#i love a good music game

[pigeon-noises]

Falling Star (See you soon) I finished Nine Sols last week and I'm not over it yet

[muscariii]

Sorry no Morrowind art this weekend because I've been playing the MHWilds open beta and auggghh my brain is so focused on it. My PC almost died but I somehow managed to get it to look decent and ohhhh my god. It's sooo good. I can't wait for the full release.

Already got emotionally attached to the Seikret so I made a few drawings with it and also Nora because I love her.

Thinking intensely about the fact that she would definitely put its feathers in her hair so that they match...

[lovely-v]

echoes of wisdom is so cutesy in style so it's hilarious that in the intro sequence they're like okay the premise is if you don't learn how to jump on this table you're going to be executed for treason

[poorly-drawn-mdzs]

A new challenger approaches (slowly)

[First] Prev <–-> Next

[halebobgr]

Rise of P

[rin-sith]

I love. LOVE. Get In the Water

It's one of the objectively best songs in the musical; I will die on this hill.

Poseidon was always, despite being pretty much the main antagonist of EPIC, a really underdeveloped character in my opinion. He just needed a little more nuance, and the fact that one (+ kind of one more) song managed to add so much to his characterization pretty much exclusively through subtext and implications is incredibly impressive writing. Because it did!

At the start, he's yet again playing games with Odysseus, the way he did in Ruthlessness. In both songs, he could kill him easily at any point, yet he chooses not to for the sake of playing games. In Ruthlessness, this becomes his own hubris as it leads to Odysseus escaping.

If you listen closely, at the start of GITW he already sounds slightly different. He's still trying to keep up this "God of Ruthlessness" front that he's so proud of, but he's no longer more or less carefree the way he was in Ruthlessness. He's been obsessing over this feud for ten years, and even if he would never admit it, it's actually clear just from his voice that he really is tired of it too. Not in the sense of it emotionally draining him the way it probably does Odysseus, but in the sense that it's a bother, a loose end in his life, a book that he finally wants to slam shut.

But he still has a reputation to uphold, and he still cannot close this book until Odysseus is dead, so he keeps up the game. Instead of just killing him, he's taunting him to kill himself. He might associate the idea of just striking him down with a sort of loss, like then he'd have to get his hands dirty. Then he's rambling about killing his people, his family. He's provoking Odysseus on purpose, likely trying to get him to snap back, to hate and fear him the way that Poseidon would think any mortal who has consumed this much of his time should. In his eyes, Odysseus deserves nothing less than to curse him with his last breath as his "darkest moment," the god who became the bane of his life.

And Odysseus replies, of all things, with ... sympathy.

Honestly, I don't blame Poseidon for being speechless for three full seconds. He literally just threatened to gauge Telemachus' eyes out the way Odysseus did with Polyphemus, and this absolute madlad of a man replies with an acknowledgment that he (might have) caused Poseidon pain too.

Now, I don't really think Poseidon was particularly hurt over Polyphemus' loss, or hurting in any way in that moment (if he were, I highly doubt he'd still be playing games, and he would've mentioned his son as opposed to speaking about his reputation.) But just the fact that Odysseus acknowledges that he might be hurting too is probably something Poseidon hasn't heard in ... who knows how long? His family is the Olympians. I don't think I have to say more.

It's actually more of a genuine apology than Odysseus' explanation in Ruthlessness ... (even though that was also a perfectly fine apology by Greek standards, as far as I'm aware.) Now he doesn't say "sorry" because he's still not sorry for hurting Polyphemus, since he still needed to do that in order to escape. But he expresses regret over the pain he caused in a more genuine way than ever.

I am convinced that Poseidon is utterly unfamiliar with sympathy or mercy. He's lived by his "Ruthlessness is mercy" motto for centuries, and he doesn't know anything else. No one would try to teach him something different. The other gods all live by this logic, even if he's the most vocal about it considering he seems to have made it his whole personality. Mortals wouldn't dare to question Poseidon in the first place. And barely anyone would be willing to treat someone with kindness who is in turn treating everyone around them with ruthlessness.

It's very likely that Poseidon hasn't encountered anyone like this until Odysseus. Ruthlessness is simply how he treats people and also how he expects to be treated back. The fact that Odysseus doesn't, the fact that instead of hating, fearing, or cursing him, he acknowledges that they have both hurt each other and that it doesn't lead anywhere to still pursue vengeance, must have triggered Poseidon in an unprecedented way.

To him, this was probably the most outrageous thing Odysseus could have said in that moment. And it throws him off so much that he is genuinely speechless, and then simply replies, "I can't." ... his most genuine-sounding line in the whole musical.

I cannot stress enough how much it threw me off to hear this line; in the best way imaginable, it doesn't sound like Poseidon. It sounds almost vulnerable. Almost human. Because he is genuinely at a loss so much that he forgets to put up his "wrathful god" facade for just one second. Standing ovation to Steven Rodriguez for his whole performance, but especially this part.

And then Odysseus goes all out to say something even more outrageous: "Maybe you could learn to forgive?"

... Which is when Poseidon snaps.

Kind of understandable, honestly. There's this mortal whom he has likely fantasized about seeing pleading, hate-filled, and terrified, cowering before him for ten years now ... telling him that he ought to learn something. Even hijacking his own motif and his instrument in order to turn it on its head, "defile" it if you will.

This f*cking mortal pr*ck took his own "Ruthlessness is mercy upon ourselves" catchphrase and turned it into forgiveness ... Of course, Poseidon is no longer hesitating; of course, he is no longer concerned with getting his hands dirty or not. He yells "DIE!" and unleashes his ultimate move (which is really overkill for simply killing a mortal if you think about it) ... But he does it anyway because this time he genuinely means it.

... That, and I am also convinced he jumps to that in order to simply shut Odysseus up, fearing what he might do or think if he lets him go on. Because you cannot tell me that Odysseus didn't actually reach him for just one moment. He was far too thrown off guard, far too vulnerable in that one second. That moment of kindness did something to him, and he hated it. He also probably didn't trust himself to be able to keep listening to Odysseus speak like that. So, he abandons his (still very technically feasible!) blackmail/intimidation and just straight-up kills him.

This simple exchange (my favorite moment in the whole musical, actually) tells us so much about both of these characters that it makes me want to skitter and squeal in excitement.

Here is Odysseus—the very same one whom Poseidon specifically tried to teach ruthlessness—becoming the first person in a long time to offer him sympathy despite how Poseidon himself showed him nothing but ruthlessness. And then one song later, here is Odysseus showing him the consequences of not accepting said sympathy.

Six Hundred Strike and what Odysseus does to Poseidon would've not hit the same, in my opinion, if he hadn't made this offer, if he hadn't given Poseidon this way out, even if no one watching genuinely expected it to work (probably not even Odysseus himself.)

Six Hundred Strike is not Odysseus exacting vengeance If GITW proved anything about Odysseus, it's that he does not want vengeance. He wants all of the hatred and pain to be over, to the point where he is willing to let go of, and I am inclined to say forgive Poseidon for what he's done to him. Six Hundred Strike is simply Odysseus teaching him this lesson that Poseidon couldn't have learned in any other way, because he has proven in GITW that he genuinely does not speak any language besides that of ruthlessness (more on that in this essay!)

It's just the perfect representation of how Odysseus has now finally learned the balance between mercy and ruthlessness, which seems to be the core theme of the musical: Both have their time and place; one simply has to be willing to act in both ways and know when to use either. No one extreme is the solution. I am genuinely exhilarated that Odysseus finally seemed to have figured out that it's been both all along.

[sodapopper]

I enjoy a good Vietnam!Soda fic as much as the next angst-loving soul, and I will gobble up as many PTSD fics as you can throw at me. But with that in mind, I think they’re all wrong. 😂

I think Soda went to Vietnam fearless, bright and shining as the day he was born. None of this terror, or angst, shaking hands and teary eyes—I don’t think it ever really occurred to him that he might die. Soda, who never quite understood the seriousness of the world. Soda, who’d lost more loved ones in 16 years than some people do in a lifetime, but never lost his laughter. I think he read the draft notice and saw it as just another adventure—just another rumble, a thrill and a dance, a fight to one-up all his other buddies’ fights.

The day he left, he hugged his brothers tight. Slapped Darry on the shoulder, ruffled Pony’s hair, yelled “see ya soon!” before racing off across the airport tarmac. Duffel bag flung over his shoulder. Hair wild in the wind. Bright, beautiful, immortal.

He never fought in a single battle.

He died the day he landed, in the vehicle driving him to base, caught in a landmine the metal detectors should have found. He died with a joke on his lips. He died in seconds. That greaser boy from the East Side, who flunked in everything but mechanics and gym—doomed by the narrative, he never stood a chance.

But it’s alright. Because the real tragedy would have been if he lived.

Soda wasn’t meant to grow old, the way roses aren’t meant to live past summer. And he wasn’t meant to come home from a war that would have twisted him into something unrecognizable. Broken, a shell of his former glory, ruined beyond repair. A version of Soda that would never, ever be Soda again.

Death came before the war destroyed him. He never trembled in the trenches or slogged through jungle mud, never watched a buddy bleed out or saw his own bullet tear the soul from a body. He died before he knew what fear truly meant. He died young, still laughing, thinking about his brothers, believing in goodness, believing he would live forever.

Sodapop Curtis died golden.

[lavendarneverlands]

put 5 songs you listen to, post it, then send this ask to 10 of your favorite followers <333

Thank you so much lovely🫶🫶🫶

Oh goodness this is a hard question because I like way too many songs😂 though I am a huge Swiftie & since I’ve on my TOG binge have been listening to a lot of fan playlists so let’s let my history decide🤣 these have been in a heavy rotation:

“Who’s Afraid of Little Old Me?” by Taylor Swift

“Red Wine Supernova” by Chappell Roan

“Please Please Please” by Sabrina Carpenter

“Blonde” by Maisie Peters

“Can’t Catch Me Now” by Olivia Rodrigo

@impossibelle @iwantavaldezinator @idfendyr @shadowhunters77 @archerons-elain @cheap-spirits @maevecrom @endlessdaydream @somethingsomewhereanywhere @korepio

p.s. as always, no pressure tags :-) 💕

(Heads up for some tags: this is my main account, the side-blog ur probably used to seeing (as I’m more active) is @acourtofquestions I have a terrible habit of mixing up pages/conversations; so if ur going “who tagged me?” it’s just me lol)

[gabriestat]

gay people cannot break up normally it always has to be something like "it was me. i called the cops. but you're still in charge, benson" and get like four women and cops involved

[viillustrations]

I made a little ref sheet for Apollos markings because I draw them different everytime so hopefully this will help

[makeriia]

Fantober day 31!! A free day again.

Recently gotten into HADES, and I think about them a normal amount (lie)

[tunguszka20]

Okay so I was watching @anniflamma's God Games animatic (the Hera one) for probably the 100th time, and I paused at one point for whatever reason, and I noticed a little detail.

This is when Athena says "Never once has he cheated on his wife", and I see the cocky expression on her face, like she knows that she won with that... BUT if you look at her hand, you can see she's like... Squeezing her upper arm a little?

Now I know basically nothing about art or how you portray stuff so excuse me if I'm wrong somewhere, but I think this might be like... Athena being a little nervous or something? Maybe? I'm not sure, but I really wanted to share this little... discovery.

These animatics are So. Freaking. Good.

[botanicallyinclinednerd]

have you ever thought about how out of all the gods/powerful people Odysseus has met throughout epic, Circe is the only one who respected his no

This genuinely just stopped me in my tracks and caused me to stop breathing for about 5 seconds. No, Fluffy, I have not thought of this. What the fuck. Circe is also the only powerful being he met that encouraged the good in Odysseus

[helpmyinterestsareverywhere]

Got to see Sonic 3 yesterday & basically:

Safe to say ✨️I✨️ enjoyed it

[itspileofgoodthings]

opinion: I think tortured poets department is great top to bottom, standard album and the anthology, I think the “this needs editing!” take has been wildly overstated if not completely untrue (I think it’s completely untrue), I agree with Harvard professor and literary critic Stephanie Burt that it’s got three complex interwoven storylines happening at the same time—loss of a long time love, loss of the chaotic and ultimately darkly empty rebound, and Taylor grappling with the hollowness of fame and ultimately her own mortality in the wake of both. It has everything you could want from a Taylor album and more INCLUDING the bangers many want to pretend aren’t there; it’s just that the public has never been more out of tune with her. They want to believe that it’s a bad album because they wanted a bad album from her. They truly felt it was her “time” to have a bad album and there is not a thing the public loves more than when they feel it is time for something. she is an artist who is pretty much always capable of capturing the zeitgeist but also of necessity moves in and out of it because she has her own real artistic journeys to go on and those will not always align with the cultural moment. and what is more, I think a Taylor album has never aligned with the cultural moment less, a testament to the album not a knock on it as the current cultural moment is a love of the empty-headed, the rat-brained, the sparklingly numbing emptiness. the public, someone, anyone not being in the mood for something doesn’t make it bad it means they are not in the mood for it and they’re not in the mood. but none of that changes the fact that the work is good all the way through nor the fact that time will bear that truth out. in this essay I will

[suddenly-stickmin]

"Woah, it's really coming down." ___________

It's been raining a lot here lately, the clouds turn to this really nice sea-green color, so I wanted to make something inspired off of that! The music used here is "Learning Spy". I was listening to it while coloring n thought it suited the rain-vibes nicely.