Hank with an Eldritch Horror Reader
Here's another thing I wrote two years back! It was an interesting concept which I really liked, so I actually really enjoyed writing this request!
Hank J Wimbleton was a grunt of many things, but not one to be scared unless he had a good reason to be. There were many things in this world he did not understand, you were one of them. Upon meeting you, his first instinct would have been to either fight or run away - who could blame him, it was all he knew. No matter how many times you reassured him that the very last thing you wanted to do was to harm him, he’d draw his weapon, uncertain of whether or not he should believe your words.
Once you show no resistance towards him whatsoever and simply restrain him using your powers or other methods, that’s when, thrashing around as much as he could, he would start listening. You may or may not have seen a grunt up close, but this was your chance to finally examine one. As you scrutinise him from every possible angle Hank realises that you were simply curious about his being and finally lowers weapon.
Your voice would likely hurt his head and freeze the blood in his veins, so you might have to resort to telepathy or speak through a marionette, if you can find one. Though, once Hank’s interest in you has been piqued, he’d be more than happy to find you one. A lot of people in Nevada seem to be redundant in the first place. Regarding telepathy: You will be able to have a two-way conversation with Hank like that, but, for the most part, he doesn’t think in words. Still, he can do so, if needed.
If you’re on the rather small side, he will make an effort to pick you up, or hold you, and bring you back to base. Depending on whether you can float or not, this might be rather difficult, but he’ll try. If you’re large, however, then he will simply “tell” you to follow him. As an eldritch being you could likely either change your form or scare away anyone in your path in the first place, so he doesn’t particularly worry about anyone being stupid enough to attack you.
Spend time with him, he’ll get used to you more and more and, eventually, grow a bond with you. Proud, he’ll show you to Doc so he can figure out what you are, but do not be fooled. Hank wants to know what you are to some degree too. Once comfortable with you and certain you won’t harm him, he’ll start observing you, touching you to some degree. See how you react, how you feel, how you are.
Despite your conversations being, for the most part, one-sided, Hank will ask you directly what you are and if you’re some form of eldritch deity. Since you’re an amicable creature he can’t exactly wrap his head around, it’s worth a try.
Although he would like to do so to some degree, he won’t take you with him on missions. It’s his way of saying “I care a great deal about you, I don’t want you to die or worse even if you are capable of defending yourself.” If you really insist on aiding him, he will let you, begrudgingly. But beware that he will have your back. In fact, having you around will give him a greater reason to fight and improve his overall performance. Though, it will also be a major stress factor to him if something were to happen to you, so choose wisely.
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TW// GROOMING, MANIPULATION
breaking down tigerheartstar and dovewing and why i think its awful
ik I said that I dont really like warrior cats anymore but recently i've been thinking about some stuff regarding the series and its fandom and there's one thing that's been particularly bothering me. dovewing and tigerheart. it's just crazy to see the shift of support for tigerdove considering early 2010s warriors fandom seemed mixed on them. now there seems to be this equivocal support for them, probably because most of the fandom's exposure to the couple has been the recent books which frames them as man who loves his wife x burnt out prophecy kid who will do anything for her malewife. which theres nothing wrong with that dynamic, i think it's cute, but people really seem to forget about how tigerheart straight up groomed and treated dovewing awfully throughout oots and even in tigerheart's shadow.
it seems to be a forgotten fact that tigerheart was a full grown warrior by the time he was pursuing dovepaw, who was a newly made apprentice. for perspective, this was a 6-7 moon teenager with someone almost the age of her mentor (a little younger). people try to use the excuse "oh but they're cats" and "the age gap isnt that bad" but even the recent books acknowledge with frostpaw and splashtail, that a warrior and apprentice dating is WEIRD. tbf oots was released in the early 2000s, but the fact that canonically speaking the age gap is seen as a teenager and adult relationship gives me the ick.
it really puzzles me to see people get on ships like dustfern and bramblesquirrel (both of which i hate btw) for their age gaps but come up with every excuse in the books to defend tigerdove. its not even just the age gap too, again, their relationship has consisted of tigerheart manipulating and grooming dovepaw to do what he wants. in the first two books (esp the second book of oots) dovepaw is presented as someone who got attached to the cats from the journey and doesnt necessarily understand why they must act like they shouldnt exist anymore due to the borders. this is something that tigerheart LEARNS and actively takes advantage of when dovepaw questions why hes at their borders (tldr its dark forest stuff). he shifts the topic and then goes on about the journey and how he felt that they almost became friends, and that if they were in the same clan things would be easier. this may not seem like a big deal, but this goes on for the rest of their interactions whenever tiger needs to pressure her to do something she doesnt want (meeting up, trusting him, etc.)
He realizes that the subject of different borders resonates with her and uses it to his advantage whenever he wants something out of her. This can especially be seen in the next book, “Night Whispers”, which kickstarted their relationship. Dovepaw accidentally ran into ShadowClan territory while hunting, and Tigerheart happens to find her there. Once again, he gives her a speech about borders being meaningless, before asking her to meet up with him before the ShadowClan patrol catches them. There’s also other examples in later books where he coerces her into meeting up or trusting him since “that’s what friends are for” or even later in that book, where he manipulates her into using Ivypaw as a captive for herbs.
When you take this into account, plus him as a full grown warrior, starting a romantic relationship with a barely apprenticed Dovepaw who is shown as having a childish/ immature perception on romance/mates (such as her argument with Ivypaw and claiming that she should “find her own mate”), Tigerdove feels very much like grooming to me. According to the dictionary definition grooming is, “the action of attempting to form a relationship with a child or young person, with the intention of sexually assaulting them”. Of course, in this case, since it’s a young adult book, it’s to form a romantic relationship, which could also be another goal of grooming. Groomers tend to display manipulative behaviors towards the victims in order to coerce them into trusting them more. Whether that be through compliments, gifts, trying to resonate with them or make them feel special. They tend to try to get them to keep and “share” secrets, which is another tactic they utilize both to isolate the victim and to get them to feel more comfortable.
A lot of behaviors that Tigerheart displays towards Dovepaw falls under this, including the examples I mentioned. There are a couple of other comments that he makes which come off as creepy such as Dovepaw “being his favorite sister”, which as I established, is something a groomer would say in order to make the victim feel as though they’re special and garner their trust. Which is especially the case when you note that he makes that comment in reference to Dovepaw asking about his ties to Ivypaw, which he actively lies about, and quickly reassures her that there’s nothing going on.
This tactic of manipulation, where he either makes her feel special, or even love bombs and dissuade her from standing up for herself, doesn’t stop when she’s an apprentice. It continues when she’s a warrior, and is constantly used throughout OOTS and “Tigerheart’s Shadow”. At one point in the series, Dovewing and Tigerheart get into an argument about Dawnpelt wrongfully accusing Jayfeather of murder. When Tigerheart defends his sister, Dovewing stands up for Jayfeather, which prompts Tigerheart to try and manipulate her out of the conversation. He jumps straight to talking about how much he loved and missed her, and guilts her by asking why they had to argue like this, and why they couldn’t just “meet like before”.
As for Tigerheart's Shadow, he actively goes against what she wants (to raise her kits outside the clan) and actively pressures and guilts her into coming back, before she finally relents. He doesn't care about what SHE wants, it's always about him. Whether it be secretly meeting up, or in The Last Hope, he tries to pressure her to date him again (which she FINALLY refuses and scolds him for thinking about his own needs when they're right before a final battle. as she should).
It's especially upsetting in the newest book that tigerheart seems to be the only think at the center of her character. when she argues with ivypool, it's less about the two sister's interpersonal conflicts and more about her and tigerheart's relationship. which...feels like a lot of missed potential to me? i want them to argue, i want dovewing to stand up to herself against ivypool, but why does the entire conflict have to revolve around him? why can't dovewing have her own thoughts and feelings without it tying back to her awful husband?
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Northern Lights
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I heard a voice that cried, “Balder the Beautiful is dead, is dead!”
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Who knows what to call the lonely exhilaration of gazing out into a bright Northern sky? Who can name it?
Jill could.
It was the same feeling that came to her at the teetering edge of a cliff at the end of the world. The same feeling as when she said her goodbyes to Puddleglum and Scrubb before they freed the prince. It was the same feeling that engulfed her now, sitting in the professor’s library with a volume of poetry before her.
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The wild northern wastes were well named: utterly wild, perfectly desolate, and terribly Northern.
It was lonely there and often cold, but the sky was an endless whorl of gales and gray clouds. The stones were indigo under the pale winter sunlight, and at sunset they glowed a soft gold, as though lit from within. The gorges and moors lay before her, and Jill loved them for their vastness and their distance. Little grew in that country, but that which did was full of vigor. The grass was short and coarse. Every tree was victorious.
On a still, deep breathing winter night, Jill lay on her back beneath a covering sky. It seemed beautiful to her, rich and strong and glorious. Her eyes drank in the breadth of it until her tears began to blind her. Yet even then, she still couldn’t look away.
She felt bigger here in the wastes, like the landscape. Stronger, wider. The further she walked, the more she felt herself stretch out. One of these days, maybe, she would catch hold of herself at the edge and tug, and Jill Pole would open up clear as the Northern sky.
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And through the misty air passed the mournful cry of sunward sailing cranes.
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The thing that surprised Jill most about the battle with the serpent was this: there wasn’t any yelling. Always, it seemed, whenever she read stories about people fighting with swords, the combatants would let loose some guttural yell before their blows fell. They would scream and writhe in pain as they died. They would shout instructions to their fellows, “Look out!” or “Hit him there!” But the whole affair with the serpent passed with very little noise.
The poison-green coil constricted around the prince; he raised his arms and got clear, struck the serpent hard, and then Scrubb and Puddleglum dispatched the creature with heavy, hacking blows. The monster died writhing, but not screaming. And then it was over.
The thing that surprised Jill most about the moments before battle was, of course, the noise. She could hear her own heartbeat in her ears. She couldn’t stop listening to her own breathing. Every footstep rang out like a gong, and any words exchanged rang with a kind of finality that made them sound louder than anything.
“You are of high courage,” Rilian told her when it was over.
Yet the thing in Jill’s chest just then didn’t feel like courage. It was a deep breath, a plunge, and a release. It was loud and quiet all at once, till she was standing, blinking in the night air as snowballs whizzed round her, and maybe that was something like courage after all.
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And now, there was a stirring in her chest as she reread the words on the page. Sing no more / O ye bards of the North / Of Vikings and of Jarls! / Of the days of the Eld / preserve the freedom only / nor the deeds of blood!
She thought of grief. Of freedom.
The lonely ache in her belly grew stronger. She felt herself uplifted into the huge regions of sky that were just beyond those cliffs, weightless as the breath beneath her buoyed her up, further, further…
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When she saw Caspian up close, Jill thought that he looked like the sort of person who was meant to live in a castle. A silly thought, perhaps, since she knew he was a king– only she wasn’t thinking of Cair Paravel. No, Jill was picturing the ruins of an old British castle she’d visited once on holiday. She still remembered how the stonework had loomed over her, all towering arches and crumbling walls. That was where Caspian seemed to belong. He had an air of ancient tragedy about him.
When Rilian disappeared, all things had wept but one. The serpent coiled beneath the earth and flicked its forked tongue, spewing poison.
Now, the king half rose to bless his son. He whispered a few words as he caressed Rilian’s cheek, words meant only for those beloved ears. Jill saw Caspian’s lips move and wondered what a man like that could possibly say, when time ran so short.
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They laid him in his ship, with horse and harness, as on a funeral pyre. Odin placed a ring upon his finger, and whispered in his ear.
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Jill furtively took Myths of the Northmen and held it up to the professor with a question in her eyes. She was still shy around him and Miss Plummer, though she wished she wasn’t.
“Would you like to take that with you?”
“...Please.”
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It takes a certain kind of person to be exhilarated by the heights. You’ve got to love vastness more than you fear falling.
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They walked to the train station with an autumn wind blowing hard, and though Jill couldn’t fathom why, she turned and saw Lucy grinning, fierce and joyful– grinning and reaching a hand out towards her friend.
Jill reached back and grabbed it. “What will you do, once we’re back in Narnia?” she asked.
The wind blew harder. The feeling of anticipation grew and grew, until it felt so big that she couldn’t dream of containing it. And there was Lucy, holding Jill’s hand and laughing like it was easy.
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Preserve the freedom only, not the deeds of blood!
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The second time Jill went to Narnia, she found herself not at its edge, but at its end.
The thing about the Norse apocalypse is: it feels believable. It doesn’t reach beyond earth’s horizon to pull down hope beyond hope. It’s only the kind of courage that hopeless humans have: you are going to die, so you might as well die bravely.
They found the last king of Narnia bound to a tree. His eyes were faintly red from crying, and his wrists and ankles red from the coarseness of his fetters.
In the Norse myths, Loki broke free of his fetters at the end of the world. He escaped to the helm of a ship made from the fingernails of the dead.
The last king of Narnia fell forward onto the ground when Eustace cut his bonds. Jill crouched down beside him and watched as he rubbed feeling back into his legs. He wasn’t so much older than her, she thought. Jill was sixteen years old; the last king of Narnia could not be older than twenty-two.
In the myths, the gods were ancient, hewn from the bodies of giants old as the earth.
Jill put out a hand and helped the last king of Narnia to his feet. Not for the last time, she shivered. Something deep inside her (deeper than her chest, than her heart, than the marrow of her bones, deep as her soul, deeper) was singing an elegy and she didn’t know why, or how, or where it had come from. The king clutching her hand, who could have been her older brother, would have no heir.
Yet when he asked, “Will you come with me?” Jill could only smile.
“Of course,” she said. “It’s you we’ve come to help.”
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And the voice forever cried, "Balder the Beautiful is dead, is dead!"
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“This really is Narnia at last,” murmured Jill. The springtime wood had little in common with the wintry lands she had traveled the last time she was here– but it awakened the same feelings of Northernness in her chest.
Their party may as well have been the only people in the world, for how isolated their little wooden path seemed. Yet it wasn’t lonely, really, cocooned in all that green with the wind in the leaves and the primroses nodding and blue of the sky peeking through above.
Jewel told stories about what ordinary life was like when there was peace here. As he spoke, Jill could almost hear the trees' voices speaking out of the living past, whispering, stay, stay. She was caught up to a great height, looking down across a rich, lovely plain full of woods and waters and cornfields, which spread away and away till it got thin and misty from distance.
“Oh Jewel–” Jill said with a dreamy sigh, “wouldn’t it be lovely if Narnia just went on and on– like what you say it has been?”
She needn’t be a queen, as Susan and Lucy had been, but Jill would’ve liked to stay. She would've liked it all to stay, if it could. She might have been a woodmaid in a place like this: with the turn of the seasons, the swaying trees, swords into plowshares. Oh, if only she could stay!
Ahead, the last king of Narnia was softly singing a marching song. Jill tilted her head back and let warm shafts of sun caress her face.
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I saw the pallid corpse of the dead sun borne through the Northern sky.
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“So,” said the last king of Narnia, “Narnia is no more.”
He tried to send them back. Jill shook her head. It was very loud and very quiet. “No, no, no, we won’t. I don’t care what you say. We’re going to stick by you whatever happens, aren’t we Eustace?”
They couldn’t go back anyway. Neither would they flee, not south across the mountains nor North into the great wide wastes. No, they would stay. They slept in a holly grove on the edge of ruin, waiting for the bonfires to light.
Jill slept fitfully, but in between she dreamed. She was high up in the air, buffeted by clouds and pierced by shafts of silver sunlight.
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They all died, in the myths. Jill knew that. It seemed beautiful and brave when she read it in her book, tucked away safe in the Professor’s library. It was terrifying now– and yet it was beautiful and brave still.
The dogs came bounding up, every one of them, running up to the king and his men with their tails wagging. One of them leapt at Jill and licked her face, tongue roughly lapping up the sweat and tears that had dried on her cheeks.
“Show us how to help, show us how, how, how!” the dogs were barking, almost ebullient in their enthusiasm. Jill bit back a sob. How lovely, she thought. How terribly beautiful. How dreadfully brave.
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So perish the old Gods!
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The white rock gleamed like a moon in the darkness when Jill finally reached it. She ran back to it alone, her hands shaking, while her friends stayed forward with their gleaming swords and Jewel’s indigo horn.
The while rock gleamed like the moon. Jill’s first shot flew wide and landed in the soft grass. But she had another arrow on her string the next instant. It was speed that mattered, not aim. Speed, and turning aside when she cried, so as not to drip tears on her bowstring.
The white rock gleamed. In the myths, a wolf devoured the moon. Peter’s wolf, slain many thousand years ago in this world, opened his jaw wide and darkness fell over everything.
Her next arrow found its mark. After that, she lost track. She pulled, and she prayed that her hands kept still another minute.
The unique thing–maybe the appealing thing–about the Norse myths, was that they told men to serve gods who were admittedly fighting with their backs to the wall and would certainly be defeated in the end. Jill let loose another arrow, felt the white rock at her back, and she knew that the clawing fear–beauty–bravery deep in her gut was the same feeling that she felt on the heights. The same feeling, but a different face. You’ve got to love vastness more than you fear falling.
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“I feel in my bones,” said Poggin, “that we shall all, one by one, pass through that dark door before morning. I can think of a hundred deaths that I would rather have died.”
“It is indeed a grim door,” said Tirian. “It is more like a mouth.”
“Oh, can’t we do anything to stop it,” said Jill. Better to be dashed to the ground than it was to be devoured.
“Nay, fair friend,” said Jewel. “It may be for us the door to Aslan’s country and we sup at his table tonight.”
A hand tangled itself in her hair and started to pull. Jill braced herself hard, for a moment, until her strength gave out. She was standing on the edge of a high, Northern cliff. She took another step, and fell.
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Perhaps when the moment comes, our bite will prove better than our howls. If not, we shall have to confess that two millennia of Christianity have not yet brought us to the level of the Stoics and Vikings. For the worst (according to the flesh) that a Christian need face is to die in Christ and rise in Christ; some were content to die, and not to rise, with Father Odin.
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The world inside the stable was beautiful. It made Jill’s chest ache in all the loveliest ways.
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Build it again, O ye bards, fairer than before!
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just finished episode 3 here are my thoughts
also i wrote this first part at the end of my review, but I'm gonna move it here to the top because it got a bit long and I feel like it's more important to state than my review
overall, i feel like the issues i have with the show are more of a me issue. i feel like I (and a lot of us book fans honestly) were hyping up the show to be one-to-one with the book when it's been said by rick and a lot of people working on the show that it was more of a new rendition rather than an exact book-to-screen adaptation
i know that when i watched the first two episodes with my friends, they didn't see any of those issues because they hadn't read the books at all, or at least not in a long time
one example, the issue everyone has with gabe's characterization is one my friend didn't pick up on, she recognized from the start that gabe was abusive and said something like "I'm scared what he'll do to sally if she doesn't get that car back to him"
those of us who live and breathe the books recognize that he's "not as abusive" or that it's a different kind of abuse in the books, so the characterization threw us all off in a way that it didn't for people who haven't read the books
so going forward, i'm probably going to keep that more in mind with the series and reviewing it. i think from a plot standpoint, it still manages to stay true to the book in the ways that really matter, and even emphasizes a lot of the key themes of the book more clearly, while still being extremely different, and I honestly think that's pretty cool
with that being said, bullet point review under the cut (reminder I wrote this before writing the above section and don't plan on changing it)
to begin with, I'm gonna be honest, I feel like they're changing a lot more than I would prefer with the plot. I'm still enjoying the series a bunch, but the differences are very striking to me
now going in chronological order with the episode, percy's reaction to the oracle was pretty funny
the whole thing of gabe being the one to tell him the prophecy looked stupid, but I feel like there was no way to translate it from the book without it looking stupid. i feel like when he's told the prophecy in the book, the creepy description is what makes it feel serious and the weight of the prophecy makes you forget how it's being told, and I don't really think that translates very well to film
also in the book the words are very clearly not words that gabe would say, but I feel like the way the lines were delivered in the episode was a bit off, like it just sounded like gabe with nothing creepy about it
percy choosing annabeth instead of annabeth pretty much forcing herself into the quest is an interesting choice that I'm not sure if I like or hate yet
it feels like they're turning percy and annabeth more into enemies-to-lovers than it actually is in the books
I love grover so fuckin much, grover's never been one of my favorite characters, but disney series-wise, he's definitely my favorite so far
i don't know why, but the little pool in the center of the poseidon cabin is my favorite thing ever, it just feels right
percy and luke's talk in his cabin is just <3
also the way luke went "it's a gift...from my dad" i just felt the WEIGHT of that, everything that it meant
also looking back on that, i love how both annabeth's hat and luke's shoes show the different ways they react to a gift from their parents. the hat is annabeth's prized possession that she doesn't want to give up, while the first time we see luke's shoes he gives them away and clearly doesn't appreciate them as a gift
i loved it since we saw it in the trailer, but thalia's tree is so fuckin cool, i love that it straight up just looks like a person standing guard
also the way they're pronouncing thalia's name is giving me life, my brother made fun of me for pronouncing it that way as a kid and i started calling her talia but to know 10 year old me was RIGHT, incredible
grover's little song had me dying, and percy using that song later at aunty em's was hilarious
ANNABETH IN THE GAS STATION, she was so adorable, that scene owns my heart now. her just grabbing every flavor of that candy was so damn precious
I'm sad we didn't get to see the bus blown up, they could've made it such a funny scene. have the trio run to the woods like "wow I'm glad we got out of there alive" then they look over at the bus and it just explodes. that could've been peak comedy there
the whole talk between alecto and Annabeth was interesting, it does make sense for them to have some sort of history considering what happened with thalia, so i think that's a good change, makes things more interesting
the way they got to aunty em's kind of annoyed me, i feel like they could have easily shown a passage of time and had them get there in the same way as the books. idk, i really liked how they ended up there in the books because they were just hungry kids that wanted burgers
also alecto being there felt a bit weird to me
when i heard they were taking a more sympathetic approach to medusa, i honestly got really nervous for how that would turn out, but i think they handled it as well as they could have. i feel like they said it in a way where the story could have gone either way; one way where medusa was poseidon's girlfriend, and another way where she was tricked and raped by him
she also goes on to both call him a monster and say that they loved each other, so again, i feel like it could still go either way with those lines, though it probably leans more towards the girlfriend perspective (even though I'm pretty sure that's the less myth-accurate perspective, but when has pjo been myth-accurate)
the way they killed medusa TERRIFIED ME, like annabeth my girl, you realize how badly that could have turned out right, having an invisible medusa
also how did that help percy in the slightest, he was still attacking something he couldn't look at so...how did that help
I'm hoping alecto being petrified isn't permanent, hades had better bring her back, i liked alecto. also isn't she important to some part of the plot in a later book? she's the only fury i remember the name of so she has to be important right?
their argument in the basement was an interesting change, i feel like to me it kind of just felt like conflict for conflict's sake. i don't think they felt super in-character in that section. their friendship dynamic feels a bit off through most of this episode honestly, but i think their dynamic's gonna be perfect going forward now that they've gotten past that conflict
percy saying the "i am impertinent" line perfectly. that whole exchange felt like it was ripped right out of the book, i loved that
i know everyone's been shitting on lin manuel miranda being in the show, but i still love the man, and that end scene was incredible
him in the elevator was so funny, and you just know he loved percy shipping medusa's head to olympus, he thought that shit was hilarious
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