#BOTH being by Odysseus' side in the end

[gingermintpepper]

Okay, let's finally talk about EPIC's Apollo

I feel very compelled to say, first of all, that I do not dislike Epic. In fact, I am very fond of Epic and have been following its production and status very eagerly! I attend all the launch streams, I watch all of Herrans' update videos; I am, at the end of the day, a fan and I want it to be known that my words are spoken out of love and passion as much as they are spoken from a place of critique.

So really, what my problem with Epic's Apollo?

In the briefest possible terms; the choice to have Apollo be defined by his musical aspect in God Games is thematically strange. And not in the 'oh well in the Odyssey, Apollo was important to Odysseus and his family so it's weird that that wasn't kept in Epic' strange, strange in the sense that Odysseus' character arc since My Goodbye has been getting more and more obviously Apollonian and so it is positively bizarre that when we get to meet Apollo, the god seems entirely disinterested in him and his affairs. So much so that he is not even defined by any station that would indicate that he has been watching over and protecting Odysseus and his family.

What do I mean by 'Odysseus has been following an Apollonian arc'? I'm so glad you asked!

Remember Them is the last song in which Odysseus explicitly uses his sword until Mutiny where he must use it to defend himself against Eurylochus' blade. He uses it to help enact the plan to conquer Polyphemus and, due to Polites dying in that battle, Polites who wished for Odysseus to put the blade down entirely and embrace a post-war life, Odysseus also retires his sword. This is an action that symbolically separates him from Athena - and the image of Odysseus as a traditional warrior set for him in Horse and Infant - as much as My Goodbye physically separates him from the goddess and her war-ways - from this point onwards, Odysseus will no longer be leaning on Athena's wisdom or methods to solve his problems. Likewise, he will no longer be able to rely on her protection.

Odysseus thusly solves most of his upcoming problems through diplomacy and avoidance. He approaches Aeolus - a strange and ambiguous god (both in gender and in motivation) and appeals to them for help. Circe too, he approaches not with wishes to conquer or for revenge, but for the safe returning of his men and an alternate way forward. In all of these scenarios, there is some Apollonian element which is subtly interweaved alongside the influence of other gods; it is with a bow and arrows that Polyphemus' sheep is slain (and thus it is this Apollonian element which is at the root of Odysseus' spat with Poseidon), it is a vision of Penelope that warns Odysseus that his men are about to open Aeolus' wind-bag, Circe's peace offering to Odysseus is to refer him to a prophet of Apollo who has since died.

In this way, Apollo is walking alongside Odysseus for all of his journey after Athena departs - even in the Underworld, he is guiding him. It is Tiresias' proclamation that is the last straw for Odysseus, it is by the power of a mouthpiece of Apollo that Odysseus decides to embrace his ruthlessness. It is with the bow and arrow that Odysseus subdues the siren who sought to trick him, likewise, Odysseus does not attempt to undermine or escape the fate of paying Scylla's passage price - he knows of the doom about to befall the six men and quite unlike the rest of the journey until this point, he does not fight against it. This all comes to a head on Thrinacia where it is a blade which sacrifices the sun god's cow and brings destruction upon the crew once more.

My point with all of this is that when I heard the teasers for God Games years ago, it made perfect sense to me that Apollo would be Round One - he is not Odysseus' adversary and has no reason to oppose Athena's wish to free him. From other teasers about what will happen in the climax of Epic, Apollo will still be walking alongside Odysseus - it is Apollo's bow that Penelope will give the suitors to string. Likewise, it is Apollo's bow that will prove Odysseus' legitimacy and identity. That bow will be the power by which Odysseus hunts his adversaries and cleans out his palace - it is Apollo who is the avatar of Odysseus' ruthlessness, not Athena.

So tell me, truly, what was the point of having Apollo raise a non-argument in God Games? Why have him appear unconcerned, aloof and slightly oblivious? Why have him appear in his capacity as the Lord of Music at all?? And if the intention was never to make Apollo an active player in Odysseus' life like he was in the Odyssey, why keep Odysseus as a primary archer?

The answer of course is that Apollo is inextricable from the fabric of the Odyssey - his influence and favour exudes from Odysseus just as much as Athena's. In Athena's ten year sulk, it would have been Apollo who kept Telemachus and Penelope safe. It would have been Apollo protecting Odysseus from Poseidon's gaze as he travelled the seas (according to the Odyssey anyway)

Forgive me for not being excited about something that I thought was being purposefully set up. I was extremely ecstatic about all of the little Apollonian details that litter the sagas because I know where this story ends up (loosely) but all God Games did was reveal that maybe those Apollonian details were not intentional at all, but merely the ghost of the Apollo who persistently haunts those he favours, even if he cannot explicitly come to their aide in an adaptation.

[madrone33]

Number 1 Rule of adapting the Odyssey into EPIC is: if it can be more dramatic, it will be more dramatic.

The Greeks decide to throw the infant Trojan prince from the walls because they're scared he'll try to avenge his family? No, Zeus comes down to personally give Odysseus a vision of being killed and says his family WILL die. Kill the baby that reminds you of your son right now, it's the gods will.

Odysseus goes to greet the inhabitants of an island and gets trapped in a cave for two days by the cyclops that's eating his men one by one? Nope, we got BOSS BATTLE 30v1 in the Ithacans' favour until BAM fourteen pancakes are made by Polyphemus' club and oh shit Polites is DEAD-

Athena is just vaugely absent for the whole journey until the end? We got emotionally charged platonic breakups instead, with yelling and insults and "well I'm breaking up with you FIRST!"

Smooth sailing to Ithaca? STOOOORM-

Odysseus' great-great-great-grandfather giving him a speed boost to help him on his way home? Get ready for trickster wind gods, mischievous winions, and a game that was rigged from the start.

Random-ass suspicious and greedy crew mates open the bag? It's Eurylochus, his second in command, his brother-in-law, the man he trusted, Eurylochus WHYYY

Parking in the wrong harbour and getting boulders thrown at the fleet by angry man-eating giants while Odysseus backs away veeery slowly? Nah Poseidon himself pulls up to dunk on them, and Odysseus has to make a last minute getaway using the power of STOOORM to avoid being curbstomped like his fleet.

Odysseus gets some stronger drugs from a god to make him immune to the other drugs of a goddess? Well these drugs actually give him magic powers which he uses to engage in a Pokémon/Yu-Gi-Oh style BOSS BATTLE!

Get some closure with dead loved ones and acquaintances, and be the first interviewer of the fallen heroes of past ages? Nope, we just got TRAUMA and a whole boatload of guilt!

A neat outline of what the rest of the journey will look like, a warning against an island of cows that will slow him down, and the way to appease Poseidon? This Tiresias just says "Y'know there used to be a world where you made it home, BUT I DON'T SEE IT NO MORE. IT'S GONE. IT'S OVER. Also, your palace is fucked."

Sailing past the sirens while getting to be the first mortal to hear their song and live? M U R D E R

Sailing past Scylla to avoid Charybdis and accidentally getting six men eaten because he thought he could totally take Scylla, even though Circe said he couldn't, and then he realised he, in fact, cannot take Scylla? ... Eurylochus, light up six torches.

Eurylochus waits till Odysseus is out hunting and then goes behind his back to mutinously rally the crew and feast on some sacred cattle? Betrayal on both sides, stabby stab, K.O., and then Odysseus helplessly watches them make the greatest mistake of their lives as they ignore his pleas.

Quick clean and easy lightning-strike to the ship, leaving Odysseus to cling to some driftwood and paddle away? Zeus himself appears to the mortals, monologues, makes Odysseus be the one to choose, and then smites the whole ship leaving Odysseus to nearly drown anyway.

Telemachus gets advice from a disguised Athena to yell at the suitors and then sail away to look for news of his missing father? Telemachus gets into a full on beatdown with the suitors and gets FIGHT CLUB TRAINING from Athena!

Athena goes "dad I want my favourite mortal back? Did you forget about him? I think you forgot about him" and Zeus instantly replies "nonsense. How could I have forgotten that funny little mortal? Of course you can have him back my sweet favoured child <3" and then Athena skips off to Ithaca? "Father please-" "LIGHTNING BOLT! ANOTHER LIGHTNING BOLT! LIGHTNING BOLT TO THE FACE HOW DARE YOU ASK ME OF SUCH A THING!"

Poseidon does a double take "wait they let him go?? Oh hell nah!" and then sends a giant fuck off storm for Odysseus to swim through until he reaches the Phaeacians? No, Poseidon's just been there on Ithaca's shores, waiting for eight years, now get in the water BITCH- except Odysseus is just like "oh yeah? Fucking FIGHT ME"

You thought the suitors in the Odyssey were bad? Jorge really just said "dial that shit up to ELEVEN"

[little-cereal-draws]

whatever you do, don't think of Odysseus and Polites growing up together

don't think of them going on "quests" through the palace garden, waving sticks at imaginary monsters and saving the day

don't think of them watching the older boys spar and trying to mimic it, not sure of the proper form and ending up in a giggly heap every time

don't think of them getting a bit older and finally competing against each other with an intent to win, racing and wrestling their way through the countryside

don't think of Polites always letting Odysseus win because he likes seeing Odysseus’ triumphant smile

don't think of Odysseus assuring Polites that he's ok while he cries over his wound from the boar, wiping away his tears

don't think of them getting taller and finally being able to reach all the branches of the trees

don't think of Polites reassuring Odysseus when he worries that girls won’t like him because his princely status outweighs the fact that he's awkward and gangly

don’t think of Odysseus being jealous of Polites’ growth spurt and Polites teasing him about it

don't think of them going on short trips to neighboring kingdoms as they fill out, making allies and attending feasts

don't think of Odysseus gushing about how pretty and perfect Penelope is while Polites smiles knowingly

don't think of Polites helping Odysseus gather the courage to ask for her hand

don’t think of the wedding festivities lasting a whole week and Polites drunkenly crying about how happy he is for them

don’t think of Odysseus letting Polites hold baby Telemachus, hovering with the anxiety of a new parent, and watching as his friend gently brushes the soft baby curls out of his son's eyes

don't think Polites assuring Odysseus that the war is estimated to last only a few months, he'll be back home before he knows it

don't think of circumstance slowly pulling them apart as Odysseus spends more time with the kings, going on raids and ambushes, and Polites tries to avoid the battlefield as much as he can

don't think of Odysseus freezing after Polites flinches when he claps him on the shoulder after a raid, hands still wet with blood

don't think of Odysseus growing restless and pacing in Polites' tent, mourning the years he's lost with his family and venting his frustrations with the war

don't think of the Trojans breaching the Greek wall and Odysseus scrambling to find the glint of glasses in the chaos

don't think of him finally finding Polites with a spear in one hand, the other hand pressed over a wound in his side, apologizing as he stabs at his attacker

don't think of Polites sobbing as Odysseus stabs the Trojan from behind, splattering both of them with blood when he pulls the body off of his sword

don't think of them fighting back-to-back, Odysseus aiming to kill, Polites just trying to get them to stay back, as the camp burns around them

don't think of Odysseus trying to get Polites out of joining the ambush on Troy but the other kings aren't having it

don't think of Odysseus watching Polites wipe the blood and tears off his glasses as he says he's fine to go, he appreciates Odysseus trying his best

don't think of the fire and screaming in Troy

don't think of Odysseus collapsing into Polites as soon as the fighting is over and sobbing too hard to explain why he's so upset

don't think of Odysseus closing himself off as they prepare to go home, jealous and angry over how his friend remains as optimistic as ever while he's haunted

don't think of the sea breeze and the promise of home starting to ease things back to normal

until it doesn't

[aettuddae]

business matter — chapter 118.

↳ synopsis: two of the most important kpop companies covet a partnership with a huge global brand, only to be surprised when the deal is extended to both labels. fearing potential sabotage and cynical strategies to secure exclusivity for just one of them, both CEOs resort to desperate measures. in a bid to maintain trust and prevent betrayal before the signing, they come up with a pact: forcing a fake relationship between the leaders of their star girlgroups. if one side attempted to fail the other, they threaten to expose it all to the conservative south korea.

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[written chapter]

karina wandered among the people trying to find her friends, she didn't know exactly where they were because the place they had positioned themselves was at the center of the dance floor where all the people were crowded together. she asked for permission and passed between strangers, but realized she was circling the place to no avail, she assumed they would have gone to sit at their table so she started moving in that direction. she proceeded to keep running groupings of the path, finally emerging from the crowd and being spit out to a clear passage on the side, left so that they people could walk through.

she examined both sides, trying to mentally locate herself in the club and guessing where her table was based on her location. she made her way to the left slowly so she could watch carefully to find her friends.

"jimin." she heard at the same time someone tapped her shoulder.

she had clearly done things wrong as she was paying for her karma. the universe kept sending her challenges as if she was odysseus himself, the only difference was that she didn't have the will nor the motivation to overcome them and just wanted to disappear before she had to solve a worse problem.

"jimin." repeated that voice that, unfortunately, she couldn't mistake for any other.

she spun on her heels, her face serious, she wouldn't even dare to give him a surprised reaction because he didn't deserve any emotion related to good things.

"do you need something, kim jongin?" her stance was rigid, facing him ready to defend herself or attack him for anything he had to say.

"to apologize." the boy had a droopy attitude, he wanted to sound honest.

"that's very empathetic of you, but i don't need your apology." she was going to keep walking, but he grabbed her shoulder again to make her look at him.

"i'm really sorry for how it all ended." he continued. "i acted like an idiot, i didn't understand you." he admitted doing his best to look like a wet dog.

"whatever you say, bye." again she was stopped by the boy as she wanted to run away. "jongin, i don't care what you have to say."

"listen, i know i was wrong, that i was selfish." he held her from both sides to keep her from trying to walk away from the conversation. "but i want to show you that i can be better."

"jongin-" she pinched the bridge of her nose as if to help her stay calm, but as the boy's words sank in she looked at him abruptly. "what do you mean by that?"

"that i'm sorry for not knowing how to act at the time, but i want to make amends." explained with tenderness in his eyes. "if you want too, i want to try again." he clarified.

karina paused for a second, completely stunned, it seemed that the music had faded and people were no longer dancing. she inspected the man's features looking for a hint of honesty in them, she wanted to decipher if he really believed in what he was saying,

because if he did then he was the most disgusting person she had ever met.

"jongin, are you an idiot?" she removed his hands from her body roughly. "no, in fact, do you think i'm an idiot?" she pressed her own chest with her index finger pointing at herself. "that you can find me by chance at a party, put on an innocent face, say three stupid things you read on the internet and get me back?"

"things aren't the way you think they are." he denied with a sad expression. "i really miss you."

"why are you doing this?"

"because-"

"did sehun leave you?"

kai was silent, paralyzed, wondering how the woman had figured that out, going over in his mind all the people who could have told her.

"see how stupid you are?" the girl reaffirmed.

"how do you know about sehun?" he asked dumbfounded.

"i saw it." she clarified, feeling a little embarrassed as she remembered her tactics.

"you saw us?" the boy was surprised, afraid of what they might have been doing when they were discovered.

"i saw your chats." she elaborated.

"you went through my phone!" now jongin was angry, it showed on his face and in his voice, he wouldn't in his most jealous moment have done that.

"i didn't check your phone, jackass, your chats were open on your computer!" she revealed, flustered at the oldest's accusations.

"how long have you known?" he cocked his head to the side, the times and jimin's actions didn't make sense no matter how hard he tried to combine them. "were you with me for these last few months even knowing?" there was some hint of hope in that question, as if it meant she could forgive him.

"i would never be consciously cuckolded, i found out when we broke up." she didn't think much about her words because of the repulsion to the idea that he would think she would let herself be played that way.

"were you at my house after we broke up?" the volumes of jongin's voice rose brutally. "are you crazy?"

"i wanted to give you back your clothes and you weren't there!" she defended herself.

"so you broke into someone else's house without permission?" he rebutted.

"hey, don't change the subject, you cheated on me!" karina reminded.

"you crashed my house!" kim was totally offended at this new information he was getting.

"you were with someone else for seventy percent of our relationship!" she was annoyed at the lack of interest the boy was showing in the subject.

"you committed a crime!"

"damn, come on, jongin, i don't think it's a crime if i have your door code and we were boyfriend and girlfriend, i need you to use your brain." yu tapped his temple lightly signaling him to think.

"don't do that!" he grabbed the girl's wrist away from her body and directed her downward, roughly.

"hey!" exclaimed jimin, it hadn't hurt, but she was shocked by the action.

she was ready to complain and now add this to her list of things to fight about, but was distracted from further yelling when someone stepped between the two of them.

"leave her alone." between kai and karina was now serim, who calmly tried to push the boy away without using much force.

"great, my favorite person." said jongin wryly.

"the appreciation is mutual." she flashed him a smile with the same energy.

"this isn't about you, so i'm going to ask you to leave." jongin tried to run her off, but serim wouldn't let her.

"i don't think you have anything to talk about." dismissed the girl. "so you'd better get on with your life, okay?"

serim brought her hand to karina's back and rested it there to guide her in the opposite direction of the man. feeling the contact, the younger one wrapped her arms around her body, clinging to her. she just wanted to feel her once again, to breathe in her scent, but if she complained she'd say it was to get jongin to stop bothering.

"listen, you." jongin addressed jang with an annoyed tone. "you have already intervened too much in my relationship, stop meddling in matters that don't concern you." he demanded with a defiant tone.

"i think you're the one who's out of line now." the newcomer contradicted. "go away."

"no, you should go." he refused to listen. "i am settling some stuff with my girl, you have no business here." he was impatient.

"you cheated on me!" exclaimed karina, tired of saying it.

"she's my girl." serim stated at the same time.

"i'm your girl?" the younger girl turned to look at her perplexed.

"shut up, this isn't the time." jang ignored her.

"but this is about me!" complained jimin.

"is it because of her that you're doing this whole circus?" jongin accused the blackhaired one. "you want to feel less guilty about falling in love with her when you were with me." he assumed.

"what are you talking about? you had a whole boyfriend behind my back!" at that point karina really thought jongin must be hallucinating.

"why can't you admit that you cheated on me?" the boy questioned.

"but you were on a break." interrupted serim, lifting her index finger in the air pointing out her fact.

"and you were cheating on me!" shouted jimin in despair.

"so did you!" replied the man. "and besides you're all over her right now in front of me!" he grabbed serim's arm jerking from it, as if trying to pull her toward him to get her away from yu's grip.

"don't touch her!" a new voice joined the argument. "can you stop? i know you're still dating sehun." it was kyungsoo, helping her friend.

"but look who it is." announced kim when he saw the boy. "did you have something to do with all this?"

"no, this is your fault and your fault alone." now the one speaking was jennie. "you have a history of being a cheater, don't play dumb." he didn't know what to say seeing his other ex-girlfriend there.

"and i just don't like you." sejeong joined all her friends who had gone to accompany serim.

"thank you." muttered jimin to the new one since she was the closest one.

"i kind of dislike you too." she informed, causing karina to nod in understanding and fall silent.

"i heard we were terrorizing kim jongin so i came." one more person appeared.

"ryujin." spoke the attacked one.

"i hate you." she made clear. "go away and leave my friend alone for once." she proposed. "if you are not together today, it's because you handled a difficult situation selfishly, and also cheated on her." she reminisced. "you don't want to put yourself in the victim's place, this is your fault."

"leave her alone already." jennie took the lead again. "weren't you gay?"

"i'm bisexual." he put a hand to his chest in offense.

"stop hurting karina." the other man interfered. "and please don't start hurting sehun." he advised.

"it's over between us, jongin, it's over." finished karina.

the boy paused to look at them all with annoyance, but quickly realized that this was a war he would not win. he lowered his head in frustration and left without another word.

"thanks guys." expressed serim to everyone once he was away.

"thanks for that, i thought you guys hated me." said karina.

"we don't like you, but we like jongin less." expressed ryujin.

"ryujin." her best friend gave her a puzzled look.

"i'm just being everyone's voice." proclaimed the named one exalted.

"i can't believe i was with that guy for so long." the girl was still attached to serim's body as the older one, focused on the discussion, hardly noticed that karina was hugging her and hadn't pushed her away, so she took advantage of the closeness to rest her head on her shoulder seeking comfort. "it's the worst thing in the world."

"sure, yes, i agree." serim raised her hands in the air to indicate that she wasn't reciprocating her so she should also pull away.

"let her go." sejeong tapped yu on the shoulder to make her understand that she was talking to her. "let her go." she said again, now tugging on her waist.

"stop it, jimin." now commanded her best friend, to whom she did listen. "you better go do that outside." she ran to the side, clearing the way for them to pass.

"what?" serim was astonished.

"jimin needs calm, go with her, you were the one who was there for her all through the jongin situation anyway." she suggested, leading them outside.

"what about you?" she looked at shin confused.

"i can't, i have a cold." she pretended to cough.

led by a force by the name of ryujin, karina and serim ended up alone in the club's courtyard where people went to smoke.

"what are you doing?" jang's friends questioned her.

"you don't understand." she hedged upset. "i have a manhwa to update."

outside, jimin and serim stood in silence, separated by a significant distance from each other. neither could find anything that wasn't awkward to say, and maybe serim didn't even want to, this one pulled out the box of cigarettes she had in her pocket and lit one, starting to smoke it.

"namu." called the younger one.

"don't call me that." she reminded her.

"semmie?" she tested.

"only my friends call me semmie." she was right, she had never earned the place of a friend.

"serim."

"that's my name." the addressed stated sarcastically.

"i didn't know you'd be here tonight." she clarified. "sorry if you came to distract yourself and i showed up."

"that's okay, i didn't think you came on purpose." they both nodded, closing the subject.

"and thanks for helping me with jongin." she added.

"it's no problem." jang brushed off. "you know i can't stand him." she laughed softly.

"thank you anyway." she restated. "and about that thing about me being your girl..." mentioned with a playful tone.

"i just wanted to make him mad." she cut her off quickly. "don't get excited."

"i already got excited, now don't try to stop me." karina joked. "do you usually refer to a lot of strangers as 'your girl' or is it just me?"

"what are you talking about?" serim raised an eyebrow, lost.

"it's good to see you again, jang serim-ssi." she gave a barely noticeable bow with her body.

"ah, you're still at it?" took a puff on her cigarette. "i remember telling you not to bother me, though."

"one thing you should know about me is that i'm very stubborn." jimin had switched to using a flirtatious tone. "and i tend to get my way." she tilted her head to the side, a leaned smile painted on her lips.

"why do i get the feeling i already knew that?" she corresponded the game.

"how strange." the youngest feigned disinterest. "we must be connected."

"or you look a little crazy." she held up her hand, demonstrating with it the word little.

karina let her mouth open indignantly at the response, then let out an almost soundless laugh and averted her gaze to the front. "can i confess something to you?"

"as yu jimin-ssi or as the girl who used to live in my apartment?" she flicked the cigarette butt she had left.

"from jimin to namu." she replied, serim motioned with her head for her to continue talking. "i almost kissed a girl today." she suddenly shared.

serim kept silent, she furrowed her eyebrows, easy to tell she was thinking about how she should react to that confession, she brought her tongue to the side and pressed it against the inside of her cheek, stifling the opinions that formed in her brain that impulsively attempted to come out. she swallowed saliva, gave a long sigh, it was requiring all of her to keep calm.

"i don't want to listen to this." she decided, turning around to go back inside with her friends.

"namu." jimin managed to catch her jacket and hold her in place. "nothing happened with her." she made clear.

"then why are you telling me?" the woman was starting to get agitated, not being able to hide that it hurt.

"nothing happened because of you." she explained, moving her grip up to her chest where with each hand she grabbed both sides of the zipper of the jacket serim was wearing.

"i don't know what you mean." she felt her eyes getting wet. "if you're telling me this to hurt me..."

"serim, i don't want to hurt you anymore." she stated. "i don't want to cause you or me any more pain." assured, feeling her emotions welling up. "i'm telling you this since i didn't want to kiss her because i couldn't stop thinking about you, so you can see that i don't want to and can't be with anyone but you." the girl confessed. "namu." now she held her face gently. "my namu." she looked into those eyes she loved so much, which now looked sad, on the verge of breaking. "i know that i should have treated you better, do you think we can start again?"

serim wondered if jimin might be lying.

she had hidden things and avoided her feelings, but would she lie to her? after neglecting her heart, would she lie to do it again? serim wanted to give herself to karina, there wasn't a single fiber of her body that didn't want to belong to her, or that didn't already claim to be hers,

but you are what you did, and what did her actions make of jimin? if she was a coward, it was nothing that couldn't be solved with a spontaneous burst of courage. was that what was going on? was this question her finally plucking up courage, was she finally fighting for her like she wanted her to?

and if so, should serim trust her again?

"i've had too much of you already." she whispered, almost inaudibly. "it scares me that you're not being honest and that you will ruin me again." she completed. "i don't know if you deserve another chance." she sentenced and then walked back inside, losing herself in the crowd the further she went.

(!)

— taglist [CLOSED]: @yoontoonwhs @cwpiqwon @aliceiwk @xen248 @gtfoiydlyj @rinapomu @aeriuchinarga @multiliker @somedaydream @impossiblesharkcashrebel @yjiminswallet @nwjnsloona @yerimbrit @73vyn @dni-unavailable @yizhuobberi @sewiouslyz @yeetaberry127 @masuowo @yallatalla @aerithykly @chaenniefirst @minfolio @starrynini05 @hotluvlet @wmnrhot @mineige @lisaswifey @brocoliisscared @fae-the-wanderer

[linnienin]

💄A S T E R O I D ⁕ S I R E N E ⁕(1009)💄 through the signs and degrees

Disclaimer: Take what resonates. I'm not a professional astrologer, i just am an avid researcher and i use my personal experience when writing my posts (Also, pls, don't copy my work, i spend lot of time on it, thanks)

Hello beautiful souls!

I'm back with another post on a very requested asteroid 💜

A lot of you asked me about Asteroid Sirene and how it manifests in a birth chart, and initially i answered singularly, but the requests started to get out of hand a bit for me, so i decided to create a whole post on this asteroid in different signs/aspecting different planets

I have planned other posts on this asteroid but for now I..

Hope you enjoy it!

W H A T ⁕ I S ⁕ A ⁕ S I R E N ?

⁕ In Greek mythology, sirens are humanlike beings with alluring voices

Initially descripted as half human half birds then as "sea-girls with the body of a maiden, but have scaly fishes' tails"

⁕ Etymology of the name meaning: "binder, entangler" i.e. one who binds or entangles through magic song.

This could be connected to the famous scene of Odysseus being bound to the mast of his ship, in order to resist the sirens' song.

M Y ⁕ I N T E R P R E T A T I O N :

I want to make clear that this is just my view and thoughts on this asteroid and if you know a trusted source on its meaning please link it down below, i'd be very grateful 🙏

To me Asteroid Sirene (1009) has a similar energy to Lilith but it isn't as raw and destructive, it's indeed more controlled and patient. Lilith is warm blooded while Siren is cold blooded. In our birth charts it can shows where we can become manipulative, turn to our dark side and take what we want with strategy, seduction and mischeviousness.

It can also describe our seductive aura, or how we attract and magnetize others with charm (this can be both conscious or subconscious, depending on how in tune you are with yourself, and also can depend on which sign or house you have this asteroid in)

So, are you interested in knowing how you emanate this irresistible appeal?

Keep reading 💄

S I R E N E ⁕ T H R O U G H ⁕ T H E ⁕ S I G N S :

⁕ Aries/aspecting Mars/1°,13°,25°: Bold, assertive and fearless. Doesn't matter if the rest of their chart has quiet,cutie poofie placements, when asteroid Sirene gets activated these natives becomes confident queens/kings and knows how to defend themselves. They don't lose time to get what they want, they get straight to the point and they know they didn't come to play but to win. Their seductive charm lays in how confidently they carry themselves, people see these natives as natural leaders and warriors. They carry a powerful and intense aura you just can't ignore, the types that dare to do or say things that should't be done or said (but coming from them they sounds so cool gosh). Their facial espressions are intense and animated, and draws people in.

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Taurus/aspecting Venus/2°,14°,26°: The walking sleeping beauty (lmao is she sleepwalking?). Jokes aside, here you can see how unaware these people are of their allure, and this is part of their charm too. They have such a calming and indifferent aura that makes everyone comfortable around them, and people get obsessed by this feeling of peace these natives exude that they can't have enough of. Usually they are the silent type of "Sirene", it's kind of a dormant feature in them. They are very sensual in their mannerism, and if they get to the point of being aware of how powerful they are well, it's the end of the game. They can seduce EVERYONE with their touch. The Queen Mida (oh yeah and they want that gold) 👀

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Gemini/aspecting Mercury/3°,15°,27°: Everyone's fling. Such a flirty aura. They're very smart and intellectual, and everyone find them extremely interesting, so they automatically are drawn in because they want to know more (and some people will desperately show off to get their attention, it's insane). They can get quite some hidden envy from others because of how witty they can be. These people have a way with words, when they speak everyone else shut down to listen to them. I find having Sirene asteroid in Gemini is very similar to being a Siren/Mermaid how it's described in mythology, they are very cunning when they want to, know how to play games with other's minds, they are very good at putting masks on and turn the cards in their favours. (Also, the ability of sirens to change their body features reminds me a lot of Loki in Northern Mythology which happens to be associated with Mercury) They're the true puppet master and they know it. They have light and quick movements. One minute they're near you, the next one they disappeared from your view, and this is extremely fascinating to people. It's like they can't catch them even if they try so hard.

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Cancer/aspecting Moon/4°,16°,28°: I think of these natives as the spy who pretend to play the damsel in distress, portrayed in old hollywood movies. Don't be fooled by their cute acting. They're actually quite good manipulators. People love how inviting they feel, so warm and nurturing, they have a healing aura to them. These natives makes other people feel like they need to protect them from the dangers of others. I think Sirene in Cancer can be naive at first, especially when inexperienced, but when they get their heart broken oh boy. If Gemini was the master at mind manipulation, Cancer is the master at emotional manipulation. Overall these natives can be pretty unaware of their behaviour, sometimes getting overwhelmed by their emotions, but they can also be one of the most destructive people ever when activating the Sirene energy(both to others and themselves) if they aren't in control of it.

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Leo/aspecting Sun/5°,17°,29°: OOOOH those hip swings, you can recognize them instantly from just their catwalk, it's simply hypnotizing. These people take pride in their sensuality, and they know how to use it very well. You can't escape their attention if they have claimed you to be their prey. Another go getter like Aries, but not so in your face, because even if their focus is on what they want, they'd rather give ALL the signals until what they want comes to them. Very much like: i believe, i attract. Their charm is in the way they carry themselves, so wild and raw, a power of nature, these natives hair can play a huge part when when presenting themselves to the world. One of their game tecniques is the push-pull. They enjoy a good chasing, and it's also a way for them to test you if you're worthy of their time (yeah, they have big egos, so beware of that)

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Virgo/aspecting Mercury/6°,18°: The unattainable one. Like seriously, people get obsessed over conquering the heart of this person just because of their nitpickiness and because they are unavailable 24/7. Others can get obsessed over fantasizing on these natives and creating stereotipes when they didn't even shared a conversation in the first place like...this is some powerful stuff. They naturally look so put together, when they wear basics it looks hot on them. Their seduction way is showing how skilled and talented they are, they can literally do anything when they activate the Sirene energy, they get obsessed over a thing and practice until they have mastered it (coff coff, hello... low self esteem and need of appreciation from others 👀). However, once they get some potential suitors they lowkey refuse them like they don't need them anymore, lmao, this is what drives them craaaaazy, "you did all that stuff for mee and now you're walking away? " 👁👄👁 Lemme get some morreee.

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Libra/aspecting Venus/7°,19°: The too good to be true one. They put sooo much thought and intention and effort to present themselves that everyone can't help but look at them all the time. On top of this magnificent presentation add also a flirtatious and extroverted personality that pleases literally everyone around them and BOOM, you can't excape the trap of falling for them. They have a gracious and light aura, great posture and poise, literally princesses/princes. They truly feel like royalty, they also have this natural rich people vibe if you know what i mean. The best at getting what they want in social settings, can have a very innocent vibe that people love. People pleasing is their tecnique to get what they're after. They are one of the most seductive signs in this asteroid, but they're kinda unaware of it. I mean, sure, they know they're pretty but they don't know how many hearts they rob. Even strangers gets captivated by their charming presence, most likely to have suitors telling them "it was love at first sight".

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Scorpio/aspecting Pluto/8°,20°: Heavy aura, attracts anything without even trying. They know how to make an entrance (Leos too, but Scorpios are much more subtle, and still, they get so much attention). People automatically throws themselves at these natives, all it takes is a glance and a little smirk and they living magnets. These people holds the throphy for being the MOST seductive of all the Sirene asteroid's signs . There's just something so intoxicating about them, you can't not get obsessed with them. They are the ones that has to be particularly careful of their aura because they are in this energy all the time and they attract a lot of stalkers, obsessive people, so these are (and should be) the natives that should have firm and clear boundaries. They'll find themselves stepping down at times just to calm this powerful magnetizing field around them, especially if they don't like the spotlight, but if the rest of the chart has placements that like to be the center of attention, this is surely a bombshell placement (watch out for the immense envy/jealousy from others)

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓���⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Sagittarius/aspecting Jupiter/9°,21°: Their spontaneity is contagious. They're hot and cool, and know how to talk to people. Give them a night and they will befriend literally everyone at the party, and will reap so many opportunities out of nowhere. A favourite of the masses. Sometimes they can be a little loud and can get envy/jealousy from others, probably because of a rigid opinion they have, but they surely know how to play with it, telling jokes and conquering again the trust of those that didn't like them. They have such a careless and free spirit that they literally live day by day, without worrying much about the future, and people find this extremey hot. This placement is one of the most underrated one in terms of seduction, honestly when researching for this asteroid i found many siren-like women in our history that had/have Sirene in this sign, and i think it makes sense thinking about it, because Sirens are in their natural habitat out in the wild, so there's a sense of familiarity between the native and the raw energy of Sirens.

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Capricorn/aspecting Saturn/10°,22°: The strategic and cold diva. People cannot enter their inner world and their vulnerabilities and this drives them mad and obsessed over knowing what's behind the mask. Can embrace their seductive charm later in life (probably from their 30s on). I have noticed these natives can have strong facial features that are difficult to forget. Attracts wealthy suitors, or will use their seduction to attract opportunity to get into power positions. They have an authoritative and mature aura, slow but decisive movements, can be intimidating to others, big D energy. Demanding of others and themselves. Calculating every move they make, good at getting the favour of those in charge. Could find themselves attracted to older/more mature people or they could attract them a lot. Intense, can be similar to Scorpio Sirene, but people are much more wary when approaching them (this is why usually older people are attracted to these natives, because they give off the vibe of knowing what they want)

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Aquarius/aspecting Uranus/11°,23°: The one that to seduce just have to be authentic and nonchalant. Weird in a cool way, they catch people's attentions without even knowing, but just doing their thing. Their independence and uniqueness are their strong seduction charms. They're pretty unaware of their appeal because they don't even care about seduction in the first place, they have other things that go onto their mind. Their authenticity and disinterest may not attract many suitors, but the ones that get attracted by them are genuine and shares similarities to them, so they might find even THE ONE with this non-method-method. If they're interested in seducing, they might use very peculiar and unconventional ways to do so.

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Pisces/aspecting Neptune/12°,24°: The innocent mysterious person everyone is secretly obsessed with. People will find themselves having wild fantasies on this person and not even knowing why. The way they walk and talk is smooth and divine, like they have a light surrounding themselves. Their eyes always seem to wonder around, like they're never in the present moment, and this fascinates people a lot. If they make eye contact when talking to you or listening to you, they will hypotize you 100%, even if they're not really listening or are having other thoughts. There's just something so enchanting and special about their eyes, also, often these people will have unique eyes or stunning shapes/colours (ex. Liz Taylor has Sirene in Pisces and she is known for having one of the rarest world's eye colour, purple). The least aware of their Sirene charm of all the signs.

M o r e ⁕ o b s e r v a t i o n s:

Water sirene: innocent and wandering eyes

smooth and relaxing voices

Fire sirene: fierce and sexy eyes

clear and powerful voices

Air sirene: playful and flirty eyes

high pitched, unique and chameleon voices (good at changing their tone depending on the situation)

Earth sirene: sweet and calm eyes

deep and warm voices

And you've reached the end of this post! 💄

I hope you enjoyed it, i kinda wanted to include the houses too, but i think it'd been way too long to digest, so stay tuned for another post on Sirene in the houses

Edit: I published Sirene in the houses too! Click below to read the post (i also included Celebs examples)✨

I wish you all a wonderful day ahead! ✨

Yours,

Linnie

[xjulixred45x]

I'm suddenly inspired thanks to the new season of KNY and the announcement of the trilogy for the infinite castle arc, so this idea came to me while listening to, what a surprise, Epic The Musical.

BIG SPOILERS FOR THE MANGA FOR THOSE WHO HAVE NOT READ IT, ESPECIALLY FOR KOKUSHIBO'S STORY!!!

Kokushibo and Son reader

Did you see that Kokushibo when he was human had an entire family? wife and two children.

I like to imagine that he really loved them, it's just that his desire for power far exceeded his love for his family.

that + being turned into a demon caused his paternal instinct to drop considerably from "decent" to "sea turtle"...something like that.

Imagine that Kokushibo, watching over his family from afar, especially his eldest son, ends up...missing that feeling.

He won't admit it, obviously, but he's strong enough that he ends up watching and "taking care" of his children from a distance. but with a special emphasis on his eldest son. who, because he is his next heir, has to learn martial arts and weapons handling...

and he is GOOD with them..

I don't think the Son/reader is a Yorichi-level prodigy, but he's definitely cunning and intelligent enough to pass the average age and compensate for his lack of muscle mass (for being so young).

and Kokushibo feels INTERESTED in this.

He sees the opportunity to, in a way, "save" his son, "help" him get better.

although in reality it is a way of saying that he misses his son and that he does not want him to die as a human. but he would never admit it.

Then, when the child is old enough to go on expeditions on his own, Kokushibo gives him certain "tests", some that require strategy, brute force or intellect, but indifferently the child/reader manages to pass them.

The interesting thing is that at first, the son/reader doesn't really know why such strange creatures or obstacles appear out of nowhere 😅 but little by little he begins to suspect that a demon could have something to do with it...

What the boy did not expect was that that demon was his father!

The same father who abandoned him, his brother and mother...was he taking care of him?

Let's just say that when Kokushibo finally decides to appear before his son, he doesn't really give concrete answers, and it's not a good idea to try to force him. so son/reader simply settles for this strange new dynamic.

They're like Omniman and Mark but less extreme in a way. Or more like Athena and Odysseus. They act like Friends, but the GIANT difference on power/mortalilty and authority make them not actually be.

Kokushibo wants his son to improve as a swordsman as he grows up and proves to be a great fighter both with and without weapons, but at the same time he wouldn't act in a paternal way per se.

because, after all, Kokushibo is no longer the father of son/reader, he knows it. And deep down the reader also knows it, as much as he wanted to have a relationship with his father again, because he knows that if his father takes care of him it is because he loves him, but if he loves him, why does he push him away?

It's a dynamic in which the son/reader wants to have hope that his father is still out there somewhere, while what Kokushibo wants by being a demon is to leave what stopped him once being human, so he wants to drag his own son on the side of the demons.

Probably in the years in which Kokushibo meets his son and trains him (either in the Moon Breath or a variant) he also tries to teach him how to be the closest thing to a human demon, that is, to only look out for his interests. and HIS power, since after all, what good is everything he has achieved if it is not for him?

son/reader is a good boy, but thanks to these years of basically grooming he ends up being a ruthless and socially very inept warrior. being somewhat isolated from others.

However, when son/reader officially enters the demon hunting guild (by order to cover Michikatsu's place), he begins to be more exposed to people in general, people who do not feel particularly intimidated by him... who see him like a companion.

It would be especially interesting (especially for a yandere scenario) if the son/reader found a new father figure in the group of pillars (to which he ascended very young, to Kokushibo's satisfaction) who precisely tries to teach him that power and techniques are not everything, you do not have the guarantee that something precedes you, so you should focus more on living happily.

(It would add insult to injury if that father figure turned out to be Yorichi taking care of his nephew from his demonic father figure).

However, the more son/reader begins to doubt and falter in his ideology, the more pressure he receives from Kokushibo not to "disappoint" him, not after everything he has progressed, everything he has taught him, son/reader is a special warrior, he can't afford this.

especially not when Kokushibo is going to give him a very important test, in which it will be decided whether or not he is worthy of becoming a demon.

Let's say that the son/reader is sent on a mission, in which, together with a group of hunters, they must go after a high-ranking demon.

That's not the part Kokushibo is interested in.

He knows that his son/reader's companions are not going to survive this, they are very weak compared to his son, but if he uses them as decoys, he can easily kill the demon.

easy right? well, not for son/reader.

At first everything went well, as they had planned in case they ran into a high-ranking demon, attack from behind, keep their distance, be in the blind spot--

but in a moment, almost without realizing it, one of his companions was already dead, crushed to the ground...

and then another...

and other..

son/reader realized that he could handle this demon, but his companions couldn't, at this rate they would all die. and he DIDN'T WANT THAT.

So he did something he had never done before.

son/reader took his few remaining companions and RUN AWAY. as fast as he could. away from the devil. where the sun would rise shortly.

and oh god, Kokushibo was FURIOUS.

and practically right there they have their Epic My Goodbye moment.

Kokushibo is disappointed, his son not only ended up being reckless, but sentimental at best, SOFT. something that even his dead companions would be ashamed of. He's supposed to suppress any nagging feelings for the victory, and not only does he ignore this, he fails every stage of his final test.

So, Kokushibo leaves.

Maybe that's how he learns his place, maybe that's how he learns not to cross it, not to waste his time, NOT TO DISAPPOINT HIM.

but this time, son/reader has SOMETHING TO SAY.

...he's not surprised...

It is something very in character for his father, selfish, pridefull and VAINE, because after all, what does he know now about BEING HUMAN? What is it like to have blood on your hands and feel bad about it?

All the respect that the son/reader had for his father has disappeared, replaced by great bitterness. ENCOURAGES him to leave, he already did it once, he will no longer run after him, he will no longer cry for his attention, because he will no longer be plaguing his life to begin with.

He will get what he wants and he doesn't care in the slightest.

and that makes Kokushibo EVEN more angry, how could he think that such a disrespectful CHILD could become a good acquisition? what a waste of time.

but at least the son/reader knows why he did things, he knows why he is fighting now, WHAT HE WANTS, if his father were so powerful and he felt better now as a demon...then why is he there with him, in that moment?

.....

As the son/reader goes towards where the sun begins to rise, he can still hear his "father" speaking to him from behind.

-"...someday...you will understand what I tell you....someday...you may listen to me...someday...but not today, after all...you are just a man "-

a mortal man, who would die like the rest.

-"everything you worked for...will be lost...you have condemned...yourself...you have lost ...EVERYTHING"-

_"..... Goodbye father..."-

as he slowly walks towards the sunlight, with the rest of his group, but not before watching as the silhouette in the shadows blinks briefly before simply. disappear.

This feelt so OOC but I HAVE TO DO IT!!! I HAVE THIS IDEA FOR MONTHS NOW AND WITH TJE SUDDEN BRUST OF INSPIRATION FINNALY I DID IT!

It's kind of weird how the characters of the family of Kokushibo are barely used on fanfic, so i Made My two cents i Guess.

The songs i used of refference:

Hope You all enjoy!

[theglassesgirl]

Calypso vs Antinous: A Tale of Two Villains

I know this is such a weird topic for me to come back for after not blogging for months, especially I’ve never spoken on this fandom here, as opposed to TikTok. But precisely BECAUSE tiktok is so limiting, even if you make various videos on a topic, someone won’t have all the context and the comment system of that app is pure ass so here I am

Calypso and Antinous are two (out of three!) of the MAJOR villains in the Wisdom Saga, however, both these villains have produced polarizing discourse that has fascinated yet confounded me. On Calypo’s end, she is a villain who many are made upset by when she is interpreted as the villain she is (in varying degrees). On Antinous’s end, he is a villain who many are made upset by when he is interpreted as anything BUT the villain he is (in various extremes). What on earth happened here?

I’ll try to dissect what has transpired as i have come to understand both situations.

PLEASE try to read through the end, but if you like, you are also more than welcome to just focus on one section if you don’t care for both discourses or how i think one affects the other. I totally get it. KEEP IN MIND, that i might speak about something you haven’t PERSONALLY seen, but as i often say in fandom, just because YOU didn’t see it, doesn’t mean it didn’t HAPPEN. It adds context to why/how certain fans are reacting as they are. You could be in one camp, and never have seen what the other camp has, so at any point where youre reading and saying to yourself “is this a thing that happened?” Consider that it did indeed, happen, and you are welcome to expand your knowledge on the subject.

ANY comments that go “you have no idea what your talking about/this isn’t true/i’ve never seen this/when did this happen(sarcastically)” will not be answered and you will be blocked, because it is clear you are not actually open to discussion. You’ve made up your mind about these characters and topics, and my time, at least, is valuable.

GENUINE questions like “I didn’t know this/when did this happen (genuine)/can you explain this point more” are more than welcome. I will absolutely entertain character interpretation as well, so long as we’re not trying to “convince” one another, as that isn’t the point of this post. These are two villains who i find fascinating and am wondering why are being treated so differently in discourse spaces.

For Calypso:

I truly and HONESTLY believe that because Calypso is a unique (and lovable! Mind you!) villain, it had led to many of her newer fans to feel uncomfortable with her role in the story. I have seen numerous sides of her discourse and have come with a few iron-clad rules: it is ONLY acceptable to call someone out if they are harassing Wangui, calypo’s VA (which has NOT happened as i am writing this out) OR if an anti-calypso comes into SOMEONE ELSE’s post saying anything like “if you like calypso then you condone her actions” because as what we sane people know, that is just a silly fallacy, OR if they start shit in a cosplayers/fanfic writer/fanartists comment section. ASIDE from these instances, i will be speaking on what none sense has transpired about how Calypso is portrayed in the Musical within her first song, and her future song, because BOTH have been used for utter bias.

A few things to debunk:

FIRST Calypso is NOT cursed to fall in love with anyone who comes across her island. That is a Percy Jackson ONLY addition that has no bearings on her actions in the musical or the original poem.

ALSO though Calypso CANONICALLY RAPES Odysseus for seven years in the original poem, the CHILDREN from that abuse only really exist in secondary sources/works. They NOT in the original poem.

Having said that:

The Ambiguity of Calypso’s actions in both of her songs means that everyone is right when they speculate on what she has done. Odysseus was trapped on her island against HIS will for seven years. He is canonically seen refusing her advances, trying to kill himself, and begging her to let him go and leave him alone. These are UNDISPUTED facts. As such, regardless of how YOU personally choose to interpret Calypso actions, she will always have a CANONICAL victim in the musical. I feel people are forgetting Odysseus when they speak on Calypso and that’s the whole point of her existence in the poem and the musical.

This leads directly into WHY there has been arguments about Calypso’s character. In the POEM, she very much sexually assaults Odysseus for seven long years. He is seen crying nightly and begging to be free. In the MUSICAL, Jorge has decided to leave the situation ambiguous - which, i have seen, does not sit well with current fandom culture. NEW fans of Calypso seem to be very adamant about NOT interpreting Calypso as a rapist, in levels that range for they’re just not comfy with it so decided not to head canon her as such, to other very concerningly speaking about rape survivors in such a way to justify liking a villain when you dont HAVE to justify liking a villain at any point at all ever.

Let’s break it down.

Those who just don’t like the idea of Calypso being a rapist in the MUSICAL are valid. It’s very easy to block and avoid those who have chosen to explore this aspect of her in the musical because they can and are allowed to. I am very pro-finding a space in fandom where you can talk about Calypso without HAVING to mention she might have raped someone. She’s still a villain for having kept Odysseus captive for seven years, but it’s not important. You are more than allowed to love villains, and without the rape aspect, Calypso’s villainy boils down to her physiological and emotionally torturing Odysseus while physically kidnapping him. That’s still ALOT of bad stuff to unpack, if you so want to. You could also not want to! It doesn’t hurt anyone, and anyone who says it does is not being intellectually honest.

The PROBLEM that I’m seeing, is that many of her newer fans…DONT want Calypso to be seen as a villain. At all. Which…is not how fandom works, I’m sorry to say.

While some EPIC fans have interpreted Calypso of being manipulative / selfish even in their most sympathetic analysis of the story (and the current song), others are treating these interpretation as wholly incorrect and somehow a form of harassment. The main caveat to this reaction appears to be, as TikTok puts it, “That Calypso DOESN’T SA Odysseus on the musical”

As we have pointed out, Calypso canonically rapes Odysseus in the poem, while it’s ambiguous in the musical. As we have ALSO pointed out, the ambiguity of the musical allow ALL INTERPRETATIONS to be correct. Something about the RAPE aspect of Calypso’s characterization in this musical, however, is the primary reason this discourse has happened.

Now, as i have said earlier. You are in your RIGHT to not head canon Calypso has a rapist in the musical. In the same vein others also have a RIGHT to head canon Calypso AS a rapist in the musical. But from what I’ve seen, it’s when others interpret Calypso as a rapist that newer Calypso fans leave comments about they’re not “interpreting the story correctly” and not “Judging calypso based on Jorge’s vision” and at first i found it funny…now it’s a bit concerning.

There are two instances that come to mind. One tiktoker made a video where she was in tears saying that it made HER SAD that people were “judging Calypso wholly based on outside sources material” which is disingenuous. As i have said before, even without the RAPE aspect of Calypso, which i will go further into what her newer fans consider “rape”, she is still an antagonist within the musical - she is a villain who keeps Odysseus against his will. To claim that they are calling her a villain for that reason alone is a blatant and useless addition to the discourse. I did not care for it at all. It would have been MUCH MORE constructive for this tiktoker to say that even though Calypso is a villain, the sexual assault is up to individual interpretation, and as all interpretations are valid, it’s better to find people who agree with your head canons rather than start fights with people who don’t share yours. This tiktoker very poorly worded the discourse as a one-sided thing where one side is wrong, and that is simply not true.

ANOTHER tiktoker, who wisely turned off comments because such discussions are impossible on the app, worryingly claimed that a line in Not Sorry for Loving You was absolute PROOF that Calypso did not “rape” Odysseus so it was wrong to interpret her as such, because, and this is a loose quotation “i don’t think Jorge would make Odysseus say something like that HAD Calypso done that to him” which unfortunately leaves fandom discourse into REAL WORLD victim discourse. Holy shit. The line she is referring to is when Odysseus calms Calypso down when she is in the middle of explaining her actions by saying “Calypso i love you, but not the way you want me to” to this tiktoker, it seems illogical for a rape victim to every say these kinds of things to their rapist…which is….NOT it. At all. Fiction, as beautiful as it is, is meant for you to QUESTION “huh…how would this impossible fictional scenario work? What makes this compelling?” It is NOT meant for you to attribute your REAL WORLD assumptions onto a FICTIONAL SCENARIO in order to justify you liking a villain character when you dont HAVE to justify it. You can like Calypso! It’s only weird when you make real-world comparisons like this because a rape victim can and HAS said as much and even more to their rapists in known history. *bonks you* dont do what this person did! Fiction allows you to explore situation that would be traumatizing outside of it in as safe and consensual way! You CANNOT and should NOT ascribe your personal biases on sensitive topics for FICTIONAL characters. That’s not how this works. “real victim wouldn’t x, so fictional wouldn’t y” is a ludicrous statement! You can’t back it up with facts! “Fictional victim does x, so i wonder if there ever would be a situation where a real victim would do y, and would like educate myself on the topic” IS what fiction was made for! OPENing your mind, not closing it for stupid reasons.

But it got me thinking. BECAUSE these fans anchor their arguments on the rape of Odysseus, even when they themselves DONT consider it, what exactly do they consider rape, and why is that ONE act Calypso may or may not do the ONLY reason to call her a villain when she is one, regardless.

Well, I’ve seen a lot of back and forth. Some anti-calypso’s are okay with the idea that Calypso is more of a “kissy-face” monster, a silly villain who, having no concept of what actual love is and what your supposed to do with someone you love, thinks hugging and kissing is the only thing on the table. It still makes this version of Calypso something of a sex pest and is still in line with sexual assault as we see Odysseus is miserable. The gravity of the situation is based entirely on funny fanfics to Odysseus canonically trying to kill himself because of Calypso’s affection. This interpretation (shockingly enough) is also hated by some new Calypso fans.

Because from what i have gathered. “SA” as used in TikTok, had been boiled down to a literal forced insertion of Odysseus’s dick in Calypso’s vagina. Not the literal words “sexual assault” which is an umbrella term for multiple things. But in this discourse “SA” has JUST been used for the ACT of rape itself. That is what new Calypso fans think is criminal. That is what they entirely base her villainy on. Because we will NEVER get confirmation on whether this happened, it’s impossible to engage with some of the newer fans, who dislike attributing Calypso with the villain title because of this one thing and this one thing alone. Any other line, from Calypso saying “and I’m sorry if i pushed you, or if i came on too strong” in her next song, or even her saying “in bed we will climb” is, for some reason, not grounds for others to be allowed to interpret her as, at the very least, assaulting Odysseus physically and sexually in a way without having to have actually raped him. It boggles my mind. Truly. But every argument i have seen has boiled down to the newer fans saying “welllllll, we dont know the context, and Odysseus said —“ when i have already explained that none of that matters. All interpretations are valid. You CANNOT say with certainty that she did or didn’t rape Odysseus. That’s the POINT. You can’t PROVE either, stop TRYING to, it’s YOUR choice and your interpretation can be backed by lyrics/official animatics, but it is hardly an absolute.

It has become a GROWING problem that in videos where Calypso is portrayed negatively, there are at least a dozen newer calypso fans who have to bring up how she is sympathetic, and therefore, not a villain. Which is not true. She is the MOST compelling villain in the epic musical, thus far.

These “fans” say that she absolutely didn’t rape Odysseus which is theory, not fact. And not a theory that can become fact. In the same way that saying she absolutely did rape is can not become fact. They appear to believe everything outside of this hypothetical act, nothing else she does is deserving of her title as a villain, and start arguments in non discourse posts about all the ways she’s sympathetic when it goes hand in hand with what makes her a compelling villain antagonist.

There’s also a newer cope saying that it’s all Zeus’s fault anyway, which has NO bearings on the conversation as, again, despite Zeus being a dick and allowing Odysseus live while not necessarily enabling him returning to Ithaca, it’s still up to Calypso on how she acts towards HER captive. And she straight up chooses violence lmao. Athena asks for “Devine intervention” to an impossible situation, regardless of if it was Zeus’s actions that led to it, it’s also up to him to “untie apprehensions” because Calypso, being a goddess, has complete control over whether Odysseus can leave and SHE won’t. She has to be ORDERD to. By a HIGHER power. Zeus.

Such argumentations as “well if YOU were in Calypso’s situation, wouldn’t you also do the same” are useless fallacies to get into, because you are NOT a goddess who owns an island and is in possession of a man who does not love you. Even if you were, guess what, it still makes you the antagonist. A villain. A knowing one or not.

In fact, since I LIKE interpretations that Calypso isn’t psychologically torturing Odysseus ON PURPOSE, i go as far as to say that her being a genuine goddess who wants love is in fact…..so much more painful, narratively. Because that means she is INCAPABLE of ever being a good person. Her loneliness and fear of being unloved makes her utterly blind to Odysseus’s misery. She HEARS him saying constantly that he misses his family, that all he hears are screams, and that SHE doesn’t know him, but she in turn CANNOT get passed this because she is, at her core, unable to, and thus accidentally triggers him constantly, is delusional about her island being paradise, AND convinces herself that her love is real (when it is not) and that Oddy will love her back if she keeps trying.

THAT is what you call a compelling villain!

As in all Calypso stories. There is NEVER a moment of clarity where Calypso realizes “if i actually love this person, i should let him go” in the musical HERMES is tasked in telling her to let him go. And she, as in all her other stories, goes on a tirade to explain/justify her actions, however you wish to see her being manipulative or honest. Regardless of how you choose to SEE calypso, at the end of the day, she has NO RIGHT to be upset at Odysseus because he was her captive. And REGARDLESS of whether Odysseus’s words are interpreted as him forgiving her, or just placating her, at the end of the day, he is her victim and she ends her next song upset that he is willingly leaving her once he got the chance. With absolutely no hope of him returning her feelings. It’s not his job to make her feel better, she IS an antagonist, and you are allowed to love her no matter how that might upset others. It is ONLY a problem when you take it to such extremes that you are in other peoples comments acting as if Calypso is a real person who needs defending. You are more than in your right to block people who come into YOUR videos accusing you of somehow being a bad person because you like a bad person. That’s not how fiction works.

Once again. My analysis of the Calypso debacle is that for some, calling Calypso a villain upsets them. Because they like her, and they are uncomfortable with the idea of liking a villain. This is a personal grievance that shouldn’t boil into fandom. Know your truth, have fun. You CAN make silly calypso videos. Many have. Her song is a bop, the meaning of the song is hilariously dark compared to the composition. Jorge did his job VERY well. Too well, that the idea of liking Calypso feels either / or when it’s not. TRUST that i would not be on the side of anyone who says “if you like calypso, youre evil”, but I HAVE seen a pattern that because Calypso is likable, than several people have made it their confused mission to tell everyone who is “mean to her” that “if you DISLIKE calypso, YOU are evil”. That’s bizarre to me. Calypso does enough evil actions in the musical to warrant that title regardless of the reasons for her actions, whether she is being purposely malicious or unconsciously so due to her lack of socialization. Being weird about real life SA survivors for a fictional character is never acceptable. For or against Calypso, whether she is a rapist or not, it is up to YOU to find like minded people who share your interpretation, not to argue with people who disagree with you in their own space. She isn’t real. Get over it.

ANYONE WHO HARASSES WAGNUI, COSPLAYERS, OR GOES INTO POSITIVE CALYPSO INTERPRETATION SPACES TO BE PURPOSELY MEAN* ARE WRONG. Otherwise. Leave them alone, they are as valid as you are. “Defending” a character is a waste of time when you could be creating for them. Calypso is a compelling villian antagonist regardless of how uwu or vile you choose to make her. Thus is the beauty of fiction.

(*purposely mean, would, logically, be someone calling you an idiot or a rape apologist for headcanoning her in a positive way. The ideal interaction with a negative calypso interpreter would be “i dont see her this way, but i understand/like your headcanon”)

WHICH BRINGS US TO Antinous:

Hilariously enough. Antinous has the complete INVERSE problem as Calypso, which was also detailed in her section for fairness sake at multiple points, and this problem is much easier to understand. Antinous is a villian antagonist in the musical Epic, and in his debut in the wisdom saga, he is shown (like calypso) to be in direct opposition to Telemachus and Penelope’s goal.

He alludes to sexual assault much more clearly than calypso. He calls Penelope a tramp to her son’s face AND suggests he let them into her room “so [they] can have fun with her” which is in the same vein as calypso saying “soon in bed we will climb” to Odysseus later on that “you (Odysseus) are mine all mine” in her own song. Like calypso, it is told to us that Antinous has been having this kind of vibe for TEN YEARS as opposed to calypso’s seven years. Everyone is, usually, in agreement that Antinous is a villain in the wisdom saga and in the overall Epic musical.

Antinous’s VA is ON TikTok, and has spoken about how happy he is that fans consider him a talented person who did a spectacular rendition of such a villainous character. AND YET.

Inversely from what we saw in the Calypso section, where some of her fans are against the notion of her being portrayed as the antagonist she is, for Antinous we have MANY fans claiming that others are not ALLOWED to portray him as anything BUT an antagonist. Unlike with Calypso, where people circularly argue that her allusions to sexual assault are “too ambigous” and lead to much senseless debate on whether you’re “allowed” to like her or call her a villian, with ANTINOUS, there is this claim that he ABSOLUTELY is alluded to sexual assault and therefore, cannot be liked or treated as anything other than a villain.

As i have discussed AT LENGTH in Calypso’s section, this argumentation is pure fallacy.

There have been NUMEROUS thirst videos that have rightfully said that DESPITE the actions of the character, they still think Antinous is hot and likable (the Gaston affect, if you will). Even WITHOUT the disclaimer, it is OF COURSE understood that Antinous fans are NOT rape apologists. That is a ridiculous assumption that serves only to kill any interpretation that someone else can rightfully have.

It’s utterly devoid of nuance or actual knowledge of how to play within fandom and interact w characters.

There have been SEVERAL posts calling Antinous fans delusional for liking him and “reminding” the fandom that he is a bad guy. This serves no purpose and is utterly useless to the discourse. Antinous being a bad guy is not debated. This is factual. It doesn’t (or shouldn’t, because we cannot speak in absolutes) hurt anyone’s feelings to see an Antinous videos depicting him as the villain he is. Like with Calypso it is ONLY acceptable to call someone out if they are harassing Ayron Alexander, Antinous’s VA (which has NOT happened as i am writing this out) OR if an anti-Antinous comes into SOMEONE ELSE’s post saying anything like “if you like Antinous then you condone his actions” because as what we sane people know, that is just a silly fallacy, OR if they start shit in a cosplayers/fanfic writer/fanartists comment section.

Otherwise. Who cares that someone is saying Antinous is a villain? Block the no fun police and enjoy analysis from others who choose to see him purely as what he is, if you want. If you dont, block them to, it’s your space. You have a RIGHT to headcanon Antinous however you want, even make up AUs for him where he’s nice or lives and gets a happy ending, SO LONG AS you’re not in other people’s posts going actually Antie is my uwu child and he did nothing wrong. Cuz then youre just being dumb. And annoying. Fandom is already impatient with genuine disagreement, being a smart ass gets your head dunked in a toilet. I used to think this was common sense.

(And in case you didn’t read the Calypso section, or didn’t see enough of it there, this IS the appropriate response to people who address newer fans of her as rape apologists too, its in her section, i just also thought it was important to touch on the stranger phenomena of her other fans refusing to call her a villain because it makes them personally uncomfortable - it’s very interesting as Calypso is a female antagonist while Antinous being a male antagonist is being treated very differently for the same subject. In any case, it’s a disservice to either character and Jorge’s narrative to get upset about the very real fact that BOTH of these characters are villain antagonists.)

The very CURRENT discourse surrounding Antinous is that he was recently shipped with Telemachus.

The animator for Apollo’s section of God Games was harassed to such a point that she had to make a public apology regarding her ALTERNATE UNIVERSE scenario. And i, personally, think that’s bullshit.

There have been accusations that she was being insensitive to sexual assault survivors, and that she made a dark joke, all of which she addressed in her apology IN ADDITION to her explaining that she is ALSO a survivor of child sexual assault. She took down her work. DESPITE all of this, there are still others who continue to harass her, and claim that they dont want “a rape creator” in THEIR fandom. To those people: you don’t speak for any of us. In the same way you can claim not to believe that the animator is a survivor, i have no reason to consider your concerns in any way shape or form as being in service of victims. It is absolutely not your call, when blocking and scrolling on will ALWAYS be an option for YOU.

Even in the event someone writes Antonio’s fan fiction keeping his canon personality and characterization in a non-canon divergent way it is not grounds to harass people.

In addition to this animator, there have been SEVERAL Antinous shippers who have expressed disappointment that she was essentially harassed into a corner, as they also liked the ship and the AU she created. These people are NOT “weird” they are allowed to express themselves creatively, and if you disagree, dont even bother with leaving any sort of response — i wont read it, my time is important. Stay in your echo chamber. Even if it wasn’t an AU, and someone wants to write for Antinous as he is in the narrative, they are more than allowed to do so. Dark fiction isn’t going to traumatize you or give you cooties. Grow up.

I am MUCH more willing to ride with Antinous shippers than i ever will be with fans who attempt to control how a character is interpreted by others. Because to ship Antinous with anyone, AU or otherwise, you have to have an UNDERSTANDING of why this would be a compelling thing to write/make fanart for. He is an evil character, and it would be FASCINATING to see him in fictional scenarios that (like in the calypso section) lead us to as WHY this would be an appealing and interesting take on someone. It’s OKAY to do it in fiction. He isn’t REAL. It’s not hurting EVERYONE. And more so than with calypso, it IS understood that Antinous HAS victims in Penelope and Telemachus There’s no senseless debate on what he is, a villain, no one is arguing he is a uwu babygirl so please sympathize w him, it’s inherently understood even among his FANS.

This is why find Antonio’s and Calypso’s discourses so polarizing. Because no one is getting offended or arguing that Antinous only acts villainously because of some tragic backstory or sympathetic reason. It would be absurd to.

That’s the appeal of a lovable villain. Because like Calypso, Antinous IS lovable, but in such a different way that you have fans treating both characters as if they’re polar opposite when at the very LEAST, there’s on the same bracket, just different ends of them. Telemachus/Penelope and Odysseus’s plights are being MIRRORED in parallel.

THAT is what floors me about these two discourses. That they are functionally THE SAME yet are being treating as if they aren’t. I’m positive that there is an Antinous fan who detests Calypso in the same way there is a Calypso fan who detests Antinous. These are called biases. Once you KNOW your own bias, it is up to YOU to act right according to them.

You are responsible for your OWN fyp.

The Epic fandom had yet to experience such backwards discourse as this, and I wouldn’t expect Jorge or any of the VAs to dignify such trivial discourse with a response. If you’re the type to bring it up to them, you’re being awful. The popular fandom Epic tiktokers are already way too involved as it is. And even they are getting things wrong.

It almost feels remiss to say that in the NARRATIVE of the musical, both Calypso and Antinous are villian antagonists, while outside of the narrative they become dolls you can play with however you like, so long as we are not in each others comments being obtuse. I don’t expect any of my essay to even make it to a larger part of the fandom. But i HAD to get my ideas written down, because if you don’t see someone else connecting the dots you have, you have to present them yourself. Very “can’t we all just get along?” But hopefully, not as insufferable nor one-sides as others might have been. I tried to bring up ideas/points that i have not seen discussed about these two villains and why they seem to connect and go hand in hand.

Why is Calypso, as a female antagonist, given more grace than Antinous, a male antagonist, who is very firmly given none at all. It very well could be just how they were presented, and if so, ask yourself WHY these villains were presented so differently. What purpose do they serve? What are they trying to accomplish? These are questions more suited for actual fandom collaboration that is being drowned out by circular arguements. It feels like homework, instead of knee-jerk reacting to interpretations unlike your own.

To ME, these two characters are two sides of the same coin. (though I DO think it’s funny that the NEUTRAL phrase to refer to either character is “I hate them BUT” because in reasonable fandoms, this is understood inherently….but in this fandom such decorum seems to be lost? For some reason?? Wisdom saga has brought out a lack of wisdom, I fear.) This is the kind of purity culture that suggest you can’t LIKE a character of their a villain, so you go out of your way to argue they aren’t, or that no one else should like them: that’s bonkers. You might disagree and it might even upset you, but that’s a you problem to have.

Having said that, and if you are POSITIVE that you want to engage in conversation with me, you are welcome to do so.

[gale-gentlepenguin]

Epic The Musical what if

(What if Eurylochus died instead of Polites?)

-We can say that most of the Troy saga would be the same. From (The Horse and the infant. To Polyphemus)

-The big change is during survive, when Polyphemus reveals his club and goes to strike Polites, but by a change of fate. Odysseus notices a second sooner, pushing Polites out of the way, saving them both. But Eurylochus wasn’t so lucky.

-The club killed him. And Odysseus felt a rage. This is what happens when you approach with open arms.

-Remember them changes to. “Avenge them.”

-Odysseus does the same plan as before. Blinding the cyclops. But the difference was that he felt a new burning rage. A hatred for these cyclops. They killed the blinded Polyphemus.

-They weren’t leaving until they killed the giants on the island.

-Polites pleads that they killed enough. But Odysseus berates him. Saying that his weakness is what made Eurylochus die. If they had attacked first they would have won.

-Odysseus experiences a different version of “My goodbye” as Athena leaves him because he is now acting more like Ares than a student of hers.

-Polites was against the several months they spent hunting and killing those giants

- Odysseus and his crew end up killing the giants on the island. And restocked on food. They leave the island. When a storm hits. (Basically the same result where they see the sky island)

- Luck runs out plays but with a slight change. It’s Polites suggesting that they don’t interact with the wind god. That they leave and not push their luck. But Odysseus ignores his advice.

-Odysseus gets the bag of winds. And the shenanigans ensues.

-The winds bring them to Poseidon. Who is a LOT more pissed off. Yea they killed his son, but they killed his sons. And in their brutality, Poseidon found out it was Odysseus that did it. And he is brutal. Killing most of the crew. The song Ruthlessness is the same but it talks about the difference between Ruthlessness and vengeance.

-They escape cause the wind bag.

-after this Polites actually tells Odysseus that the cruelty is what caused them this pain. That they need compassion.

-Puppeteer happens but with Polites being the one to return and he tells Odysseus that they need a plan. He was not going to leave them to be pigs like Eurylochus.

-Basically “Wouldn’t you like” and “Done for” happen the same. But Odysseus kills Circe thanks to Hermes’s giving him the power. This unfortunately means that there was no way of turning the men back from pigs.

-Polites pointed out that they could have saved their men if they had talked to her. But Odysseus points out that she was trying to kill them. And he chose them.

-Because of this, Polites speaks up. He says that Odysseus went too far.

-Fortunately Hermes shows up and helps them get to the underworld (he is the messenger)

-It’s there where the underworld saga occurs. And the underworld song has Odysseus hear Eurylochus instead of Polites.

-No longer you is the same

-“Monster” is sung but with a different inflection. Odysseus realizes he has become a monster and resolves to try and be more compassionate. War had made him lose himself

-“suffering” was the same, but “Different beast” is very different as when the Syrens were captured. They made a deal, if the Syrens helped the crew navigate passed Scylla. They would spare them.

-Unfortunately, this plan failed as the Syrens betrayed them to Scylla and they lost 6 men.

-Mutiny occurs but not because of Polites orchestrating it. But Perimedes.

-Polites tried to stop it. But the crew caught Odysseus off guard and He and Polites were captured.

-The crew killed the cow on the island of the Sun god. And of course Zeus shows up.

-But he had a twist. Since Polites had sided with Odysseus. Polites would not be killed in the crew part of the decision.

-The ship is destroyed as the result of Thunderbringer.

-Odysseus and Polites wake up on Calypso’s island. Where Polites accepts the hospitality with open arms. Odysseus is missing his wife and mourning his mistakes. Polites does help keep Ody from being suicidal.

-The events of the wisdom saga are the same, though the flashbacks are altered.

-Eventually after seven years, divine intervention does kick in. But Calypso isn’t as hard to convince to let Odysseus go. She decided she liked Polites more. And Polites agreed to stay with Calypso. Odysseus apologizes to Polites for not heeding his advice and now he’s stuck there.

-But Polites assures him that he was doing what he thought was right. The song is altered to “Don’t be sorry” he has a hot goddess wife.

-Odysseus thanks them both. Telling them he loves them both. And wishing them all the happiness.

-Odysseus then heads off with the help of Hermes.

-Odysseus eventually gets home. Kills the suitors and reunites with his wife and son.

-Odysseus receives a message from Polites. To remember to receive this return to his life with open arms.

[randomatthingy]

Elpenor and Perimidies shouldn't have been cut. I don't care if we have to have more than 40 songs (honestly, that's an up-side). There are multiple reasons:

Point 1 - It makes us connect with the crew more. As of now, we don't have that many connections to the crew. Polities die like thirty minutes into the show, and Eurylochus, while I think is highly over-hated, is an antagonist and not the best character in the world. Having more people with us throughout the show at large makes us care about the crew more beyond the basic "They are human. I am human. My morality says I should care for them."

Point 2 - They show more grounded characters. Polities are pretty much what would happen if pure sunshine and a golden retriver had a baby who was raised by cinnamon rolls. Eurylochus, like I said, is a pretty unlikeable character. Elpenor and Perimidies are well...just some men.

Point 3 - It makes losses feel more. If you think, we could have one death for each major encounter. Cyclops = Polities. Poseidon and Circe = Elpenor (Elpenor dies on Circe's island, but we would see him after the men in The Underworld, the majority of which died to Poseidon, tying him to both, and driving home how many people died in Ruthlessness. This would also give us two encounters per verse). Finally, Perimidies and Eurylochus = Zeus (which had two men die would drive home how Odysseus is alone now). This would make it feel like we are experiencing losses at every turn, not something like "OH NO! Not background extra #152!"

Point 4 - The Perimidies depression-sub arc would give us another theme in the show beyond "Should I become monster Rawr rawr rawr?" and maybe add a way for people to relate to him (and make Thunder Bringer hurt more) and given the cut song "Cope With That" we could also have a debate about healthy and non-healthy coping methods, which could tie into the Ruthlessness theme with "should we have the ruthlessness to cut someone we love off of an unhealthy coping mechanism if it's working but detrimental to them and their loved ones as a whole."

Point 5 - This is solely based on Elpenor's only significant event in the source material involves him being drunk, but he could have been some sort of comic relief if we needed any more.

Point 6 - With some scenes with Elpenor and Perimidies, we could get the vibe that the crew as a whole was slowly turning against Odyssey, not just Eurylochus. Right now, the only indication is the end of "Luck Runs Out" and the last chorus of "Different Beast"

Point 7 - It could be a bigger mystery as to who opened to bag, as even before The Thunder Saga a lot of people guessed Eurylochus, but if we had more major named characters in the crew, they could also be suspects.

Point 8 - Perimidies betrayal in Mutiny would hurt even more

Point 9 - 🏳️‍🌈

[el-255]

One thing I like in full speed ahead is that we’re given a very insightful view of the dynamic between Odysseus, Eurylochus, and Polites right off the bat. Eurylochus is the more no nonsense right hand man who is willing to do whatever it takes for all 600 men to make it home to Ithica whereas Polites is more the moral compass who keeps Odysseus and the crew’s values in check.

What’s interesting to me is that we’re sort of fed the comparison of the angel and devil on Odysseus’s shoulder but the question is, who’s who?

Most people would instinctively say that of course it’s Eurylochus who is the devil and Polites the angel. Eurylochus is immediately willing to raid the island despite being unaware of whether the people on the island are innocent or not whereas Polites wants to try and resolve things peacefully and barter with the people for food.

But the thing is, I think both have the capacity to be the angel and devil in this scenario.

Yes, Eurylochus is often willing to take the violent route but he is also a man who has been at war for 10 years and knows the price that must be paid. No, the things he does aren’t morally right but when we think of how far he would go to protect the men he has known and have likely become family to him over 10 years, would any of the men think him wrong for doing his best to look out for them even if it meant harming others?

Yes, Polities is doing his best to try and reserve the last dredges of their humanity after spending 10 years fighting and killing in the war but oftentimes it is his naivety that gets them into trouble. No, he doesn’t mean for this to happen, everything he does comes from a well meaning place with his attempts to find peaceful solutions to make it home but would the crew who lose their life to the cyclops and later to Poseidon appreciate his efforts?

In this situation dealing with the aftermath of a horrific war, they’re both right and justified in what they’re doing which is what makes their characters so endearing and interesting. Neither of them are to blame for their differing ideologies and both do their best to protect the crew and Odysseus.

Because, of course, at the end of the day, it is all down to Odysseus to make the final decisions as the captain but he values both of their opinions greatly, Eurylochus as his second in command, and Polities as his closest friend, which means he ends up listening to them more often than not.

Odysseus is a perfect mix of the both of them at the beginning of the musical, both rational and merciful as he has both of their counsels at his disposal, but it is this exact thing that leads to his downfall: he needs both of them to maintain his status as a good captain which is why it all goes to shit when he leans too heavily on either side. It’s his guilt over the death of the infant that leads to him utilising Polities’ ideology and getting into the whole debacle with the cyclops. And after Polities demise, he is left with only Eurylochus to guide him which leads to his descent to monster and losing the trust of his men.

Without this balance between two greatly contrasting perspectives and ideologies, Odysseus is unable to use either without causing great damage to his crew and himself. Whether Polites is the angel and Eurylochus the devil and vice versa, this is what eventually leads to the mutiny of the crew and demonstrates why it is only Odysseus who makes it home.

[katerinaaqu]

@prompted-wordsmith

This is for you because your small story was amazing so I want to create one in return! And since you want Helen to speak up more here is a little interaction pre-departure from Troy between Helen and Odysseus because why not!

The city hadn't yet stopped smoking from the night of massacre. Helen feared it never would. The smell of burning wood and asbestos was sticking on her clothes and hair; bitter reminder of the events of the night before. Helen didn't want even to think of the lingering smell of blood; metal and water that she had touched. It was as if everything was red now; hands and heart and bloodshot eyes. She hadn't slept that night or the night after it. She feared she never would again.

She could still feel that this was partially her fault; both the beginning and the end of it. She knew the Horse was a farse; a well-staged plan. She chose not to alert the alarm. She had chosen her side once more. And now women and children and men at Troy were laying down dead or worse. She remembered seeing Andromache being dragged out of the city in chains along with other women. They were to be sold as slaves or given as prices to the kings of the Acheans. The once proud queen was now crying woefully; mourning her husband who was killed. She had been dragged out of her husband's tomb where she went to seek sanctuary. That was the ultimate hubris along with her father-in-law Priam who she heard from a conversation had been slain upon the altar he hoped would grand him his life. She heard it was Neoptolemus, the young man who carried the blood of Achilles in his veins and apparently his rage and temper. Who would have known that a child like that could be so cruel and blasphemous? So full of rage? Helen could not see her infant son in her arms as she was taken away. She didn't even dare to ask. For a brief second Andromache raised her head and her honey eyes stuck within her blue ones. The look was almost accusatory as the tears had given her face reddish lines. Or perhaps it was the self inflicted scratches that she had made in her woe. That second lasted longer than it should be before the queen was dragged away.

"That could have been me..." she thought

However her position was not much different. As she was standing at the peer, she was always guarded by a soldier; obviously her husband wanted both to protect her but also obviously he didn't trust her. Helen couldn't say she blamed him but it still hurt. She was seeing Menelaus talking to Odysseus, sorting out the details. Helen watched her husband and her former fiance in wonder. Indeed how strange fate was! How different the two men were! She could tell Menelaus's auburn hair from kilometers away as they were held together by a band around his head. He was well built and strong, seemed dressed in sunlight. Odysseus next to him seemed the opposite. He wasn't tall. He was barely average, a few decent inches shorter than her husband and a good head shorter than her brother-in-law however he seemed wider in shoulder and his chest resembled a wall dressed in a coat of dark curly hair. His head was adorned with black hair that seemed golden under the setting sun: bushy and curly like a ram held together by various little bands that held his curls tamed under his leather headband. His beard was equally bushy and shaggy even if he had obviously tried to make himself more presentable from the night before. His onyx eyes were bottomless holes. The man seemed tired; prematurely aged that day. Helen knew that he had a similar burden to bare with her. How strange indeed, she thought. The man seemed like coming from the night. And yet he seemed darker now; his shoulders seemed heavier than before.

"Take her home safely"

Odysseus's voice drew her out of her daydream. His voice was hoarse and tired. He seemed aged before his years. Helen remembered again the flamboyant young man that was supposed to court her. Sure his eyes filled with premature wisdom and intelligence gave him an aura of age but she could remember his laughter and smile seemed those of a teenager as if trying to persuade people of his actual age. Now that teen was gone. He was a man now; long past that first youth; a Sacker of Cities.

"Otherwise all this would have been for nothing!"

The timbre in his voice; the seer accusation, hurt her much more than anything besides her husband's distrust. No, at least Odysseus...the wise and prudent Odysseus should understand. Menelaus nodded to his loyal friend and shot her with yet another look. Helen couldn't decide if it was angry or closer to sad. As he walked away she turned again to look at Odysseus. The man barely saw her with the corner of his eye but spoke nothing. Helen couldn't bare the silence any longer.

"Odysseus..." she finally spoke, "Why? How can you be so cruel?"

"Cruel?" His voice was full of disbelief, of anger that made his chest rise like the tide

He turned to her walking like a lion ready to pounce. Helen stood her ground though. She stuck her ocean blue eyes deeply within his black ones.

"Cruel?" He repeated, "I've lost my son's first 10 years because of this war!"

"This war wasn't my choice!" Helen felt the need to defend herself against him.

"It commensed because of you!" The accusation was finally spoken outloud, "Menelaus started this because of you!"

"I didn't know he-..."

"YES YOU DID!" Odysseus finally bellowed making her take a step back, "yes you did...you just didn't think!"

He turned her back at her. He was about to leave but he didn't seem done yet.

"The blood of many brave Acheans is on your hands..."

That was way too much. Odysseus should know better than hurt her this way! This was unfair even if spoken through pain and anger. Bravely Helen held back the tears that burnt her eyes. He wouldn't see her weep!

"If I told you..." she began with the best voice she could master, "...that gods play games with us all the time...that they cloud our judgment... Would you believe me?"

Odysseus looked over his shoulder but spoke nothing.

"You of all people should understand" Helen whispered

"What does it matter what I'd believe?"

"It matters to me!" Helen replied firmly. "Please, Odysseus...at least you...at least you should believe me..."

Odysseus seemed ready to reply but the last minute he stopped himself. He chose silence; cruel and cold silence. He began walking away. Two angry tears ran down her white, rosy cheeks. No she couldn't leave it this way!

"ODYSSEUS!" She yelled after him, "you're a hypocrite!"

That stopped him to his tracks as he turned around.

"What?" He asked almost scandalized

Helen was shivering from top to bottom and her knuckles turned white from clenching them too hard.

"Do you think you're any better, Sacker of cities?!" The last one was spat like an insult like a curse, "do you think your hands are clean? You say that the war commensed because of me! That so many Greeks died because of me! Then what about you, Odysseus? What about all the Trojans killed in the city in that bloodbath?! What about all these women and children that are now piled up to be burnt or eaten by dogs and vultures? Who is to answer for THOSE Odysseus?"

Odysseus of Ithaca was frozen in place, shaking in anger but so was she. And she wouldn't be stopped now. She was Helen of Sparta, Helen of Troy, Helen the daughter of Zeus!

"It was your plan, your scheme that got the Greeks inside the holy city of Troy! It was your idea that gave them the way to sack it!"

Odysseus, the eloquent man seemed now unable to respond. He seemed stripped out of his furious anger although some of it was burning inside. Instead he managed to utter

"This massacre wasn't my choice..."

A sound between humorless and mocking laughter and cry came out of her mouth.

"Oh so you tell me you didn't know? You didn't know that the Greeks who were away from their homes, wives and children wouldn't unleash all their piled hatred? Didn't you know they would burn the city that kept them away from them to the ground so it wouldn't rise again?"

He didn't respond. Helen knew he couldn't.

"You say the blood of the Greeks is on my hands. Then the blood of Trojans is on yours!"

Odysseus seemed to have trouble breathing. She had hurt him and she knew it. Perhaps she had simply voiced everything he had in his mind all those days. She could remember how tenderly he spoke of his wife and son. Her husband used to say he identified himself as father of Telemachus not son of Laërtes. Women and children...his son and wife... He seemed ready to either lash at her or leave. However as always The Man of Many Ways sighed and did the unexpected; he spoke again.

"It doesn't matter whether I believe you or not, you know. What it matters is if he does"

Helen took a glance towards Menelaus from a distance. He was preparing the ship. She sighed and returned her gaze towards the man they called "equal to gods".

"But do you?"

"Yes" he finally admitted, "yes I believe you"

Helen sighed in relief. It was her thanking to him

"There is fate between us, Helen..." Odysseus said hoarsely.

Helen didn't need to see his face behind his wide back to read his expression.

"Yes" she replied, "you could have been my husband"

"I am glad that I'm not"

That husky whisper made her look up in wonder. She didn't expect that answer.

"You don't deserve me" the son of Laërtes said, "and I don't deserve you"

He barely looked at her again over his large shoulder.

"I see now why my cousin loved you" whispered she

"And I see why he loved you." Replied Odysseus, "why he started a war for you. Not for his pride; for you. You were indeed worth it..."

He looked at her again for the first time for a while.

"You and I have both blood on our hands" he said grimly, "you, the starter of war, hold the blood of many brave Acheans upon you...while I, the one who ended it, the Sacker of Cities, will have to live for the rest of my life carrying the deaths of Trojans upon me... Women and children..."

He covered his face with his large hand and turned around. He was sobbing.

"Women and children..." he whispered again, "Penelope...my sweet Telemachus...children... infants no older than he was..."

Helen was afraid to ask. She didn't want to know. She had met enough horror for a lifetime. She wanted to move on. She wanted to forget.

"Get home safely, Odysseus" she wished to him, "Husband to Penelope...father to Telemachus. I hope you will get what you wished for..."

"You too, Helen, kissed by the sun like golden Aphrodite...daughter of Zeus. Farewell Queen of Sparta..."

He walked away. Helen heard his voice yelling orders to his men like the expert sailor he was. Helen sighed and smiled so slightly. The title he used...was addressed to her. Odysseus had recognized her admitted her but also signaled her, her fate. She knew now she had a second chance to rectify everything; first for herself and next for everyone else.

The journey had come to an end. A new one was about to begin.

Okay guys I am so sorry I have no idea why or how but yeah...this... I hope you liked it.

[wolfnight2012]

"We'll be Fine" is the new "Open Arms"

(but I don't think Telemachus will be a Polites-like character, though I do have suspicions that some of his songs/motifs/or at least one scene in the final saga all work as a call-back to Polites/Open Arms)

But anyways!

While I am not claiming a 1:1 comparison, "We'll be Fine" sees Telemachus in a Polites-like role with Athena, who has assumed a post-Troy!Odysseus like role in regards to her guilt over how she ended things with Odysseus in "My Goodbye"

We've got:

an ecstatic declaration of friendship (new vs established)

We've got the positivity/look on the brighter side/things will work out

AND most importantly (imo) we have the Call to Action! The "You have the power to change things/it doesn't have to be this way/life can be better if you work to make it so

Polites gets Odysseus to consider "Open Arms" at the end of his song (though, tragically, he dies before he can teach Odysseus how to effectively implement this belief system & Odysseus then fucks it up during the Ocean Saga)

Telemachus gets Athena to reach out to Odysseus. "Maybe, its time that you lend a hand/I don't think he'll mind"

Athena was not going to reach out on her own. (maybe it was pride, maybe shame, maybe she thought she'd thoroughly burned that bridge & there was no hope for reconciliation) but Telemachus helps her realize that is not true.

On a similar note:

The Wisdom Saga as a whole argues for "Open Arms" over "Ruthlessness is mercy upon ourselves"

(Especially in regards to the saga's main character: Athena)

So! I spoke a bit about how Ruthlessness was not mercy upon Odysseus (or Athena) here, BUT, now that I think about it, it's not so much that the Wisdom Saga isn't about "Ruthlessness is mercy upon ourselves" but rather, that it IS about the sentiments expressed by Polites in "Open Arms"

(I've currently got a breakdown of "Open Arms" half-finished in my drafts, I'll link it here once I finish & post it)

But also!

The Wisdom Saga is the first saga, without a single song promoting Ruthlessness.

The Troy Saga has them using a wooden horse to kill sleeping Trojans & the killing of the infant + Eurylochus suggesting they "Strike first/raid the place"

The Cyclops Saga has Polyphemus trying to lay waste to Odysseus's entire crew + Athena telling Odysseus to finish off the threat

Ocean Saga has Poseidon

Circe Saga has Circe's decision to treat all strangers as possible threats to her nymphs & turning them into pigs

Underworld has Odysseus' decision to become the monster

Thunder Saga is the first saga where every song (except Suffering) explicitly promotes Ruthlessness

The Wisdom Saga breaks this pattern

Legendary:

Even though Telemachus is singing about fighting monsters, it comes across as very idealist. This is not an aggressive song. Telemachus doesn't sound blood-thirsty or vicious. He wants to live up to his father. He wants to be able protect his mom

He dreams of fighting monsters (an intangible threat for a kid who's never left his island) but it's clear he's never so much as been in a fight before (Little Wolf is the first time he tried it)

"So I could bring the world some light" vs "We can light up the world"

Little Wolf:

Once again, this is not an aggressive song (not on Telemachus' part)

Telemachus is being egged on/taunted by Antinous + the suitors on one side & encouraged by Athena on the other (both of whom are more aggressive than Telemachus)

Telemachus is on the defense. He's unsure. He never expresses a desire to kill/destroy Antinous beyond his desire to want to keep his mom safe

Athena comes to help Telemachus without seeking anything in return! She's not seeking a new warrior of the mind/A new kid to mentor (Telemachus shows none of the promise of his father)

She's simply giving her help. ("Why should we take when we could give?")

"Have you forgotten to turn off your heart" vs "One young wolf has a larger heart than all these men combined" she saw Odysseus' heart as a weakness/distraction, while now she realizes it can be Telemachus' greatest strength

Even the suitors!! Antinous just wants to humiliate/agitate Telemachus. He's being cruel, but not ruthless. He lets up as soon as Telemachus is defeated/shown his place. He's a "bully" but not a "monster" (at least, not yet[??])

Then we get to "We'll be Fine" which, as I mentioned above, is essentially the new "Open Arms"

We'll Be Fine:

Athena lowers her guard & essentially bares her heart to Telemachus! She tells him about this mystery friend, about her regrets, the (semi) truth about why she helped him! ("You could show a person that you trust them, when you stop and lower your guard")

Telemachus takes this trust & greets Athena with open arms, offering her his friendship, his comfort & his advice

His positivity echoes Polites' from "Open Arms" as does his belief (despite T. living under the stress of the suitors & P. having lived through a war) that everything will be fine

"Maybe, it's all gonna turn out great I know we'll be fine"

"Whatever we face, we'll be fine if we're leading from the heart"

"I know it's light you'll find"

"No matter the place, we can light up the world"

Tbh, even though it's not a direct lyrical callback, I'd argue Telemachus' advice for Athena to reach out to her friend "Maybe, it's time that you lend a hand, I don't think he'll mind" is a thematic callback either to "Here we have a chance for some adjustment, Give it a try, it's not that hard" (it's not to late to make things better via your own actions/choices) or "Kindness is brave" (you want good things to happen? Take that first leap. Don't react with fear/be paralyzed by regret)

Love in Paradise

Just like Odysseus is convinced to (at least) consider an "Open Arms" approach by Polites, Athena has been convinced by Telemachus to reach out to her friend

God Games

Athena decides she CAN "Replace [her guilt] and light up the world" by helping Odysseus

She leads from the heart with the other gods! ESPECIALLY with Ares & her declaration of Telemachus being her friend!

All 5 of her opponents respond well to Athena's arguments, she's not just using logic, she IS appealing to their heart/sympathy as well, because SHE is doing this from a place of emotion/caring

"He can still build a future with those who miss him" "His son's my friend"

"Never once has he cheated on his wife"

Once she wins, we get Athena "goddess of wisdom/master of war" once more.

She declares herself triumphant in Zeus' game & demands her prize (which sets Zeus off)

But when Zeus strikes her down, Athena humbles herself, she lowers her guard, she leads from the heart, and she doesn't demand. She doesnt even ask. She pleads for Zeus to let Odysseus go. Heart/affection on full display.

Athena gets NOTHING from this. She's no longer demanding for a reward/recognition as the witty winner of Zeus' game, ("I played your game & won" vs "Please, let him go") just asking for Odysseus to receive help

THIS is when Zeus relents. Not when he strikes her down so hard that Ares fears her dead. Not (and I hate using visuals to analyze MUSIC, but I'll give myself an exception) when Athena's armor starts to crumble. Not when she bleeds. Not when she crawls. When Athena pleads for Odysseus, that's when Zeus falters.

And

Don't read past here if you don't want spoilers/titles/speculation for upcoming sagas!

It works.

We KNOW Hermes will be sent to Odysseus to get him off Ogygia.

And, while it seems (at least to me) that in "Wouldn't You Like" Hermes appears to Odysseus of his own accord/for funsies, "You're being given one final option" (from "Dangerous") sounds like this isnt a social visit.

Hermes is here as a messenger. And I doubt the gods are going behind Zeus back for this one.

My guess? Zeus relents. With the caveat that they'll intervene to get Calypso to let Odysseus go BUT, he has to make it off the island/back home by himself.

But still. Athena's heart-felt plea works. Her pride as the clever goddess of wisdom who beat her father's game got her struck down. But leading from the heart & pleading for her friend's release succeeds.

And this is why I think (narratively) we need to close off the themes established in "Open Arms"

At the end of this post here, i talk about how it'd be nice to get some sort of closure for Polites' philosophy. Maybe with Odysseus' final confrontation with Poseidon. Maybe with Telemachus.

But after the Wisdom Saga?

I no longer think it'd simply be nice. I think its necessary for narrative closure.

The Wisdom Saga just showed us Ruthlessness was not mercy for Odysseus, who is tormented by the deaths of his crew & is now suicidal after being trapped on Ogygia for 7 years.

Ruthlessness was not mercy for Athena, who can no longer sleep at night.

Ruthlessness does not get results for any of the main characters featured in the Wisdom Saga

The philosophy Polites describes in "Open Arms" however, DOES get results.

Its what leads Athena to help Telemachus. Its how Telemachus convinces Athena to reach out to her friend. It's how Athena convinces the other gods (possibly even Zeus) to help/release Odysseus.

I now think we need one last callback to those themes. Either by Athena, by admitting she was wrong back in "Warrior of the Mind" and "My Goodbye" to demand Odysseus turn off his heart (she was not able to turn off her own heart!! She can't sleep at night! + heart is how she wins the God Games!)

OR by Telemachus, Odysseus optimistic son, who (as of the Wisdom Saga) has nothing monstrous or ruthless about him.

Maybe Odysseus gets carried away as he kills the suitors, or goes after someone who surrenders & Telemachus steps in to rein him in.

Maybe Telemachus simply reminds Odysseus of Polites.

Idk.

But I can't see "Open Arms" featuring so heavily in the Wisdom Saga's themes/narrative for there to be narrative satisfaction without one final, definitive callback in the Ithaca Saga

[nyx-is-hair-goals]

H2 predictions: Jason, Ananke, Olympians

OKAY SO. I have a bunch of theories about what will happen in Hades 2 and I wanted to get them written down before the next update! Caveat: I don't think any of this is definite and I'm not going to throw a fit if I'm wrong; I just really enjoy this kind of theorising and extrapolating, and I figured other people might enjoy reading it too.

SOME SPOILERS FOR HADES 2 BELOW - mostly just which NPCs already exist in the world and the structure of the game . . . . .

I'm expecting two more levels - one that's the ascent up the mountain, and one that's up at the top of it. This would be a satisfying mirror to the structure of the path down to the Underworld. I have theories about the next Guardian(s), and how the other Olympian gods will show up.

GUARDIAN THEORY 1: Jason (of the Argonauts) will be a Guardian on the upwards path - probably of the 'ascent up the mountain' section, at the head of Chronos' invasion. Here's why I think this:

We know that with the underworld's gates open, there are shades with names and memories who are wandering free and able to physically impact the world (e.g. Icarus). So it'd make sense that Chronos could conscript the shades of heroes into his army as well as the more zombie-like shades that we've fought on the ships.

He's got a lot of reason to dislike witches and the gods, and therefore side against Olympus and Melinoe/Hecate. It was Aphrodite and Hera who arranged his relationship with Medea, and that did not end well. Medea was the demi-goddess and witch who helped him out of various scrapes on his quest, but then when he abandoned her, she killed their children and Jason's new wife, then fled in Helios' chariot with divine approval, while Jason lost his favour with the gods for betraying Medea. (Side note: Helios is not an Olympian god, but he's brother to Selene and Eos, who are both aligned with Melinoe in the game's narrative - might end up being relevant? Probably too much of a deep cut though.)

He's heavily associated with the Golden Fleece, which is a thematic/aesthetic link to Chronos and his new Golden Age.

He's best-known for his adventures on the ship Argo, which both a) means he'd make sense as a character to choose for heading up the fleet across the Rift of Thessaly, and b) positions him as a foil to Odysseus. Like Odysseus, Jason met Circe and accepted hospitality from her; like Odysseus, Jason encountered the Sirens on his long voyage.

He's got a lot of history with Medea AND Heracles, tying him in neatly with the other NPCs we've met on the surface. Medea hasn't (afaik) mentioned Jason at all in her dialogue (and in fact very much avoided the question when Melinoe asked if she had a family), but her Keepsake is a Blackened Fleece, which is a clear reference to her part in Jason's adventures. Heracles travelled with them both on the Argo, and seemingly had a somewhat antagonistic relationship with Jason. (Side note: Jason also has history with Orpheus, who we haven't seen at all yet in this game - he wasn't in any of the flashback sequences and so doesn't seem to be a prisoner of time like much of the House of Hades. Maybe he'll show up as an unwilling companion to Jason? Not super likely, but an outside chance!)

Having an asshole Greek hero as the Guardian of the third level is a nice parallel to Theseus in the original game

OLYMPIANS THEORY:

We know that we're getting Athena, Ares, and Dionysus in some form. From in-game dialogue, we know that Athena and Ares are busy with the war effort, while Dionysus is not actively participating. I suspect they will not be giving boons in the way that the other Olympians are; I think they'll be giving boons like Artemis and Hades are, i.e. one-off roaming character events or chambers with the wing sigil.

(Because adding three new full sets of boons to the existing suite would be A Lot in terms of balance; because it'd involve expanding a bunch of the Fated List prophecies and making people in EA complete the new version of them [not impossible but probably something they'd prefer to avoid]; and - most importantly - because it's thematically appropriate!)

I think Dionysus is almost certainly going to be in a wing-sigil chamber - we know he isn't participating actively in the war against Chronos because he finds it too depressing, so it makes sense to me that he might be in a chamber where he's managed to carve out some space for fun and festivity. This might be in the 'ascent' level or the 'mountaintop' level - the latter feels a little more likely. I think he'll be offering boons related to healing and damage resistance - I'd expect to see things like High Tolerance, Positive Attitude, After Party, and Premium Vintage. If there's a version of Strong Drink, I'd expect the damage bonus to be buffed, as if he's a chamber NPC in the third section of the game then there are way fewer opportunities to use it. I think there's an outside chance that he offers something like a cast add-on which replicates Festive Fog and/or Hangover, stunning enemies who walk in and/or doing DOTs, but in general I don't expect status curses to come from gods who can only give you one boon per run.

Ares is more likely to be a wandering NPC, probably in the style of Hercules or Nemesis, and probably in the 'ascent' level - he's out there in the thick of the battle, having a great time drenched in the blood of his enemies, and I think there'll be some kind of element where you need to impress him with how good at violence you are in order to get any benefits from him. I think he'll give out boons buffing damage (e.g. Battle Rage, Urge to Kill) and maybe something which makes a Blade Rift at the centre of your cast.

Athena I could go either way on - I initially theorised that she'd be a wandering NPC who functions very similarly to Artemis, showing up in the middle of a fight and offering you help during it and then a single boon. However, as the goddess of TACTICAL warfare rather than just war, I could also see her being in a 'war room' chamber in the topmost level where she's directing and strategising.

But either way, I think that having one boon-dispensing chamber god in the topmost level would be a nice parallel to having Hades in Tartarus, and it seems super likely that it'll be either Athena or Dionysus.

Oh, I also think there'll be some kind of interaction/resolution happening between Athena and Arachne, where you mediate some kind of understanding between them (or at least help them both to move on). Where the first Hades game had a lot of reuniting lovers (Orpheus/Eurydice, Achilles/Patroclus, Hades/Persephone), a theme of Hades II seems to be moving on from relationships and dynamics that weren't good for you or otherwise leaving things in the past (Echo/Narcissus, Odysseus/his family, Odysseus/Circe, Odysseus/Scylla…)

So, that's the gods theorising. I'm sure I'm not the first person to posit most of this stuff, but honestly, that's just a sign SuperGiant are good at foreshadowing.

GUARDIAN THEORY 2: My co-conspirator NibblyCultist suggests that the final Guardian of the Olympus path will drop 'Entropy' (the second component in the 'Dissolution of Time' incantation, which also requires Zodiac Sand from Chronos) - and that this might be dropped by Ananke.

In the mythology, Ananke is the sister/lover of Chronos, and the personification of inevitability, compulsion, and necessity - which feels appropriate to a character who drops 'Entropy'. The details of this theory will, by necessity (pun intended), be a lot vaguer in terms of who Ananke might be in relation to Chronos, because we know that SuperGiant have made a lot of tweaks to the geneology of the gods and titans in order to make everything less incestuous, and there's been no mentioned version of Ananke in the games as far as I can tell. But whether sister, lover, or neither, Ananke is someone who would make sense to be aligned with Chronos.

In some traditions, Ananke is the mother of the Three Fates and has an amount of authority over them. While we know that 'our' version of the Three Fates are the daughters of Nyx, I wonder if Ananke might be in some way the captor of the Three Fates, and Melinoe needs to defeat her in order to rescue them? Maybe defeating Jason would be just breaking the siege on Olympus, and the next location is in fact Melinoe going somewhere else entirely in order to save the three fates? Or perhaps it's another 'path' entirely that becomes accessible after you defeat both the upward and downward routes - maybe via the Pitch-Black Stone, or otherwise through the power of the Crossroads.

If we see Ananke, she'll probably be portrayed as a Titaness, even though she's technically not described as one, she's just the primordial personification of inevitability. (How is it possible that she's not a Titan despite being Chronos' sister? Well, there's an extremely long-standing conflation between Chronos (the primordial personification of Time) and Cronus (the scythe-bearing Titan who ruled over the Golden Age until being defeated by his Olympian progeny and thrown into Tartarus) - this has been happening since classical antiquity and is why 'Father Time' is shown with a scythe.) This would track with SuperGiant's rendering of Hecate and Selene as Titanesses - it seems to be the category used for pre-Olympian / primordial / chthonic gods who aren't part of the Chaos/Nyx family tree.

I realise we've had no foreshadowing for Ananke, and if we were to assume a) the final boss of the Olympus path is a Titan and b) it's someone who has been foreshadowed, then the more obvious candidate would be Hyperion (in SG's setting, the father of Demeter, Hestia, and Hera). He's been mentioned a few times as another Titan who was put down by his Olympian children. But also, I think it's less thematically interesting / satisfying. With having a shiny golden Titan at the lowest point of the underworld, a darker and scarier Titaness at the highest point of the Olympus path feels pleasingly balanced, in terms of the paths mirroring each other. And that link to the Fates feels compelling.

I DEFINITELY HAVE MORE THOUGHTS BUT ALSO I'VE BEEN WRITING THIS FOR HOURS AND MY BRAIN IS TIRED AND THESE WERE THE MAIN BIG THINGS SOOOOOOO GONNA POST THIS NOW I GUESS

[nightshademyn]

Ok I'm still going insane about the wisdom saga specifically god games so I'm gonna start yapping under the cut because I have A LOT to say

First off, as I said in a previous post, Apollo's verse really does feel like the first/tutorial boss. There's nothing really personal (?) about why he doesn't want Odysseus to be set free, and I'm pretty sure that's intentional with how much this saga took from video games. Also I love his voice because it's fucking Brandon McInnis and as someone who's in the middle of her first FE Engage run w/ male Alear, it was a fucking shock lmao (did not expect to see male alear's va here)

I have no real in depth thoughts when it comes to Hephaestus's verse other than it just scratches my brain the right way. Something about Mike Rivera's voice is just sooo good and there's something so sweet about Jorge getting both his parents as vocalists in his passion project. It makes me smile every time.

OK OK HERE'S WHERE I START GOING INSANE. APHRODITE AND ARES. First off I swear you can hear the danger motif in the instrumentation WHICH MAKES SENSE because Aphrodite isn't going to be easily swayed and that poses a danger to everything Athena is trying to accomplish! It would also foreshadow that Ares is going to come in if Athena pushes Aphrodite to release him. SECOND! This is the longest segment and I wanna argue was the one that took the most effort out of Athena, and I'd like to think it's because of their history with the Trojan War. I'd like to think that Ares and Aphrodite are still holding a grudge from when Athena helped Diomedes almost kill them both during the Trojan War lmao. (Also Athena referring to Telemachus as her friend and Ares' insult towards Telemachus being what causes Athena to lock in is so sweet)

I love Hera's verse and I love how amicable she is towards Athena?? It makes sense to me that she's not quite as hostile as Aphrodite and Ares despite being the final "boss" before Zeus because to my knowledge in mythology Hera held no longs standing animosity towards Athena, probably because she's the child of Zeus and his first wife Metis and not the result of an affair. They were actually on the same side of the Trojan war. So it makes more sense to me that she's less antagonistic and more testing Athena. And I love that her verse starts with "So many heroes/So many tales" because Athena is the goddess that helps out most greek heroes. Off the top of my head outside of Odysseus there was also Perseus and Diomedes that she aided. Hera is testing Athena and asking her what makes Odysseus so special out of all the heroes Athena has mentored

AND FINALLY ZEUS!!!! THE OTHER BIT THAT MAKES ME INSANE! I wanna double back to make a comparison because in the beginning of God Games, it almost sounds to me like Athena is trying to find her rhythm, like she's choosing her words carefully to appeal to Zeus and get him to agree with her. And then once she's convinced the other gods, she returns to zeus with confidence and pride ("I've played your game and won/ Release him") DEMANDING THAT HE RELEASE ODYSSEUS! AND HOW? HOW DOES ZEUS RESPOND???? WITH THE SONG ABOUT PRIDE CRUMBLING AT HIS HANDS!! I firmly believe that's why Zeus struck Athena the second time she approached him. In his eyes, she was prideful and defiant and needed to be taught a lesson (and if the line "to make me feel shame" is any indicator, he probably did not like being called out for his propensity for affairs during Hera's verse). Also I might be going insane but the line "thunder, bring her through the wringer" IS SUNG IN THE FUCKING DANGER MOTIF SIGNALING THE DANGER ATHENA IS IN

The warrior of the mind motif returning first with a soft piano and then with a triumphant brass section (trumpets probably?) was also so good and what a way to end that song

I think that's all I had for now but I will probably come back with more to say because this musical is doing things to me

[apoptoses]

Venice in winter is nothing compared to his homeland, but it’s still damp, oppressive. Outside the sky is a pale shade of grey and the wind must be blowing something fierce, as the little roundels of glass rattle in their iron panes.

But Bianca’s chambers are a hot house. Heat crackles in the fireplace, from the candelabras that dot the walls and tables. Steam curls from the surface of her bath and Amadeo watches the way the wisps of blond hair that surround her face curl with it. She tips her head back against the rim of the tub to look at him. Her cheeks are flushed as rose petals when she smiles, gone pink from the steam.

“You’ve made a terrible mess of my bed,” she says.

And so he has. Having no spare clothing here he’s had no choice but to yank the velvet covers free and wrap himself in them. He’s lying the wrong way, his feet peeking out near the head of the bed. He pushes them into a pillow and grins behind the auburn curtain of his hair.

“And what of it?” he asks.

“Does your master let you get away with such things?”

“No. He beats me terribly. I’m a victim of his punishments almost nightly.”

Bianca rolls her pretty blue eyes. “And you enjoy it, don’t you?”

He does. But she needn’t know that.

This room with all of its delicate things- perfume bottles, silk ribbons draped across her vanity table, Bianca’s little shoes and her combs for her hair and her vases of flowers- it’s not the place for that sort of talk. It’s like being inside a jewelry box. Like being beneath the sea, with the way the steam has collected on the windows and left them shimmering and wet.

Bianca toys with the golden end of her braid, searching it for split hairs. The pearl strands woven into it click softly as she twists and turns her hair.

Amadeo lives in a beautiful palazzo of unruly boys. He sleeps in his master’s strong, imposing bed. He’s been to brothels of all sorts, enjoyed their lurid sort of appeal but this place, this woman’s chamber- it holds such fascination. He watches her in awe as she lifts her feet from beneath the water, rests them on the opposite end of the tub, and he feels as though he’s under a spell.

“You look like a mermaid,” he mumbles.

Water runs down her legs. They’re pale, slender, and Amadeo wonders if he grasped her by the ankle if his fingers would touch where they encircle it. Pressed together as they are, water and soap bubbles clinging to her skin, they look like the appendage of a sea creature. If he blurs his vision the fine golden hair on her legs becomes scales.

“Oh?” Bianca flicks a bit of water at him. It lands on the tip of his nose. “And were I a mermaid what would you be? Some fisherman come to capture me? A prince lost at sea, desperate for saving like Odysseus? Come, wash my back and tell me.”

Amadeo rises from the bed. He leaves the safety of the blankets behind and drags her carved wooden stool over to the side of the tub.

Funny how they’re both naked and yet he feels all the more vulnerable for it. Bianca is otherworldly with her hair swept aside, her head tilted to expose the line of her throat, her shoulder. He takes the wet cloth, rubs the perfumed water into her skin, and wonders what a crude being he must be in comparison.

“Perhaps I would capture you and travel about with you, keeping you on display. I could charge a gold coin just to look upon your beauty,” he says. “You’d make me a rich man.”

He drags the cloth over the delicate ball of her shoulder. It’s white as a porcelain doll, soft in a way none of the other boy’s flesh is. Amadeo massages at her skin and takes in the musicality of her little groan.

“Mm, and would you keep me in a cage? Would you be a very strict master, one who never lets his little captive out?” she teases.

Amadeo nods. “A golden one, so that I might hand feed you through the bars. I could charge another coin for that, I think. Plenty of men would pay for the pleasure of passing you a little bite of fish.”

He washes her scapula when she leans forward, the ball joint at the base of her neck. Her breasts bob in the water, slick with soap, flushed pink with the heat,  and Amadeo can’t resist running the cloth over her clavicle. Down and down until his finger slides into the valley between them where her sternum rests. Her laugh vibrates beneath the bone as she slaps at his wrist.

It’s a half-hearted protest. Splashing just for the sake of getting him wet, and as Amadeo dodges her hand he pretends to accidentally grope her. The entirety of her breast nestles perfectly into his hand.

“You’re such a predictable boy. Would you have them pay to do this as well?” Bianca asks. Her voice rises into a gasp when he catches her nipple between his finger and thumb. “How many gold coins to molest your captive mermaid?”

She’s soft. Not like his master, who’s like caressing one of the marble statues that lines their courtyard. Bianca has warm breasts to squeeze, a roll of flesh that appears above her stomach when she sits hunched and naked like this. Amadeo rubs his palm over the swell of her stomach, his fingertips brushing the gold curls that cover her mound, and curls his other arm around her shoulders to clasp her wet back to his chest.

“None,” he says. “I wouldn’t charge them any, because this I would keep all for my own.”

The wind rattles the shutters of the palazzo. Rain lashes at the windows. It’s freezing outside but in here Amadeo is sweating. It trickles down his back as he grazes her thighs with his fingers. He’s damp under the arms, too warm from the fireplace, from his desire. Just like with his master, he feels monstrous from it. Lesser for the needy thing between his legs. An animal driven by lust.

Bianca struggles in his grasp. Not to get free, to rise up toward his wandering hand. But the position is awkward. Her ankles, perched as they are on the edge of the tub, they don’t give her enough leverage to lift her hips and so she’s trapped there; wiggling like a fish. Amadeo teases at the crease where her thighs meet. He traces it from knee to pubis and back again and listens to the quickening of her breath.

The cleft of her must be slick. She’s probably flushed pink down there as well but he can’t see it through the water, the way her thighs are clenched together.  But that’s alright. He’s submitted to his master, to the workers of the brothels. Amadeo’s not had anyone squirm for him and he’s finding he likes this game. Her shiver when he rakes his nails through her curls sets his blood alight.

He works his finger into the tight crevice where her thighs meet. He seeks out the sensitive nub between her legs and he knows he’s found it by the way Bianca tips her head back and inhales a sharp breath.

Amadeo tries to picture her as a sea creature. What folds she might have here, in this secret part of her. Whether she’d be warm inside or cold, slimy like the belly of a fish. He forces his finger further down through the squeeze of her thighs and teases at her entrance.

It’s torment, being outside of this bath, unable to plunge into her. In the excitement of the previous night he’d finished all too quickly, and it’s embarrassing, really. He’s dying inside to repeat his performance, to do better this time. But he owes her. Pleasure is the only way he can pay her.

Bianca’s hands grip his forearm like a vice. They’re slender, like a doll’s, and he likes to feel small but she’s the first to make him feel powerful. He rubs tiny circles at her and her nails dig into his skin. Glides his finger up and down and watches through the distortion of the water the needy thrust of her hips.

“Amadeo-“ she gasps.

Her knees fall apart. He clucks his tongue at her, stills his hand.

“You’re a mermaid, remember? Your legs should stay together, yes, like that.”

She lets out a whine, clenches her legs back into place. Amadeo touches her again, slow, teasing, and bites back a hiss when she claws at his wrist.

This is new, having someone fall apart in his arms. Taking her apart little by little with his fingertip alone is a rush that goes straight to his head. Like being drunk only better, because instead of a headache there’s a reward at the end. Falling upon her in her great golden bed. Or perhaps just the satisfaction of seeing her shake with pleasure. That alone might be enough.

The pearls in Bianca’s braid click when she tosses her head. Amadeo strokes her, up and down, again and again. Runs his finger along her folds and watches her toes curl at the edge of the bath. He presses at her entrance. Makes as if he’ll let his fingertip in and her toes point with anticipation. Then go lax again when he takes his fingertip away and seeks out the sensitive nub of her again.

“You’re a horrible tease,” she complains.

Amadeo laughs. “I’m your captor, aren’t I? It’s my right to tease. I trapped you for my own pleasure, after all.”

He traces a little circle over her clit. Bianca presses his cheek into the crook of his elbow, as though she means to hide her face.

“Most men would take their pleasure in other ways.”

There’s no hiding herself, though. Amadeo tilts his head, ignores the pain that comes with straining into such an awkward position, and takes in the way she’s panting. The rush of color to her cheeks, how she bites her lip when he touches just the right way. He keeps on that spot, repeats the motion, and he can tell by the way she squeezes her thighs that she’s squeezing tight on the inside too.

“I’m unlike most men,” he says, and kisses at her throat.

Her skin tastes like the perfumed water. Like salt because she too has begun to sweat. He rubs over and over, feels the rush of her pulse, and wonders if this is what his master feels with him. Whether making him squirm, helpless in his arms, makes him feel indomitable as well, and for a second he wishes he could rend her throat with his teeth. Amadeo wants to feel the stitch of her heart the way his master feels his whenever he bites into his flesh and takes his blood.

Slow circles. Over and over he spirals his fingertip. No change in the motion, no teasing now. There’s only one end to this and he means to achieve it as he drops kisses along her neck. Amadeo picks up his speed bit by bit until she gasps. There, there- the words are muttered out over the slosh of the bath, and he listens. Takes her advice even though his forearm is screaming at him, and-

Bianca kicks at the edge of the tub. Her cry sounds surprised, like she didn’t expect to be wracked with this much sensation, and she shakes with it. Her thighs squeeze so tight around Amadeo’s finger he couldn’t slip it inside her even if he wanted to.

And that’s fine. Good, in fact. This pleasure is for her sake and even if his cock is throbbing its need between his legs it can wait. Must wait, he decides. His master would scold him for taking her like a street ruffian not once but twice.

She’s lovely when she goes slack. Bianca’s hair is mussed from rubbing her face against his arm, a gold curl come free near her temple. Amadeo goes to tuck it back for her but she shakes her head.

“My hair will have to be redone entirely.” She plunges her wet fingers into his auburn hair and drags him down for a kiss. Her body is uncomfortably hot, sticky against his. “You’re right, you know.”

“About what?”

She nips at his lip, hard enough to leave it smarting. While Amadeo is busy rubbing at his mouth she rises from the tub like Venus from her shell. Arm covering her breasts, she reaches with the other hand and gestures for him to hand her a dry sheet.

“You’re like your master,” she says.

Amadeo cocks his head. He hands her the sheet without getting up from the stool, suddenly embarrassed of the thing throbbing between his own legs. He aches to throw her to the floor and take her.

“How so?” he asks.

Bianca enshrouds herself in white fabric. One neat movement, so well practiced that she hardly drips water onto the floor, and she’s perched on the edge of the bath rubbing herself dry. Arms first, then legs. She brings her ankle up to rest upon her knee and Amadeo can’t help but stare at the bone white jut of it. She’s pale as his master there. Her ankles never see the sunlight and so he can see the blue veins through her skin, and he wonders how they’d taste.

“Both of you are entirely unlike other men,” Bianca murmurs. Her foot with its pale sole, white as the belly of a fish, lands suddenly in Amadeo’s lap. She grinds her heel down and draws a gasp from him. “Now come to bed, Amadeo. I believe it’s time your captive takes her revenge. You’ll allow me some fun, won’t you? Before I release you back into the waters to swim home to your master?”

The pearls in her braid are loose. He ruts up against her foot and hears them rattle when she tosses her head back and smirks.

Amadeo is hooked. How easily he swings between such extremes. Misery and ecstasy. Dominance and submission. Shame and desire. He’s a being made of contradictions, and as he follows her to her golden bed he thinks he’ll do anything she wants so long as it keeps him here a moment longer. Safe from reality in her jewelry box room.

Safe from his sadness so long as he remains trapped in the net of want.

[eyelessfog]

different beast ‼️

Different Beast

The actor for penelope[playing siren] screams as Odysseus shoves her away from the platform, returning her to the floor of the stage. He stands tall, a harsh spotlight coming from behind him. the lights black out when odysseus stops singing and the haunting music plays, and between blackouts, penelope's actor and a siren in full makeup wearing penelope's robe and a white veil over her face switch places.

As the song continues, after the switch, the siren scrambles to her feet, all previous smoothness forgotten after she's been shoved. In contrast, Odysseus stands calmly. Angrily.

Sirens begin to slowly come on stage as odysseus mentions there being packs of them hiding. they are meant to appear wavelike and perfectly in sync. they are movements in the corner of the eye. they do not draw attention.

At the word siren, the siren's white robe and veil falls, leaving behind a more siren-like body underneath, matching with the sirens that continue to come in through the sides.

she continues to appear panicked as odysseus explains where she falters, and then when she asks, "what?" the soldiers begin marching on stage, equipped with harpoons. it is made clear, then, that the sirens walking on stage are being ushered by soldiers

in a two part dance, the soldiers and sirens continue further onto stage, before beginning to, together, act out what odysseus sings. slowly, the soldiers move to the right of the stage, separating from the sirens who have gathered to the left. odysseus, as he sings, begins making his way down the right stairs, spotlight following him. as odysseus walks past them, his crew kneels, making him still clear among them as they mime placing beeswax in their ears.

odysseus picks up the robe left on the floor and throws it around the siren's shoulders as he says that she pretended to be his wife. he takes her hand, holds her close, spins her around, and then, at "Now I know how to get back to my island," shoves her away.

The soldiers pull themselves up from crouching, spearing their harpoons forward. the sirens begin to fall over each other, ending up in almost a cape that reaches for the siren that pretended to be odysseus' wife. they call to be spared, raising their arms in a grabbing motion all at once, then falling down again as their voices swell and fall.

odysseus turns his back on them, climbing back up the stairs, sometimes stopping and turning back to the sirens for emphasis, gripping at the railing with both hands.

when he gets to the top, he shouts orders, waving his arm at his men without sparing them a glance.

as the sirens scream, the soldiers surge over, beat by beat. they are marching, adding to the beat with the base of their harpoons. the soldiers create a formation facing the audience as the sirens are pushed off of the stage. odysseus stands atop the platform, facing the open door, calling out "kill them all," as he is meant to.

he only leaves once the soldiers call their final "odysseus!", the door slamming shut behind him.