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henry-fox-biggest-stan · 4 months

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Me because the Percy Jackson series is actually about the different cycles of abuse, which include abuse within romantic partners (Sally and Gabe), abuse between “family” (Percy and Gabe, Meg and Nero), abuse from people in positions of power (the gods over the demigods), and so on, oppression than ranges from having adhd in the public educational system to being forced to perform quests for your entire life for people who could not care less about your well-being, how camp is both somewhere safe but also the bittersweet taste of arriving there and realizing you can never escape, you can never be normal your life will never be the same. There’s no turning back. How Luke was right on theory but not on acts, how these kids got around the idea to never make it to 18, and how there was nothing they could do about that. How many of them sat in their cabins, counting down the days until their sibling/friend/partner came back, only for them to not come back at all. Was it ever their turn to leave someone waiting behind? Annabeth, Percy, Grover, Thalia, the whole deal with Nico, Bianca, Silena, and every single demigod. Children of Apollo were the camp healers, was it a choice? A moral obligation? In camp Jupiter there’s Jason, there’s Reyna, Piper’s story, Leo’s story, the way Jason and Piper’s relationship was heteronormativity pushed by Hero because both of them were queer but she wanted a perfect couple. After being gone missing, people searched for Percy, but Jason? The devastation of Leo and Jason’s relationship, how Leo never knew his feelings for him were required, how both Leo and Piper thought they knew Jason but it was all fake memories, how Jason never fully got his memories back. Hazel’s story, Frank’s story, how Nico and Leo’s mutual dislike for each other comes from a place of understatement. How they both see themselves in each other and look away as one looks away from a mirror when they dislike their reflection. They are both so similar, almost the same. They both are also autistic, except Leo is always masking, and Nico never really learnt how to. Neurodivergence, adhd and dyslexia. Being a demigod is a metaphor for neurodiversity. Was Dionysus actual punishment looking over camp? Or was it spending years and years seeing demigods come and grow and die? Knowing there was nothing he could do about it? Knowing than if he was with the gods, he would be causing their deaths, instead of grieving them? Does Chiron feel hopeless? Memory, names, ghosts. Blades, swords, arrows, blood. So many blood, blood-stained hands. Monsters follow you before coming to camp, did they hurt you family? It was all your fault. They don’t want you to come back, you bring danger, you’re more dangerous than the monster, you are a monster yourself, after all the Minotaur was a demigod too. Leo killed his mother, Zeus killed Maria, Sally got taken to the underworld, Tristan was held hostage, Fredrick and his wife and sons got attacked by monsters, and who’s fault it was? You run away you keep on running but you’ll never outrun the danger because the danger is yourself, you are at fault, how do you run away now?

The odyssey, the iliad, the statues in museums, you look at them, do you see yourself? Do you see any resemble? Your nose kinda looks like theirs, the shape of their lips, the width of their hands, but that’s a lie you’re nothing like them, never will be, is that a tragedy? Do you want to be like them? Do you want to be a hero and die a heroic death? Or do you simply wish to visit your family on Christmas and live the life your little cousins will eventually live? Maybe you’ll never see the life they’ll live, maybe you’ll die before seeing it. There’s nothing to be done about that, you just have to accept it. Don’t you feel the rage, bubbling inside of you, making your hands shake? What can you do with it? Not much, remember last time, remember Luke, what did he accomplish? Nothing, blood, screams. You remember the war, you remember the city, maybe it was the first or the second time you set a foot on it, now every single time you do (if you do) in the future, it will be tainted. Look in that corner, that used to be destroyed. Look at that building, my friend died against that wall, that road was filled with blood. Was it ours? Theirs? Is there even a difference between us? Should there be? Why were you on your side? Why were they in theirs? Who was right? Who was wrong? You can go anywhere but home, maybe you’re not welcomed, maybe there’s no home to return, maybe it’s better for everyone if you don’t return. Nico keeps Bianca’s jacket, Leo taps iloveyou on Morse code. Piper was forced to be someone she wasn’t, she thought she was someone she was not, she was forced to think that. Who is she? Is she even who she thought she was? Jason still don’t remembers everything, and him? Who is he? Nico will never get his memories back, he wonders about his mom, did he have more family back then? Grandparents, aunts? Hazel is a walking curse. Silena and Clarisse as Patroklos and Achilles. Apollo seeing the brutal reality of demigods’ life on trials of apollo.

Your hand shakes, the sword you hold moves, you feel it’s weight, do you want to hold it? Do you have to?

The dead come back to haunt us, Nico sees Bianca everywhere, Leo still remembers his mother’s voice, Hazel came back from the dead, Frank holds his life on his pocket, Thalia lost a brother twice, Leo didn’t really die, Jason died instead, Percy wished to drown himself, half of camp still waits for their brother to come back, even if it has been months, even if it has been years. Luke’s mother still waits, was she crazy? The campers who thought to recognize their friend’s face for a second before remembering than it couldn’t possibly be them, were they crazy too? Who was crazier? Luke’s mother who did not remember, or the campers who did? The underworld has no mercy only justice, but the world has no justice only mercy. You might get mercy, but you never will get justice. Was it fair anything than happened to them? You might be spared in a war or in a battle out of mercy, out of pity, out of recognition, but that didn’t stop you from having to fight in it, that didn’t stop you from having to wield the sword. Spare all the people you want, turn a blind eye to whatever you want, mercy? sure, but you were still holding the sword, you were still supposed to fight, you still weren’t in charge of your life. How was that justice? How was that fair? Names had power, even their names had more power than your life, even the letters making up their names were more powerful than your fists, could you ever win? Could you ever win when their names were so powerful they could not be pronounced but your life was so worthless they didn’t even care to learn yours? To learn the names of the ones than died because of them. You can’t say the name of you sister’s killer, but you’re still expected to burn an offering to them each night at dinner.

#ahahah this is my super cool and canon version of Percy Jackson than exits on my head ok #can you tell i hate the pjo gods like #a LOT #*exists #pjo #luke castellan #rick riordan #toa #hoo

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caesarflickermans · 4 months

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A TENTH ANNIVERSARY INTERVIEW WITH SUZANNE COLLINS

On the occasion of the tenth anniversary of the publication of The Hunger Games, author Suzanne Collins and publisher David Levithan discussed the evolution of the story, the editorial process, and the first ten years of the life of the trilogy, encompassing both books and films. The following is their written conversation.

NOTE: The following interview contains a discussion of all three books in The Hunger Games Trilogy, so if you have yet to read Catching Fire and Mockingjay, you may want to read them before reading the full interview.

transcript below

DAVID LEVITHAN: Let’s start at the origin moment for The Hunger Games. You were flipping channels one night . . .

SUZANNE COLLINS: Yes, I was flipping through the channels one night between reality television programs and actual footage of the Iraq War, when the idea came to me. At the time, I was completing the fifth book in The Underland Chronicles and my brain was shifting to whatever the next project would be. I had been grappling with another story that just couldn’t get any air under its wings. I knew I wanted to continue to explore writing about just war theory for young audiences. In The Underland Chronicles, I’d examined the idea of an unjust war developing into a just war because of greed, xenophobia, and long-standing hatreds. For the next series, I wanted a completely new world and a different angle into the just war debate.

DL: Can you tell me what you mean by the “just war theory” and how that applies to the setup of the trilogy?

SC: Just war theory has evolved over thousands of years in an attempt to define what circumstances give you the moral right to wage war and what is acceptable behavior within that war and its aftermath. The why and the how. It helps differentiate between what’s considered a necessary and an unnecessary war. In The Hunger Games Trilogy, the districts rebel against their own government because of its corruption. The citizens of the districts have no basic human rights, are treated as slave labor, and are subjected to the Hunger Games annually. I believe the majority of today’s audience would define that as grounds for revolution. They have just cause but the nature of the conflict raises a lot of questions. Do the districts have the authority to wage war? What is their chance of success? How does the reemergence of District 13 alter the situation? When we enter the story, Panem is a powder keg and Katniss the spark.

DL: As with most novelists I know, once you have that origin moment — usually a connection of two elements (in this case, war and entertainment) — the number of connections quickly increases, as different elements of the story take their place. I know another connection you made early on was with mythology, particularly the myth of Theseus. How did that piece come to fit?

SC: I was such a huge Greek mythology geek as a kid, it’s impossible for it not to come into play in my storytelling. As a young prince of Athens, he participated in a lottery that required seven girls and seven boys to be taken to Crete and thrown into a labyrinth to be destroyed by the Minotaur. In one version of the myth, this excessively cruel punishment resulted from the Athenians opposing Crete in a war. Sometimes the labyrinth’s a maze; sometimes it’s an arena. In my teens I read Mary Renault’s The King Must Die, in which the tributes end up in the Bull Court. They’re trained to perform with a wild bull for an audience composed of the elite of Crete who bet on the entertainment. Theseus and his team dance and handspring over the bull in what’s called bull-leaping. You can see depictions of this in ancient sculpture and vase paintings. The show ended when they’d either exhausted the bull or one of the team had been killed. After I read that book, I could never go back to thinking of the labyrinth as simply a maze, except perhaps ethically. It will always be an arena to me.

DL: But in this case, you dispensed with the Minotaur, no? Instead, the arena harkens more to gladiator vs. gladiator than to gladiator vs. bull. What influenced this construction?

SC: A fascination with the gladiator movies of my childhood, particularly Spartacus. Whenever it ran, I’d be glued to the set. My dad would get outPlutarch’s Lives and read me passages from “Life of Crassus,” since Spartacus, being a slave, didn’t rate his own book. It’s about a person who’s forced to become a gladiator, breaks out of the gladiator school/arena to lead a rebellion, and becomes the face of a war. That’s the dramatic arc of both the real-life Third Servile War and the fictional Hunger Games Trilogy.

DL: Can you talk about how war stories influenced you as a young reader, and then later as a writer? How did this knowledge of war stories affect your approach to writing The Hunger Games?

SC: Now you can find many wonderful books written for young audiences that deal with war. That wasn’t the case when I was growing up. It was one of the reasons Greek mythology appealed to me: the characters battled, there was the Trojan War. My family had been heavily impacted by war the year my father, who was career Air Force, went to Vietnam, but except for my myths, I rarely encountered it in books. I liked Johnny Tremain but it ends as the Revolutionary War kicks off. The one really memorable book I had about war was Boris by Jaap ter Haar, which deals with the Siege of Leningrad in World War II.

My war stories came from my dad, a historian and a doctor of political science. The four years before he left for Vietnam, the Army borrowed him from the Air Force to teach at West Point. His final assignment would be at Air Command and Staff College. As his kids, we were never too young to learn, whether he was teaching us history or taking us on vacation to a battlefield or posing a philosophical dilemma. He approached history as a story, and fortunately he was a very engaging storyteller. As a result, in my own writing, war felt like a completely natural topic for children.

DL: Another key piece of The Hunger Games is the voice and perspective that Katniss brings to it. I know some novelists start with a character and then find a story through that character, but with The Hunger Games (and correct me if I��m wrong) I believe you had the idea for the story first, and then Katniss stepped into it. Where did she come from? I’d love for you to talk about the origin of her name, and also the origin of her very distinctive voice.

SC: Katniss appeared almost immediately after I had the idea, standing by the bed with that bow and arrow. I’d spent a lot of time during The Underland Chronicles weighing the attributes of different weapons. I used archers very sparingly because they required light and the Underland has little natural illumination. But a bow and arrow can be handmade, shot from a distance, and weaponized when the story transitions into warfare. She was a born archer.

Her name came later, while I was researching survival training and specifically edible plants. In one of my books, I found the arrowhead plant, and the more I read about it, the more it seemed to reflect her. Its Latin name has the same roots as Sagittarius, the archer. The edible tuber roots she could gather, the arrowhead-shaped leaves were her defense, and the little white blossoms kept it in the tradition of flower names, like Rue and Primrose. I looked at the list of alternative names for it. Swamp Potato. Duck Potato. Katniss easily won the day.

As to her voice, I hadn’t intended to write in first person. I thought the book would be in the third person like The Underland Chronicles. Then I sat down to work and the first page poured out in first person, like she was saying, “Step aside, this is my story to tell.” So I let her.

DL: I am now trying to summon an alternate universe where the Mockingjay is named Swamp Potato Everdeen. Seems like a PR challenge. But let’s stay for a second on the voice — because it’s not a straightforward, generic American voice. There’s a regionalism to it, isn’t there? Was that present from the start?

SC: It was. There’s a slight District 12 regionalism to it, and some of the other tributes use phrases unique to their regions as well. The way they speak, particularly the way in which they refuse to speak like citizens of the Capitol, is important to them. No one in District 12 wants to sound like Effie Trinket unless they’re mocking her. So they hold on to their regionalisms as a quiet form of rebellion. The closest thing they have to freedom of speech is their manner of speaking.

DL: I’m curious about Katniss’s family structure. Was it always as we see it, or did you ever consider giving her parents greater roles? How much do you think the Everdeen family’s story sets the stage for Katniss’s story within the trilogy?

SC: Her parents have their own histories in District 12 but I only included what’s pertinent to Katniss’s tale. Her father’s hunting skills, musicality, and death in the mines. Her mother’s healing talent and vulnerabilities. Her deep love for Prim. Those are the elements that seemed essential to me.

DL: This completely fascinates me because I, as an author, rarely know more (consciously) about the characters than what’s in the story. But this sounds like you know much more about the Everdeen parents than found their way to the page. What are some of the more interesting things about them that a reader wouldn’t necessarily know?

SC: Your way sounds a lot more efficient. I have a world of information about the characters that didn’t make it into the book. With some stories, revealing that could be illuminating, but in the case of The Hunger Games, I think it would only be a distraction unless it was part of a new tale within the world of Panem.

DL: I have to ask — did you know from the start how Prim’s story was going to end? (I can’t imagine writing the reaping scene while knowing — but at the same time I can’t imagine writing it without knowing.)

SC: You almost have to know it and not know it at the same time to write it convincingly, because the dramatic question, Can Katniss save Prim?, is introduced in the first chapter of the first book, and not answered until almost the end of the trilogy. At first there’s the relief that, yes, she can volunteer for Prim. Then Rue, who reminds her of Prim, joins her in the arena and she can’t save her. That tragedy refreshes the question. For most of the second book, Prim’s largely out of harm’s way, although there’s always the threat that the Capitol might hurt her to hurt Katniss. The jabberjays are a reminder of that. Once she’s in District 13 and the war has shifted to the Capitol, Katniss begins to hope Prim’s not only safe but has a bright future as a doctor. But it’s an illusion. The danger that made Prim vulnerable in the beginning, the threat of the arena, still exists. In the first book, it’s a venue for the Games; in the second, the platform for the revolution; in the third, it’s the battleground of Panem, coming to a head in the Capitol. The arena transforms but it’s never eradicated; in fact it’s expanded to include everyone in the country. Can Katniss save Prim? No. Because no one is safe while the arena exists.

DL: If Katniss was the first character to make herself known within story, when did Peeta and Gale come into the equation? Did you know from the beginning how their stories would play out vis-à-vis Katniss’s?

SC: Peeta and Gale appeared quickly, less as two points on a love triangle, more as two perspectives in the just war debate. Gale, because of his experiences and temperament, tends toward violent remedies. Peeta’s natural inclination is toward diplomacy. Katniss isn’t just deciding on a partner; she’s figuring out her worldview.

DL: And did you always know which worldview would win? It’s interesting to see it presented in such a clear-cut way, because when I think of Katniss, I certainly think of force over diplomacy.

SC: And yet Katniss isn’t someone eager to engage in violence and she takes no pleasure in it. Her circumstances repeatedly push her into making choices that include the use of force. But if you look carefully at what happens in the arena, her compassionate choices determine her survival. Taking on Rue as an ally results in Thresh sparing her life. Seeking out Peeta and caring for him when she discovers how badly wounded he is ultimately leads to her winning the Games. She uses force only in self-defense or defense of a third party, and I’m including Cato’s mercy killing in that. As the trilogy progresses, it becomes increasingly difficult to avoid the use of force because the overall violence is escalating with the war. The how and the why become harder to answer.

Yes, I knew which worldview would win, but in the interest of examining just war theory you need to make the arguments as strongly as possible on both sides. While Katniss ultimately chooses Peeta, remember that in order to end the Hunger Games her last act is to assassinate an unarmed woman. Conversely, in The Underland Chronicles, Gregor’s last act is to break his sword to interrupt the cycle of violence. The point of both stories is to take the reader through the journey, have them confront the issues with the protagonist, and then hopefully inspire them to think about it and discuss it. What would they do in Katniss’s or Gregor’s situation? How would they define a just or unjust war and what behavior is acceptable within warfare? What are the human costs of life, limb, and sanity? How does developing technology impact the debate? The hope is that better discussions might lead to more nonviolent forms of conflict resolution, so we evolve out of choosing war as an option.

DL: Where does Haymitch fit into this examination of war? What worldview does he bring?

SC: Haymitch was badly damaged in his own war, the second Quarter Quell, in which he witnessed and participated in terrible things in order to survive and then saw his loved ones killed for his strategy. He self-medicates with white liquor to combat severe PTSD. His chances of recovery are compromised because he’s forced to mentor the tributes every year. He’s a version of what Katniss might become, if the Hunger Games continues. Peeta comments on how similar they are, and it’s true. They both really struggle with their worldview. He manages to defuse the escalating violence at Gale’s whipping with words, but he participates in a plot to bring down the government that will entail a civil war.

The ray of light that penetrates that very dark cloud in his brain is the moment that Katniss volunteers for Prim. He sees, as do many people in Panem, the power of her sacrifice. And when that carries into her Games, with Rue and Peeta, he slowly begins to believe that with Katniss it might be possible to end the Hunger Games.

DL: I’m also curious about how you balanced the personal and political in drawing the relationship between Katniss and Gale. They have such a history together — and I think you powerfully show the conflict that arises when you love someone, but don’t love what they believe in. (I think that resonates particularly now, when so many families and relationships and friendships have been disrupted by politics.)

SC: Yes, I think it’s painful, especially because they feel so in tune in so many ways. Katniss’s and Gale’s differences of opinion are based in just war theory. Do we revolt? How do we conduct ourselves in the war? And the ethical and personal lines climax at the same moment — the double tap bombing that takes Prim’s life. But it’s rarely simple; there are a lot of gray areas. It’s complicated by Peeta often holding a conflicting view while being the rival for her heart, so the emotional pull and the ethical pull become so intertwined it’s impossible to separate them. What do you do when someone you love, someone you know to be a good person, has a view which completely opposes your own? You keep trying to understand what led to the difference and see if it can be bridged. Maybe, maybe not. I think many conflicts grow out of fear, and in an attempt to counter that fear, people reach for solutions that may be comforting in the short term, but only increase their vulnerability in the long run and cause a lot of destruction along the way.

DL: In drawing Gale’s and Peeta’s roles in the story, how conscious were you of the gender inversion from traditional narrative tropes? As you note above, both are important far beyond any romantic subplot, but I do think there’s something fascinating about the way they both reinscribe roles that would traditionally be that of the “girlfriend.” Gale in particular gets to be “the girl back home” from so many Westerns and adventure movies — but of course is so much more than that. And Peeta, while a very strong character in his own right, often has to take a backseat to Katniss and her strategy, both in and out of the arena. Did you think about them in terms of gender and tropes, or did that just come naturally as the characters did what they were going to do on the page?

SC: It came naturally because, while Gale and Peeta are very important characters, it’s Katniss’s story.

DL: For Peeta . . . why baking?

SC: Bread crops up a lot in The Hunger Games. It’s the main food source in the districts, as it was for many people historically. When Peeta throws a starving Katniss bread in the flashback, he’s keeping her alive long enough to work out a strategy for survival. It seemed in keeping with his character to be a baker, a life giver.

But there’s a dark side to bread, too. When Plutarch Heavensbee references it, he’s talking about Panem et Circenses, Bread and Circuses, where food and entertainment lull people into relinquishing their political power. Bread can contribute to life or death in the Hunger Games.

DL: Speaking of Plutarch — in a meta way, the two of you share a job (although when you do it, only fictional people die). When you were designing the arena for the first book, what influences came into play? Did you design the arena and then have the participants react to it, or did you design the arena with specific reactions and plot points in mind?

SC: Katniss has a lot going against her in the first arena — she’s inexperienced, smaller than a lot of her competitors, and hasn’t the training of the Careers — so the arena needed to be in her favor. The landscape closely resembles the woods around District 12, with similar flora and fauna. She can feed herself and recognize the nightlock as poisonous. Thematically, the Girl on Fire needed to encounter fire at some point, so I built that in. I didn’t want it too physically flashy, because the audience needs to focus on the human dynamic, the plight of the star-crossed lovers, the alliance with Rue, the twist that two tributes can survive from the same district. Also, the Gamemakers would want to leave room for a noticeable elevation in spectacle when the Games move to the Quarter Quell arena in Catching Fire with the more intricate clock design.

DL: So where does Plutarch fall into the just war spectrum? There are many layers to his involvement in what’s going on.

SC: Plutarch is the namesake of the biographer Plutarch, and he’s one of the few characters who has a sense of the arc of history. He’s never lived in a world without the Hunger Games; it was well established by the time he was born and then he rose through the ranks to become Head Gamemaker. At some point, he’s gone from accepting that the Games are necessary to deciding they’re unnecessary, and he sets about ending them. Plutarch has a personal agenda as well. He’s seen so many of his peers killed off, like Seneca Crane, that he wonders how long it will be before the mad king decides he’s a threat not an asset. It’s no way to live. And as a gamemaker among gamemakers, he likes the challenge of the revolution. But even after they succeed he questions how long the resulting peace will last. He has a fairly low opinion of human beings, but ultimately doesn’t rule out that they might be able to change.

DL: When it comes to larger world building, how much did you know about Panem before you started writing? If I had asked you, while you were writing the opening pages, “Suzanne, what’s the primary industry of District Five?” would you have known the answer, or did those details emerge to you when they emerged within the writing of the story?

SC: Before I started writing I knew there were thirteen districts — that’s a nod to the thirteen colonies — and that they’d each be known for a specific industry. I knew 12 would be coal and most of the others were set, but I had a few blanks that naturally filled in as the story evolved. When I was little we had that board game, Game of the States, where each state was identified by its exports. And even today we associate different locations in the country with a product, with seafood or wine or tech. Of course, it’s a very simplified take on Panem. No district exists entirely by its designated trade. But for purposes of the Hunger Games, it’s another way to divide and define the districts.

DL: How do you think being from District 12 defines Katniss, Peeta, and Gale? Could they have been from any other district, or is their residency in 12 formative for the parts of their personalities that drive the story?

SC: Very formative. District 12 is the joke district, small and poor, rarely producing a victor in the Hunger Games. As a result, the Capitol largely ignores it. The enforcement of the laws is lax, the relationship with the Peacekeepers less hostile. This allows the kids to grow up far less constrained than in other districts. Katniss and Gale become talented archers by slipping off in the woods to hunt. That possibility of training with a weapon is unthinkable in, say, District 11, with its oppressive military presence. Finnick’s trident and Johanna’s ax skills develop as part of their districts’ industries, but they would never be allowed access to those weapons outside of work. Also, Katniss, Peeta, and Gale view the Capitol in a different manner by virtue of knowing their Peacekeepers better. Darius, in the Hob, is considered a friend, and he proves himself to be so more than once. This makes the Capitol more approachable on a level, more possible to befriend, and more possible to defeat. More human.

DL: Let’s talk about the Capitol for a moment — particularly its most powerful resident. I know that every name you give a character is deliberate, so why President Snow?

SC: Snow because of its coldness and purity. That’s purity of thought, although most people would consider it pure evil. His methods are monstrous, but in his mind, he’s all that’s holding Panem together. His first name, Coriolanus, is a nod to the titular character in Shakespeare’s play who was based on material from Plutarch’s Lives. He was known for his anti-populist sentiments, and Snow is definitely not a man of the people.

DL: The bond between Katniss and Snow is one of the most interesting in the entire series. Because even when they are in opposition, there seems to be an understanding between them that few if any of the other characters in the trilogy share. What role do you feel Snow plays for Katniss — and how does this fit into your examination of war?

SC: On the surface, she’s the face of the rebels, he’s the face of the Capitol. Underneath, things are a lot more complicated. Snow’s quite old under all that plastic surgery. Without saying too much, he’s been waiting for Katniss for a long time. She’s the worthy opponent who will test the strength of his citadel, of his life’s work. He’s the embodiment of evil to her, with the power of life and death. They’re obsessed with each other to the point of being blinded to the larger picture. “I was watching you, Mockingjay. And you were watching me. I’m afraid we have both been played for fools.” By Coin, that is. And then their unholy alliance at the end brings her down.

DL: One of the things that both Snow and Katniss realize is the power of media and imagery on the population. Snow may appear heartless to some, but he is very attuned to the “hearts and minds” of his citizens . . . and he is also attuned to the danger of losing them to Katniss. What role do you see propaganda playing in the war they’re waging?

SC: Propaganda decides the outcome of the war. This is why Plutarch implements the airtime assault; he understands that whoever controls the airwaves controls the power. Like Snow, he’s been waiting for Katniss, because he needs a Spartacus to lead his campaign. There have been possible candidates, like Finnick, but no one else has captured the imagination of the country like she has.

DL: In terms of the revolution, appearance matters — and two of the characters who seem to understand this the most are Cinna and Caesar Flickerman, one in a principled way, one . . . not as principled. How did you draw these two characters into your themes?

SC: That’s exactly right. Cinna uses his artistic gifts to woo the crowd with spectacle and beauty. Even after his death, his Mockingjay costume designs are used in the revolution. Caesar, whose job is to maintain the myth of the glorious games, transitions into warfare with the prisoner of war interviews with Peeta. They are both helping to keep up appearances.

DL: As a writer, you studiously avoided the trope of harkening back to the “old” geography — i.e., there isn’t a character who says, “This was once a land known as . . . Delaware.” (And thank goodness for that.) Why did you decide to avoid pinning down Panem to our contemporary geography?

SC: The geography has changed because of natural and man-made disasters, so it’s not as simple as overlaying a current map on Panem. But more importantly, it’s not relevant to the story. Telling the reader the continent gives them the layout in general, but borders are very changeful. Look at how the map of North America has evolved in the past 300 years. It makes little difference to Katniss what we called Panem in the past.

DL: Let’s talk about the D word. When you sat down to write The Hunger Games, did you think of it as a dystopian novel?

SC: I thought of it as a war story. I love dystopia, but it will always be secondary to that. Setting the trilogy in a futuristic North America makes it familiar enough to relate to but just different enough to gain some perspective. When people ask me how far in the future it’s set, I say, “It depends on how optimistic you are.”

DL: What do you think it was about the world into which the book was published that made it viewed so prominently as a dystopia?

SC: In the same way most people would define The Underland Chronicles as a fantasy series, they would define The Hunger Games as a dystopian trilogy, and they’d be right. The elements of the genres are there in both cases. But they’re first and foremost war stories to me. The thing is, whether you came for the war, dystopia, action adventure, propaganda, coming of age, or romance, I’m happy you’re reading it. Everyone brings their own experiences to the book that will color how they interpret it. I imagine the number of people who immediately identify it as a just war theory story are in the minority, but most stories are more than one thing.

DL: What was the relationship between current events and the world you were drawing? I know that with many speculative writers, they see something in the news and find it filtering into their fictional world. Were you reacting to the world around you, or was your reaction more grounded in a more timeless and/or historical consideration of war?

SC: I would say the latter. Some authors — okay, you for instance — can digest events quickly and channel them into their writing, as you did so effectively with September 11 in Love Is the Higher Law. But I don’t process and integrate things rapidly, so history works better for me.

DL: There’s nothing I like more than talking to writers about writing — so I’d love to ask about your process (even though I’ve always found the word process to be far too orderly to describe how a writer’s mind works).

As I recall, when we at Scholastic first saw the proposal for The Hunger Games Trilogy, the summary of the first book was substantial, the summary for the second book was significantly shorter, and the summary of the third book was . . . remarkably brief. So, first question: Did you stick to that early outline?

SC: I had to go back and take a look. Yes, I stuck to it very closely, but as you point out, the third book summary is remarkably brief. I basically tell you there’s a war that the Capitol eventually loses. Just coming off The Underland Chronicles, which also ends with a war, I think I’d seen how much develops along the way and wanted that freedom for this series as well.

DL: Would you outline books two and three as you were writing book one? Or would you just take notes for later? Was this the same or different from what you did with The Underland Chronicles?

SC: Structure’s one of my favorite parts of writing. I always work a story out with Post-its, sometimes using different colors for different character arcs. I create a chapter grid, as well, and keep files for later books, so that whenever I have an idea that might be useful, I can make a note of it. I wrote scripts for many years before I tried books, so a lot of my writing habits developed through that experience.

DL: Would you deliberately plant things in book one to bloom in books two or three? Are there any seeds you planted in the first book that you ended up not growing?

SC: Oh, yes, I definitely planted things. For instance, Johanna Mason is mentioned in the third chapter of the first book although she won’t appear until Catching Fire. Plutarch is that unnamed gamemaker who falls into the punch bowl when she shoots the arrow. Peeta whispers “Always” in Catching Fire when Katniss is under the influence of sleep syrup but she doesn’t hear the word until after she’s been shot in Mockingjay. Sometimes you just don’t have time to let all the seeds grow, or you cut them out because they don’t really add to the story. Like those wild dogs that roam around District 12. One could potentially have been tamed, but Buttercup stole their thunder.

DL: Since much of your early experience as a writer was as a playwright, I’m curious: What did you learn as a playwright that helped you as a novelist?

SC: I studied theater for many years — first acting, then playwriting — and I have a particular love for classical theater. I formed my ideas about structure as a playwright, how crucial it is and how, when it’s done well, it’s really inseparable from character. It’s like a living thing to me. I also wrote for children’s television for seventeen years. I learned a lot writing for preschool. If a three-year-old doesn’t like something, they just get up and walk away from the set. I saw my own kids do that. How do you hold their attention? It’s hard and the internet has made it harder. So for the eight novels, I developed a three-act structure, with each act being composed of nine chapters, using elements from both play and screenplay structures — double layering it, so to speak.

DL: Where do you write? Are you a longhand writer or a laptop writer? Do you listen to music as you write, or go for the monastic, writerly silence?

SC: I write best at home in a recliner. I used to write longhand, but now it’s all laptop. Definitely not music; it demands to be listened to. I like quiet, but not silence.

DL: You talked earlier about researching survival training and edible plants for these books. What other research did you have to do? Are you a reading researcher, a hands-on researcher, or a mix of both? (I’m imagining an elaborate archery complex in your backyard, but I am guessing that’s not necessarily accurate.)

SC: You know, I’m just not very handy. I read a lot about how to build a bow from scratch, but I doubt I could ever make one. Being good with your hands is a gift. So I do a lot of book research. Sometimes I visit museums or historic sites for inspiration. I was trained in stage combat, particularly sword fighting in drama school; I have a nice collection of swords designed for that, but that was more helpful for The Underland Chronicles. The only time I got to do archery was in gym class in high school.

DL: While I wish I could say the editorial team (Kate Egan, Jennifer Rees, and myself ) were the first-ever readers of The Hunger Games, I know this isn’t true. When you’re writing a book, who reads it first?

SC: My husband, Cap, and my literary agent, Rosemary Stimola, have consistently been the books’ first readers. They both have excellent critique skills and give insightful notes. I like to keep the editorial team as much in the dark as possible, so that when they read the first draft it’s with completely fresh eyes.

DL: Looking back now at the editorial conversations we had about The Hunger Games — which were primarily with Kate, as Jen and I rode shotgun — can you recall any significant shifts or discussions?

SC: What I mostly recall is how relieved I was to know that I had such amazing people to work with on the book before it entered the world. I had eight novels come out in eight years with Scholastic, so that was fast for me and I needed feedback I could trust. You’re all so smart, intuitive, and communicative, and with the three of you, no stone went unturned. With The Hunger Games Trilogy, I really depended on your brains and hearts to catch what worked and what didn’t.

DL: And then there was the question of the title . . .

SC: Okay, this I remember clearly. The original title of the first book was The Tribute of District Twelve. You wanted to change it to The Hunger Games, which was my name for the series. I said, “Okay, but I’m not thinking of another name for the series!” To this day, more people ask me about “the Gregor series” than “The Underland Chronicles,” and I didn’t want a repeat of that because it’s confusing. But you were right, The Hunger Games was a much better name for the book. Catching Fire was originally called The Ripple Effect and I wanted to change that one, because it was too watery for a Girl on Fire, so we came up with Catching Fire. The third book I’d come up with a title so bad I can’t even remember it except it had the word ashes in it. We both hated it. One day, you said, “What if we just call it Mockingjay?” And that seemed perfect. The three parts of the book had been subtitled “The Mockingjay,” “The Assault,” and “The Assassin.” We changed the title to Mockingjay and the first part to “The Ashes” and got that lovely alliteration in the subtitles. Thank goodness you were there; you have far better taste in titles. I believe in the acknowledgments, I call you the Title Master.

DL: With The Hunger Games, the choice of Games is natural — but the choice of Hunger is much more odd and interesting. So I’ll ask: Why Hunger Games?

SC: Because food is a lethal weapon. Withholding food, that is. Just like it is in Boris when the Nazis starve out the people of Leningrad. It’s a weapon that targets everyone in a war, not just the soldiers in combat, but the civilians too. In the prologue of Henry V, the Chorus talks about Harry as Mars, the god of war. “And at his heels, Leash’d in like hounds, should famine, sword, and fire crouch for employment.” Famine, sword, and fire are his dogs of war, and famine leads the pack. With a rising global population and environmental issues, I think food could be a significant weapon in the future.

DL: The cover was another huge effort. We easily had over a hundred different covers comped up before we landed on the iconic one. There were some covers that pictured Katniss — something I can’t imagine doing now. And there were others that tried to picture scenes. Of course, the answer was in front of us the entire time — the Mockingjay symbol, which the art director Elizabeth Parisi deployed to such amazing effect. What do you think of the impact the cover and the symbol have had? What were your thoughts when you saw this cover?

SC: Oh, it’s a brilliant cover, which I should point out I had nothing to do with. I only saw a handful of the many you developed. The one that made it to print is absolutely fantastic; I loved it at first sight. It’s classy, powerful, and utterly unique to the story. It doesn’t limit the age of the audience and I think that really contributed to adults feeling comfortable reading it. And then, of course, you followed it up with the wonderful evolution of the mockingjay throughout the series. There’s something universal about the imagery, the captive bird gaining freedom, which I think is why so many of the foreign publishers chose to use it instead of designing their own. And it translated beautifully to the screen where it still holds as the central symbolic image for the franchise.

DL: Obviously, the four movies had an enormous impact on how widely the story spread across the globe. The whole movie process started with the producers coming on board. What made you know they were the right people to shepherd this story into another form?

SC: When I decided to sell the entertainment rights to the book, I had phone interviews with over a dozen producers. Nina Jacobson’s understanding of and passion for the piece along with her commitment to protecting it won me over. She’s so articulate, I knew she’d be an excellent person to usher it into the world. The team at Lionsgate’s enthusiasm and insight made a deep impression as well. I needed partners with the courage not to shy away from the difficult elements of the piece, ones who wouldn’t try to steer the story to an easier, more traditional ending. Prim can’t live. The victory can’t be joyous. The wounds have to leave lasting scars. It’s not an easy ending but it’s an intentional one.

DL: You cowrote the screenplay for the first Hunger Games movie. I know it’s an enormously tricky thing for an author to adapt their own work. How did you approach it? What was the hardest thing about translating a novel into a screenplay? What was the most rewarding?

SC: I wrote the initial treatments and first draft and then Billy Ray came on for several drafts and then our director, Gary Ross, developed it into his shooting script and we ultimately did a couple of passes together. I did the boil down of the book, which is a lot of cutting things while trying to retain the dramatic structure. I think the hardest thing for me, because I’m not a terribly visual person, was finding the way to translate many words into few images. Billy and Gary, both far more experienced screenwriters and gifted directors as well, really excelled at that. Throughout the franchise I had terrific screenwriters, and Francis Lawrence, who directed the last three films, is an incredible visual storyteller.

The most rewarding moment on the Hunger Games movie would have been the first time I saw it put together, still in rough form, and thinking it worked.

DL: One of the strange things for me about having a novel adapted is knowing that the actors involved will become, in many people’s minds, the faces and bodies of the characters who have heretofore lived as bodiless voices in my head. Which I suppose leads to a three-part question: Do you picture your characters as you’re writing them? If so, how close did Jennifer Lawrence come to the Katniss in your head? And now when you think about Katniss, do you see Jennifer or do you still see what you imagined before?

SC: I definitely do picture the characters when I’m writing them. The actress who looks exactly like my book Katniss doesn’t exist. Jennifer looked close enough and felt very right, which is more important. She gives an amazing performance. When I think of the books, I still think of my initial image of Katniss. When I think of the movies, I think of Jen. Those images aren’t at war any more than the books are with the films. Because they’re faithful adaptations, the story becomes the primary thing. Some people will never read a book, but they might see the same story in a movie. When it works well, the two entities support and enrich each other.

DL: All of the actors did such a fantastic job with your characters (truly). Are there any in particular that have stayed with you?

SC: A writer friend of mine once said, “Your cast — they’re like a basket of diamonds.” That’s how I think of them. I feel fortunate to have had such a talented team — directors, producers, screenwriters, performers, designers, editors, marketing, publicity, everybody — to make the journey with. And I’m so grateful for the readers and viewers who invested in The Hunger Games. Stories are made to be shared.

DL: We’re talking on the occasion of the tenth anniversary of The Hunger Games. Looking back at the past ten years, what have some of the highlights been?

SC: The response from the readers, especially the young audience for which it was written. Seeing beautiful and faithful adaptations reach the screen. Occasionally hearing it make its way into public discourse on politics or social issues.

DL: The Hunger Games Trilogy has been an international bestseller. Why do you think this series struck such an important chord throughout the world?

SC: Possibly because the themes are universal. War is a magnet for difficult issues. In The Hunger Games, you have vast inequality of wealth, destruction of the planet, political struggles, war as a media event, human rights abuses, propaganda, and a whole lot of other elements that affect human beings wherever they live. I think the story might tap into the anxiety a lot of people feel about the future right now.

DL: As we celebrate the past ten years and look forward to many decades to come for this trilogy, I’d love for us to end where we should — with the millions of readers who’ve embraced these books. What words would you like to leave them with?

SC: Thank you for joining Katniss on her journey. And may the odds be ever in your favor.

#thg #the hunger games #suzanne collins #katniss everdeen #catching fire #mockingjay #tbosas #thg book club #saw they took the pdf version down smh

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saphirered · 1 year

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Heyy!! So lately I've been in a very domestic, fluffy feel. SOOO NOW IM PROJECTING THAT onto this request rq teehee. I was wanting to do one for Percy, with season two out I missed the angsty gunslinger on screen. Set after the campaign, maybe during winter's crest? As of you and Percy coming back to whitestone for the occasion, its decided to round up all of Vox Machina. For a night of fun amongst friends, with a whole lot of ale to go around and stories to tell. Percy seems distant lately, staying more to his workshop and genuinely his own tasks. Not like his workshop isn't already a second room, it's just ODD to say the least. As the day rolls around, everyone starts to arrive at whitestones castle. With happy greetings and laughs, that night's activities begin. To sum it up , Percy proposes to reader. Thinking it would be a nice gesture to pull. Also cause I know this extra bitch would make a ring for you. I know it sounds cheesy but like hear me outtt!! The moment just sounded so sweet to me and I NEEDED to send this in. I'm a sucker for this cute content <3 Byeee Saph!!! :D

A proposal you asked for, a proposal you'll get. Fluff and cheese and all of the things. Sorry for the wait but I hop the 3.6k word count made up for it. Hope you enjoy and thanks for requesting! 😘

“I’ll be right with you, dear!” He’s spoken and shouted those words over the noise of his ongoing projects far too many times. Percy feels somewhat guilty for all but banishing you from his workshop and hiding this one secret project of his. He’s been so caught up in it; it has to be perfect after all. But that did mean he couldn’t spend as much time with you and his mind is elsewhere whenever he does leave his workshop. He’s seen your accepting but sad smiles whenever he wanders off. His heart hurts when he finishes late and you’re already in bed, asleep and alone curled up on your side because he missed yet another dinner. It’s reached the point where he’s been considering just spilling he beans. He doesn’t want to hurt you over some stupid secret but you’re so damn understanding and accepting. Of course you’re disappointed when he does join you for a meal and he informs you he has errands to run and won’t be back until late. You’d simply give him a kiss and wish him good luck. He’s barely seen you outside of your overlapping responsibilities. He just feels bad. But then there’s a breakthrough!

The door to his workshop slams open, or rather off its hinges entirely. Now very few people are able to break a deadbolted several inch thick heavy steel door clean off its hinges and that immediately signals him; it’s not you at that door. Given the shadow that all but blocks the light from entering He knows enough. He’s all but grabbed by the shoulders and lifted from his seat and can barely settle his things before he’s dragged out of his workshop.

“Come on Percy, you’re not going to let us have all the fun, are you?” Scanlan speaks in a sing-song voice when he’s pushed into the hallway and sees the gnome casually leaning against the wall like the arsehole he is.

“I was perfectly content finishing my work instead.” He counters but Scanlan wouldn’t have it.

“We’re having a night out, like old times! Let’s drink dry a tavern! Start some fights!” The gnome tries to persuade him and while anything coming out of Scanlan’s mouth should always be questioned, He can’t help but long for some normalcy. No matter how much he might pretend to hate the ruckus his friends cause which inevitably ended with them getting kicked out of the establishment, district or even city, he likes it and misses it. And before he know it he’s spiralling in memories of you, covering his back while he tries to fight off that minotaur barkeep, and the time where you smashed that stein in pieces thug’s head. He also thinks of the conversations you’ve had, the things you learned about each other, and the sometimes drunken ramblings where your questionable theories actually hold some weight. He misses it all. He misses the glint in your eye right before you’re about to absolutely decimate some card players. He misses your laughter at Keyleth’s horrible jokes, and your caring side when she has a little too much. He misses your little battles of charm with Vex as the two of you attempt to have the group drink for free and negate the expense of the damages done to the establishment or people.

Percy is so caught in his mind that he automatically walks with when Scanlan and Grog begin to move. He doesn’t even put up a fight. He’ll have this one night. He’ll enjoy it. Then he realises how bloody stupid he is.

“Excuse me. I’ll meet you there.” He turns on his heels but comes face to face with Grog’s chest.

“Nuh-uh! Pike said she won’t let us have any ale if we don’t bring you back.” Grog pouts at the thought of being refused ale. No surprise there.

“And what’s your motive?” Percy wonders out loud. He already knows the answer and Scanlan just raises an eyebrow implying the same.

“You really wanna know?”

“Point taken.” Percy shakes his head, takes a step back from Grog but that doesn’t mean he’s not craning his neck to stare up at him. “If you have to come along, be my guest. I just need to get something from my workshop. That is all.” Scanlan shrugs at Grog. Grog shrugs back. Scanlan shrugs again. So does Grog. Percy’s already sick of this so he just starts walking and they follow whispering not so inconspicuously. He still choses to block him out.

Once back at the workshop he engages the safety door; not ideal but at least it wards off snoopers. He walks over to his work bench, sits down and pulls open one of the drawers under it. He pulls out two bands of precious metal, notices they’re a bit dirty and quickly cleans them with a rag. He sees Scanlan peeking around the corner. The gnome knows not to enter his workshop but Grog has no such reservations, not even when he tried to ingest some very caustic materials.

“Ooh! What are those for?” Grog exclaims trying to peak over his shoulder.

“What? What is it Grog? Get out of the way I can’t see. Ugh.” Scanlan tries to look around the goliath blocking his view right now.

“Nothing concerning you.” Percy replies but Grog talks over him.

“They’re fancy rings. Super shiny.” He says and Percy just sighs, pockets the set of rings and gets up walking around Grog and back towards the doorway.

“You’ve been making some jewelled cock rings or something? I might have a commission for ya. Something with diamonds-“ Scanlan keeps going but Percy tunes him out. He’s had plenty of time to practice ignoring the bard after all. They continue their journey to the tavern Vox Machina had chosen.

The Tavern is already lively with people and music by the time they enter. The rest of Vox Machina had already taken up a table and safeguarded it from any thieves with death stares for those who didn’t recognise them. They’d already started dwindling the top shelf by the looks of it. You’re leaning your elbow on the back of Vex’ chair as she plays a game with Keyleth. You point at a card but in doing so, with some sleight of hand exchange it for Vex to gain the better hand. You haven’t noticed him yet, or so it seems. So Percy casually walks up beside you, lets his hand drift to your back to draw your attention and when you look over your shoulder, whatever words he wanted to say, fall completely silent. His lips part but no words leave. You chuckle and rise fully, brush your fingers along his arm and press your lips to his in a greeting.

“Hello to you too.” You grin when you pull back and Percy’s somewhat come to his senses. You pass some coins to Vex who takes them with a ‘thank you, darling’ and keeps playing her card game with the druid.

“What was that for?”

“Well, I may or may not have lost a bet.” You lace your fingers with his and pull him along to the abandoned seats only to see yours has been dragged off to another table. You have half the mind to demand it back but haven’t had nearly enough to drink to start a tavern brawl this early into the night, so you just push Percy to sit in the remaining empty chair and sit yourself down across his lap.

“Do elaborate.” His arm wraps around your waist as you lean over the table to grab the bottle of wine and an empt glass. You pour a drink and hand it to him while Pike slides over your own glass and you wink a thanks. She raises her cup.

“Vex said you’d walk through the door willingly because you didn’t want to make a fool of yourself. I said Grog would drag you by the back of your coat while Scanlan loudly announced our esteemed presence to this good folk in song.” He gives you a disapproving look. You hide your smile behind your glass. “Oh please, not as if it would have been unlikely.” The look fades very slowly as it only puts more truth to your statement. Were it any other situation he might have been the victim of just such a scene.

“I don’t get it! Why do you always keep winning?” Keyleth hiccups and Pike and you share a look as the cleric quickly takes Keyleth’s cup, downs it, and fills it with water before putting it back in its previous place. You exchange a nod.

“That’s because she’s cheating.” Vex might as well have shot him then and there given the look Percy receives at his comment.

“Are you calling me a cheater, Percy?” Her eyes narrow leading you to interpose yourself between the two; an easily achieved feat given you’re in his lap. You tap his arm, telling him to let it go.

“I’m merely saying you apply different rules to the game than commonly accepted.”

“I knew Vex wasn’t cheating.” Grog mumbles but gets his bubble burst pretty quickly. He still doesn’t get it though. An argument ensues though none of it serious. Keyleth tries to steal a card from the deck using her druidcraft but doesn’t pan out well. To be fair, drunk Keyleth and magic use have not and will never go well together, Voice of the Tempest or not. Before you know it some other patrons rather rudely insists you and your friends take this elsewhere or they’ll make you. You should have known the moment Grog smiled, this wouldn’t end well. And in a matter of seconds a fight ensued. It spread like wildfire like any tavern brawl does. You let them fight it out, stay seated with Percy as you two clink your glasses together.

“So how has your day been?”

“Uneventful until now.” Percy speaks casually. “And yours?” You bite the inside of your cheek in the way he knows you to do when you’re trying to formulate a nice answer as opposed to a more unfiltered one.

“Eventful. Given our friends arrived a couple of hours ago. You’re welcome by the way. I managed to keep them from exploring the clocktower on their own.” You take a sip of your wine.

“Oh thank the gods.” He breathes in relief. You spared him a likely disaster. “How will I ever repay you?” He adds a bit more dramatically. Maybe it’s the wine. You laugh.

“Marry me?” Were he less schooled in proper etiquette he might have spewed across the table. He looks around but no caught on, they’re too occupied in the fight. You’re content being a witness for now it seemed. Percy worries you might have caught on somehow, that you might have figured it out but you don’t let anything show. “I’m joking. Partially. One day. If you ask nicely but for now, think we should help them out?” You gesture to the tavern-wide brawl and save the bottle you two were sharing before someone is thrown onto the table and pummelled right in the face by Pike.

“Yes. You’re probably right.” He blurts out and downs his whole glass. You down the last bit of your glass, a large swig from the bottle and get up. You offer your hand. Percy takes it as well as the bottle as you help him to his feet. He feels like he is going to need that booze to deal with the near heart attack you gave him but before he can take a swig of his own he’s forced to turn the bottle into a weapon. Quickly he turns it in his grasp and hits it over the head of some man charging for the both of you. The man didn’t see the blow coming and glass shatters along with the remaining liquid inside.

“What a waste of a perfectly good chardonnay.” You pout.

“I’ll get you a new one.” He’ll buy you a whole cellar’s worth if you want. He might actually…

“My hero.” You joke pulling Percy aside and aiming a high kick at the face of another drunkard coming for the two of you. You peck his cheeks before the fight continues and you’re no longer able to have this brief bubble of solitude. You’re in the fray now but you’re in it together. Together and you kick some ass. It’s magnificent and just as he had thought, it does feel like old times. You’re having a grand old time. He’s not ashamed to admit you saved his ass when he got a little sentimental and couldn’t shake a certain memory or simply stopped to admire your magnificence.

But all good things get even better when the guard shows up and Vox Machina ends up running like some juvenile troublemakers. The guards didn’t notice who you were and you doubt any of you look like the respected and well known group of heroes in this state and so you took advantage of this. Scram! You ran and enjoyed losing their trail but as a group of stumbling oafs that’s an incredibly difficult thing to do and so you separated. You stuck with Percy pulling him into alleyway and street though he could have pointed out the fastest and quickest way back to the castle. It’s his city after all but he enjoyed living in this moment and when you pushed him against the wall a couple of times pressing close to him while trying to cover your own giggles, you were simply adorable. He was going to make this moment last. By the time you got closer to the castle district you’d been going so long what little booze you had had all but faded.

“So how about we continue this inside over a bottle of true top shelf from Emon? I brought some from my last visit. I think you’ll appreciate the vintage.” The two of you begin to climb the stairs of Whitestone Castle.

“That’s a fantastic idea…” You nod satisfied with his answer. “There’s something I’ve been meaning to ask you…” Percy can feel the blood pumping in his ears, his entire body is pulsing. He feels short of breath, and everything is just chaos but so right at the same time. You look over the city.

“Did you hear that?” You wonder but Percy gently grabs your chin, turns you to face him and standing level with you; the castle to one side, the town to the other. This is it. This is the moment.

“Tonight was quite enjoyable. I’ve missed times like these. My fondest memories are in the trivial things. I couldn’t help but reminisce-“ You smile and bring your palm up to cup his cheek.

“Is that why you almost got a barrel to the head and thrown through a window? Because you got distracted?” You jest and peck your lips to his briefly brushing your thumb along his cheekbone.

“I’m trying to say something nice and you’re making a fool out of me.” He returns in jest.

“Okay okay. I’m listening. Please continue proclaiming your undying love for me.” He lets his fingers slip into your hair and gives an ever so light tug. “Oi!” You exclaim and roll your eyes at him but smile. You’ve had your fun. He knows you’re joking but little did you know in part that was very much his intention. The irony. He’ll forever hold it over your head. As you would want and expect him to do. He needs to keep you on your toes after all, or you might accuse him of slacking on the job.

“I’ve not been the partner I should have been for the last few days. I’m aware of my flaws and you have put up with them, you’ve scolded me for them and pulled me out of my own insanities. You keep me walking the path I did not ever think I could. I owe my life, my home, my world to you and I could not ever repay you for what you have given me. I feel my life would be duller without you in it. I’d be lost with out you. Perhaps it is selfish of me to think so but I would love to have you at my side, to be at your side for the rest of our lives.” Rarely does he get you speechless. You always have something to say, some witty remark, some teasing quip or just some input. He’s always welcomed it. He always will but now it is your turn stand there wide-eyed processing his words, lips parted ever so lightly. You had been stroking your thumb along his cheekbone before but your motions had frozen. You try to formulate a response and he awaits patiently.

“If you’re selfish then so am I. Let us be selfish together.” You smile and pull him into a deep kiss. He still hadn’t asked the question he intended to ask but he’ll take this moment. He gets caught up in it for a while until he breaks the kiss. He leans your head against his, reaches into his breast pocket. Your eyes dart to the side but you decide to ignore whatever caught your attention. He takes one of your hands and within it you feel something cold and metal.

“Will you marry me?” Percy breathes. This is not what he intended or how he intended it to go but he couldn’t wait. He couldn’t analyse it to death. He couldn’t plan every single detail. This, this was just perfect. No grand displays, no banquet or a fancy ball. Instead it was a night out with a tavern brawl and a run from the authorities. It was perfect and now here, on the steps of his home, at the root of his life in this moment he entangles it with you.

You look down, at the rings in your hand; two of them, one beautifully detailed but not ostentatious. The set stones are precious and enhance the design. The other is a slightly simpler version, more muted but still beautifully made. You’ve never seen anything like it. They’re unique and that’s when you realise what they’re made from. Your first job with Vox Machina. Percy had given his share to Vex as he always tended to do with his earnings. She resided over the finances. You’d come across a beautifully made silver broach, large and very ostentatious made from platinum and set with the most gaudy aquamarine and diamonds. You’d told him he should keep it; because you thought it matched his eyes and should he ever need a rainy day fund, that piece would make him a king for a day. He’d kept it. He’d kept it all these years. The stones had been cut down to smaller ones and the platinum melted to form the bands. They’re beautiful. They’re perfect and you know Percy well enough he would have trusted no jeweller with this task. He’d have trusted non but his own hands.

“You made these?” You ask enthralled as you pick up the simpler of the bands.

“Yes.” He’s practically shaking in anticipation. You take his hand, and place the ring around his finger.

“If you even for a single second-“ His heart beats so fast he thinks he might pass out. He’d almost be more content facing the Briarwoods as opposed to dealing with this stress.

“Of course I’ll marry you.” Percy feels like he can breathe again.

“Oh thank the gods. I thought I might have fainted.” He chuckles as he takes the remaining ring from your palm and places it on your own finger.

“I’d have caught you.” The image passes through his mind.

“Before or after you had a laugh?” He never said it was a graceful image.

“Can’t have my husband-to-be mess up his handsome face, now can I?” You grin and press your lips to his entwining your hands. That satisfying feeling; of that cold metal against your skin, and feeling it on his, that’s something out of this world you could not have begun to describe.

“Excuse me?! You were going to propose all this time and made us miss like half if it?” Scanlan pushes forward, clothes stained by you don’t even want to know what. “I would have made an awesome show! We could have had fireworks, music, hell, I’d even teach Grog an interpretive dance.”

“Intentrepative what now?” The goliath seems more focussed on the leaking barrel of ale on his shoulder.

“Wait you’re engaged? To who?” Keyleth clearly hasn’t sobered up yet and is leaning on Vex who just pats the girl’s arm.

“Let’s get you sobered up, Keyleth.” She begins dragging the druid past you and up to the palace but not without a quick “Congratulations.” and the implication of leaving you to enjoy your moment.

“I’m officiating.” Pike follows suit and begins ushering the others forward as well. You watch them make their way up the stairs.

“That’s our life in a nutshell, right there.” You claim.

“I couldn’t agree more.” He takes a step forward and your entwined hands urge you to join. You do without a moment of hesitation, unable to wipe that smile of your face. Neither can Percy by the looks of it. That’s okay. You can be fools tonight. You’ll be fools in the morning still and when people come knocking. You’ll tell them to fuck off and be fools a moment longer.

“You sure you want to spend the rest of your life with me?” You ask jokingly.

“Oh yes.” That’ll do.

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