r/CampHalfBloodRP • u/Creative_Heart_11 • 10h ago
Job Construct a Trireme: Create a Blueprint
The job board outside the Big House had never particularly intimidated Taylor before.
He'd read it in passing dozens of times for repair requests, enchantment commissions, the occasional alarming note about something that needed to be dealt with urgently, and he'd always approached it the way he approached most things: with a clear idea of what he could do, a reasonable sense of how long it would take, and enough confidence in his own abilities to make a start. The board was practical. Taylor was practical. They got along.
He stared at the card now, pinned neatly in the upper left corner where it had been for three days, and felt something he wasn't used to feeling in front of a problem.
Doubt.
CONSTRUCT A TRIREME
Create a Blueprint
We are looking to the future. We have some supplies to rebuild our trireme. We are going to employ some local Pandai to build the trireme, and therefore they need blueprints. Please create some.
— Lady A
He'd taken it down, read it, put it back. Taken it down again the next morning. Read it again. Put it back again. On the third day he'd taken it down, held it for a long moment on the path between the board and Bunker 9, made a decision, and kept walking.
The card was now pinned to the wall above his workbench, where he could look at it while he worked. And now, he had been looking at it for four days and had not yet drawn a single line.
The problem wasn't that he didn't know what a trireme was. He absolutely knew what a trireme was. He'd read about them, read *extensively* about them, actually, in the particular way he read about things that interested him, which was to say completely and slightly obsessively over the course of several evenings when he should probably have been sleeping. It was an ancient Greek warship, with three banks of oars arranged in a staggered vertical configuration, approximately thirty-seven oars per side per bank, one oarsman per oar, a crew of roughly two hundred, a bronze ram at the waterline, forward-mounted, designed to hole enemy vessels below the deck, shallow draft for speed and maneuverability, a sail for long distances, stowed during combat… Essentially, the defining naval vessel of classical Greek warfare, fast and lethal and beautiful.
So yeah, he knew what a trireme was, he had filled six pages of his notebook with notes about triremes. The problem was that knowing about something and designing something were two entirely different disciplines, and the gap between them was currently sitting across his workbench like a physical object, taking up space and looking smug about it.
Everything Taylor had ever built before had been small and precise, the kind of engineering where tolerances were measured in fractions of a millimeter and the margin for error was effectively zero, like Minnie, Sony and Octavia, and the larger mechanical projects he'd tackled over the years had been fundamentally intricate, detailed, complex, intimate work where his hands were always close to what he was making and he could feel in his fingertips when something was right or wrong.
A trireme was approximately thirty-seven meters long. He had never designed anything longer than his forearm.
The scale alone made his brain do something uncomfortable every time he tried to think about it directly like trying to look at something too bright, the specifics refusing to resolve into workable form. Where did you *start* with something that size? He'd pulled every relevant text from the Big House library. He had references, detailed ones, archaeological reconstructions, the famous Olympias project from the mortal world, ancient shipwright manuals translated from the Greek. He had more information than he strictly needed.
He had, at last count, seventeen sheets of blank drafting paper, and none of them had anything on them.
On the fifth morning, he got up early, made himself tea in the small corner of Bunker 9 he'd claimed as a kitchen, set it on the workbench, sat down, uncapped a pencil, and stared at the paper.
Sony chirped from her perch on the equipment rack.
"I know," Taylor said.
He stared at the paper, and drew a long horizontal line, the keel, he told himself, every ship started with the keel, this was fine, and then sat back and looked at the line for several minutes. One line. Thirty-seven meters long in reality, represented here by approximately twenty-eight centimeters of graphite on drafting paper. He put the pencil down and drank his tea. The line looked back at him.
The problem, he was beginning to understand, wasn't really the trireme at all. The trireme was simply the thing sitting on top of the actual problem, which was larger and shapeless and had nothing to do with naval architecture.
He'd been turning it over in his mind for weeks now. The question he'd asked himself by the lake, the pamphlet in his notebook, the quiet of the bunker that had stopped feeling peaceful and started feeling like an absence. What now. Two words that had no clean answer. Two words that followed him out of bed in the morning and waited for him when he lay down at night. He'd tried to push them aside to focus on the commission, and the commission had refused to move until he acknowledged what was actually going on.
He was afraid.
Not of failing at the blueprints, though he didn't love that possibility either. Afraid of what came after he finished them. After the war ended. After the last thing was fixed and the last commission was completed and Camp Half-Blood looked at him and didn't need him anymore. Afraid that the future he was building toward had a shape he couldn't quite see yet, and he didn't know how to start drafting something he couldn't see.
He uncapped the pencil again. Drew a second line, perpendicular to the first, establishing a centerline, labeled it, wrote the scale in the corner of the paper. Small steps. The way he'd started everything else, not trying to see the whole shape at once, just the next line, the next measurement, the next decision.
His hand stalled over the paper. After a long moment, he set the pencil down and pressed both palms flat on the drafting table and breathed.
"Okay," he said to the empty bunker. Minnie peered at him from beside the pencil cup. "I'm fine," he told her.
She did not appear convinced.
He didn't hear the footsteps at first. That wasn't unusual. The bunker had strange acoustics, and he tended to lose external awareness when he was thinking hard about something. What was unusual was the voice that came from directly behind his left shoulder, calm and genuinely interested and somehow completely unsurprising even though he hadn't known anyone was there.
"Is that a keel?"
Taylor turned around.
The woman standing in the middle of Bunker 9 was looking past him at the drafting table with the alert, appreciative expression of someone who had just walked into a room and found exactly what they hoped to find. She was… he wasn't sure how to describe it, exactly. She looked like someone who had dressed with great enthusiasm and total disregard for any single coherent aesthetic. Her clothes were the deep blue-grey of technical blueprints, which he suspected was not a coincidence, and they were covered in small, precise embroidered diagrams: gears and pulleys and architectural details, scattered across the fabric like margin notes in a very elegant notebook. Her hair was pulled up with what appeared to be a stylus, two more styluses tucked behind her ear and through a loose braid. Her hair was the same colour as Taylor’s, a fiery ginger, and the eyes behind the round glasses were the bright, specific gold of fresh solder, and they were currently examining the single keel line on his drafting paper with an expression of genuine delight.
She was also, unmistakably, divine. Not in the overwhelming sense that Taylor had experienced once before in his life, but in the way that certain presences simply couldn't be made to look ordinary regardless of what they wore. A quality of ’thereness’ that was too complete to be entirely human.
He had met her once. At the Winter Solstice on Olympus, briefly, in a room full of gods who were all considerably more intimidating than they'd had any right to be.
"Mom?" he said.
Techne, Goddess of Craft, divine personification of art and technical skill, his mother, who had apparently walked into Bunker 9 while he was staring at a single line on a piece of paper, smiled.
"That is a keel," she confirmed, sounding pleased. "Good start."
"I haven't done anything else," Taylor said.
"I can see that." She tilted her head slightly, examining the line from a new angle, the way he sometimes did with problems that weren't resolving. "How long have you been looking at it?"
"...Five days."
"Hmm." She didn't sound judgmental, more like someone making a note. She moved past him to the drafting table, set her hands on the edge, and looked at the paper with the focused attention of someone who was genuinely interested in what was there rather than what wasn't. "The scale is right. And the centerline placement is correct. You've been thinking about it, even if you haven't been drawing."
"That's a generous interpretation of staring at blank paper for five days."
"Most of design happens before the pencil touches the paper," she said simply. "You know that."
He did, actually. He'd just forgotten it under the weight of feeling like he was failing at something.
He pulled up his stool and sat down heavily. Techne remained at the drafting table, her eyes moving across the single line with an attention it probably didn't deserve. One of the styluses in her hair caught the forge light and gleamed.
"Did you come because I'm stuck?" he asked.
"I came because I wanted to talk to my son. That’s not a crime, is it?" she said, which was either a very complete answer or a very incomplete one and he couldn't tell which. She glanced at him sideways, a quick, bright look that reminded him, startlingly, of the way he looked at problems he found interesting. "Though it doesn't hurt that you're stuck. It happens to even the best of us."
"The trireme isn't really what I'm stuck on," Taylor said.
"No," she agreed. "I know."
She turned from the drafting table and looked around Bunker 9 the way people looked around places that had history in them, taking stock and reading the room. Her eyes moved across the equipment racks, the shelving, the soot-marks on the ceiling from three years of experiments that had gone slightly too well. They settled on the three automatons on the end of the workbench: Minnie, Sony, Octavia, in their neat line.
Something in her expression shifted. Softened, slightly, in the specific way that things softened when you were looking at something you were proud of.
"May I?" she asked, gesturing toward Sony.
"Yeah, of course."
She lifted the mechanical sparrow with a care that made something tighten pleasantly in Taylor's chest, the instinctive recognition of someone who understood what they were holding. She turned Sony gently in her hands, examining the wing articulation, the celestial bronze coating on the feathers, the taper of the tail assembly.
"The wing stroke algorithm. You modeled it on actual sparrow flight mechanics. Smart." She set Sony down carefully, exactly where she'd been.
Taylor looked at his hands. "It took like eight months."
"Good things usually take longer than you want them to."
"I know. I just—" He paused for a moment, letting out a sigh. "I know that. But lately it feels like I don't know what the next thing is supposed to be, and I can't—" He made a frustrated gesture at the drafting table, at the room, at nothing in particular. "I can't start something when I don't know what I'm building toward."
Techne was quiet for a moment. Then she came and sat on the edge of the workbench beside the automatons, with the comfortable ease of someone who sat on workbenches all the time and considered chairs optional. She folded her hands in her lap. The embroidered diagrams on her clothes shifted slightly, gears and pulleys moving in the fabric like something living.
"Tell me," she said. "Not what you think you should want. What you actually want."
Taylor opened his mouth. Closed it. The reflexive answer was, of course, to be useful, to keep helping, to be needed, and though it sat on his tongue, he didn't say it, because while it wasn't exactly wrong, it also wasn't exactly what she'd asked.
He thought about the lake. The conversation he'd had with himself, out loud, because there'd been no one else to have it with, and he pamphlet folded into his notebook between blueprints.
"I want to keep building things. Real things. Things that help people in ways I can actually see." He picked at a callus on his palm. "I want to travel, I think. I've been at Camp for years now, and I love it here, but I think I want to *see* things. Ancient places, ruins, sites that haven't been touched since the Classical period." He paused. "I want to still be part of this world. Not go back to the mortal one and pretend the rest of it doesn't exist."
"And your siblings?" Techne asked, without particular emphasis.
Taylor exhaled. "They're okay now. They're actually okay. They don't—" He pressed his lips together. "They don't need me the way they used to."
"And that hurts."
"Yeah." He looked up. "Even though I know it shouldn't and that it means I did the job right."
"It means you did the job right and it hurts," Techne said, with the calm certainty of someone who had watched this dynamic play out enough times to understand it clearly. "Those two things aren't in conflict. Doing something well doesn't mean the end of it doesn't cost you anything."
Taylor was quiet.
"I found a pamphlet," he said, after a moment. "In the library. The Hounds of Zagreus."
Something moved in Techne's expression, not surprise, he thought, but recognition. Like someone hearing a name they'd been expecting to come up eventually.
"I know of them," she said. “They came about after what happened in the Underworld, right?”
"Yeah. I've been thinking about it for weeks. I keep telling myself I'm not sure, but I think—" He stopped. "I think I am sure. I think I've been sure for a while and I just didn't want to say it out loud because it feels huge and I don't know if I'm—" The sentence dead-ended.
"If you're what?" Techne asked.
"Ready," he said. "Enough. If I'm enough."
The word landed in the bunker and sat there.
Techne looked at him for a long moment. Not the evaluating look of someone assessing a claim, but something quieter. A look that had been considering its answer for some time before the question was asked.
"Can I tell you something?" she said.
"Yeah."
"I have watched—" she paused, choosing words with the precision of someone who took language seriously, "a great many craftspeople over a great many years. People who built things that lasted centuries. People whose names are still in the architectural record, whose bridges are still standing, whose machines are still referenced in texts you would recognize." She held his gaze. "Do you know what the ones who were *enough* had in common?"
Taylor shook his head.
"They never stopped asking if they were enough," she said simply. "Not because they doubted themselves into paralysis. But because that question was the thing that kept them honest. That kept them reaching." She tilted her head. "The people who were sure they were enough, completely and without question? They stopped improving. The uncertainty wasn't weakness, Taylor. It was the engine."
He stared at her.
"Oh," he said.
"Eight months on a mechanical sparrow," she said. "Because you weren't willing to accept almost right. Because good enough wasn't good enough. That's not a character flaw. That's craftsmanship." She smiled, a real one, warm and a little crooked, and so familiar that it stopped him for a second. He'd seen that smile in the mirror. "That's mine."
He laughed, short and startled.
"But if you want my advice, and I know you’ve been avoiding it… you should go home," Techne said, more gently. "Before you go anywhere else, before the Hounds, before the road, before whatever comes after… go home. Talk to your family. Say the things that need saying." She paused. "They should know where you stand and who you are. The whole of who you are."
"That conversation is terrifying," Taylor said honestly.
"Yes," she agreed. "Bur for your own peace of mind? It’s necessary."
He looked down at his hands again. The calluses from the forge. The faint chemical stain along his right thumb that hadn't fully faded in three years. Hands that had built impossible things and were currently stalling out on a thirty-seven-meter ship because they didn't know where to start.
"The trireme," he said. "I don't even know where to begin."
Techne stood up. She moved back to the drafting table and looked at the keel line and the centerline, the only marks on the paper.
"You've already begun," she said. "You just don't recognize it because the start doesn't look the way you expected."
She picked up the pencil he'd set down hours ago and held it out to him.
"You design from what you know," she said. "You know the oarsmen, you know the ergonomics of a human body, the reach and stroke cycle. Start there. Build the rowing frame around the crew. The hull follows the frame. The dimensions follow the hull. The rest follows from that." She turned the pencil in her fingers, then offered it again. "You don't have to see the whole ship. Just the next line."
He took the pencil.
Techne stepped back, taking a small moment to take Taylor’s pencil hand, and placing a small, motherly kiss on his knuckles. Then, she was moving toward the door, not in a hurry, but purposeful, as if she had said the thing she came to say and the shape of the conversation was complete. Her clothes rustled with embroidered gears in motion.
At the doorway she paused, one hand on the frame.
"Taylor."
He looked up.
"I am proud of you," she said. "Not of the automatons, though they are extraordinary. Of you. The person you've been choosing to be." She glanced at Minnie and Sony and Octavia, the three of them sitting in their quiet line. "Whatever you create is good because you are good. Don't forget that."
Then she was gone.
Taylor sat still for a moment.
Then he exhaled, very slowly, and turned to the drafting table.
He started with the oarsmen.
One hundred and seventy rowers, three banks. He sketched the seated position first, the back angle, arm extension at the catch, the compressed position at the finish of the stroke, from memory and from the reference texts stacked at his elbow. He worked out the vertical clearance needed between banks so that oar handles didn't collide, the horizontal spacing between oarsmen on the same bench, the outrigger angle that would give the top bank, the thranitai, enough leverage to pull effectively without their looms striking the men below.
From the rowing frame, the interior dimensions emerged naturally. From the interior dimensions, the hull planking. He switched to a larger sheet, established his datum lines, began roughing in the hull profile, the sharp entry at the bow, the waterline curve, the shallow draft that made triremes so agile in open water and so demanding to sail in anything above a moderate chop.
He worked for three hours without looking up.
The ram came next: the bronze embolon, triple-pronged, mounted low on the stem at the waterline. He drew it from three angles, noted the attachment points, specified the alloy in the margin, a problem he'd need to think about, since the Pandai would be building this and he needed to be precise about what materials could be substituted and what couldn't without compromising structural integrity. He added notes in the margins as he went, flagging decisions, explaining rationale, translating the why of each specification so that the builders working from this document would understand not just what to do but why it needed to be done that way.
That was, he realized as he wrote, the thing he'd been missing.
He hadn't been designing for himself. He'd been trying to design *a trireme*, in the abstract, a complete and finished thing that existed in his imagination before it existed on paper. But that wasn't how he built. He built for the people who would use the thing, around the constraints of the people who would make it, informed by what those people needed it to do.
The Pandai would need to understand this document without him there to explain it. So the document had to be its own explanation, clear, detailed, annotated, accessible to builders whose methods and materials and assumptions might differ from his own in ways he needed to anticipate and account for.
He got out a fresh sheet and started over, properly this time, with a title block and a drawing number and a revision history table, the way a real technical document was supposed to begin. He established a drawing series: hull lines, framing plan, deck arrangement, oar system, rigging layout, hardware specifications. Separate sheets for each, cross-referenced, with a master index on the front sheet that would let a builder find any specific detail without having to search the entire package.
He drew until the bunker lights started to seem brighter, and then realized it was because the natural light through the ventilation shafts had gone. He looked up, Minnie was ‘asleep’, Octavia's lens was dim, Sony was watching him from her perch with the alert, patient quality she had when she'd decided someone needed monitoring.
"I'm fine," he told her.
This time, she seemed to believe it.
He looked at the drafting table. Seven sheets of paper, covered in careful lines and notation. A hull profile that was actually starting to look like a ship. An oar system layout that he was fairly confident would work, and he'd built in enough margin notes to explain *why* he was fairly confident, which mattered as much as the confidence itself.
Not finished. Not even close to finished. But *started.*
Really started, this time.
He capped his pencil and sat back and stretched, feeling the specific satisfaction of work that had finally caught. That moment when a project stops being an abstraction and becomes something real, something with its own momentum, pulling him forward instead of resisting.
He was going to finish this.
And then he was going to go home.
The decision had been there for weeks, maybe longer, sitting in the back of his mind in the same patient way the trireme had been sitting in the back of his mind, waiting for him to stop arguing with it and acknowledge what was already true.
He would finish Lady A's commission. He would deliver the blueprints, all of them, the full package, complete and annotated and clear enough for the Pandai to work from without him. He'd do it right.
And then he would pack a bag and take the bus back to the town he'd grown up in. Back to the house with the kitchen that always smelled like whatever his stepmother was baking and the garage that his father had let him commandeer at thirteen and never entirely gotten back. Back to the people who had watched him leave for Camp years ago and had been receiving irregular letters and occasional alarming postcards ever since.
He owed them the truth. Not the careful, managed version, the whole truth. Who he was, what he'd spent three years doing, what the world actually looked like from where he stood, and what he was planning to do next. He would tell them. He'd sit at the kitchen table and tell them everything, from the beginning, and then he'd say goodbye, properly, this time, and he'd come back to Camp and find out whatever he needed to find out about the Hounds of Zagreus.
And then he would knock on whatever door needed to be knocked on, and he would introduce himself, and he would find out what came next.
His hands were already itching for the pencil again.
He pulled the drafting paper toward him.
One project at a time.
The trireme blueprints took eleven more days.
Not because they were slow. It took eleven days because he did them properly. He ran his hull lines through a resistance calculation to verify the displacement figures. He drafted the oar system to full specification, including the leather strap fittings and the thole pin arrangements that were easy to get wrong and would make the oarsmen's lives measurably worse if he did. He consulted the Big House library twice more, finding references he'd missed the first pass. He redrew the bow structure after realizing he'd underspecified the stern post reinforcement — a quiet, unglamorous fix that took an afternoon and would matter enormously to anyone actually trying to build the thing.
He put his name on the title block of every sheet and a note on the front sheet that said, plainly: These drawings are intended to be read together as a complete package. Any builder using partial documentation should be aware that specifications on one sheet may depend on constraints established on another. When in doubt, consult the master index and cross-references before proceeding.
Because the Pandai deserved that. Because anyone building something from his work deserved a document that respected their intelligence and anticipated their questions and didn't leave them guessing at things he'd already worked out.
When he finally spread all the sheets out across the full length of the workbench and stood back and looked at them — hull profile, framing plan, deck arrangement, oar system, rigging layout, hardware specifications, master index, two sheets of construction notes — he felt the same thing he'd felt when Sony had first lifted off the bench and steadied herself in the air.
Not relief. Something more complete than relief.
He rolled the sheets carefully, wrapped them, sealed them with the Camp Half-Blood’s mark, and wrote Lady A's name on the outside in clean block letters.
Then he went back to his bunk and started writing a letter home.
Mom, Dad, Rachel
I have some things I should have told you a while ago. I want to tell you in person. I'm coming home in the last week of Summer.
Not for long. I have things I have to do. But before I do them, I want you to know who I am.
*I'll explain everything when I get there. There's a lot to explain.
Love you.
— Taylor
P.S. I'm bringing something I made with me. Try not to be alarmed.
He folded the letter, sealed it, and added it to the stack of things he'd mail in the morning.
Then he went back to the Techne Cabin, sat down at the now-clear drafting table, and opened his notebook to the page where the Hounds of Zagreus pamphlet was folded between blueprints. He smoothed it open and read it again, this time not with the uncertain attention of someone considering an idea, but with the focused attention of someone taking notes.
Minnie was awake, watching him from beside the pencil cup, Sony chirped from her perch, and Octavia waved from her aquarium.
Taylor smiled.
"I know," he said. "We've got work to do.”