#Also Leda will be a swan. For obvious reasons

[largemandrill]

Hey guys don’t worry about why I’m asking this but say I am in the process of drawing Elden Ring characters as Disney’s the Robin Hood esc furries and I don’t have an exact list of what character would be which animal. Allegedly I already have a few of them planned out (most of the roundtable), but I would love to have idea thrown at me like spaghetti at a wall.

[gingermintpepper]

How’s Fields of Mistria? You mentioning it was the second time I heard of it, the first time being in passing, so I’m not too knowledgeable about the game.

AWWW THANK YOU SO MUCH FOR ASKING!!

Fields of Mistria is SUPER fun, since there's not much to do in it after you've completed the first year right now, I've dedicated myself to breeding and collecting all the seasonal variants of horses so I can name them after the four Horsemen of the Apocalypse!

I also named all my barns after metamorphised lovers in greek myth because I have exactly one thought running through my head at any given point in time (Currently there's Crocus Coop where I keep my (gorgeous wonderful lovely adorable ouugh I LOVE THEMMM!!) blue chickens

Cypress Barn where I keep my wonderful cows (who have been with me the longest and whom I cherish immensely! I'm not sure if Autumn cows are possible but I'm definitely aiming for a barn of all red and autumnal cows for obvious reasons)

Minthe Barn where I keep all of my other large animals like sheep, alpacas and my very first beloved Chiron (black and white) and Iris (brown with spots) (the foal is Rigel) 🥺

And Hyacinthus Barn where I have a collection of small animals like rabbits, capybaras and my PRIZED DUCKS LEDA (the pretty blue and green duckie) AND CYCNUS (the pure white duck meant to mimic a swan!!) Even though it's technically a coop, I mistakenly labelled it a barn when I was inputting the name and I never changed it LOL

My farm is also named after THE metamorphosized lover, Daphne herself, so it's called Laurel Farm

And I'm planning for my Seasonal Horse barn to be named after the poplar since I quite like Leuke's story and I think she's fitting of housing the horses that will be the steeds of War, Pestilence, Conquest and Famine :)

Bonus: My house is still small and eclectically decorated, but keeping in theme with my farm, I do hope to go for a flower/garden theme

<33

[aweirdoandhisfanfics]

Leda theory

Ok, I noticed only recently that Leda's name is a greek mythology reference (I knew I remembered the name from somewhere), and based on the greek myth of Leda, I formulated a theory.

In greek mythology Leda was a spartan quen who was seduced by Zeus in the form of a swan, later on, she also had funny times with her husband, leading her to give birth to 4 children, two by Zeus (yes, he did it in the form of a swan) and two by her husband.

Now, so far this doesn't really makes much sense in the Just Dance lore, but then I remind you of a certain person, Cygnus.

Cygnus name means literaly "swan" in latin, and we also know that he and NS worked together, so my theory is, what if, Cygnus seduced Leda and made her a villain?

The timeline would be, Leda and the Traveler were on a relationship (seems pretty obvious by MOTDF), but for some reason they broke up, probably because Leda was REALLY unhinged, leading to the Traveler breaking up with her, she then would be seduced by Cygnus to join him, Cygnus was the one who wanted to take over the Danceverses, and it was him who planted the idea on Leda, but as the time passed, Cygnus noticed how unhinged and ambitious Leda really was, making him think "Oh balls, that's not good" and tried to cut her off of the plan, but with all of the contacts and resources that Cygnus gave to her, it became impossible to do so, so Cygnus abandoned her, and Leda became Night Swan alone, now, if Jack is Cygnus son or not, that's another theory.

Give me your opinions.

[carmen-berzattos]

I don't understand people's anger with his statement. he's been vocally pro-palestine for years and now I'm seeing people saying he's expressing neutrality?? it wasn't even neutral. it was condemning the actions of western countries feeding the pro-israel stance. it's an extremely nuanced issue and I feel like he was choosing his words very carefully for that reason.

also I hate trying to assume too much but his statement to me felt unfinished. i feel like hes probably being pressured to not be too outspoken right now because, like you pointed out, its dangerous. people have got to stop relying on celebrities to say perfect things and have all the right answers. it's obvious that he's pro-palestine! people are acting like his statement exists in a vacuum when it doesn't.

I know I said I will post these without commentary but I have a couple of things to add here:

I am not sure what people mean when they say he's been vocally pro-Palestine for years because I haven't seen that anywhere and I've been following him for years. If I'm missing something, please let me know. I know people have pointed out the "empire upon Jerusalem" and "occupier upon ancient land" lines in Swan Upon Leda, and those can definitely be interpreted as pro-Palestine, but they're not necessarily overt. There's wiggle room.

I also don't agree that it's a very nuanced issue at heart. At the core of it all it's settler colonialism. It's not a war, it's not a conflict, it's settler colonialism. Politically, that is complex to resolve, but at the heart of it it's very clear what we're dealing with here.

I will kind of agree with the second paragraph, though, about not taking the statement in the vacuum but I think that's a part of the issue.

[sparksinthenight]

Swan Upon Leda Analysis

Title - The title is a reference to Zeus raping the mortal woman Leda in the form of a swan, representing how the patriarchy both literally and metaphorically rapes women and denies them autonomy

A husband waits outside - This husband is two people simultaneously, just as Leda/the child is two people simultaneously. Mythologicaly, he’s supposed to represent the husband of Leda, the king of Sparta, who could do nothing to stop his wife from getting raped. As a human, the husband is supposed to represent the boyfriend/husband of the girl. (Let’s hope it’s a boyfriend but people can get married young in Ireland and maybe they got married to shield the girl from the shame of being an unwed mother. My cousin’s friend actually had to get married to her boyfriend at the age of fifteen for this exact reason, and because they live in a country where she could easily just straight up be denied healthcare for herself and the new baby if she was an unwed mother. ) This boy can do nothing to prevent his love from having to give birth to her rapist’s kid, and cannot protect her.

A crying child pushes a child into the night - This is obvious. She has to give birth despite being just a child, because she cannot get an abortion and her autonomy is denied her. She is crying to show how traumatic this experience is for her. No child should be forced to birth a child. She is also pushing the child into the night. Night often represents danger, oppression, bad times. She’s bringing the baby into life but she’s bringing him into a life of danger that is clouded by darkness, because the world is no place for a child these days.

She was told he would come this time - The girl/Leda knows she’s going to be raped by Zeus/the patriarchy/whoever raped her. This doesn’t make sense unless you look at it metaphorically. Rape is being used as a metaphor in this specific line for the denial of bodily autonomy. She knows that she has to give birth to a baby she doesn’t want, because abortion is illegal, and this is a denial of her autonomy, a symbolic rape. One which she is expecting and dreading.

Without leaving so much as a feather behind - Zeus did not leave any evidence of his rape of Leda. There’s no concrete evidence that what is happening to the girl is traumatic. No evidence that she got pregnant due to rape. No evidence that forcing her to give birth is also a form of rape. All that she has to convey her story with is her own words, which people might not believe. People often don’t believe the testament of women.

To enact at last the perfect plan - Zeus wants to impregnate Leda against her will. The patriarchy wants women to give birth against their will. This girl in the song is giving birth against her will.

One more sweet boy to be butchered by men - The new baby is an innocent boy. He does not have all the traits of toxic masculinity that would make society deem him as a man. But the patriarchy will destroy his innocence, his goodness, his sweetness, and make him into what they deem as a man. They will teach him to not allow himself to be emotional and empathetic and they will teach him the ways of violence and competition. Which will hurt him and others.

But the gateway to the world - This is the birth canal, that everyone has to pass through in order to get into the world, into life.

was still outside of reach to him - Zeus/the patriarchy/the rapist still does not have ownership over the reproduction of people who can get pregnant. Even though the patriarchy does so many things to gain control of these people and their reproduction. They can never own it.

Will never belong to angels - The power of reproduction and autonomy over it does not belong to religion.

Has never belonged to men - The power of reproduction and autonomy over it does not belong to men/the patriarchy. (Obviously this excludes men who have uteruses and therefore have control over their reproduction.)

The swan upon Leda - the patriarchy controlling peoples’ bodies and reproduction, which is rape both literally and metaphorically

Empire upon Jerusalem - This refers to both the ancient and the modern, and is emblematic of how so much of this song is about the parallels and the tying together of the ancient and the modern. The Roman Empire conquered Jerusalem (and the rest of ancient Isreal) in antiquity, and brought with it oppression and hardship and genocide, though it saw itself as a civilizing entity. In a direct parallel to the ancient Roman Empire, modern Israel is also occupying Jerusalem (and the rest of modern Palestine), and is bringing oppression and hardship and death with it, though it sees itself as a civilizing entity. The parallel of this line to the line before it shows that the control of peoples’ bodies by the patriarchy is a direct parallel to and interwoven with the control of native people by an empire.

A grandmother smuggling meds - This is a grandmother smuggling abortion medication into Ireland, where abortion was illegal until 2018. She’s smuggling it in from the UK where abortion has been legal for longer. She is doing this to help her granddaughter, and what she is doing is a brave act of motherhood and elderhood. It shows the intergenerational ties and solidarity between women, and the responsibility and compassion women feel for each other, as they are all a part of the same story that spans back into ancient times.

Past where the god child-soldier Setanta - This is literally a statue in the border between Britain and Ireland, but symbolically means so much more in addition to this. Setanta was a god/demigod in the Celtic religion, who was made to do the adult’s job of guarding a lord’s house at the tender age of seven. From this job, he got the nickname Cu Chulainn. Hozier uses Setanta’s given name and not the more famous name he got from doing child labour as a mark of respect for the humanity of this child. He was a god both literally and also metaphorically since he represents Irish Nationalism and the longing for Ireland to be a sovereign nation. He is a symbol to Irish Nationalism. He’s referred to as a child soldier here because at the age of seventeen he had to nearly singlehandedly fight off an invading army and in some versions of the story he died in that war. His having to go to war at such a young age, his being a child soldier, it parallels the girl from the first verse becoming a child mother. They both lost their innocence too early. But Setanta had to protect his homeland from the invading army. This shows that imperialism and patriarchy are parallels to each other in that they both rob children of their childhoods. Setanta is a symbol also for all the brave people, many of them teenagers, who fought and died for Irish independence.

stood dead - The symbol of Irish Independence is dead in this world where Ireland does not allow pregnant people control over their own bodies. Ireland might technically be free from British colonization but it will never be free unless the women and trans men and nonbinary people and intersex people are free from the patriarchy’s colonization. Because of the lack of bodily autonomy that marginalized genders have over their bodies, the dreams of Irish revolutionaries to have autonomy over their own lands is dead.

Our graceful turner of heads - Society and the patriarchy have taught us that women lose their grace and their beauty as they age but in truth, this old grandmother doing an important job is so mystically graceful. 

Next part in the reblogs (1/2) 

[ivy-kissobryos]

The Theoi and their Animals

Some of the Greek gods appeared to be closely connected to certain animals, as evidenced by their epithets. Prominent examples include:

Poseidon Hippius, due to his connection with the ‘power of the horse’. This may also refer to the myth where he created the first horse.

Dionysus Taurus, as he was thought to appear to his worshippers as a bull. Moreover, bulls are sacrificed to Dionysus (and other gods too), granting him the epithet of Taurophagos. Dionysus’ connection with the goat also occurs through his epithet of Aigobolos (‘goat-shooting’) in Boeotian Potniai, presumably due to goat sacrifices.

Artemis Elaphia and her connection with a deer probably derives from her hunting.

However, we also see that these sacrificial animals do not determine the nature of the god, and in several places may well be typically local features of the divinities concerned.

The transformation of the gods into animals are also prominent in many myths, and may shed a light onto the nature of the gods, perhaps more so than the animals which were sacrificed in the gods’ names.

Dionysus [...] is more complicated. On the one hand, the successive transformations in his Homeric Hymn show his divine muscle. But this is also a frightening power. As we have connected the theriomorphic forms of some lower gods with their non-standard rituals, we may connect Dionysus’ terrifying appearance as a bull with the fact that on various Greek islands he was associated with murder and human sacrifice and worshipped under the less than complimentary epithets of Omestes (‘eater of raw meat’), Omadios (which probably had a similar meaning), and Anthroporrhaistes (‘man destroyer’). On Chios, he also had a statue that was bound (see above), while his festival, the Dionysia, displayed the characteristics of an Ausnahmefest. As Aelian mentions raging women on Chios, it is not a stretch to connect them with Dionysus Omestes. In Macedonia, the god had the epithet Agrios (‘savage’), and an important Dionysiac festival was called the Agrio(a)nia in Boeotia and on the Peloponnese, from where it was exported to many Greek colonies. Myths about murder and dismemberment played an important role in this festival. Evidently, we find here an old layer in the history of the god. For our purpose, it is enough to stress that Dionysus clearly had a dangerous, frightening side, which was probably linked to his form as a bull.

As seen in the quote above, Dionysus’ appearance as the bull may be linked to his wilder, more savage side. What about Zeus and the swan?

The reason for divine metamorphosis into animal form is less clear. Why did Zeus have to morph into a swan in order to have sex with Leda? Could he not have appeared as a young man? Evidently, the change into an animal entails a lessening of status, but does it mean that these kinds of myth stress the inferiority of the animals? This is not immediately obvious. Perhaps, in earlier times, the distance between the three elements of the divine/human/animal schema was less pronounced? In the end, we must conclude that the theriomorphism of the major Greek gods serves different functions and cannot be reduced to a single idea. Undoubtedly, in several cases, theriomorphism underscores the difference from the mortal body, but in others it magnifies the status of the god and enhances his frightening nature. Or, very differently, it helps explain the birth of the hybrid centaurs or the epithet Delphinios of Apollo. The bodies of the great gods of ancient Greece, be they anthropomorphic or theriomorphic, still pose many questions.

Animals also play a part in divination, especially divination through dreams. This is explored in the quote below:

Therefore, throughout the various forms of divination practised in the ancient Greek world, it may be said that animals served as complex intermediaries between the superior knowledge of the gods and the much more limited understanding of humans. Both as artificial signs and as complex symbols, they provided prompts for human interpretation. More often than not, this involved the drawing of parallels between the natural world of which the animals were part and the human realm. In mediating between gods and humans, nature and culture, and the visible and the invisible, animals were at the core of a tripartite symbolic system that allowed those versed in it to make complex statements about the world.

An example of divination that involves the goat occurs when dreams of the goat were given. In that dream, the dreamer was given signs pointing towards where the new city should be built. It can also be noted that the ‘tragos’ and the ‘fig tree’ are both associated with Dionysus.

The tragos (goat) here denotes a specific place where a new city should be built. Yet, in order to build it, those receiving the prophecy first have to deduce what kind of goat wets its beard in water and where it might do this. The homonymy between the ancient Greek words for ‘goat’ and ‘fig tree’ provides the key that links the animal sign to its referent in the real world. The goat (tragos) turns out to be a wild fig tree (also tragos, at least among Messenian Greeks), which has a habit of trailing its branches in water.

Source: Animals in Ancient Greek Religion by Julia Kindt

[elencelebrindal]

Time to ramble about Shun

Sooo... you said you wanted my rambling to become reality. Here I go. 

Shun not holding back for the whole series would have been a disaster for our dear villains, let me tell you.  But let’s go in order. And I mean, from training to Hades. Obviously, this completely disregards the fact that Shun was Hades the whole time, because if I am to take that into consideration everything would end before starting.  Small disclaimer, this is mostly anime-based. I’ve read the manga, but my memory is so bad in remembering what was just manga and what was just anime, and I have a better memory for the anime.  Also, this is going to praise Shun a lot. No, not because of my undying love for this character, but because logically speaking, he’s freaking powerful; this young man stood against a god that was possessing his body, dammit. 

Now, his training.  Of course, I won’t even imagine Shun actually going to Death Queen Island, mostly because it was Ikki, and not him, the reason why he went to Andromeda Island instead.  What we know, is that Shun nearly awakened his Seventh Sense there and then, when he donned the Cloth for the first time. And we know that he won the right to the trial after winning a fight against his “rival”.  But, before winning, he took a good beating, because he held back.  What would have happened, in the eventuality that Shun did not hold back? Well, probably just quicker access to the trial for the Cloth, but also... this might be the only time Shun not holding back would have affected him negatively.  What if he, by not holding back, lost his right to the Cloth? Andromeda is famous for her sacrifice, after all, not for her brave charging into battle.  This is mostly my own idea about it, because of course Shun was destined to become the Andromeda Saint, but luckily he held back, and only fought when he needed to. 

That aside, now it’s time to tackle all the positive things that could have happened had he not held back. 

Galaxian Wars / Black Saints Arc (forgive me, I forgot the actual name)

We had a taste of how smart and capable Shun is during his fight against Jabu, but all of that was thrown away thanks to Ikki’s appearance. Now, this doesn’t mean than Shun completely lost his competence, but he definitely held back for the sake of his brother.  This is obvious when we take into account the fight they all have against Ikki, when Shun tries to help his brother rather than stop him.  We already saw how dangerous Shun can be, when he faced Black Andromeda, so it’s easy to understand how much easier it could have been for the Bronze to stop Ikki if Shun was there to actively help against him.  Sure, he helped in the end, but he was probably the only one (at least at that point, because remember, he was the only one to have almost awakened the Seventh Sense) capable to stand his ground against Ikki.  Seiya’s success was more plot than skills, honestly speaking.  Shun could have been infinitely helpful, at least in making sure they earned a faster victory with less blood spilled.  To me, what we know about Shun’s power (though it’s only revealed later) makes it that he has a huge advantage that is ignored because of 1. Shun’s personality and 2. what’s needed for the plot and what was known of the plot. You all know he’s my favorite Bronze, at this point, but following a logical reasoning I cannot find something against this. 

On a side note, can you imagine how fast he would have destroyed Black Swan, if only he used his brain and not his heart?  Considering the outcome of his fight against Black Andromeda, and his knowledge about Hyoga’s techniques (which are kinda imitated by Black Swan), it’s not difficult to imagine he would have won.  He wouldn’t have done as good against all of them together, at this point of the story, but a one vs one fight would have definitely seem him victorious. 

Silver Saints Arc

I have no clear memory if that Docrates mess is in this arc or the one before it (the Italian division is a bit different and it confuses the hell out of me when I have to switch), but let’s put him here.  Because come on.  Shun getting thrown around like a doll? Yeah, no. Docrates might be a powerful - and not so brilliant or likable - warrior, but to the point of overwhelming a Saint like Shun with so much ease? I hardly believe it. I can  believe Shun having a hard time against him, especially considering how they won that fight.  Full power, I think Shun could have helped way more. I’m not saying he could have defeated a beat like Docrates all by himself, not at that point. Hyoga’s help was crucial for him to actually deal an effective blow.  But I’m pretty convinced they could have had a bit of a better time - especially Saori - because power makes the difference, even if it’s not enough to turn the tide without aid. 

Continuing with the same arc, we have another example of Shun being extremely competent and showing how strong he is when he doesn’t hold back.  How long did it take him to completely obliterate a Silver Saint? Not even enough to appreciate how badass he was.  It didn’t seem forced at all, more importantly! Most times, especially with Seiya, their victories seem so... well, convenient that it’s hard to believe they’re actually strong enough to beat their enemies. The plot armor around them is stronger than their actual armor, from time to time. This fight against Dante, instead, felt completely genuine. Shun and Ikki beating so easily two Silver Saints seemed incredibly normal and realistic, rather than feeling forced by the plot.  Of course, all the other characters have their genuine moments (yes, even Seiya), but I wanted to point this out for Shun in this particular instance because it’s necessary to understand how underrated he is. 

Sanctuary Arc

Moving on, we have what I like to call “Shun could have choked Saga to death and ended the entire Sanctuary Arc in less than five episodes”. Listen, does it seem so unreasonable? If it does, remember how Shun (with Ikki’s help, this is not something I’m ignoring, I like Shun but I don’t play dirty here) used his chain to break free of the Other Dimension (a place that’s supposedly impossible to leave? Hello????) and literally reached Saga where he was sitting.  What the hell, are we just ignoring the fact that he legitimately broke into the throne room of the most protected place of the entire Sanctuary, stole Saga’s cheap-looking trinkets, and shattered his control over him? For god’s sake, I’m SURE he could have at least managed to try and kill Saga where he was.  I’m aware he had no idea what the hell was going on, but had he used a bit more of his cosmo? A bit more of his concentration and intelligence? To me, it seems really weird that he only properly awakened his Seventh Sense so late in the arc. If Seiya was able to screw the plot over and get his precious Seventh Sense so early and easily, why wasn’t Shun given the same opportunity? Well, I know why, plot and everything, Shun’s actual power was still very much a mystery, but I’m going chronologically, and by logic. And what logic tells me is: Shun should have awakened his goddamn Seventh Sense there, realized he was stealing costume jewelry from the Pope, and at least knocked him out for the next couple hours.  For as much as i like joking about it, I know Saga is smarter and stronger than the average guy, Shun wasn’t going to be able to strangle him with the chain. But a good old pointy cosmo-powered chain to the forehead, well... come on. Would have been hilarious, other than useful. 

For the rest, the arc was pretty amazing.  His sacrifice for Hyoga? Yeah, he wasn’t holding back there.  And the fight against Aphrodite we all know how incredible it was.

Something I’m going to point out is how much Shun held back against Leda and Spica. That was all his personality, but he was able to defeat both of them in a couple seconds as soon as he used his true power.  I don’t really want to count that as holding back, but I have to. Because he was keeping his strength low, and it counts.  That was a time loss that could have been avoided. 

Asgard Arc

Now this, this makes me mad.  As soon as Shun leaves canon territory, it gets turned into this weak warrior with no desire to fight.  Either that, or he gets to fight but accomplishes little.  And this is exactly what happened in this arc. 

By now, we know how lethal Shun can be, and we know he awakened his Seventh Sense. It’s not theory anymore, it’s not fan wishes anymore, it’s Shun with one more sense to deal with.  And what happens? They give him the fight against the only enemy his goddamn chain doesn’t want to hit. Of course he gets that, and that his - actually beautiful - personality refuses to fight and instead insists on diplomacy.  Now, I loved that. I love how Shun tries to find a peaceful way around the war. But, once again, this is not the point of my rambling.  The point of my rambling is: Shun shouldn’t have needed Ikki to come and save the day.  Let’s take away Mime’s tragic backstory for a second, and let’s put Shun in the “classic” mind of a Saint; fight the enemy to the death, or die trying.  Shun would have won without any help. Sure, Mime is powerful, but Shun is as well. And we know that Shun is capable of facing enemies that use music as a weapon (as we learn later, in the Poseidon Arc).  Also, I’m pretty positive he has control over his chain, is not like the chain is going to ignore him like that. That weapon has a mind of its own, that’s true, but seriously speaking Shun has to be able to control it more than the chain controls itself.  That, and Shun himself refused to recognize Mime as an enemy.  Without holding back, Shun would have seen him as a proper enemy, and fought with no chain deciding “oh no no no, this is a friend!” like an overly friendly puppy.  Wrongfully, maybe, because as we learned Mime was, in fact, not a real enemy, but that’s not the point. 

Syd doesn’t really count. Shun was actually standing his ground against him, and incredibly well.  The reason Shun didn’t win right there and there was not him holding back, but the plot advancing and throwing Bud at him.  I don’t know how high I should hold this opinion, though, because to me it seems a bit weird that Bud is so powerful/stealthy that no one realizes he’s there. I’ve been skeptical about him, especially considering how he incapacitated freaking Aldebaran, but it is still a good reason for Shun not having won the fight.  Stealth can be more effective than raw power, sometimes.  Though, I believe Shun (and Aldebaran, for what it counts) should have been able to sense him. What, they’re going to show us the Saints can sense any kind of cosmo approaching them or far from them, but not realize that there’s someone right behind them ready to strike? Eh, it’s bizarre. 

Poseidon Arc

Right off the bat, he got his moment to shine against Io.  THAT, my friends, was incredible, and if Shun didn’t hold back - because he did, to avoid killing him, bless his merciful soul - Io would have died pretty easily.  Shun claimed his rights as Gold Saint, there, didn’t use all his power, and still beat the everloving soul out of him. 

Also, the fight against Sorrento? Beautiful, beautiful, beautiful.  I literally have nothing to say, he had a reason to hold back there, and I will not give him a forced victory. Sorrento was on his level, and even though I think the Nebula Storm would have killed him (remember, that technique keeps getting more and more powerful the longer it’s used), they were pretty equal.  Shun didn’t hold back, save for when he understood what the hell was going on and got an ally. 

What I didn’t like, however, was how harshly he was treated when Poseidon was the threat. Damn, I’m not saying he should have been able to face a god, not without a Gold Cloth and not alone, but jeez, he ended up being completely ignored.  Like “wait, I’ll help!”, and then poof. Disappeared.  But in this instance, not holding back wouldn’t have made much of a difference. Unless you want to be 100% full of logic, and use the fact that Shun was already a vessel for a god, there’s no viable excuses for him to be able to fight a god on his own.  Not at that point in time, and not in his conditions.  Things work only if they can work. 

Hades Chapter

I don’t have much to say here.  Shun was incredible, he fought without holding back for almost the entire series, and showed an almost merciless side. A good handful of that behavior was Hades, if we go by how Shun was portrayed beforehand, but I like to believe he finally got his time to shine and acted competent again.  After hall, he had his angry moments back in the classic, they were no different from this chapter. 

What I will say, however, is how they diminished him in Elysium.  Because let’s face it: a Saint that not only survived one of the most powerful gods ever possessing him, but also tricked and held him back, had every single right to be powerful enough while wearing a God Cloth to obliterate Hypnos from the face of Elysium.  How are you telling me to believe that the same person that defeated the god of the Underworld just... fell asleep against a minor deity? He was the first to get his God Cloth without the plot aiding him (yes, I’m still salty about Seiya), yet he did nothing, and got defeated by Hypnos like he was a weak little boy.  I understand he’s a god, but Hades was worse! I’ll tell you what would have happened. Shun would have sent Hypnos’ sorry ass back in the void he deserved to be in (I actually like Hypnos okay, Shun doesn’t) without batting an eye.  Surely someone that was able to withstand Hades’ power - and overwhelmed it, even if for a short time - could resist some minor god’s power. 

To conclude, on the same not, Shun should have definitely punched Hades in the face.  He was probably the only one strong enough to do so, aside from Athena. And probably the one with the right to do so, also. 

This is probablt the stupidest rambling I’ve ever wrote on this blog, but I regret nothing.