#stray gods eros

[amys2885]

[onehopefuldreamer]

Stray Gods Hugs

[vaguely-concerned]

Stray Gods Character Design Thoughts

In order we're going Pan, Apollo, Persephone, Eros, Aphrodite and a little bit of Venus! Disclaimer that I have no professional experience in character design at all, so these are only my vibes-based ramblings and observations purely for fun and because my brain simply won't shut up about this game haha. Also I will freely admit Pan probably gets the most attention in this because of who I am as a person and where my heart truly lies at the end of the day lol

PAN

Ok, first of all I have so many questions and they all delight me. This guy is the god of the wild places ("Where else would I be, but among the trees and the wild things?"), he lives in a magical garden on top of an office building... and he’s walking around everywhere in an expensive three piece tailored suit (when Freddie accuses him of being a sleaze in a cheap suit he protests mildly that his suit is anything but cheap haha). The cut of it is really carefully thought out and planned, but the bold colours under the grey coat and (studied I am sure) careless details like the tie also make it fun and playful. Which is pleasingly coherent with the general theme of his character in the writing too and I adore it. ��

This is not the point, I know, but I’m wondering how he makes that work just like. Practically now. Has Athena fixed up Olympus with in-house laundry service? And other sentences I did not expect to type out today lol. Ah well he’s wily I’m sure he has his ways. 

I can't heap enough praise on it, this design is SUCH an interesting and elegant marriage of the immediately recognizable satyr features and thus animal symbolism with all its added pagan weight in a post-Christianity setting, and the sort of ‘man of wealth and taste’ imagery of the devil at the crossroads they clearly want to evoke, especially in his first scene. And partially through his mannerism there’s also an added element of like… eccentric but surprisingly competent college professor — just look at the way he carries himself whenever he isn’t putting on the charm or when he’s being guarded and self-contained. That little hands resting on his back pose exudes ‘nerd’ so deeply to me haha. (Incredibly fuckable nerd, to be sure, but still!)

you don't fool me buddy I know what you are. I know all the trouble you went to to get a book.

His body language shifts very quickly between wild playful expressiveness and a sort of nonchalant urbane detachment that borders on coldness sometimes, and it fascinates me. Especially since that more refined unavailable side seems to be something he’s deliberately cultivated, to some extent. When Grace calls him out on how boring it sounds to just let yourself go numb and distant to survive, he doesn’t deny that at all, only saying that at least it’s been quite effective. 

Putting the rest under a cut to save people's dashes! I may, as they say, have gotten a tiny bit carried away.

Physically he’s not very imposing — he’s only a little taller than Grace, and the shortest of all of the love interests, which I find somehow very charming and also plays into him being more of a guile-based character. “Seeing as I am neither big nor truly bad, it behooves me to be wary of those who are both” indeed!

I’m fairly sure he’s the character wearing the most layers. Even his hands are mostly covered by gloves. He partially covers up his eyes with the tinted glasses — interesting, as one of the features that most give his real nature away with their sidewise pupils, and the lenses are tinted purple as the complimentary colour to yellow, so it downplays just how bright they are. All together it’s very much a ‘well, he’s certainly got to be in there somewhere’ sort of vibe at times. (Since he also seems to care about his clothes quite a bit — he complains about scuffing his pants during the climb in the Medusa mission if you go the lockpick route — I have drawn the conclusion that getting him out of all of that must take quite a bit of time, no matter how much practice he’s probably put in over the years of meeting 'delicious people' lol) 

It’s a design that manages to give, at the same time: animal-featured ancient god, deal with the devil, teacher, overtones of con man if you’re inclined to be Freddie-levels of uncharitable lol, eccentric rich weird uncle… there’s a lot going on here and somehow it all works haha. He isn’t wearing any jewelry at all unless you count the glasses, which now that I’m looking at the rest of the character designs in this game is actually fairly rare among them!

His eyes really are incredibly bright when uh naked as it were, though. I like the implication that he is aware of this and actually goes out of his way to downplay it, even when he’d normally be wearing glamour anywhere it would strictly matter for it to show. Between that, the meaningful zoom in on him at the Underworld when Apollo says that all the Idols can be themselves there even if they don’t look human, Pan claiming he’s been distrusted and side-eyed by the others basically since the beginning and seeming kind of frustrated and hurt about it, in his deflecting way, and the implication of a hierarchy among the Idols at least under Athena’s leadership in this stained glass painting (notably all the visibly non-human Idols/hangers on are at the bottom, and Hecate, Asterion and especially Medusa are the characters most affected and confined by the oppressive status quo Athena upholds)...

this one! sing it with me now EVERYBODY LEAVES THIS PLACE ALIVEEE ok we can move on

you know, some possible Subtext and Implications going on here, I’d say. (It is only potential subtext and implication, though, so, you know, take my extrapolations here with a grain of salt!) He certainly doesn’t do himself many favors with the persona he’s built up in regards to being trusted and included either, but his status as a little bit of an outsider does seem to precede that so I feel like it’s more of a response than the main cause. Along the same lines he gets much more testy about the Green route of ‘I Can Teach You’ than he does about you just not choosing him in the Red one, he takes that pretty gracefully. So it is the being deliberately kept on the outside and openly distrusted and dismissed that gets to him. (To be clear I don't think openly distrusting a strange guy showing up in your living room like that is at all unreasonable either haha I just think the nuances of his response are enlightening as to where he's really coming from)

this one isn't even to illustrate anything it's just because I love him so much and think he's pretty I'll be real with you all

Anyway I just keep thinking about how incredibly tender it would be if sometimes, when they’re in private, Grace takes his glasses off to see his eyes better and he lets her. That shakes something deep in my soul apparently. That fucks me up but like in a good way.

APOLLO

- Apollo’s style of dress leaves his navel helpfully exposed for the copious amounts of depressed gazing he habitually subjects it to. (I say this not entirely without affection.) 

a crumpled tissue of a man

In keeping with his incredibly emo mode, there’s very little colour involved and he doesn’t take much care to present anything with care (look at the state of that shirt and tell me if Apollo has picked up an iron in the last forty years), BUT interestingly he’s not entirely open and unadorned, he does wear that network of jewelry across his chest and neck. Which I think is to show that the old Apollo is not entirely gone (“There he is, god of the sun”), even if he has been a sack stuffed with sad for a long time now. I wonder how many of these things are leftover preferences from being only Lucas — presumably the tattoos at least are from before he fished Apollo up from the sea? If I’m reading the vibes right on that, the blue of the tattoos and the gold of the sun… thingy he wears with the jewelry are the main splashes of colour in his design aside from his hair, and they’re both ‘leftovers’ from both his previous lives, surfer bro and solar deity recently fallen on hard times. Physically he would be tall and imposing, parodically built, except that he carries himself with all the confidence and panache of a damp depressed dishrag. 

Also I can’t believe this guy is walking around everywhere in sandals. Apollo makes sad flip-flop sounds wherever he goes, including when he steps up during ‘The Trial’. That’s so amazingly pathetic (affectionate). 

We can see from the photo with him and Calliope that he wasn’t always quite this much of a mess. Once, he did his shirt up a whole maybe four buttons and wore something that wasn’t beige!

Intellectually I acknowledge that it's a design meant to provide fanservice, even though I personally could not consider this guy in a sexual or romantic light if you gave me a thousand years to build up to it. (I've said it before but if he's anything to me, he is the incredibly fail father figure continually letting me down in tiny ways I never had.) Godspeed to the Apollo-enjoyers out there, though, Summerfall gave him those abs and that poor little meow meow energy just for you and it's your right to enjoy that

- Pan and Apollo also bring out some really interesting contrasts both as characters and designs when you hold them up against each other:  

Once you scratch the surface a tiny bit Pan clearly has just as much self-loathing as Apollo (“If Athena had taken me up on my offer, the Idols would have been better off” uh. Okay buddy we’re gonna have to process that one together later what do you say), but where Apollo is completely helplessly open in his misery at all times, you need to unbutton Pan at least three layers until you get a honest or straightforward emotion out of him and I think that’s amazingly carried through into their visual designs. It's Good Visual Storytelling Brent   

PERSEPHONE

- I’m fairly sure the colour of Persephone’s suit is supposed to evoke pomegranate seeds. See and judge for yourself I suppose: 

She also has details on her coat that depict foliage and growing plants, but colour-wise they and the rest of the detailing is in the blue-green that symbolizes the Underworld and so death. Her jewelry is gold, which — and I’m about to do some reaching here, I’ll be big enough to own — could play in with Hades being the god of riches as well as of the dead/the underworld. Probably it’s because it works well with the colour scheme, but I’m going to pretend that it’s because even if she didn’t get the throne she did get that motherfucker’s hoard when she killed him <3 Love that for her. Her jewelry is more rose gold than Apollo’s yellow gold, too. Watch me go for even more of a reach: between the necklace and the watch, those round discs of gold remind me of the coins put on the eyes of the dead but like you know repurposed since she doesn't need them to pay the Ferryman. I never promised I'd be reasonable in this did I.  

The short hair works real well for the butch vibe and looks amazing no notes, but I think it’s also a deliberate way to differentiate herself from her younger self — when speaking of Demeter’s death, she says that moment was also the final death of that young her, ‘that girl with the long hair who loved her gardens’. Clearly the Idols do a lot of reinventing themselves over the ages in more and less conscious ways.

She has a tattoo of what looks to be foliage and a skull across her left chest and arm. I really like that idea of her having the testament to both sides of her — goddess of spring, queen of the underworld — directly on her skin, under two layers of clothes that each represent those aspects. The one on her arm looks like stalks of grain tied together to resemble the bones of the hand/forearm, maybe? which is metal as fuck, needless to say. 

She is TALL and scary and the staging always plays that up, Grace tends to look up at her like O.O. I love how sharp she is too. 

Also she is incredibly hot but you don’t need me to tell you that you all have eyes I assume. 

EROS, APHRODITE and VENUS:

- I love literally everything about Eros’ design except his hair. Not even the concept of the haircut and colours or anything, just the way it’s rendered. It looks like one strange flat cap I can’t quite make understandable in three dimensional space as hair in my head lol. Other than that it’s a banging design though, the delicate see-through material over the leather BDSM harness is genius. Choosing this form of sensuality and attractiveness for him to embody -- one that is so deeply queercoded -- also works super well. The warmth and vulnerability of his body language on top of it is *chef's kiss*. just. please define his hair a bit more and it's perfect haha.

- I'm not sure I have that much to say about Aphrodite’s design except that of course she is beauty she is grace etc., it takes a lot of thought to make such a simple design shine and by god did they do it she’s so stunning. Also interesting how her dark blues and greens with cool/silvery details contrast with Venus’ warm reds and pinks and… brass? Idk I don’t really understand jewelry haha. All warmth and soft romanticism, anyway, it looks nice. (Side note but I love Venus’ rose tattoo.) Eros and Venus have much more matching colour schemes and they both bring those islands of warmth standing around Aphrodite in her shimmering ocean coolness. (Which of course is something she has to deliberately put on before going into public these days, and is unselfconsciously glamorous in the way of an old timey Hollywood starlet, as the blue route of 'The Ritual' lampshades)

:') *whisper* everybody...

Venus is wearing pearls, which is pleasing considering her connection to Aphrodite (and the backgrounds of the 'Lost in a Moment' variant of 'The Ritual')! and both of her and Aphrodite's outfits go for a shoulderless look to great effect.

ETA: When the camera is close on Aphrodite you can actually see that she has dark circles under her eyes, only partially covered by the makeup :'( I didn't notice that before I played through 'The Ritual' on a bigger screen today

All in all I just want to acknowledge what a fantastic job the character designers at Summerfall Studios have done! There are some really fresh new takes on these mythological figures here, and it makes so much sense within the world the game presents without resorting to well-worn and tired iconography, I really do admire it greatly.

[cvpidzy]

please note this is a joke about her actions and i do not hate athena<3

[lilradridinghood]

they're cute

[roses-luckride-art]

I'm losing my mind, I'm about to become the change I need to see in the world

[that-ari-blogger]

Win, Lose, Take, Fail (Remember)

Discussion of stories and historical research are very similar practices. A ton of history is source based, and is, in a very real way, media analysis. A historian will look at a text written centuries ago and deduce not only linguistics, but also the themes prevalent in the day-to-day life.

I will eternally be impressed by some of the ideas that people find written between the lines of even the most well known about pieces, and its humbling to know that the stories that we tell in the modern day might be time capsules in their own right.

If you’d indulge me for a moment, I would like to briefly address those future historians who may be reading this: Coral reefs are magical, you guys really missed out on that, sorry.

Anyway, this is a post about She-Ra and the Princesses of Power, so what am I going on about?

Well, there are a few sources in both media analysis and historical reconstruction that are more valuable than an almost objective source. I say almost, because every narrator is biased, and that impacts even what they decide to include. No source is perfect.

So what about a think piece that lays out its biases for your convenience? How about a look directly into the mind of your characters to see what they perceive about the world and what they wish it could be? How interesting would that be?

This intro is getting a bit long.

Let me explain.

SPOILERS AHEAD (She-Ra and the Princesses of Power, Stray Gods: The Role Playing Musical)

My analysis of this episode can be summed up in one sentence. Catra’s worldview and desires are fundamentally opposed to her reality, and so when she forces the real world to fit it, things fall apart.

This is nice and all, but it fails to take into account the nuance of her perspective, and the fallacies inherent in this desire. But its also important to understand that this is where Catra’s redemption arc fails, or… where this redemption arc fails.

In my eyes, Catra has two main redemption arcs, one that stops in this episode, and one that starts up at the start of the next season. If you want to be granular, she has about a hundred different attempts, but that’s needlessly specific and way to close to exactly what I do on this blog for comfort.

But I think its easier for the purposes of analysis to divide Catra’s journey in two and discuss why the first fails and what the second would have to do to succeed.

Starting with something that threw me for a while. Catra isn’t conscious of this different world, at least not until the end of the episode. Which is a brutal trauma response. Catra doesn’t want to succeed in the life that gets better, she doesn’t care for healing, she wants to forget. Catra will burn the world down to keep a blindfold on and leave her memories behind. Blissful ignorance.

Let’s talk about Stray Gods: The Role Playing Musical.

Stray Gods is a Greek mythology, murder mystery, musical, video game, and conveniently, I have a series about it on this blog. (Link)

A slight quirk of Stray Gods is that the online argument I have seen about it has mostly focused on picking the second best song in the set list, because the most powerful is so obvious its almost funny.

Read my analysis of The Ritual for more information, but briefly, Aphrodite is a trauma survivor who repeatedly subjects herself to a form of amnesia in order to forget the horror she has experienced. Ring any bells?

Instead of trying to get better, Aphrodite slaps a band aid on the wound and tries to ignore it. This might help her eventually, but it directly harms those closest to her.

“Mother, I’ve stood by your side, now I no longer see, the purpose of love, when it tears at the centre of me. My arrows are rusty, forget the bow, and I won’t be begging you not to go, but when you’re away, you leave us a broken home, and you leave me alone. Lost in a moment, lost in a song.”

That was Eros singing. Cupid, the one with the arrows of love. This is someone who’s life has been wrecked by his mother’s trauma. Not in the same way as Catra lashing out at Adora, but with similar effects.

Both characters have tried to apply a quick and easy solution to a more difficult to solve problem, and the side effects of that are what perpetuate this cycle of trauma.

Hey, look at that, it’s the theme of cycles again. It’s almost as if I have a point here.

I could go on for hours about this one song, and I have, three times on this blog for a start, but I know I’ve annoyed people in my life with this obsession. But, I want this post to be vaguely on time, so I have to move on.

Before I do, though, the trauma in the idols (gods but fancier) of this story has a little quirk in its realisation that matches with Catra, linguistics of trust.

None of the idols in this musical use the word “friend” at all. Well, that’s not true, Pan says it once in a mocking way, but nobody uses in earnest. This exhibits itself more noticeably in The Ritual, where Aphrodite specifically says the following:

“He struck a deal with our enemy’s enemy.”

These characters can only conceptualise the world in terms of give and take, and of relationships in terms of allies or enemies.

Catra, meanwhile, can’t conceptualise the world in anything other than win, lose, take, and fail. Her ability to trust has been eroded so much that she will destroy the world to obtain something that has been attributed value for her.

That’s why she willingly forgets things, and its why her revelation is heartbreaking. Catra thinks the only way she can trust again is if she loses the memory of betrayal, but that’s not exactly how it works.

The moment in which Shadow Weaver is nice to Catra is a demonstration of why I don’t think genre exists. This is a comedic moment, right? It’s got the build-up, you think it’s going one way, then it undercuts itself with the unexpected. So why is it so devoid of humour?

Because the reaction of everyone in this, including the audience, is one of fear, and serves to validate the fact that Shadow Weaver is abusive. Even if someone is being kind in the moment, if you automatically flinch in their presence, there is a history there that you can’t escape from.

Catra doesn’t know why she is scared of Shadow Weaver here, she can only remember the good times, but the PTSD from her mother figure’s actions runs deeper than surface memory. It’s a wound that still hurts, even if you look away from it or cover it up.

This is actually why things keep breaking in this reality. The whole thing is based off people ignoring specific details. It’s centred on complacency, but it doesn’t understand its characters.

Which is where the hamartia and all of those complicated terms come in. Essentially, Catra wants to keep Adora with her, but part of Adora is the strengths and flaws that lead to her leaving Catra.

Adora is fundamentally kind, but she’s also an incredibly quick thinker. This doesn’t always lead her to the most reasonable solutions, but it means she can almost immediately recognise that things are wrong. In this case, the fact that people keep saying everything is perfect, and nobody says that this much unless they are hiding something. So, Adora looks inwards, and notices holes in her memory, glimpsing beyond and getting those flashes.

The world reacts in a similar way, things exist contrary to their nature, and collapse in on themselves. This world is a paradox, the story has turned cannibalistic and is eating itself alive. It can’t be supported by the fallacies that hold it together.

Those fallacies in question, are Catra’s desires, and now I get to talk about how the first arc ended up here. Because we can all agree, if a character’s developmental trajectory ends up with them willingly destroying the world out of spite, things haven’t gone so well.

Catra has been trying to achieve her own autonomy from the trauma and abuse that coloured her upbringing and guided her actions in the Horde. But she hasn’t been confronting how this has actually affected her biases. The band aid solution comes back, but here it takes the form of those four words. Win, lose, take, fail.

“I won’t let you win. I’d rather see the whole world end than let that happen.”

Things can only be one of these four things, everything is exclusionary. Catra either loses or wins, she either takes or is taken from. She can’t fail or bad things will happen.

But let me let you in on a secret. I don’t know why I’m talking directly to a fictional character here, but oh well. Life is about the moment, rather than the value you put on it. You don’t have to take, you can share, or be given. You don’t have to fear failure, because there are people in your life who care about you no matter what.

Also, this is entirely my opinion speaking, but I think I’m right here. You’re in a war story, there are no winners or losers in war. There are just survivors, profiteers, and poets.

Back to the line above, in searching through the transcript, I found that the word “won’t” is used thrice in this episode. It’s a word of commitment and resolution. It’s not vague, or noncommittal, it’s a promise, and it's used in the above line, but also earlier on, once by Scorpia, and once by Adora.

“If you get us out of this, I promise I won’t hate you. I will just dislike you a reasonable amount.” “I won’t leave you behind again.”

Characters resolving to be better. Scorpia deciding to improve upon a relationship, and Adora making it abundantly clear that she has no intention of repeating her mistake.

But Catra is falling back, she won’t lose, she can’t fail, att least in her mind. And its that promise that destroys the world that she wants. Catra wants happiness, but its her own need for the four words above that break it. Catra is self-destructive, not necessarily in a direct way, but in a sense that she is sabotaging her own happiness.

So, what would a redemption arc for Catra have to look like?

Well, she would have to learn to shift up her values a lot. She would have to be in a place where she can accept friendship in a controlled environment. Maybe just a friend who is willing to offer a hand of kindness.

She might also need a way to let out her emotions in a healthy way. Maybe a declaration of love, but that would be a little too on the nose for this story’s patterns. So I’m picturing a creature with some kind of emotional connection to her. Maybe it changes colour or something.

Also, Shadow Weaver needs to exit the story permanently. I don’t think she needs to die, I don’t believe in retributive justice, but she needs to be banished in some capacity. Shadow Weaver needs to go.

Now, I know how much of what I have said will come true, and if you have seen this show to the end, you probably do as well. But if you haven’t, leave your thoughts in the replies. How do you see a redemption arc for Catra working?

Ok, before I go, I need to discuss Madam Razz, because there is so much going on in her scenes.

Starting with, why is she here?

I don’t actually know the answer to that, and its one of my problems with the episode. She’s there because Adora needed a mentour and because the episode needed some levity, but why is she there in story?

“It’s been such a long time since we last saw each other, hasn’t it? That or it hasn’t happened yet. I always get those two things mixed up.”

You wanna say that again? Time is funky in this world, I guess So maybe she’s being generic?

“Because this has all happened before! I remember it like it was yesterday. For Madame Razz, it was yesterday.”

Nope, Razz is just displaced from time. That’s fun, but there is more to this line.

Madam Razz is a phenomenally well written character, purely because of the masterclass of tone. At no point is Razz either serious or humorous, she is both always. Razz is approachable morality, a la Philosophy Tube, but I’m sorry @theabigailthorn, you ain’t got nothing on Razz.

In one interaction, Razz explains the thesis of the entire show. That abuse and trauma are cycles, and that the only way to stop them is by confronting the trauma itself. Start at the beginning.

She-Ra and the Princesses of Power has some of the best single lines ever written for television, and Madam Razz gets them all.

There is one moment in the finale of the series that is a perfect example of what I mean. I’m avoiding spoilers for too far ahead, but if you know, you know.

Final Thoughts

This episode is such a well-made examination of Catra’s psychology and her lack of sanity. Catra doesn’t see the world the way it is, and what she wants is incompatible with how she wants it. She needs to work out what she needs and then go from there.

I actually think that this episode does something interesting by making Catra unredeemable. She fails, she had her chance, and she didn’t take it. Her attempt to connect with Adora involves physical abuse. Catra is irredeemable.

But this isn’t the last of the redemption arc, is it? Catra will try again and again, chance after chance, and gradually improve. The failures only serve to make the success hit harder. Catra’s life is a Dark Souls boss, essentially.

I often feel like the people who declare Catra's redemption as unsalvageable haven't got past this season, and don't take into account that she gets better, and I don't fault them for that. No show is for everyone, and what you do or don't find interesting in media says a lot less about you than how you express your like or dislike.

Anyway, next week, I will be examining The Portal and my thoughts on this season as a whole. So, stick around if that interests you.

Previous - Next

[eslypyiris]

The second trailer is here!!!

Do you think we will see Hephaestus reunite with Aphrodite?

[warlock-main]

I can't be the only one that thinks that Aphrodite from Stray Gods gives the best hugs, right? she's got to just by the looks of it she just puts so much emotion into every fucking hug she gives and you can clearly fucking see it in the way she hugs both Eros and Grace, like fuck this, i need to be hugged, i have been deprived of Hugs that actually mean something for so fucking long and i feel like if Aphrodite hugged me i'd just cry my heart out, i'm sure there's going to be people who think i'm implying something but there is zero attraction there for Aphrodite for me, she's absolutely fucking gorgeous, i can get behind that but she really does seem like she'd give the best hugs, rant over, i just had to get that out there

[marshvlovestv]

I can't believe I've played two games in a row that have dating sim elements and plenty of perfectly good romance options, but for some reason the character I pine after the most is a gentle giant who is not actually romanceable and I pout like "Why not, he is so handsome and I love him :(" but then I have to remind myself: He is (potentially) mourning the death of a parent that you (potentially) allowed to happen, he is going through a lot right now, he would probably not be interested in dating you or even anybody at this point.

And then instead I decide to romance some half-human freak of a man because I'm a monsterfucker now apparently.

[pixie-mask]

idk, was bored and thinking about this for a bit.

Oracle can say it, but it Apollo forbids it when she's around him. Orpheus has never said it before cause he didn't know about the word, upon learning it there are many moments where he has it waiting in the wing to release

[flawnle]

Aphrodite my babygirl you don’t deserve this

(Currently replaying the game to get achievements, I picked red as the final choice in her song the first time I played. If you know you know :’) I think it’s the right choice, and I hate picking the other choices)

Lost in a moment, lost in a song hits so fucking hard

[cvpidzy]

meme of the day! i finished the orpheus dlc yesterday and loved it, would recommend

[perahn]

Chapters: 1/1 Fandom: Stray Gods: The Roleplaying Musical (Video Game) Rating: Not Rated Warnings: No Archive Warnings Apply Relationships: Eros (Stray Gods: The Roleplaying Musical)/Psyche (Ancient Greek Religion & Lore) Characters: Eros (Stray Gods: The Roleplaying Musical), Aphrodite (Stray Gods: The Roleplaying Musical), Pan (Stray Gods: The Roleplaying Musical), Grace (Stray Gods: The Roleplaying Musical), Psyche's Sisters (Ancient Greek Religion & Lore) Additional Tags: Romance, mention of past character death, Poetry, Background Pan/Grace, I guess it's technically a songfic, dammit Jim I'm a poet not a songwriter, just don't ask me what it sounds like Summary:

Some time after the Idols went public, Grace and Pan bring someone to meet Eros.

Eros deserved a happy ending.

[that-ari-blogger]

The Ritual Breaks Story

If you hadn't guessed by the two other posts I have made on the song, The Ritual is my favourite song in Stray Gods: The Role Playing Musical. I would go as far as to argue that it is the best song in the musical as well, but that isn't the point of this post.

This post is to gush over why I love the song so much. Specifically, this post will talk about how The Ritual messes with the commonly used story structure, in its placement in the musical, and in the song's actual structure.

Let me explain.

SPOILERS AHEAD

This post will focus on three of the most common story structures, the Monomyth, the Three Act Structure, and the Freytag's Pyramid. But first, I would like to do some contextualisation.

These structures are not rules.

Anyone who tells you that a story "should" or "must" or "can't" do something is talking out of their arse. As such, these structures are to be used as analytical tools, rather than ratings. I am not going to be scoring the song as to how many points on the Hero's Journey it hits, I will be looking at how the musical as a whole uses the monomyth and how it doesn't and to what effect.

That felt like it needed to be said.

The Monomyth, or Hero's Journey, was presented in Joseph Campbell's 1949 book: The Hero With A Thousand Faces and it was, in my opinion, rather unrefined. Or more accurately, overrefined.

What do I mean by this? I mean that Campbell's monomyth was incredibly overdetailed and ridiculously prescriptive as Campbell tried to squint and put every story ever written into the same mould and make judgements about society at the same time.

It also had elements in it that haven't aged well at all. For example, one element that Campbell proposed every story had, was called the "woman as temptress" which is... not just sexist, but also inaccurate. I'm glad the modern monomyth has mostly avoided this.

As such, the monomyth concept is what I will be using, much like other modern interpretations, and either scrapping, or ignoring, certain elements. It is a medicine journey with a few more steps along the road. Ted Ed has a fantastic video on the subject, as does Overly Sarcastic Productions.

In any case, The Ritual, according to this model, fits into the "Trials" section. It's unimportant, and not typically a challenge for a character. This is the start of Empire Strikes Back, when Luke has to get out of the frozen cave. It's tangential.

But The Ritual is what several of the main characters have been leading towards. Eros and Aphrodite and to some extent Apollo have all been gearing up to this moment. You could read this as the result or crisis in their arcs, but I don't think that fits. It's its own moment, but it's its own moment in someone else's story, not Grace's.

The three act structure is the most famous, and is almost synonymous with writing as a whole, but it isn't as ubiquitous as you would think. James Cameron (who wrote The Terminator and Alien) offers this piece of advice:

"I firmly believe in the three act structure. I have just never written one."

The structure boils down to three sections of a story, each culminating in its own climactic event, that build into the third act climax. These don't have to be fast paced, but they are emotional beats. It could be a fight, or a quiet, retrospective moment.

There are then plenty of elements that are usually relegated to a specific act. For example, a villain might have a third-act breakdown, or a hero might discover their magical powers or something in the first act. And the mentour usually dies either in the first or second act climaxes, or quietly at the start of act three.

I would say that The Ritual hits the second act climax, possibly. Because Stray Gods almost intentionally avoids this structure. The closes thing it has to a first act climax is Challenging A Queen, which isn't really a climax, its more of an individual challenge that sets up something later. Similarly, Old Woulds might fit that first act climax, but it also sets up other stuff in later parts. It's deliberately unclear.

But you know what isn't unclear? The structure of The Ritual itself fits firmly into the three act structure, and so do a ton of other songs in the musical, most notably Phantom Pains. I would say the two songs are linked by grief and cycles, but the entirety of the musical is linked with that, so it's not really a unique thread.

The Ritual begins with exposition in the form of those stained glass windows about the war and the idols' place in it. Then it switches to a different location based on a choice you make.

Then there is a lull as Eros (Or whoever you choose if you get to a point where you can choose) begins to speak, before the final act gets decided, and it is here that all the decisions come to fruition. Everything up to the third act is set up, and it all pays off here.

Freytag's Pyramid is a lot less complicated than it sounds, and it is one that you have probably heard of, if not by its actual name.

This is the Freytag's Pyramid. I've heard people call this the five act structure, and I disagree with those people, but I can see where they are coming from. There are five main sections of this, but they aren't acts, they are descriptors.

The Freytag's Pyramid model is a graph. And yes, I am going to bring maths into this. (I can count to 12 and a half, so I assure you I am quite qualified)

The horizontal axis of the graph is time. As the story progresses, usually, you move from left to right on the scale. The vertical axis is tension. The more tense an event is, usually, the further up on the graph it sits.

As you can see in the diagram above, a story tends to progress towards a climax, with tension rising as the story picks up speed, until the story closes, and the stress drops to the denouement, which is just a fancy word for the finale. These lines can be a bit wavy as you see fit, but the general direction is fairly standardised.

So where does The Ritual fit into this?

Trick question, it doesn't. I would argue that The Ritual is its own climax. It should (if we were using this model) fit on the "rising action" section of this. But it doesn't, it's its own thing.

Ok, I've harped on long enough about theoretical stuff. The point I am getting at is that Stray Gods isn't Grace's story. That's a weird way of putting it but let me clarify. Stray Gods is the story of Grace convincing this messed up family to get along and get over their problems.

The Ritual feels like a climax because it is. This song is the climax of a different story that Grace stumbled into and helped change the direction of. It's the climax of a tragedy that Grace managed to avert.

Stray Gods functions like people watching and doesn't fit with the story structures because people watching is exactly what this story is. This is several different stories that have stretched and stretched until they have warped beyond comprehension and lost all meaning.

The stories you watch are trying desperately to stick to these pre-existing patterns, and they aren't working. Stray Gods is a musical about change. You don't fix these people's problems for them, but you convince them to change and to adopt a different story structure. To try things a new way. To try and fix themselves instead of running face first into each obstacle over and over again until either it crumbles, or they do. The Ritual is this concept put succinctly and powerfully.

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[eslypyiris]

It's meme time! (Hazbin Gods AU)

Not in this AU.

I understand the confusion, both in the myths and in Sray Gods Eros is Aphrodite's son. But in this AU it's not gonna be like that. So yeah, keep going with the Huskerdust.

By the way, which version of The Ritual song it's your favorite?

Mine's the Green path with red as final choice.🌿