase said by the Voltron Combinable Toy

@emeraldcyborg and I bought all the lions and spent about two hours recording this transcript, so I hope someone gets a laugh out of it. Or uses it in a fic somehow, because now I really want to see that. 

(When Voltron is fully formed)

  • Lance: Blue Lion! Ready for action!
  • Keith: Red Lion! Ready for battle!
  • Pidge: Green Lion! All systems go!
  • Hunk: Yellow Lion engaged!
  • Shiro: Red, Green, Black, Blue, and Yellow Lions detected! Voltron operational!
    • Voltron complete. Targeting Robeast!
    • Great work, team!
    • Let’s do it! Keith, form sword!

(Pressing the button in full Voltron form)

  • Shiro: Let’s do it! Keith, form sword!
    • Keith: Yes, sir.  (Sheith bait)
    • Keith: Forming blazing sword!
  • Shiro: Now we go on the offensive.
    • Keith: Time to heat things up!
    • Lance: It’s on!
  • Shiro: Lance, Hunk, give me full reverse thrusters!
    • Lance: Fastest feet in the galaxy!
    • Hunk: Whatever you say, Shiro!
    • Lance: Roger. Engaging lower thrusters.
    • Lance: Don’t worry, Shiro! I got this!
  • Shiro: Form shield!
  • Shiro: Pidge, form shield!
    • Pidge: My shield can’t take much more of this!
    • Pidge: Roger that!
  • Shiro: We need to increase firepower!
    • Lance: We got ya, buddy!
    • Pidge: Eat this, Zarkon!
  • Shiro: Let’s light this thing up! Fire lasers!
    • Pidge: Firing lasers… now!
    • *pew pew! laser noises!*
    • Keith: Fire magma beam!
  • Hunk: Time to armor up!
  • Lance: Hold it right there!
  • Keith: Let’s cut the Galra down to size! (keith no)
  • *pew pew! laser noises!*
    • Hunk: You dropped a sonic boom on him!
  • Keith: I’m not backing down!
  • Lance: Let’s see if I can freeze these guys!

Combining phrases

(Red Lion attached)

  • Keith: Red Lion, ready for battle!
    • Shiro: Good to have you back, Keith. (more Sheith bait)
  • Keith: I’m on it, Shiro!

(Green Lion attached)

  • Pidge: You can count on me, Shiro!
    • Shiro: Pidge, we’re going to need that shield.
  • Pidge: Green Lion! All systems go!

(Blue Lion attached)

  • Lance: I’m right there with ya!
    • Shiro: We need to increase firepower!
  • Lance: Blue Lion, ready for action!

(Yellow Lion attached)

  • Hunk: Yellow Lion engaged!
  • Hunk: Are you sure we should do this?
    • Lance: We got ya, buddy. (This is the only instance in which two paladins other than Shiro talk to each other. Hance bait?)
  • Hunk: Whatever you say, Shiro!

(Detaching any of the lions)

  • Shiro: Great work, team!
  • Shiro: Separation sequence engaged.

(Yellow Lion detached)

  • Hunk: Sorry, my bad.

(Blue Lion detached)

  • Lance: Let’s play it cool!

(Green Lion detached)

  • Pidge: Whoa whoa whoa!

(Red Lion detached)

  • Keith: I’m not backing down!

(Pressing the button when any of the lions is not attached)

  • Shiro: We need the red lion!
  • Shiro: Hunk, we’re waiting on the yellow lion.
  • Shiro: Pidge, fire up the green lion. We’re coming in hot!
  • Shiro: Lance, we’re still missing the blue lion.

(Black Lion individual phrases aka how many ways can we tell kids to buy the other toys)

  • Voltron is the only thing that can stop Zarkon!
  • Let’s assemble Voltron and get rid of these Galra! (don’t be rude to keith)
  • Form Voltron!
  • We need to increase firepower!
  • Let’s light this thing up! Fire lasers! *pew pew*
  • Now we go on the offensive.
  • Systems compromised!
  • Now… we will destroy you.
  • We will save the universe!
  • (several sound effects)

Lena Luthor being brought back as a series regular is important for me. For several reasons:

1) She is a strong, bold woman who is the CEO of her own company.

2) She is incredibly smart and she has never used her appearance to get ahead.

3) She is open to change and respects ideas that are different to her own.

4) She has almost died on a few different occasions but each time she comes out fighting.

5) She was brought up with disgusting, xenophobic views but she actively goes against her family and all that she knows because she isn’t like them.

6) She has been a great friend and provided wonderful moral support for Kara.

7) She is hardworking and driven. She worked into the night just so she could help a friend.

8) She saved the entire alien race and single handedly took down her mother who’s plan was to kill all aliens.

9) She is a victim of emotional abuse and she is constantly fighting, she is constantly battling with it but still remains good despite her horrible past.

10) She is played by Katie McGrath who is a very talented and giving actress. Who has given us such wonderful, raw emotions and scenes that both mend and break my heart.

So I am excited for Lena’s return for a lot of reasons. I am excited to see her bond with the Superfriends, I am excited to see her having drinks with Maggie, I’m excited to see her friendships develop and I am excited to see her company thriving, to see what she faces, to gain more backstory. I am excited to see more of a character who has been similar struggles to myself and has come out on top. I am excited for Lena Luthor.

An incomplete list of stuff in the pjo-verse that I would love to know more about:

  • Demigods who made it into adulthood. There must be a lot, especially if they lived their whole childhood at Camp Half-Blood. It’s assumed that there are no campers past college-age, which means that they all “graduate” and go into the mortal world. This wouldn’t even be a new concept; all of the Ancient Greek heroes were already adults, so making it in the mortal world might even be considered some kind of rite of passage. I would particularly love to know how the Greek demigods handled the Battle of the Labyrinth and the Battle of Manhattan—some of them must have wanted to help. Maybe there were some adults that joined Kronos. It’s peculiar, because the oldest modern demigod we know of by name is Luke, but there must have been some players in the war that were older than him.
  • Think about old campers coming back to visit and seeing their little siblings and bringing their kids!
  • There must be Hunters of Artemis who are daughters of the Big Three, which would add an incredibly interesting dynamic once Percy, Nico, Bianca, and Thalia emerged
  • Demeter’s kids could technically be eligible for the Great Prophecy, if we assume that “eldest gods” is used because the masculine form is dominant in the English language. This must have come up at least once over the 70 years that they were trying to figure out the prophecy, and I wonder how they came to the conclusion that her kids couldn’t be prophecy children.
  • How and when did the gods move to America? If they move with Western civilization, would they stay in England until America became a world power? Or did they sense the shift in the air as soon as the Revolution was won? Did George Washington lead the Revolution against the gods’ will (and have a huge fight with Athena about it)?
  • Literally how did Chiron not know about the Labyrinth entrance in the camp
  • When did the last Oracle die and like… who was she
  • When did Dionysus first come to camp
  • To what extent were the children of the Big Three involved in World War II and what happened to the ones under 16
  • To what extent were demigods involved in the Civil War
  • how many kids are in each cabin?
  • How many siblings does Annabeth have? are they really all blonde, and why, like does Athena just have a thing for blondes or something? does Annabeth like her siblings? is she the oldest?
  • Do Percy and Annabeth have actual friends at camp besides each other and Thalia and Grover?
  • Who are these famous demigods that we keep hearing about and like, do campers brag about their famous siblings ever? And do you honestly expect me to believe that no one in the camp besides Piper has ever been related to somebody famous? Like, hear me out: the gods definitely fuck celebrities all the time.
  • Are there any kids at camp with gay parents, because like… gods can do that (I’m looking at you, Athena)
  • How do things work at camp like where do they wash their clothes and does every cabin have bathrooms inside and how many bunks are in each cabin and which cabins are always sparse and which are always full?
  • Are they really not allowed to have technology? Surely the borders would protect them from attracting monsters when they’re using cellphones?
  • Is their a hierarchy at camp depending on godly parent? There must be. And there must be some people who are bitter about it. I bet the Zeus cabin used to rule the camp, back in the day
  • JUST GIVE ME SOME MORE DEMIGOD HISTORY, MAN. How was the camp founded? When was the camp founded? Oldest living demigods? Heroes of the Civil War and World War II and the Revolutionary War? Are all of the Beatles really demigods? Was camp ever segregated? Did George Washington have other demigods or was the army mostly mortal? Are we supposed to think that all wars throughout history had a demigod side and a mortal side? Who built the camp? Honestly, did they really only accept Olympian children until Percy came around? Like, frankly, I just don’t believe that it was never a problem until Luke???