#that Penelope finally finally was getting to have

[winterscaptain]

all hearts.

Aaron Hotchner x Gender Neutral!Reader a joyful future fic

a/n: sorry it's late! stay tuned for a poll tonight!!

beta'd by @ssaic-jareau, my dearest love and keeper of the ajf keys

words: 3k content advisories: language, intense eye contact, gambling

summary: “life is not always a matter of holding good cards, but sometimes, playing a poor hand well.” — jack london. april 7th, 2012

The hum of the jet is steady, almost soothing. Derek and Emily are curled on opposite ends of the couch, semi-dozing, with Penelope in the middle. Dave has a toothpick and a crossword resting on his chest, sleeping. Spencer is nose-deep in a battered paperback, one knee bouncing.

You and Aaron have claimed the little table, a deck of cards spread out between you, loose change and a couple of granola bars forming the pot. Your legs stretch under the table until your calf brushes against his. Neither of you moves. The contact lingers, warm and familiar.

He deals with precision—five cards, always neatly stacked. It’s so Aaron it makes your chest ache. You pick yours up, fan them slowly. You watch him do the same. 

And grin.

"Aaron," you say, voice pitched low, "you have terrible cards."

His brow arches, amused. "Do I?"

"You do. You get that little furrow when you're bluffing." You point with your pinky. "Right there."

His lips twitch like he might argue, but instead—shockingly—he laughs. A real one. Low and warm, like it bubbles from somewhere deep.

The vibration of it echoes in your chest.

"Three, please," he says, the laugh still in his voice. 

You deal him three new cards and two of your own. 

"Well?" you prompt.

He sighs and lays his cards down.

Garbage. A two of hearts, a seven of spades, jack of diamonds, four of clubs, and a mismatched queen. A statistical disaster.

You cluck your tongue and tear into your winnings—a granola bar he was never going to eat.

Next hand, you speak casually, not even looking up as you deal. "You've been letting me win." It's not a question. 

His silence is louder than denial.

You glance up. "You have." Also not a question.

“I don’t know what you’re talking about.” The reply is smooth, but also wildly untrue. 

“You beat Morgan. Routinely. You outplayed Dave in Denver, but that’s no achievement, and you caught Spencer counting cards last fall.”

“That was blackjack.”

“Still. You’re due for at least one win against me. Statistically speaking.”

He studies you like a profile—layer by layer, careful not to show his hand.

“I like when you win,” he says, soft.

You blink.

“You get this smug little look on your face. It's very cute.”

You bark a laugh, caught off-guard—not by the words, but by the way he says them. Like it’s more than a compliment. Like it’s a confession. His foot nudges yours under the table. The subtle touch startles something in your chest. You nudge back, equal parts challenge and affection.

“Careful, baby. People might start thinking you have a weakness.”

“They’d be right.” His voice is quiet, like a shared secret. He looks at you, the eye contact heavy. “It’s you.”

He starts to shuffle again, gaze pinned to yours. You keep it, trying to stay collected. He’s fighting for the same thing, but he’s a little better at it.  

You lean in, elbows on the table. “I want to beat you for real. Then you’ll see how smug I can actually get.”

His eyebrows lift, the faintest flicker of something fond sparking in his eyes. “That wasn’t your final form?”

“Not even close.” But you think he knows that.

He huffs a quiet laugh, not looking away.

“Well,” he murmurs, “if you want to earn it…” He slides your fifth card across the table like it’s loaded. “You’ll have to catch me when I’m actually trying.”

You lift the corner of one card, smothering a grin. “Game on, Hotchner.”

You fan your hand. Pair of eights, off-suit. Middling.

“Two,” you say.

He replaces them without comment.

You don’t ask if he wants to draw. You already know. You deal two and pause, waiting. He nods, small. You deal another. He checks the corners and drops his two originals. 

“You didn’t even look at your cards.”

“I did," he insists.

“Not really.”

“What does that mean?”

“It means you’re full of shit,” you say sweetly. “And trying to bluff me with hot garbage.”

To your delight, he laughs again.

“I’m right,” you sing, pointing at him.

He flips his hand: a seven, a three, a jack, a five, and a nine. An insult to the game.

“I wasn’t bluffing,” he says. “I was praying.”

You snort. “That’s not even close to playable.”

“I was hoping you’d fold. It worked once.”

You collect the cards and hand them to him with a smack in his waiting palm. “Once, I thought you had a soul.”

Aaron shuffles like he’s done it a thousand times (he has), cuts the deck with one hand (show off), and deals with such controlled precision that if it weren’t so hot, it’d be annoying.

You narrow your eyes. “You still let me win that one.”

Aaron meets your gaze. “What makes you think I let you win?”

“Beyond the statistical improbability of you getting all these bad hands, Derek. JJ. Spencer. They told me. Apparently, you win at least half the time with everyone else, but against me?” You tilt your head. “You’re worse than Rossi.”

“Maybe I just play worse when I’m distracted.”

“Excuse me?” He just looks at you. You pick up your cards. “That better not be flirting. I’m about to wipe the floor with you.”

Aaron leans in, voice low. “No mercy, then?”

“None,” you promise, looking at him from under your lashes. “Full capacity. Let’s see what you’ve got.”

Aaron’s eyes lock on yours. Not playful now—searching.

“None.” he repeats, but it’s not a question.

It’s a challenge.

The table falls into an electric quiet. His knuckles graze yours when he leans in. Neither of you moves. The space between you shrinks and holds.

This time, you watch him transform. 

He’s engaged now. Focused. Body angled forward. Shoulders squared. Not bluffing, not pretending—this is him, fully present. It’s exhilarating.

You draw. He draws. He bets. You raise.

He studies you with a profiler’s eye, dissecting tells you didn’t know you had. You fire back, sharp and teasing.

“You’re reading me like a suspect.”

He smiles. “You’re a worthy opponent.”

You hum, intrigued. “Still letting me win?”

“No.” A beat. “I’m trying. For real.”

Good.

The hand plays fast. You lay down your cards with confidence. “Three sixes.”

“Full house,” he says calmly, laying out his own hand. “Kings over sevens.”

You stare at the cards. At him. At the casual way he re-stacks his hand like he didn’t just mop the floor with you.

“No,” you say.

Aaron raises an eyebrow. “No?”

“No, because you’ve never pulled a full house on me. Not once. Not even close.” You gesture wildly. “That’s—that’s a statistical anomaly.”

He shrugs. “I told you. You wanted me to try.”

“I didn’t say succeed.”

He laughs again—he's in rare form—and reaches over to collect the cards. “Best two out of three?”

You nod. “And when I beat you for real—you’ll see smug.”

“Oh,” Aaron says, shuffling with maddening ease, “I’m counting on it. One-Love."

You deal. The jet hums around you like a metronome.

You flick your cards up. Your stomach lurches.

Ace of hearts. Queen of hearts. Ten of hearts. Three of clubs. Nine of hearts.

Your pulse kicks up. Four to a flush.

Aaron glances up, just once. Cool, casual. But there’s something in the flick of his eyes that makes you wonder if he already knows.

You’re not used to him being this hard to read. This deliberately opaque.

“Draw?”

You tap one card.

He replaces it for you and discards his own. One.

Interesting.

He looks at his replacement, then sets his cards down—face down—for now. His expression remains unreadable.

You slide your fingers along the edge of your card. You’re barely breathing.

You lift it.

Jack of hearts.

Your spine straightens.

You keep your face neutral. Say nothing. Just tip your head and place your bet without ceremony.

Aaron matches, then raises.

Bold move.

You raise him right back.

He watches you. Really watches. You can feel the weight of his eyes tracking every breath, every twitch of your knuckles, every blink.

Then, to your surprise, he calls.

You fan out your cards like you’re laying down a royal decree.

“Flush,” you say coolly, five hearts cascading like a prize. “Ace-high.”

Aaron lays down his hand without a word.

Pair of queens.

You blink.

He had to know he was beat. And he still called you? Was he testing you?

“I didn’t think you had it,” he says softly, almost like he’s impressed. “You didn’t blink.”

“That’s because I didn’t have to bluff.”

“One-One," he says.

You say it softly—“Tiebreaker?”—and his gaze flicks to your mouth before returning to your eyes

He nods. “Tiebreaker.”

You deal again. Calm. Centered.

The hand is good. Two pair—kings and eights. Then you draw.

Eight of diamonds.

Full house.

Aaron’s posture stays composed. But his eyes—his eyes flicker.

You bet. He raises. You raise. He calls.

You lay it out. “Full house. Kings over eights.”

Aaron stares. Then laughs. A real one. “You have got to be kidding me.”

The sound of his laugh coils in your diaphragm, warm and solid.

“Best three out of five?” he asks.

You smile, pulling the pot toward you with a hand. “Only if you really try.”

“Oh, you haven’t even seen smug yet," he murmurs, eyes locked on yours with a look that burns—measured, deliberate, and just shy of a dare.

You match it. “Then let’s play.”

Aaron shuffles like a man with something to prove. You can hear the snap of the cards, precise and steady, the flex of his fingers confident in a way that makes you narrow your eyes.

You’re onto him.

He deals.

You fan your cards. Draw two. 

You glance up at him. His expression hasn’t changed, but there’s something too relaxed in his posture. He’s either bluffing—or he has something dangerous.

Your instincts say bluff, but the goosebumps on your arms say danger.

Still, you lead the bet. One chip scrap.

He matches.

You raise.

He raises back. Instantly.

You narrow your eyes at him. “You’re not suddenly this fortunate.”

He just sips his coffee. Doesn't blink. “Your move.”

There's something there, behind his eyes. Is he that good? You hesitate, your breath catching, then call. “Alright, Hotchner. Let’s see it.”

He watches your face. Something in his expression shifts—admiration, regret, something private. You've lost.

Then he lays his cards down.

Straight. Six through ten. Mixed suits.

You groan, falling back against the seat with a dramatic sigh. “You’re kidding.”

He shrugs, gathering the cards again. “You’ll get another chance.”

“Oh, you can bet on it,” you grumble, half-laughing. "You're just lucky."

"I am, but that has nothing to do with the cards," he says, looking at you significantly. You stuff a smile. "Or maybe I’ve just been holding back longer than you thought.”

You shoot him a narrow look. “Now that’s a bluff.”

He smiles. Shrugs. And deals again. Another tiebreaker.

Each card flies from his hand with the same precision you’ve seen him use to disarm a suspect or slip his badge to local PD. His expression is back to that perfectly calm center—serene, unreadable, completely in control.

You lift your hand.

Queen of clubs. Queen of diamonds. Five of spades. Seven of hearts. Jack of spades.

Another two pair.

You glance at Aaron. He’s studying you this time, not his cards. Like he’s already seen what he needs to and is gauging you instead of the numbers in his hand.

You raise your brow. “Draw?”

He discards two. You match him, tossing the five and seven.

When he deals your replacements, the first card practically sings in your palm—Queen of spades.

Trip queens.

Oh, he’s in trouble.

You keep your reaction locked down, drop your new cards neatly into place, and rest your chin on your knuckles. “Your bet.”

Aaron tosses in two napkin-chip scraps and leans back, casual as anything.

You match. Raise one. He watches. Matches. Raises you back.

Oh, we’re really doing this.

You raise again. He matches. Raises.

The pot is growing. Neither of you are blinking. It’s gone eerily quiet around the table, the low hum of the jet pressing in around you.

You meet his eyes. He doesn’t flinch.

+++

Dave has heard most of the game, his sleep light. He cracks an eyelid, watches Aaron closely—not just his hands, not just the cards, but the man. Every flick of the eyes, every recalibrated breath. There’s history here. Not just between you and Aaron, but in Aaron himself.

Dave remembers Haley. He’s seen Aaron love with caution, with reverence, with a quiet kind of terror.

But this? This is Aaron choosing ease.

You don’t look at him like he might break. You push him. Tease him. Laugh when he bluffs and don’t flinch when he shows his teeth. And Aaron? He lets you.

Dave’s been around long enough to know what it looks like when a man rebuilds himself from ashes. But he also knows the rare, sacred moment when that man chooses softness again. Willingly. Without armor.

You’re not just winning this hand. You’re winning him.

+++

You call.

“Let’s see it, Hotchner.”

He lays down his hand.

Two pair. Jacks and nines.

Your grin breaks before you can help it.

“Trips,” you say, flipping your three queens. “You’re so screwed.”

Aaron exhales through his nose—half a scoff, half a laugh—as he leans back in his chair. “I didn’t see that third queen coming.”

“You never do.”

He smiles. For real. A little teeth, even. “Remind me never to underestimate you.”

You lean in just slightly, stacking your winnings. “Please do. I like winning too much.”

2–3. Best of seven now. The table warmer. The looks longer. You’re toeing the line—and he’s letting you.

He wins the sixth hand.

By the time he deals the third tiebreaker, JJ stirs. Emily cracks an eye.

Derek perks up. He pulls his headphones down around his neck. "You two still going?" 

Emily slides over to the nearest seat with a tired but amused groan. “Did I miss the dramatic reveal?”

“Hotch’s reign of suspiciously convenient losses has ended,” you say dryly. “We’re tied.”

“And I’m not folding this time,” Aaron adds, expression unreadable, but there’s a glint in his eye now that wasn’t there five hands ago. Something fond. Competitive. Engaged.

Penelope, still cross-legged on the couch with a blanket up to her nose, whispers to Spencer, “This is like Christmas.”

You breathe in, center yourself. Aaron fans his cards with one hand. You do the same.

Your heart thumps.

Queen of spades. Queen of diamonds. Five of hearts. Seven of spades. Three of diamonds.

Yes.

You school your face.

Aaron watches you.

He discards one.

You raise your eyebrow.

One? Interesting.

You discard two. The five and the three.

He gives you your replacements.

Queen of clubs. King of hearts.

Trip queens. Again. Not unbeatable, but strong. Solid. The air around the table shifts. Everyone’s watching now. Derek can see your cards. You sit up a little straighter.

Aaron’s eyes flick over you like a scan. “You always sit up when you’ve got a good hand.”

You smirk. “You always talk more when you’re bluffing.”

“And you always bite your lip when you’re holding.” He says it like he’s been cataloging you. (He has.) Like he knows what else you do when you’re trying not to smile.

The team oohs.

Emily leans forward. “Someone get popcorn.”

+++

You don’t see it, not the way Derek does. Not from the outside. You’re locked in, hyperfocused, eyes on Aaron like the cards barely matter. Like the game is just an excuse.

Derek’s seen you like this in the field—assessing, recalibrating, playing your angles—but this? This is different.

Hotch is gone. This is Aaron. And you… you’re the only person he plays like this for. The only one who draws him in close, dares him to let go, makes him try.

It hits him all at once, the shift.

This is foreplay with cards.

Aaron’s usual tells are gone, cleaned up and tucked away. But he’s leaning closer now. Letting himself laugh. Holding your gaze like he’s balancing a confession on the edge of his tongue. And you? You’re grinning like you already know the secret.

Derek’s been trying to figure out what you see in him since your chat. Not Hotch—the leader, the legend—but Aaron, the man. And now he's starting to get it.

It’s in how Aaron watches you. How he folds under your smile. How he reshuffles, recalculates, redraws the line between vulnerability and control just to keep pace with you.

Whatever this is, it’s not just poker. And it sure as hell isn’t casual.

+++

Aaron raises two chips (actual potato chips now). You raise three.

He doesn’t hesitate. He calls. “Let’s see it.”

You fan out your queens like a fan of knives, glittering and lethal. “Three ladies.”

There’s a beat.

Then Aaron lays his cards down, neat and even.

Straight flush. Six through ten. All hearts.

The silence is deafening, but it only lasts a moment. 

JJ gasps. Emily drops her head to the table. Penelope shrieks. Spencer starts calculating the odds out loud. Derek's head tips back in defeat.

And you just… stare at the cards. Then at Aaron. Then back to the cards.

You flop back in your seat with a groan of epic proportions. “That is so unfair. You’ve been sandbagging for years.”

He shrugs modestly. “Statistical anomaly.”

The table loses it. Derek jostles your shoulder and you let him, keeping your eyes on Aaron. His smile is soft, at odds with his brutal, hard-fought victory. 

You can’t even be mad. You’re too busy trying not to laugh.

You sit back up, reach across the table, and flip his cards face-down with a single finger. “Rematch. Next flight.”

“Looking forward to it,” he murmurs.

And you know—he means that in more ways than one.

+++

tagging: @sochalant @duchesschameleon @chronicallybubbly @lostinthefandoms11 @beyscape @derekluvbot @jhiddles03 @soupyamanda @percysley @viennasolace @youngcowisland @reidfile @littlemisskavities @lily43sblog @kiwriteswords @victoiregranger

[goldcleaver]

I'm gonna put my two thirds of a classics degree to work here

When I said Phaidei can be seen as an allegory for Odysseus and Penelope, I meant it

Penelope encounters the returned Odysseus posing as a beggar. From a mural in the Macellum of Pompeii

Spoiler warnings: 3.0, 3.1, 3.2, as well as leaks towards the end.

TL;DR: Mydei is Penelope, Phainon is Odysseus.

Mydei and Penelope

Now, I know it may seem tempting to say that Mydei, being the big, strong, burly man that he is, is a parallel to Odysseus, but he’s actually Penelope! This whole fever dream of a "theory" actually stems from the parallels between Mydei and Penelope, specifically. Phainon was a secondary thought lmao.

Point 1) The theme of buying time

It cannot be understated just how much of Mydei’s core themes center around buying time, not just for others, but also for himself. 

On multiple occasions, he goes to some pretty extreme lengths to do so, namely in 3.0 when he offers up his own immortal body as a means of keeping Nikador occupied in Castrum Kremnos. In that moment, he completely puts his own safety on the back burner – the team needs to hold Nikador off long enough to render them immortal once more, and Mydei has the solution, no matter the personal cost of dying a couple of times. Later, in 3.1, he puts his own personal feelings aside to shoulder the divinity of Strife, despite the fact that he was hesitant to do so in 3.0, simply because it would be for the best. Then, at the end of 3.1, he completely disregards his own wants and fears, and takes the fight to the Black Tide on his own because he is the only one capable of doing so. By sacrificing himself in this manner, he can buy his fellow Chrysos Heirs enough time to usher in the new dawn, and the miracle of Genesis.

But Mydei doesn’t just buy time for others, he also does so for himself. Throughout 3.0 and 3.1, his story leads up to one massive decision: what to do about the Kremnoans. He is torn between claiming the crown – his birthright – and leading his people back to Castrum Kremnos, or leaving them in Okhema. 

However, to the Kremnoans, Nikador is synonymous with kingship, judging by Krateros’ reaction to Mydei surrendering the Coreflame to Phainon. In Krateros’ eyes, Mydei giving up Nikador’s divine power is the same thing as him “giving up the throne of Kremnos and forsaking his people”. 

As previously stated, Mydei is hesitant to claim Nikador’s coreflame for fear of ending up like his corrupt forebears and leading his people down the wrong path, so obviously he wants to put off that decision for as long as possible. First, he enters a (frankly, pointless) competition with Phainon just to decide who gets to deliver the final blow to Nikador, and gives up his win ridiculously easily if Phainon loses. That way, they can ignore the decision they have to make for a while longer. Then, when Nikador is dead, he is quick to surrender the Coreflame to Phainon, and promptly shuts down Phainon’s attempt to discuss the subject any further. So, by sending Phainon to the trial of divinity, Mydei can avoid making his own decision regarding the fate of the Kremnoans, if we take Krateros’ words about kingship and Nikador’s powers into consideration. Effectively, Mydei makes sure the decision is out of his hands – he didn’t technically reject the Coreflame, after all. 

So how does all of this connect to Penelope, exactly? 

Well, Penelope’s themes also center around buying time – for herself, and for Odysseus. She also has a big decision to make: who should succeed Odysseus as the king of Ithaca, and just like Mydei, she wants to put it off for as long as possible. Naturally, she doesn’t want to choose, and comes up with increasingly desperate ideas to keep the suitors at bay. In the end, she does succeed; she buys Odysseus enough time to return home, and as such she never has to choose a new suitor. Unlike Mydei.

You see, Mydei actually fails in avoiding his decision. In the end, he is forced to take on the Coreflame when Phainon fails the trial. As a result, Mydei has to make a decision regarding his people and his potential kingship. In this sense, Krateros and the rest of the Kremnoans are the suitors, encouraging Mydei (Penelope) to make a choice.

If we view Mydei’s actions through this Penelope-esque lens, we can draw some pretty convincing parallels!

Point 2) The challenge

At the climax of Penelope’s story, right before her reunion with Odysseus, she makes a last-ditch attempt to hold off the suitors by presenting them with a seemingly impossible challenge. She sets up twelve axes and demands that the suitors shoot through them flawlessly using Odysseus’ old bow. What she doesn’t tell the suitors is this: the bow is nigh impossible to string. Then, as a sort of fail safe, she sits down behind the axes. That way, if a suitor succeeds, she is immediately killed and doesn’t have to marry them.

While this is more far-fetched than point 1, a connection to Mydei’s actions can still be made, in the sense that he, too, has made arrangements for the worst case scenario. In case he is corrupted by the Black Tide, and thus cannot buy the Chrysos Heirs enough time to bring about the miracle (i.e buy Odysseus enough time to return to Ithaca), Mydei has arranged a fail safe for himself by telling Phainon about his weak spot. Phainon is the only one who knows about it, and as such, he is the only one who can shoot through the twelve axes with Odysseus’ bow. The parallels may not be perfect, but the narrative is very similar.

Point 3) Sparta/Castrum Kremnos

My last point is their origins. Penelope is Spartan royalty, though she was never its ruler. It’s no secret that Castrum Kremnos is vaguely based on ancient Sparta, and Mydei is the prince-turned-king of Castrum Kremnos. It’s a pretty obvious connection, but I’ve chosen to highlight it, nonetheless.

Phainon and Odysseus 

I'll admit that Phainon's connection to Odysseus is vaguer than Mydei and Penelope’s, but I can totally see it. 

Point 1) The one time is being bought for

Penelope buys Odysseus time to return to Ithaca, Mydei buys Phainon and the other Chrysos Heirs time to a) render Nikador mortal, and b) bring about the miracle of Genesis. Now, post-3.2, we know that Phainon is meant to take over the authority of Kephale. If the plan proceeds smoothly, he will be the last one left alive to reforge the new world with his, in Anaxa’s words, “complete, intact memories”. While we cannot be certain that Mydei knows this, it can still be argued that Phainon himself is the one Mydei is buying time for.

Point 2) Nobody

Odysseus initially evades Polyphemus by calling himself “Nobody”. Phainon is called the “Nameless Hero”, and we have no idea what his real name is. Just like Odysseus, he has crafted a persona for himself.

Point 3) The journey to Ithaca

Phainon going on the Flamechase Journey is his version of Odysseus' journey of going to war and then trying to make it back to Ithaca. They're both put through the wringer a million times over on their journey, and express desires to go back home. In the end, they are both crumbling under the weight of their past actions and losses, and become increasingly more brutal because of it, if Phainon’s behaviour towards Oronyx in 3.0 was anything to go off of.

Also, LEAK WARNING:

.

.

.

Going off leaks, we know that Phainon is both the Flame Reaver, and the final boss for Amphoreus. For whatever reason, we can guess that he lost his humanity somewhere along the line, and, if you can forgive the EPIC reference, became the monster. In the Odyssey, Odysseus ends his journey by slaughtering the suitors vying for Penelope’s hand, showcasing his potential for great violence, much like Phainon. 

TL;DR: Mydei is Penelope, Phainon is Odysseus.

Now, this was obviously mostly for shits and giggles, but the parallels are pretty convincing, ngl.

Bonus: Phaidei = Patrochilles

Now, additionally: they can ALSO be seen as an allegory for Achilles and Patroclus, especially since the game has already drawn parallels between the Iliad and the Amphoreus story.

The game is obviously hinting towards Mydei being Achilles considering his whole weak spot-thing. Naturally, that makes Phainon Patroclus. If we regard Mydei as the “true” heir to Nikador’s divinity, Then Phainon was technically taking Mydei's place in the trial. Ultimately, he fails to pass, which is a nice parallel to how Patroclus dons Achilles' armour to lead the Myrmidons, and dies against Hector, who Achilles later slays in a fit of rage. In this case, Hector is Nikador, who first dies by the team’s hands during the fight, and then later dies by Mydei’s own hand in his trial.

[mortalscience]

a list of character details about Luke I'm particularly interested in:

- when did Luke's dad die? I get the sense it happened between s15 and Evo but I'm not sure? is his mom alive? did his grandma raise him? or did his family just live with his grandma? does he have siblings?

- Luke must have gone to college. it's not a requirement for being a ranger but it's a requirement for being employed by the FBI. did he go before or after the army? what was his major? is that where he learned ASL (if not there, where and why)?

- when he first joined the BAU Luke's whole thing was he was a fugitive hunter: he liked the chase and didn't like being tied down. Emily alludes to his commitment issues via his completely bare desk (and when he finally comes to accept the BAU as his new forever home he decks his desk out with stuff). so what happened to make Luke that way? there had to have been some kind of inciting incident to make him not be interested in forming long term connections (outside of Phil, the single long term connection he seemed to have ever made until the BAU). he has strong family connections so, I don't think it's anything family related, unless his family was more horrible than he lets on (but he seems to speak of his abeula with fondness even when they are stories of her being a jerk to him lol). and Luke is pretty quick to form attachments to people and is crazy loyal, as evidenced by how he attached himself to the BAU like a barnacle to a ship and couldn't be scraped off. this man put himself on the line for Spencer, a guy he'd known for like 6 months (because of Penelope, a woman he'd known for 6 months). he never even thought about quitting when he got demoted and raked over the coals by Emily, there was no question he would simply stay at the BAU and regain his rightful spot. so what on Earth made a person like that into the fugitive hunter who can't be tied down?

- Luke trained dogs in the military. did he have experience in that before joining? did he have dogs growing up? was there a special childhood pet? or did he fall into the dog training thing in the military and then came to love it?

- what was he like growing up/in high school? a jock? a popular kid? a loser (who had an incredible glow up)? a nerd?? I don't think he was a nerd, not because he isn't intelligent (he is!) but he just doesn't seem to be the book lover typical nerd type, though he clearly has an affinity for nerds.

[kikiofthevast]

Monstrosity in Epic: An Analysis of Odysseus in "Odysseus" (Song 38)

Disclaimer: Almost all of my analysis is based in information the audience receives from the musical itself and very little of it is based in information from Jorge Rivera-Herrans on tiktok or yt. If he has spoken about this song in videos, I have not seen them, and will not be basing my analysis off this information.

Note: The song "Odysseus" will be referred to with quotation marks in order to differentiate it from discussion of Odysseus the character.

Songs Referenced in this Analysis: "Done For", "Monster", "Different Beast", "Legendary", "Six Hundred Strike", "Hold Them Down", "Odysseus" (these songs are the ones with lyrics pulled from them)

Setup:

This song technically begins at the end of the previous song, "Hold Them Down", with the death of Antinous, the leader of the suitors. This calls the suitors' attention to him, and while it is never directly stated, it is heavily implied based on the previous two songs and the events as they occur in the Odyssey that the bow Odysseus is using is the one that Penelope introduces in "The Challenge".

The purpose of this analysis is to unravel the motifs and parallels that Odysseus shares with every antagonist up until the Ithaca Saga, and the overlap between this song and the others that lead into it. I will be drawing on sections of previous songs and going lyric-by-lyric through "Odysseus".

If I get anything wrong, or you disagree with my interpretation, I'm very willing to have a (respectful) discussion about the show! It's very fun but even as I learn more and more I still feel like I find something new with every listen.

With that out of the way,

The Opening:

The song begins quietly, with the same lead-in as "The Horse and the Infant" and "Monster", though unlike the former, it doesn't transition into Odysseus's leitmotif, and the latter only transitions into a simple riff for "Monster". Here we start with a simple melody on the guitar...

For twenty years I've suffered every punishment and pain From the wrath of gods and monsters To the screams of comrades slain

...which as it builds, gains the choral staccato from "The Underworld" (at least that's what Genius says).

I come back and find my palace desecrated, sacked like Troy Worst of all, I hear you dare to touch my wife and hurt my boy!

This opening is very short, but it gives us an idea of Odysseus's current mindset. It also gives us the CORRECT amount of years that have passed, and we already see mentions of the gods who have gotten in his way (Zeus, Poseidon) and the monsters who have held him up (Polyphemus, the sirens, Scylla, Charybdis). We also see a textual reference to "The Underworld" here (the reason it's not on the list at the top is that it's literally the only time this song is relevant and it's a small relevance). It also calls back to "Six Hundred Strike" here:

I watched my friends die in horror Crying as they were all slain I heard their final moments Calling their captain in vain

Odysseus is back in Ithaca completely alone with family he hasn't seen in 20 years under siege by men who feel entitled to the crown and throne just because he's been absent for all this time. Here again, Odysseus references "Hold Them Down", implying that he's been listening for some time before now and he has been lingering in the darkness in order to make his next move at the most opportune time, a trend we see again later in the song.

We also get, from this couplet, the parallel with Circe, but we'll expand on the exact parallel later on when we get to a Specific Section.

I have had enough

This is where the electric guitar kicks in! As does the choir!

The electric guitar representing Odysseus, as far as I have noticed, first appears in "Survive" in the background. The first time it truly appears as a representation of Odysseus's specific cunning/violence is in "Remember Them".

We also see another parallel to "Survive" here in the choir chanting Odysseus's name as they do with Polyphemus.

The Song:

In the heat of battle at the edge of the unknown Somewhere in the shadows lurks an agile deadly foe We have the advantage, we've the numbers and the might No, you don't understand it, this man plans for every fight

I don't believe that this particular verse contains a leitmotif, but it does contain an important parallel that I'll expand on later.

This song does something very compelling, as does the rest of the Ithaca Saga, in that it focuses on Ithaca in the way the Odyssey itself does. We begin with a song from Penelope, then a song from the suitors, and then this song is also focused primarily on the suitors, and does not follow Odysseus's perspective. The only time we get his perspective is at the end of "I Can't Help But Wonder".

This part sung by the suitors sets up an expectation for the song. Odysseus is unseen, by both the suitors and the audience. It creates both fear in the suitors and a sense of satisfaction in the audience. After the previous song, and even the Wisdom Saga, the audience wants to see the suitors gone. This is specifically designed to give the audience a sense of feral satisfaction at the collective deaths of the suitors while portraying Odysseus's ruthless monstrosity.

We also see another parallel with Polyphemus in "Survive" here where Polyphemus is only one creature, but he kills members of Odysseus's army because he is simply that powerful. Odysseus is only one man, but he is able to pick off the suitors one by one.

Then we get more of the chanting, as well as arrow shots represented by the sound effects. We still do not see Odysseus yet.

Where is he? Where is he? Keep your head down, he's aiming for the torches

Oh man. TWO different juicy things to talk about in just these two lines.

Firstly, we have the return of the suitors' leitmotif! First appearing in "Legendary", the suitors use this motif as a taunt against Penelope and Telemachus:

Where is he? Where is the man who'll have you to wife? Oh Where is he? Where is the man with whom you'll spend your life?

In "Odysseus", instead of a taunt, it's a fearful question. Because they can't see him. The suitors know that he is here, but they can't see him in the dark. A predator you can't see is always worse than one you can.

Also! Here we get the return of the danger motif on the cello! Specifically for the suitors this time, though in the past it's pretty exclusively been used to signal danger/potential danger to Odysseus and his crew. This time Odysseus is the danger, further emphasizing his parallels with Polyphemus, which is the first actual "monster" it appears for (previously appearing during the battle in Troy and in Warrior of the Mind when Odysseus is calling out to Athena).

The following line also introduces my favorite parallel and quite possibly the most obvious one in the entire show (at the end of Scylla she literally harmonizes with Odysseus on the line about how they're the same. It's right there) but this particular instance of it is a bit more subtle and may not catch everyone's eye as a connection.

Scylla's six heads aim for each of the torchbearers, and Odysseus, in turn, aims for the heads of those carrying torches trying to find him in the dark.

Our weapons, they're missing! He's using the darkness to hide his approaches We're empty handed up against an archer Our only chance is to strike him in the darkness We know these halls, the odds can be tilted

And of course, Odysseus has planned for this. The suitors are at a strong disadvantage not only due to Odysseus's armaments, but also because:

You don't think I know my own palace? I built it!

This is Odysseus's cave. This is his island. This is his lair. He knows every inch of this place, and these invaders may think they know something, but he built these halls and probably designed them too. He can navigate it easily even in the dark.

You know the drill for this part. More chanting. More death. Pain and hell on the suitors forever.

The Meat

Old king, our leader is dead You've destroyed the serpent's head Now the rest of us are no longer a threat Old king, forgive us instead So that no more blood is shed Let's have open arms instead-

One thing that's really always struck me about this stanza is that they're still simply referring to him as the old king. They don't offer to back down, they don't bow to him. They simply ask him to show mercy once they're at a disadvantage.

Perhaps if they'd addressed him as something like "my king", he might have considered for more than half a second!

Also, clearly this man has never heard of the Hydra.

Otherwise, there's a few other things to say here.

This is functionally a plea that, now that they're losing, they want to be shown mercy. Ofc we know what Odysseus has come to think of mercy as, but they don't.

Then of course, there's the final line. One of the most important motifs in this show just behind the Just a Man/Monster motifs for Odysseus himself. "Open Arms" is a song that forms the basis for Odysseus's mindset in act one, that problems can be solved simply by peaceful resolution.

We see this and how it is punished by the Cyclops, but we also see that Odysseus's attempt to convince someone else that peace is the way to go (albeit foolishly, violently, and hubristically) backfires in his face, and his attempt to show mercy is seen as a greater punishment than death by Poseidon because it means he has to get involved.

At this point, mercy is so far away as an idea to Odysseus, as are the open arms that Polites encouraged. We'll see more of this later.

We also see this succinctly summarized in his response:

No.

What I find so interesting about this is another parallel to Poseidon, actually.

Poseidon is obligated to kill Odysseus for the harm he caused his son. He has to retaliate, which reflects a lot of his words in Ruthlessness:

I'm left without a choice and without a doubt Guess the pack of wolves is swimming with the shark now I've gotta make you bleed, I need to see you drown

He's not as personally invested in this until Odysseus gets AWAY from him. He doesn't really care, and he's mostly just toying with them like any other mortals before Odysseus uses his cleverness to get away.

Poseidon still has a duty to kill him, and he's also been humiliated by his quick-thinking once. So he lies in wait at the island.

Odysseus is actually doing something similar here. He doesn't Truly hate the suitors, not personally, he hates them for what they represent. Just as Odysseus represents humiliation and hubris for Poseidon, these men represent the threat to his family that he has not been able to prevent from happening. He has a duty to keep his family safe.

Just like Poseidon.

This parallels "Get in the Water" a little bit where Odysseus asks Poseidon to stop, and he doesn't actually ask for mercy. He asks for Poseidon to forgive his slight, which he has apologized for previously.

Poseidon responds the same way as Ody does here, but the key difference is that this is a plea for mercy from one of the suitors simply to avoid being killed, whereas Odysseus attempts to reach out in a seemingly genuine attempt to reconcile.

Besides, Ody doesn't feel like he's on the back foot here. He may actually be, but he's still trying to stand up to Poseidon as an equal. The suitors KNOW they're on the back foot and this is an attempt to backpedal.

Damn, he's more cunning than I assumed While we were busy plotting He hid our weapons inside this room

This is one of the "laters" I mentioned earlier.

Odysseus uses the same strategy that he uses on the sirens here, though Antinous was unwittingly playing the same role he did in "Suffering". The distraction so that Odysseus can sabotage them.

Interestingly, Odysseus is paralleling himself here. Him as "the monster" in "Different Beast" who is luring in the sirens with the promise of food and trapping them while they're distracted. I just think that's kind of neat.

I think it's very important to recognize that Odysseus has been present for the entire Ithaca Saga. He's probably present in "The Challenge", though we get only a faint call of Penelope's name as a confirmation, and we know he Must be present for "Hold Them Down" as he references it directly.

The suitors also continue to underestimate Odysseus even as he slaughters them. Hubris, the classic flaw.

I find it hard to believe that the sharpest of kings Left his armory unlocked

This is a major hint and a good lead-in to Telemachus's appearance. Odysseus's actions thus far don't line up with this instance.

So what? Now that we have armed ourselves Let's make the bastard rot Behind you!

I don't have much to say about these lines. Hubris cont.

But! I have something to say about the music here. because Telemachus's introduction doesn't even require his name due to the distinction of his and Athena's motifs here. We get the quick thought stutter followed by a modified line of the main hook of "Legendary", in a little triumphant riff.

Go Telemachus!

Throw down those weapons And I'll ensure you'll be spared

This I think is our main indication that Telemachus had no idea what was going on before he got here. He just came in and found blood and bodies everywhere. He's probably banking on his dad being noble and understanding and merciful. He is wrong. And that is followed up in the very next line.

Also! The trumpets during this part! Ruthlessness is mercy...and Odysseus has learned that well. The trumpets during Telemachus's lines contradicts his words. All the suitors can hear is the promise of violence.

After seeing what the king will do to us We wouldn't dare

Of course the suitors aren't just going to fucking. Lay down and take it. Odysseus is just going to kill them anyway, and they know it. They've seen what happened to everyone else.

I don't want to hurt you But trust me, I've come prepared

More trumpets! And we get more of Telemachus's pure naivete which is used against him and also contrasts him with his father, who is ruthless and jaded.

Ha! Your very presence has doomed the king, young prince We don't fight fair Stop!

And the suitors are also cunning and eager to exploit an advantage.

Brothers, we got company, and he's made a grave mistake Left the weapons room unlocked, and now they're ours to take Brothers, come and arm yourselves There's a chance for us to win We can still defeat the king if we all attack the prince!

This is I think another moment similar to Polyphemus's introduction in "Polyphemus". The suitors are making a racket, and Odysseus is drawn to it like all of them are. Still, he waits for his moment to strike, and we get a significant moment here:

Where is he? Where is he? Capture him, he's our greatest chance! Get off me! Get off me! Fight 'til the prince can barely stand!

We have the return of the suitors motif here! Telemachus is singing it because he's caught among them. His motif is mostly absent here because he's being physically overwhelmed.

Hold him down! Hold him down! Make the king obey our command Hold him down! Hold him down! 'Cause if he won't, I'll break the kid's hands Got him!

And the return of "Hold Them Down" here, echoing their wants to kill and use Telemachus to get to Penelope, or Odysseus in this case. He doesn't get to have his own motif because his bravado only lasts as long as he can actually exert power, which he does not have a lot of.

The music hits a tense note here, which is immediately undercut by the return of Odysseus's electric guitar accompanied by the Stab. It's not playing any particular tune, it's just a sharp descending riff. This is probably the best representation of Odysseus's rage in this whole song, and it symbolizes that he is no longer playing around.

Mer-merc-

And of course, the suitors plead for mercy when they're on the back foot.

The Part Where I Yap:

Here we get into the real juicy part of the song, with Odysseus's more subtle parallels:

Mercy? Mercy? My mercy's long since drowned It died to bring me home And as long as you're around My family's fate is left unknown You plotted to kill my son You planned to rape my wife! All of you are going to die!

Let's just cover this all at once. Line by line.

Firstly, he mocks the idea of showing mercy at all. The idea of sparing his foes has become alien to him. Especially foes that decide that they can just toss him around and toy with him. He hates the suitors as a conglomerate because of the threat they pose.

Secondly, another allusion to Poseidon. Poseidon literally drowned his crew as a punishment for his "mercy" of letting the Cyclops live. Not only that, but the symbol of his lack of mercy in "Different Beast is literally:

Cut off their tails! We're ending this now Throw their bodies back in the water Let them drown

It's a tangible representation of his change in mindset, and the double meaning here is significant.

Then we have the follow-up, cementing that this lack of mercy was what brought him home. He condemned his crew to death so he could live. He practically tortured Poseidon, and he also literally made the change to become a monster in order to get himself and the rest of his crew home.

The next two lines focus on my FAVORITE parallel, the one with Circe. Specifically, I'm thinking about this last part of "Done For":

My nymphs are like my daughters I protect them at all costs The last time we let strangers live We faced a heavy loss

Circe actively kills and transforms men specifically in order to prevent devastation to those she calls her family. In this case, Odysseus literally acknowledges it in "Monster":

When the witch turns men to pigs to protect her nymphs is she going insane? Or did she learn to be colder when she got older and now she saves them the pain?

Odysseus is willing to be anything if it means he can return to and protect his family. Even if it means becoming the monster, he will do anything for them. He will become as cold as is necessary and he will be whatever is needed.

Then we get the next two lines, the confirmation that he heard the suitors talking during "Hold Them Down" and the sheer rage in his voice truly carries this "verse". He also says the quiet part out loud.

Antinous speaks in innuendo throughout "Hold Them Down" as in this part here:

When the crown wonders where the prince is Only the ocean and I will know

He does talk more explicitly about killing Telemachus in the previous lines, but he never says the "dirty word" kill like Odysseus does here. Same with rape!

(Hold her down) while we share her spoils I will not let any part go to waste

Odysseus says what Antinous won't. Trying to make it sound powerful and flowery and Odysseus cuts right through with his swords and arrows.

And of course, his final line is not a threat, but a promise.

You filled my heart with hate All of you who've done me wrong This will be your fate!

Every single thing that has ever stopped Odysseus or hindered his journey has slowly pushed him to his breaking point. And he's finally snapped, upon learning the suitors' plans for his family, and he will kill everything that stands in the way of him returning home.

And then we go into "I Can't Help But Wonder" and we get a severe tone change!

I hope you enjoyed my analysis of this song. Perhaps drop a reblog if you read the whole thing, and feel free to vote in the poll for the next song:

[ilona2nerrie]

What if the justice leuge broke up due to a clash? And when dark side attacked, the only member who came was Bruce.

(Rät by Penelope Scot, read at discretion, enjoy.)

“Your… the only one who came?” Darkside said, starring at the man.

“You all can barely defeat me together. And you expect to survive alone?”

Bruce stared back at him. He was tired. Just tired. He’s been trying to keep everything together, keeping the world safe, dealing with his kids, and with the absolute mess that’s been left behind. 

“No. But I’m the last chance they got.”

The villains brow furrowed as he looked down at the other.  This… wasn’t what he expected. But, he could humour the human.

“Last chance, hmm? Tell me, why are they worth saving?”

That threw Bruce a pause. He finally met the gods gaze, with a questioning one of his own.

“I’ve grown up here. This is my home. I come from scientists and atheists and white men who kill God.” Bruce started. His voice pained and stoicism behind the mask crumbing.

“They made technology, high quality.

And complex, physiological, experiments and sacrilege in the name of ‘public good’s.

It taught me everything, just like a parent should.”

The villain listened, and waited. He hadent heard a cultish speak like this before. He had half a mind to just take the human then demand the others come to his rescue. But humans were allways fun to work up. He could let this one work himself up. It’d make him esiar to take prisoner.

“Mmm. go on.”

Bruce wasn’t even thinking at the moment. He’d been up and down with barely any sleep for the past week, trying to run the justice leuge alone. Which shouldn’t be bad since he was the only one who stayed, but was just that her because everyone had gone back to their own place. Heros were at an a time minimum and he had stepped up because of some damn complex. He wasn’t even able to take care of Gotham anymore, he left Dick and Jason with that.

“And it was beautiful, and vulnerable. Gave us power and success. God damn, I fell for it, the fame and words, their tunnels and tech. I studied hard, because I wanted to do one thing great, or two. And the real tragedy? half of it is true.” Bruce said getting more and more worked up. He was done trying to be strong. He was just gonna vent to someone, then leave and have a nap. Seemed the best option right now.

“But we’re all so fuckin' mean, we're elitist, we're as flawed as any church. And this faux-rad West coast dogma has a higher fuckin' net worth. I bit the apple 'cause I loved it, and why would they lie?

And then I realized it’s all just as naïve as I am.”

Bruce took a breath before continuing, tears brimming despite himself.

“Well, I don't want to eat the rich, I'd have to eat my heroes first.

And my tuition's paid by blood, I might deserve earths fate or worse.

But I don't need that goddamn money, I don't need jack shit, that’s true. So when I speak, you bet your life my words are trues.

Let me level with you, man, as someone guilty of the game, I took the help, I took the cash, I would've taken his last name.

So if any guy on Earth should get to make a call about this, It should be me, and as I see it, life’s a dick.”

[somepsychopomp]

What do you think about Penelope and Odysseus having a bit of feeding kink and Ody getting a bit fat after everything? I think it would be kinda fun after all the brushes with starvation he had before

that's basically canon to me lmao

It probably wouldn't start out as a kink but I have to imagine Penelope would be so happy to throw a big feast for her newly returned husband.

And since he did come to Ithaca from a paradise island, I have to imagine that even if Odysseus didn't have much desire to eat and keep himself alive, Calypso probably would've cooked for him and fed him. Maybe Penelope notices that her hubby is having a hard time working his appetite up after years of being depressed af so she tells him how happy it would make her to see him eat. So he does.

And then it evolves from there. Like as Odysseus gets back into the desire to eat, he finds himself enjoying it a lot more because he's finally home with his family. Maybe Penelope gets a little thrill by offering him grapes and figs and pomegranate seeds and watching him eat from her hand.

Any which way it goes, I 100% HC that Ody gets a little chubby after coming home. He's older and happier now, so why not let the poor man put on some weight?

Of course Telemachus has to be very strategic in how he approaches dinner with his parents because some days it's normal (by "normal" I mean Penelope is sitting square on her hubby's fat thighs and they're constantly feeding each other and giggling like children) and some days it's a bit too much for him (his dad starts intentionally moaning at how delicious all the food is and his mom is blushing and clearly super into it...)

[mythica0]

epic the musical tickle fic idea, ler!Calypso lee!odysseus

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She would try and convince him to leave Penelope in the sweetest way possible, and that was to wreck him

Is this good?

Hey there, handsome

🎂:Epic the musical

🧁: Odysseus

🍫: Calypso

Summary: a day or so after Odysseus arrives on Calypso’s island, she gets tired of his cold attitude. She decides to make him open up to her.

A/N: thanks again for the request! I changed it up just a tad; so Calypso isn’t trying to convince Ody to leave Penelope, because let’s be real that would never work. But I thought this idea was cute so I HAD to write it. I was also tempted to say ‘hey there, hot stuff’ as the title but thought it didn’t fit with the musical so I changed it XD. Not super proud of the ending but whatever. Anywhom, with that being said, please enjoyyyyy! :3

Cw for swearing!

Hey there, handsome

An entire day.

That’s how long he had been here. The first person Calypso had seen in a very, very long time.

And he was acting like she didn’t exist.

Every time she tried to approach Odysseus, he shrugged her off, walked away, ignored her entirely.

She was getting annoyed by this cold attitude. This was the love of her life, the only person she had seen in a century. She had to do something. Something that wouldn’t bring harm to him.

So, later that day, she approached him. But this time, she had a plan in mind.

“Hey there, handsome.” She called, gentle but determined.

He didn’t respond. He just turned away.

‘No. Not this time.’ Calypso walked up to him, and pulled him into a hug, one he couldn’t get out of.

“Dear, I’m getting tired of the silent treatment. Talk to me, won’t you?”

Despite not being able to get out of the hold, Odysseus didn’t respond, just averting his gaze and remaining silent. She would not have the satisfaction of his attention. That’s what she wanted.

She just sighed. Guess the hard way it was then. “Fine then, don’t talk. But you’re going to make sound, I swear it.”

Odysseus was confused, and his expression matched that, but he refused to look her in the eye to convey it, or to ask what she meant.

She smiled a bit, and leaned in to whisper in his ear. “You’re going to laugh for me, darling.”

Without giving Odysseus time to register what she meant, she started to scratch and spider along his sides and ribs.

Odysseus tensed at the sensation and his breath hitched. That was something he hadn’t felt in a long time. But he held in the laughter that bubbled up in his chest. He was not going to let her get what she wanted.

“Aww, still silent, are we? Well we can’t have that, now can we?” She teased a bit, adding a bit more pressure to the ticklish touch.

Odysseus gasped a bit, but snapped his mouth shut to trap the laughter. His shoulders shook with the trapped giggles, but he refused to let them out.

“You know dear, I know your life has been.. less than pleasant. Maybe it could feel nice to laugh! I’m sure it’s been a while since you’ve had the release of just a good, long, belly laugh, huh?” She cooed a bit, never relenting the ticklish touches on his torso.

Odysseus’ thoughts kind of agreed. He hasn’t laughed, genuinely laughed, in a long time. Maybe it could be nice- but no. He wasn’t going to cave, wasn’t going to give in. If she wanted his laughter she was going to have to take it from him.

“Hmm, still stubborn, huh? Well that just won’t do.” She decided to try and find a spot that would make him crack, break the dam that was holding back the flood of laughter in his chest.

First, she tried scribbling forward to his stomach, which made his shoulders shake harder- but no dice. Then she tried some light touches on his neck. He scrunched up a bit, but still no laughter.

Until she tried his underarms, and he broke.

They weren’t his worst spot, but they were pretty up there, and the laughter fell free from his chest, the dam finally cracked.

“Pfft- dahahamn ihihit!”

“There we go! I knew your laugh would be pretty.” She smiled, continuing to scratch against the sensitive skin beneath his arms.

“Fuhuhuck- stohohop!” He protested, squirming around in the hold but unable to escape.

“No way! I finally got you to speak, I’m not giving that up so soon!”

Odysseus hated how right she was. It did feel good. It felt really fucking good. Each laugh that was forced from him sent jolts of happiness through him, chasing away some of the depression he’s been dealing with for so long. It forced a smile on his face, forced happy chemicals into his mind. He found that now that he’d started laughing, he didn’t want to stop.

“Ahahahaha fuhuhuck- thahahat tihihickles!”

“Good! That means I should keep doing it then.” Calypso smiled, happy to see him smile, hear him laugh.

“Nohohoho- ahahahaha!” He continued to laugh as she drilled into his underarms, frantic protests leaving him. But despite it all, he wasn’t actually fighting back, trying to push her away or make her stop.

He hated how much he loved this. How fun it was. How much it cheered him up from the years of suffering. Calypso could tell how much he was enjoying himself, smiling brightly.

“See? Told you it would feel nice to laugh.”

“Fuhuhuck ohohoHOFF-!” His laughter grew louder as she increased the pressure of the ticklish touch, determined to make him happy even though he protested.

Odysseus could not. stop. laughing. for the life of him. He couldn’t bring himself to fight back, to try and make her stop. Because it felt amazing. He wanted to hate it, but he just couldn’t. He couldn’t bring himself to hate the amazing, fluttery feeling and rushes of dopamine that flooded his mind with every laugh. His face scrunched up adorably in a wide smile, forcing his eyes shut as pure, joyful laughter bellowed from his chest.

“Your smile is so cute, love! You should do it more often~” Calypso teased, genuine affection lacing her voice. She was completely enchanted by the sight of his smile, the sound of his laugh. She was absolutely ecstatic to be the cause of it. Odysseus’ blush grew at the teasing, finding this whole situation incredibly embarrassing.

“Ihihit ihis Nohohot!” He protested, refusing to agree that he was cute in any capacity. He was ruined. A monster. A fearsome warrior. And he certainly wasn’t cute.

“Yes it is~!” Calypso sang in return, “and I’m more than happy to be the cause of that joy.” She spoke the truth, loving that the love of her life was happy, was having fun. She might not know everything he’s been through, but she knew that he needed this. She knew he needed to have fun, to give up control and just laugh for a while, without a care in the world. She moved from his underarms and started to scratch at his belly again, making sure to teasingly trace circles around his belly button without actually touching it.

Odysseus squirmed and giggled, digging his heels into the ground slightly to try and expel the giddy energy building inside him. He was enjoying himself, yes, but that tantalizing touch around his navel was just cruel.

“Cahahahalyhypsoho! Cuhut ihit ohohout!”

“Cut what out? Cause we both know you don’t want me to stop tickling you.”

Odysseus blushed at the tease, still giggling breathlessly, and after a moments pause Calypso pretended to have a lightbulb moment. (She knew the whole time. She was being teasy on purpose.)

“Oh? You mean you want me to tickle this little giggle button right here? Hmm? Well why didn’t you just say so!” Calypso didn’t give Odysseus time to even register what she said before starting to swirl one finger into the sensitive divot.

Odysseus barked out a far more intense laugh, the volume picking up and belting from his chest as he squirmed fruitlessly.

“Ahahahaha-! Fuhuhuck! Thahahats sohoho bahahahad!”

“Aww, what’s the problem? Does it tickle too much, hmm~?”

“Yehehehes! Ahahaha- ihihi cahaha- ahahahaha!” Loud, boisterous and joyful laughter continued to boom from the soldier, squirming around and smiling so much his face hurt.

“You what? Finish your sentences, dear.” Calypso teased, using one hand to tickle his bellybutton and the other to scratch and dig at the rest of his tummy.

“Ihihi cahahahant-! Ohoho gohohods! Ahahahahaha!”

Odysseus couldn’t stand it, It tickled so bad. And he absolutely loved it. Tears of laughter pricked behind his eyes, a pleasant, fluttering feeling radiating through his whole entire being. Because he was laughing. Genuinely laughing. And he didn’t have to worry or think about all his suffering anymore. All he had to do was laugh, and laugh, and laugh. And he couldn’t be happier.

“I bet this tickles real bad, huh?”

“Yehehehehehehes! Ohoho myhyhy gohohohods! Ehehahahahahaha- ahahahaha-!”

“Okay, okay, I’ll have mercy.” calypso teased a little, finally stopping and instead gently rubbing her hand over his stomach to dispel the residual tingles.

Odysseus breathed heavily, panting between excess giggles. “Ahahaha… ohoho gohohods…”

“Did you have fun, dear?”

Odysseus blushed and didn’t answer, far too embarrassed to agree but far too smart to deny it.

“I’ll take that as a yes. I’m glad.”

Odysseus sighed and then spoke a little sheepishly, uncharacteristically shy. “Uh….thanks.”

“No problem. Can we agree that you won’t give me the silent treatment anymore?”

“Yeah, yeah, sure.”

And he never did give her the silent treatment again.

———THE END———————————————————

[maxi-multiverse]

Gods were to begin, everyone’s art is so amazing.

Long gushing and appreciation incoming.

Anniflamma, I go feral watching Poseidon turn into a horse every time in your animatic of Ruthlessness. It is so smooth, just the way the water is done. Your part in Hold ‘Em Down gave me chills too. Just the contrast with the colors on the black, terrifying <3. Also, the way the wind whips around Demeter in There is No Name for Stories from Styx. You capture her wrath so well.

Mircsy, I get chills seeing the montage of the Time Dive in Love in Paradise, you capture everyone’s likeness so beautifully. Also shout out to the twerking Winion, I was crying laughing. Also the pain you capture in Hades’s expressions for Shades in Stories from Styx? Beautiful, absolutely beautiful.

Gwendy, my jaw was on the FLOOR for 600 Strike. And hello, doing all that while sick??? You are a legend. And I was also losing my mind during Odysseus. More blood. Always more blood. And Demeter’s freak out in There Is No Name in Stories from Styx? Oh the AGONY in her.

Elianzis, Scylla. Oh my gods Scylla. Absolutely terrifying in the best way. The blood. The lighting of the torches. The FEAR in everyone’s expressions, especially when Eurylochus realizes what the torches were for. *Chef’s kiss* Also, the design for the Muse in Stories from Styx is so pretty. It was so cool seeing all your character sheets for everyone.

Gigi, your part at the end of Would You Fall in Love With Me Again had me sobbing. The flashes of Penelope back home while she’s crying about how long she’s been waiting OUGH. Also special shout out to “Anyways~” in Love in Paradise, I was cackling at Calypso’s reaction, and also just how DONE Ody looks in I’m Not Sorry for Loving You. And you are so good at the tracking spin shots and I was so happy to see one in My Persephone in Stories from Styx. And their smiles oh my gods, just so soft.

As for some other artists I think deserve a shout out:

Duvetbox’s animatics for Legendary and Odysseus are genuinely one of my favorites. Their style is so sharp and stylized and I genuinely love it. Seriously, go watch their animatics if you haven’t yet they’re so good. And I genuinely cheered for their part in Crossroads in Stories from Styx. Just the pure joy on Hades and Persephone’s faces.

The same goes for Ximena Natzel’s animatics. The use of colors is genuinely so good. Highly recommend their Suffering and Different Beast for the contrast. The way Siren Penelope’s frustration is captured is so well done. Also, Survive. Just. Just Survive. The look of horror on Ody’s face after Polites falls. It sticks with me.

Neal Illustrator’s designs for all the gods are so so so good. I love the Famtheon so much and I was so happy to see her in Stories from Styx with the battle against Cronos considering how good the action was in her God Games animatic.

And finally Wolfythewitch, I would not have gotten into Epic as hard as I did if it wasn’t for them. I love their designs so much, and it so amazing seeing the references to the actual epic in their work. I think when I saw Poseidon’s face in the lead up to Get in the Water I genuinely jumped.

There are so many other animators and artists to shout out but I’d be here all day. You all are the life blood of the series, I’m dead serious. You’re so talented and motivate me to get better at my own art each day. I’ve considered doing my own animatics because of what you’ve all done. Seeing your art makes me happy every time.

Thank you for all the work you’ve put in, from the bottom of my heart. <3

I wanted to do something to combat the negativity that's been in the fandom recently, so if you're a fan of Epic and/or Stories From Styx, please reblog this with your favorite moment from the animatics by @anniflamma @mircsy @ns2dstudios @elianzis @gigizetz and any other artists you want to gush about! (I hope it's okay that I tagged y'all, I wanted you to be able to go through the reblogs and see some nice things!)

I'll go first...

This isn't one moment exactly, but I love love love how AnniFlamma depicts Penelope in her animatic of The Challenge! One of my favorite things about Penelope in Epic is her anger, and you see it so clearly in Anni's portrayal, in everything from her expression to like- the way her hair falls. (That's probably my favorite thing about her part in There is No Name too. The absolute rawness of the way she portrayed Demeter gets me every time).

One of my favorite Mircsy moments has to be the part in her Open Arms animatic where Odysseus is examining the lotus fruit and Polites is just frolicking around with the lotus eaters in the background. I was actually pretty neutral about Polites when I first listened to the musical, and then I watched the absolutely endearing way she portrayed him in Open Arms and got immediately attached

Speaking of Polites, I feel weird saying this is my favorite moment because I cry every time I watch it, but I really like how Gwendy depicted Polites's part in The Underworld. The way Odysseus trips and falls as he runs to him... I'm getting emotional just thinking about it

I love love love the snippet ElianZis did of Storm!! There's just something so visceral about it- you really feel how dire the storm is and how much it's wearing on the crew

And finally- I tried so hard to pick a favorite moment from Gigi's God Games, but it's literally impossible. I've been amazed by how smooth her animatics are right from the beginning, but then I saw God Games and was like, okay, I'm just watching a movie now. It's so impressive

[wildeatmidnight]

The first time Colin Bridgerton encountered Penelope as Lady whistledown... red eyes tears rolling down his face as if without his knowing it himself... that look of love, heart break and horror at being betrayed all on his face... I will tell you I was SCARED.

[poorly-drawn-mdzs]

Started a new book series, and has been a journey...an Odyssey, if you will.

[tending-the-hearth]

listening to "i can't help but wonder" and sobbing profusely over telemachus' hope being that his father will be able to connect with him, that they'll somehow be able to bond despite the years away, telemachus wanting his father to know that even if it's a struggle, he wants to know his father and see how similar they are. telemachus just hoping for a chance, because he knows his father has missed his mother, it's silly to think otherwise, but he believes that there will be a struggle for his father to connect with him.

meanwhile, odysseus literally has not stopped thinking about his son in the twenty years he's been gone. penelope and telemachus have been the only things on his mind, the only people that have gotten him through the war and every single struggle he's gone through. the fact that some of odysseus' first words to his son are "oh my boy, sweetest joy i've known" because despite the fact that the last time he saw his son, the fact that he was just a baby, and even though he's grown, despite the time lost between them, odysseus wants his boy to know that he is his entire world, that he loves him more than anything.

just telemachus being so hesitant and hopeful, and odysseus not even doubting for a second how much he loves his son and wants to hold him in his arms.

[gingermintpepper]

Okay, let's finally talk about EPIC's Apollo

I feel very compelled to say, first of all, that I do not dislike Epic. In fact, I am very fond of Epic and have been following its production and status very eagerly! I attend all the launch streams, I watch all of Herrans' update videos; I am, at the end of the day, a fan and I want it to be known that my words are spoken out of love and passion as much as they are spoken from a place of critique.

So really, what my problem with Epic's Apollo?

In the briefest possible terms; the choice to have Apollo be defined by his musical aspect in God Games is thematically strange. And not in the 'oh well in the Odyssey, Apollo was important to Odysseus and his family so it's weird that that wasn't kept in Epic' strange, strange in the sense that Odysseus' character arc since My Goodbye has been getting more and more obviously Apollonian and so it is positively bizarre that when we get to meet Apollo, the god seems entirely disinterested in him and his affairs. So much so that he is not even defined by any station that would indicate that he has been watching over and protecting Odysseus and his family.

What do I mean by 'Odysseus has been following an Apollonian arc'? I'm so glad you asked!

Remember Them is the last song in which Odysseus explicitly uses his sword until Mutiny where he must use it to defend himself against Eurylochus' blade. He uses it to help enact the plan to conquer Polyphemus and, due to Polites dying in that battle, Polites who wished for Odysseus to put the blade down entirely and embrace a post-war life, Odysseus also retires his sword. This is an action that symbolically separates him from Athena - and the image of Odysseus as a traditional warrior set for him in Horse and Infant - as much as My Goodbye physically separates him from the goddess and her war-ways - from this point onwards, Odysseus will no longer be leaning on Athena's wisdom or methods to solve his problems. Likewise, he will no longer be able to rely on her protection.

Odysseus thusly solves most of his upcoming problems through diplomacy and avoidance. He approaches Aeolus - a strange and ambiguous god (both in gender and in motivation) and appeals to them for help. Circe too, he approaches not with wishes to conquer or for revenge, but for the safe returning of his men and an alternate way forward. In all of these scenarios, there is some Apollonian element which is subtly interweaved alongside the influence of other gods; it is with a bow and arrows that Polyphemus' sheep is slain (and thus it is this Apollonian element which is at the root of Odysseus' spat with Poseidon), it is a vision of Penelope that warns Odysseus that his men are about to open Aeolus' wind-bag, Circe's peace offering to Odysseus is to refer him to a prophet of Apollo who has since died.

In this way, Apollo is walking alongside Odysseus for all of his journey after Athena departs - even in the Underworld, he is guiding him. It is Tiresias' proclamation that is the last straw for Odysseus, it is by the power of a mouthpiece of Apollo that Odysseus decides to embrace his ruthlessness. It is with the bow and arrow that Odysseus subdues the siren who sought to trick him, likewise, Odysseus does not attempt to undermine or escape the fate of paying Scylla's passage price - he knows of the doom about to befall the six men and quite unlike the rest of the journey until this point, he does not fight against it. This all comes to a head on Thrinacia where it is a blade which sacrifices the sun god's cow and brings destruction upon the crew once more.

My point with all of this is that when I heard the teasers for God Games years ago, it made perfect sense to me that Apollo would be Round One - he is not Odysseus' adversary and has no reason to oppose Athena's wish to free him. From other teasers about what will happen in the climax of Epic, Apollo will still be walking alongside Odysseus - it is Apollo's bow that Penelope will give the suitors to string. Likewise, it is Apollo's bow that will prove Odysseus' legitimacy and identity. That bow will be the power by which Odysseus hunts his adversaries and cleans out his palace - it is Apollo who is the avatar of Odysseus' ruthlessness, not Athena.

So tell me, truly, what was the point of having Apollo raise a non-argument in God Games? Why have him appear unconcerned, aloof and slightly oblivious? Why have him appear in his capacity as the Lord of Music at all?? And if the intention was never to make Apollo an active player in Odysseus' life like he was in the Odyssey, why keep Odysseus as a primary archer?

The answer of course is that Apollo is inextricable from the fabric of the Odyssey - his influence and favour exudes from Odysseus just as much as Athena's. In Athena's ten year sulk, it would have been Apollo who kept Telemachus and Penelope safe. It would have been Apollo protecting Odysseus from Poseidon's gaze as he travelled the seas (according to the Odyssey anyway)

Forgive me for not being excited about something that I thought was being purposefully set up. I was extremely ecstatic about all of the little Apollonian details that litter the sagas because I know where this story ends up (loosely) but all God Games did was reveal that maybe those Apollonian details were not intentional at all, but merely the ghost of the Apollo who persistently haunts those he favours, even if he cannot explicitly come to their aide in an adaptation.

[o3o-lapd-o3o]

here's part 7! hope you guys enjoy! part 8 will be uploaded tomorrow!

(p.s my headcanon explainations are in the tags if you're curious)

the post/thread that started this whole au

dinner scene: part 1 | part 2 | part 3 | part 4 | part 5 | part 6 | part 8

there's a masterlist now!

*after everyone had gone inside, telemachus left to go to his room to change while penelope and odysseus headed to theirs*

*penelope had help getting changed/ready from her handmaiden, however odysseus doesn’t start changing, instead he’s just sitting on a lounge chair looking out the window at the sun setting*

penelope: *now ready for the evening*

penelope: *to her handmaiden* thank you for your help. 

penelope: *smiles as she’s walking to the bedroom door with her* 

penelope: *remembers something* oh! please let the others know to make sure you all grab yourself enough to eat after all the hard work the past couple of days! or take some of the remaining fish & meat home to your families!

penelope: *waves goodbye as her handmaiden leaves the room*

penelope: *closes the door and turns to face odysseus*

odysseus: *still staring out the window*

penelope: odysseus?

odysseus: *no response*

penelope: *understands he doesn’t mean to ignore her* 

penelope: *slowly walks towards him* my love, it's just you and i now

odysseus: *finally realises penelope was calling out to him* 

odysseus: *turns his head to her* i’m sorry penelope

odysseus: *looks her up and down, always amazed by the beauty of his wife*

penelope: *giggles as she see the lovestruck look on odysseus face*

penelope: *stops just in front of him and twirls around*

penelope: see something you like?

odysseus: *standing up and pulls her into him by her waist* 

odysseus: always *goes in for a kiss*

penelope: *accepts the kiss*

penelope: *giggles when odysseus keeps planting kisses all over her face*

penelope: my dear husband, stop distracting me! 

penelope: it’s time for you to get ready.

odysseus: *stops the kisses and looks down and sighs*

penelope: *cups his cheek with her hand and turns his face back to hers* 

penelope: you know i’m not going to force you to wear anything you don’t want to, right?

odysseus: *leans into her hand* i know, i know…

odysseus: it’s so silly of me isn’t, it’s just clothing-

penelope: *now holding his face with both her hands* nothing is silly, not if it makes you uncomfortable my love

odysseus: *smiles* i love you

penelope: *smiles back* i love you too

penelope: *lets his face go* now, what would you like to wear tonight? 

odysseus: *looking at the tyrian purple pelops she's wearing* i would like to match my beautiful wife

penelope: *knows she had a chiton made for him at the same time she had her pelops made* ok, let's get you matching then

*once odysseus is ready, him and penelope leave their room and make their way to the palace entrance ready to greet their dinner guests*

*when they arrive, they see telemachus; who is dressed in more ‘princely’ attire than his usual day-to-day clothing, talking to athena who arrived not long ago*

telemachus: oh! mother, father, you're ready!

athena: *turning to them*

athena: *smiling* good evening

penelope: *smiles back* good evening lady athena

athena: please penelope, i think we’ve known each other long enough… especially after everything in the past year

athena: just athena is fine

penelope: *smiles* sure…athena

odysseus: *looking at athena* 

odysseus: it’s still so weird not seeing you in all your armour

athena: *laughs* well i thought the occasion didn’t require it

*the four of them continue talking for a little bit*

athena: i see that my uncle hasn’t arrived yet.

telemachus: *turns to his father* you told him it was tonight right?

odysseus: *nods* i did

odysseus: *thinks for moment and sighs* 

odysseus: he’s not going to come to this entrance… but i know where he’ll be

athena: i’ll go with you to get him

telemachus: me too!

penelope: *laughs* well i guess i might as well join too

odysseus: let’s go then

*they all head in the direction of the entrance for the palace gardens*

odysseus: *stops them before they all head outside* ok maybe we don’t all need to go down to the sea

odysseus: i’ll go meet him and we’ll both join you shortly

*telemachus, penelope and athena wait by the entrance talking amongst themselves, while odysseus makes his way down to the palace cove*

*odysseus arrives at the cove when he sees poseidon making his way out of the water*

poseidon: *sees odysseus* 

poseidon: king of ithaca

odysseus: *deadpan expression* poseidon.

poseidon: *rolls his eyes at odysseus, for the clear lack of title for him*

odysseus: the others are waiting, shall we get going?

poseidon: *about to agree when he remembers about the arrow*

poseidon: wai- uh i mean, i have a question before we leave…

odysseus: *eyebrow raised* 

poseidon: you're not… i don’t know, mad or angry with me or the sea’s inhabitants by any chance?

odysseus: huh?

poseidon: *pinches the bridge of his nose* has the sea or i, done anything to offend you in the past day?

odysseus: *now confused* no?

poseidon: *drops his hand from his face and then points at odysseus* then why did you shoot me?!

odysseus: *even more confused* shoot yo- whAT?

poseidon: *reaches into his chiton and pulls out the arrow he kept there* 

poseidon: *shows the arrow to odysseus* please tell me then, what have i done that's got you shooting arrows at the sea?

odysseus: *looking at the arrow, then up to poseidon* i've not shot any arrows at the sea? 

odysseus: also, who shoots arrows into the sea?!

poseidon: *hands up in the air in agreement, the arrow being thrown behind him* 

poseidon: that's what i said! but who else would it be? it hit the waters of this cove, so unless-

odysseus: *suddenly realises where the arrow has come from*

odysseus: *starts laughing*

poseidon: *brings his hands down and narrows his eyes at odysseus* what is so funny?

odysseus: *wiping a tear away from his eye from laughing so much* my son

poseidon: *now his turn to be confused* huh?

odysseus: *having collected himself * my son, he shot the arrow during archery practice

poseidon: *eyebrow raised* and you're teaching your son to shoot the sea… because?

odysseus: *rolls his eyes* it was an accident, my wife startled him and he misfired. 

odysseus: *lets out a tiny chuckle* i can’t believe it made its way to the sea though 

poseidon: oh

odysseus: yeah ‘oh’ 

odysseus: why would you think i’d shoot the sea anyway? 

poseidon: *arms now crossed and looking away from odysseus* 

poseidon: who knows with you…

odysseus : *smirking* oh poseidon…i’d just use other ways to get your attention

poseidon: *whips his head back to odysseus* 

poseidon: *sees odysseus’ shit-eating grin*

poseidon: oh be quiet… what if i arrived early? 

poseidon: *points at himself* i could have been hit!

odysseus: *snorts* oh please… an single arrow wouldn't kill you

odysseus: besides we both know you've been impaled with worse

odysseus: *turns to head back up to the palace* anyways, let's head up to the others

poseidon: *realising what odysseus said* wait-

poseidon: odysseus of ithaca!

odysseus: *just keeps walking ignoring poseidon’s outburst*

poseidon: *grumbles under his breath but swiftly walks to catch up odysseus* 

*odysseus & poseidon make their way to the palace garden entrance where now only athena is waiting*

odysseus: *looking to athena* where-

athena: *already knows what odysseus is going to ask* they headed to the dining hall.

athena: telemachus wanted to check some final things and penelope left to accompany him.

odysseus: *nods at her explanation*

athena: *turns to look at poseidon*

athena: *nods head at poseidon* uncle

poseidon: *blank look on his face* athena.

athena: *now looking at her nails* not seen you since you were up on olympus in apollo’s infirmary…

athena: *looks back at poseidon and grins* speaking of which… how’s your chest?

poseidon: *scoffs and crosses his arms* fine.

poseidon: *suddenly smirks back* need i remind you that you were also there for a similar  reason…how’s your face?

athena: *grin has left her face and now narrows her eyes at poseidon*

odysseus: *not wanting to deal with two bickering gods* 

odysseus: *sighs*

odysseus: *claps his hands together sharply* OK! how about we don’t fight in my palace, yeah?

odysseus: besides, telemachus has been extremely excited about tonight’s dinner, so i do not want anything ruining it…

odysseus: *makes sure to look at both of them*

odysseus: *red eyes appear & disappear in the blink of an eye*

odysseus: got it?

athena: *now semi-understands why poseidon listened to odysseus ‘requests’* uh-

poseidon: *putting an arm around athena’s shoulders* yep, no arguing here!

poseidon: *turns his head towards athena* isn’t that right my dear niece?

athena: *stares at poseidon in disbelief at the words ‘dear niece’*

athena: *turns to odysseus* you can’t be seri-

odysseus: *raises his eyebrow*

athena: *sighs* sure, no fighting in the palace

odysseus: *smiles* good. now i know you know where the dining hall is located athena, but poseidon doesn’t.

odysseus: so, if you’ll both please follow me.

odysseus: *starts walking down the hall*

athena: *shrugs poseidon’s arm off in disgust and follows odysseus*

poseidon: *sighs and also follows odysseus*

[lilacquintet-fandomstuffs]

So… epic huh—

[my-cages-were-mental]

tbh i'm never not going to be pissed about the loss of bi spencer and lesbian emily because imagine what could have been.

[inspector-montoya-fox]

'Dynamic Duo' is a decent mission in an otherwise lacklustre episode, but what i really love about it is how much it develops Penelope's character. from giving her a cutie health metre (and by extent establishing lavender purple as her signature colour. iconic) to having the targets look like pieces of cheese because y'know she's a mouse