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paige1722 · 3 days ago

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Silent Night

Summary: It is Christmas time in your village. The weather has taken a drastic turn, and everyone fears that the blizzard will never end. The people become desperate and willing to take any measures necessary to save themselves, even if it means sacrificing one of their own to a once-forgotten demon.

Pairing: Krampus!Konig x GN!Reader

Warnings: Krampus, death, google translated German, violence.

Merry Christmas!!! If you want to read an alternative version where the reader gets revenge, it’s here.

The village you call home resides in the middle of the forest, a few day's journey from the nearest town. This usually means nothing really exciting ever happens here; everyone knew one another, and nothing stayed a secret for long. This year, things had been different. The weather grew colder earlier than normal, the fields did not produce much food, and the hunting expeditions proved to be unsuccessful, with only being able to get small game, such as rabbits and squirrels.

The blizzard that came to the town a week ago did not seem to be lessening in strength; in fact, you even believe that it was getting worse with every passing day. As you looked out of the window of your small cottage near the center of town, where you would usually be able to see your neighbors, the bakery, and the church in the middle of the town. But with the blizzard, you could barely even see your small garden in front of your doorstep that is now destroying your precious plants, and all the hard work you put into it over the spring and summer. The harsh wind caused the window panes to groan, and the snow kept piling up more and more. You wager that pretty soon, it will be impossible to leave your cottage.

If it wasn’t for the small fireplace keeping your cottage cozy and warm all this time you are sure you would have already frozen to death in this horrible winter. A knock on your door pulls you from your thoughts. Wondering who would be at your door so early in the morning, especially in this weather. Making your way to the front door, you open it to see Philip, the assistant to the village leader; opening the door more, he quickly makes his way inside after kicking off the snow from his boots. Once inside, he makes his way towards your fireplace placing his hand in front of the fire, trying to gain some feeling back into his joints.

“Philip, what do I owe the pleasure of your visit?” you asked, closing the door behind him and moving to stand in the middle of your living room.

He turns around, placing his hands around his back to keep them in front of the fire; you are now able to get a better look at him. He looks thin, sickly almost. The food shortage must really be taking a toll on him, his face is unshaven, and his once nice thick animal fur coat has seen better days as it looks to have been ripped apart in some places and hastily sewn back together, surely a child you have done a better job fixing his jacket.

“Yes, I have been tasked with letting everyone know that at noon today, there will be an emergency village meeting in the church. It is mandatory for everyone to be in attendance.”

You feel your eyebrows shoot up in surprise. There had not been an emergency meeting called ever since you were a little child, and there had been a huge wildfire that nearly destroyed the entire village; a lot of lives were lost that day. “Oh, okay. By any chance, do you know what the meeting will be about?”

At your innocent question, Philip squints his eye, looking at you up and down suspiciously, clenching his jaw and taking quick steps towards you. He points an accusatory finger in your face, causing you to step back at his fast approach. “It does not matter what the meeting is about. You are required to be in attendance, understand?”

Your back hit the wall separating the living room from the kitchen; setting your hands flat against the wall to your back, you nod your head in shock, confused as to why he is acting this way. Philip was usually a kind man, not quick to anger. This was a different side of him you had never seen before and did not want to see again. “Yes, I will be there,” you reply in a shaky voice, startled by the sudden mood shift.

Suddenly, like the drop of a hat, he steps back from you, smoothing down his jacket and giving you one of his signature smiles. Chuckling, Philip walks back toward the front door, his hand on the door handle when he looks back over his shoulder over at you, where you are still pressed up against the wall. “I look forward to seeing you at the meeting then,” he winks as he opens the door, letting himself out back into the cold.

Once the door shuts, you let out the breath you had been holding, unsure why he was acting so strange. What does it matter if you were not going to attend the meeting? Though with his reaction at the thought that you were not going had him acting like that, you fear to think of what he would actually do if you failed to make an appearance. Not to mention, you are very curious as to the details of this emergency meeting; perhaps it was about food rations or the never-ending blizzard. You walk into your kitchen, planning to fix yourself a small breakfast, as you retrieve what little bread you had left from the bakery and some jam; this would have to do you until supper time after the meeting. The rations you were given earlier in the week dwindling faster than you would have liked. Sitting at the small table in the kitchen, you enjoy your breakfast, again thinking about the strange encounter with Philip and his sudden change in attitude and demeanor. After finishing your bread with jam, you decide to do some chores around your house to waste time until noon.

—----

You glance at the small hand-carved clock on your wall. Seeing that it is a quarter past eleven, you make your way to your front door, putting on the thickest coat you own, your gloves, and winter boots. Opening the door and closing it behind you, you wrap your coat tightly around you, pulling up the collar to cover the bottom half of your face as you venture down the snow-covered stone path that leads throughout the village. You see your neighbors already making their way inside the church. Two men stand outside wrapped in thick fur jackets and hats, each holding lanterns to light the path to the church, a way to help people see through the thick snow falling from the sky. You trudge through the thick snow, carefully walking up the ice-covered steps to the entrance. The two men, who you now recognize as Simon and Johnny, who are the town’s butchers, open the massive doors. You mumble a quick thank you to the men and make your way inside the warm church. Not noticing the sympathetic look they send your way as you walk past them.

Looking around the massive sanctuary, a long line of lit candles operas on either side of the pew give the room an almost eerie glow. You realize you are one of the last villagers to arrive, seeing as most of the pews are already filled to the brim with people waiting for the meeting to start. You decide to sit in the back where there is still a little bit of space left, sitting next to one of your more elderly neighbors, you give a small smile in greeting, not having interacted with them much before. You take off your thick jacket and hang it on the back of the pew you were sitting on, and continue looking around the room. At the front, standing in front of the pulpit, stands Philip Graves, talking in hushed tones to the village leader, Shepherd. They look to be arguing, judging by the looks on their faces. Philip turns his head, looking near the door, when he makes eye contact with you, but instead of acknowledging you as he normally would in passing, he turns back to Shepherd, whispering in his ear, both of them now looking more relaxed than they were just mere seconds ago, another strange occurrence happening today, something in the air you supposed.

The front doors slamming closed behind you cause you to jump a bit, turning around in your seat to see Johnny and Simon standing inside the church, placing the lanterns on the golden hooks on either side of the doors. Instead of finding a seat in the room, they move to stand in front of the doors, reminding you of guards to a prison cell. A throat clearing causes you to turn your attention back to the front of the church, where Shepherd now stands behind the podium with Philip by his side.

“Thank you all so much for joining us today for this emergency meeting. We know that things have been tough this year with the lack of game and crops and now this never-ending blizzard. But fear not, your village leader and others have come up with a solution that will surely save us all from this torment.”

Applause erupts throughout the church at this news. For some reason, you feel a sense of dread overcome you at this news. Something about this whole situation does not sit right with you. Why is Philip staring at you so intensely? Why was it so important that you come to this meeting, and why are Simon and Johnny blocking the exit like that? All these questions run through your head, causing you to break out into a cold sweat. Shepherd once again starts talking, making everyone stop their applause.

“Now, I know you all must be wondering as to what the solution to our problem is. Philip and I have been scouring the old texts, trying to find anything that might be of help to save our village from this ongoing turmoil. After a many sleepless nights, we finally came across this.”

Philip holds up an old leather-bound book with a small bell engraved on the front; the pages look worn and old, as if it hasn’t been used in decades. Placing the book down in front of Shepherd, who continues his speech, “In this book, we discovered a chapter that describes exactly the events that are taking place before us today: no food, endless winter that ends in nothing but death for all of us unless we act now! This book tells of an ancient being, whose name shall not be uttered here, that is the cause of all this. Apparently, we have managed to anger him last Christmas during our festivities, and he is now taking it out on us. To appease his wrath, we must give him an offering. There was a list of rules that must be followed or else the offering will not work and just invoke more devastation upon us. After careful consideration, there is only one person who fulfills the demands.”

Shepherd locks eyes with you, you feel your heart pounding in your chest, the room suddenly becomes too hot, sweat beads down your face. You see his mouth moving, but you can hear nothing over the ringing in your ears. Everyone in the conjugation is now staring at you, waiting for what you aren’t sure. Stumbling, you stand up, still facing the front of the church, and slowly begin backing up towards the door, but before you can make a run for it, hands wrap around your arms on both sides looking to see who has you in their grasp; you see Simon and Johnny with solemn looks on their faces. They begin dragging you to the front of the church. You try to pull your arms from their grip, but is it no use; kicking your feet, trying anything to free yourself, tears flow freely from your eyes. You look around at the people of your village pleading with them hoping that someone, anyone, will help you, but as you make eye contact with the people you grew up with they simply turned their heads looking down at the ground a guilty expression on their faces. Reaching the front of the church, Philip grabs you from the grip of the two butchers; Simon whispers an solem apology in your ear as they hand you over to your inevitable demise.

Your back is pressed against Philips's chest, his arms wrapped tightly around you, keeping you in place. He rests his chin on your head, “Tomorrow, everything will be back to normal once the demon has his offering! Return to your homes and await the glorious rewards that will be gifted upon us all!” He yells out, his chest rumbling against your back. You let out a whimper. as you watch everyone slowly rise from their seats and make their way toward the entrance of the church, leaving you with Shepherd and Philip. “Please don’t do this, there must be another way!!” you yell out desperation clear in your voice, but it is no use; the front doors slam shut as the last of the villagers return to their homes.

Shepherd grabs a rope from his pocket and stands in front of you, “Ah fear not. Think about the good your sacrifice will bring to the people of this village, all the lives you will save.” His gaze moves towards Philip, “Take her to the back for them to get her ready.” He pulls your wrists together in front of yo,u tying them tightly together. Once the rope is secure, Philip lets go of you and grabs the rope, binding your hands together pulling towards the back of the church. Sniffiling you let Philip drag you down the dark hallways leading to the offices. Opening the door to Shepherd’s office, Philip throws you inside the room, causing you to fall, hitting the ground causing a shockwave of pain through your body from where your knees and elbows slam against the wooden floor.

“Here, get them ready,” Philip says as he shuts the door on his way out.

Pulling yourself to your feet, you see who he is talking to. Valeria stands in the center of the room, a bored expression on her face, her arms crossed in front of her chest. The room is empty, apart from a single chair and table in the middle of the room, a red silk robe, a veil, and two small boxes. Sighing, she steps forward, pushing you to sit in the chair in the middle of the room.

Grabbing her arm, you try to plead with her, “Please, Valeria, you have to help me. They mean to use me as some sort of sacrifice to a demon, please.” She rips her arm out of your hands, slapping you across the face. A disgusted look crosses her features as she replies, “Shut up, your sacrifice is what is best for the village. So stop crying. You are only going to make this worse for yourself and ruin the work I am about to put into making you look presentable for him.”

Your face now burning the slap, you sit in defeat, feeling all forms of fight leave your body; even if you did manage to escape from this room, there was nowhere you could go, the other villagers already showing you that they don’t care about you if you went back home they would just find you and drag you back to where you are now, and if you tried to run for it, you would surely die due to the elements.

Valeria grabs the silk robe, scrutinizing at your hands that are still tied together, “No funny business, understand. Just put this robe on.” you solemnly nod in return; she grabs your hands and begins to untie them, placing the red robe in your hands. You stare at her, waiting for her to turn around so you can change, but you quickly realize that will not be happening. Trying to save the little dignity you have left, you take off your sweater, putting the robe on, hoping that she will let you keep your warm pants on but she snaps and points to your pants. “Just the robe. It is the rules.” Taking off your pants and placing them in the small pile of clothes on the ground, as you are done, she immediately grabs your hands, tying your wrists back together much tighter than they were previously.

Every movement you make now causes the rough fabric of the rope to rub against your skin. Looking down at the robe you are now wearing, you quickly realize how thin the fabric is. It is definitely not something you should be wearing during this kind of weather, probably to make it more convenient for the demon to kill or eat you. Valeria motions for you to sit back down in the chair with her hand as she opens one of the small boxes laying on the table inside was filled with small paints usually reserved for weddings and other important ceremonies, she begins to draw strange symbols upon your skin, leading from your face, down your arms to your chest. Once she is satisfied with her work, she reaches for the matching red veil, placing it upon your head; you are still able to see through the fabric of the red veil, though it does give everything a strange blurry tint.

All that can be heard in the room is the occasional sniffle coming from you, trying to hold back any more tears from falling, knowing that Valeria would not be happy with you if you ruined the writing she had just finished putting on your skin. When the door opens and Philip and Shepherd both enter the room, “Are you finished yet?” asks Philip, walking to where you sit inspecting Valeria’s handiwork.

“Just have to put on the necklace, and we are all set,” she says as she grabs the remaining box sitting on the table, opening it to reveal a beautiful golden necklace with a small pendant that looks very similar to the bell that was engraved on the front of the leather book that they were referencing during the emergency meeting earlier. She places the necklace around your neck, fastening it in the back and tucking it underneath the robe you were forced to wear.

Everything started to feel too real at that moment. What was about to happen to you setting in, causing you to let out a whimper, but before you could begin pleading for your life, hoping to somehow change their minds, Sheppard pulls out a small piece of cloth, “Now we can’t have you making all that noise, the demon would not appreciate that.” He lifts up the veil, shoving the cloth in your mouth and tying it around the back of your head, effectively silencing you and placing the veil back over your face.

Shepherd claps his hands together, taking a step back, “Thank you for your help, Valeria. Alright, Philip, grab them and let's go.” Philip grabs the rope around your wrist, dragging you off the chair, the rope squeezing your wrists, causing you to let out a pained gasp that is muffled by the cloth in your mouth. They drag you back out to the sanctuary of the church towards the front door, where you see Simon and Johnny once again holding the lanterns. Once you reach them, they open the doors for you all, dragged out in the snow wearing nothing but the thin robe the freezing air immediately making goose-bumps form on your skin, you let out an involuntary shiver, the ice, and snow covered ground causing your feet to burn with every step. Johnny and Simon now lead the way with their lanterns. Shepherd is in the middle of them telling them which direction to go in, with Philip following close behind, pulling you along with him into the dark forest.

—-

Walking for what felt like hours, you can no longer feel your legs, you're pretty sure your wrists are now bleeding due to the rope rubbing against your skin, causing it to break. Every intake of breath hurts, the cold air burning your lungs and throat. As you all reach a clearing in the middle of the forest where only a single tree stands surrounded by small torches sticking out of the ground, everyone stops walking.

Philip yanks you towards the tree, pulling out another rope from inside his fur jacket, and ties one end of the rope around the rope, holding your wrists together. Once secured around your bound wrists, he throws the other end of the rope around one of the lower hanging branches of the tree and pulls the rope until your arms are straining above your head and your toes are barely scraping the ground. You let out muffled groans of pain and fear. He secures the rope around the trunk of the tree, stepping back and joining Shepherd, who stands in front of you. Johnny and Simon are walking around to the torches, lighting them with the fire from their lanterns. Shepherd reading through the leather-bound book, a look of malice taking over his face, muttering to himself, “This time, we will get him.”

Once the last torch has been lit, and all four men all standing in front of you, Johnny and Simon looking anywhere but your face. Shepherd says, “This is where we leave you. Thank you for your sacrifice.” before turning with the others and leaving you to your death.

As you watch them all walk away, the light from the lanterns slowly fades away until you can no longer see it. You begin to try to free yourself from the tree. Tears run down your face and neck, causing the writing on your skin to smear, bleeding into the fabric of the robe tied around your body. You try and scream to the best of your ability, but the cloth in your mouth muffling your shouts sounds more like a wounded animal. Flailing around trying to somehow untie the ropes on the tree or your wrist, but all you end up accomplishing is tightening the knots, burying the rope farther into your skin, the blood from the open wounds on your wrists running down your arms. You are now sobbing uncontrollably, resigning yourself to your inevitable death, whether it be freezing to death, the demon or whatever it actually is killing you, or some wild animal finding you first.

Running out of energy from the walk here, crying, failing around, screaming, and the cold that has turned your entire body numb, you begin to feel tired, struggling to keep your eyes open, thinking to yourself hopefully your sacrifice will not be in vain and the people of your town will be saved. Until, from the darkness, you begin to hear the distance sound of bells jingling closer and closer. Eventually, you hear the crunch of snow as if someone or something was walking towards you.

You try and blink the tears from your eyes to clear your vision, but with the veil still covering your face, your vision still remains blurry, a huge figure emerges from the trees, standing nearly seven feet tall with twisted horns protruding from underneath the dark red hood covering his face and body. With every step it draws closer to you, you catch small glimpses of the jingling of bells hanging on a chain wrapped around his torso from underneath the red cloak.

Your heart is pounding in your chest, fear overtaking your body, causing your adrenaline to rise, once again trying to pull your arms free. He stops right in front of where you are hanging from the tree, even dangling in the air, the top of your head barely level with his chin. The soft glow from the torches circling you gives off an eerie glow to whatever is standing in front of you, his face hidden in the shadows of his hood, though you swear that you can see eyes staring right through you. Realizing that this is the end for you, you let out muffled whimpers, not caring how pathetic you must seem right now.

“Warum bist du hier draußen?” The demon in front of you utters, staring at you expectantly for your answer.

Even if you were somehow able to understand what he had just said, you would not be able to answer him anyway, so you just shake your head, replying with a muffled what. You see its head tilt to the side in confusion before a gloved hand reaches up and pulls the veil off your head. Your vision is no longer obstructed, and you are able to make out the being in front of you more clearly. A flicker of the light from the torches illuminated the masked man in front of you.

The mask peeking out from under the hood had twisted horns sticking out of the forehead, where the eyes would be were two holes his eyes shining through the darkness, and the mouth was open with sharp teeth and a long red serpent-looking tongue carved onto the front of the mask, reminding you of the old stories your grandmother used to tell you when you were a small child of an ancient demon who arrived during winter to steal and punish the naughty children. Your eyes widen in realization, muttering, “Krampus.” Even with the cloth still in your mouth, he must have understood you, as you hear a small chuckle in return.

“Ah, so you have heard of me then. It has been a while since I have been called that, just call me Konig.” His accent is thick as he speaks, reaching for the cloth impairing your ability to say. He pulls the fabric out of your mouth, letting it hang around your neck. “Now, let's try this again, ja. Why are you out here?”

Sniffling and your teeth chattering because of how cold you are, you manage to say “They said I was supposed to be some kind of offering to save the village. I…I don’t know anything else.” Sobs rack through your body. Looking back up into the eyes of the demon before you, you notice that little black dots begin to swarm your vision, the ringing in your ears was back the cold, pain, and everything was begining to seem so far away. Using the last bit of strength you had left before you passed out for what you assumed would be for good, you mumbled, “…I don’t want to die.”

Your head lolls backwards, causing the necklace to be pulled out from underneath the robe, catching the eye of Konig whose eyes widen at the pendant hanging from your neck. He quickly pulls out the hunting knife from its sheath on his belt as he wraps an arm around your waist to keep you from falling to the ground. He cut the rope around your wrists, your unconscious body falling forward into his chest. He feels the cold from your body seeping through his gloves and cloak. He removes the cloak from around his body and wraps you up in it as best he can to hopefully begin warming you up. He cradles you in his arms as delicately as he possibly can as he whispers to your sleeping form, “Es wird alles gut. Ich werde dich beschützen.”

—---

You feel warm; whatever you're laying on is soft and fluffy. Peeking an eye open to take in the surroundings, you notice that you are on a bed of thick animal furs in some sort of cabin. The room you are in is small, with nothing really in it besides the bed, a small lantern placed on a bedside table, and a large mirror placed next to the door. You sit up in the bed, and you notice that your wrists no longer hurt, you look to find that both of your wrists are delicately wrapped in bandages. Hearing noise coming from the other side of the door, you pull back the furs covering you to slip out of the bed and make your way towards the door. Once you are standing, you look in the mirror so that you get a better look at the new outfit you are wearing. A red knitted sweater you now wear with black wool pants; examining your arms, face, and neck, you don’t see any traces of the strange writing Valeria placed on your skin. When the sounds of movement behind the door once again grab your attention. Walking towards the door, you slowly open the door walking out into what looks to be the main room of the house.

Stepping out of the room, the first thing you notice is the Krampus or Konig you vaguely remember him saying is his name, he sits in the corner of the room with his back facing you, hunched over a crafting table lined with various tools on the wall. Along with the tools hanging on the wall, you see the mask Konig was wearing when he found you in the forest, placed gently on a small hook.

As you walk further into the area you look around the room you are now in what you assume is the living room with the front door next to the small room you just exited, a window on the other side of the door, a small fireplace in the center of the room with a cozy chair facing it, two other doors on the opposite side where Konig sits, and a corridor that look as if it leads into what you assume in the kitchen. You let out a small hum, this house is much smaller and cozier than what you would have assumed an ancient demon who abducts and punishes bad children would live in. During your observation of the house, you failed to notice that Konig had stopped working and was now standing facing you, the mask back on his face.

“I was starting to think that you would not wake up.” His voice startling you in the otherwise silent house.

“How long was I asleep?” you ask tentatively, thinking that it was probably just a couple of hours, seeing that it was still dark outside, judging by the lack of light coming in from the window near the front door of the house.

“A day, I feared your wounds and the cold was too much for you. I tried my best, but my powers are not usually used for helping people.” Seeing him in this light was very strange, even though he still towered over you, he seemed to be trying to make himself appear smaller, probably trying not to scare you, after all you think that you have had enough excitement for a lifetime.

You glance down at your wrists, then gently brush your fingers over the bandages. "Oh... um, thank you for helping me," you say quietly. "Does this mean... my village won't be saved after all? I didn’t think it was possible to fail at being an offering."

He lets out a cruel laugh at your question, his accent even thicker now. “Your village..” he spits out venom in his voice…”They are lucky that I just leave them to fend for themselves during this winter and that I don’t take revenge for what they have done to you by slaughtering them all. I have done more for much less.”

Nervously, you absentmindedly bring your hand up to the jewelry that still lays around your neck, twirling the small bell pendant between your fingers, Konig’s eyes tracing your movements. “But..but why they said we had angered you last Christmas and this was the only way to put an end to the suffering you have plagued us with, the…book it said-” He cuts you off by walking towards you, his hand wraps gently around yours holding the necklace, careful of your wounds caressing your hand.

“I was not angry then but I am now, anyways that is not how I work. I do not know what lies they have told you, but I have no control over the crops, animals, or weather, that is not my doing.”

As he goes to pull his hand away you grab his wrist pleading with him, “no, that is not right. The only reason they left me out there like that was because the book said an offering to you would save the village. Why else would they do that to me?” you whisper the last part mostly to yourself, not seeing any other reason for the actions of the people in your village.

You see his eyes soften from behind the mask, stepping closer his presence only a breath away from you now, cupping your checks and wiping away tears that you did not realize had fallen. “The book you speak of is an ancient book of an offering; this is to be given to me yes, but not for sacrifice or as a way to save a village from misfortune. It speaks of tying someone to me. Bonding their soul to mine forever. I do not know why but I assume they wanted someone to blame for their misfortunes, and I was it. By leaving you to me, writing the runes upon your skin…” his hands now trace your checks down your neck, and your arms where the writing was previously written, “ and wearing my necklace, and since I accepted the offering when I brought you back here with me, we are now linked together forever.”

You stare into his eyes, looking to see if he is telling the truth, finding no lies within his eyes you take a deep breath, your head beginning to hurt with all this new information thrown at you. “I think I need to sit down for a moment,” you say in a breathless whisper.

Konig guides you to the cozy-looking chair sitting in front of the fireplace, placing your head in your hands you lean forward, your elbows on your knees, closing your eyes trying to make sense of everything. Instead of being killed by Krampus like you originally thought you being a sacrifice for the good of the village and everyone in it, they tied your soul to his, making you his soulmate. No matter how long you thought about it you just couldn't make sense of it, how would this solve anything? Why would giving the being they thought responsible for all their troubles a soulmate solve anything.

Lifting your head up from your hands you look up at Konig, who is walking back over to where you sit now holding a glass of water, he must have gone to the kitchen while you were deep in thought. He wordlessly hands you the glass of water, you take a long sip of water not realizing how thirsty you were until that moment. Gasping you say, “Thank you. But I still don’t understand how would this solve anything for the village then? Why would they essentially be rewarding you, if they thought you were the bad guy?”

Taking the now-empty glass from your hands, he lets out a deep sigh. “Once your soul is bound to mine, I have a weakness. Through me, you will have an immortal life, not aging another day as I, but you are still human able to be killed, if you die, I die with you.”

At the sudden news, you jump up out of your seat, craining your head to look up at him but before you could say anything, he adds “do not worry they cannot find you here. No harm will ever come to you, especially not while you wear my necklace. Plus, even if they somehow managed to find their way to my forest they would have to make it through the elves first, and they do not play nicely.” His eyes shine with a knowing look like he knows exactly what would become of anyone who makes there way here without his permission.

Before you could say anything else your stomach starts growling, causing your face to feel warm with embarrassment. Konig lets out a chuckle, “Ah, how rude of me. You must be very hungry, ja. Let us get you some food. Come.”

He reaches his hand out in front of you. You slowly place your hand in his, he gently pulls you to your feet and starts leading you down the corridor to the kitchen. Now that his hand is in yours, you can feel the rough callouses on his skin from years of use. Upon entering the kitchen, you did not expect to see the table already full of delicious-looking food, gasping you look at Konig in question, who simply shrugs his shoulder in response pulling out a chair at the table for you to sit at.

“Do not be shy; have as much as you like.” He says as he sits on the seat on your right, making a plate for himself and piling it high with meat. You begin making your plate, putting a little bit of everything on it, wanting to try everything as most of the food before you is something you have never seen before. Out of the corner of your eye, you see Konig reach up and grab the mask obscuring his face and taking it off and place it in the spot next to him on the table. Your eyes rake over the scars on his face, he must have felt your gaze on him because he turns his head to stare at you.

Giving you a sheepish smile, he apologizes, “I am sorry. I know I am not very nice to look at, but it is difficult to eat with the mask on.”

Shaking your head, “No, you have nothing to apologize for. You just didn’t look how I expected Krampus to look; you are handsome.”

Not knowing how to respond to your kindness, Konig just gives you a grateful smile before continuing to eat, you shortly following his lead.

—-

You've been living with Konig for a few weeks now, and in that time, you've learned a lot about him. He makes toys—though they're unlike anything Santa would create—and the strange creations often come to life, causing chaos wherever they go. He's also started wearing his mask less frequently around the house, especially when it's just the two of you. Still, every now and then, a quiet worry creeps into your mind about the people in your village. You can't help but wonder if they managed to survive the blizzard and the food shortages.

Today, Konig was teaching you how to create snowglobes at his workstation. It turned out to be much more difficult than you’d expected, especially when it came to crafting the perfect sculpture to fit inside. Though you weren’t the best at it, Konig seemed to enjoy teaching you, and that made it all worthwhile.

“Look, Schatz,” he said with a proud smile. “It’s us.”

You stopped what you were doing and turned to see the small sculpture in his hands—a perfect replica of you and him, standing side by side. You gasped in awe. “Wow, that’s beautiful!”

Konig handed you the sculpture, and as you ran your fingers over the intricate details of the hand-carved masterpiece, you couldn’t help but feel a sense of warmth.

“I still have to add color, so I am not done yet.” He sheepishly adds, rubbing the back of his neck at all your praise.

Sudden bangs and the chaos of shouting erupted outside the house, the sounds of a violent struggle growing louder. Konig stands up, grabs your arm, and pulls you up beside him. He begins dragging you to his bedroom. Once inside, he gently places you in the middle of the room and grabs his mask off the nightstand where it usually stays now.

“Stay here, Liebling, do not come out until I come back for you.” Even with his face now covered, you can see the concern for your safety reflecting in his eyes.

Konig turns to leave the room, but before he can make it out of the door, leaving you behind, you run up behind him and grab ahold of his wrist, stopping him in his tracks, “Konig, what’s happening? Don’t leave me alone.”

Pausinghe turns to face you, fully reaching up with both hands on your cheeks. He caresses your face, softly rubbing his thumbs over the apple of your cheeks, “Everything is going to be okay. Just stay here, please.”

Staring into his eyes, wanting to beg him to stay with you and just let his elves handle whatever is happening outside, you know that he does need to go out there; he is Krampus, after all, and is more than capable of taking care of himself. You nod, your face still in his grasp. He leans forward but pauses as if he is second-guessing himself. Letting out a deep sigh from his chest, he put the mouth of the mask on your forehead before walking towards the door, giving you one last glance over, ensuring your safety before he leaves, and shutting the door to his room behind him. You can hear his heavy footsteps throughout the house, the front door open and closed shut, leaving you all alone in the house.

The noise outside has yet to stop; maybe it was just your nerves, but you feel as if, every passing second, he is out there. Something bad could be happening, but you know he is a demon and only truly has one weakness. Which is why he told you to stay in his room, where he knows you will be safe. Trying to clear your mind from the turmoil outside, you begin pacing around his room, counting the number of steps it takes to walk from one corner to the next. You continue to do this for the next couple of minutes while all the noise outside seems to have died down, allowing you to hear some muffled yelling. Right now, you can only make out Konig’s voice, maybe it wouldn’t hurt to go out into the living room so that way you can hear more of what is happening.

Quietly, you open the bedroom door, the hinges squeaking, causing you to flinch. Wrapping your arms around your middle, you walk out into the living room towards the front door, placing your ear upon the cool wood. Konig is yelling at someone; his accent becomes thicker the angrier he gets, which sometimes makes him harder to understand. After a brief moment of punching sounds, you hear someone who sounds vaguely familiar, “You killed her, didn’t you, you monster!!”

You gasp, covering your mouth. You throw open the door, rushing outside in the cold, not thinking about grabbing the fur jacket Konig made specially for you. You run down the stairs on the porch. You see Konig standing tall and menacingly in the yard. His elves are all lined up facing him. They are all holding weapons of some kind, looking as rowdy as ever, the bells on the chains wrapped around their body jingling in the wind. You run as fast as you can to where Konig stands, where two elves are standing out from the crowd holding two prisoners hostages, making them kneel before Konig.

Sensing you, Konig whips around his body language, immediately softening at the sight of you, “Liebling, it is too cold for you to be out here.” By the time you reach him, he has already removed his thick red cloak throwing it over your shoulders and wrapping it around your body.

You place your hands on his chest, bunching up his shirt in your grip, “No, Konig! Please don’t hurt them. They are from my village.” Motioning to where the two elves are holding a beaten and bloody Simon and Johnny.

Johnny and Simon are drenched in blood, from head to toe, and you can only hope it’s not all theirs. Their arms are covered in cuts, and their faces are swollen and bruised from what looks like repeated punches. Chains are wrapped tightly around their upper bodies, and the elves standing behind them keep a firm hold, forcing them to kneel in the snow.

At the sight of you in Konig’s arms, Johnny and Simon struggle in the chains, causing the elves to tighten the chains, making them let out pained groans.

Johnny speaks first, “You’re alive!! We went back to the forest that night to save you. Simon and I decided that we couldn’t just leave you out there to die, but when we arrived back at the sight, you were gone, nothing left but the rope.” Guilt fills his voice, looking at you for forgiveness.

Simon moves to stand up, but the elf kicks his leg, causing him to fall back on his knees; looking over his shoulder, he glares at the elf, cursing under his breath. He tries again, jerking his shoulders forward to create some slack in the chain. Once standing, he takes a half step towards you; seeing this, Konig steps in front of you more, making you peek around his back to see what Simon has to say.

“When we got back to the village and told everyone about how we were unsuccessful in rescuing you, everyone started rioting, blaming Shepherd and Philip, saying there should have been another way. They…they told Johnny and I that the book said there was a way to save you. We just had to find Krampus’s hideout and kill him.” Simon glances at Konig, seeing his protective stance around you, and begins rethinking everything he was told by the village leaders.

A loud clapping coming from behind all the elves draws everyone’s attention; Shepherd appears from the darkness, clapping his hands together slowly. Konig moves forward, growling, “What are you doing here?”

Shepherd lets out a loud mocking laugh, “I told you before, Konig. I would get my revenge for what you did to my family. I have been planning my revenge for years. Did you not think I wouldn’t notice you watching them every year and becoming attached to them, so when I was finally able to get my hands on that necklace, I knew this was my chance.”

Konig rolls his shoulders back, standing up to his full height, with hatred in his eyes. He watches Shepherd slowly walk closer to him through the elves who were anxiously waiting for the word to attack. “They were on my list. It is the rules, bad children, and adults who need to be punished. But they have nothing to do with this. Your quarrel is with me.”

You move to step forward to take comfort behind Konig when you feel someone wrap their arms around you from behind, placing a knife at your throat. You fearfully shout, “Konig!”

Hearing your cry for help, he turns around but pauses when he sees you in danger, his breath catching in his throat. “Let her go!” he growls. You have never heard him like this before; it sends a shiver down your spine. The elves are holding up their weapons behind Konig, ready to kill for you.

A laugh rumbles from the chest of the person holding you, one that you used to enjoy hearing the sound of, but now it just sends a sick feeling to your stomach. Philip rests his chin on the top of your head, digging the blade into your neck, causing it to break the skin, a little trial of blood running down your neck. This causes Konig’s entire body to go rigid at the sight of it. He clenches his fists at his side, and you can see the gears turning in his head on how to rescue from his grip without hurting you.

“You didn’t really expect us not to retaliate against you. I think us giving you a little soulmate was mighty nice of Shepherd and me. I mean, we even gave you some time together before sending in those two as a diversion…”

He points the knife over at Johny and Simon before placing the knife back at your throat, “So you wouldn’t suspect us, and we could just waltz on in here and grab your soulmate, killing them essentially killing you. But I really did not expect it to go so easily.” Philip laughs, tightening his arms around you. You silently plead with Konig to do anything.

Shepherd, having made his way through the horde of elves, pats Konig on the back condescendingly, “Now you will know what it is like to lose everything, but you’ll be joining them shortly.”

The chains around Johnny and Simon had slackened considerably due to the elves' concern for you and Konig’s safety. Simon used the slack of the chain to throw it around Shepherd's neck, pulling back into his hold. Shepherd’s hands immediately go to the chain around his throat, trying to keep it from choking him, but to no avail; Simon is not letting go, no matter how much he struggles.

Philip removes the knife from your throat to point it threateningly at Simon, “HEY! You let him go now!”

With the knife no longer about to end your life and Philip distracted, Konig sees the perfect opportunity to strike. Konig rushes forward, grabbing Philip’s hand that holds the knife, bending his wrist back with a sickening crack, causing him to scream out in pain, dropping the knife in the snow. Konig’s other hand wraps around Philip’s throat. He lets go of you in favor of trying to pry off Konig’s hands off his throat. You fall to the snow and crawl out of the way. One of the elves comes up behind you, pulling you in their embrace to keep you safe. Your head is pressed into their chest to keep you from seeing anything that is happening behind you.

Konig now has both hands wrapped around Philip’s throat, lifting him into the air, his feet no longer touching the ground. Philip is clawing at his hands, gasping out for breath, his face turning colors due to the lack of oxygen. Konig leans forward, whispering in his ear, “Do not touch what is mine.” A loud crack resonates throughout the forest; Philip's hands fall to his limp, throwing his body down. Konig sprints to where you are cowering in the elf's grasp.

“Liebling, are you okay? What hurts?” He places his hand on your back, trying to access any more damage on you. Feeling Konig’s comforting touch on your back, you throw yourself into his awaiting arms, tears flowing soaking into his shirt.

“I was so scared; I thought they were going to hurt us.” you sob into his chest; he rubs your back soothingly as you try to catch your breath.

The familiar sound of the bells jingling causes you and Konig to look over to where Shepherd now lays wrapped in the chains at the feet of Simon and Johnny, who hold both ends of the chains. “Should we kill him?” Johnny asks, looking at Konig.

Konig stands up with you standing in front of him, wrapped safely in his arms, turning to face them both. “Nein, I have a better idea. Elfen bringen ihn in die Grube.”

With their orders now given, a handful of elves move forward, snarling and laughing, grabbing the chains from Johnny and Simon and begin dragging Shepherd’s screaming body through the snow towards the pits.

Konig walks to Simon and Johnny, stopping in front of them with you still with him. Simon looks at you, then Konig, “What are you going to do to us?” asks Simon, sighing regrettably.

Reaching up and removing the mask covering his face, Konig puts one hand on both of the men's shoulder’s, “You both helped me. Distracting Philip, so I was able to act. Thank you. You are free to return to your village, become the new leaders, and do a better job than those two. Though I must warn you once you leave my forest, you are never to return, or else my elves will not be as kind to you next time.”

They both nod their heads at Konig in agreement and turn to leave. The rest of the elves make a path for them to walk through, none of the elves messing with either man as per Konig’s wishes. However, it did not stop the elves from keeping a close eye on them until they were completely off their territory.

Konig kneels down in front of you, placing his head against your stomach, “I was so scared when I saw you in danger. I thought I was about to lose you forever, and I panicked. I am so sorry.” he says, his voice muffled from being pressed against you. Running your hands through his hair, you move his head up to look at you.

“Konig, you have nothing to be sorry for. I should have listened to you and stayed inside; it was all my fault. I am sorry, but thank you for saving me.” You pull him up and give him a hug.

Leaning your head back, you look up at his face, staring into each other eyes. He slowly leans forward, pressing his forehead against yours. His breath fanning your face, standing on your tippy toes, you press your lips to his, feeling your lips on his. He immediately kisses back, placing one hand on the back of your head and pulling you closer to him.

Cheering and laughter erupt in the background, causing you to pull away from each other. Seeing all the elves going crazy at the sight of you and Konig kissing causes you to throw your head back, laughing before you bury your face in his chest, making him laugh in return.

“Come on, Liebling. Let’s go back inside.”

—-

The next day, you and Konig are sitting cuddled up together in the living room in front of the fire, enjoying each other’s company. Konig stops rubbing your back and turns his body to face yours fully, his face full of nervousness.

“If you want, you can go back to your village. I will understand if you wish to leave, and I will hold no grudges against you or the town. I….” you stop him from talking any further.

“And if I want to stay here with you?” you ask, looking down shyly, scared that maybe he was saying all that stuff because he did not want you here anymore.

He places his finger under your chin, lifting your head up to look at him, “then I will spend every day of our life together doing whatever I can to make you happy. Trying to prove to you how much you mean to me.” He leans forward, connecting your lips together in a kiss.

The warm glow of the fireplaces bathed you both in a soft, calming light, casting a peaceful aura over the room. Above the mantel, the snowglobe, Konig crafted, an intricate, perfect representation of the two of you, sat proudly. Its glass shimmered gently in the flickering flames, showing the love and care he put into creating it.

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just-dreaming-marvel · 1 day ago

Text

Love That Burns ~ Ending 2 ~ 45

LOVE THAT BURNS MASTERLIST

< previous chapter

Word Count: 3,850ish

Summary: On the road, your group finds a family in need of help.

Warning(s): lots of movie dialogue, canon violence, injuries, character death(s)

Reminder: I DO NOT do taglists. Please don’t ask. Please follow and interact! I appreciate any reblogs, likes, comments, and asks!

The four of you found yourselves back on the road soon after the wedding ceremony. Things seemed lighter in a way. Laura and Charles sat in back while Logan drove and you sat beside him. Logan kept one hand on the wheel while his other kept a firm hold on yours. He didn’t want to let you go before your marriage was official, but now he really didn’t want to.

Charles was drifting in and out of sleep as Laura stared out the window with her sunglasses, locking and unlocking the door.

“Knock it off,” Logan said, voice gruff. Laura made no move to stop. “I said, knock it off!”

“She’s a child, Logan,” Charles said. “And, point of face, she’s your—“

“How long has it been since you took your meds?” Charles exhaled, annoyed. “Tell me, how long has it been?”

“I don’t know!”

Logan scoffed. “You saw what happened yesterday. If that shit had gone on any longer, everything in that casino—“

“I did what I had to do to save Laura and Y/N.”

“What?” You questioned, turning to look back at Charles.

“I knew you wouldn’t get to my meds and I kept you from doing so. You wouldn’t have been able to take on all those men while protecting Laura and I.”

“You had a fucking seizure on purpose?!” Logan exclaimed, clearly furious.

“I guess you prefer me pharmaceutically castrated, rambling on like a lunatic. So much easier for you.”

“Easier? There is nothing easy about you, Charles, nothing!”

“Yes, yes, please be like the rest of the world, blaming someone else for your boring shit.”

“I know, Pop, I’m such a giant disappointment.”

“What? Logan, you’re not a disappointment,” you tried to interject.

“You honestly derive no sense of purpose from what we’re doing?” Charles continued.

“Okay, what are we doing?” Logan questioned. “Hmm?”

“There is a young mutant sitting in our car.”

“Yeah, I see that.”

“And where we’re taking her, there are others. Does that mean nothing to you?”

“Yeah, means nothing to me. Especially since Nurse Gabriela made all that Eden shit up with fucking comic books.”

“What are you talking about?”

Logan let go of your hand and opened the center consul. He pulled out a bottle, handing it to you. “Give those to him, will you?”

“Logan,” you tried.

“Give ‘em to him.”

You sighed, opening up the bottle and taking two pills out. You turned back and handed them to Charles, giving him a sympathetic smile. Charles took them and tossed them into his mouth before getting a drink.

“I wanna see it,” Logan said, looking at Charles.

Charles made a noise as he opened his mouth and stuck his tough out for Logan to see. Logan took the bottle from you, threw it into the consul, and then slammed it shut. You sighed, so much for the happiness that the small wedding brought. Logan glanced over at you as you stared out the window. He took your hand and brought it up to his lips for a kiss.

“Sorry,” Logan muttered. “On edge.”

“Clearly,” you replied, turning to face him. “Can you try not to be mad at anyone in this car? The rest of the world, sure, but those in this truck are off limits. Got it?”

“Only for you.” He kissed the back of your hand again.

“Whipped,” Charles muttered.

“Have something to tell the class Professor?”

“Nothing.”

Your group fell into a calm silence for a few moments until one of the auto-semi-trucks moved too close to your truck.

“Motherfucking auto-trucks!” Logan exclaimed.

“Language, Logan,” scolded Charles. “And you’re screaming at a machine.”

“Oh, what? She can gut a man with her feet, she can’t hear a few naughty words, huh?”

“She can learn to be better.”

“You mean, better than me?”

“I’m sure that’s not—“

“Actually, yes,” Charles interrupted you.

You knew Charles wasn’t totally in his right mind, but you wished he could fully realize how much his words affected Logan.

“And, by the way,” continued Charles, “Laura’s foot claws are the obvious result of her gender, you know.”

“Is that a fact?” Logan asked.

“In a pride of lions, the female is both hunter and caregiver.”

“Good to know.”

“She uses her front claws for hunting and the back claws defensively.”

“Oh, yeah?” Logan’s sarcasm was clear.

“Thus, ensuring their survival.”

Laura watched this—and every— interaction with curiosity and caution. It was clear to her that her comics were right about somethings. One being that the Wolverine was tough and hostile, but had a soft side for those he cared about. Especially for you. Though the comics Nurse Gabriela had shown her did not do the love you two shared any justice, both the good and the bad. Laura could tell that Logan didn’t know how exactly to deal with Laura and who she was, but she could tell that the hostility was dying, though extreme slow. Laura knew that was thanks to you. As she continued to watch and listen, you looked back to check on her. You shot her a soft smile. Laura wanted to give you one in return, but she really didn’t know how, so she opted for a nod and to turn back to the window.

Just then, an auto-truck honked and began to move over to the lane that your truck was in without even waiting. Logan was forced to swerve quickly, driving into oncoming traffic. Laura held onto Charles trying to keep him steady while you gripped the handle near your door and the middle consul. Logan maneuvered through the oncoming traffic until there was a clearing and he could turn around, coming to a harsh stop. He looked around, noticing that everyone was clearly shaken up.

As the four of you tried to calm down, you watched as a truck pulling a horse trailer stopped across the road. The horse trailer had been knocked open in the incident, with the horses running out. A young man and his parents got out of the truck, rushing to get the horses off the road.

“We should help them,” Charles suggested.

“No, we have to keep going,” Logan retorted. “Someone will come along.”

“Someone has come along.”

Logan looked your way, wanting to know your thoughts.

“I think it would do us some good to help someone else right now,” you told him.

With a sigh, Logan drove the truck across the lanes of traffic and parked it in front of the other truck. Charles rolled down the window and closed his eyes as you and Logan exited the truck. You watched as the horses all came back over and lined up in the trailer. Logan looked back over at Charles with a angry look. You caught it, slipping your hand into Logan’s and giving it a light squeeze. Laura slipped out of the car and stood a bit behind you two.

“Hey, uh, you need a hand?” Logan asked.

“Yeah,” the woman replied. “Our truck is stuck. After we get the horses in, we could really use some help getting it out.”

Once the horses were in the trailer, the woman got into the driver’s seat and turned on the truck to help reverse it. Logan and her husband got in front to push it while the son was helping from the side. Once they were all set, they started moving the truck back.

“Ah, good,” the husband patted the front as soon as the truck had moved to a good spot, “got it. Come on, let’s get home.”

“Laura! Y/N!” Logan called. The two of you were standing near the trailer, Laura looking at the horses.

“Thank you so much for your help,” the woman said. “I’m Kathryn.” She reached out her hand.

Logan shook it. “James.”

“This is my son, Nate.”

“Hi,” Nate said.

“Hey,” Logan responded.

“Is that your wife and daughter?” Kathryn asked.

“Uh, yeah, thats, uh—“

“I’m Y/N,” you walked up to Kathryn, “his wife. That’s our daughter Laura.”

“Yeah, and that’s my dad, Chuck,” Logan pointed to Charles in the truck, who waved. “Come on, Laura, let’s go.”

“Well, can we show our appreciation and treat the four of you to a decent meal?” Kathryn wondered. “We don’t live far from here.”

“Uh, no, thanks.”

“That would be lovely!” Charles exclaimed.

You stifled a giggle at the look Logan shot Charles. You walked over to Logan and took his hand. “As long as we aren’t a bother,” you told Kathryn.

“Of course not,” she said. “Just follow us home.”

~~~

“I don’t like this,” Logan grumbled as the table was being set. “We need to keep moving.”

“Logan, it’s just one night,” you told him. “No one would suspect us to stop somewhere like this.”

“Still.”

“Everybody, have a seat,” Kathryn said.

“James, why don’t you sit at the end of the table?” Will, Kathryn’s husband, suggested.

Will sat on one end while Logan took the opposite seat. Kathryn and Nate took one of the longer sides, while Charles, Laura, and you took the other.

“You wanna say grace?” Kathryn asked. “Say grace, baby.”

“Uh, thank you, God, for this food,” Nate said, “and for our new friends, the Howletts.

“Mmm. They came to our aid. Amen.”

“Amen,” you joined in with the rest in saying it.

Everyone began eating. Logan noticed quickly that Laura was stuffing the food into her mouth using her hands. He reached over and handed her, her fork. The bowl of corn got passed to her and she quickly began scooping. Logan took the bowl away before she could take it all. You bit your lip as you noticed how the others were watching you all.

“Oh, there’s plenty more if she wants,” Kathryn offered.

“She’s fine,” Logan said. “Thank you.”

“This is delicious,” Charles said.

“Oh, thank you,” Kathryn responded.

“It’s so good.”

“Where are you all headed?” Will asked.

“Uh, Oregon,” Logan said at the same time that Charles said, “South Dakota.”

“Well, Oregon and then South Dakota,” Charles corrected.

“Vacation?” Kathryn wondered.

“Uh, yes. Uh, long overdue. We’re city folk. Always wanted to take a road trip, see the country. And meet the people in it.”

“Well that sounds lovely. Been trying to get Will here to take a vacation for years now.”

“If we go traipsing all over the country, who’s gonna take care of this place?” Will retorted.

“Exactly. I say, let it go.”

“And live off what?”

“The Lord will provide.”

“I”m still waiting for the Lord to provide me with a new thresher.”

“All the same, I’d love to travel someday.”

“And I bet, you will,” Charles told her.

“I could drop out of school,” Nate offered.

“Okay, let’s not go that far,” Kathryn said.

“I mean, I’ll do it.”

“No, no.”

“Why not? You wanna travel, I wanna travel.”

“Son, son.”

“That sounds good to you, right?” Will asked.

“It’s the perfect plan,” said Nate.

“Why oddly you want to do that, Nate?” Charles wondered.

“Careful,” Logan spoke up, “you’re speaking to a man who ran a school for a lot of years. Right, Charles?”

“Really?” Will asked.

“Yes, it was a… it was a special needs school,” Charles said.

You tried not laugh at his description.

“Uh-huh. That’s a good description,” Logan smirked.

“He was there, too,” Charles pointed at Logan. “In fact, these two both were.”

“Yeah, I got kicked out a few times.”

“Some of them were by choice,” you spoke up, teasing him.

“I wish I could say you were a good pupil, but the words would choke me,” Charles said.

Everyone laughed, including Logan.

“Not that Y/N was much better,” Charles added.

“Wait, what?” You questioned.

“When Y/N first arrived at the school, she hid and refused to participate. Took me years to get her to do anything.”

“Hey, woah. Not years. Maybe one.”

“Whatever.”

The laughter and chatter continued until everyone was full. Logan stood up.

“Ma’am, I can’t thank you enough for this,” he said. “Uh, it was great. But we have a long drive ahead of us, so—“

“But you need to rest, don’t you?” Kathryn questioned.

“Yeah, we’ll find a motel somewhere.”

“The nearest one is two hours from here and it’s not even that nice,” Will said.

“We have a perfectly fine room upstairs for your father and your daughter if you don’t mind you and your wife sleeping in the living room on the convertible,” Kathryn offered.

“Kathryn, it’s very, very nice of you, but we really should go.”

“We can leave early in the morning,” Charles said. “Break of dawn, as it were.”

Logan looked at you, hoping that you’d side with him. You weren’t going to though. It was nice to interact with others and seem normal for a while.

“Okay,” Logan sighed, “why don’t we wash up, Pop?”

Logan pushed Charles away to the bathroom.

“Would you two like some dessert?” Kathryn offered.

“If it’s not too much trouble,” you replied.

“Of course not.”

“You all have been really kind to my family. Thank you.”

The water coming from the sink suddenly cut in and out.

“Oh, shit!” Will exclaimed.

“What’s going on?” Logan asked, stepping out of the bathroom.

“Nate, go fill up the tub before we lose pressure.”

“They shut if off again,” Kathryn said.

“They are just not going to let this thing go.”

“Well, you might as well handle it now.”

“It can wait till the morning. We just had rain last night.”

“We got four houseguests and a sink full of dishes.”

“Alright, alright.” Will turned to talk to Logan. “The pump station that supplies us is a mile and a half from here. Sometimes it gets itself shut off.”

“By assholes,” Nate added.

“My son is happy to go with you,” Charles offered.

“No, no, no, that’s fine,” Will said as Logan gave Charles a look of unbelief. “The men that do this, sometimes they can be—“

“I can go,” Nate said.

“No,” Kathryn said, “you’ve got homework.”

“Alright, I’ll go,” Logan said. “Just, uh, let me get my dad settled.”

He walked over to Charles and picked him up. Your heart broke as you could hear the strain in Logan’s breathing. You took Laura’s hand and followed Logan and Charles up the stairs to the open bedroom. Laura saw Nate in his room and opted to follow him.

“Behave,” you whispered to her with a smile before letting her go.

You peeked into the room, watching Logan get Charles tucked in. He held up a remote.

“Want TV?” Logan asked. “There’s TV here.”

“I’m fine,” Charles breathed out.

“Okay. Get some rest.”

“You know, Logan… this is what life looks like. A home, people who love each other. Safe place. You should take a moment and feel it. It’s been too long since you’ve had that.”

“Yeah It’s great.” You stepped back as Logan came to the door.

“Logan. Logan! You still have time.”

“Charles, the world is not the same as it was. We’re taking a risk hanging around here, you know that. And where we’re going, Eden… it doesn’t exist. Her nurse got it from a comic book. You understand? It’s not real.”

“It is for Laura… It is for Laura.”

“Get some rest.”

Logan walked out of the room, completely shutting the door, to find you there.

“What are we doing, Logan?” You asked quietly. “If you don’t believe that Eden is real, then where are we taking Laura? What are your plans with her?”

Logan sighed, coming up to you and placing his hands on your arms. He ran his hands down until he could hold your hands. “I… I’m trying here.”

“Try harder… for Laura, for Charles… for me. You need to decide if you believe in it and if you’re willing to trust that Eden will be a safe place for your daughter.”

“Do you believe in it?”

“I hope it’s real. For her sake.”

“Then I’ll try a little harder, okay?” You nodded, leaning into Logan. His hands dropped yours to wrap you in a hug. “I won’t be long.”

“Be safe.”

The two of you met for a brief kiss. You walked Logan down the stairs and watched as he and Will headed out to the fields. You saw Kathryn in living room, reading the pull-out bed.

“Thank you, again,” you told her.

“Of course,” she replied. “It seems like you all have had a long journey and need some good rest.”

“Yeah,” you nodded.

“The bed’s all ready. Sleep well.”

Then Kathryn walked away. You crawled onto the bed and curled up, thinking of Logan. You heard footsteps just as you were about to fall asleep, the weight was familiar. Your back was facing towards the slow, on coming footsteps.

“Logan?” You whispered quietly, only to receive no verbal response.

A hand fell to your back, moving until it was above your beating heart.

“Logan, what are you—“

Quickly, the hand formed a fist and three metal claws entered your heart. The darkness came instantly.

~~~

When Logan and Will arrived back at the house, Logan went to the truck to try to calm down his coughing. A gunshot and screams had his head snapping in the direction of the house. Logan raced inside the best he could with his limp. Will was at the bottom of the stairs, claw marks through his chest. Logan looked up to see a copy of him—younger and less scarred—carrying a screaming and bound Laura down the stairs. Logan froze, only able to pant and stare as the copy of him walked past him, Laura still screaming.

“Charles!” Logan shouted up the stairs. “Y/N! Charles! Y/N!”

He used the railing to get him up the stairs faster. At the top of the stairs, he found Kathryn dead with Nate at the entrance of Charles’ room. He froze for a moment upon seeing Charles bloody and barely breathing in bed. Blood was running out of Charles’ mouth as he shakily reached for Logan.

When Logan finally broke out from his trance, he rushed over and used some of the bedding to pack Charles’ wound. He maneuvered Charles’ hands to be over the bedding.

“Hold this,” Logan whispered, fear coursing through his veins. “It wasn’t me. It wasn’t me.”

Logan picked Charles up carefully, still scanning the house for any sign of you. Charles let out a moan as he struggled to keep conscious.

“Just hold on, Charles,” Logan said.

Logan went out the side door and rushed Charles over to the truck, placing him in the bed.

“I’ll be back,” Logan promised, before going back inside. “Y/N! Y/N!”

Suddenly, his nose got whiff of a familiar scent. Your blood. He rushed for the living room, where the pull out bed was out. There was a large bloody stain on it, but no you. There was no sign of your fire or your smoke or your ashes. Logan’s heart hammered in his chest as he continued to find no sign of you in the house. Logan stammered out of the house to hear more screaming and gunshots. He saw his duplicate self killing the men who turned off the water. There was a military grade truck past his duplicate. Logan noticed Laura on the ground but when he his moved, his breath caught in his throat.

They had you in a glass box, like Snow White or a doll. There was blood on you and Logan could tell from where he was standing that you weren’t breathing.

“Charles!” Logan exclaimed quietly. He went back over and pressed on the wounds. “Hold this down, right now, tight!”

“Save them,” Charles whispered. “I’m… sorry…”

“What?”

“Go…” Then Charles heart stopped.

“No.”

Rage grew inside Logan. How dare they create a duplicate version of him and have him kill you and Charles? He had to get to you before they did anything. Suddenly, the military truck blew up, throwing the glass case you were in forward, crashing next to Laura. The glass broke. Logan needed to move fast. He knew that if you went up in flames and your ashes were separated, there would be no coming back for you. He wouldn’t be able to continue on the rest of his short life without you.

Logan snuck up on his duplicate as the duplicate marched towards you and Laura. With each grunt, he plunged his claws into the duplicate. But his copy made no move to fight back, just walking backwards with each hit. Logan plunged both sets of claws into the copy.

“What the hell are you?” He grunted.

The duplicate stabbed Logan in the shoulder and tossed him over to the ground. Logan shielded himself with his claws before the duplicate could do it again. Every muscle and bone was straining with Logan, but he couldn’t stop. Not when you weren’t safe. Logan jumped back up and continued fighting, but the duplicate was better, stronger. The copy kept making hits, causing Logan to yell out in pain.

Eventually, the duplicate had Logan pinned against a large tractor tire. Before it could make the final kill, Will’s truck rammed into the duplicate, pinning it against the fence. Will stumbled out of the truck with his gun, shooting into the duplicate multiple times. Once Will believed the duplicate to be dead, he turned his gun on Logan, but couldn’t do anything before he fell to the ground, dead.

Laura’s shrieking continued as she laid bound beside your dead body. Logan stumbled over to the two of you, bloody and bruised. He knew that you needed to get someplace safe, but he also knew that you would never forgive him for leaving Laura. He grabbed Laura and carried her over to the truck, placing her into the seat next to his before turning to get you.

As he knelt beside you to pick you up, the tears fell. The three punctures over your heart was enough to tell him that his copy had done this to you. He groaned as he picked you up and cradled you against him.

“It wasn’t me,” he whispered, like him saying that would wake you. “It wasn’t me.”

He carried you to the truck and slipped you into the back seat. Laura turned around and saw Charles dead in the bed of the trunk and you dead in the back seat. Her shrieking got worse as she fought against her bindings. Logan turned on the truck and sped off into the fields. Laura thrashed around, trying to free herself. With a shaky hand, Logan released his claws.

“Hold still,” he told her, moving the claws over to her cuffs. “Hold still.”

He cut through the bindings and quickly put away his claws, focusing on driving through the field. Laura crawled into the back seat and placed your head on her lap. Logan glanced at her through the rearview mirror, not missing the tear that slipped down her cheek.

next chapter >

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theglassesgirl · 5 hours ago

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The Vengeance Saga: What IS a Monster, how it’s presented, and when fictional S.A is integral to the plot.

So -

This was originally a response to @ / anniflamma which you can still find on my page unedited. But with the new discourse surrounding the suitors, I figured I could retool it as a standalone essay to express a topic I’ve been trying to pin down for a while now; What exactly does the mean when they call a character a monster? What do they do, do the reasons matter, and how does the subject of rape affect how the fandom consider some monsters more unforgivable than others? When IS rape in fiction “necessary” and why such questions defeat the purpose of exploratory creative works.

In this post we will discuss all the major antagonists of the Epic Musical, Penelope’s agency, the label of Monster and the types of moralizing one might do when faced with uncomfortable subjects in fiction and how to prevent these feelings from blinding is about what a story is trying to say.

For those who read my original response; there’s new content to read here and posts that will be referred to, if you’d like to give it another gander!

Thank you,

Let’s begin;

I think making the threat of rape explicit was very much needed, actually.

It’s come to my attention that there are people here and on tiktok who are so uncomfortable with the subject matter in this CENTURIES old tale that they’re both refusing to accept that it plays an important part in the original poem and musical, AND are bizarrely insisting that Jorge should have magically done away with it to make more palatable.

This is beyond juvenile - it’s a clear sign of media illiteracy.

What, if I may ask, do you think it means when you say that the suitors are going to force Penelope to choose one of them to marry.

You may respond that they want to take over Ithaca. That they want to be king. But take a moment to consider what forcing a woman to marry one of them will entail. I wonder if you think that one can divorce the idea of sexual violence in this plot.

It would be…unfathomably difficult to do so. Because you CANT. There is an implicit threat of Penelope’s will breaking and having to have unwilling and reluctant sex with any one of them in the event she just gave up and picked one.

This isn’t a storyline that depicts Penelope of being willing to marry any of the suitors. She is WAITING for her husband’s return. Even if he doesn’t, she doesn’t WANT to marry someone else. Her consent is being violated by the very merit of them being in her palace, eating her food, and threatening her son.

They’re doing ALL OF THIS in order to bend her will in the HOPES of raping her as a bonus to becoming king of Ithaca.

My contention is the use of “unnecessary” when it comes to this trope in media - though themes of rape can be uncomfortable, to call them unnecessary HAVE to meet certain criteria. Which this specific instance doesn’t.

By observing various responses, it’s clear that the threat of rape went completely over many’s head in this instance of the story. So I very must appreciate Jorge making it SO clear that it’s upsetting.

This part of the odyssey, and the musical, is very much about Penelope suffering under the threat of assault for YEARS. In the same way Odysseus was (a thing I touched upon in my calypso essay, in terms of his ambiguous situation in the musical) - it’s a parallel that works as both Antinous and Calypso were introduced (regardless on your personal interpretation of what Calypso did or did not do, but that’s neither here nor there).

It has taken an emotional and psychological toll of either spouse. And the kicker is that neither of them are freed of this situation on their own - they are both rescued by outside forces. Athena/Hermes helps free Odysseus; Athena/Odysseus will help free Penelope.

The looming threat of rape is SO necessary that it helps the catharsis factor we feel toward PENELOPE’s story - it’s nothing to do w Odysseus who by now is a force of nature as big as Poseidon, his actions happen TO her, and it’s up to her to decide (per “would you love me” ) what she feels about that. She can very well reject him! She’s suffered under male violence for YEARS. Odysseus’s violence and those of the suitors toward her are basis enough for the comparison.

Do all men, including her husband, become violent? Does she want to put up with that? We know from her song snippets that she is NOT a woman that simply succumbs to the Rape Rescue trope as suggested by ignorant consumers of media - and I call it ignorance and consumerism because there’s a clear lack of engaging with the material in an intuitive way. It’s just blind consumption - as if one bites into a burger and find a pickle, which you personally don’t like, and having it removed - you can’t treat ART that way .

Penelope is a very intuitive and emotionally intelligent queen. Stop infantilizing her. Her own husband suggests that like the suitors, his actions make him just as bad as they are and presents his hope as being understanding if she rejects him on those grounds. But those ARENT her grounds. She has full autonomy and can make a distinction FOR HERSELF whether she considers her husband equal to the monsters who have harmed her.

So let’s talk about the “Monster” label as it is presented on the entire musical.

Some have erroneously suggested that Odysseus has been given an out to commit cruel and ruthless deeds with out “good justification” - he does it for his family,, after all!

Which is a misunderstanding of everything every antagonist of each saga has done.

Let’s start with the Troy Saga: Odysseus has killed a BABY. He made the choice to put his family over this child. Everything he has done and lost would be for literally NOTHING if he hadn’t, as even if he had killed the suitors and regained everything - the GODS themselves would make sure that child would come to an aged Odysseus and slaughter him, Penelope, Telemachus and his entire kingdom when he came of age.

Odysseus STARTS as a monster. We have been rooting for the man who laid Troy and its children asunder. As such, the label of a monster is NOT so much a morally subjective label - it simply a thing that IS. Or rather. It is what ALL the antagonists ARE, but it’s hardly a condemnation of any of them.

(Peep that one of the first lines Ody says refers back to in the Vengeance Saga is what he did to Troy - he STILL views his actions over there as unforgivable, so not even HE will ever see himself otherwise, the problem was that he felt so guilty over it that he became a detriment (a different kind of monster) to his friends and family when they were all guilty of the same thing and trying to get home.)

ALL of the antagonists have a “good reason” to kill ALL the soldiers (who again, have looted and slaughtered the Trojans) Odysseus and his close friends included. Whether your AGREE is almost irrelevant…because the story itself proposes that it’s irrelevant.

The next saga introduces the cyclops: his motivation is primarily that his FRIENDS the sheep have been slaughtered. You can argue in the scope of things, you can’t empathize with this but it’s his good reason. He’s the son of a god, and these sheep are all he has. His friends, who matter to him as much as Polites does to Ody, are being taken and slain, he is being drugged, attacked and maimed. VERY much was Ody goes through in the final saga. And even so.

The Cyclops is antagonistic to the party, he’s a monster who feels justified killing to avenge his killed sheep. A monster is a thing he IS.

As Poseidon’s son, he asks his father to kill the 600 men who have ransacked his home and beat on him. He doesn’t view his father as being wrong for this. In the same ways Ody and Telemachus don’t waste any time addressing the slain suitors later on. Poseidon is a monster of a god - it’s just a thing he is. Not even being stabbed 100 times is enough to repay the harm he’s done - to most everyone, not just Ody, but we are not asked to quantify that. Just live with it.

Circe has killed NUMEROUS men over the years. HER “good reason” is that something bad happened to her nymphs when she let a stranger in her islands. She doesn’t even promise that she WONT kill in the future - her song ends w the suggestion that the world may continue to need her to puppeteer! Because she does not exist to be “redeemed” - she is somewhat more reasonable and capable of empathy than even the likes Athena, who being a greater and more powerful god, does not have the one on one affection to her follows as Circe does. She’s a monster! It’s a label, a thing she IS.

So here we begin to ask; is it LOVE that gives people the capacity to do monstrous things? Because the cyclops loved his sheep friends, Poseidon loves his son, Circe loves her nymphs.

And by now you’re saying now wait a minute didn’t the Underworld Saga go over this? Why yes it did! And Odysseus decides to “become the monster” - he already IS one by the standards of the cyclops, Poseidon, Troy - they all see him as a monstrous being. But he accepts that, after being one in Troy, he held back and ruined the lives of his men, making him a monster to THEM. His “good reason” for being so!

He attempts very hard to be the General he was in Troy and prioritize them going home, sparing no sympathy towards his enemies - but in the Thunder Saga we see the gods further push him to be completely self-serving like they are. The sun gods cows are harmed, he sends Zeus in relation - his “good reason” being his friend were personally harmed.

Odysseus’s “good reason” is ultimately decided to be the same good reason he had to slaughter the Trojans - to get back home to his wife and son.

Like with the Cyclops sheep, Circe’s nymphs, The Sun gods cows, and Poseidons son, WE are shocked and made to feel some type of way about Odyseuss’s reasoning. Surely HIS personal suffering shouldn’t cost the lives of “innocent” men…but it does! It surely does.

He is a monster. It’s just a thing he IS.

Now, Odysseus spends the next seven years under the thumb of ANOTHER monster. And through calypso own reasoning, despite her tragic backstory, her “good reason” she IS a monster. She’s incapable of understanding why she wasn’t reciprocated. Incapable of empathizing with a human because as a god who has spent eternity alone, it stands to reason she, like all the other monsters mentioned before, prioritizes HER personal suffering over everyone else’s. In some versions she either kills herself or does spend the rest of eternity alone. She’s a monster. This is a thing she IS.

Now what the HELL does all this have to do with the suitors?

Odysseus started the musical a MONSTER. He’s worn different hats, but it is what he IS. It’s a label, not a moral critique.

ALL of the antagonists of every saga have a “good reason” NONE of them are ruthless for ruthlessness sake! It’s immaterial whether you agree with them or not, but to understand them for what they are.

Odysseus is the antagonist of the ithica saga, md while the suitors are the antagonist to him and his family, we see their fate form THEIR POV

The suitors could not have been depicted as “rude youthful men” like Telemachus. That Odysseus killing them should be shocking - a frightening condemnation of everything he’s done and became. But I ask once again - in what world are the suitors not implicitly set up as monsters?

Because again. They aren’t being rude for rudeness’s sake! They aren’t JUST eating Penelope’s food and sleeping in HER house. Them threatening Telemachus, as you propose, isn’t “enough” of a reason because they didn’t wake up one day beefing w this boy. Everything they do is for the express purpose of sexual violence towards the Queen of Ithaca, who upon assaulting, will make it so any one of them will be King.

You can’t separate the one from the other. You get a nonsense scenario. The whole REASON they’re there in the first place.

Even if you create a fanfic where 108 men wake up one day and raid the palace to slaughter the royal family with no intent of sexually assaulting either (because remember Telemachus is also the subject of Hold Em Down) and then fight amongst themselves to be the next king, but then isn’t that STILL a “good reason” for Odysseus to slaughter them?

Now I hear what you may be asking: but if all the monsters of the sagas, Odysseus included, have a “good reason” even though we might not agree with it, what kind of monsters does that make the suitors? Surely and clearly THEY aren’t doing what they’re doing for noble reasons.

I consider them akin to the 600 men who died under their captains command.

Because, as stated before. Odysseus views his actions in a Troy as his start of monstrosity. He did all that to finish the war and do back home. He ruined the lives of all Trojans.

So did his soldiers.

The only moment in time (even in the deleted songs) that the bulk of them repent about the war is in terms that it left them without food.

But glasses! They were just following orders!

Which is what one of the suitors suggest in song 38. Their serpents head is dead, THEY were just going with Antinous’ flow, they are innocent.

Like the 600 soldiers, the 108 suitors sacked a home that wasn’t theirs and harmed a wife and child - does them being the queen and prince pale in comparison to the hundreds of wives and children slain in Troy? Homer is a genius to ask us to see these parallels for what it is.

The suitors ARE monsters. That is simply what all 108 of them are. In the context of the story itself, their intent is to break Penelope’s will, commit martial rape, and become king of Ithaca. They aren’t there for kicks, they aren’t ignorant boys, they’re socially accepted adults abusing the hospitality rule with an express purpose.

So a GROUP of monsters are slaughtered by ANOTHER monster, and though in this instance we can argue it’s morally justifiable, it doesn’t take away from Odysseus’s fear of being rejected by his family. He has ruined the lives of the Trojans, his men, AND multiple gods! To get to this point. He IS a monster. And the story asks US, through Penelope, if he is still worth loving.

Seeing Penelope as merely his reward is so backwards and bizarre. It’s very clear that bad faith interpretations of her are based on objectifying her erroneously, when the narrative presents her as a fully developed character.

In the story both in the poem and the musical that the suitors ARE NOT her guests. She is being sequestered against her will.

In what world could the suitors be “just” murderers and not….very clearly rapists? It’s BUILT into their motivation. You would have to change the very FOUNDATION of the Ithaca plot line and Penelope herself??? To say nothing of Telemachus’s role!

What’s the proposal here? That Penelope invited these suitors? That’s she’s actively looking for a replacement husband? Okay, again, that changes literally SO MUCH of the story, but wouldn’t that put Telemachus in a position where he too has to change? Does he resent his mother for doing this? Is he helping his dad out of spite or because he wants him back? How are we meant to view Penelope in this radically new and hip Epic the Musical? Is she savvy and in her right to choose a new boo? Okay…okay, so then….you want Odysseus to be the only one unchanged and go axe crazy because….hes jealous? He kills these upstanding men….curtain call. That’s all folks!

Absurdity at its finest. You throw Penelope’s agency out the window. Her weaving and unweaving her loom is meaningless or simply doesn’t happen. Or maybe it’s that she wakes up one day and goes hey yknow what I WILL consider marrying one of these guys with no sense of dread and fear. Oh wait Oddy has killed then all! Never mind me feeling unsafe a week ago, he’s done a Bad.

Crazy.

It’s just…not going to end up making Penelope look like a well written female character if Jorge has done what you wanted! THAT would make her a mindless prop. You seem to think she is one, and that’s not the case. Historically, in fact!

She is a whole person in the poem and musical whether you understand it or not. You would have to argue so thoroughly why she sucks and let me assure you - there are entire DISSERTATIONs on why you’d be incorrect.

So, no.

No, you CANT take away the rape in Penelope’s storyline. It matters ALOT. It’s the ROOT of the matter! Could old school vegetales make something up that’s more to your sensibilities? Maybe at its peak but god, I couldn’t possibly come up with a draft that could reflect that. I won’t even try.

The rape aspect of the Ithica Saga isn’t unnecessary - it’s INTEGRAL to the plot. It can make you uncomfortable, but it’s BUILT into the royal family’s suffering whether it’s explicit or not! And it SHOULD be explicit! Because you seem to think because it usually isn’t, that the rape aspect isn’t there!

I cannot imagine coming to this kind of conclusion.

They are not random men going on a siege of the palace one day - you cannot “sanitize” the SUITORS because by the very merit of them calling each other THE SUITORS there is an implicit threat of sexual violence. Because Penelope doesn’t WANT suitors. She rejects them. They’re already violating her consent.

How the FUCK to do you censor the rape when it’s in every action they take? And I know what you’re saying: but didn’t Jorge censor the rape aspect that both Circe and Calypso commit towards him?

Further reading: suggests that ALLUDING to it is not the same as censoring, that it still FITS the PURPOSE of these characters in regards to Odysseus’s suffering under them. That after ambiguity, it is NECESSARY to make the rape aspect CLEAR in order to create both catharsis and MEANING at the end of the narrative. The THEME is still respected and present, it is not REMOVED. Please consider reading the linked follow up that answers this question.

In short.

It’s truly a matter of using one’s goddamn head when it comes to view fictional depictions of rape as “necessary” - because though some depictions can be presented BADLY, to suggest they should not EXISTS lends itself to rape culture. It silences the voices of victims. Its representation denied. Don’t talk about it, don’t even suggest it, because rape is bad.

It’s an action that happens to people. It’s a crime in civilized society. It’s a physical and psychological trauma that has always been. It happens daily, in fact. Though epic the musical is a source of entertainment for you, it doesnt exist solely for that purpose.

When Homer included it within his original oral story, he did so as a storyteller trying to get his audience to philosophize, not simply have fun.

I think we’ve come to some abysmal conclusion that men can’t write about these topics when we have historical evidence of at least one man knowing what the hell he’s talking about. And Jorge has done a phenomenal job even when he hadn’t depicted blatantly.

If you’re uncomfortable to the point of not wanting to see it at all, that is entirely on you, art and creative works allow us to explore these topics safely. Whether it’s from the POV of the assailant or one of the victims commenting on it, fiction is one of the only places we can talk about it and learn about ourselves in a way it doesn’t harm real people.

I don’t even want to BEGIN discussing all the losers who are still harassing Antinous fans or people who genuinely enjoy his song despite/BECAUSE of the subject matter. Its purpose in the story matters more than you policing how it’s presented and how it’s consumed. No amount of people enjoying themselves will take away the foundational POINT of the character and song. It’s perfect the way it is.

Like with the chaos that calypso discourse wrought, you cannot control how people treat a NOT REAL CHARACTER or the songs they sing - if it bothers you that one type of fictional villian is treated one way or another, it is on you to find likeminded people instead of going into others faces and pretending to be a self-righteous prick. You can throw whatever buzzwords you want, the CONTEXT these characters live in has nothing to do with how others want to play with them. If you don’t understand the difference between the two instances, fandom is certainly not for you and will not be changed to suit your sensibilities.

To end this post, I want to thank those who further asked me questions and bounced ideas off with me, and wow, what a phenomenal ending to a grandiose musical. I hope I can see it live, animated, streamed, developed into a game etc whatever form it takes now that the concept albums are published

Thank you all for engaging w my work💖

#epic the musical #epic the vengeance saga #epic penelope #epic odysseus #epic antinous #epic telemachus #epic the ithaca saga #epic calypso

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lover-lyn · 2 days ago

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(EPIC ithaca saga spoilers)

In 'Odysseus' I love how brute he is. He didn't beat around the Bush, you wanted to do this and this. So I'll do this to you. He had absolutely not a single drop of mercy or pity for them. He shoots them up and cuts them down and feels absolutely no remorse. contrary to before, even after 'monster' he still felt guilty for the six men, the voices still haunted him. He hadn't moved on. Yes he was ready to make sacrifices but he also still felt bad about it, he'd still do it again but he'd also drown himself a little more.

The exact moment he truly loses all sort of guilt and remorse is 'six hundred strike'. Before that he still sung along to the tune he used to harmonise with the crew to. He still gave them a place in his song. He was still dragged down by their blood staining his hands.

But now? That blood weights nothing. He accepts the violence and animosity with open arms. Even when his dear friend's words are brought up, he doesn't hesitate. Doesn't falter. He keeps his mind on his goal and those words mean nothing now. Simply a memory of the past to maybe come back at night, maybe a soft whisper in the back of his mind he has learned to ignore and not care for. He doesn't even feel anything. In his eyes, the suitors deserved to die. So he killed them. That's all there is to it. Nothing more, nothing less. No regret, no satisfaction, no joy, no guilt. It must be done so he does it. Like with poseidon, he achieved his goal and left. No more. Unlike before where he contemplated his actions, now he doesn't have to because he's lost his moral compass.

There are only certain people he cares about anymore, and he did what he had to protect them. Even athena (bear in mind, I'm not saying he doesn't entirely care about her, but maybe she's fallen from the friend title in his eyes. I'll try to elaborate in the future) he explains what changed to her in as little words as possible and moves on.

Anyways I love odysseus's character development

#𝕜ꪖⅈ'ડ 𝕥ⅈ𝕣ꪖᦔꫀડ #epic the musical #epic: the musical #odysseus #ithaca saga #the ithaca saga #epic the ithaca saga #odysseus of ithaca

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kitts-mechanix · 3 hours ago

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Thank you for taking the time to write that! I'm not familiar with any of the continuities outside of G1 and TFOne but I'll try to follow along.

So for TFP, I do know that Starscream went rogue because he hated the Autobots but also Megatron. And the fact that the first thing Megatron did after coming back from the dead was beat up Starscream....I say this about every continuity but it's obvious that Starscream is his favourite punching bag. I can see why Megs gets frustrated with him, but it does NOT excuse him abusing Starscream. Although, to be totally fair here, it's not just Starscream. Megatron abuses the hell out of everyone (at least from what I've seen in G1). I mean, he's yelled at Soundwave for being a fool because his plan got foiled, and Soundwave has NEVER talked back to Megatron and is his most loyal comrade who does things without question or comment.

I've always wondered if Starscream would have a hard time actually trying to be a leader/function by himself considering Megatron basically controls everything, hence why he gets upset over Megatron's demise later on. It's complicated and I'd need to actually sit and watch the series to get a better idea but abusive relationships 100% screw you up like that. And I think the reason Starscream resorts to violence is because it makes him feel powerful. Because he always feels powerless under Megatron and he hates that feeling.

"And if people can be happy for redemption arc Meg, there's no Primus damned reason why anyone should be against a Starscream redemption."

THIS! And honestly, I think Starscream actually has a much better chance at being redeemed than Megatron, because regardless of what anyone else might say, I still say Megatron was much more evil than Starscream. And I'm dying on that hill!

I know Megatron got a redemption arc in IDW when he became an Autobot, and while I'd need to find and read the comic for context, it just felt....weird? like they were trying to appease the Meg fans who wanted a redemption arc for him? Granted, I know that all boiled down to Megatron hating what he had become, but still....

I heard Armada Starscream was probably the most complex and fleshed out version of the character in any continuity. I haven't watched Armada, but I heard that he used to be Megatron's most loyal warrior, then got betrayed by him and left for dead, and only turned on Megatron because he caught him admitting it.

"There's a lot of star getting beat up for shit that isn't his fault but told it is, and people constantly manipulating and gaslighting him and he questions his whole ass life but then even after leaving after a particularly wack incident....he expresses how he came to realize that nothing he ever did was ever enough."

Oh my gosh....THIS is what I'm talking about. Armada Starscream was dished out narcissistic abuse because Megs saw him as a scapegoat. No wonder the poor baby has a fractured psyche. And while I totally acknowledge that Starscream had it much, MUCH worse than me, as someone who's been gaslit and blamed for everything under the sun, I just get this!

Earthspark I haven't seen and I've honestly heard really mixed things about it. Starscream saying to Megatron, "Nowhere is safe if it's with YOU" is one of the most brutally honest lines I've heard. I haven't watched it, but there is a video on YT that breaks down Earthspark Starscream and talks about the PTSD symptoms he displays in the series. I hate that they made Star a villain for no good reason and threw away his trauma lore ugh. Give my baby a redemption arc already or something! And not a "bam bam he's okay now" make him work for it!

See, I still think Megatron is the more evil one who's done worse things than Starscream. I may be biased as a Starscream fangirl, but from what I've seen, 99.9% of the time Megatron (or another Decepticon) started it, and at least 50% of that time it was done to push Starscream's buttons and make him angry. Oh my gosh, I was about to mention that...."oOh bUt StArScReAm TrIeD tO kILl MeGaTrOn!" And look, I don't condone murder obviously, but considering Megatron has tried to kill Starscream before.....I understand why he snapped, like in that G1 episode where he blasted Megatron and, thinking he was dead, declared himself the new leader. Which then lead to him being thrown out of the Decepticons and enter the Combaticons, whom he treated like dirt. I have always wondered why Starscream allowed himself to follow Megatron (I assumed it was for power) but him having some form of respect for Megs is interesting....oh boy I need to do some deep diving on this.

But yes! Megatron's abuse likely created the part in Star that makes him lash out. And like I said I imagine he was always hot tempered (like Starscream, I get angry/irritated easily and I lash out. I'm not proud of it) but what Megatron did to him drove him over the edge. This behaviour was modelled to him, not just by Megs but by the other Decepticons. Also, they are in a war. Kill or be killed. Sympathy is dangerous and makes you weak. This is what's drilled into their brainboxes. And I imagine Starscream probably doesn't know/doesn't get the chance to let out his anger in a non-violent way.

"Star has done questionable things, and can be a jerk, but that doesn't mean it's his fault he endured what he did. It's only his fault for his /own/ actions of hurting someone else as a result. And that doesn't exempt someone from being able to become better and deserve better."

This! 👏He deserves another chance, he deserves happiness and a redemption. And if I have to write that for him myself, I'll damn well do it!

But really as someone who's dealt with some abuse like that, I just want to hug him and let him know he's loved 💔

I just had a huge realisation yesterday and I wanted to share this after going through some pretty horrible stuff over the weekend: Something I've always asked myself ever since getting into G1 Transformers was "why do you like Starscream so much even though he's a narcissistic bully? Why are you, someone who is a victim of narcissistic abuse, taking comfort in a narcissistic character?" Well, I think I finally figured it out. Because Starscream is also a victim of that very same abuse. I mean, he's beaten, called names, bullied, unappreciated, abused, and put through the wringer…and he internalised all that abuse because he knew no other way. He had no one to turn to, and the few bots who did support him, he treated like dirt. Once he had that freedom and power, he abused it and became the very thing that abused him. I have no doubt he was always self-centred, selfish, had a huge ego, etc. before all that but honestly? I think Megatron's abuse caused him to turn out the way he did. I could have turned out that way and it's a little scary, some of the parallels I'm drawing with him.

@ichbinmeltdown wrote a great analysis on Starscream that I want to share here:

"Megatron was abusive as hell to Starscream. He treated him horribly, and I legitimately almost cried a few times watching it. There's an episode called Starscream's Brigade that introduces the Combaticons, and I think that perfectly demonstrates the cycle of abuse. The entire world is against Starscream at pretty much every turn throughout the series, but none more so than Megatron. Every word out of his speech synthesizer to Starscream is to berate him, and he's constantly throwing him around, beating him, even ripping out his speech synthesizer in a scene from a previous episode (Hoist Goes Hollywood, IIRC). His own teammates don't like him, and even his brothers- Skywarp and Thundercracker, going off of the idea they're brothers- just... allow Megatron to abuse him. (Not to get into headcanons here, but I personally believe that Megatron's abuse fractured the Elite Trine's family dynamic. They are still brothers and love each other, but they're all too afraid of Megatron to really... stand up for each other as they did in the past.) And Starscream seemed to just snap in this episode. He treated the Combaticons poorly, and even when teaming up with Shockwave, he subjected him to a lot of the same ridicule and torment that Megatron put him through. He failed to realize Shockwave was the one of the only bots who would give him a chance- and unfortunately lashed out at him, which ruined his chances of Shockwave ever being a true friend and ally to him. Once Starscream had finally gotten a taste of power and not being under another bot's boot, he too became the very thing that he lived in fear of. And that really is how the cycle goes- when you're finally free from abuse, it can be tempting to overcompensate and take back all the power you were robbed of, at any cost whatsoever. Starscream, like D16 in Transformers One, snapped up this opportunity."

And the sad thing is, I've seen this in real life and I've internalised some of the abuse I've dealt with too. I'm not proud of it. Like the Seeker Trine, my own family dynamic has been fractured by similar abuse. I know there's traces of narcissism in my behaviour too, and I'm NOT proud of it. Maybe this is why I can forgive Starscream for being a narc, because I can see a little bit of my own personality/attitude/behaviour in him. Maybe it's because I know where it came from, I get why he acts that way and it's not just random and out of the blue. Maybe it's because--and I know this is a bold statement--I don't think he would do some of the stuff my own family did to me (blah blah blah he's a fictional character).

I didn't mean for this to turn into a long rant, so

TLDR: I finally figured out that part of the reason I love and relate to Starscream so much despite him internalising some of the abuse I went through, is because he was the victim of that same abuse.

#I didn't add this since this is my OC but #I have this medic OC who is paired with Starscream #and even though Arcane is like the ONE bot who cares for him and treats him well #he still doesn't treat her as well as he should #especially when she criticises his judgement #and he's totally confused and befuddled by her affection towards him #I mean she just....loves on him for no reason and he can't understand that #welcome to our gd ted talk #starscream #tfp starscream #tfe starscream #armada starscream #g1starscream #tf1 starscream #megatron #justice for starscream

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smile-files · 5 months ago

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something interesting i realized while on the vessel-making screen in the deltarune introduction is that it's physically impossible to make kris: there is no hair that perfectly matches theirs (none have the cowlick or the right jagged shape on the bottom), and there is no sweater that perfectly matches theirs (none have a single stripe). this is fascinating, as it perhaps suggest that, if we (the player) had a choice, we *wouldn't* make kris. they aren't something we want, or are even capable of wanting, rather something we're stuck with.

and i suppose the fact that they can't be *created* as a vessel is telling, because we didn't create kris -- they weren't made for us, they're not a player avatar. they're a pre-existing person we just happen to gain possession of.

we weren't made for each other; they don't want us, and we don't seem to want them either (if the inability to choose to create someone like them says anything); funny, then, that in a way we're "soulmates"...

(both pictures are from the deltarune wiki!)

#melonposting #deltarune #deltarune kris #kris dreemurr #deltarune analysis #deltarune theory #kris is such a fascinating person. i want to study them under a microscope #we make them do things they otherwise wouldn't: wonderful things. horrible things.#at the end of the day who will kris be if their actions have been almost entirely us?#what responsibility will they hold for the manipulation and violence we've made them perform?#or what connection will they truly have to the friends we've directed them to make and the good times we've forced them to have?#this is just a random kid at a hard point in their life suddenly directed by an omniscient god with an indecipherable moral compass #kris and the player meant nothing to each other before - but now we hold kris' fate in our hands. we mean everything to them in a sense #and now as we play this game and are compelled by its story - including the things we have kris do - does kris not hold our fate as well?#do they not mean everything to us? (they mean everything to me anyway)#god this game kills me a little bit. god i love it so much

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thepoisonroom · 9 months ago

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'I flirted with the idea that instead of being trans that I was just a cross-dresser (a quirk, I thought, that could be quietly folded into an otherwise average life) and that my dysphoria was sexual in nature, and sexual only. And if my feelings were only sexual, then, I wondered, perhaps I wasn’t actually trans.

I had read about a book called The Man Who Would Be Queen, by a Northwestern University professor who believed that transwomen who were attracted to women were really confused fetishists, they wanted to be women to satisfy an autogynephilia. And though I first read about this book in the context of its debunkment and disparagement, I thought about the electricity of slipping on those tights, zipping up those boots, and a stream of guilt followed. Maybe this professor was right, and maybe I was only a fetishist. Not trans, just a misguided boy.

About a year later, on the Internet, I come across a transwoman who added a unique message to the crowd refuting this professor. Oh, I wish I remember who this woman was, and I wish even more that I could do better than paraphrase her, but I remember her saying something like this: “Well, of course I feel sexy putting on women’s clothing and having a woman’s body. If you feel comfortable in your body for the first time, won’t that probably mean it’ll be the first time you feel comfortable, too, with delighting in your body as a sexual thing?”'

-Casey Plett, Consciousness

#this quote always moves me almost to tears when i remember it #i'm not a trans woman and i don't share the author's specific experiences with transition #but it really moves me that she frame transition as joyfully giving yourself permission to approach your body #not as something that has to be disciplined and deprived and made small in all these various ways #but as a means for experiencing pleasure and joy and delight and for insisting that our feelings and desires are worth #valuing and exploring and treasuring #i always used to think of prioritizing those things for myself as selfish and irresponsible #but who does it harm to want to experience pleasure in your own body?#it's such a beautifully simple and powerful switch to have flip in your head #and equally why are we forced to deny our own pleasure in transition and anything else related to our bodies in the name of moral rectitude #this is why i get so confused and pissed off when other trans people are fatphobic for example #like why are you so invested in politics of shame and disgust that never had any purpose other than #violently disciplining people as if they've violated moral codes by existing in a body #to say nothing of white people being racist in gay and trans communities #like again this system of violence is foundational to homophobia and transphobia #so why are you acting like it has nothing to do with you #even if you are unmoved by the urgency of other people's suffering which btw you should be moved by #what do you hope to gain by acting a collaborator and handmaiden to those systems #Casey Plett #she really is one of my favorite authors i wish more non-canadians read her #this quote is from a series of columns she did ont transition and every single one is a banger #i love when she talks about the people-pleasing elements of dysphoria and transition denial #she's so sharp about noting how many of us deny our own dysphoria on the grounds that others like and validate our bodies #that's how i always felt during my cis conventionally feminine era #it pleased other people so much and also that reception felt so hollow and joyless to me because i hated it #i get less of that positive feedback but that feels so unimportant next to the joy and pleasure i get to experience #said with the understanding that i'm very privileged in being able to prioritize those things without fear. but it was a switch flip #personal nonsense

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xxplastic-cubexx · 1 month ago

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Can we talk about how fcked up Charles can be sometimes? Can we talk about how Charles can sometimes be actually scary as a person? Like he can legit be nefarious sometimes, but those moments are not as talked about as Erik's warcrimes (aside from the holocaust visions from TAS)

girlfriend i promise we're all very aware about how wack charles xavier can be and i assure you his nefarious moments are talked plenty from what i run into. like outside of this inbox most times you breathe charles' name to someone they'll be prepared to start swinging

#snap chats #its kinda funny tho. like out of all the charas ive fave'd over the years its funny how charles incites the most violence #and i get it i aint sayin it unfounded !!! just funny alright i stand with my problematic wife and all his wrongdoings. sometimes.#six decades of writers and writing decisions will lead to a lot of Girl What decisions #like marvel ruins. where charles is president. sorry girls im bringing it up if we wanna talk bout Fucked Up Charles #i mean those issues arent really. good. not just cause its grotesquely dark I Can Enjoy Dark And Gruesome Themes #the art's also hauntingly beautiful to look at its sad it's attached to such a nothing series. theres no real story ..#like i doint MIND dark or morally-dubious charles im a fan of it even when its done right or interesting #but thats where marvel ruins fumbles It Doesnt Do Anything Interesting with a morally corrupt charles #it just goes 'yeah hes fucked up and does terrible things now' like ok and .......... wheres the rest of the sauce ...#a less Gruesomely Fucked decision comparatively charles did was plant a virus on david because he didnt trust him Not to fuck things up #he regrets it like five seconds later after he realized How Fucked Up That Was but still ... charles ... im going to chokeslam you...#back to the main topic tho. its very funny because charles be catching strays on xmen twitter too #and i mean The Sincerest Of Strays tho i guess if you try Any xmen topic can go back to charles #but the post'll be bout an entirely different bloke or lass and theyll be wishing ill will on cue ball like girl he aint even HERE #anyway. yeah charles' imperfections is what makes him really interesting. to me. thank you #now for my next post to be an awkward juxtaposition to this one unless someone ones to throw in an ask last minute #and i mean very last minute i think i have all the tags typed up ont he other one vjeLKEJA

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oddyseye · 2 days ago

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I see where you're coming from with the musical choices, and yeah, I can respect that the sound and structure of the saga are definitely strong. The vocals and the narrative arcs do tie together really well, I can give you that. But from a literary perspective, the issue is that what the characters are doing doesn't always hold up. Music can amplify the emotion, sure, but if the foundation isn't solid, it doesn't matter how great or symbolic the vocals are.

First, let’s talk about Athena and Odysseus. You’re saying it’s a ‘gentle reminder’? Sorry, but I can’t get on board with that. He brushed her off. She is laying her heart bare, and he actually cuts ties with her. The relationship that was so complex and crucial earlier just gets reduced to him rejecting her for the sake of a “monster arc.” It doesn’t track, and that’s a problem. This moment could have been so much richer, but instead it feels hollow and forced. She’s literally been absent from his life for ten years because of his disobedience, yet when he’s at his lowest, stranded, helpless, and begging for help, who does he call for? Athena. And what does she do? She defies Zeus and goes to bat for him. She risks everything for Odysseus, and when she finally does show up to help him and his son? He just blows her off. That doesn’t sit right with me.

The emotional depth of their relationship isn’t just about ‘him choosing revenge and violence,’ it’s about the history between them, and the rejection of her is such a disservice to everything they went through. She could have stayed away, she had every right to. But she didn’t. She’s been there for him despite his mistakes and disrespect, forgiven over ten thousand mistakes and now, at the pinnacle of his journey, she’s left vulnerable and questioning everything — and he rejects her. That feels like a betrayal of everything Athena has done for him. It’s one thing for him to grow darker, more monstrous, but to dismiss Athena in that moment just feels like an easy plot device rather than a meaningful emotional choice.

The whole idea of Odysseus ‘moving on from Athena’ because he’s now a ‘monster’ just doesn’t work — literally or thematically. This isn’t a natural progression of his character. This kind of rejection could have been poignant if there was a deeper exploration of Odysseus’ corruption, but instead, it’s treated like a cheap plot device. If Odysseus truly is a ‘monster’ now, his rejection of Athena should have been earned, showing us how far gone he is and how he’s lost everything that made him human.

Odysseus had this ideal: ‘‘If I become a monster, it’s to everyone but US.’’ That was the rule. This means that, as long as he’s ruthless, violent, and feared by the world, he’s still loyal to the people he cares about — back then his crew, and now his family. Think about how Poseidon’s a monster to everyone except his family, or how Circe’s seen as ‘‘insane’’ by everyone but her nymphs, or even Polyphemus, who kills without guilt to protect his sheep friends. They’re all monsters in the eyes of the world, but to their inner circles, they’re still the same. Now, if Odysseus really becomes this monster — if he truly embodies this brutal, ruthless version of himself — why on earth would he push Athena away? Athena is his circle. She’s not an ‘enemy’ or a ‘casualty’ of his monstrousness; she’s the exception. The idea that Odysseus would reject Athena after everything she’s done for him completely contradicts the logic of his own ideals. His monstrousness was never supposed to extend to the people who matter to him. Thunder Bringer was different because there was some heavy shit at stake. Here? There is literally nothing. His wife and son are home, they are safe. If he’s truly become a monster, then Athena should be the last person he pushes away.

It doesn’t matter how far Odysseus has fallen — his rejection of Athena doesn’t make sense, even within the monster arc. We know Odysseus hasn’t moved on from his humanity because, in the very scene after that, he’s asking Penelope if she’ll still love him once she knows the extent of what he’s done. That’s not the behavior of a monster who’s totally detached from their past or their relationships. That’s a man who’s still grappling with the consequences of his actions and desperately seeking validation from the one person who’s always had his back. It’s not like he’s acting irrationally. He knows exactly what he’s done, and he’s worried about the consequences. It’s that self-awareness that makes his rejection of Athena feel completely forced and out of place. He’s still searching for connection, still longing for understanding. So for him to reject Athena, who’s been the one constant presence in his life, just feels like a completely forced move. The scene doesn’t track with the rest of his journey. He hasn’t moved on from her, so why would he push her away in such a harsh, unnatural way?

Now, Telemachus? Oh, no, no, no, I definitely disagree with that one. Telemachus being docile isn’t some deep character development. It’s just lazy writing. I get that it's a retelling, and sure, characters can change, but when you strip away everything that made Telemachus a force to be reckoned with, you’re left with a shadow of the character that actually existed in the Odyssey. The kid who nearly strung Odysseus’ bow? Yeah, that kid would not be the one just standing around waiting for daddy to come in and save the day. Sorry, but that’s just not Telemachus.

If the idea is that Telemachus doesn’t need to copy Odysseus, then why in the world should it make sense for him to copy his younger self or even someone like Polites? I mean, come on, this whole ‘open arms’ approach is supposed to be this big moment of character growth, but we’ve got no reason for Telemachus to suddenly become this merciful, welcoming guy. From a literary perspective, it’s even worse because it completely ignores the fact that Telemachus is angry at the suitors. We know this. What happened in the story to make him do a 180? Absolutely nothing. And that’s where the story fails: Telemachus doesn’t need to copy Odysseus, but he sure as heck doesn’t need to copy some version of himself or another character that doesn’t even fit the narrative.

This whole thing could’ve actually made sense if we had the one character who could’ve shaped that decision for him: Peisistratus. In Epic, though? Peisistratus doesn’t even exist. That’s a huge missed opportunity. Peisistratus is the perfect person to guide Telemachus toward mercy. We see in the Odyssey how Peisistratus’s presence helps balance Telemachus’ youth with his sense of responsibility and honor. The two of them have a bond that could’ve very easily translated into Telemachus developing a more measured, merciful approach to his father’s enemies. They share something deeper than just friendship after all, though we could go into that conversation another time, I’m not about to open that can of worms right now. Without Peisistratus, though, Telemachus' decision to have 'open arms' feels completely disconnected from everything we know about him. He’s spent years watching the suitors destroy his home, and suddenly he’s the one calling for mercy? That doesn’t track. If Epic had kept Peisistratus, his quiet wisdom could’ve been the perfect foundation for that decision. Telemachus could’ve struggled with his own instincts to take vengeance and found the courage to adopt a different path because of the influence of his friend.

But no. In Epic, Peisistratus isn’t even around to be that grounding presence. Instead, we get a Telemachus who acts out of character, with no real justification. If they’d just kept Peisistratus in the story, it would’ve given Telemachus’ arc the depth it desperately needed and made his 'open arms' thing make sense. Instead, we get an empty, confusing decision that comes out of nowhere and leaves you scratching your head. If you actually take a look into their characters, that is.

So no, it’s not just about not copying Odysseus — it’s about the fact that Telemachus has no reason to be copying anyone. That kind of transformation needs to have substance, and without it, we’re left with a character who feels more like a plot device than an actual person. If Telemachus were to have a change of heart like that, it would need to be earned. Which it was absolutely not.

I get the whole musicality thing. Yes, I’ll give you that: the music is brilliant. It’s a whole different level of genius, and that’s clear. But we’re not talking about music here, are we? We’re talking about story, character arcs, and how the narrative holds up in its own right. The music is amazing, but it doesn’t get a free pass to paper over the fact that the story drops the ball in some key places. I can respect a musical for its execution, but if the writing falters in its foundational elements, I can’t just ignore that. This is all coming from a place of respect. Debate like this is important, and it’s how we really dig into stories and their meaning. But I’m going to be honest: I can’t agree with these takes. At all. It’s not about trying to tear anyone down; it’s about looking at the story critically. I respect other perspectives, but when the reasoning behind something doesn’t hold up, I’m going to call it out. There’s a difference between an intentional creative choice and one that just doesn’t make sense, and I think we crossed that line here. So, no shade, no hate — I just can’t agree.

Things I did NOT like in the Ithaca Saga.

Okay, it was fine, but there were just...choices... There’s just stuff in that section that had me rolling my eyes so hard I thought they’d get stuck.

First up: "Hold Them Down." I get that Epic is trying to make the suitors worse villains, but the way they went about it was disgusting. That song outright says the suitors were planning to force themselves on Penelope, which is not even remotely in the Odyssey. Yes, the suitors are terrible — they’re greedy, arrogant, would-be killers who exploit her hospitality — but this crosses a line that feels like shock value rather than staying true to the source material. They included that song, but erased Calypso’s actions toward Odysseus? In the Odyssey, she held him captive for years and forced him into a relationship. That is literally such an important part of the story. Yet, not only did Epic omit it, but they also banned people from even discussing it in their Discord server. How does that make sense? You can explore one kind of assault but not acknowledge the other, especially when the one they ignored was actually canon? The double standard is infuriating, and it completely undermines the narrative’s integrity. Yet somehow this suitor nonsense made the cut? Make it make sense, because I can’t. Next, Telemachus. Why did they do my boy so dirty? In the Odyssey, he was brave, capable, and growing into his own. He fought beside Odysseus, killed suitors, and even comes this close to stringing Odysseus’ old bow, which is supposed to be impossible for anyone but...well. Odysseus. That’s a huge moment! It shows how much he’s grown and how much of Odysseus’ strength and legacy he carries within him. But in Epic? They turned him into some weak, helpless little thing who can’t do anything without Odysseus. Like, hello? Telemachus isn’t just Odysseus’ son; he’s a fighter, a prince, and a man trying to defend his home. Stripping that away to make Odysseus look like more of a hero is just lazy and disrespectful to the original story. They took away his courage, his growth, and his ability to hold his own. It’s like they didn’t trust the audience to see Odysseus as a hero unless Telemachus was made to look useless by comparison. And then we get to Odysseus and Athena. What even was that? Yes, the idea that Odysseus has become a “monster” is a fascinating angle—he’s been through so much that revenge, violence, and survival have completely overtaken who he once was. But Ithaca does nothing to earn this shift, and it outright ignores the groundwork laid in earlier sagas. Two sagas ago, we saw Odysseus at his lowest. He was stranded on Calypso’s island, completely defeated, and begging Athena for help. Let me say that again: begging. And this wasn’t just any goddess he was calling out to — this was the mentor who had abandoned him as a student. She had walked away, and he still reached out, still trusted her to save him when no one else could. That moment showed Odysseus’ faith in Athena and their deep, complicated bond. Calypso.

And Athena? She didn’t just listen—she fought for him. She went up against Zeus himself to make sure Odysseus could leave that island. She defied the king of the gods because she believed in him. Odysseus doesn’t know that detail, but we do, and it makes her devotion to him so much more impactful. She risked everything to give him another chance at life, at home, at redemption.

Fast-forward to Ithaca, and what do we get? Athena shows up, vulnerable and introspective, questioning the path they’ve taken and the world they’ve built, and Odysseus just brushes her off. He doesn’t just say no — he dismisses her entirely. His response boils down to, “Not my problem. I’ve got a wife to see.” Excuse me, now? This is the same man who was crying out for her intervention just two sagas ago. The same man whose survival has always depended on his intelligence, resourcefulness, and the help of others — Athena most of all. Now he’s too proud to even engage with her? It doesn’t track. It’s inconsistent, and it cheapens their relationship. She’s opening her heart, showing her vulnerability, wondering if there’s still a way for them to fix what they’ve broken. She didn’t owe him anything, but she did it because she believed in him, because she had invested in him from the start. So for him to now completely disregard her — when she’s in front of him, showing empathy and pain — feels like a betrayal of everything that came before. Odysseus’ monster arc didn’t need to erase Athena. In fact, rejecting the one person who literally raised him, who fought for him, who saved him so many times, doesn’t even make sense for his character. That’s not the arc of a man who’s become a monster; that’s just cruelty for cruelty’s sake.

This is someone who has given everything to Odysseus, and in this moment, she’s realizing that the person she fought for is no longer the man she thought he was. And that’s what’s tragic.

But Ithaca doesn’t explore that. Instead, it uses Odysseus’ rejection as a cheap plot point, stripping away the emotional weight of his relationship with Athena. She was the woman who raised him, who guided him, who saved him — and they reduced her to a mere plot device to show how “monster-ified” Odysseus has become. It’s lazy, it’s cruel, and it completely disregards the depth of their bond. The pain in Athena’s voice, the heartbreak in her words, is completely wasted.

Odysseus doesn’t need to be a monster who rejects Athena to be a tragic figure. The tragedy would have been in him choosing revenge and violence at the cost of his humanity, not in cutting ties with the one person who raised him into the hero he became. Ithaca could’ve explored that, but instead, it gave us a shallow, hollow portrayal that didn’t respect the characters, their history, or the emotional weight of their relationship. Ithaca is a hot mess, and it’s honestly embarrassing. It had all this potential, and yet it chose to phone it in with lazy writing and shallow plot twists. It throws out big ideas and then does nothing with them, leaving us with empty, unearned moments that just fall flat. Instead of digging into anything meaningful, it relies on cheap drama to get a reaction. The story feels rushed, disconnected from the other sagas, and like the creators couldn’t be bothered to put in the work. They had an opportunity to make something impactful and then just decided to half-ass it. If you're looking for a mess of missed potential, Ithaca is your go-to. That being said, the songs are sick and I will sob again over the last song. Thank you.

#ithaca saga spoilers #epic the musical spoilers #the ithaca saga #analysis #epic the musical #odysseus #athena #telemachus

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