#is so reminiscent of orpheus

[soulfireblue]

he could make you see how the world could be in spite of the way that it is

--"road to hell," hadestown

reblogs are appreciated! please do not repost

[thiscoldheart]

some details that i loved in la chimera (spoiler heavy) :

i posted this on twitter as well but i wanted to include it here too. i love this little moment here where italia rests her head on arthur's shoulder and for a brief moment, he's anchored to the present by that touch, but him being the orpheus that he is, just HAD to turn back and find himself gravitating towards the tombs, the past and his eurydice.

the fact that italia's name is literally italy in italian and by the end of the movie she creates a community of her own where she's looking out for those that are outcasted by society, in an abandoned train station named riparbella which literally means "to start again".

arthur's eye always being blocked by shadow throughout the movie until he sees the light at the very end

according to wiki, the goddess the statue is based on is cybele, goddess of nature, animals, wild places and represents the "creative and destructive force of nature." her phrygian name matar (mother) alludes to the fact that she was a "mediator between the boundaries of the known and unknown, the civilized and the wild, the worlds of the living and the dead." i love that this goddess' presence in the movie symbolizes arthur traversing between the living and the dead worlds and getting closer to beniamina. i love that by the end of the movie, the statue itself becomes unknown to human eyes and returns to the wild, far away from civilization, which is arguably the same fate that arthur meets as he dies.

the red string that's following arthur around is very reminiscent of the red string ariadne gives theseus to find his way through the maze. it's beautiful how this red string seems to appear only in his dreams at first but slowly starts crossing the boundaries of dreams and reality as the movie goes on until he is able to tug at it by the end and cross over into beniamina's world.

arthur, at the beginning of the movie, says "so it's you. my last woman's face." how cool is it that beniamina's face resembles cybele's?

arthur goes back to flora's house after being injured and her daughter finds him in the bathroom. spooked, she says "i thought it was a ghost" which arthur might as well be considering how he's essentially been a walking corpse this entire movie.

also a special shout out from the bottom of my heart to the sped up sequences, didn't even realize how badly i needed them until i saw them. the chaos in these sequences is everything to me. this is REAL cinema!

in general, one of the themes that i've come to love about this movie is how objects can have different meanings to everyone. an object like the bell arthur found was just "a thing that rings" whereas italia interprets it as a gift until she comes to realize it's been excavated from a grave. the statue was part of a shrine back when it was made, but to the tombaroli and the sellers, this is only a means to make more money. the train station started off as a place that symbolizes movement of people from the city to the countryside but has now become a home for the outcasts of society. the apotropaic phallus would've have warded off evil and bad luck back in the day, but is now used as a means of escape from the law. a simple red string is the literal lifeline for arthur as he tries to find his way back to his lover.

also want to give another shout out to the inclusion of the italian troubadours (our greek chorus) who beautifully spell out the tragedy of our protagonist and his gang.

speaking of music, i really liked this particular song italia was singing as she was practicing. the lyrics go "i'd like to explain to you, o god/ where my suffering lies/ but fate condemns me to weep/ to weep" and that's exactly when arthur finds her crying son. at least italia finds a way for her suffering to end by the end of the movie. maybe we can say the same about arthur too?

i'll probably add more as i keep rewatching the movie lol and make a thread of this on twitter too (x) thanks for sticking around and let me know what other cool details y'all noticed!

[jess-ence]

Cloud & Aerith are Orpheus & Eurydice

An Analysis:

Hello! I wanted to share my analysis on how Cloud & Aerith represent the Ancient Greek legend of Orpheus & Eurydice, one of the most well known tragic love stories. I love this game and I love this legend and after seeing connections I wanted to share it with others. This is my opinion. if you disagree, you can keep scrolling, and have a nice day <3

There have been many different variations of this story from Hadestown to Moulin Rouge. I will reference the broadway show Hadestown a lot, because I’m a huge fan of the show and it represents Orpheus & Eurydice’s story very well. With this analysis, I’m going in with the belief that Hollow and No Promises to Keep are Cloud and Aerith’s songs that are about each other, who those songs are about is a whole different argument, but to ME, it’s obvious who they’re about and I’m using them to push this analysis further.

In the Greek legend, Orpheus & Eurydice fell in love, and one day Eurydice died from the bite of a viper. Orpheus was so ruined by grief that he traveled to the underworld itself to find Eurydice and bring her back. Orpheus sang about his love for Eurydice to Hades and Persephone, who were so moved by it that Hades gave him the opportunity to bring Eurydice out of the underworld, he just has to take the long walk out of the underworld with Eurydice behind him, and he cannot look back at her the entire walk until they are out of the underworld, or else she will be sent back down. Towards the end of their walk, Orpheus is worried that Hades had tricked him because he could not hear Eurydice behind him. He loves her so much that he is driven mad by the fear and doubt that enter his mind. So much so that he ends up looking back at her, and she is sent back to the underworld.

Now for the comparison to Cloud and Aerith.

Obviously, much like Orpheus and Eurydice, we see their relationship become a precious and cherished thing, until Aerith is suddenly killed. If you really wanna get into details, guess who has eyes like a viper, Sephiroth. The one who kills Aerith.

Now Cloud is not a singer or a poet, but he does have a theme song called Hollow in the Remake. This song is heavily theorized to be about Aerith, and makes the most sense to be about her. It describes how lost and hollow he feels without her, which is so unbelievably Orpheus of him. In the lines;

“Bloody and bruised, Brought to my knees

When beaten down, When broken up

You would appear, Reach out to me,

Heal every wound, And make me whole”

It makes me think of a scene in Hadestown, where Orpheus gets beaten up while in the underworld trying to get Eurydice back. Persephone is inspired by Orpheus’ determination to get Eurydice back, his love for her and determination to get her back keeps him going even when he’s beaten down.

Throughout Hollow, he says a lot of words like “Guide me to you” “I’ll never let you go”. He still wants to find her somehow after feeling so empty from her death. Again, very Orpheus.

Let’s look at the lyrics for Wait for me that Orpheus sings in Hadestown;

“Wait for me, I’m coming

Wait, I’m coming with you

Wait for me, I’m coming too

I’m coming too”

Before Aerith even dies, she is kidnapped by Shinra, and Cloud makes it his personal mission to go get her back. After she is kidnapped in Remake, he has a vision of her, where he tells her,

“I’m coming for you”

In Rebirth, after she “dies” he tells her “I’ve got this” in English, but in the Japanese version, guess what he really says?

Wait for me.

There’s also a play called Loveless in FF7 Rebirth, where Cloud and Aerith play Alphreid and Rosa, whose story is very reminiscent of their real story. (I’m aware of how Rosa’s part can also be played by Tifa and Yuffie, but the story of this play fits Cloud and Aerith’s real story the most, as well as Rosa’s character fits Aerith the most. So I wanted to include it)

There is a line that Alphreid tells Rosa;

“You needn’t promise that you’ll wait. For I know that I will find you here”

Key words: Wait and Find

In Hadestown, Eurydice sings a song called Flowers. And guess who in FF7 is a flower girl? Aerith.

The song talks about how Eurydice regrets becoming a worker for Hades (in this version she is very poor and hungry, and Hades convinced her to sell her soul for the safety of it all) but she misses the world above and remembers Orpheus and her happiness with him in the fields of flowers.

Aside from the obvious flower connection, this almost makes me think of how while Aerith had a responsibility in dying and saving the world, she may have regrets since all she wants is to be happy with Cloud (we see her wishes on her dream date with him, spending time with him is how she wishes her life would be without the burden) and in the Advent Children script, when Cloud rides his motorcycle by a field of flowers where her ghost is standing and watching over him, it describes her feeling lonely.

Another thing to note, in Hadestown, a flower is used as a symbol for the whole show. Most notably for this analysis, Orpheus uses it as a reminder of her as he travels to the underworld and tries to give it back when they reunite. And guess what happens when Cloud and Aerith meet? She gives him a flower that represents the reunion of lovers.

In Aerith’s song, No Promises to Keep, Aerith describes this burden she has of being the last Cetra while also saying lines like,

“Till the day that we meet again

Where or when?

I wish I could say

But believe know that you'll find me“

Also:

“Still I hope someday you'll come and find me“

This just screams Eurydice waiting for Orpheus in the underworld, knowing he’ll come find her. Shes saying, come and find me, while he’s saying, guide me to you. Pair that with how Cloud keeps saying Orpheus lines like “Wait for me” and “I’m coming for you” Hollow and No Promises to Keep are such Orpheus and Eurydice anthems, even without the context of FF7 or Cloud and Aerith, those songs fit Orpheus and Eurydice so well. A man feeling hollow without his love, a woman trusting the man to come find her. *chefs kiss*

In the original FF7, Cloud gets a glimpse of Aerith after the final battle, and that’s when he says:

“the Promised Land...

I think I can meet her...there.”

Now we don’t have a clear answer as to what exactly the Promised Land is. Since Aerith is dead at this point when Cloud says this, it makes you wonder if it’s related to where you go when you die, or maybe just where Aerith goes since she is a Cetra. Regardless, she is still dead and Cloud still wants to find her, much like Orpheus when Eurydice dies.

In the Advent Children film that takes place two years after Aerith dies, Cloud himself is dying from geostigma, and sadly enough, is pushing away his friends, accepting death rather than fighting it, seemingly searching for Aerith amongst it all with how he sleeps in her church. Orpheus was known to have never been the same after Eurydice died, completely swallowed up with grief until he had the idea to see her again in the underworld.

Another interesting detail in AC, when he has visions of her, Cloud cannot look at Aerith because of his guilt until the very end where he decides to keep living on.

In the FF7 Remake, it takes a little different approach than the original FF7 did. There are multiversal aspects that have made people question if Aerith’s fate is final this time. Since we don’t know how Part 3 of the trilogy will play out, some of this is theorizing. But what I believe is that there was a new timeline where Cloud saved Aerith, it’s not the current timeline that Cloud and the rest of the party are in, but Cloud knows of this other timeline where Aerith is alive because he is the only one that can see into that timeline.

No Promises to Keep plays when they part at the very end of the game, the same song that talks about how she wants him to come and find her, just like he did when she was kidnapped by Shinra. This makes me wonder if maybe he will try to cross between different worlds (much like Orpheus with the underworld) to try and get her back. If this will be successful or not, we will see, he is Orpheus after all.

There’s another song in Hadestown called Road to Hell, about how even though Orpheus and Eurydice’s story ends in tragedy, the people in the musical keep singing it over and over hoping that one day the story will change and that one day they’ll be reunited.

“It's a sad song

But we sing it anyway

'Cause here’s the thing

To know how it ends

And still begin to sing it again

As if it might turn out this time”

A common theme with the Remake project is defying fate, repeatedly saying it’s not set in stone, that maybe it can be changed, so we’ll have to see if it’ll turn out this time.

I am one that does not mind either way if Aerith lives or dies by the end of this new trilogy. Simply because the tragedy of their romance was already great, it would be emphasized even more with this hope that maybe we can get her back. Both we and Cloud actually see a possibility of her being alive with these parallel worlds. There’s a chance he can get her back. And if he in fact still does not get her back, it would hammer in their original idea of this tragedy even more, making it more tragic. And if he does get her back, I feel like It the original idea would still be there (since we DID still see her die) but it would transcend both OG and remake that after all this time he finally found her, and maybe he’d finally be happy for it, I know people would be mad and say that it cheapens the purpose of her death or whatever but personally it would be beautiful to me. Getting that hope then getting the same result is very reminiscent of Orpheus and Eurydice. But I will say I am hopeful that Cloud can defy fate and get his Eurydice back, I would love to see them happy together by the end.

[alatismeni-theitsa]

https://www.lifo.gr/stiles/optiki-gonia/kaos-einai-i-shesi-mas-me-ti-mythologia

Can they stop with modern labels? Every time they try to say that ancient Greece was a queer paradise where it was far from this.

It was criticised in society unless the man was powerful and rich. Like it was a tiny minority and they create this narrative of ancient Greece have over 50% being queer or something.

It's time for our xenoi friends and followers to learn another Greek term. Xenolatreia. It means "worship of anything foreign (mainly from the western countries)", which is a widespread phenomenon among Greeks for the past 2 centuries. It's the following sentiment: "Anything that comes out of western countries is good and it should be praised because we here in Greece are a bunch of illiterate monkeys who live on trees, and cannot see the Deeper Message our Superior Westerners show."

Lifo has had some decent articles over the years but this one reeks of xenolatreia. Lifo supports that the Greeks hate the series because it has queer people in it. so it goes on a campaign to show that Greek mythology had queer people. Which, sure, I don't disagree, but it misses the point. While some Greeks surely have been offended just by the existence of queerness, Lifo misses the REAL reason why Greeks in large felt their mythology was butchered by KAOS. They even wrote it in the article themselves:

"Zeus is a paranoid authoritarian dictator in mid-life crisis who fears losing his power and murders his aides to vent. Hera is a promiscuous goddess who repeatedly betrays Zeus and has mutilated mute priestesses for protection. Dionysos is a spoiled and immature zoomer who, apart from pranks, indulges in orgies with all genders. Poseidon a sadistic god of the sea, who tortures the crew on his ship for fun. Prometheus is gay and killed his lover so he could overthrow Zeus. Orpheus is a famous pop singer and Eurydice does not love him. Theseus is black and gay. The Erinyes are tough-as-nails mechs that look like they stepped out of 'Sons of Anarchy'. The Fates resemble a three-member jury in a talent show. The Trojans are a terrorist group that acts against the gods. Crete is more reminiscent of California than the Mediterranean."

Queer and diverse identities in general are nothing bad. The way KAOS mixed everything into a salad is the real bad thing, and the showrunners hide behind the queer representation when they are met with any other kind of criticism. It's the same tactic Lifo follows here. Only extremely stupid people would have an issue if Ganymees and Zeus were a couple in the show when it was also a part of our mythology. The problem about KAOS for the larger population is not the queerness.

Lifo continues:

The idea we have of Greek myths is, at best, a jumble of bits and pieces created by the Greek school: Zeus has sexual relations with mortals, Hera is jealous, Dionysus engages in revelry, Persephone for some reason resides in Hades , a bird eats the flesh of Prometheus, Aphrodite is the most beautiful and Athena the wisest of the bunch, Artemis hunts, Apollo plays the lyre: a very general and vague idea, much more chaotic than the mixing of myths which "Kaos" attempts.

What a shitty argument. Did you pay any attention in school, I wonder?? Do you know that we know our myths also outside the Greek school and that the Greek school teaches based on the ancient sources, and we often read the ancient text itself?? Also, no, the situation here is not more absurd than what KAOS does. The mythology is what it is. KAOS takes an already established thing and makes a turd out of playdoh.

Instead, we demand that a series aiming for commercial appeal follow our preferred script line and stay true to what? In our own obsessions, revisions, angulations and Christian puritanisms?

To our freaking culture, dear Lifo. To the myths we wrote and passed down for two and a half millennia, dear Lifo. They are fairly widespread and they are very difficult to get wrong.

[bitethedevil]

Fic authors self rec! When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers. Spread the self-love 💚

I have only written three longer fics, so some of them will be oneshots

Living with The Devil You Know (AO3 Link):

It's probably my favorite that I've done. It's getting rather long but we are nearing the end soon. It's at 14 chapters right now. It was supposed to be a very light-hearted fic but it has turned pretty dark.

Summary: Tav broke their agreement by handing the Crown of Karsus to Mystra instead of Raphael. Not only that, but she also robbed his house and killed his incubus. Raphael is patient and he is determined to get his revenge. Tav gets chained to the House of Hope with constructs similar to those of Prince Orpheus'. When her friends eventually come to save her and brings him back his Orphic Hammer, Raphael will kill each and every one of them in front of her before claiming what is rightfully his: her soul...

…Tav isn't too bothered. She will figure something out eventually. Until then she just has to find a way to live peacefully with a devil.

The Devil's Dinner Party (AO3 Link):

This one has a special place in my heart because it was the first fic I ever showed anyone! It has a bit of a dark twist that I won't spoil too much. It's three chapters and it's a finished work.

Summary: Tav accepts Raphael’s invitation to a dinner party after she had handed him the Crown of Karsus. None of her companions show up, so it is just her, Raphael, and a bunch of Raphael’s favored clients. Raphael is suspiciously kind to her, but everything might not be as perfect as it seems

More Than Our Fathers (AO3 Link)

I love writing this one so much. It's a Raphael x Demigoddess!Reader fic. It's probably my most planned work to date and I have read so much lore for this one. It is still ongoing but there are currently four chapters.

Summary: It was in the years after the Fall of Netheril that fate decided to push the two of you together: the daughter of the God of Divination and the son of the Archdevil of the Eighth. An unlikely pair, but you learned throughout the years that you had more in common than you thought: you were both driven by ambition and you both longed to become more than what your fathers made you.

A Portrait of a Cambion (AO3 Link)

This was a 'character study turned fic'-kind of situation. It is basically my headcanon about why Haarlep is with Raphael and why he hates his father. It's a story of how he once loved someone and how he learned the consequences of getting distracted by those feelings. It's a oneshot. (Fun fact: I consider it as canon in Living with The Devil You Know too, and when Raphael tells Tav about his previous love, this story is what he is talking about.)

Summary: Raphael rejects his icky mortal feelings for Tav because he remembers what happens when one is distracted by matters of the heart. He reminisces about a woman who taught him how to paint and who stole his non-existent heart over a thousand years ago.

Good Little Mouse

This is just pure depraved smut but I really liked writing it. It's pretty short. It is also pretty fucked up so remember to read the warnings.

Summary: Reader/Tav did not give Raphael the Crown but it ended up in his hands anyway. You become Raphael's pet as revenge and he uses the Crown of Karsus on you to keep you docile.

(Thank you so much for the ask! I love the idea of spreading self-love like this. It can be hard to remember to appreciate one's own work I feel like.)

[nightmarist]

I reorganized my thoughts about Raphael, Gortash, Mephistopheles, etc, I'm still so fascinated by their relatioship and the implications in canon (as well as the omissions)

Starting with Vlaakith, the history of the Githyanki change edition to edition and they are not my most researched, but to my understanding, Vlaakith originally tried and failed to make a pact with Dispater who is ruler of the Second Hell, Dis. Instead, she had Mother Gith go in her stead, where Tiamat captured Gith and imprisoned her. If I recall, once source says she is imprisoned in Dis, but again my knowledge of this particular history is muddy. It's mention is important, however.

Vlaakith sends Voss to best Orpheus where Orpheus too became imprisoned. So both Mother Gith and Orpheus are infernally chained.

To my understanding, there's no real and true timeline for the Gith and Mindflayers coming into existence in the canonical DnD world, they have Always been enemeis since the dawn of time, essentially.

That said, I wonder how early Raphael made the Orphic Hammer. We dont Really know how old he is. At the very least hes 1500~2000 years old if we go by the fact he witness the actual Fall of Netheril.

The note About Creation of Orphic Hammer says: 

[A detailed history of the Orphic Hammer, describing the infernal workforce Raphael harnessed to locate and mine the rare materials used in its creation, and its intented purpose.] The Hammer is not a weapon, it is an insurance policy. Its function is specific, but its utility is boundless. No chains forged by infernal hand can withstand its power, for its core is a metalifferous compound combining the purest of essence of all Nine hells. If I should ever need to liberate the prisoners held in the Iron City of Dis, to shatter the vaults of Nargus, or even to free the child of Gith, my hammer will be equal to the task.

It's important to note the Hammer can break any infernal chain, despite we're given it to free just Orpheus. The fact it's called the Orphic Hammer, obviously titled after Orpheus, I think seems like a purposeful manipulation. Raphael having exactly what we need at exactly the right time is intended to be suspicious as our dialogue options point out, but I also think he's only making us believe he had it made Only for Orpheus and perhaps distract us from its further potential.

If not Orpheus, then Gith. If not Gith, then perhaps an imprisoned loved one, or even Hope as we discover.

For example, for a future campaign I've been homebrewing the House of Hope, Raphael, Haarlep, Dammon, the tieflings etc in Descent Into Avernus, and afterwards have my players use their same characters to play Chains of Asmodeus as a sequel, wherein I’m adding Raphael with the crown, and the Orphic Hammer becomes an important item to potentially free their kidnapped loved ones. I'm still working out the details, but the Hammer's existence is really interesting and has a lot of potential use beyond what Raphael wants us to believe.

That said, for BG3 in particular, I believe Gith being set free would be too big of a change to make to DnD canon in just a little video game, so Orpheus was a safe route to give the game flavor without changing source material. Even with Lae'zel and/or Orpheus endings we don't actually see the downfall of Vlaakith nor the conquering of the Githzerai, they are only an implied future which is a good move to keep the freedom of the game without meddling with established DnD.

All that said, I still wonder when Raphael had it made. 

At some point, whether he knew it would be Gortash or not that would lead to the Crown in his hands, he had "a warlock" (Korrilla I assume) buy Gortash as a child to serve as his personal servant, severely abuse him, make him live in the dungeons tortured by Nubaldin, and thus likely how Gortash learned to speak and talk the way he does - his outfit even looks like it has the same aesthetic as the House of Hope with gilded devil heads, and reminiscent of Raphael's belt.

And from there through association with Raphael, directly or indirectly, a "misplaced" note or an overheard whisper could have allowed Gortash to learn about the Crown of Karsus enough to try and take it for himself. It's Power but it's also Power that Raphael wants very badly. What better than to steal the one thing your warden wants that would happen to give you power over even him?

Mephistopheles had the "Accelerated Grand Design" plans in his vault that just so happened to be next to the Crown of Karsus, where Gortash just so happened to see.

The Accelerated Grand Design (AGD) was written by a "mad alhoon" according to Gortash, which is a type of Illithid Lich.

I wonder if Raphael had any particular curation involved with Mephisto's vault, especially as his son - the Canian Archives probably wouldn't bat an eye at the Son of their Archdevil who has a penchant for theatrics and an eye for art and presentation going around ordering certain things be put in certain places.

So, Gortash escapes. As far as I'm aware, we don't know how exactly he slipped away from Nubaldin. I assume he possibly entered the Chamber of Egress and fled through one of the Mirrors. Afterwards, Gortash re-establishes the cult of Bane then he happens upon the Bhaal cult led by Durge. They exchange letters and plan to heist the Crown together, which the AGD letter was so conveniently placed next to the crown that Gortash takes both of them.

They hire Helsik to break into the vault. Helsik has that crystal ball connected to Raphael. When we gaze into it, it's as if Raphael knows we're watching and looks directly at us. This is a very interesting detail in the entanglement of Gortash and the Crown. She could very well have reported everything to Raphael and/or be contracted by him to report on Gortash.

After the heist, Gortash and Durge are given dreams of being Bhaal and Bane's Chosen and need to find Myrkul's Chosen.

Upon finding Ketheric, they learn Moonrise Towers has a mindflayer colony inside of it, which is where the Emperor was tadpoled. Gortash realizes he can put the AGD into motion there.

Gortash just so happened to have a dream about Gith being in the way of his plans, and that dream was enough to push him to research the Gith to find out about the Astral Prism.

That dream led Gortash to send the Emperor on its quest to the Nautiloid to find the Artifact, which was then learned about by Viconia and the Sharrans who were researching the Absolute cult.Thus, Shadowheart was also sent to the Nautiloid where she obtained the artefact with the Emperor and thus Orpheus in it.

Orpheus of course being key to the ruination of the Absolute via Raphael producing the Orphic Hammer to free him, which would allow him to acquire of the Crown of Karsus after likely gently guiding Gortash unknowingly into using the Crown to create a Netherbrain as per the Accelerated Grand Design being next to the Crown in the Vault.

As far as I'm aware (I haven't found notes or dialogue about it), Gortash didn't have an actual Plan for the Crown prior to the prophetic dreams about the Dead Three, which makes me think he wanted it for a) power in general, and b) to piss off Raphael.

There's quite a lot in the middle I don't think Raphael himself made happen, but I'm sure he was giddy with excitement to see everything was leading to the Crown being taken to the Material Plane and thus closer to his claws, and all he has to do is find a way to corner the happenstance adventurers who are holding the Astral Prism a way to defeat the Brain: Orpheus. From the Orphic Hammer he personally commissioned.

I assume the dream was sent by the Emperor. he had broken free before but was still under the Elder brain's control at this time.

I don't think Raphael is one to send prophetic dreams, I feel like his choice of theatrics is much more obvious and his choice of chess-play is much more subtle. The main concern for him is the crown is now in play on the mortal plane outside of Mephistopheles' reach, so Raphael more or less just has to wait for mortals to recreate the Fall of Netheril to snatch it up for himself.

The AGD being so conveniently placed, Gortash being bought and abused, the Hammer being the only thing that can free Orpheus in the case of an extreme Mindflayer threat: it all feels very carefully orchestrated with just enough happenstance to let it seem natural and accidental, distracting from its purposeful cultivation.

Mephistopheles doesn't seem to bother doing anything about the Crown. He did send Haarlep to Raphael as a distraction, probably know his son well enough to know what kind of temptations to give him. Haarlep is specifically sworn to secrecy to Raphael in their own words, but Raphael also "denies [them] nothing" (...) "except what he keeps in his vault."

I think it is very important to note the Letter from Haarlep in the end game states:

And I'm making a fortune selling evenings in his form now there is no contract binding me to secrecy. 

They were sworn to secrecy by an actual contract, which is very interesting to me. We were never told any of Raphael's actual secrets except that Haarlep thinks he's bad in bed. That might not be a "secret" enough to trigger the contract, but it could depend on the contract. When we harm Mizora, Wyll is immediately sentenced. But when we break into the House of Hope, if we didn't grab the contract it takes Raphael triggering the contract terms manually for us to be punished. But it's still important to note Haarlep was, in fact, bound to secrecy and couldn't just spill all of Raph's personal information to any and every patron that came to their services.

There's potential that they technically told us the existence of the vault and gave us a key, that seems like a potential breach but maybe it's in the wording, or maybe the breach of secrecy needs to be triggered personally by Raphael.

The adventurers getting the contract/Hammer woudl either kill Raphael, freeing Haarlep, or get them killed where Haarlep can play innocent. High risk, high reward for them.

It is noted that Mephistopheles gets fixated on particular things for a time, obsessively, and that his being Lord of Contradictions is in part due to having a cool and collected facade while hiding a vitriollic, vengeful, and heated personality underneath. Raphael has a similar facade, he always comes to us with this cool and calculated exterior but he gets very quick to annoyance and anger if we poke and prod at him.

Mephistopheles wants to be Supreme Ruler of the Hells, which I wonder if that attitude was passed to Raphael. It doesn't seem like Every devil wants to rule the Hells, but I don't have as much knowledge on lore of the rest of the Hells to say otherwise. Without that information, though, it makes it feel like a continued cycle: Mephistophles is obsessed with power and wants to rule the Hells. Raphael is obsessed with power and wants to rule the Hells. Gortash becomes obsessed with Power and wants to rule Faerun

In a more practical sense I think the Gortash-Raphael connection feels like it was added in late game hence why neither seem to have voice lines about it whereas Nubaldin is the only one who does have voice lines connecting the two, but even so the fact they Don't have voiced lines about each other I think adds to the relationship, be it perhaps Gortash is trying to separate himself away from the Hells and refuses to acknowledge Raphael either out of pride, spite, or something else, perhaps avoiding that Raphael is the major influence to who he is, meanwhile Raphael not mentioning Gortash could be a way of either signalling the whelp is that far beneath him and/or that he doesn't want to give away his connections and therefore plot to us.

Now, the Crown is very powerful, of course, and the vault being broken into could very well piss Mephistopheles right the fuck off. The fact Meph isn't actually in the game besides when Raphael pleas to him could also be a practical writing choice to avoid dev complications, but even if that were the case it makes me feel like Neverwinter Nights has an ounce of canon in this timeline.

In Neverwinter Nights you had multiple endings regarding Mephistopheles, one of the endings you could choose to banish him forever from stepping foot on Toril and therefore Faerun, which would therefore prevent him from taking back the crown personally. Likewise, I could also see it being that he just wants to see how it plays out, biding his time for a millennia or so, waiting, like I assume Raphael is also, for a second Fall of Netheril event. Maybe he allowed Raphael to play dolls with Gortash and the Adventurers for future plans with the Crown.

[gabessquishytum]

I admittedly feel some kind of way about this one 🤣😝. I leave it to you as to how dark this could get...👍🏽

Hob used to be trade, but he finished his degree and got out of the sex for money business. He's got this great teaching job that he loves and he really pleased with himself that he got out.

Problem is that one (or more) of the men that he used to "see" on the regular are parents of kids at his school and they were in the cohort of men who weren't exactly happy when he quit.

Hob is a good teacher and doesn't want this guy/these guys to tank a job he loves so he goes to the demanded meeting.

HNNNGNGNG THIS IS SO DARK and I fucking love it.

Poor Hob. He's trying so hard to look professional in his suit, trying to stop himself from shaking. He's hoping that these guys will maybe let him off, if he explains how much he loves teaching their kids... but of course, he's not that lucky.

There's Cori, with his fostered kid Jed. A client who used to thrill Hob as well as scaring the shit out of him. Hob still has scars from the places Cori used to bite him... not that he minds, really. He sometimes runs his fingers over those marks and reminisces about it...

There's Dream, father of Orpheus, who used to be Hob’s favourite client. He used to take Hob out on fancy dates, wining and dining him thoroughly before taking him back to a gorgeous hotel. Hob even used to go to events with Dream, when his wife couldn't make it. Dream was a force of nature in bed, and he stars in so many of Hob’s fantasies. Even after all this time.

And John Constantine, who often picks up his niece from school. He used to be Hob’s pimp for a little while, and of course he'd sample the merchandise now and then. John is in a more respectable business now, but the way he's looking at Hob suggests that he hasn't really changed...

The three of them all look so happy to see Hob. They back him up onto one of the desks in his classroom, and he's forced to spread his legs. Immediately he's pushed down and groped through his trousers, and admittedly he doesn't put of much of fight. It just feels so natural to lay there like a good slut.

Maybe if he's good enough... he'll get to keep his new job. He's very much willing to beg...

[dark-mnjiro]

[at the] bottom :: okkotsu yuuta

authors’s note: hello! This is my own submission for my “Touch of Divine Rush” collab that I ran! I apologize I’m a day late. With my grandmother’s passing - it was very difficult to focus on any projects without getting emotional. I hope you all enjoy this!

warnings: yuuta x gender neutral!reader, they/them pronouns, retelling of orpheus and eurydice, sprinkle of sukuna x afab!oc (aruna from my crown of thorns series), sprinkle of retelling of hades and persephone, angst, mentions and depictions of death, hurt/loss, comfort, yuuta not listening to directions to save his life, this is probably one of the more tame fics I’ve written but I’m super happy with it

so will you wait me out

or will you drown me out

“Yuuta!”

Panting and sweat dripping from his brow, Yuta shot up from his place next to the fire. How long has this journey gone on now? One day? Two? Three? He had seemingly lost count the further he journeyed into the underworld. Your voice was the only thing that kept him hoping and praying that this wasn’t for nothing.

He stood up before using the heel of his boot to extinguish the fire and grabbed his katana, securing it on his back. A sick feeling bubbled in his stomach. He knew he would have to fight to save you. But who could survive fighting the devil?

As he journeyed further, darkness seemingly surrounded him. The torch he used to give him light offered little assistance. It seemed the tunnel was growing longer with each step he took… and took him further down to hell.

Your name fell from his lips with a light whisper.

Your name was like music to his ears, causing a smile to curl over his lips. The sheer light in your eyes was enough to sustain him for life. With you, life seemingly made sense to him and he had a reason to continue, to keep fighting. It was as if life had meaning, had a purpose, again. Yuuta couldn’t just let you slip away so easily. He had to fight. For you… For both of you.

He called out your name again.

His voice grew louder as it echoed against the cave walls. A sigh fell from his lips as he reminisced about the last time he had spoken to you. Your hair caught in the breeze and the smile on your face only made the sparkle in your eyes even more pronounced. The way his name so easily slipped past your lips, like a chorus that constantly played over and over in his head. And almost within an instance - you were stolen from him.

Crying out your name, his voice echoed against the cave walls as he heard low growls echoing back toward him. He knew he was growing close as he slowly made out the large silhouette of what he would consider a monster.

“Cerberus,” he whispered to himself. He would have to stay quiet to sneak past the beast that guarded the gate to Hell. As his eyes strained at the darkness, he made out the yellow eyes of the three-headed dog before white teeth gleamed in the darkness. He tossed his torch aside, snuffing out the flame to confuse the beast before rushing into the darkness. If he made a run for it now, while it was confused by what direction he was coming from, he could seemingly get past it.

Or so he thought…

The beast’s massive paw came colliding with Yuuta’s body before sending him flying back against the wall. A low groan of pain emerged from the youth before he forced himself onto his feet. Blood seeped from the corner of his mouth as he wiped it away with his thumb.

“Clever beast,” he commented before grabbing his katana.

Yuuta rushed toward Cerberus before managing to stop its claws from striking him again with his katana before sending the blade through the flesh of the beast’s leg. Blood seeped from the wound, covering Yuuta’s face before the animal howled in pain and thrashed about, using its strength to try and take down Yuuta. Thankfully, Yuuta was able to dodge the onslaught before using the katana to injure the other leg.

“Stop!”

His body froze in place at the intruder.

“Stop it,” the voice was softer this time before Yuuta managed to make out a pair of red eyes.

“Who-?’ he asked, realizing the voice was feminine.

“What is a human doing here?” she asked.

Yuuta could feel the color draining from his face. It couldn’t be her.

“Answer me,” she hissed as the crimson in her eyes only darkened. “What is a human doing here? Get out… that is your final warning.”

It was the queen of hell herself. The lover of the devil. Perhaps, she would listen to his words.

“A-Aruna,” he began. “I’ve come here in search of my-”

Her red eyes narrowed. “... your lover is dead. You cannot save them. Not anymore,” she hissed. “Turn around and leave, mortal. You are not ready to be here.”

Her words made his stomach fall to his feet. It was impossible. “I want to see him.”

“He’ll kill you.”

“Then I’ll be with them.”

A heavy sigh left her lips as her gaze softened at his words. “You shouldn’t be in such a rush to die,” she commented. “Come…”

The walk was silent as Yuuta’s gaze stayed fixated on the dark queen in front of him. It seemed the rumors were true. She was cold and distant… it was said that her forced marriage to the king of the underworld only seemed to fuel her bitterness toward the world.

Aruna opened a door before walking inside. She signaled the guards to hold the door open so Yuuta may enter. His dark eyes widened as he took in the sight before him. Sure, it was dark - a perfect place for a king of the underworld, but it was filled with blazing torches and several extravagant decorations to flaunt the God of Death’s lesser-known titles of dealings with money.

“My queen…”

Aruna paused before looking up.

“What have you brought to me?”

“A mortal was found wandering the tunnels.”

Yuuta stepped into the room before looking up and seeing the God of death, the king of the underworld, leaning back on his throne with a smirk curling over his lips.

“He wishes for an audience with you,” Aruna explained before Sukuna motioned for her to approach the lesser throne next to him. Without question, she took her seat before a sigh fell from her lips.

Sukuna rested his chin in his hand before his red eyes flickered to his wife. “…for what? That silly dead-“

“I ask you to allow them to live. Let them leave this place and live out their days with me—!”

The grimace on Aruna’s face was enough to silence Yuuta as he knew he had made a grave mistake.

“Your lover is dead,” Sukuna spat. “A lost soul. You can’t get them back…”

“Please. There must be a way. Anything. I’ll do anything.”

The king of the underworld’s attention remained fixated on Yuuta before noticing his wife’s posture tensing in the seat next to him. “Anything you would like to say, my dear wife?” Sukuna asked, leaning into Aruna’s ear.

She turned to face him. Her face remained emotionless but the pain in her eyes was evident. “I think we should hear his case,” she whispered.

“…you sympathize with him?”

“He loves them,” she countered. “That much is clear. Why would he make such a treacherous journey if he did not truly love them? Let’s at least hear him out before you cast judgment.”

The smirk on his lips spread before running a hand through his queen’s fiery, red locks. “Boy…” he commanded. “Step forward. You may speak. You have my wife to thank.”

Yuuta was confused. Why would the queen of the underworld be so eager to hear his pleas after being so callous to him? Swallowing hard, he looked up at their thrones.

“Why?” he asked, quietly.

She was quiet for a moment, glancing away before returning her attention to him.

“Once upon a time,” she whispered, beginning a tale that sounded oddly familiar to Yuuta. A young goddess had grown weary of the life she was promised by her mother. She was to remain pure, untouched by any man or celestial being, and bring forth the spring each year. Everything had been so carefully calculated for her - the young goddess had no control, no say in her happiness… her own life.

The young goddess enjoyed her time away from her mother. And one day was seduced by words and promises to pull her away from the life that had been so carefully laid out for her. Quickly, she had agreed, disappearing into the darkness with a god, who promised her riches and a title no one could rival.

“And haven’t I showered you with more love and gifts than you could want?” Sukuna asked, his eyes fixated on his queen.

Yuuta was right.

This was her story…

She remained unmoved, staring at Yuuta. “She was seduced into darkness too soon. Perhaps, it’s too soon for your lover as well.”

Sighing, Sukuna stood up. “Speak.”

His body tensed, as the energy in the room shifted. “They-they were murdered,” Yuuta explained. “Taken before their time. The fates would never wish a fate so ill on any mortal. A monster slayed them…”

“A monster?”

“A centaur…”

Aruna’s gaze softened. “It pursued them?”

“And when they refused - it murdered them… I found their body… massacred.”

“Sukuna-”

His hand rose to silence his queen before staring at Yuuta once again. “You are correct the fates would not allow a mortal to die in such a fashion by such a creature,” he explained. “But, taking a soul back from the underworld is no easy task.”

Shaking his head, Yuuta shifted his weight from one foot to the other. “I’ll do anything.”

“I’ll allow you to lead their soul back,” Sukuna explained. “Under one condition.”

“Anything!”

“You may not look upon them once you begin your journey until they step out of the shadows and escape to the outside world,” he explained. “If you do… their soul is mine for eternity.”

“Sukuna-”

“Silence Aruna.”

Aruna sighed before looking away from him.

Sukuna returned his attention to Yuuta. “Do you understand?”

“…yes.”

Snapping his fingers, a figure appeared in front of Yuuta. His eyes widened before rushing toward you, encircling his arms around your body. Confusion washed over your expression, wondering just how you arrived here or why Yuuta was even here.

“Yuuta?”

His heart swelled at the sound of your voice saying his name in such a tender way before his grip on you tightened. “I’ve…I’ve come to take you home,” he whispered into your ear.

“Home…”

“Just remember our deal,” Sukuna interrupted.

“Of course,” Yuuta replied before turning away from you.

You were confused again as Yuuta refused to look at you again. “But Yuuta?”

“I’ll explain when we get out of here,” he assured you as he began walking away and motioning you to follow. Quickly, you followed trying to match the pace of his footsteps.

A sigh fell from his lips. Your footsteps… a reminder that you were still there. As long as he could make out your footsteps, he knew he could complete this challenge.

But the god of death wouldn’t give in so easily… Whispers of the dead began to fill the tunnel as Yuuta continued his long journey back with his lover in tow. He blinked, before shaking his head lightly. The whispers were becoming louder - harder to ignore. His lips fell into a frown.

“Yuuta…”

There it was. Your voice. Relief washed over him immediately.

“I’m right behind you Yuuta,” you continued.

“I know. I know.”

He strained his ears to listen to your soft footsteps, counting each one. One and two. One and two.

Are you sure they’re there?

Frozen, Yuuta stopped in his tracks.

He lied to you. He would never let anyone go.

The taunts were growing louder. Rubbing his head, Yuuta forced himself to keep going. Doubt began to fill his mind. Was she there?

“Yuuta,” you said again. “I’m right behind you.”

His steps faltered for a moment before a sense of relief washed over him again. Your voice managed to soothe the nagging sting s of doubt clouding his mind. You were there. Your steps were there. One and two. One and two.

Bright light flooded the tunnel, blinding Yuuta as he shielded his face with his forearm until his sight adjusted. The exit. Was it the exit? He took off in a sprint, knowing this hell was finally over.

“Yuuta! We did it!”

Your cheers were like music to him as the warm sunlight hit his pale face. A sigh fell from his lips before excitement filled his body. Quickly, he turned around to greet you. But what he hadn’t realized…

You hadn’t stepped out of the shadows yet.

“Yuuta… no.”

The light in your eyes before your body collapsed.

“No!”

Rushing to your lifeless body, Yuuta cradled you close to his chest. How could he have been so stupid? Tears flowed freely from his eyes before his body shook in remorse. How could he have done this to you?

He was so close.

And with that, the years passed. His body grew weary and tired. But not once did he forget about you. He embraced the idea of death, knowing you would be there to greet him one day and you could live out the dreams you once had planned for yourselves.

“Yuuta?”

His eyes widened before realizing he was standing in a beautiful garden, surrounded by flowers and trees. The blue sky above him was so peaceful that he couldn’t help but smile. He raised his hands, realizing his body was no longer frail, but young and strong again. Was this what death was truly like? What a magical place this was…

He heard his name again.

But the voice that spoke his name so gently, it couldn’t be…

Your name fell from his lips as he looked to see you standing with your arms outstretched wide.

“I’ve been waiting for you…”

He rushed toward you, embracing you tightly as a giggle bubbled from you.

“Welcome home…”

i can wait for you at the bottom

i can stay away if you want me to

i can wait for years if i gotta

heaven knows i ain't getting over you

[quoththeowl31]

Tea Time

(Post-Manor AU)

Melly Plinius poured honey into her favorite tea, orange blossom, ignoring the look of ire directed at her from Martha Bahamfil. The latter had yet to touch her own cup that Melly had generously offered when she had stormed onto the Plinius estate, upset and irritated.

"Your tea is getting cold. Would you like some honey? It's from my personal apiary."

"Why did you tell Mr. Campbell Alice was leaving?" Martha demanded. No longer wearing her veil or mask, Martha could clearly see the raised eyebrow on her host's face.

"Ah so that's what this is about." Mell sipped her tea, once again offering the jar of honey. Martha reluctantly accepted it, making an obvious eye roll.

"Of course that's what this is about. What else would it be about?"

Melly hummed.

"It wasn't obvious, you stomped onto my property demanding a word with me. No polite greeting and no "how are you." She took another sip of tea. "To answer your question though, it was a mistake on my part. I let slip that Miss DeRoss was leaving. He started moping around my estate for a few days; it disrupted my own work and brought down the mood, so I let him know she didn't leave yet and let him know where to find her. He left that afternoon for the next train to London." If Melly were being honest with herself, even with the limp, she had never seen someone move as fast as he did to catch the train. She was worried that he'd injure himself again just by running.

Martha still looked irritated though, now she had to try and help forge a new identity for him too for the boat to America. And the scar was not going to make it easy; sure make-up would helpful but only from a distance. Him sticking with Alice was a huge risk to her safety; the people behind the Manor games, they were many and they were powerful. They were going to be looking for all of them, Alice especially.

"He's going to compromise her safety. He's too identifiable; our goal is to cover our tracks before They find us." Martha retorted, angrily taking a sip of her tea.

"I believe that's where you're wrong," Melly leaned forward resting her chin on her hands. "Mr. Campbell may be someone who could provide an extra layer of cover. He's cautious and observant; when we were in that game, his quick thinking threw Orpheus off."

"He punched you in the face." Martha retorted.

"Only because Orpheus was watching from a distance. We had to do what we could to survive him. We needed him to believe we weren't working together."

"But he's...he's greedy and rude and what if he hurts her?"

Melly smiled a warm smile.

"You care very deeply for Alice." Martha looked down at her cold tea, reminiscing on their shared past.

"Of course I do. She's been through hell and back. She's the one who gave me the courage to choose my own path and I don't want her to lose any potential for a happier life."

"I think she'll be ok," Melly offered Martha a refill of tea. "Besides, any man who gives off that much of a puppy-dog look at the thought of never seeing someone again is going to follow that person to the ends of the Earth."

They sat in silence for awhile, Martha taking it all in.

"So what are you going to do?" She asked. Melly leaned back.

"I think maybe it's time to take my studies to a few new places for awhile. I'm thinking maybe the Amazon or Africa."

[cantsayidont]

KAOS (2024): Oddball black comedy revisionist fantasy, tonally reminiscent of the AMC PREACHER adaptation (albeit minus the gore), about the Greek gods ruling over an alternate modern-day version of the Greek isles. It's narrated by Prometheus (Stephen Dillane), still chained to a rock with an eagle picking at his liver, as the flaky, mercurial Zeus (Jeff Goldblum) becomes increasingly paranoid about a mysterious prophecy that seems to foretell the downfall of the gods, and mortal Eurydice (Aurora Perrineau), who's the unhappy wife of clingy rock star Orpheus (Killian Scott) and somehow tied to that same prophecy, becomes part of a strange situation in the Underworld after being hit by a car.

Goldblum is a hoot, Janet McTeer is amusing as Hera, Perrineau and Nabhaan Rizwan (as Dionysus) are cute, and the show is certainly interesting and strange enough to hold your attention. However, it's weirdly derivative (the depiction of the Underworld borrows unapologetically from Powell and Pressberger's A MATTER OF LIFE AND DEATH and from LOGAN'S RUN, of all things); it lacks any real emotional throughline; its actual plot is both trite and shrill; it keeps finding new ways to be off-putting (if you watch the first episode, be warned that something bad happens to that kitten!); and by the end, I was just not having fun anymore. I don't find ancient Greek myth terribly interesting, so I'm a hard sell for this kind of smug Tumblr fandom-style revisionism, and creator Charlie Covell approaches it with the attitude of a teenage classics student who considers John Lennon's "Imagine" the height of philosophical insight. Blecch.

CONTAINS LESBIANS? It has some gay guys, the shade of a straight trans man betrayed and murdered by his Amazon community (did I mention this show is frequently off-putting?), and Hera taking Zeus's form to entrap one of his mortal lovers, but no wlw to speak of. VERDICT: You won't be bored, but you probably won't be satisfied either. Also, something bad happens to the kitten, which I find hard to forgive.

[turbulentscrawl]

I still don't have power and miss playing idv, so here's some of my favorite gameplay moments that I've been reminiscing about:

-The mercenary who saved me from Hunter Orpheus by breakdancing in a doorway.

-the Fool's Gold in duos who let me go THREE times when I was playing survivor. Literally even walked away from me while I was opening the gate alone. Did I seduce them with my graffiti skills, or were they a fellow Luchino simp? The world may never know.

-the Fool's Gold in duos who walked the last survivor to the chair with my Disciple. It was like a cute little date 🥰 he caught the survivor when they wiggled out of my clutches on the long strole, too. So romantic.

-the Jack who was like, really good. I rescued three times as coordinator that match and was the last one standing. After the 3rd chair took off, I just stopped kiting and gave an applause emote. He took a bow in return, and then rocked my shit.

-the very first Postman I ever played with, who abandoned the open gate to run across the map and save me while the hunter was chair camping. We argued through quick messages the whole time his yellow silhouette rushed to me. "The hunter has detention!"-"stay put, I'm coming!"- "don't rescue me!"-"stay put, I'm coming!"-"don't rescue me!"-"stay put, I'm coming!" You turned our win into a tie, but it was very cute and I just can't be mad.

[raayllum]

tdp and mythic inspiration electric boogaloo

The Ancient Egyptian and Greek myth edition, brought to you by a lifelong interest in researching Greek myth, the wonders of the internet, and one of my best friends who almost majored in Classics / had a very long Egyptian mythology phase and verified my leanings (and offered up some new ones). 

Previous myth metas:

The Fall of Lux Aurea as the Siege of Troy

Rayllum as Orpheus and Eurydice 

Deceptive Gift Giving In Greek Mythology and TDP

Aaravos’ Mythic Associations (re: Lucifer and Prometheus) 

General thoughts under mythology tag for those interested

Bonus meta about the dark magic sigil being based off Hermes’ caduceus here written by @kradogsrats​ (and also talks a little bit about Thoth / some of what the above metas touched on as well). With all this out of the way, let’s get into it. 

The Trio + Aaravos

Now I have talked briefly about this before as the parallels were actually brought to my attention by another user, @corcracrow in an ask and following meta here. I’d suggest reading that first as we’ll be covering similar territory here but also building upon the parallels between Callum, Aaravos, and Rayla with Thoth, Osiris, and Ma’at in more detail as well as discussing some other deity similarities (Isis, Ra, and Ezran at the behest of my friend). 

AARAVOS AND OSIRIS 

Even before S4 came out I’d associated Aaravos with Osiris due to the shared duality in their natures, with Osiris being a god of many things, including but not limited to fertility, the embodiment of the dead, resurrected king as well as a general god of the underworld, sometimes known as “The Lord of Silence.” My myth loving friend who also has Aaravos as their favourite TDP character, also heartily agreed that Aaravos-Osiris is where they would place our starry elf when it came to similarities in the Egyptian mythic tradition. 

One of the most famous, if not the most famous, myths concerning Osiris is his death and resurrection. He is chopped into pieces after being betrayed by his brother, Set, and his sister-wife, Isis, has to piece him back together. (Being chopped into pieces is also a commonality for his usurper, Set, as well as for the Grecian primordial deity of Space, Uranus, and his son, the Titan of Time, Kronos. Somebody needs to start taking away sickles.)

This connection is also inspired by depictions of Thoth (Callum) presenting Osiris (Aaravos) a Key of Life vaguely reminiscent of his 4x04 intro pose, but more on the Key of Life / Aaravos later.

CALLUM AS THOTH

So why Callum as Thoth? Well, Thoth was the Egyptian god of scribes, magic, master of knowledge, and known as the Divine Author of All Books. This fits not only with Callum’s key characters being linked to his curiosity and cleverness, and the infamous “Destiny is a book you write yourself” (which was also the promo quote for the series before S1 released) but also fits the other gods my recommended I look into / confirmed my suspicions about. Thoth often helps Isis (Ezran) in resurrecting Osiris and is married to Ma’at (Rayla) but more on that later as well. 

Last but not least, Thoth’s Egyptian name was Djehuty, which means “He who is like the Ibis.”

He often provides counsel to others and indeed gambled with the Moon to earn the extra five days of the calendar, resulting in the birth of Nut’s many children, and the year having a full 365 days. We can see holdovers in this in terms of Callum’s cleverness, ability to plan, and the way he is often unafraid to take even momentous risks. 

RAYLA AS MA’AT

Ma’at had a double meaning to the Egyptians, referring to both a goddess who personified many concepts, and the concepts of Truth, Justice, Morality, and Balance. Good Pharaohs were ones who upheld ma’at in their royal proceedings and decisions. We can see tenets of this in both modern day ideas of Lady Liberty / Justice and of in-universe Lady Justice that Harrow speaks of in S2. Ma’at is also traditionally Thoth’s wife and shares a similar to connection to Ra that Thoth does, but we’ll talk more about that when we get to Ezran. 

However, the main reason I aligned Rayla with Ma’at is, along with her conceptual associations, Ma’at was involved in the Afterlife’s most important ceremony: the weighing the newly dead mortal’s heart against her Feather of Truth. Which, while Phoe-Phoe’s feather is initially bound to Ezran, it is intrinsically linked to Rayla in all other instances. 

Truthfulness, justice, and morality are also by and large the concepts that define her arc and her various struggles over the past four seasons, so the fact that out of all gods and goddesses, Ma’at also shares a kinship with Ra (Ezran) and wifehood to Thoth was just a perfect cherry on top and honestly, probably the most fun sheer coincidence of it all, if I had to guess. 

Ezran as Ra and Isis

So originally I wasn’t thinking too much of Ez having a counterpart due to the fact I’m only passably familiar with Egyptian myth / I always like to make sure my tracing is strong and I’m not stretching things beyond measure. Then my friend recommended I take a look at Isis and Ra for Ezran, so here they are. Isis was definitely not my first thought since she is primarily a mother-wife goddess and associated more with the female adjacent spectrum of divinity; however, my friend pointed out the importance of Isis as a symbol of the throne, which she also wears on her head, as well as her place as a magical healer and magician next to Thoth.

This would be particularly worthwhile, if, as speculated, Ezran plays a role in reviving Runaan in particular out of the coin due to the binding the assassin still wears for his long living target.

This fits Ezran’s ascension to kingship most clearly, as it is his most significant role, as well as his attempts to heal the world from the throne itself, and themes of rebirth in his arc as king; cast out to the underworld (prison) only to reclaim it even without a crown, as Isis is not just a helper to the king, but a Goddess of Kingship. Additionally, Isis often seeks counsel from Thoth, the same way that Ezran leads on Callum, and Ezran’s connection with animals has been widely speculated to fit into something magically in-universe, although we are still waiting on confirmation. 

Then you have Ezran as Ra, which also solidifies the Callum-Ezran-Rayla trio as a neat little parallel to Thoth-Ra-Isis. As the god of the sun, Ra was one of the most important and widespread Egyptian gods, Ra ruled in all parts of the created world: the sky, the earth, and the underworld. He was the god of the sun, order, kings, and the sky, and also most heavily associated with rebirth. He would go to the Underworld for the duration of night (thus causing night time) for twelve hours on a boat, with Ma’at at the front of his solar barque, and Thoth also at his side. (It is also a fun, tiny connection of Ez’s best friend, Bait, being connected to the Sun primal.)

But I think that’s probably enough conspiracy string wrangling for now in terms of assigning roles and similarities between characters. Now I want to get to the real heart of the meta which is something I’ve thought for a while now (I want to say shortly post S3, but honestly could have been any time during the very long hiatus) which is to say

The Ankh

the Star arcanum symbol has always reminded me of the Ankh. A symbol of Eternal Life, the Ankh is one of the oldest icons in the world, representing Eternal Life and the first known Cross symbol, believed to have eventually turned into the Christian cross symbol over time and due to simplification. Known as the Key of Life, the Ankh is associated with many Egyptian deities including ones we have mentioned above as a symbol of power and creation, and is the Key of Life is what is being presented by Thoth to Osiris in the artwork pictured above. 

However, wait: there’s more.

The Ankh is associated the Nile, the largest and most important body of water in Ancient Egyptian mythos. It can also be associated with air and the very common idea of Breath of Life when it comes to creation and revival, particularly of pharaohs upon death (which would fit with Aaravos promising to revive Viren, a dead king, after mummifying / preserving his body for two years). Now, this makes sense, as breath and water are crucial for well, being alive, particularly in a culture surrounded by a vast desert. However, the Nile could also have negative implications with destruction and thus had a continual rebirth motif, with boats as crucial mode of transportation both in literal life and to the afterlife. (Which is interesting, don’t you think, considering next season is going to be Book Five: Ocean.)

But wait: THERE’S. MORE. 

The Ankh was also associated and used to refer to mirrors, specifically ones shaped like an oval rather than a perfectly round circle.

Ovular mirrors represented the cycle of life, death, and rebirth, fitting with Osiris. They would be offered to Hathor, the goddess of Love (and beauty / fertility, dance, etc.) as well. “The association of the ankh with the mirror was no chance occurrence. The Egyptians believed that the afterlife was a mirror image of life on earth and mirrors were thought to contain magical properties” (citation). Additionally on top of it all, mirrors were closely associated with divination. 

But wait. There’s still. MORE. Specifically: 

The (Quasar) Diamonds

In ancient Egypt, diamonds were a symbol of courage, power, and truth. They also represented the sun. In Greek and Roman mythology, diamonds were believed to be the tears of the gods or splinters that had broken off from falling stars. For the Romans, they additionally believed as early as the 1st century CE that Cupid’s arrows were diamond-tipped as well. 

The pharaohs placed diamonds as a centrepiece in the ankh. 

All of this to say I am slowly but surely being convinced the Key of Aaravos has a connection to both Aaravos’ mirror prison, but also the Quasar Diamond perhaps taken from his missing Star arcanum symbol that caused him to be a Fallen Star in the first place - that perhaps the key holds the quasar diamond within it as a hiding place in plain sight, and this is why it is needed to unlock his prison. 

Conclusion

I hope you have enjoyed this mythic deep dive, possibly learned something new / was delighted to see something you remember from your myth phase, or at the very least, enjoyed seeing me gradually lose my mind over the duration of this meta. As always, mythic comparisons are fun and can often be fruitful, but are not always perfect matches, even if they can help direct us and definitely help theorize, so I hope you had as much fun as I did. As said I am by no means an expert, particularly with Egyptian mythos, so if I have gotten something wrong or wildly incorrect, please feel free to correct me, or to add your own thoughts if you have discovered another similarity or consideration that is not included here. 

[mrsnancywheeler]

HI ok so its the same anon who wrote that thing about Billy and Muse in regards to Moon Song by Phoebe Bridgers. But like here me out right now; 'Anything' by Adrianne Lenker fully reminds me of Finnick and sweet girl. Specifically Finnick thinking back on certain moments and thinking about how much he just wants to be back next to his Sweet Girl whilst he's in District 13 and she's not. Especially with lines like;

"I dont wanna be the owner of your fantasy, I just wanna be apart of your family."

"I dont wanna talk about anything, I dont wanna talk about anything, I wanna kiss, kiss your eyes again."

"Circle of pine and red oak, circle of moss and fire smoke. [.....] Wanna listen to the sound of you blinking, wanna listen to your hands soothe. Listen to your heart besting, listen to the way you move."

"Weren't we the stars in the heaven? Werent we the salt in the sea?"

Like????

I dont know why it reminds me of them two so much but my god it does and especially given how reminiscent it is of things from the past and stuff. Wishing to experience certain things all over again and be with rhat person and wanting to despite all thats going on.

God im such a music nerd

reading these lyrics I could literally feel finnick aching for his sweet girl to come back to him, not just in the physical sense when the Capitol has her, but even when she's there, but not adjusted back to him yet. like when she's still trying to trust him again and he can't touch her, can't know what's going on inside her head, can't help her the way he longs to. it breaks him apart. it also heavily reminds me of orpheus and eurydice, who are also them, i just love it.

[ashestoroses018]

SEPULCHRAL (Part One: The Katabasis)

When your brother dies of the plague destroying Athens from within, you go on an Odyssey to save his soul from the Underworld.

If you happen to fall in love with the God of the Underworld on the way, well, that can only help your cause, right?

Hades/Reader 18+

There are steps to getting into the Underworld. This you know. The first step being, of course, to find exactly where the entrance to the Underworld is. The entrance to Hades. Orpheus’ story said he followed Hermes to an entrance and sneaked in behind him. You’re sure that Hermes won’t fall for that trick twice, so your next best bet is to follow the sages who worship Hades or Hermes and see if they have any secret insights.

When not questioning or following sages, you’re reading what little you’re able to, watching performers act out The Iliad and The Odyssey. Generally, you’re taking in every bit of information available about the gods. Still, though, you pray every day in hopes that one of the gods will save your brother, so you will not need to defy the Fates. 

Still, though, in quiet moments, you find yourself unable to keep from reminiscing about him. About Alexios. His deep brown curls that you long to ruffle once more. The hazel of his eyes, so expressive and unique. 

One of your favorite memories is of when he accidentally drank from your cup instead of his own. 

“Sister!” he had exclaimed, “How do you drink that? It tastes rotten and bitter!”

“Wine is for grown ups, little Alexios.” You had chuckled, taking your clay mug from him and handing him his own. 

“I never want to be a grown up, if I must drink that!” And so he hadn’t. Perhaps the Fates had touched Alexios with a hint of future sight.

You remember merely laughing in response, telling him how silly an idea it was that he would not grow up, and that he need not drink wine, should he not wish to. What you wouldn’t give for one more chance to laugh with him. To see him.

It takes weeks of harassing the sages to finally get any answers, and all you are told is that you must continue to pray to the gods, for the gods are the only ones who can truly interfere with the Fates. You swear at the sage who tells you this, and he promptly has you removed from the temple. They bar your access from then onwards. 

One day, you find yourself sitting outside the temple, just far enough out of reach that the guards won’t have you forcibly removed. The flowers bloom, despite the desolation of the city. Beauty even in darkness. Reds, greens, yellows, and purples muddy your senses. The blue of the sky is blinding. It should be gray, with storm clouds and incoming rains. A perfect day. Unseemly.

“I feel like I can hear your thoughts,” a voice whispers. You whip your head around to see a little girl, perhaps a year or two older than Alexios. Her eyes are hazy. Blind. Her hair is a tangle of curls, and the clothes she wears are stained. You know not with what.

“My thoughts?”

“Yes. Your sighs are so loud. Perhaps even the gods can hear them. Why are you sighing?

You see no reason to lie. You’re the talk of the town, as it is. “My brother died from the plague. I mean to get him back.”

Instead of the usual response of laughter or a pitiful look, the little girl gets a thoughtful look on her face. “I’ve heard whispers. Perhaps from sages, perhaps from the gods, themselves. I know not.”

The way she speaks belies her years, and it is a jarring experience. “You pray to them, but you’re hiding from them.”

“I’m not hiding,” you say, getting defensive.

“That’s not the truth.” She whispers your name. How does she know your name? You’re immediately on guard. “You’re hiding from the gods’ will. From the will of the Fates. The very notion of getting someone back from the Underworld is one of fear. You’re refusing to accept reality.”

“I’m not afraid.”

“Fine. Then heed my words. I’ve heard whispers…When you lose one sense, like eyesight, sometimes the gods grant you another. If you wish to defy the Fates, to defy the gods, and break into the land where no living mortal should be, I can help you.”

“What do you want in return?” Your voice is barely over a whisper. Hope and fear grip your heart in equal measure.

“Nothing. I give out of the kindness of my heart. Besides, I’m not certain you could make it to the Underworld, anyway, so I’m not defying the Fates.” She pauses, a cute smile coming to her face. Perhaps she would have been friends with Alexios, in another life. Perhaps she will in the future. You voice as much.

“I hope greatly to be friends with your little brother, should you prove successful. Listen carefully, for I will only say it once. You must go to the Nekromanteion on the banks of the River Acheron in Epirus, near Ephyra. It is a temple to Hades and Persephone, and if you pray at the altar, you will find what you seek.”

“Ephyra? That is all the way to the northwest. Would it be faster by boat or by land?”

“I cannot help you with that decision.” She says your name once more. “Please, be cautious. If you make it to the Underworld, there is no telling what you’ll face. Kerberos and the River Styx, at the least.”

You thank her, before walking away. It is only after she is long out of sight that you realize you never caught her name. 

It takes you three days of running errands and doing seamstress work to save up enough for passage on a merchant vessel out of Athens. It costs you nearly the entirety of your earned drachmae, and they warn you that it’s likely you’ll be turned away at Ephyra, due to news of the plague, which is why they offer you passage for only twenty drachmae. 

The ship is a solid vessel, with enough space for cargo in the hold as well as the standard rowers. You are to sleep on the deck. The white sails are emblazoned with Athenian heraldry, and you’re warned that Spartan ships may choose to attack, which is another part of the reason your fee was discounted. With the siege on Athens abandoned due to the plague, Spartan warships are targeting merchants more and more.

The waters do not agree with you, and you find yourself seasick nearly every day. ‘You’ll get your sea legs!’ the sailors had promised you, but you find that they must have been lying. Every morning, you pray to Poseidon for calm waters and clear skies. For the most part, he appears to listen.

One day, there is a bad storm that nearly knocks you overboard. The captain of the ship warns you to hold on to a rope, and that is what you do for the next several hours as you travel through the worst of the storm. Even as raindrops larger than the palm of your hand cascade from the skies, you hold tight to the rope. Your hands burn with the effort, and you pray to Asclepius for quick healing for the rash.

Luckily, it takes only a few days of relatively leisurely travel to get to Ephyra, with no Spartan forces attacking your ship; and you disembark gladly, nearly kissing the ground upon arrival. The city is lively, with many colorful outfits and flowers adorning many windows. You do not take much time to examine your surroundings, far too concerned with your task at hand. Next stop: the Nekromanteion. Local citizens tell you the temple is open to the public, so it is your very first stop. 

The temple looms high and large, nestled in a cave at the crux of the river. Sound seems to simultaneously echo and stop here, and everything feels hallowed in these halls. There are statues and portraits adorning the floors and walls, and a surprising amount of color paints the area. For gods based in the Underworld, Persephone and Hades have a very bright temple. It doesn’t seem dissimilar to Athena’s Parthenon back home.

“What do you seek?” you are asked as soon as you enter. “You can speak with the dead, here.” The voice comes from a bedraggled woman, her back hunched and her gray hair wiry with age. The wrinkles on her face are deep-seated and are so distracting you hardly notice that she is blind. You’ve encountered quite a many blind people, recently. Peculiar.

That said, speaking with the dead would be nice, but finding your brother and saving him will be even better. Why speak with him, when you can hold him and play with him again?

“I seek a katabasis. I was told that this was the place to go.”

The woman turns to you, clearly drawn by the sound of your voice. “I am the Oracle of the Nekromanteion. I can help with that which you seek, but I must warn you: most who attempt katabasis die in the attempt. Whether I will help you stands to be decided.”

“That’s a risk I’m willing to take,” you say. “My brother was only six when Thanatos took him. I mean to take him back.”

She rubs her chin. “Defying the Fates, I see. A cause worthy of Odysseus, himself. I must warn you, little one, I do not see you coming back from this journey, even if I do help you.”

“Do you see my brother coming back, Oracle?”

She hums. “The visions aren’t clear. It is a possibility, I will admit.”

“That’s enough for me. What must I do?”

“You must prove yourself to me before I help you. It is a big risk I take, helping you. The gods can be…fickle, as I am sure you are aware.”

You nod. “How should I prove myself, O Oracle?”

“If you spend ten days and ten nights in prayer to Hades, I will consider helping you.”

Hades is not your patron god, but you’ll pray to him if that’s what it takes. The Oracle leads you to a side room where the sages must sleep. She points you to a simple straw bed and advises you that this is where you may sleep. Meals are clearly shared in this room, judging by the fire for cooking in the center of the floor. 

The first day and night, your prayers amount to naught but variations of ‘please let my brother go’ and ‘I promise I’m not trying to subvert you; I just want my brother back’. Not unsurprisingly, the prayers go unanswered, but you keep at it during all hours of the day, except when it is time to eat or sleep. Your knees ache from kneeling at the statue of Hades and Kerberos, but still you persevere.

Days two and three are spent fasting, as the sages recommend. You don’t feel any different, aside from quite hungry, but supposedly this shows your devotion to the cause, and apparently the Oracle appreciates it. How she would know, considering she’s blind, is beyond you. 

Four, five, and six, are spent in mind-numbing silence, your only thoughts and prayers surrounding a hope for a successful travel to the Underworld. That’s probably too much to ask for, but you find you don’t care. Your knees have long-since become accustomed to the hard stone floor, and the bruising has mostly abated.

On day seven, the Oracle offers to sit with you in prayer, allowing you to inhale of her smoke. It’s a change to the monotony of praying at an altar sixteen hours a day, so you agree.

“Breathe in deeply of the smoke and let it take you. It is an honor and a privilege to breathe of the Oracle’s smoke,” she says. “I only allow this, because I had a vision of the gods. Do not mistake me.”

You nod solemnly, breathing in deeply and holding the smoke within your lungs, as you were taught by a neighbor to consume cannabis. It does not take long for your mind to open beyond that which you have ever experienced before.

“Pray, now, to Hades. Hope that he answers you.” The Oracle’s voice feels distant, yet at the same time, it surrounds you completely. 

“Hades,” you say, though you’re not certain whether you say it out loud or just in your head. “If you can hear me, please free my beloved brother, Alexios.”

A moment later, you hear a calm, soothing voice. It is at once cold and not unfriendly, a bizarre combination. “I cannot defy the Fates, but I can allow you to speak with him.”

“Is that you, O Hades?”

“Yes.” His response is simple, but it leaves you reeling in a way you’re not prepared for. “I will allow you to speak with your brother, in hopes it will bring you peace.”

A moment later, you hear your name in a voice you recognize at once. Tears spring to your eyes. Alexios.

“Can you hear me, Sister?”

“Yes, yes I can, Brother. How are you? Is the Underworld treating you well?”

“It’s cold. I’m scared, but I feel…safe here. This is where I’m meant to be, Sister.”

“No, it’s not Alexios! You are meant to be in Athens, with me! Have you drank of the waters of Lethe?”

“Not yet. They tell me I will soon, and I’ll forget. I don’t want to forget, but they tell me it’s important.”

“Try to hold off as long as possible, Brother. I am coming for you, I swear it!”

“I trust you, Sister. Be safe.” With that, your brother’s voice disappears, and you hear the Oracle cough, though her lungs must be familiar with the smoke by now.

“Are you appeased by what you heard, young one?”

You shake your head in the negative. If anything, you’re more determined to save Alexios than ever before.

With a sigh, the Oracle leads you to an altar at the back of the cave, where the three rivers, Acheron, Pyriphlegethon, and Cocytus are said to meet. You had always heard that Pyriphlegethon was a river of fire, but really, the water just seems warm. How three rivers exist off of one river is beyond you. Guiding you to anoint yourself in the waters of each, she leads you to kneel at the altar in prayer. 

“Offer up that which you hold most dear, and the gates will be open to you. May the Fates be on your side. You have not yet completed your ten days, but I know you saw something in the smoke, as did I.” 

She kneels beside you and closes her eyes in prayer, before she begins chanting in a tongue that you don’t recognize. The tongue of the gods?

There’s nothing you have more valuable to you than your brother, so you place all of your drachmae on the altar. It’s all you have, aside from the clothes on your back. 

You’re not sure how long you’re praying at the altar or what, really, you should be praying for, but you suddenly hear a gasp, before you’re falling through the water.

Somehow, when you break the surface of the river, you’re standing on land. You’re also dry. Colors here are muted, a welcome change from the vibrancy you’ve become used to in the last few weeks. In front of you sits a ferry, upon which stands a hooded figure. 

“Can you pay the toll?” he asks, voice gravelly. 

You shake your head no. You had given all your drachmae as an offering at the temple. 

“Then find your own way!” The man you presume to be Charon shuffles away, rowing his ferry away from you. It seems he didn’t know your status as a living mortal. Interesting.

There is nothing in the tales of the gods that says you can’t just…swim the Styx, so that is exactly what you intend to do. As you begin to step into the water, though, a cave catches your eye. Shrugging, you walk over to it.

The inside of the cave is surprisingly homey, with patchwork quilts and beautiful, hand-painted clay pottery. The walls are painted with glowing colors, a myriad of flowers, birds, and small animals. This is a beloved home.

Sitting on a comfortable looking chair is a rather tall woman, her hair cascading in layers of blue. “How come you to be in my presence, Mortal?”

“I prayed at an altar and found myself here,” you say. Somehow, you find that you cannot lie to this woman, nor hide the truth from her. She must be Styx. Her eyes are a striking blue that matches her hair, and you find that you can’t look away from them, though you want to.

“I see. And what just cause have you to be in the Underworld, child?”

“I’m here to save my brother, Alexios. The Fates were wrong to take him, and I must save him.”

She smiles at you kindly. “Though you cannot lie to me, I appreciate the honesty nonetheless. I sense that you’re not trying to deceive me. I will grant you a boon. Swear by my name that you mean no harm to the Underworld or its denizens, and I will grant you passage across my waters, Mortal.”

“Why would you help me?”

“Why, indeed. Perhaps because you took the time to speak with me, perhaps because I wish to interfere with the Fates whenever I can. Regardless, swear the oath, and I will grant you safe passage. I can’t guarantee your safety beyond my waters, but I can guarantee your safety across them.”

“I swear by the River Styx that I mean no harm to the Underworld or its denizens.”

The smile on her face grows wider at the ease with which you swear the oath. “Come along, then. I’ve a boat you can use.”

She leads you to a small boat not dissimilar to the one Charon was ferrying. Handing you the oars, she whispers a few words over the boat, itself. “Good luck, Mortal,” she says as a farewell, waving you off. 

The boat is a small thing, with room for no more than two people. That’s just fine for you, and you lift the finely crafted oars and prepare to cross the murky waters of the river. You wave back to her and set off. The waters are no kinder to your stomach than the travel from Athens had been, though that feels like a lifetime ago, now; despite only a few hours, at most, having passed. Time seems to move differently here, though, and you get the sense that you were talking to Styx for much longer than you were praying at the altar. 

Though the waters are choppy and you definitely see monsters the size of legends swimming around, Styx keeps her word and no harm comes to you. It takes only half an hour - or what feels like it - for you to cross the river from her cave. Disembarking, you aren’t certain what to do with the boat. It seems to know, though, because as soon as you touch land, the boat sets off of its own volition, back in the direction of the cave, which you can no longer locate. Odd.

Now that you’ve crossed the river, you’ve about come to the extent of your knowledge of the Underworld. You know of Elysium, Tartarus, and Asphodel Meadows, of course, but you know not the layout of the land nor how to get where you need to go. Most likely, Alexios is in the Asphodel Meadows…Hopefully he hasn’t drank of the waters of Lethe, yet. That is your only thought. Your only prayer. 

The fields are filled with beautiful gray-white flowers, and the sky is a complementary hue of gray-blue. There is not a cloud in the sky, nor a sun to be seen, yet you feel calm and warm, as though you’re walking through a field on a beautiful spring day. There is a faint hint of lavender on the air, though you see no lavender plants.

Aimlessly, you wander, hoping you’ll find your way somehow, like you did with Styx. There seem to be no monsters nor people, here, and your sense of direction is completely thrown off by the land. No longer can you see the river, but you feel as though you haven’t been walking long enough to have lost sight of it. As you walk, your inner musings wander once more to Alexios, and you find yourself lost in the memories of your favorite person. 

When Alexios celebrated his sixth year on the mortal plane, you got him a sweetcake and sewed him an Athenian soldier doll. When he saw the doll, he ran to you and hugged you with Herculean force. 

“Sister!” he had cried. “How did you know I wanted a doll? The other boys don’t play with dolls. They say only girls play with dolls.”

“Well,” you had said, “sometimes girls play with dolls, but boys can, too. And what is stronger than a warrior?”

The grin that had covered his face was wider than any smile you had seen before or since. “You’re right! Nothing is stronger than a warrior. Thank you, Sister.”

“Of course, Brother. Happy name day. Six years, now,” you had whispered to yourself, getting wistful. Six years, it had been, since your mother had been with you, caring for you. Six years raising Alexios with the help of your neighbors. Six years of happiness and sorrow. You’d had to grow up so fast. Alexios had had to grow up even faster.

He had said your name, you remember. It was always a rarity he called you by your name, instead of ‘Sister’. “I love you,” he had said. Though the words were never a rarity, the solemnity with which he had said them was. He had said them as though he truly understood the meaning of the words, rather than just repeating what he felt was the proper thing to say.

“I love you, too, Alexios. More than the sun, the stars, or the wind in our lungs.”

Alexios had hugged his doll to his chest, then, before yelling a thank you and running off to play soldiers with his doll. He had deserved to feel like a child, even just for his name day. 

You’re torn from your recollections by the sight of what can only be Kerberos. Though all of the tales have been proven true, so far, you’re especially surprised by the sheer size of him. He must be at least ten feet tall, with each head spanning at least two feet. Currently, he sleeps at what you presume to be the gates of the oft-hinted at Keep of the Dead, but you’re certain with ears as large as his, he’ll hear any attempt you make at sneaking by him. Even so, you’ve not much other choice, so you move towards him, as quietly as you can manage.

You’re successful. For the first few seconds, anyway. Taking a stray step too close to the giant, three-headed mastiff, you get the chance to truly see his serpent’s tail. You don’t get the chance to see if he truly has lion’s claws, but you know he doesn’t have a mane of snakes, for he is immediately running towards you, and you feel that snakes would be hissing in anger. 

There’s no way to outrun the beast, but you try anyway. He catches you in less than fifteen seconds, but you’d like to consider it a good effort, regardless. If this is to be how you die, at least you’re already across the River Styx. That’s one problem resolved!

Kerberos stops just short of you, however. He tilts his three heads inquiringly, and you take the chance to see that, no, he doesn’t have lion’s claws - those would be much too small for a beast of this caliber. His claws are his own. Each appears to be razor-sharp and as thick as your hand is wide. 

Seeing as how he’s not actively attacking you, you take the chance to glance around you. You’ve made it to the gates of the mysterious keep; how you managed to run in the correct direction is beyond you, honestly. Kerberos makes no moves towards you, and you make no moves closer to the gates. Why you’re at an impasse, you’re not certain, but you will not die here today. 

“Good boy, Kerberos.” You hear from behind you. Why do you recognize that voice? It’s itching at the back of your head, but you can’t quite place it. “Heel, boy.”

The giant of a dog’s three tongues loll out as he excitedly bounds to the voice, giving you the opportunity to turn around and see who is speaking. The man before you is very nearly a giant, standing several heads above you. His eyes are red, his hair black, and there is a gentle scar on his lips. He very well may be the most handsome man you’ve ever seen. You’re immediately on guard.

In a less friendly tone of voice, he says your name. “The Oracle warned me you would come, that another god had given her permission to let you through the gates to my domain. She did not say which god, but he and I shall have words, when I find out. As I’m sure you’ve guessed by now, I am Hades, the god of the Underworld, and I must ask: what, exactly, do you think you’re doing here?”

This was not in the plan. Repeat: this was not in the plan. Your heartbeat speeds up; your mouth dries; your palms sweat. “I–” You attempt to speak, only to find that your voice is swallowing your words. Coughing, you try again.

“I am here to save my brother, Alexios!” you exclaim all in one breath, hoping you sound far more courageous than you feel. Though the stories all tell of Hades’ fairness, he is also often portrayed as cold and unfeeling and sometimes quite underhanded. He stole Persephone from her mother, after all!

In response to your words, he just sighs. “Your brother is meant to be here. Nothing you can do can change the will of the Fates.”

“How do you know it is the will of the Fates, that it is Fate? Perhaps, Lord Hades, it is Fate that I should save my brother, and he should go on to become a great sophist or poet or historian!” 

Hades rubs his chin at that. “I’ll admit - that is a new one. I can’t just give your brother’s soul back to you, though.”

“Has he drank of the waters of Lethe?” you ask, defiantly. 

“Not as of yet, no.”

“Then there should be nothing holding me back from bringing him home!”

“There is everything holding you back, Mortal!” His voice has suddenly risen from its previously even tone. You flinch. Seeing this, he takes a breath and speaks more evenly. “Even the gods cannot directly defy the Fates, Mortal. Your tales of us should warn you, no?”

You simply nod in response.

“Good. So you are aware that there is nothing more I can do for you. I’m truly sorry you came all this way, but I hope that you find a peace with your grief.” He goes to turn towards his keep, but you call after him.

“Lord Hades! Please, wait! What of Orpheus and Eurydice?”

He scoffs. “Orpheus with his lyre, who didn’t trust me enough not to turn back and doom his Eurydice? Yes, I remember the fool. One whose love was not strong enough to die for his wife, nor was it strong enough to trust the gods, themselves. Foolish.”

“Orpheus only lost a wife he’d known a short time. Of course his love was not strong enough to die. I would die a thousand times over to save Alexios. I do not need to be with Alexios to be happy. Oftentimes, I’ve thought and realized that his life would be better, were he to be adopted, than it ever was with me. I will gladly trade my soul for his. I would drink of the waters of Lethe and happily stay in the Underworld, if it meant my brother had a chance at a good life.”

Hades beckons you to follow him into the keep. You do. As you walk, he begins to speak again. “You cannot simply trade your soul for your brother’s, no matter how pure your love.”

“Then I will fight for his soul!”

“Hold on, Mortal. I’m thinking.”

That gives you pause, so you immediately clamp your mouth shut. Hades leads you down a maze of walkways, into a giant, dark building. For the first time, you fully take in your surroundings. The Underworld isn’t nearly as dark and horrifying as you initially expected it to be. It’s no earthly world, with its vibrancies, but it has its own unique, muted beauty to it. Even the keep, a dark, sandstone structure, would not be completely out of place in your world. That is an odd thing to think. 

He leads you through several hallways, into what you think must be his office. Sitting down behind the stone desk, he motions for you to sit across from him. The chairs don’t look uncomfortable, the padding a deep yet muted red. Looking down, he shuffles a few scrolls and nearly spills an inkpot, though you catch it for him. He thanks you, before sighing.

“I cannot just give you Alexios’ soul, even if I wanted to. My job is to shepherd souls, not to release them.”

“Is there anything you can do, Lord Hades? I will do anything to save my brother.”

“Anything?”

“Yes.”

Hades’ face screws up in thought, and he is silent for what must have only been a moment but feels like an eternity. “I can offer you a chance, Mortal. Not a promise.”

“Anything!”

“Mortals have no place in the Underworld, you know, and they taint their souls with every second they spend here alive. It’s why so few make it in, much less make it out.”

You hadn’t known that, but you aren’t about to let him know.

He continues. “As such, a fitting trade would be thus: spend one year of your mortal life in the Underworld as my guest; feel the Chthonic magic and learn of the inner workings of my realm. You are to have no contact with the mortal world nor with your brother Alexios in this time.” Though you move to interrupt, he holds up a hand. “For all intents and purposes, you will be dead. Your soul will be corrupted, and you will likely never make it to Elysium on your own deathbed. At the end of the year, if you have fulfilled all of my requirements, I will give Alexios the choice to stay in the Underworld or return to the world of the living. In this time, I will not force him to drink of the waters of Lethe, but should he wish to, he may, and you will have no way of knowing.”

You bite your lip. That is a steep price, indeed. To taint your own soul for a chance at your brother’s future? There is no question. “I agree.”

Hades snaps his fingers, and an attendant - a goat-legged man, a satyr, walks in the room. “Get me Styx. She is needed for a contract.”

In the silence, you speak up. “If you don’t mind my asking, Lord Hades, where is Lady Persephone? In the tale of Orpheus and Eurydice, she was also presiding over the judgment.”

“She spends six months out of the year with me and the other six months on Earth. Currently, she is on Earth. In fact, she only left a few weeks ago.” He shrugs, not seeming particularly bothered by it. Interesting. 

Not even ten minutes later - though, you admit, it may have been longer; time works very, very strangely here - Styx arrives. She graces you with a proud smile. 

“I see you made it to Hades. Congratulations, Little One. I hope you get what you’ve been praying so loudly for. You’re the talk of the gods, you know.”

“Hush, Styx. You’re here for a reason, not to gossip.” Hades’ tone is firm but not unkind.

“Yes, yes, my lord. How can I be of assistance?” You think you catch Styx rolling her eyes at the lord of her realm, which surprises you.

Hades turns to you, the look on his face stony and serious. “Swear by Styx, Mortal. Swear that you will spend a year in the Underworld with no contact with the mortal realm or your dear brother. Swear that at the end of the year, you will give your brother the choice to live or remain here. Swear it, and it shall be done.”

“I swear by Styx. I will spend a year here in the Underworld with…with no contact with the mortal realm or my brother. At the end of the year, I will give Alexios that choice to live or remain here. I so swear.”

“She swore with her whole heart, my Lord. There was not an ounce of dishonesty or malintent. I believe her. I should also tell you that she swore another oath to me: to do no harm to the Underworld or its denizens.”

“Thank you, Styx.” He sighs, turning to you. “I have guest chambers, for rare occasions when other gods come to visit. They’re usually visiting my wife, but regardless. Follow me.”

Somehow, you understand the twisting paths through the keep better this time around, as if your oath magically made you part of this world. That’s silly, though! Oaths couldn’t possibly have that much power, could they?

He leads you to a nondescript room that is larger than your entire shack in Athens was. In the center of the room sits a large gray and white bed. There is a seating area where you presume you’ll take your meals, and an empty bookcase. The walls are a muted gray-blue, and there is a single window that looks out over the fields of asphodel flowers. You don’t think you’ll hate it here, curiously enough.

“Feel free to do whatever you’d like with your room. Believe it or not, there are shops in the city below, and the dead have little need for money. I’d like for you to at least be comfortable while you’re here. At no point should you ever feel like a prisoner. You can leave whenever you like.”

“I will not leave until my brother has the chance at a future,” you say firmly.

For the first time, Hades cracks a smile. It is beautiful. “I believe you.”

“Thank you,” you say simply, smiling back up at him. 

He leaves you to your own devices, then, telling you that should you wish to go to town, you need only feel your intent strongly, and the realm will lead you there. You fully intend to go at some point, but with Hades gone from the room, your exhaustion hits you all at once. You’ve barely slept in seven mortal days and had been miserable for the days leading up to that, on the ship. By the gods, you’ve barely slept since Alexios died. Now that you have a chance to save him, the relief fills your body, and you fall on the bed, falling asleep almost instantly. 

[attheendoftheline]

The uplifting version-

I’ve been trying not to share to much from working on a song, it’s a fantastic read and I want to let you guys discover stuff for yourself. What I can’t not share is this— it a early version of doubt comes in (i don’t think it was ever used) and it’s much more positive and for that it hurts more.

I like how he starts very positive, his faith is strong in Eurydice and the world. But as he presses on the fates force this from him, acting sort of as those intrusive doubtful thoughts they do though other versions.

What also hurts is that it’s very reminiscent of the form of the myth where Orpheus makes it but she doesn’t. He makes it fully into the sunshine and is so overwhelmed by that excitement and relief that he turns to embrace her not knowing she’s yet to step over the threshold. OW.

[unexpectedgeese]

Thinking about ORV epilogue and looking back and Orpheus parallels. Obvs the first instance of this is when they’re stepping off of the train, but that’s not the bit that interests me: it’s what comes after.

Kimcom realizes that their Kim Dokja is an avatar because they’re ‘looking back’ on the past (a.k.a. Reminiscing abt past memories). But then the part most reminiscent of the dive into the underworld comes after that, when they repeat the scenarios, which is ALSO a form of looking back. But this time the tragedy is the wall that they can’t break through, which is different but also the same as every other time. 

It’s like. You can only bring someone back from the dead if you don’t look at them because it’s not real. You have written a story with no reader, you have forced your narrative onto an unwilling participant. The thing you’ve brought back is the parts of them you know, but there’s so much more to a person than that– so if you look too close, they’ll just… dissolve. 

BUT THEN. ORV is written. And the reason it works– the reason KDJ can come back– is because it’s not an attempt to make KDJ come back at all. It’s an attempt to let him choose. It’s not a denial of his sacrifice, but an epilogue. (You can’t rewrite a story, after all). We cannot go back, but we can go forward. It’s an olive branch distilled into the medium he’s most comfortable with, and an attempt to not break the wall, but speak through it.

There’s something about the symmetry of that, ya know? This is the second book a loved one has written about Kim Dokja’s life, but this time, it’s not an attempt to rewrite history. Just to tell it.