This is the funniest headline because they used his name like we all know him😭
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@sheepfulsheepyard
This is the funniest headline because they used his name like we all know him😭
representing well

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The Calypso sequence in BOTL is very good.
For the romance, yes - I do think it is frankly astonishing that Percy and Calypso manage to be such a memorable couple despite interacting for (legitimately, no joke) one SINGULAR chapter out of a five-book narrative. And the sequence works well when it comes to further complicating Percy and Annabeth's relationship at the very worst possible time (although the Rachel-quest plot would have been plenty. It still adds to the nuance and the drama of it all in a way that did rewire my adolescent brain chemistry).
But Percy's encounter with Calypso truly does permanently change him - and it's because what she offers him is safety and avoidance. Both of which Percy desperately wants.
I think it is obvious that Percy is captivated and does fall for Calypso as a person. But it's impossible to divorce her from her island - and that's kind of the whole point of the whole sequence, isn't it?
The chapter is literally titled "I Take A Permanent Vacation." Ironic, funny, but also very poignant to frame it this way. Percy is literally burning to death and hurtling towards the earth like a comet the chapter before, he's so injured he can't stand up for more than a couple minutes at a time, he's comatose for like half the time he's even on the island. Nothing about this is anyone's idea of a dream vacation. But for the first time in his entire experience in the mythological world, he's in a beautiful paradise that truly is a beautiful paradise - not a trap or a gimmick. The protection is real. And the company is good. And so in that regard it very much does read like a vacation from his daily struggle of world-ending stakes and constant danger. He's offered the chance to have this forever.
What's beautiful about this offer is that it truly comes with no strings attached. He can stay as long as he wants and leave whenever he wants. It's the most convenient, most pleasant path to immortality you could ever imagine. He doesn't have to sacrifice his humanity to achieve it.
When Calypso makes her offer, she specifically contextualizes it in terms of avoiding the war and the prophecy. Two things which the reader already knows: Percy does NOT want to face.
"You would never age or die. You could leave the fight to others, Percy Jackson. You could escape your prophecy.”
And the reason it works so well is because he really, really does want this:
I stared at the horizon. The first red streaks of dawn were lightening the sky. I could stay here forever, disappear from the earth. I could live with Calypso, with invisible servants tending to my every need. We could grow flowers in the garden and talk to songbirds and walk on the beach under perfect blue skies. No war. No prophecy. No more taking sides.
It's an offer for literal escapism. To a kid whose identity is partially formed around the concept of never feeling safe - even more than that, to a kid whose very existence is perceived as such a threat that the gods have discussed killing him to minimize collateral damage. And he has just had to come to terms with the fact that he is dangerous and he really can cause very severe damage to the world.
The thing about this offer is that it's not even real, it's an illusion - should Percy actually do this, there's no reason to believe that Kronos' conquest would not touch Ogygia. She's the daughter of Atlas, imprisoned for fighting on Kronos' side in the first war. She's probably getting broken out, at least at some point, even if it takes them a few hudred years or so to get around to it - or perhaps the magic of Ogygia (enforced by the gods, at least in PJO canon) would simply stop binding Calypso once Olympus is overthrown. Regardless, it doesn't matter - because Percy's decision is not about reality. It's actually the opposite. When faced with a chance to avoid his fate without anyone knowing - Hephaestus has explicitly said that he didn't tell any of Percy's friends that he's alive because he wasn't sure if he was coming back! - what will he do? Is he in this war by choice, or because he has no other option? It's a reinforcement of his decision to claim the prophecy to protect Nico from it at the end of TTC, but I would argue that it's stronger, because nobody is watching him in this moment but Calypso, who wants him to stay. There's nothing to be gained for Percy by leaving - nobody is going to know how selfless this decision is. He doesn't get credit for this moment of heroism. It's not showy. And he chooses to keep it private after he returns.
This decision also comes on the heels of Calypso and Percy's conversation about why she fought for Kronos in the first war. Percy's worldview has been challenged before, but really only by Luke, the antagonist. But this is coming from someone Percy likes, admires, associates with goodness. And she asks him a question that Percy will struggle to answer: "do you support the gods because they are good, or because they are your family?”
This question is going to be a really, really important one in the next book, and this moment sets up for that perfectly.
It's really no wonder that he specifically asked the gods to set her free as part of his wish. It's also no wonder that he leaves this encounter feeling like she'll always be his biggest "what if." Yes - romantic, sure. But it was much more than that. And it did change him.
What is so compelling about Percy and Annabeth's conflict over Luke is that they're both right and they're both wrong.
Percy thinks Luke has committed atrocities that make him worthy of death. And he's not wrong. Annabeth thinks Luke has been manipulated by Kronos and still has good in him, and she's not wrong.
I think it is easier to oversimplify Percy's perspective than it is Annabeth's - Luke betrays Percy and tries to kill him repeatedly and so Percy hates his guts out of spite. He therefore can't see why Annabeth keeps defending him. But Percy's rage and hatred towards Luke are justified and logical and continually reinforced by the narrative.
A 500-pound stained glass crab sculpture at BWI Marshall Airport, Maryland.
Babianca and babico playing aww aww the aw

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one of hoo’s foundational aspects that made me immediately go “this series doesnt get it/doesnt hit the mark” is that rick gave each new member of the seven an insane batshit specialized set of powers to shortcut justifying their inclusion in the prophecy—leo’s case might be the worst offender, with his inclusion being practically prescribed thanks to tia callida and gaea meddling so early on in his life. so the assemblage of characters for the SGP ended up as “we were special therefore we are part of this prophecy,” as opposed to the first series’ approach wherein percy becomes the GP hero after a progressive series of events, particularly thalia’s red herring and his own choice to save nico. the first series took pains to show us that yes, fate shapes the story, but character choices are capable of shaping and even possibly rising above prophecy, in line with overarching themes of personal agency and generational cycles. in the first series, percy and the big three children are specifically, intentionally, notably outliers in terms of power, which is what makes their presence in the narrative so impactful when they do appear. the new members of the seven are part of the SGP simply because the author says they are, vis-a-vis “we are the gods’ specialest little soldiers, look how much things i can make go kaboom!” but it 1) takes away the impressiveness that initially came with the big three children’s singularity, and 2) means that hoo has no personal emotional character stakes tied into the SGP other than the vague apocalyptic threat, which we know the characters will defeat anyway. and it’s not like rick even did a good job exploring the hoo characters’ powers or their implications so it was really fucked from the start lmao
brushbug banging out the tunes
Cassandra Cain’s Speaking Patterns
I was trying to write some fic and started saving a bunch of comic panels to analyze Cass’s speech patterns, so here’s my notes for myself and others! Most of the panels are taken from more recent stuff, like Birds of Prey (2023), Batgirls (2022) and Batgirl (2024).
I have nine points:
Only speaking when necessary
Typically monotone
Sentence Structure
On the job vs off the job
Slang
Facial Expressions and Body Language
Miscellaneous
My personal headcanons (still with some evidence)
I've also been forced to split this post up, since I can't add more than ten images per post :(
1: Only speaking when necessary
Unsurprisingly, Cass doesn’t talk much. This is especially true in group situations, since she doesn’t need to drive any conversation.
[Birds of Prey, Issue #2: Zannah and Black Canary are discussing plans, going back and forth about how to get onto Themyscira. Cass adds “or they’ll be on high alert.”]
The panel above is from a scene showing the Birds strategizing, and this is the only time Cass talks. She’s silent the rest of the time.
For one-on-one situations, she still doesn’t expand much, preferring single-word sentences.
[Batgirl (2024), Issue #2: Lady Shiva dropping some exposition, and Cass asking a question with one word.]
In tense situations, she can forget to speak ‘properly’, dropping words like ‘I’ll’ in the panel below:
[Batgirl (2024), Issue #2: Cass fights Kalden the Unseen after he hurts her friend.]
Also, she’ll talk more casually with people she’s comfortable with, like Steph!
[Batgirls, Issue #4: Cass and Steph banter a bit before being interrupted by Barbara.]
2: Typically monotone
Cass sounds very monotone, a lot of the time. She barely ends her sentences with exclamation marks or asks rhetorical questions. It’s fun to see her contrast her with characters who are more excitable/long-winded!
[Birds of Prey, Issue #7: Cass and Bertha go back and forth after being beaten in a fight.]
Cass also keeps up her usual tone in most fights. Here she is, battling a giant squid creature, focused as ever.
[Spirit World, Issue #3: Cass chides her teammates for bickering at each other rather than focusing on the fight.]
When in more alarming situations, she’ll raise her voice like everyone else. It’s uncommon, but only because it’s uncommon for her to be overwhelmed.
[Spirit World, Issue #4: A mysterious force takes control of Cass and Constantine, Cass looks scared, shouting “Can’t control… my body!”]
Once again, she’s more expressive with Steph. She’s more comfortable with her, and matches Steph’s energy when they’re both excited.
[Batgirls (2022), Issue #2: Steph and Cass exclaim “Bondo?!” at the same time, christening the car.]
3: Sentence Structure
Short Sentences with No Commas
As said before, Cass doesn’t talk more than she has to. Where most would use a comma, she ends each phrase with a period. She also drops a lot of ‘unnecessary’ speech.
Birds of Prey #1
[Birds of Prey, issue #1: Batgirl talks to Black Canary, where she greets her by just saying ‘Black Canary.’ without a hello.]
If she can be understood with just a word, she’ll only say that word.
[Batgirls, issue #1: Cass replies with ‘Soap. Towel. Favourite robe.’ when asked if she needs anything.]
[Batgirls, issue #1: Cass says ‘Movement. Grumpy neighbor.’ when Steph asks what’s going on.]
Ellipses
Cass uses a lot of ellipses, especially in the early days. She trails off often, and speaks slowly.
[Batgirl (2000), Issue #7: Batgirl tries to convince Batman she’s ready, stuttering.]
4: On the job vs off the job.
Cass is much more at ease and confident with her sentences as Batgirl. She trails off a lot more as a civilian.
[Batgirl (2008), Issue #2: Cass talking to a guy in her class, having an awkward conversation (likely also awkward since it’s implied to be romantic, but still).]
In the exact same issue, Cass as Batgirl speaks a lot more confidently.
[Batgirl (2008), Issue #2: Cass and Marque discuss their plans and trade information.]
5: Slang
Cass canonically picked up dialogue from watching TV, and uses some slang. Although she picked up English almost like a second language, she doesn’t speak like she was taught in a formal, classroom setting.
[Spirit world, issue #4: Cass says ‘gotcha’.] [Birds of Prey, Issue #9, Cass says ‘sorta’ in her sentence.]
[Batgirls, issue #1: Cass says ‘...I dunno’.]
6: Facial expressions & Body Language
If Cass can get her point across just using her face or other non-verbal gestures, that’s her go to. No point using words when your face does the trick!
The page below is one of my favourites, since it really shows Cass communicating a lot without words.
[Birds of prey, issue #7: Cass makes her opinion on potential outfits known with her facial expressions.]
She’d also rather nod or shake her head, as opposed to saying ‘yes’ or ‘no’.
[Batgirls #3: Cass nods her head.][Spirit World #4: Cass shakes her head.]
7: Miscellaneous
Cass can’t storytell well at all:
[Birds of Prey, Issue #1: The team tells Cass she’s really bad at telling stories.]
Cass uses a lot of emojis:
[Nightwing issue #79: Babs remarking that Cass can’t help herself when it comes to emojis.]
8: Veering into Headcanon Territory:
Cass has a very basic grasp on describing what she’s feeling. In my mind, this translates to a very basic grasp of her feelings as a whole.
In the panel below, Cass is very confused about why she’s putting in effort towards her father, and describes him as terrible. She pauses a lot, indicating she’s having a hard time putting together how she feels:
[Batgirl (2000) #65: Cass tells David Cain he ‘sucks’, very simple vocabulary for everything that’s gone down between them.]
I also think Cass has echolalia, which is the ‘meaningless repetition of words spoken by another person’. This only happens a few times but I’ll peddle it.
[Batgirls #2: Cass repeats Stephs words ‘still sucking’, without much reason.]
Conclusion:
Obviously, different writers write her differently, and I’ve tried to grab from a lot of different series to get the main points down. It’s also important to think about what point of Cass’s life you’re writing. In the current stories, Cass can express basically anything she needs to (except anything too complicated like feelings, lol), but in the early 2000s she was struggling with simple sentences. And of course, she didn’t speak at all for the majority of her life! Anyways, I hope you find this guide useful.
This is amazing! This is what I WISHED I could do when I made this analysis of how Cass uses names - you were able to get into a lot of the ambiguous information that exists in the spaces where data isn’t. It’s also really nice to see some threads follow through her whole history - I restricted things to before Flashpoint, and have only read Birds of Prey Cass since then.
Good thoughts, really appreciate them.
Only day you can rb this
This post is like a fucking rosetta stone I've had the same theme song tagged in at least 6 languages so far
had to make a gif of this bit

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gothic horror is when there's a location. cosmic horror is when there's an unauthorized fucking Thing. folk horror is when you're outside.
counterpoint
cosmic horror is when the Thing is Not Familiar, the Location Makes No Fucking Sense, and the Outside is BIG.
gothic horror is when The Thing is Of Your Own Making, the Location has a Deeply Bloody History, and the Outside is Wet and Cold and Is Caging You In.
folk horror is when the Thing Should Be Familiar, But Is Not, the Location Should Be Pleasing, But Is Not, and the Outside is Trying Very Hard To Kill You
Suppose this a prequel to this post.
The snowball starts rolling and his heart has skipped a beat.
This all started with the realisation that Natsu is the fish profile kinda guy
Coco, the Brim Hat Witch Spoiler tagged since it does show some stuff from the manga..but her brimmed cap outfit is so awesome, I thought it'd be a great contrast to my other illustration of Coco surrounded by her loved ones🥺

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this duck LOVES pink drink
Her just pouring the puree straight over the duck's head because she knows there's no getting that duck out of the cup is killing me
a Damian Wayne moodboard.