#the music the story the characters their sacrifices

[unsoldd]

EPIC HOTEL

ORIGINAL IDEA BY: @bumblebee-chimera on Tumblr

<>

BLURB:

This musical/series follows Alastor, in the role of Odysseus, through an adaption of Homer's The Odyssey that tells the story of Alastor’s journey home from Heaven to the Pride Ring after the Heavenly War.

Alastor will have to face the gods, monsters, and other mythical beings who will try to prevent him from returning to his wife, Lucifer, and daughter, Charlotte.

Alastor must make difficult choices and try and grapple with his own morality and sanity. Will Alastor choose his own survival against his men's? Or will he sacrifice himself for the safety of his brothers.

<>

CHARACTERS:

▫ Alastor will play Odysseus

▫ Eurylochus will be played by Husker

▫ Polities will be played by Roosevelt *Male version of Rosie

▫ Athena will be played by Vagatha (Vaggie)

▫ Zues will be played by Adam

▫ Hermes will play Hermes * No idea who to make play Hermes so he will just be Hermes

▫ Hera will be played by Eve

▫ Hephaestus will be played by Sir Pentious

▫ Aeolus will be played by Nifty *The Winions will be cockroaches

▫ Ares will be played by Vox

▫ Aphrodite will be played by Valentino

▫ Apollo will be played by St. Peter

▫ Poseidon will be played by Roo *Root of Evil – Eve and Roo are separate people

▫ Polyphemus will be played by Caine

▫ Circe will be played by Angel Dust

▫ Anticlea will be played by Alastor’s Mother *Might wait till S2 to know her real name

▫ Scylla will be played by Ailith *This will be her non-succubus side

▫ Calypso will be played by Mimsy *This roll would suit her perfectly

▫ Antinous will be played by Lilith *This will be her succubus side

▫ Tiresias will be played by Zestial

NAME OF SAGA’s:

o TROY Saga – HEAVEN Saga

o CYCLOPS Saga – CAINE Saga

o OCEAN Saga – ROOT of EVIL Saga

o CIRCE Saga – ANGEL DUST Saga

o UNDERWORLD Saga – LIMBO Saga

o THUNDER Saga – FIRST MAN Saga

o WISDOM Saga – VAGATHA Saga

o VENGEANCE Saga – WINDIGO Saga

o ITHICA Saga – PRIDE Saga

[thelovelyblark-barg]

help I'm thinking too hard about outer wilds again

[qprpbj]

oh thank god ppl aren’t crucifying me for saying i like it better that darry dropped out of school over just not going at all i feel so vindicated. i think it makes sm more sense for his character and—-

[diskusaurus]

My biggest issue in Epic the Musical is Odysseus, actually. In this essay, I will....

[velvetjune]

judging people who played alan wake 2 solely on if they loved the musical sequence or not

[worthlessandembarrasing]

[rexcaliburechoes]

"I want to live" and "sacrifice, of the self or of others" are not themes that require one to be built upon another, but are instead longitudinally related rather than laterally in baldur's gate 3; they support each other rather than detract from one another. in this essay I will-

[femsolid]

My Video Games Recommendations Masterpost

The same criteria as before -> has to have a female lead and little to no misogyny

This Bed We Made Genre: Thriller, Puzzles, Narrative Game, Multiple Choices Story: A hotel housekeeper uncovers the secrets of some of her strange guests. Topics: Homophobia, Women's rights in the 50s, Mental Health, Classism Bonus: Lesbians!

Lost In Random Genre: Whimsy, Adventure Story: In a magical world where the population is divided by social class decided on the roll of a dice, a girl embarks on a journey to reunite with her sister who was sent to live in the upper class. Topics: Sisterhood, Fairy Tales, Classism, Humour Bonus: It's like playing a Tim Burton movie

Little Goody Two Shoes Genre: Horror, Romance, Narrative Game, Multiple Choices Story: To get out of poverty, Elise makes a deal with the devil (literally) Topics: Religion, Witch Hunting, Fairy Tales, European Folklore, Paganism Bonus: The main character is a lesbian. Sometimes, the characters break into songs like a musical.

Hellblade: Senua's Sacrifice Genre: Psychological Horror Story: Senua, a young Nordic woman who suffers from schizophrenia, is seeking an audience with the Goddess Hela. Topics: Schizophrenia, Anxiety, Paranoia, Celtic Mythology, Witch Hunting, Marginalisation, Grief Bonus: Best acting you'll ever find in a game

Haven Genre: Exploration, Resource Collecting, Romance Story: Yu and Kay are on the run and have taken refuge on a supposed deserted planet so they can be together. Topics: Forbidden love, Science, Intimacy, Humour Bonus: Can be played as a lesbian, straight or gay couple (the lesbian couple has the best voice acting)

Strange Horticulture Genre: Thriller, Puzzles Story: As the owner of a flower shop, you must find the right magical plants for your customers and discover who is the murderer (yes, there's also a murderer) Topics: Witchcraft, Cults, Mystery Bonus: You can pet the cat. It's point and click so you can play it on your laptop while chilling in bed (that's what I did, it's super cosy)

Gylt Genre: Adventure, Light Horror Story: A little girl is looking for her cousin who disappeared after being bullied and she discovers a dimension filled with monsters. Topics: Bullying Bonus: Makes you feel like you're in an animated movie

Sayonara Wild Heart Genre: Fast paced rhythmic action Story: A broken hearted woman faces the women in her life in a colourful and retro looking world Topics: Music, Mental Health, Romance, Self Discovery, Psychedelic Bonus: Gorgeous soundtrack

A Plague Tale Innocence & A Plague Tale Requiem Genre: Drama, Adventure Story: A girl must survive and protect her little brother while being hunted down by the inquisition, a cult and facing a plague of rats. Topics: Trauma, Childhood, Alchemy, Medieval, France, Death, Sacrifice Bonus: Excellent voice acting in french!

Shadow of The Tomb Raider Genre: Action, Adventure, Puzzles Story: Lara Croft explores Peruvian mythology in search of a magical artefact. Topics: Mythology, Remorse, Friendship Bonus: The Amazon forest! You can pick your outfits. And you can kill lots of men.

[myfairkatiecat]

only homophobes prefer fiyeraba to gelphie

ok that's not even true

Fine, you want to know what I love so much about Fiyeraba? I'll tell you.

Knowing Elphaba changes both Fiyero and Galinda. They're never the same again. Fiyero embraces that. He doesn't want to go back to not caring because he loves caring about her no matter how frustrating and difficult and painful it is. He's willing to run away for her through the entirety of act 2 and does it as soon as he's given the chance.

Glinda changes too, but she hangs onto her old dreams. She's so sure she can make herself happy with the things she used to want, even if she isn't happy she'll get there, she couldn't be happier, even if it isn't true YET it WILL BE because she will MAKE IT SO...

That's the difference. Both of them are never the same again for having known Elphaba, and both of them love her, but Fiyero is the one who makes the sacrifice. He's the one who embraces it. Glinda wants to, deep down, and her tragedy is as much her own fault as any other events of the musical.

She and Elphaba sing For Good, of course. Glinda acknowledges the change in the end and is a better person for it. But not before she loses everything and everyone that really matters to her. That's her tragedy and I could scream and cry about it all day.

Fiyero runs off with her. Maybe it's a rash choice, but it's the one he knows he has to make. He can't do the whole "life is painless for the brainless" thing anymore so he embraces the pain because even if love hurts, he's willing to let it hurt if it means experiencing all the joy that comes with love.

That's why fiyeraba > gelphie for me. And don't get me wrong, I ADORE Glinda. She's probably my favorite character, because I relate to her in a lot of ways (me too, Glinda. I would cause my own tragedy in that situation too) and her story is aafgjsdfkgjsdfhgkjshkjfgsf i could lose my mind over it. But as a ship? Fiyeraba. That's where the romance is at. He's the one who deserves her, not because he's a better person than Glinda, but because he's willing to act on having become a better person, while Glinda clings to the threads of a dream that will never be fulfilled, because she'll never be the person she was when she dreamed it up.

[galedekarios]

i need to get this off my chest. this is a personal vent post so please don't jump down my throat, but a thing that makes me feel some kind of ways is just how much bg3 is being viewed now through rose-tinted glasses in order to dunk on veilguard. i've seen this happening on most platforms tbh.

and sometimes i remember for a brief moment what larian did before the release (much of this in the last few weeks before release no less) and after the release of the game:

-lied abt the your race having consequences throughout the story (saying that drow being feared in act 1 and persecuted in act 3 and it then... just not happening at all. drow walking around on the surface is just fine now ig. again it still boggles my mind how drow are allowed to roam around in baldur's gate without consequences considering that they are known to be responsible for kidnapping duke ravengard but i won't get on that soapbox again.)

-lied abt the upper city being available in act 3

-lied abt romance progression & how romances would play out in general prior to release (pfh + release trailers and promo)

-game-breaking bugs

-romance-breaking bugs for months (gale and wyll)

-one companion who has a third to half more content than any of the other companions and who was heavily favoured and focused on during development to the detriment of others (with the narrative design lead even admitting to this)

-was missing an actual ending that they only added months after release

-was missing the evil path that they actually promised prior to release

-offers quite little in the way consequences even now (not giving karlach upgrades for example has zero bearing on her and she still survives to make her sacrifice on the pier, ethel coming back no matter what you did, downgrading gale's need for actual artefacts of power bc ppl can't part with their loot even for narrative reasons, etc.)

-lore-breaks + poor research on established lore (the whole timeline with mystra, minthara using an eilistraeen endearment, etc)

-massacring returning characters like viconia and sarevok

-constantly changing dialogue around / scrapping old ones / adding new ones depending on fan demand

i could go on, but it's... a lot already.

i obviously love the game despite its many flaws and it's done some other things wonderfully - just like veilguard. the unique body language of the companions, the animation and creativity, the voice acting, the music, act 1 overall and parts of act 2, etc. it's one of my most played games and one of my most beloveds (mostly bc of gale, my ocs and friends' oc).

all these game have flaws. the one difference i see is that bg3 has been given the benefit of the doubt and overall an abundance of good will (generally speaking) and veilguard hasn't been.

[whatcannotbesaid-shallbewept]

Why The Genderswap Is The Best Thing About Warriors

Here's another post on The Warriors genderswap because I’m still not over how good it was!!!

You've got to understand that changing the Warriors to women was a sacrifice. No matter how good a choice it was, it alienated a lot of the people who would otherwise be obsessed with it.

Warriors is already a cult 70s movie - it doesn't have a huge fanbase. Making the main characters women basically alienated that entire fanbase. Because Warriors is very much a movie about masculinity.

The fans liked it because it was about masculinity, and masculine themes (courage, honour) done masculine-y.

You can find megafans of the movie on reddit or tumblr, who are very much annoyed that the story is no longer about men being men. The story isn't the same anymore, and they aren't interested.

But the change wasn't made without reason.

Lin Manuel Miranda previously thought it was impossible to turn the Warriors into a musical, despite it being one of his favourite movies. The thing that changed his mind? The genderswap.

The Warriors album was made because of the genderswap. Lin thought it was the only interesting way to tell the story in the modern age - and you know what? He was right.

Everything just hits harder when they're women.

Orphan Town and We Got You are hilarious because they're women.

Turning a male/female seductions on their head. Male seduction is a k-pop Ballad about being a nice guy? Genius.

Moments like Call Me Mercy and Park At Night are empowering and emotionally charged because they're women.

Mercy looks at the Warriors and for the first time in her life sees women that have empowered themselves, and drops everything in her life to join them, because she wants to feel like that too.

Ajax sees a catcaller sexually harassing all of her friends and thinks "I need to teach this guy a lesson, because no one else in the world will ever do that"

The story feels more intense - it feels scarier.

On some level, every women is afraid to walk home at night, and Warriors is just that feeling elevated to a musical. The threat doesn't just feel more real - it feels intimately relatable.

The genderswap was heavily inspired by gamergate. Warriors is now a story about women not being believed, being falsely accused and taken advantage of.

But the story's moral still ends up being that these women need to keep their pride, need to keep pushing on. Through everything they still hold their heads high.

God it just works so well.

Re-intepreting Luther into an incel-type villian who wants the women out of his "space"? Brilliant. Turning the controversial Swan/Mercy romance into a lesbian love story? Fantastic! Shifting the story from being about courage, to being about the courage to hold your head high even after being attacked with gender-charged abuse? Life-changing.

The emotions just... work better when they're women. Reversing the genderswap now would be taking the story's teeth away.

You can't reverse time now guys!

Much like Warriors evolved the book - the musical evolved the movie. The dudebros are scratching their heads - angry they can't relate to the musical, without realising that they aren't supposed to.

Warriors is no longer a story about masculinity. It's about femininity now and I couldn't be happier.

[rockwgooglyeyes]

In and of itself, Nowhere is the prophecy that Ivan has written for himself, one of self destruction. Fitting for one of the most tragic characters in this show, the one whose love was requited but who never let it be anything due to his own stubbornness and blindness. Not only that but the way that he thinks of himself, as a monster who only serves to hurt those who he loves, is something that proves not to be true, necessarily, but it proves to be true through Ivan's twisted worldview as he hurt Sua by making fun of her sacrifice and he hurt Till by kissing him at the worst possible time. This song, Ivan's first solo since Black Sorrow, echoes that in being another self-fulfilling prophecy of Ivan's, another lie that he told himself so many times that he made it come true.

The repetition of musical elements such as the lifting scale of chimes, the swing of the instrumentals, the snare and percussion being pretty much the same every time only adding to the sensation of mounting foreboding up and up, a rising action that continues to rise but never truly reaches a climax, no culmination, no conclusion until death. My friend Zen (@verdantlights) called it eerie, and I agree. The way that the song all comes together, it feels like a tragedy unfolding in front of you, over and over, one that you know will happen and yet you can do nothing to prevent. It's almost like the "tainted history" that Ivan talks of, the repetition of events again and again over time, the way that history seems to be cyclical and we, as humans, never seem to truly learn.

In certain ways, the song is about the way that the perceived reality of the world and the world's actual reality are very, very different things. Considering the line about "a stiff dream dyed in rose-colored hues" that slowly changed to a dream dyed purple, to a dream dyed black, it is the way that when we are children we are able to hope for a better future than the one we think will actually come and how as we age, we are traumatized by the world to the point where we can no longer hope for anything better. Becoming someone who dismisses hope because you've tried hoping before and you only ended up with a kick in the gut and a punch in the face, well, that's a trauma response. We are all slowly traumatized over time into believing that the world can't get better, our rose-colored dreams becoming purple until they finally fade to black, blotted out by the corruption of memory, those times when we dared to dream and we were shot down from out of the sky, our wax wings not even given the chance to melt. We are beaten down by life, over and over again, until we are simply forced to go through the routine that society demands of us and say that we are content (wake up, wake up to the usual routine & wake up, wake up to this beautiful life, is it for real?).

The worst part is that Ivan knows better (a dustlike existence can't open its eyes to look. I close my eyes). The whole reason why Ivan admires Till so much in the first place is his willingness to fight, his hope for a future without slavery for humans, his unadulterated and true love. Ivan knows what hope feels like and he knows that he just can muster it anymore, too exhausted to be anything other than apathetic (the wounds that kept reopening just became numb), but he can still love Till's vivacity and drive for change. Ivan views himself as something dirty, something broken that only serves to break others. He thinks that he's a monster who can only do the people he loves harm, and to a degree, that's true, his belief a self-fulfilling prophecy.

Ultimately though, Ivan is an immensely unreliable narrator, someone so biased against himself and towards literally anyone else but someone who is so stubborn that he is unwilling to believe anyone else's opinions on him because they have never met his "true self" only the mask that he wears that he ends up digging a deeper and deeper hole. He thinks of his story as one that's already written, the repetition of the line "this always happens to me" echoing that, especially with the way that eventually that song ends with it repeated again, "yeah, it's always like that, this always happens to me." Ivan isn't trying to fight it because his dream has long since been stained black, despite the fact that he knows that he could break out of this cycle of despair. He knows this prophecy that he is submitting to is one that he wrote himself and yet, where he stands right now? He has no will to change it.

note: My friend Ish (@chevalperd) screenshotted @/ivantill7089 (on twitter)'s english translation of this song for me, which is what I am referencing for the lyrics! I love you Ish thank you again so much :3

[ficandkaboodle]

Analyses of Most Ghost Characters be like…

Terzo was a tragic and extremely deep figure who, based off observations provided by his ghouls and Bishop Necropolitis, was a brilliant mind whose ideas were bastardized and squandered, which resulted in a disappointed and bitter husk of a man who still made an effort to display kindness. However, we will likely never truly know the full story of who he was because he lied so damn often.

Most of how we perceive Secondo is arguably the result of Sister badmouthing him as well as ghouls being brutally candid about how he acted in interviews. However, there’s reason to believe Secondo might’ve been just as multifaceted as Terzo, in that he wasn’t being his complete self to the audience. There’s evidence that could suggest Secondo did not enjoy being Papa in its entirety so much as the perks, which were ironically also hindered by him being Papa at the end of the day. It’s not hard to interpret him as someone who might not have enjoyed being a part of the bloodline at the end of the day because of what it meant he had to sacrifice.

Copia is a manchild, likely as a result of how he grew up: Orphaned, likely a social outcast, very likely undiagnosed. As a result, he might’ve become convinced that the only way to rise above it was to become someone worthy of adoration: Papa. But even after he ascended, his troubles didn’t stop: He had to learn his parentage, didn’t address the fact that his brothers were now dead, and spent the last few months he had with the woman he now knew was his mother dissociating because he developed a fear of death. This fear, mind you, that easily ties back into the theorized likelihood that he placed his self-worth into his success. And this is before getting into his willingness to be a puppet —

Papa Nihil’s complexities come in the form of his tendencies to escape reality and the consequences these brought. He was very likely an absent father, which would have had effects on his sons (say, attention-seeking tendencies; a distrust in authority; abandonment issues). In fact, the only things he seems to seek from his youth is his extremely short-lived music career and his unstable relationship with a woman who ultimately kept quiet about their son(s) they conceived together and ultimately played his lust and delusions against him to play nepotism. And by leaning into this, he got his own children killed. He only “became a father” after he died, and it’s sad that he actually seems his most lucid then. What’s all the more mind-boggling and makes you wonder about his tenure is his ability to be in the moment and try and convince Cardi to learn to do the same. It makes you curious: Was Nihil actually a good Papa when he wasn’t distracted?

Sister Imperator is willfully emotionally constipated and will justify it as being “for the good of the church”. She has definitely been affected by her decisions and what she’s done, from her relationship with Nihil to her giving up her babies and watching them at a distance, only interacting from a work standpoint. She lies, keeps secrets, has people killed off, all to tie her spawn into the position as Papa, which is curious considering her position means she’s already above the station of Papa. She does care about Cardi, but she doesn’t care for him the way he needs to be and, as a result, arguably only exacerbates his anxious tendencies. She’s an extremely interesting character but it’s so easy to water her down to just being manipulative and evil.

………………

Analyses of Primo —

Primo is fucking crazy man I don’t — Like, he might be a serial killer; he would punch a panda for profit; we aren’t even entirely certain he’s human like I would legit headcanon that Primo is a changeling and the fandom would run with it because what choice do we have, he honestly actually could be!!!

[dangergays]

as per my last post. the thing i really love about epic the musical and a lot of tragic stories in general is that almost all of the problems are reactionary, but in a way that makes sense for the human characters.

of course odysseus doesn't want to kill polyphemus. he just killed a baby that he didn't want to because zeus forced him to. obviously after that he isn't going to want any more unnecessary bloodshed. and of course he's gonna shout out his name and address, his best friend and multiple other men were just brutally murdered in front of him, he's not thinking straight and there's no way he could've known it was poseidon's son.

of course eurylochus opens the wind bag. iirc, odysseus in the music doesn't actually explicitly tell anyone what the bag is except for perimedes and elpenor (edit: after further inspection he does tell people other than those two, but it's not clear who exactly he tells). his captain is being weird and shady about this bag and not letting anyone else touch it, to the point where he stays awake for nine days straight to keep everyone else away from it. that's shady as fuck and after odysseus did nothing to quell his doubt, of course he's opening the bag.

of course odysseus sacrifices his men to scylla. it's been years now and he's so desperate to see his wife and son, especially since they could see the coast of ithaca when the wind bag was opened. this is the only true concrete way to get almost all of his men home that he can think of, of course he's going to start to grasp at any opportunity he can see to get home. and, he's just had his whole revelation about how he would do whatever it takes to get as many of his men home as he can.

of course eurylochus would stage a mutiny. his captain just sacrificed six men to a horrific sea monster.

of course eurylochus would kill the sacred cow. the men are starving, and they're not going to take odysseus at his word anymore because he just sacrificed six men.

of course odysseus chooses himself over his crew. they all just betrayed him and literally stabbed him in the back, and didn't listen to his warnings about killing the cow. everything he is doing has been to get back home, and eurylochus no longer believes they'll be able to make it home. he has to keep trying. he has to meet his son.

[aventurineswife]

Hello again! I was wondering if you could make a violinist reader, something similar to my previous request.

Being the reader who personally plays for the character and dedicates a song to him, with the characters Aventurine, Sampo, Jing Yuan and Childe. Take your time!

-🩵

Strings of the Soul

Tags: Aventurine x Reader, Sampo x Reader, Jing Yuan x Reader, Childe x Reader, Fluff, Romance, Violinist!Reader, Light Angst, Soft Moments, Artistic Expression(?), Comfort.

Warnings: Light mentions of Childe's battles and sacrifices, subtle melancholic undertones in some pieces, and slight flirtation, Mimi is alive 🫶🤭.

The grand casino hall was alive with the clatter of roulette wheels and the soft hum of conversation. Aventurine leaned casually against the bar, his eyes scanning the crowd with a playful glint. He was in his element, a world of wagers and whims, where every interaction was a calculated gamble.

But tonight, something—or rather, someone—had piqued his curiosity. On the raised stage, you tuned your violin with an air of quiet confidence. The gold accents of your outfit glimmered under the lights, a reflection of the daring spirit Aventurine admired.

When the first note rang out, sharp and precise, the room stilled. Your melody was a daring dance of highs and lows, a musical representation of Aventurine’s own life—a world of risks and rewards. Each crescendo mirrored the adrenaline of a well-played gamble, while the softer, melancholic tones spoke of the unseen cost of his high-stakes world.

By the time the last note faded, Aventurine was clapping louder than anyone else, his sly smile softened by genuine admiration.

Later, when you approached him, he raised an eyebrow.

“A song for me?” he teased, twirling the peacock feather earring he wore.

“For you,” you confirmed, “a gambler’s serenade.”

“Well, darling,” he said, offering his gloved hand, “you’ve just made the best bet of the night.”

The flickering lanterns of the bazaar cast warm shadows over the bustling stalls. Amid the chaos, Sampo lounged on a pile of crates, one leg crossed lazily over the other. His eyes sparkled with mischief as he observed you setting up your violin in the center of the square.

When you began to play, the usual clamor of the market faded into silence. Your music was light and playful, a lilting tune that mimicked Sampo’s carefree persona. Quick, sharp notes captured the essence of his silver tongue and slippery nature, while the sudden shifts in tempo mirrored his unpredictable schemes.

The crowd clapped along, enchanted by the melody, but Sampo’s gaze was fixed solely on you.

When the performance ended, he weaved through the crowd with his characteristic swagger, clapping his mismatched gloves in mock reverence.

“Well, well,” he drawled, “if it isn’t my new favorite musician. That piece had me written all over it.”

“It was inspired by you,” you admitted, tucking your violin back into its case.

He smirked, leaning in conspiratorially. “Careful, my friend. Flattery might just make me stick around longer than you’d like.”

The serene garden of the Xianzhou Luofu was bathed in the soft glow of twilight. Jing Yuan sat beneath a blossoming tree, Mimi, his lion companion, dozing peacefully at his side. His eyes, heavy with centuries of wisdom, flickered toward you as you approached with your violin.

You bowed slightly before taking your place a short distance away. The first notes of your song floated through the air, a gentle, meditative melody that seemed to echo Jing Yuan’s introspective nature. The composition was intricate yet understated, weaving a story of quiet strength and enduring patience.

As the music swelled, a hint of melancholy crept into the melody, a reflection of the memories Jing Yuan carried—the comrades he had lost, the battles fought, and the passage of time. Yet the piece ended on a hopeful note, a reminder of the peace he had worked tirelessly to maintain.

When you finished, Jing Yuan’s usual calm expression softened into a rare smile. “That was beautifully played,” he said, his deep voice tinged with gratitude.

“It was composed for you.” you replied, bowing again.

“A lullaby for a dozing general,” he mused, reclining further against the tree. “You have my thanks. Perhaps you’ll play again sometime?”

The icy wind of Snezhnaya whipped through the open training ground, where Childe stood, his Hydro blades dissipating as he concluded his sparring session. Sweat glistened on his brow, but he greeted you with a wide grin as you approached with your violin case in hand.

“You’re braving the cold to play for me?” he asked, his tone half-teasing but warm.

“Someone needs to balance all that fighting with a little culture,” you replied, setting up your instrument.

The music you played was fierce and dynamic, mirroring the intensity of Childe’s battles. Rapid, fiery strokes of the bow captured the thrill of combat, while the deeper, more mournful tones hinted at the sacrifices he made for his family.

Childe stood motionless, his eyes fixed on you as the music stirred something deep within him.

By the time you reached the climax, a triumphant crescendo that spoke of resilience and hope, a rare stillness had settled over the Harbinger.

“That…” he began, his voice uncharacteristically soft, “that was incredible.”

“It’s a song for a warrior,” you said, meeting his gaze.

“For me, huh?” He grinned, his usual cocky demeanor returning. “You’ve got a knack for this. Next time, though, maybe play it during one of my fights? I think it’d make a great soundtrack.”

[beaulesbian]

Every once in a while I think again about the end of Thriller Bark and feel completely insane and ill about Zoro's sacrifice, FOR LUFFY, specifically (you know, the character Kuma's threat was directed at). It wasn't even that long into traveling together, a few months maybe, yet Zoro was ready to give up everything in that moment - in the chapter with Kuma appearing being titled The End of the Dream ! - to protect his crew and Luffy, so he could continue in his journey.

Since Luffy and Zoro met, they always understand how words and promises were imporant to them - with Luffy punching Helmeppo in ch. 3 for lying to Zoro. Zoro learnt how serious Luffy was about his dream, and soon he realized he backed up his words with actions as well - untiying Zoro and giving him his swords back - his biggest treasures. It meant that Zoro could be honest and honor-bound in the same way to Luffy, to gain this mutual respect and trust between them since day 1. To wield his swords to protect both Luffy and later their whole crew, and to step in a way between Luffy and danger.

He was being actually more upset that Sanji got up from the previous Kuma's attack and interrupted their fight - Zoro was trying to keep the whole crew safe by this exchange for Luffy's head - if Sanji was offering his life for Luffy half dead and without much strength left to fight for himself (he started the offering of his own life already believing he woudn't survive, with a "you should find a new cook"), then this very specific sacrifice would be meaningless to the crew (- if this arc was taking place post WCI, then it would turn out very differently, with the strength of Sanji believing in Luffy, but it wasn't his moment during this scene) - it would hurt them more than help them, because as much as Zoro was prepared to die as well, he was prepared to keep fighting until the last breath.

Zoro was thinking he might die - Kuma's words were pretty certain he WOULD die - but he still had the willingness and strength to take on the deal for Luffy, for his captain and his crew. ("if i die here, it just means I wasn't worth much to begin with" this line he says times and times again during the overall story, like in Rogue Town throwing Kitetsu and waiting if it would cut off his arm, up until standing against King in Wano "it's my power that was lacking", and all the other times he was questioning his worth - it's something he tempts the fates he doesn't believe in, to actually harm him, to take his strength away if he doesn't deserve to survive. and it's him saying he knows and accepts his own weaknesses - of not being strong enough (in comparison to Sanji in this example), and always fights through them.)

He threw away his swords, including Wado Ichimonji - literally throwing aside his and Kuina's dream, to compell Kuma into a duel (with the anime playing 'The Very Very Very Strongest' when Zoro bowed down and pleaded Kuma, offering him his head instead of Luffy's) so Kuma wouldn't go after the crew and specifically Luffy later - no matter the outcome if Zoro would surive or not.

And then, he was actually strong enough to survive taking his captain's fatigue, agony and pain! Possibly being the only one who could survive taking Luffy's pain.

Zoro could have back out when Kuma offered him the 'taste' of the pain, with the realization of the scale of the hurt with the very possibility of dying from it. But that wouldn't be Zoro now, would it? He accepted and took all of Luffy's pain so his captain wouldn't have to suffer or die, and when they found him afterwards, he still kept standing, tense with the fatigue but alive! (again, with anime adding the music of 'Luffy's Fierce Attack' to underline the importance between these two).

He was training for this since the beginning - to become stronger to shoulder the pain of his crew if necessary. (And not only that - he was preparing for that so another Kuina incident didn't have to happen). He was the first one to fight one of the Warlords before anything really began: his fight with Mihawk at Baratie really set the tone and his own goals to overcome - a glimpse to see on how much different levels the Warlords actually were in comparison to Zoro, Luffy and the others, and if they were supposed to beat them so Luffy could become the Pirate King, that always meant to be ready and to get even stronger than them.

(small spoiler for egghead, ch. 1102: seeing Kuma (a Warlord at that time) remembering this Thriller Bark event later, during Egghead arc, and thinking that even he might have passed out from the pain, makes it all the more meaningful that it was Zoro who took the pain and withstood it - establishing how high was the strength of his willpower, already before timeskip.)

There could be so many other nuances and details from these last few chapters of this arc, and even what this deal meant for the following arcs! Zoro was still in pain on Sabaody, and because of that the crew wasn't as strong as it could have been (not to say they would have a chance anyway, knowing what all was in the motion).

The next is the tragedy and beauty of LUFFY never finding out about this. Half of the crew knew: Sanji, Brook and Robin knew the details, but would never tell Luffy - and that shows their loyalty to both Luffy and Zoro (and Zoro's decision). Luffy woke up and first thing he did was to jump up and down, excited not to be weighted down by his injuries, and only seeing his swordsman being down with injuries so severe he was out more days afterwards, knowing that something else attacked them (him = Zoro), after he was passed out from the fight against Moria, brought down his mood (even if it's not much noticable, but the change into subtle worry is there in the few next chapters).

"I can't explain it either!" - meaning he was thinking about it too, possibly how weird it was for him to move normally after such long fight. We don't really ever hear/see Luffy thinking about something, except when it's mentioned how he came up with a solution or idea, telling us there's more to Luffy than just being straightforward in his goals and speech. With Luffy being sometimes very emotionally intelligent when he wants to be, he could have figured it out from all these other people in the room asking similar questions and deducing. Even Usopp was putting two and two togehter. We might never find out if Luffy actuallly knows or not. Luffy probably wouldn't ask Zoro directly, especially if Zoro wouldn't tell first and didn't want to talk about it

- because for Zoro, nothing happened! Nothing, that would compromise his and Luffy's first promise. For Zoro to become the Strongest he couldn't back down from the duel with Kuma (just like before with his duel with Mihawk at Baratie. When he's faced with something he swore to overcome, he can't back down or evade. Even back then Luffy understood that as he held back Johnny and Yosaku, but Sanji was perplexed how far Zoro (and Luffy) would go to reach their dreams). When Sanji was asking him in front of Kuma "What about your dream?" Zoro was still thinking about his dream- it was just that the context has changed, it changed into a journey. His dream is the most important thing, but it wouldn't mean much, if, when on his way to accomplish that, he would betray his other words and promises.