#if it does happen call me tiresias because i will be both a prophet and deceased

[sillystappen]

Wouldn’t it be really funny if Maxiel teammates were announced at Baku… haha jk unless 👀

[fresh-prince-of-denmark]

New Dawn Fades — Literary References Analysis Part 4: The Id, the Ego, the Superego

Cyberpunk Spoiler Warning 

Here’s part four of me going through all the endings and looking for the literary references in each of the endings, which I believe allude to what happens to V/Johnny, possibly in future DLC. If you haven’t read my other posts, you should read them here (Johnny’s Mikoshi poem, V’s Mikoshi Poem, The Star ending) first since we’re gonna loop back to them later.

New Dawn Fades was such a pain in the ass; because Johnny is such an art hoe, I found three different poems/stories scattered around. Not only that, but two of them are translated from Polish, and one of them us from Ovid’s The Metamorphoses. I studied English literature so…forgive me if this is super surface-level. Also, stuff gets lost in translation, so the original meaning sometimes gets lost. If Polish literature is anyones niche, please teach me a thing two, but all I can do now is my best! But from what I could tell, damn…paints a pretty depressing picture. Let’s start with the two Polish writers first:

Bolesław Leśmian, "Why so many candles...”

Why so many candles, these faces above me?

No more harm shall ever meet my body.

Everyone is standing - while here alone I lie -

Grieving, feigning. One must be true when one must die.

And so, buried under these wreathes of leaves, I lie -

Solemnly - Agelessly - Solitarily.

Death, gone silent, once again rushes to my head,

Though by now I know all my comprehension is dead.

How I loathe to become accustomed to this grave,

To be what I once was - that is all I crave.

This one is…yikes. Depressing. As I talked about in previous posts, V’s poem is more pessimistic: nothing we do matters, we’re all just dust in the wind, you know, the good stuff. Johnny’s poem has a very different stance; art makes us immortal, and we can change the world, etc. With this…Johnny seems to have given his larger-than-life attitude up in favor of V’s resignation that life sucks. Much like Prufrock in V’s poem, Johnny is lying “Solemnly - Agelessly - Solitarily.” Almost as if he didn’t want V’s body, not as a selfless gesture…but because he has grown accustom to his previous form. In Johnny’s version of Alt’s poem, it almost seems as if he embraces being a construct — the form of immortality it, and his legacy, grants him (remember all that hokey about being a golden bird to sing his message to the youth?). Blackwall was a kind of death Johnny knew — yet now:

“How I loathe to become accustomed to this grave,

To be what I once was - that is all I crave.”

Interesting. We never find out where Johnny is going when he leaves Night City, but it makes me wonder. Is he truly starting anew? Or hoping to fix what went wrong?

In the next room, we find another poem, this one an excerpt from Labyrinth by Wisława Szymborska:

So this way or that,

Or no, the other,

By ear or by your gut,

By your wits or by shortcut,

By any means necessary,

Cutting crooked corners.

Past whatever row in a row

Of corridors and gates,

Quickly, in the meantime

Your time grows short,

From one place to another

To one of many still open,

Of darkness and plight

But also delight, held just ajar,

Where there's joy, though sorrow

Lies well-nigh nearby,

And elsewhere, somewhere,

Wheresoever and whereabout,

Fortune in misfortune

Like a parenthetical parenthesis

Acceptance of it all

And suddenly - a fall

I’m a little shaky on the meaning behind this one. My immediate response is to compare it to the poem found in The Star — which contains a piece from The Marriage Between Heaven and Hell by William Blake. The overarching use of this poem, by my interpretation, is an explanation for what the Blackwall is: hell. But not hell how most would perceive it. In fact, according to Blake, hell isn’t so bad. Our views of heaven and hell, good and evil, are wrong. Everyone contains both good and bad within them, and neither is wrong, simply two opposites; between conformity and rebellion, art and obedience. If we were to look at it this way, V would most likely belong in “Heaven,” the world of the obedient, those who play by the worlds rules (at least, in the beginning of the story, before Johnny influences them toward the rebel path), while Johnny represents “Evil,” and would belong to Hell. In some dialogue choices, Johnny will even state that he no longer believes he is a human, and is in fact code, no longer belonging in the world of the living. In this scenario, both have found themselves where they don’t belong. Not only that — but one is supposed to be a healthy mix of so-called “Good” and “Evil.” The “Soul,” and “Body,” are one, not meant to be separated. Uh oh. The tone of this poem in Johnny’s context just seems so…lost, to me. Someone who found their other half, their perfect foil, a soul and body as one…and now it’s gone. What does one do after such a loss?

And finally, the most grim of the three stories: Ovid’s The Metamorphoses. Specifically, Book III, Narcissus and Echo. This one most likely has the greatest significance; not only is it a shard you can pick up, but an open copy of the book can be found in Johnny’s hotel room, drawing further attention to it. 

If you haven’t read it, let me give you a quick and dirty summary:

At the beginning of the story, Narcissus’ mother, Liriope, asks the prophet Tiresias if her son will live to see old age, which he replies “only if he does not know himself.” One day when Narcissus is 16, he is out hunting when he finds a mountain Nymph named Echo. Echo, as one might guess, was cursed by Hera and can only repeat what is said back to her. You know. Like an echo. Echo falls in love with Narcissus at first sight and follows him throughout the forest, waiting for him to speak so she can communicate with him. Narcissus eventually gets separated from his hunting group, and calls out for them, which Echo…well, echos. Eventually Echo reveals herself and Narcissus freaks out, telling her basically he’d rather die than be with her. She hides in a cave and pines until she whithers away from hunger, and only her voice remains.

Many other nymphs fall for Narcissus because apparently he’s a straight up snack, but he rejects all of them. Apparently someone gets so salty about it, they summon the Goddess of Vengeance to do something about it. She leads him to a crystal clear pool, in which he is able to see his reflection. Remember the thing about knowing oneself? Yeah…At first, Narcissus thinks the reflection is a different person and falls in love. He smiles, the reflection smiles, so it must like him back, right? Eventually he reaches to touch it, and realizes that it’s him. He freaks out, and much like Echo, stays by his reflections side until he withers away. Having a total meltdown, he cries out “Alas!” which is echoed, by well, Echo. Her voice lived on, and she watches him die as he calls “Farewell, dear boy. Beloved in vain.” Once again, Echo repeats this. Narcissus dies and all the thirsty hoes make a pyre to burn him, but when they go looking for him they find the Narcissus (flower) instead (nooo...dont transform into a flower, you’re so sexy ahaha). 

So what does this mean for Johnny/V? Well, two main things pop out to me: transformation, and reflections. Much like Echo and Narcissus are reflections of each other, V and Johnny reflect each other. As @ellitira pointed out in my analysis of the Star, V and Johnny constantly reflect each other. One of the most obvious ways is their literal reflection; if you look in a mirror during a relic malfunction, you’ll see Johnny, not V. But scenes are reflected as well; the first and last time V meets Johnny, they grab him by the shoulder from behind to get his attention as he turn to face them. The first time Johnny and V have a civil conversation, they’re sitting at a table in Tom’s Diner, Johnny’s foot on the table. This mimics their conversation in Mikoshi with Alt. Their conversation about taking a bullet for one another in the Pista Sofia where Johnny is sitting backwards on a chair while V is on the ground is also repeated moments later, as Johnny and V have their final conversation about who will stay and who will go with Alt. Johnny also mentions that he spent his first few weeks in NC laying in bed, staring at the ceiling fan. When he awakens in New Dawn Fades, what is he doing? Staring at the ceiling fan…in Pacifica, not far from the Pista Sofia. The boy who he gives the guitar to is even wearing V’s “favorite shirt”…the one we see them wearing in the first scene they’re introduced. There’s probably loads more, so feel free to share if you find any more. If you want to know more about why this is significant, make sure to read about V’s version of Alt’s poem. 

So why do these reflections/echos matter? Well, what does one do with a reflection? Reflect. Johnny begins to examine himself through V, and he begins to realize he doesn’t like what he sees. If V calls him the man who saved her life, he’ll respond with “you have no idea how badly I want that to be true.” He tries his best to right his wrong only after this conversation with V, not only in Burning Love and Chippin’ In, but in other ways too. For example, it’s Johnny’s idea to call V’s loved ones to say goodbye on the roof scene, because “he wished that he had had a chance to.” Because of V, he grows, changes, and becomes a better person, just as much if not more as he seems to change V. As he leaves V’s grave, he even states that he has changed; that he’s wiser now, and won’t make the same mistakes. He states he won’t dwell on what happened, but somehow I doubt that, considering everything above.

The other theme of Narcissus and Echo is of transformation; after all, metamorphosis actually means "to change or transform.” Echo becomes, well, and echo, and Narcissus becomes a flower. V and Johnny also transform; not only physically between engram and human, but they transform one another. Both of them fall in love, and neither will move on. Echo falls in love with Narcissus, and Narcissus falls in love with his reflection. Because they refuse to transform the way they feel, they must die and transform physically. So who represents who in this scenario? In a way, Johnny is both. Johnny is a bit, well, narcissistic. He’s self-absorbed in his flashbacks, and adored by countless fans, yet ignores them in favor of his own company. He thinks everything is about him (Alt’s death, Samurai, etc.)  and is willing to die for his beliefs. He is also constantly reflecting on himself through V. However, what really kills him is losing Alt; she tells him not to follow her (much like Narcissus tells Echo to leave him alone). He does anyway, and avenging her leads to his demise.

What’s especially sad about this is the way Johnny views transformation; he is very concerned with the idea of one’s individual identity, and hates the idea of turning into something you’re not. He despises that he’s going to turn V into himself by force. He hates dolls because he sees their behavior chip as something that changes them into something they’re not. He’s scared of V going to Blackwall not because it’s death, but because they “won’t be the same.” I don’t think Johnny ever wanted V’s body; again, not as a courtesy, but because it’s not him. After all, he could have just let nature take its course and let himself re-write their psyche, but instead he actively tries to save them as best he can. If V chooses to let him have their body, he hardly seems happy about it; especially compared to how happy he seems to see that part of him will live on in the way V refuses to give up should they choose to live on. By taking V’s body, he is no longer himself; rebel, rocker-boy, legend, and the guy who promised to save V’s life. Johnny in A New Dawn has lost his entire sense of self, his entire new and improved identity; one that learned from his mistakes and became a better person because of V. Johnny has The Tower tattooed on his arm, the card of (often painful) transformation and change. Yet this is what Johnny is most afraid of; not death, or even the not-so-bad sort-of hell that is Blackwall. He’s afraid of losing himself, and by losing V, he has lost a part of himself. The part of himself that was supposed to be a better person; who was supposed to save V’s life.

[hamabi15]

Oedipus The King In A Nutshell

So we've been reading Oedipus the King in English class and I do not lie when I say that so far I've found the story interesting, not to mention that the plot is intriguing and has the audience on their edge of their seats as the people of Thebes begin to discover the true nature of their beloved king, Oedipus. Upon reading the story, however, the highly (and sometimes dangerous) creative part of me blinked on like a lightbulb. And then I read another work that violently shoved me into writing this. Now, if you're looking for a serious interpretation of the story, then this is not for you (I got you there, didn't I--). If you just came across this by some sheer chance, then prepare to suffer the product of my currently sleep-deprived brain cells. Last but not least, nope, I do not own Oedipus the King (otherwise I would not even be here today and I would instead become ol' Sophocles), yes, I really should have a better control of my sleeping schedule and why am I even telling you this-- I have dedicated this full chapter to the notes, so flip onto the next for the full work. Enjoy! First written on paper, 12:03 am, 7th of May 2021 to be exact. I’m sorry. [A procession of priests and citizens come onstage. Doors burst open and out comes the King of Thebes, Oedipus.] Oedipus: Hello! It is I, the best king on Earth, Oedipus! My city is dying, but I’m such a heroic and generous person that I’ll do everything in my power to save it! You, old man-- Priest: I’m thirty seven-- Oedipus:-- speak up! Why are you all so gloomy? Why is there smoke and incense in the sky instead of those headless and limbless sheep we know as clouds? Speak up! Priest: The plague is killing Thebes, m’lord. Oedipus: [a pause] Do not fear! I have sent my brother in law, Creon, in an act of modesty to ask the Oracle for help! Priest: [throws arms up] Hurray! Chorus: [imitates Priest] Hurray! [Come Creon onstage] Creon: In order to get rid of the plague, we must find and either kill or banish Laius’ murderer... Oedipus: That sounds simple enough! Creon:... on which we have no clues. [a long silence] Oedipus: Why didn’t you avenge him earlier??? Creon: Remember the sphinx? Oedipus: Well, of course-- Creon: Yeah. Oedipus: Doesn’t matter, I shall deal with this right this instant! Chorus: There’s death everywhere! Woman: [crying] My husband is dead Man: What are you talking about? I’m not-- Woman: [cries harder] Chorus: Oh, the death! Gods be merciful on Thebes! Oedipus: [lifts arms for dramatism] I put a curse on whoever killed Laius! I also banish him from Thebes! [in a quieter voice] Oh, and Creon, you sent for Tiresisas, right? [Tiresias hobbles onstage] Tiresias: Who dares awaken me from my afternoon nap? Oedipus: I kindly and respectfully ask you to speak. Tiresisas: never! Oedipus: I will kindly and respectfully have you killed. Tiresias: Oh dear, well, look at that, you have forced it out of me. You killed Laius! [a silence] Oedipus: How dare you accuse me of such an atrocity??? I bet Creon told you to say that! Of course he did! [stomps off stage] Tiresias: Also, you live in the darkness of your marriage! Oedipus: [comes back onstage] you’re playing with fire old man-- [people in the Chorus usher Tiresias away as Oedipus goes back off stage] [Creon walks back on stage. Pauses by the throne. Glances around, sits on it.] Creon: Oh, woah, this is comfortable. Oedipus: [suddenly comes onstage] I knew it! You’ve been plotting against me! Creon: [jumps up] Wh-what are you talking about? Oedipus: You’ve been plotting against me! You want to be king! Creon: What ? But I don’t want to be King! Everybody already loves me and I get all the money and fame! Why would I want to have the responsibilities of the crown?! Oedipus: Liar. I will banish you! Creon: You cannot! Oedipus: Yeah, you’re right. I will have you killed for treason! [Jocasta comes on stage with an annoyed expression] Jocasta: Now, what did I tell you both about arguing? Creon: He wants me dead, sister-- Oedipus: For treason-- Jocasta: Boys-- [Creon and Oedipus continue to argue loudly. Jocasta turns to the chorus with an apologetic shrug, then stands between the two and spreads out her arms to keep them apart.] Jocasta: Oedipus, please believe him! Why would my brother want to overthrow you? Chorus: Listen to the Queen, o noble overlord! Oedipus: [stammers angrily for a few moments] Fine. Out, Creon, and out of my sight! [Creon exists stage, muttering under his breath] Jocasta: What happened here??? Oedipus: He had Tiresias tell me that I killed Laius! Jocasta: Do you actually have proof of that? Oedipus: well, no, but--J ocasta: Ohhh, the prophet. Well, get rid of your fear, dear; Laius and I, we once got a prophecy, that our son would kill his father and marry his mother. So we left him in a mountain, to die. And then Laius was killed by robbers, according to the shepherd who saw it, at a place where three highways meet. Oedipus: Wait a second. Highways? Jocasta: That’s right .Oedipus: Oh man. Flashback-- Oedipus: Old man, outta my way! Old Man: No. Oedipus: So you’ve chosen death-- End of flashback-- Oedipus: Jocasta, I think I could have killed Laius. I used to live in Corinth before, until a drunk man at a party told me that my parents were not my parents. It was stupid, but I went to the Oracle and I was told that I would kill my father and marry my mother. And so I bravely ran away.

Jocasta: [visible fear] I will, um, send for the shepherd now--

[Messenger comes onstage]

Messenger: I have both good and bad news for the King! [Turns to Oedipus] Your father, King Polybus, is dead, and the people of Corinth want to make you their king! Oedipus: What? Yes! I mean. Oh, what grievous news. I did not kill him, or perhaps the sadness of having been parted from me killed him. Jocasta: [relieved] See?! I told you prophecies shouldn’t be feared! Oedipus: I’m not going back to Corinth, though. My mother is still alive. I might accidentally marry her without realizing it… Messenger: But Merope is not your mother.

[A shocked pause]

Oedipus:... what? Messenger: A shepherd of Laius gave you to me, years ago. Your feet were tied and you were found in a mountain. Also, could you get me a cup of wine…?

Oedipus: Of course, my good man.[louder, to Chorus] Call forth the shepherd!

Jocasta: Wait--

Chorus: You already did! And, conveniently, it is the same shepherd who witnessed the death of Laius.

Oedipus: Well, isn’t that strange. [pause] Jocasta, are you--

Jocasta: [shrieks, runs off stage]

Chorus: That was strange.

[The shepherd comes onstage]

Shepherd: sorry, I suffer long-term memory loss, I can’t remember anything.

Messenger: You gave me a child, years ago.

Shepherd: No I didn’t.

Messenger:Yes you did.

Shepherd: Well, I don’t remember that--

Oedipus: Speak before I have you tormented!

Shepherd: Wait, wait, I remember now! Your wife, the Queen, she gave me an infant to kill, because of some prophecy--

Oedipus: No! It was me! I killed Laius! And I married my mother! The prophecy came true after all! [runs off stage]

Chorus: Oh dear.

[Enter a messenger from the palace]

Messenger 2: The Queen is dead!

Oedipus: [comes back onstage] And I have blinded myself!

Chorus: Oh dear.

Oedipus: Creon, you’ll be King now. You’ll banish me, too, and take care of my two girls for me. Wait, is he even here?

Creon: [steps from the Chorus] Yes. Sweet. Look, here are your two daughters.

Oedipus: I cannot see them. Oh, I can hear them now, Ismene and Antigone. My beloved, sweet children…

Creon: Now off you go, into banishment. 

[Exit all but the Chorus. A silence.]

Man in the chorus:...I guess the truth really does stab your eyes out sometimes.

[Curtains close, but the audience does not clap and instead just look plain confused.]

[octaviadblake]

Ὀδύσσεια + τό ἑκᾰτόν

OR The Odyssey + The 100, an in-depth look at parallels to Homeric canon in season 6, and how the themes and motifs present on Sanctum mirror Odysseus’s 10-year journey back to Ithaca.

DISCLAIMER: I was a Russian Lit major, not a Classics major, so I’m not an expert on this. I did study Ancient Greek and Ancient Greek Drama for 6 and 2 semesters in college, respectively, though, but my expertise is more on The Iliad than The Odyssey so just...cut me some slack lol

If you’re not down for this 2.7k word mini-dissertation, here’s your chance to turn back.

So for those of you who don’t know me, I’m a major Classics nerd. I studied The Iliad in the original in college (and yes, I will be writing a series of metas about how s1-5 are The Iliad so keep an eye out for that), but The Odyssey remains, arguably, Homer’s most prolific epic. I’ve never parsed the text in the original, so I’m not going to be doing any sort of text-to-quote analysis because I think using a translation would be a disservice to the text (major Classics nerd. cannot stress this enough.), but I’m gonna be doing a rundown of all the major stops on Odysseus’s journey and how The 100 has mimicked each and every one of those stops in season 6 thus far.

Still reading? Cool, let’s do this thing.

Some of you may have already read my theory on the anomaly and how I think what lies inside is something like the Island of the Lotus Eaters. If you haven’t read it, you can check it out here, but brief summary: the Lotus Eaters is the first stop Odysseus and his crew make. The Lotus plant is so entrancing that it makes people forget all about their lives outside the island and coerces them to stay there, stuck in a sort of opiate-like blissed out haze of chillness for the rest of their lives, and I think that may be what’s happening in the anomaly, not time travel like others have theorized. Cool, moving on.

The next stop of Odysseus’s journey is the island of Polyphemus, the cyclops who intends to eat him and his men. 

(Giulio Romano, Polyphemus)

They manage to escape when Odysseus (using the fake name of “Nobody”) blinds Polyphemus and they hide under the bellies of his sheep in order to avoid detection as they escape his cave.

Let’s think, how does this relate to our heroes? What’s happening right now on the show, going into episode 6x12? 

(gif credit: @commander-anya)

Clarke is pretending to be Josephine in order to blindside the Primes and help her people escape.

In The Odyssey, this is a continuation of the theme of “hosting” or “guest-friendship” (a term I’m borrowing from wikipedia since I’ve been out of school for over a year and don’t feel like actually thinking for this pseudo literary analysis). We saw this with the Lotus-Eaters, and we see it again with Polyphemus. But the Cyclops is a bad host. So are the Primes. 

Polyphemus’s host gift to Odysseus is that he tells him he’ll eat him last. He won’t spare him, but he’ll give him longer to live than the rest of his men. One of the drawbacks, is that means Odysseus is going to watch all of his people die, one by one, until he meets his demise. 

God, how many times have Clarke and Bellamy watched their people suffer? And now the Primes have a way to make nightblood. They’ve turned Echo into a nightblood. Who’s next? Presumably all of them, one by one, until all the Primes are brought back to life. And with Clarke masquerading as Josephine, how many of her people is she going to watch be tortured? How many might she lose in tonight’s episode and in next week’s episode before they manage to beat the Primes and escape? How much have they lost? How much more must they lose?

We also get our first hint of the theme of “cunning over strength” (a term I’m borrowing from SparkNotes because, again, I really don’t feel like putting more effort into this than I already am lmfao) at this point in The Odyssey. Odysseus devises a plan to escape the Cyclops that involves very little violence compared to the blood-soaked battles that we saw in The Iliad. Rather than brute force, he uses his cunning to escape. 

Clarke is going in as Josephine. She's not going for brute force. She’s not barging in with an army (that part comes later). This move is pure Clarke, all head. Going with the most cunning plan, not the most direct, not the most violent, the most strategic. 

Clarke Griffin is Odysseus.

GODDAMN IM LOVING THIS. I digress.

The next major plot point in The Odyssey is Odysseus running into Aeolus, the god of the winds. 

(source unknown by me, but this image is public domain)

He gives Odysseus a bag containing the four cardinal winds which, when opened at the right time, will send him straight home to Ithaca. His men think that the bag secretly contains a treasure that Odysseus is hoarding for himself and they open the bag, releasing the winds, and sending their ship even further off course than before, prolonging their journey.

I stumbled over this one for a second because it could be a few different moments in season 6. Gabriel giving Clarke info on how to take down the Primes? No, where’s the sabotage there? Murphy attempting to help Josephine to get mind drives for him and Emori? No, he ends up doing the right thing and puts them on the right track. Spacekru & friends devising a plan to defeat the Primes and Madi attacking them, sending them off the proverbial course? Hmm, sounds about right.

To make this easier for me, let’s call Bellamy, Echo, Emori, Murphy, Jordan, Miller, and Madi Spacekru 2.0. Well, they’re trying to make their plan to “work with” the Primes so they can get a compound, a home, for them and their people. But Madi is the crew to Spacekru 2.0′s Odysseus. She has her own agenda. She wants the treasure, she wants her revenge. 

She attacks the Primes, releases the winds as it were, and all hell breaks loose.

(gif credit: @bellamyblakepositivity)

They’re thrown off course. How will they ever get their compound now? How will they get their home? 

[Fun etymology fact break: Homecoming is stylized in The Odyssey as “νόστος” (nostos), when an epic hero returns home via voyage by sea, aka the MAIN theme in this epic. We get the word “nostalgia” from nostos, mixed with άλγος (algos) which means pain. Nostalgia is the pain of yearning for the past or for home. Is nostalgia/homecoming not one of the key themes of The 100? Is it not one of the key themes of The Odyssey? (also you could probably write an analysis of how nostos is a hero returning by sea and the way that space and the sea are often visually/metaphorically compared, the way you navigate both domains in a ship, the way you have an odyssey and a space odyssey....but that’s a discussion for another time)]

Next up on the journey? Aeaea, Circe’s island. 

(gif credit: ? if anyone knows, hmu so i can give credit please!)

Circe was a witch who turned men into animals (mainly pigs in The Odyssey, but in another myth, into a woodpecker, which isn��t relevant, I just think it’s funny). Here we get the motif of transformation and false appearances, a continuation of the Nobody plot, and a motif that we also see with the Primes taking over other people’s bodies, constantly transforming their appearances. 

While climbing a mountain to reach Circe’s palace, Hermes points Odysseus to a plant which will make him immune to Circe’s transformation magic. Why does this sound familiar......

The neural mesh in Clarke’s head gives her resistance to the mind drive allowing her consciousness to survive the “transformation.”

 Like the Island of the Lotus Eaters (and the anomaly) Circe has the ability to manipulate the passage of time, or rather, the perception of the passage of time. Odysseus loses quite a significant amount of time trapped on her island. (It’s not actually 5 years, the mini-series fudged that bit a little since Homer never specifies how long it is, but I’ll forgive you, The Odyssey mini-series, because I love you so very much that I cried when I found you on DVD in a tiny Wal-Mart in the backwoods of Tallahassee two years ago)

We also get another look at the complicated theme of guest-friendship on Circe’s island. She is, quite simply, a terrible host. She traps Odysseus’s men, just like the Primes trap Spacekru 2.0. Odysseus frees them. It’s on Clarke to free her people from the terrible hosts that are the Primes. There’s a joke in there about the Primes bodies being hosts to the mind-drives. Anyway.

Odysseus’s next stop is the land of the dead. He descends into Hades (a very perilous feat) to talk with the blind prophet Tiresias. He also talks to Anticlea, his deceased mother.

My god, if that stop isn’t exactly 6x07 Nevermind. 

Clarke talks to Jake Griffin, and tells him she thinks she’s dead, she’s ready to give up, she’s ready to let go. Odysseus tells Anticlea he feels the gods are against him, his journey is fruitless, he’ll never make it home. I don’t think that parallel could be more obvious if it punched you in the face.

I think maybe Monty is Tiresias in this scenario, giving Clarke advice and helping her navigate the mindspace so she can send a message to Bellamy that she’s alive which will give her the advantage of having an ally on her side. Odysseus promises Tiresias he’ll make a sacrifice to him once he gets back into the world of the living bc the dead feast on blood or something like that, but that’s like Clarke promising Monty she’ll do her best to continue to honor his challenge to her to do better. So cool. Love it.

(gif credit: @janemichaels)

Thematically, this mimics the theme of “testing” that’s present in The Odyssey (thank wikipedia again for helping me on this one lmao). You get Odysseus’s men’s loyalty being tested, and you get Odysseus’s identity itself being tested.

Clarke is tested when she is faced with the option of giving up and letting go. Spacekru 2.0 (and particularly Murphy and Emori) are tested when they learn Clarke is gone, then learn she’s alive. Will they be loyal enough to her to save her? Hint: yes, obviously, because Spacekru 2.0 is way better than Odysseus’s crew. Will Clarke decide to push forward and fight for her life? Hint: yeah, duh, because she’s just as badass as Odysseus. 

Next comes the sirens. 

Odysseus’s ship sails through the isle of the sirens, whose song lures sailors to their deaths. Odysseus makes his men stuff their ears with beeswax so they won’t be tempted by the song, but he ties himself to the mast, wanting to hear it. I kinda struggled with this one, but then I realized, at this point, we’re not looking at Clarke as Odysseus.

We’re looking at Octavia as Odysseus.

Octavia is faced with her greatest fear. She ends up running into the anomaly after Diyoza. If I’m right about the anomaly being sort of the Lotus Eaters, then we could assume that the anomaly holds Octavia’s deepest desires; that might have been what she’d have seen if she’d chosen the green box. She hears the call, and resists. The temptation and the overcoming thereof. 

I think that’s clear enough, so I’m gonna skip ahead to the passage between Scylla and Charybdis.

Earlier, Circe had warned Odysseus of this choice he would have to make. Choose the 6-headed monster on the left and lose at best, 6 of his men. Choose the whirlpool on the right, and lose them all.

[Sidenote: how interesting is it that the anomaly is associated with a spiral shape, mimicking that of a whirlpool? Should we believe that if they enter the anomaly it is, in fact, certain death that awaits them? Or is it a metaphoric whirlpool, and they’re just being sucked in, never to return to their original mission of returning home (*cough* Lotus Eaters again *cough*)?]

(gif credit: @aryastarktheshewolf)

So I think this choice is reminiscent of Octavia’s choices of the red box versus the green box. Presumably, face her greatest fears or her deepest desires. She chooses the red box. Better to face her fears and risk dying that way than face her desires (the same green of the anomaly anyone??) and risk getting sucked in like Diyoza was, never to return. 

She never saw her deepest desires in the forest (from what we saw) so it makes sense that she would choose the red box. She knows she can escape her fears. Blodreina no more. But if she faces her desires, who’s to say she could ever turn back? 

(gif credit: @daeneryskairipa)

Cool cool, so freaking cool, I love these parallels so much, y’all. 

Now we get to explore the most Prime-like example of “guest-friendship” in The Odyssey.

Ogygia. Calypso’s island. 

[Fun etymology fact break: “Kαλύπτω” (kalupto), the word that lends its root to Calypso’s name, means “to conceal” or “to deceive.” Calypso is “the one who conceals,” she’s “the deceiver.” “Ὠγύγιος” (ogugios), which lends its meaning to Ogygia, means “primeval” or “primal.” The Primes...the first settlers of Sanctum...the ones from the earliest ages (another interpretation of the word). The Primes, the deceivers. The Primes, the primeval ones. Hmmm.]

(screencap from The Odyssey mini-series, 1997. btw, Vanessa Williams will ALWAYS be Calypso in my mind)

Calypso offers Odysseus a home on Ogygia, but he will have to abandon his dream of returning to Ithaca, to his home, to his wife, Penelope, and to his son, Telemachus. She actually prevents him from leaving for seven years (more warped passage of time a la the anomaly), effectively keeping him prisoner. But he wants for nothing there. He is fed and clothed and bathed and sheltered. 

Our heroes are offered a home on Sanctum, but it’s not all it appears. It’s not the paradise they’re lead to believe it to be. They’re deceived. 

[EDIT: Leah @braveprincess offered an interesting take on Calypso, which I absolutely HAVE to share with y’all:

Anyway, let my rant continue]

In order to stay, they must sacrifice Clarke, Madi too, and well, now, all of their people the Primes want to make into nightbloods. They’re prisoners in Sanctum. They can’t leave, not only because the Primes won’t let them, but because what awaits them is the Children of Gabriel and the mysteries of this new planet. Their best chance at survival is with the Primes. But that also means compromising and losing people they refuse to be without.

Bellamy is Odysseus now. Clarke is his Penelope. 

(gif credit: @bellarkedaily)

He won’t negotiate with the Primes. He won’t sacrifice Clarke. Shut up, I’m not crying, you’re crying. 

Athena asks Zeus to intervene, so he sends Hermes to tell Calypso she must release Odysseus. Odysseus leaves to continue the next, and last, part of his journey. His return home. 

Bellamy leaves Sanctum to save Clarke. Once he has her back, they can continue their final journey, building a home on this new world. Or so we hope. 

But who knows? We haven’t seen the finale yet. Maybe they’ll stay on this world. Maybe not.

Some people have been theorizing that they’ll return to Earth (via time travel or whatever it is, which I don’t really buy but whatever), which would be a really nice conclusion to the theme of nostos, but the problem with that is right now, there is no Earth to return to. Nostos only works if there’s a home to go back to. And that home, usually, must be unchanged from when the hero left to fit into the proper meaning of the word.

So, what would be the best way for The 100 to get our heroes back to Earth to fulfill this Odyssey-esque narrative that they (probably unwittingly) have set up? 

SEND ‘EM INTO THE ANOMALY!

Let them chill there, enjoy a little bit of paradise, let time pass super fast in the outside world while it passes normally for them, let Earth recover, and send ‘em back. But that bit is more of a pipe dream than anything else and I doubt that’s what they’ll do. I’m not a big fan of most anomaly theories, but I think that could be a cool one. Who knows.

Anyway, that’s all I have for today. Next week post-finale, I’ll probably work through the rest of The Odyssey, with Odysseus’s return to Ithaca, defeating the suitors, and winning his wife back, if all goes to plan with beating the Primes. So if you liked this (admittedly rambling half-cocked mini thesis paper), keep an eye out for that one. 

After this season, I’m gonna be doing a series on how seasons 1-5 are actually The Iliad, so if you wanna scream about Classics & The 100 with me, just drop a line in my ask :)