#when is the monster not a monster. not when you love it. when you understand the monster. | Explore Tumblr posts and blogs

amitiel-truth · 2 days ago

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River Maiden Pt. 9

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part 10

(A/N: is Telephone technically a Monsterfucker in this story? I mean, Penelope's Half Nymph so he got it from Odysseus. : ))

"I don't know what to do..." (Y/N) mutters, her head on Penelope's lap as they're in the Queen's Quarters, they're meant to start another lesson, but they've postpone it for now.

"It's a difficult situation, isn't it?" Penelope replied, gently stroking her hair. "You want to be honest with Telemachus, but you fear how he would react to the truth."

"Don't you hate me, Mother? How Poseidon was the reason why it took your husband to get home 10 more years after the war?." (Y/N) asked in worry, tearing up at her.

"Oh, my dear child," Penelope's tone was tender as she gently wiped away (Y/N)'s tears. "I could never hate you. You are not responsible for the actions of your father. You deserve love and acceptance just like anyone else."

"But...I'm scared to tell Telemachus." (Y/N) professes, leaning onto the comforting woman's hand.

"I'm scared of how he'll react, will he look at me with disdain, blame me for Poseidon's action, or be disgusted for bedding a monster." (Y/N) ponders, tears streaming from her eyes.

"Shhh," Penelope hushes her, gently stroking her hair again. "You cannot control what Telemachus will think or feel when he learns the truth. But if he truly loves you, he will see past your heritage and understand that you are your own person, separate from the actions of your father."

She gave (Y/N) a reassuring smile. "I have faith in Telemachus. He is a good man, and he has already shown how much he cares for you."

"But...what about your husband?." (Y/N) frowns once more, looking onto the ground.

"He might end our engagement..."

Penelope chuckles, a fond smile tugging at her lips. "(Y/N), did you truly think Telemachus would allow anything to come between him and you? He is practically obsessed with you. He would fight off an army of Cyclopes if it meant keeping you safe and by his side."

"But...He practically idolized his Father, he just had the chance to get to know him, I don't want to get in the way of it." (Y/N) added with a worried look.

Penelope shook her head, placing a gentle hand on Egeria's shoulder.

"You're not going to get in the way of anything. Telemachus loves you, and that won't change once he learns about your heritage. Yes, he idolized his father, and he still does to an extent, but he is his own person now.

"He's grown up, had his own experiences and formed his own opinions and values. He's not going to simply abandon you because of something you have no control over."

(Y/N) looks at her, speechless, before she could say something to Penelope, someone knocked at the door.

Penelope looked at (Y/N) fondly before turning toward the door. "Come in." she called out gently.

(Y/N) wiped away her tears, trying to look halfway decent.

A servant entered the room.

"Queen Penelope, King Odysseus is requesting Lady (Y/N)'s presence." The servant relays, shocking (Y/N).

"Very well. (Y/N), it seems the King wants to speak with you." Penelope gently nudged her.

(Y/N) could only look at Penelope in worry, before following the servant.

As (Y/N) followed the servant through the palace halls, her mind raced with anxiety and questions. What could Odysseus possibly want to talk to her about? Was it about Telemachus?

Finally, they reached Odysseus's study, and the servant opened the door, gesturing for her to enter

As (Y/N) entered the room, she noticed how very different it was to the Queen's Quarters, weapons, maps, and armour, she could almost hear their stories.

Odysseus was sitting at his desk, shuffling through some maps and documents. He looked up as (Y/N) entered, his gaze sharp.

"Close the door." He commanded the servant.

The heavy oak door shut with a resounding thud, leaving (Y/N) alone with Odysseus.

(Y/N) stood in the middle of his study, holding her hands in front of her.

"You wished to see me, Sir?" (Y/N) asked, a bit nervous

Odysseus leaned back in his chair, studying (Y/N) intently. "Yes, I did. Have a seat."

He gestured to the chair across from his desk, his expression unreadable.

As (Y/N) sat in front of Odysseus, on his desk is a Latrunculi board with it's pieces in place, making (Y/N) curious.

As she looked down at the Latrunculi board on the desk, she couldn't help but wonder why it was there. The game was a strategic one that required foresight and planning.

Odysseus noticed her gaze and a half smile played across his lips.

"Do you play Latrunculi?" He asked, his tone almost casual.

"My Aunt taught me, as well as I had a few games with my...Cousins" (Y/N) answers, a bit reluctantly

Odysseus nodded, noticing (Y/N)'s hesitation.

"Ah, so you have some experience with strategy and tactics, then." he said, leaning back in his chair. "You see, this game is not just about making random moves. It's about understanding your opponent, anticipating their moves, and making calculated decisions."

He gestured towards the board. "The pieces may appear small, but their positions and moves have a significant impact on the outcome of the game. Each choice you make can either bring you closer to victory or lead you to defeat."

Odysseus leaned forward, a gleam of challenge in his eyes. "I have a proposal. Would you like to play a game of Latrunculi with me?"

"Of course sir, do excuse me for I'm a bit rusty." (Y/N) admits with a nervous smile.

Odysseus chuckled, gesturing to the board. "Oh, don't worry about it. I'm in the mood for a game myself."

He moved a piece on the board, making what seemed to be a bold but well-placed opening move. "Your move."

(Y/N) moves a man as her starting move

Odysseus watched as (Y/N) made her move, his eyes narrowing in thought. He studied the board for a moment, considering his options.

"Not a bad opening move," he commented with a hint of surprise in his tone. "Looks like you remember a thing or two about the game."

"It's only a start, Sir." (Y/N) points out with a smile, before moving another man.

Odysseus nodded, his expression focused as he considered his next move.

"Indeed, the game is only beginning." He studied the board, his mind working to anticipate (Y/N)'s strategy. After a moment, he moved one of his men, initiating a counterattack.

(Y/N) noticed his moves, before doing the unexpected, moving her Dux (General), early in the game, trapping and capturing two of his men at once.

Odysseus's eyes widened in surprise at her unexpected move. He had not anticipated her making such a bold and strategic play so early in the game.

"Well, look at you," he said with a hint of admiration, "that was quite a risky move. And it looks like it paid off. You just captured two of my men in one turn."

"It was only a quick strategy, Sir." (Y/N) smiled sheepishly.

Odysseus chuckled, shaking his head.

"You're being too modest. That was more than just a 'quick strategy.' It was a well-calculated move, and it left me two pieces down."

He studied the board, taking stock of his remaining pieces and formulating a plan.

"You're quite the competitor, aren't you?" Odysseus said with a hint of respect in his tone as he continued to study the board. "We're only a few moves in, and you're already putting me at a disadvantage."

Odysseus's expression turned serious as he focused on the board, his eyes scanning the pieces. He made his next move, a strategic one that not only defended his remaining men but also threatened (Y/N)'s.

Odysseus continued his assault, carefully maneuvering his men around (Y/N)'s, boxing her in and limiting her options. He was a skilled player, and he was determined to turn the tables on her.

"You see, in the game of Latrunculi, as in life, it's not just about making the moves that feel good or seem easy. It's about being able to adapt, to think several steps ahead, and to make sacrifices when necessary.

"You can't be afraid to take risks, even if it means losing a few pieces along the way. Sometimes, the most strategic move is to sacrifice a man to capture the Dux."

(Y/N) tries to navigate her troupe, backing her Dux and spreading out her men, but before she knew it, she's already in a corner, with Odysseus's own men and Dux cornering her.

"I knew I was rusty." (Y/N) sighs in defeat.

Odysseus chuckled, pleased with his victory.

"You played well, considering how 'rusty' you claim to be," he said with a smirk. "But you made a crucial mistake. You let yourself get cornered, and once you're corned in this game, it's difficult to escape."

(Y/N) looks at him in a bit of suspicion.

"This isn't about the game, isn't it, Sir?" She asked, ready for his interrogation.

Odysseus leaned back in his chair, studying (Y/N)'s expression. He could tell she suspected his true intent behind inviting her to play.

"Very perceptive of you," he said with a wry smile. "No, this wasn't just about the game. There's something else I wanted to discuss with you, something of a more...personal nature."

(Y/N)'s heart skipped a beat, her curiosity piqued. She had a feeling she knew what he wanted to talk about, but she remained silent, waiting for him to continue.

"I won't beat around the bush," Odysseus said bluntly, his gaze fixed on (Y/N). "I've noticed the way my son looks at you, the way he hangs on your every word. He's enamored with you, that much is clear. And as his father, I feel it's my responsibility to look out for him, to make sure he's not making any mistakes."

"I understand, As his bethrode I'll answer every question you ask to the best of my abilities." (Y/N) answers, her hands on her lap.

Odysseus's expression softened slightly, appreciating her sincerity. He leans forward, placing his hands on the desk.

"Good," he said, nodding. "That's what I wanted to hear. But before we get into that, I need to know for certain. Are you truly fond of Telemachus? Is your affection for him genuine?"

"Honestly sir, I didn't know how I lived before him, but he's everything I could ever ask for, his sweet, sensitive, thoughtful, and caring, a rarity among men, I'd lose my mind if I lost him." (Y/N) answers honestly with a blush (🙃)

Odysseus studied (Y/N)'s face, searching for any hint of insincerity. But all he saw was honesty and a genuine affection in her eyes. He could tell that she cared deeply for Telemachus, and it brought a small measure of reassurance to him as a father.

A wave of nostalgia washed over him. Her words reminded him of the younger version of himself, hopelessly in love with Penelope and willing to do anything for her. He couldn't help but see the similarities and feel a strange sense of familiarity.

"Your affection for my son, it's..." Odysseus trailed off for a moment before continuing, his gaze softening. "It's almost a mirror image of how I felt about his Mother, years ago. It's hard to deny that you genuinely care for him."

"Oh..." (Y/N) blushes, looking onto the ground shyly.

Odysseus chuckled softly, noticing her bashfulness.

"No need to be embarrassed," he said with a small smile. "It's a good thing, you know. Caring for someone deeply is a powerful feeling, and it can make all the difference in life."

His expression turned more serious.

"But, love and affection aside, there's another aspect I need to discuss with you."

(Y/N) looked up, her curiosity piqued once more. She had an idea of what he was going to ask next, but she waited for him to continue, mentally bracing herself.

"Your past," Odysseus began, his eyes fixed on her. "I know you haven't always been forthcoming about it, and there are things you've kept from Telemachus."

He leaned back in his chair, crossing his arms.

"I need to know the truth. Who are you really, (Y/N)? And what are you hiding?"

(Y/N)'s smile tightens, her eye twitching before coughing, dismissing her nervousness "W-well, Sir, as I've said before on our first meeting, I was born in Gibraltar under my Mother's care before her health declined, so my Aunt took me in and brought me to Athens, she's also a Teacher so she taught me everything I know, along with the different specialties of my Cousin, but my Aunt still has her own plights, as much as I want to stay with her, my Uncle, her husband, let's just say he isn't very...loyal, she already has too many on her plate so I decided I wanted to live on my own, in solitude.

Ithaca was the first choice with the lush greens and surrounded by water, but I later realized it wasn't that isolated..." (Y/N) tells her story, albeit vaguely.

Odysseus listened intently to (Y/N)'s story, his gaze sharp and observant. There were certain details and holes in her story that he picked up on, but he decided to focus on one particular thing she mentioned.

"You didn't mention your Father," he said quietly, his tone almost accusatory. "Why is that?"

"The Bastard can go screw himself." (Y/N) mutters harshly, surprising Odysseus.

"I-i mean, he isn't that much in the picture so I don't know him much." She tries to backtrack with a sheepish smile.

Odysseus raised an eyebrow, intrigued by (Y/N)'s sudden change in tone and the venom in her voice when talking about her Father. It was obvious there was animosity there, but he couldn't quite understand why.

"You seem to have quite a strong opinion of him," he observed, his gaze still fixed on her. "Yet you say you don't know him much. That's a rather conflicting statement, don't you think?"

(Y/N) looks at him in shock, before looking at her lap,her hand tightly clenched.

"He forced himself onto my mother..." (Y/N) admits with a frown.

Odysseus's expression darkened as (Y/N) revealed the truth about her Father. His hands clenched into fists, his knuckles turning white. He didn't like the sound of what she was insinuating.

"You mean..." he began, his voice a low rumble, "He...assaulted your mother?"

"I was the product of her defilement, as a child, I watched her degrade, crying herself to sleep, and the bastard didn't even bother checking on her or taking responsibility, he continued his life as usual, while I had to watch that beautiful woman self destruct." (Y/N) mutters, glaring onto her own hands.

Odysseus's heart ached for (Y/N) as she recounted her traumatic past. The disdain in her voice was palpable, and he could see the pain and hurt behind her words. He couldn't imagine how difficult it must have been for her to grow up under such circumstances.

"Your Father is a vile man," Odysseus spat out, his voice filled with disgust. "He didn't deserve to be called a Father, let alone sire a child."

"I'm so sorry that I didn't tell you, Sir. I was afraid you'd think I'm not the perfect match to your son with the circumstances of my birth." (Y/N) mutters with guilt.

Odysseus sighed, his initial anger cooling down into sympathy. He could see the shame and guilt in (Y/N) eyes, and he knew that she had carried a heavy burden with her for a long time.

"You don't need to apologize, (Y/N)" he said gently, his tone kinder now. "I can understand why you would keep such a thing to yourself, especially given the stigma surrounding your circumstances. But let me make one thing clear."

"The circumstances of your birth do not define you," Odysseus continued firmly. "You are more than just a victim of your Father's cruelty. You're a strong, intelligent, and kind-hearted young woman. Telemachus is lucky to have you as his betrothed, and nothing will change that."

"I must admit," he said thoughtfully, "I'm quite surprised at how you've taken to Telemachus so quickly. Considering the circumstances of your past, I would have expected you to be more guarded when it comes to matters of the heart."

"It's also one of the reasons why I wanted to live in isolation, but your son...is so different, he's not brash, not proud, not cocky, his caring, kind hearted, sensitive...everything that bastard could never be." (Y/N) mutters, not even realizing she's already swooning in the thought of Telemachus, snapping out of her daze.

"I-I'm sorry! I didn't mean to babble!"

Odysseus chuckled softly, amused by (Y/N)'s unabashed gushing about Telemachus. It was clear that she was completely smitten with his son.

"No need to apologize," he said, waving a hand gently. "You're in love, and Telemachus is a remarkable young man. I'm not surprised you can't help but gush about him."

He leaned back in his chair, a small smile on his lips.

"It's quite endearing, actually."

"But I have to ask," Odysseus continued, his tone becoming more serious again. "How do you think Telemachus would feel if he knew the truth about your past? About your Father?"

"I...I don't know..." (Y/N) admits, looking down onto her lap.

Odysseus was quiet for a moment, studying her expression. He could see the fear in her eyes, the worry at how Telemachus would react to the truth.

"You're afraid he'll reject you," he said bluntly, hitting the nail on the head. "You're afraid he won't be able to look at you the same way once he knows."

Egeria grew quite, biting her lip.

Odysseus's expression softened, his tone growing gentler.

"I understand your fear, (Y/N)," he said quietly. "But you can't keep something like this hidden forever. The truth has a way of coming out, and when it does, it's better that Telemachus hears it from you, rather than someone else."

He leaned forward, his gaze steady on her.

"You need to tell him."

"I don't know how, Sir." Odysseus's heart ached at the sight of (Y/N), the once confident and fiery young woman, now reduced to a trembling girl. He knew how much she cared for Telemachus, and he could see the fear in her eyes at the thought of losing him.

"(Y/N)," he said softly, his tone soothing. "I understand that it's difficult, but you can't keep something this important hidden forever. You need to be honest with Telemachus. You owe him that much."

"He loves you," Odysseus continued, his voice firm but kind. "And if he truly cares for you, he'll understand. But you have to give him the chance to understand. You can't let your fears hold you back."

He leaned back in his chair, his gaze still fixed on her.

"You're strong, (Y/N). You can do this."

She looks at him in shock, before sighing, smiling at Odysseus "Thank you for your advice, Sir." (Y/N) thanked him.

Odysseus nodded, a small smile on his face.

"Of course, (Y/N). But remember, this is something you need to do soon. The longer you wait, the harder it will be for the both of you."

He paused for a moment before speaking again.

"And (Y/N)?"

"Yes, Sir?" She asked, her attention fully on him.

He leaned back in his chair, his gaze still fixed on her.

"You're strong, (Y/N). You can do this."

Egeria looks at him, before smiling brightly at him "Thank you, Sir." (Y/N) thanked him one last time, before leaving his study, looking for Telemachus in the courtyard, training once more.

As Egeria made her way to the courtyard, she spotted Telemachus in the midst of a training session. He was drenched in sweat, his muscles straining as he wielded his sword with precision and power.

(Y/N) stood at the edge of the courtyard, watching him for a few moments, admiring the grace and strength with which he moved. It stirs something..sinful inside her, watching his sweat roll down body, every grunt as he swung his sword, but her fantasies have to wait at a later time.

Just as she was about to approach him, it suddenly...rained.

"What?" (Y/N) held out her hand, catching a few rain drops, before she felt something familiar in this brewing storm.

"No...it can't be..."

Meanwhile

Odysseus is in his study, cleaning up the Lactruculi pieces, before he noticed it started raining outside, this rain seems familiar, he looks outside the palace where it has the view of the beach...his heart dropped.

There stood...Poseidon.

Odysseus's heart pounding in his chest. Poseidon's presence sent a wave of unease through him, but he knew he had to face the god once again.

He steeled himself, taking a deep breath before stepping out of the palace and onto the beach where he found himself face to face face with the lord of the sea.

"Poseidon," Odysseus said coolly, his voice steady despite the churning emotions he felt inside. "What brings you here?"

Poseidon regarded him with a steely glare, his eyes narrowing in anger.

"You know why I'm here, Odysseus," he replied, his voice booming with authority. "Your arrogance and defiance has not gone unnoticed."

"But don't worry, I'm not here for you." Poseidon looks around, scanning the palace.

"Where is she?"

Odysseus's heart skipped a beat as he heard Poseidon's question.

"Who?" he asked, trying to hide the worry in his voice. He had a feeling he already knew who he was talking about, but he needed to be sure.

"A brat of mine who snuck into your kingdom, I usually don't care about any of them but this one's...a special case." Poseidon vaguely answers with a crude smile

Odysseus's gut twisted at Poseidon's words. He knew who he spoke of.

"(Y/N)," he muttered, but loud enough for Poseidon to hear.

"So that's her name, (Y/N)." Poseidon mutters in thought, pacing around on the sand.

"Good enough of a name, I guess, and I could only guess she didn't even bother telling you her story." Poseidon smirked, taunting Odysseus in his foolishness.

Odysseus tensed up, but he tried to keep his composure. He knew what Poseidon was doing, but he couldn't let his anger get the better of him.

"She's under my protection now," Odysseus said firmly. "Whatever grievances you have with her, you'll have to get through me first."

"Oh, I don't have any grievances with her, she's mine after all." Poseidon stated, before telling a chilling statement.

"I'm taking her now"

Odysseus's blood ran cold at Poseidon's statement. He couldn't let him take (Y/N), not after everything she had been through.

"No," he said firmly, his grip on his sword tightening. "You're not taking her anywhere."

Poseidon chuckled darkly, amused by Odysseus's defiance.

"You really think you can stop me, little king?" he taunted. "I am a god, and she is mine to do with as I please."

Odysseus gritted his teeth, his resolve steeling. He knew what he was up against, but he couldn't let (Y/N) bear the consequences of Poseidon's cruel desires.

"You may be a god, but I'm not going to let you hurt her," he retorted, his voice filled with determination. "You'll have to go through me first."

Poseidon smirked, his eyes gleaming cruelly.

"And so it shall be," he snarled, his hand reaching towards the sea, the waters rising and beginning to churn viciously. "You may think you stand a chance, but you're just a mortal, and I am a god of the sea. Do you truly think you can defeat me?"

The sea roared in fury as Poseidon drew power from the depths, unleashing a brutal barrage of attacks on Odysseus.

Before Odysseus could draw his blade, the gushing waters paused in place, stopping in front of him, before it burst into nothing.

"Enough" a cold voice orders behind Odysseus, as (Y/N) walked past him, the waters churning around her, glaring at Poseidon.

Odysseus was stunned, the waters obeying her command. He had never seen such power emanate from her before.

Poseidon's gaze hardened as he shifted his attention to (Y/N).

"(Y/N)," he said, his voice a mixture of irritation and...pride. "You've grown stronger."

"Spare me your adulation, it's disgusting hearing it from you." (Y/N) stops him in his tracks, glaring at him.

"What do you want?"

Poseidon's expression darkened at (Y/N)'s sharp tone.

"I've come to take you back, of course," he replied matter-of-factly. "You're my brat, and you belong to the sea."

"Why now? You didn't even spare me as much of a glance when I was under Hera's care, you looked at me with disgust, why should I believe I belong with you?." (Y/N) snapped back at him, the waters around her rising.

Poseidon sneered, his irritation growing at her defiance.

"You're still a mouthy little thing, I see," he grumbled. "I may have looked at you with disgust, that was because I wasn't ready to acknowledge you then, but now...I see potential in you."

"No, no you don't, I don't believe you, I think you're only using me as an excuse, because you can't get over the fact that Odysseus had bested you at your own game." (Y/N) insulted, continuing her glare of him

Poseidon's expression darkened even further, anger now blazing in his eyes. He was not used to being insulted, especially not by his own child.

"Do you have any idea who you're speaking to, girl?" he growled, his voice booming with authority, sending waves after her. "I am the lord of the sea! You should show me some respect!"

"All I see is a bastard who can't get over his lost, the same bastard who destroyed my mother." (Y/N) insulted once more, before stopping Poseidon's waves

Poseidon's anger turned to full-blown rage at Egeria's words, his face contorting in fury.

"How dare you speak to me like that, you insolent little brat!" he roared, his voice thundering across the beach. "You have no right to judge me or my actions! I am a god, and you are just a mortal, never forget your place!"

As (Y/N) and Poseidon clashed, their battle shaking the very earth. The water and the earth collided fiercely and neither backed down to the other. Poseidon was filled with rage while (Y/N) held a calm gaze.

Odysseus watched them from the sidelines, torn between worry and awe.

The sea raged around them, responding to (Y/N)'s control as she fought against her father's relentless assault. Poseidon was filled with a mix of anger and grudging respect for his daughter's power, while (Y/N) fought with a cool determination, never faltering.

But someone can falter it.

Telemachus sprinted towards the beach, panic etched on his face as he saw the intense battle unfolding before him. Without hesitation, he ran towards (Y/N) and Poseidon.

Odysseus's eyes widened in alarm as he saw Telemachus rushing towards the fighting and he called out to him, "Telemachus! Wait! Don't-"

Poseidon looks at the running Prince, before smirking at (Y/N), his water arm grew in size, reaching for the Prince.

"TELEMACHUS!" Telemachus's heart seized in terror as he saw the water hand reach for him, but before it could grab him, (Y/N) pushed him away, taking the hand's grasp herself.

"No!" Telemachus shouted. "(Y/N)!"

"Get out of here! Please, I'll be fine!" (Y/N) begs, struggling in Poseidon's hold.

Telemachus hesitated, torn between the desire to run away and the need to help (Y/N). He looked at her, struggling in Poseidon's grasp, and his heart ached at her plea.

"I can't just leave you!" he protested, his voice filled with desperation.

Poseidon smirked at Telemachus's plea, the sound of his despair music to his ears.

"Oh, how sweet, the prince is for his princess," he mocked, his grip on (Y/N) tightening. "But you can't help her, boy. She's mine, and there's nothing you can do to stop me."

"Why are you taking her!? She has nothing to do with you!" Telemachus screamed, watching her squirm in Poseidon hold, struggling.

"Nothing to do with her? My, She didn't tell you as well?" Poseidon taunted with a smirk.

Telemachus's confusion deepened at Poseidon's words.

"What do you mean? Tell me what?" Telemachus demanded, his gaze filled with a mixture of anger and desperation.

She watched him with a helpless expression, her struggles growing weaker as Poseidon's grip tightened.

"This one is my kin, my daughter." Poseidon shook her in front of Telemachus like a doll, as she could only look at him in shame.

Telemachus's eyes widened in utter shock, his mind struggling to process Poseidon's words.

"Your...daughter? But... but that means..." Telemachus's voice trailed off as he looked at (Y/N), a mix of realization and disbelief on his face.

"Is it true?" he asked her softly, his expression torn between confusion and concern.

(Y/N) looks at him in shame, tears in her eyes.

"I'm sorry, my Love." She apologizes, before being pulled away from him.

"Yeah, yeah, enough with the sappy sentiments." Poseidon rolls his eyes as she continues to struggle in his hold.

Telemachus watched she being pulled away from him, his heart sinking. He couldn't believe he had fallen so madly in love with the daughter of the king of the seas.

"No, wait! You can't take her!" Telemachus protested, trying to move closer to them.

"Why? You actually love this halfbreed of mine?" Poseidon waves her around in front of him like a toy, as she continued to struggle

Telemachus's face contorted with anger and helplessness.

"Yes, I do! She may be your daughter, but that doesn't change the fact that I love her!" Telemachus retorted, his voice filled with passion.

(Y/N) felt a jolt of surprise at Telemachus's declaration of love before looking at him with a mixture of guilt and longing, while Poseidon simply chuckled at the prince's words.

"Love? Ha! You think you love her? You don't even know her, you fool! You don't know what she really is!" Poseidon taunted, his grip on her tightening as he spoke, making her grunt.

Telemachus's face grew even more determined at Poseidon's taunts. He knew he didn't fully understand who (Y/N) was, but he also knew deeply that he loved her.

"It doesn't matter! I love her, and I refuse to let you take her away from me!" Telemachus retorted, his voice firm despite the fear he felt.

Poseidon chuckled at Telemachus's defiance, his expression growing sly.

"You love her, huh? Well, what if I proposed a little challenge then?" he suggested, his grip on (Y/N) loosening slightly.

"No! Telemachus! I'll be fine-" Before (Y/N) could protest, her head was shoved into the water hand.

"Relax, this one can breathe under water...I think." Poseidon mutters the last part to himself, as (Y/N) pounded at the surface of it.

Telemachus's heart raced at the sight of (Y/N) head being shoved underwater. But before he could panic further, he heard Poseidon's reassurance that she could breathe underwater. Nonetheless, Telemachus's mind raced with worry.

"What kind of challenge?" Telemachus asked, his voice shaky but resolute.

"Go to my own home turf, the Aegean Sea, come give your in law a visit and it'll be a leveled playing field, for me of course, if you win, She's all yours, and if you lose, I'll turn this halfbreed into seafoam." Poseidon challenges with a smirk.

"And don't even think about not coming at all, because I'll simply turn her into seafoam as well."

Telemachus's heart felt like it was going to explode. He was being challenged to a battle he had no chance of winning. But if he didn't accept, (Y/N) would be turned into seafoam...

"Fine," Telemachus agreed through gritted teeth. "I'll go to the Aegean Sea. But if I win, you let (Y/N) go."

(Y/N) banged on the surface of the hand, shaking her head, begging for him not to accept the challenge

"Excellent, that, if you win of course." Poseidon taunted with a smile, before slowly walking back to the sea, make his point.

Telemachus watched Poseidon walk towards the sea, his mind racing. He knew he had no chance of winning the upcoming battle, but he had no choice. He couldn't let (Y/N) be turned into seafoam.

Suddenly, with a dagger lent to her by Ioannis, she broke the water surface, screaming at him.

"Telemachus! I'm sorry I didn't tell you! Don't come for me! Please! Stay ali-" before (Y/N) could finish what she's saying, she already pulled into the ocean with Poseidon, disappearing into the seas.

"(Y/N)!" Telemachus shouted, his voice filled with desperation. The sight of (Y/N) being pulled into the sea, disappearing from his sight, was unbearable. He ran towards the edge of the shore, his heart racing with panic and helplessness.

"No! No! Bring her back!" Telemachus screamed, unable to contain his anguish. He was torn between anger at Poseidon and guilt for accepting the challenge.

Odysseus, who had watched the scene unfold in horror, pulled Telemachus into his arms. He held him tightly, trying to offer some comfort in the midst of the chaos.

Telemachus, still reeling from the shock of what just happened, pushed Odysseus away.

"Let go of me! I have to go after her!" Telemachus protested, his voice choked with emotion.

"You know you can't do that, my boy," Odysseus replied, his voice firm but filled with empathy. "Poseidon has her now, and there's no way you can fight him in his own domain."

"But I can't just sit here and do nothing!" Telemachus protested, his eyes filled with desperation. "I love her, Father. I can't let her be taken away from me."

Odysseus sighed, his heart breaking for his son. He knew how much Telemachus loved (Y/N), and the pain of being separated from her must be unbearable.

Odysseus took a deep breath and began to speak, his voice tinged with a mix of empathy and skepticism.

"Telemachus," he began, his grip on his son's shoulders tight but gentle. "I know you love (Y/N), but you have to consider the possibility that she may have been tricking you this entire time."

Telemachus looked at his father in shock, his heart clenching at the implication. "What do you mean?" he asked, his voice barely above a whisper.

"(Y/N) is Poseidon's daughter," Odysseus explained. "It's possible that she's been playing a role all along, manipulating your feelings for her to serve her father's purposes."

"No," Telemachus protested, his mind unwilling to accept the idea. "She couldn't have been faking her feelings for me. I know she loves me, Father. I can feel it in my heart."

Odysseus sighed, his heart heavy with the burden of uncertainty. "The heart can be deceived, my son. You have to consider the possibility that her love for you may have been part of a ruse to manipulate and control you."

Telemachus shook his head, his expression pained but resolute. "I can't believe you're saying this, Father. (Y/N) loves me, I know it. I saw it in her eyes, I felt it in her touch. How can you doubt that?"

Odysseus placed a hand on Telemachus's shoulder, his gaze filled with compassion. "I'm not doubting your feelings for her, my boy. I'm just asking you to consider the possibility that she may have had ulterior motives all along. After all, she's the daughter of Poseidon, and who knows what schemes the gods have in store for mortals like us."

"What's going on here?" Penelope asked in worry, walking into the beach towards her husband and son.

"There was a storm and it suddenly disappeared, what happened?" Penelope asked once more, looking at Odysseus for answers.

Odysseus took a deep breath before turning to his wife. He knew he had to tell her what had happened, but he also knew it would not be easy.

"It's... complicated, my love," he started, his voice heavy with a mix of guilt and worry. "There was a storm, yes, but it wasn't a natural one. Poseidon was here, and he..." Odysseus trailed off, unsure of how to continue.

Penelope's face paled as she listened to her husband, her heart sinking with dread. She knew deep down what he was going to say before he even spoke the words.

"He took (Y/N), didn't he?" she asked softly, her voice barely more than a whisper.

Odysseus looked at his wife in surprise. He had been expecting shock, disbelief, even anger, but not this.

"How did you know, my love?" Odysseus asked, his voice filled with curiosity and a hint of suspicion.

"If so...then you must have known of her secret?" Penelope asked with a frown, her eyebrows furrowed

"...She already told me once." Penelope admits, looking at the ground

Odysseus's eyes widened in surprise. He hadn't expected his wife to know about (Y/N)'s true identity, but here she was, confessing that she already knew.

"You knew this entire time?" he asked, his voice tinged with a mix of confusion and frustration.

Telemachus couldn't believe his ears. His mother had known about (Y/N)'s true identity and kept it a secret from him, even as he had fallen in love with her. He felt a mixture of anger and betrayal.

"You knew, Mother?" Telemachus asked, his voice filled with disbelief. "You knew that (Y/N) was the daughter of Poseidon?"

"Let me finish" Penelope raised a hand, trying to calm both her son and husband.

"Her Father is Poseidon...and her Mother's Medusa." Penelope revealed with a tight frown.

The news hit Odysseus like a thunderbolt. (Y/N)'s mother was Medusa, the woman who had been violated by Poseidon himself. Suddenly, everything made sense.

His expression turned somber as he realized the weight of (Y/N)'s situation. "So, the story she told me about her Mother… it's true," he mumbled to himself, the reality sinking in.

Telemachus's mind raced as he tried to process the revelations. He was still grappling with the fact that (Y/N) was the daughter of Poseidon and Medusa, and now he was hearing about her mother's tragic past.

He turned to his mother, his expression a mix of confusion and anger. "Why didn't you tell me?" he asked, his voice tinged with frustration. "Why keep all this a secret?"

"I wanted her to tell you herself, but she was too scared, too afraid of what you'd think of her." Penelope answers at the best of her abilities.

Telemachus felt a pang of guilt and empathy. He understood that (Y/N) must have been afraid to reveal her true identity, given the circumstances of her birth and the reputation of her family.

"But why would she think I'd react badly? I love her regardless of who her parents are," he protested, his voice growing in volume.

Penelope gave him a sad smile, placing a hand on his arm. "Sometimes, people's fears are not always based in logic, my son," she said softly. "Even though you may love her and accept her as she is, she may have grown up with a lifetime of prejudice and judgement because of her bloodline. That kind of fear can be difficult to overcome."

"And you were the only one who had loved her wholeheartedly, it would have crushed her if you thought so differently of her, fearing for the worse." Penelope explains with a frown.

Telemachus's heart ached at his mother's words. He could only imagine the loneliness and self-doubt (Y/N) must have felt, believing that everyone would judge her for her parentage.

"Is that why she was so hesitant to tell me?" he asked, his voice tinged with sadness.

"She loves you too much to loose you, Telemachus." Penelope explains.

Telemachus nodded, understanding the weight of her words. (Y/N)'s love for him must have been so powerful that she was willing to keep her true identity a secret, fearing that it would drive him away.

"I don't care about her lineage, her past, or her family," he said firmly, meeting his mother's gaze. "I love her for who she is, and nothing can change that, that's why I'm going after her."

Odysseus shook his head, his expression hardening. "No, Telemachus. You can't go after (Y/N)," he said firmly. "It's too dangerous. Poseidon is a vengeful god, and he won't hesitate to hurt you if you get in his way."

"Believe me, I know that." Odysseus added, reminding Telemachus of his stories about Poseidon.

Telemachus sighed, frustrated by his father's protectiveness. He knew all too well the stories of Poseidon's wrath, but none of that mattered to him now.

"I don't care about the dangers, Father," Telemachus argued, his voice growing in volume. "I have to save (Y/N). I love her, and I won't let Poseidon have her."

"Your old man's right, Lover boy~" a teasing voice suddenly joins in, startling the family, it was Hermes.

Telemachus's eyes widened in surprise as Hermes, the god of messengers, appeared before them.

"Hermes?" he asked, taken aback by the god's sudden appearance.

Odysseus scowled at the god, not pleased by his sudden appearance. "What are you doing here, Trickster?" he asked gruffly.

"Just here to lend a helping hand, just like the old times, old friend" Hermes zips around Odysseus, pinching his cheek

Odysseus swats at Hermes, trying to shoo him away. "Stop that! I'm too old for your games, Hermes."

Hermes chuckles, hovering just out of Odysseus's reach. "Oh come on, don't be such a sourpuss. Where's the old Odysseus I knew and annoyed?"

"I'm right here, you annoying god," Odysseus grumbled, glaring at Hermes. "Now, can you get to the point and tell us why you're here? We don't have all day."

"Well, Young lad, It's your lucky day, because someone up above with high power has given me strick orders to help, and I mean it very seriously, she hates my guts and doesn't usual intrude in human affairs so consider yourself lucky." Hermes explains, a large grin on his lips

Telemachus's heart leapt at Hermes's words. Could it be true? Was he really here to help?

Odysseus's expression remained neutral, not yet convinced. "Help with what, exactly? And who gave you these instructions?" he asked, his voice full of skepticism.

"that's besides the point" Hermes presented him a bag.

"inside this bag are Brutus Flowers, its pollen and necter has the ability to render a god into a mortal, though with Poseidon being the God of the Seas, his system will flush out these out in lets say 3 to 5 minutes tops, but that'll give you enough time to defeat him, wouldn't it?" Hermes held out the bag, covering his nose with his chiton for good measure.

Telemachus's eyes widened, hope rekindling in his heart. A way to defeat Poseidon, even if just for a few minutes. It was a chance, a glimmer of hope.

Odysseus's initial skepticism began to fade, giving way to cautious optimism. He knew better than to trust the Trickster god at face value, but this was their only chance.

"Brutus Flowers," he mused, his voice tinged with a hint of excitement. "I've heard tales of their power, but I never thought I'd actually get to use them."

"Well you do need the help, correct? and I don't want to be gutted, so what do you say? Are you going to rescue your Princess?" Hermes asked Odysseus, before turning to Telemachus.

Telemachus was practically vibrating with anticipation.

"I'm going after her," he stated firmly, his voice filled with determination.

Odysseus looked at his son, his expression a mixture of pride and worry. He could see the fire in Telemachus's eyes, the strength and courage that would one day make him a great leader.

"Alright," Odysseus finally relented, his voice weary, but firm. "We'll do it. We'll use the Brutus Flowers to take down Poseidon."

Odysseus's decision to join Telemachus surprised even himself. He hadn't intended on accompanying him on this dangerous mission.

"I can't let you go alone, boy," Odysseus said, his voice heavy with resignation. "I may be a bit slower and older, but I still have some fight left in me."

Telemachus felt a wave of gratitude towards his father. He knew that Odysseus was taking a risk by joining him, and it meant a lot to him that his father believed in him enough to do so.

"Thank you, Father," Telemachus said quietly, his voice filled with a mix of relief and determination. "We'll get (Y/N) back, together."

"Yes, yes, family and all, anyways, you might want to say something to the missus before embarking on this fight." Hermes points out to Penelope, who looks at them with a frown

Odysseus and Telemachus both turn to look at Penelope, her expression a mix of worry and resignation. They knew they were asking a lot of her, to let them go on this dangerous quest.

Odysseus approached his wife, taking her hand in his. "Penelope, my love," he said softly, his voice tinged with regret. "I need to go with Telemachus. I can't let him face Poseidon alone."

"But...you just got here." Penelope teared up, looking at Odysseus.

"But I know...we can't let our son go on his own..."

Odysseus wrapped his arms around Penelope, holding her close. "I know, my love. I just got back, and I never wanted to leave you again."

Telemachus watched his parents, his heart heavy with guilt for putting them both in this position. He hated seeing his mother in tears, but he knew he had to go. Egeria needed him.

"We'll be alright," Odysseus reassured Penelope, his voice steady and calm. "I promise we'll come back, both of us."

Odysseus looked at Telemachus, meeting his gaze with a nod. They were in this together, come what may.

Penelope nodded, wiping away her tears. She knew there was no point in trying to change their minds. These were two stubborn men, both strong-willed and determined.

"Just...come back to me," she said softly, her voice filled with quiet desperation.

Odysseus placed a gentle kiss on her forehead. "We will, my love. I promise."

Telemachus stepped forward, embracing his mother tightly. "We'll be back before you know it, Mother."

Penelope held him close, her grip tight. "I'll be counting the days, my son."

"We have to go now," Odysseus said softly, his voice tinged with remorse.

Telemachus nodded, understanding the weight of their words.

"Goodbye, Mother," he said softly, his voice filled with love and determination.

Odysseus took a step back, taking one last look at Penelope, before turning his gaze to Hermes.

"Alright, Trickster, lead the way." Odysseus said gruffly, gripping the bag of Brutus Flowers tightly in his hand.

(A/N: Are you catching these references I'm throwing?)

#epic the musical #epic the musical x reader #telemachus #telemachus x reader #medusa retelling #epic poseidon #poseidon #smut

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numberonesnarkfan · 21 hours ago

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can I just autism at y'all incoherently for a bit. Aite.

I think Harley becomes a bit easier to understand as a character when viewed as a story of generational trauma. When analysing a monster, one has to ask "what could have prevented this?" In Harley's case, it was just... if he had not been so steadily drawn to one conclusion: that there was something fundamental that separated him from humanity.

What are people to someone who was never a person to anyone? He was kept half-alive only to use him, and even before he had done anything wrong, he was never a person to anyone - he existed in others' minds only as what he could supply to them.

The ARG note, "HE TOOK EVERYTHING. I THOUGHT YOU CARED." combined with his boss fight dialogue, "It was supposed to be mine! My recognition!" draws the connection that after sending a young Harley Sawyer away, Elliott took the research Harley had done with him and claimed credit for his discoveries.

Imagine for a moment that you have never been loved. Not by parents or peers or superiors. That they all showered you in praise of your objective talents, but wanted nothing to do with you in any other respect. At every turn, they attempted to find a way to divert your abilities toward their own goals. Others have always blabbered on about connection and harmony - concepts that simply do not exist to you, for you have never experienced them.

You thought you had experienced them. Once. You almost thought you'd found a father. Before he sent you away penniless and took all of your work as his own. Now you know it for certain: connection really isn't real, and everyone else is lying or faking. The only people who have ever pretended to care about you were lying. You may as well be the only person in the world, because you are completely alone on Earth.

Imagine that you believe that love and happiness are truly false lights. Pipe dreams. Would you be able to empathise, see yourself in your fellow man, see your fellow man as a person?

You don't know what it's like to be thought of as a person. So you haven't the slightest idea how one would go about thinking of others as people.

I still will not budge on the fact that Harley genuinely thought he was doing the right thing. But again, if morals are alien to you because you have never been exposed to them, then your 'right thing' looks deeply different to others'.

There are certain lessons that cannot be learned through just the acquisition of information. Harley was never taught any lessons that were not objective - empathy, morals, emotional control. As much as he could be familiar with ethics, he could not understand anything that can't be understood with logic.

All monsters grow from children.

He saw himself as their father. Their mentor. Their saviour. He made them just like him - the only human in the world.

#poppy playtime #ppt #harley sawyer #rambles #dr Harley Sawyer #ppt the doctor #the doctor #doctor ppt #ppt4 #ppt 4 #poppy playtime 4 #poppy playtime chapter 4 #ppt analysis

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mysteryanimator · 3 days ago

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Breaking down "Even the Iron Still Fears the Rot" (almost) shot by shot!

The fan-animatic can be viewed here!

youtube

HEADS UP: This is a fan-made content. I am a fan. I just love Castlevania/animation a lot and I love storyboarding nuances and making people cry over character dynamics. Also apologises for any grammatical/spelling mistakes!

I wasn't planning to do another breakdown of my own work, simply due to imposter syndrome but I genuinely put so much love and care into this animatic! I want to talk about it! Also, people have been really open to hearing about my inspiration and notes, and why I take the directions I do for my work, even if it's fan-made, so here we go!

(Also the reciprocation of my animatics has been so kind and uplifting, and I'm really glad that there's a lot of love for them as much as I love doing them! I learn and grow with every single board I make, it's been really fun! I hope I get to shine this much passion in the future in actual work!)

Since this is also an adaptation of a fan one-shot by Aquila, (which you can read here!) I knew I wanted to evoke what they had written and interject some of my own nuances/personal readings to their story to elevate what they had! In turn, kind of created this monster (positive) of a fan creation haha. There are some changes/rearranging the placement of aspects of the one-shot to strengthen the existing tension going on!

With this out the way, let's begin!

(heads up, for any shots I completely skip over, it is because I'm reaching image limits here)

I wanted to evoke that strong halo light you see in a lot of media. Often than not, this visual is used to depict the character as a divine force of nature and/or when a character is bobbing in and out of death. It can also be a very very terrifying image, as, for example, s02e8, Mizrak is literally all dark with a brightly lit background. It is scary- BUT people will say hot because it's Mizrak but hey, look, all I can say is I fully understand haha. It all depends on your intentionality and what follows before and after to give context to your scene!

Mizrak is dead. Well, undead now. Olrox is the so-called angel giving him life and love and this halo of light gets repeated a few times!

By the end, not only do their literal positions switch, but their roles shift too so I hoped to convey that visually by also giving Mizrak that halo glow for the second last shot. At the start, Olrox consumes Mizrak’s love, and then it ends with Mizrak consuming Olrox’s love. Guh I love blood themes in vamprisim.

This shot honestly took me a bit to do, since I was going a lot cleaner than usual, the expression for Mizrak was super important for me to get right. I wanted him to look like he was about to die- yet still have an unwavering amount of life in him. (Also I hadn't warmed up drawing in this cleaned-up style so it definitely was me messing around). It was important for me for this to feel like a POV shot to contrast the first scene so we can get inside the mind of Olrox!

This too is where I only have sound effects since I can't have voice so I limit my SFX to the only most vital things to elevate things I personally find better elevate the scene with audio. It only happens TWICE. The heartbeat. His wrist is shown and from context clues from not only S01 of Nocturne with Tera's turning, but a whole bunch of other vampire media- the wrist is a place where the dead accept their new life of immortality!

Also, the pulse effect was definitely inspired by the transformation of Sekmet! I'm not sure personally if this went to a further stage I'd want to keep this since I'd personally want something more unique for vampire turning, more specifically for Olrox, HOWEVER, I think it still does a good job conveying the supernatural pull for the time being!

Wow who saw this coming HAHA

Immediately when I saw the line where Olrox said he went to straddle him immediately, my mind went to go and try to parallel this scene again! I don't have much to say about this shot rather than the feet are purposefully cut out for animation convenience's sake HAHA.

Jumpscare for sudden Olrox character layout (even though he's really off model and sketchy here HAHA)

I was again, wanting to depict Olrox BATHED in light and since this animatic is purely in greyscale (with accents of colour), I could really push for dramatic lighting when it called for it! This is also why some of the scenes just do not have backgrounds at all. I wanted to make some of the scenes as "heavenly" as possible and for Mizrak to be embraced by the light because Olrox is giving him a new a life.

If this were to ever be animated (I won't be since it would take too much of my time, but it's still a good thing to note when boarding anything... maybe I'll do cleaned screenshots since those are a breeze, or animate ONE scene from this animatic... we'll see what I have time for. I unfortunately don't have proper time to try and figure out the layout of s02e8 bgs and paint them. I did consider quickly doing a 3d mock-up but no haha), the light in the background can probably be lit with candles since it was already pre-established in s02e8! Also, the windows can reflect light into the room so there's that too since Mizrak was backlit in that episode too!

Fun fact, this entire scene was the first thing I ever thought up and why I started even making it. I thought about how cool of a visual it would be to have Mizrak's eye in the reflection.

I wanted to imbue the fact that Mizrak does not fear Olrox holding a blade, hell, he's not even looking at the blade. He's looking at Olrox. What is described as a relic from a terrifying past, Mizrak is not scared. Mizrak is not scared of Olrox.

This is where the heartbeat occurs AGAIN. This is mostly to signal to the audience what Olrox actually has planned. He's not feeding Mizrak from his wrist but from his actual chest, especially with how gently Olrox runs his hands over it.

I debated a lot on where the initial cut should go. The heart, for sentimentality, under the breast in the same way Christ had been pierced, etc etc- however I landed on just dead set in the middle so it could form a cross that would grow bigger and bigger as the animatic went on. (Fun fact, the blob of blood turns into a little heart as he squeezes his chest)

I wanted to put some weight to the repressed catholic guilt, so I thought a cool visual way to showcase that Mizrak has only known how to love is via worshipping God which has consumed his entire being and self. God has given him faith, a companion in the hardest of times when the world has abandoned him.

Now, once again, his world has abandoned him. The Hospitaller Order of Saint John of God is gone. In the face of death and fearing the devil will be waiting. Olrox has given him love, and he will be a companion in the hardest of times. He will not abandon Mizrak.

This aspect of the cross in the animatic gets expanded upon as time goes on. Both literally as the cross literally turns into a pool of blood more closely to the symbol Mizrak bares, but also it slowly expands upon Mizrak feeding off Olrox's love! I'll add some more of my personal notes when we get there!

Also by far one of my favourite scenes I've drawn. It's still rough but it decidedly made me go a lot cleaner with the rest of the storyboard!

This is supposed to be suddenly jarring because it cuts midway through Olrox in a midshot to a close-up of a hand! We need to see him actively halt Olrox for just a moment, but also to show that even when it's sudden- its not hostile, it's gentle.

This shot does a couple of things!

It showcases how gently Mizrak is reaching out to Olrox

It helps to continually establish Mizrak submission to vampirism. He is constantly placed on the bottom from the composition, or we as an audience, are always looking down at Mizrak! Seeing parts of Olrox here really cements this fact as Olrox towers over him to the point we don't even see him fully!

It helps to lead into the Fallen Angel reference!

This shot makes me sob because it is so gentle. Despite being placed constantly much higher in the composition in the animatic, therefore making him the most powerful in this dynamic- in no way Olrox is intentionally made out to be an intimidating figure. He is comfort. He is a companion. He will not abandon Mizrak. The act of turning Mizrak might be read as selfish. It may be read as cheating the natural cycle of life, it may be everything wrong and doomed as your mind makes it to be, however, it is done out of love. Morals, whether good or bad, no longer matters because Olrox is in love. Love has such a strong chokehold on this series, so I'm shoving as much love into these characters as I can. Both literally make these characters so sickly desiring love that it will be their doom and saving grace, but also me as an artist deeply putting love and thought into this board because care a lot about how to convey these complex emotions! Sure it is quite easy to churn out boards without care, but without putting care into your boards, your characters and stories lack life (in my personal opinion).

Immediately, this animatic shook me and told me to put in a reference to The Fallen Angel by Alexandre Cabnel!

Also, how does one portray the soul? EYES. Eyes are the window to the soul. Mizrak’s eyes are also considerably the most important/crucial part of his design. His eyes in both seasons ‘glow in the dark’ due to the highlights in his eyes. Mizrak is considerably really emotive too and that was important to me to emphasize. I wanted to capture his essence, his soul if you will, into this shot.

This is also why this shot is done really prettily if you will.

The reflection of Olrox's eye in Mizrak's is important here! Olrox is here to act to comfort Mizrak. Even when Olrox is not on the screen with us, he is majorly present here. He will not abandon Mizrak. Also, since it is coupled with this line, people can choose to infer what they wish with Olrox! It can symbolize Olrox does have a soul, it can symbolize how Olrox and Mizrak are now intertwined together, it can symbolize Mizrak reciprocating Olrox's love. The list can go on! I give that room for open interpretation (same as the rest of the animatic, the only reason I'm going through, breaking down almost shot by shot is that I deeply care about this sort of thing, and I know other people do too!)

This shot, is deceptively simple but it's here to actually initiate a bunch of scenes I wanted to happen after this!

Firstly, I needed a very nonchalant but easy way for Olrox to let go of Mizrak's hand without needing to overcomplicate. I needed something that gave it just enough importance for the hand kiss BUT not too much where it is the sole focus on the shot.

Secondly, I needed a way for Olrox to lean down to Mizrak and initiate him being way closer to him.

Thirdly, it acts to parallel another shot that happens with Mizrak where instead of going diagonally down, he goes diagonally up!

This is one of the points where I visually slightly deviate from the one-shot! I really REALLY wanted to emphasize Olrox's dialogue here so I chopped up and elongated the scene to make it that much more intense and tender. Which is why we get the next two close up shots!

Look it was very VERY important to me to have Olrox cup Mizrak's face and intentionally cut off his eyes. The important part I wanted to focus on solely was his hand and Mizrak looking up because genuinely, Mizrak's eyes are 'distracting' and it would remove the focus on the gesture! Also I am saving Mizrak's eyes for the next shot haha

After this shot too, you may notice the blood from his neck disappears for the rest of the animatic. This is because, after this, it began to take too much of a visual focus away from the blood on Olrox's chest since it is bright red against greys in the shot. We can chalk it up to Olrox wiping the blood off when he goes to cup him.

"The most beautiful soul a vampire can posses."

It was so important to me that we get a BEAUTIFUL shot of Mizrak. I needed the audience to see his entireeee face close up, unobscured by anything. Olrox is holding a beautiful soul in his hands. He's holding Mizrak. Actually makes me sob.

This shot by the way has been repeated 3 times with slight variations by this point. Yes, this is a very pretty shot so how could I not help but repeat it? HOWEVER, I was trying to make a reference to how Mizrak has said Olrox's name only 3 times in the show with a variation of what was said around it. After that, Olrox calls him my love, basically unlocking a new stage in their relationship.

So here, three times when he looks at Olrox, he's mentally calling out his name. After this, Olrox brings him to a new stage in the relationship.

Also in Catholicism, a lot of things are in 3s. One of the major ones is that three times, Christ fell over carrying the cross. On the third hour of that day, he died and on the third day, he was resurrected from the dead. The three sacraments that welcome someone into the Kingdom of God are Baptism, Communion, and Confirmation as they all build off one another! I could go on both those are the main points AND I feel you might get the gist now!

It was very important to me that when Olrox makes this promise, we HAVE to see his full face. This is why it's a close-up.

It lets for no shadow of a doubt that Olrox means what he says here. He's looking AT Mizrak. He's telling the truth to him.

This is a parallel to a much earlier shot of Olrox! He moves closer to Mizrak by going from top right to bottom left, while Mizrak moves closer to Olrox by going from bottom left to top right! You also both see them exit the screen too!

In this shot, we bring back that halo vibe but also this is a reference to S01E04 and S02E08! The curtain! It is BOTH their first-ever shots to establish a new scene, so I wanted to go “Hey this is establishing a new scene- a new life for Mizrak and Olrox.”

The camera is super purposefully cut just below the eyes. You can see them open then closed, but we will never ever get to see the look he had in his eyes, the single decision in his brain that let him indulge. That’s only for Olrox, and only Olrox will know.

From here on out, A LOT of the shots of Mizrak get segmented/have his face hidden for that reason too (except for one shot, also done intentionally).

When Mizrak actually closes his lips around the blood- it’s on the growling sound in the song. Mizrak has turned into the animal that he’s been calling vampires. In this new life, he is now given the choice to be freed from the man-made shackles of shame and guilt. To be untamed and unrestricted. A wild animal so to speak!

Honestly, I spent a lot of my time here (besides the pretty Olrox frames) because I was super particular about how I wanted to portray Mizrak giving into sucking the blood. The way he accepts vampirism is vital because it sets the tone and mood for how the rest of the board feel since his face gets hidden and you now have to infer from when you saw his face last.

If you have seen my analyses or my work before, you will know how much I enjoy having a frame within a frame. I loveeee my boxes! They're in the box! TOGETHER! THE CENTER TOO! There are no real divisions with the exception of Olrox's head which is important because it's not Mizrak we're focused on at this point in time, it's Olrox~

This is because the one-shot, even in third person, is mostly through Olrox's perspective!

Also, the camera is moving around in this shot, and the following subsequent shots! It hopefully gives off the "hand-held" feel, which often is associated with feeling as if you're right there in the moment with them.

Why pillows?

This is me shaking you to say how the blood-drinking is an allusion for sex if that wasn't already obvious enough. So showing pillows coupled with Olrox groaning really goes "Yes they are technically doing it."

Originally this shot (and the previous shot) was supposed to be way more pulled out, but I was saving it for the very last shot of the animatic so I went to pillows with the tinest hint of their body in the frame to make it seem super scandalous. Like what on earth could they be doing for me to cut them mostly out of the frame? Also also, the pillow was supposed to have an embroidery of a painting from 1790s or earlier BUT, for the life of me, I could not decide what I wanted and I did not want to keep reusing the same references I have had in past work. I didn't want to fuss about it for too long since its more of an easter egg rather than adding to the story. The main point is pillow = fucking HAHA.

Side tangent, you can get away with SO MUCH by having blood drinking be an allusion to sex. Like obviously when you have an age rating you must abide by, you must be creative with how you go about mature topics (my age rating is YouTube hahaha)! Not only is blood drinking in vampirism just inherently queer-coded, but the intimacy of it can convey so much more if it was just a regular ol' sex scene! I actually deeply enjoy conveying nsfw topics into art because you can discuss character dynamics at a much more vulnerable, raw state that literally bares them to just their essence and their current desires/needs. However I am getting off-topic, let's get back to it!

This shot was actually heavily inspired by the statue Adoration by Stephen Sinding!

While there are a lot of differences now simply because Mizrak is at Olrox's chest, I still hope that the vibe of that statue is still imbued. It also gives the sense of not only Olrox adoring Mizrak in this very moment, but Mizrak is too despite not seeing his face. Again quite intentional because it's only for Olrox to see.

Also, a lot of people have been telling me how Olrox is breastfeeding him, and in technicality, they're not wrong, he's feeding blood, from his chest. It is the funniest thing ever LOL

This shot was important to really focus in on his throat and how, much like in the one-shot, Mizrak is literally not taking breaths and is just continually consuming Olrox.

Wet sounds fill the room as his throat bobs with each steady gulp...He doesn’t stop, doesn’t take a moment to gasp for breath.

I also just wanted to make this scene feel very slow in order to contrast with a much more passion-filled desire that consumes Mizrak in this animatic! Also hopefully the descent of blood and the descent of the camera helps to strengthen the idea of Mizrak descending into vampirism!

It felt really cheesy to have this close-up shot of his eye HOWEVER at the time, I thought this was by far the clearest way to convey the immediate switch from gentle devotion to devouring devotion and how suddenly rapid it is. In my brain, the stylization for his eyes open would be textured and pulse in the same way Olrox's wrist did, which is why it's just outlined. I'm once again not 100% set on the pulse look and it probably needs some iterations if I ever came back to it again.

Also, the green hearts in his eyes only come through when he's actively consuming blood from his chest! The heart motif comes back later when Mizrak ends up throwing up the blood!

Here's the cross again, except it is growing bigger. This was very important to me that you see how "gentle" the blood-sucking is at first. A gentle devotion despite the "terrifying" shadow of Mizrak. Also, super an excuse to have kiss marks in my animatic, I love painting them in my art because it can say a lot with placement and how aggressively smudged they are!

Also, I thought it would be SO FUN to have Mizrak's turned self literally have his eyes overlay where Olrox's eyes are. It conveys how Mizrak and Olrox are now switching roles in this animatic! For the first half of this animatic, Olrox has been placed pretty high up in the shot composition, or where the camera looks up to put him in a high place of power! It makes him appear way more etheral and otherworldly, while Mizrak was placed lower in the composition, always looking up at him! Which I'm hoping invokes religious imagery of a God and his worshipper/follower!

When Mizrak's transformation is set, the dynamic switches up. For the rest of the animatic, Mizrak is now placed at a more supernatural/otherwordly position, while Olrox is just there passively, letting Mizrak BE in this position. He does not fight it, he embraces it, embraces how Mizrak reciprocates his love, his desire, and all his messy complications, much like how earlier in the animatic, Mizrak embraces vampirism.

Also if you slow it down enough you can see how I accidentally left my perspective grids in it HAHA, but it goes by fast enough it doesn't really matter! (I guess it's also kind of indicative of my natural style when it comes to digital painting too, I genuinely like having my sketch still peek through into the final painting!)

Wow even more shots to cement the new role switch AND how much much of the passionate need to consume is controlling his urges! Free to consume at his leisure, he is no longer bound by human nature (for now)!

This shot and his leg shot help to really strip Mizrak of his humanity. Faces in a shot really help to connect people to the characters because we see the emote, we see them breathe, we see them live. Especially for a character like Mizrak? He's super expressive face-wise and I'm purposefully not showing you the defining features of Mizrak. Here I am basically going "Mizrak is no longer human."

This is why in horror/thrillers with antagonist characters, we don't see their faces much and are saved for only key moments (usually, again your intentionality matters). It doesn't allow us to connect with the character on a much more human level. Think of Count Orlok from Nosferatu (2024). Purposefully a lot of his character is shrouded in darkness, focusing on his hands and other aspects, never his face, and even then it is really hard to make out because so much of him is obscured. It makes him that much of an imposing intimidating character! Otherworldly and something that we cannot fully understand.

This is a flipped version of Mizrak's close-up eye shot much earlier when he asked if his soul would remain. Again to hark on how Mizrak and Olrox are switching roles in this animatic! Olrox is looking at Mizrak's soul as we speak.

Despite us not seeing Mizrak's face, we as an audience noticing how unhuman Mizrak has suddenly become, Olrox looks quite gently at him and that was important to convey!

Woo! Lot's of horizontal lines here! While the camera is moving towards the left, Mizrak is moving right!

Originally this shot was going to have Mizrak's teeth sinking into Olrox like a very cool Olrox throwing his head back and Mizrak's fang reveal HOWEVER, I want to leave the "carnage" and bloodshed of the feeding out of the frame and only have it show up in very specific moments so I can have those moments actually have their proper impacts. I did not want to show any part of the front of his face at all since it would dampen the effect later on, so I opted for this instead. The legs give a sense of "something is happening but we don't know what, but it's to a point where Mizrak's entire body is moving oh jeez." Won't lie, this looks very sexual and I'm purposefully toying with that line again because blood drinking is an allusion to sex.

Also, I'm continuing the concept of having aspects of Mizrak's face only for Olrox's eyes. What does he look like when he's actively consuming him with such passion? Idk, Olrox you tell me.

This is everything I was building up for when I introduced the small crosses! The physical manifestation of how Mizrak reciprocates.

My thought process here was that Mizrak only knows how to love by fully devoting himself because that's all he's done for God. So he applies it here. He is reciprocating love, but it is FULL ON. It is intense. It is all-consuming.

The face once again is obscured for all the reasons I have mentioned before, but also it REALLY helps to really hard cut to Mizrak choking on the blood after because before it seemed like he was doing just fine. He is literally looking DOWN at Olrox, he takes up A LOT of the screen with just his back and head. He literally gets pulled into full focus while Olrox is blurred in the background. He appears like he is in control of the situation, however it could not be further from the truth.

Also, I was mostly inspired by the insane amount of bible verses talking about blood, so I'll drop some of those here!

John 6:53-56 ESV

So Jesus said to them, “Truly, truly, I say to you, unless you eat the flesh of the Son of Man and drink his blood, you have no life in you. Whoever feeds on my flesh and drinks my blood has eternal life, and I will raise him up on the last day. For my flesh is true food, and my blood is true drink. Whoever feeds on my flesh and drinks my blood abides in me, and I in him.

Ezekiel 16:6 ESV

“And when I passed by you and saw you wallowing in your blood, I said to you in your blood, ‘Live!’ I said to you in your blood, ‘Live!’

Matthew 26:28 ESV

"For this is my [Christ's] blood of the covenant, which is poured out for many for the forgiveness of sins."

Absolute contrast to most of the other shots, not only because I decided to add way more character acting here, but it's because we actually see his FULL face. It's intentional because Mizrak realizes himself now so we need to see him have this reaction. I wanted to show that he is still a person. He still has a soul. He may not be human, but he does have a mind that can think and a heart that can love. He still retains human qualities.

He's choking on all the blood (a physical manifestation of love) and his body is rejecting it. He's not used to consuming this amount of love and he's not used to being self-indulgent. It's deeply overwhelming.

I wanted to say I LOVED drawing blood it is SO FUN, planning the camera movement, and how Mizrak coughs at specific moments was sooo fun. I wanted this to be MESSY AND INTENSE. I wanted the audience to feel the weight of Mizrak's sudden distraught. I wanted to throw him around and to really hark on this line from the one-shot.

What has he done? What has been done to him? What has he become?

It helps to deeply contrast with how still and gentle the next scene is!

Yes, that is right, Olrox's pupils are DILATED :)

Coupled with the fact that the blood splatters are hearts! They're outlined in cyan! Olrox has a massive heart-shaped blood splatter on his cheek while Mizrak has a few heart-shaped splatters BUT there are gaps in his bloodied mouth that create heart shapes as if Mizrak spewed out those hearts!

Firstly this is because Mizrak literally eats at his chest where the heart is. Secondly, I'm again pushing for Mizrak to consume and throw up his love due to how overwhelming it is. Not only is Olrox's love for him literally beyond his imagination, but Mizrak is trying to love back in with that same amount of passion and utter devotion. A lot is happening for this new-born vampire that is pushing and pulling at him. His emotional state is so overwhelming that it is manifested in physical form.

The green reflections are shown to visually communicate Olrox anchoring Mizrak back, as, throughout the animatic, it is one of the things that ease or calm him down. I could not portray it through voice BUT I can portray it via visual (guys walk with me here, imagine the insane combo of audio and visual, it would be so tasty). The sole reason why I did not have hearts in his eyes here is simply because I reserved the heart motif for when he's actively drinking out of Olrox's chest (so he's literally consuming his love) or when he's spitting out the blood!

Also, the reason why I cut to his eyes rather than pan to them is purely because I wanted the violence of his mouth to be suddenly jarring to the gentleness in his eyes. I didn't want the slow reveal, I wanted the "OMG the blood- aw Mizrak...."

"Lulled into a sense of hazy compliance by Olrox’s voice, the former monk carefully lowers himself and continues though not for long."

This final shot was soooo important to me to include. The “musty inn room” was mentioned much earlier during Mizrak’s transformation but there was a poeticism by having what is considerably the blossoming moment of their complicated relationship be the final shot. With the lyrics also ending with "Take me back to Eden" how could I not? Clearly, both the rooms between s01e4 and s02e8 are parallel to each other. The only difference is that s02e8 has the room be both red AND GREEN, while s01e4 is just earthy/green. Olrox has taken them both back to their earthly paradise. This is their Garden of Eden.

Woo ok and we're done! Also yes I do thumbnails for these, it's half the reason why I'm fast (this entire animatic, cleaned and everything, was done in 3 days good lord. Is that fast? I can't tell) I make the barest of bones chicken scratch of sketches to get a feel of pace/vibe, then I do my roughs/cleans and add/take away shots necessary for the story that needs to be told. I normally would not let this see the light of day because these are AWFUL BUT, this post is also half a documentation of my personal process so I'm going to close my eyes and share this HAHA

If you got this far, thank you for reading me geek out about this! I find a lot of joy in the visual storytelling medium. As much as I do enjoy animating, (wow could you guys tell in the name?) I have a deep love and passion for storyboarding personally and I get sit back, and enjoy crafting the entire picture! I still have a long way to go but I'm having fun and I'm pursuing my passions of storytelling!

I desperately want to make more animatics, dealing with different tones, pace etc, but I genuinely have to go prioritize other things for now that will help me build these skills hahaha. I say this but who knows, seeing my current track record haha, look I can do both. I follow wherever my creativity takes me. I may have missed a few things but I have to wrap this up now!

Thank you again! The final takeaway, go watch Castlevania again and go be inspired by animation <33333

#castlevania nocturne #artists on tumblr #mystery talks #i love storyboarding to death it brings me much joy #hopefully ill learn how to apply this to action scenes #all ppl on yt scare me in a positive way they're so nice #olrox/mizrak #castlevania spoilers #olrox #mizrak

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bestworstcase · 2 days ago

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Tbh I can only imagine the rage Salem might feel on Oz's behalf once she finds out Light manipulated and trapped him into the task Light gave him, and that he has no choice in coming back (assuming she doesn't know that it isn't his choice). I think finding out he's essentially been trapped in a prison (the prison being the fucked up cycle of life/death/rebirth and the Mandate) this entire time would give her extra incentive to, presumably (if that's her goal), overthrow the tyrants that are the gods.

And honestly I think that would really show Oz that yes, Salem does still love him and care about him (quietly slides over Would You Fall In Love With Me Again from EPIC the Musical). Ugh I just want them to make uppp they mean everything to me. I need that reconciliation arc sm. And sighs. Salem saving Ozma from his metaphorical tower like how Ozma saved Salem from hers :( i want them to at least be friends again. There's sm they have to talk about and make up for

in all honesty i think her immediate reaction is more likely to be anguished guilt than fury, because the god of light deftlymanipulated her into acting as the lock on ozma's cage. it's been evident since 6.3 that salem already feels an immense burden of self-blame and guilt and in v8 we see, with cinder, salem turn on a dime while articulating a very precise and accurate understanding of why cinder acted as she did in response to the way salem treated her.

(and i do also think ozma's view that salem is at least partially responsible for what the brothers did to her and to the world may be, ultimately, because she told the story that way: if salem really did hesitate to tell him parts of it at first because she feared ozma would reject her, then it follows she felt ashamed and guilty, and feeling that way would undoubtedly color her account.)

and in 6.4, the one time in the present we've ever seen salem truly lose her temper, what happens? she sends everyone else out of the room and self-harms. the windows shatter inward—the scene cuts away before we see salem get ripped apart by broken glass, but that is what she's doing. that unbearable uncontrollable rage is for herself.

so how will she feel when she learns that all this time she spent believing that ozma cynically took advantage of her trust and love to manipulate her into serving her tormentor, that he willingly bent the knee to tyrannical monsters and never wavered from his obedience—how will she feel when she finds out that actually, all that time, ozma was being tortured and forcibly twisted into an unwilling pawn by a curse he was tricked into accepting?

like.

look at what she did to herself when she realized her decision to abandon cinder meant leaving cinder to infiltrate atlas and recover the lamp from oz all by herself, with no support, mere weeks after cinder nearly died at haven. and that was harm of a much smaller scale, spanning just a couple weeks. salem fled into exile after that horrible fight and left ozma to suffer alone in a state of inescapable torment for thousands of years.

i think she's going to be devastated and furious with herself first, and she'll have to navigate that before she can reach being enraged at the god of light for ozma's sake. but yeah once she's had that time to process her hatred of the brothers and conviction that they must be cast down will only deepen.

for ozma it's far more important that he sees the anguish and grief and guilt clearly. he already knows her rage. he knows she hates the brothers and why. salem is a deeply emotional character but her affect is blunted and notably in the narration of the lost fable, spite and anger at the gods are the only emotions jinn ever describes salem feeling—everything else we see salem feeling in that episode is framed as a manipulative lie, because ozma is terrified that her spiteful anger at the gods might have been the only thing that was real.

and again i think this is a misconception rooted in the way salem presented herself because in both the kitchen scene and even more so in their last conversation, salem keeps what she wants and what shefeels very tightly locked down. from the instant ozma suggested that he wanted more than their cozy little life in her cabin, salem was one hundred percent focused on giving him what he said he wanted. literally, "whatever we want—what you want!"

salem fearing ozma would reject her didn't begin and end with just flinching before she plucked up the courage to tell him of her rebellion. it also encompassed what she wanted, if he wanted something else, and anything she felt that she feared might upset him. even when he told her the whole truth, she crushed down her own feelings and quoted from a myth—spoke in his language—and tried to reach out to somehow find a compromise because even then she was putting him and what he wanted so far above herself that she couldn't even bring herself to admit that she felt hurt.

fundamentally what ozma needs is to see her pain, her grief, without any restraint—not just for her sake but also for his own. anger is what he expects. it's the only thing he expects. and i think a lot of the resentment he feels toward salem in the present comes from a place of believing on some level that he's just her excuse for being angry at the gods because he feels so much doubt that she truly loved him.

which is where the maiden-in-tower allusion becomes salient; when the prince is blinded his sight is healed by her tears. ozma won't be able to see her clearly until he sees her sorrow.

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egrets-not-regrets · 8 hours ago

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Saint Valentine

You watch as your Word Bearer, Aziel, and his group go down to the basement for their regular ritual. Little did you know they were planning to summon someone to ask for some odd advice.

Author’s Note: I have a Word Bearer OC now!

Tagged: @shadowfirecat , @kit-williams , @bleedingichorhearts , @barn-anon , @gallifreyianrosearkytiorsusan

@sleepyfan-blog , @bispecsual , @c-u-c-koo-4-40k , @ms--lobotomy

@gra93fruit-blog , @i-am-a-dragon34 , @felinisnoctis, @thevoidscreams, @yurihasurunbara

God love him, Aziel is very helpful and loyal (daresay a somewhat like a dog), and is a wonderful hype-man, but sometimes he can get a bit absurd and uncomfortably zealous about it. Not to mention him trying to convert you to believing the Four, whoever they are. You’re not particularly religious, but you’re of the opinion people can believe whatever they want to so as long as it doesn’t hurt others. You can take only so much chatter of worship of you and his gods after all. It got to the point you had to tell him to cut down the words of praise and worship lest you think he is being insincere. He was rather insulted by the fact that you questioned his sincerity for you, but he made an effort to not do that as much. His nicknames, however, never stopped.

You figured all this may be due to his loneliness and the lack of company of his peers, so you were relieved when Aziel found a group of Word Bearers to hang out with. Better for him to go out and socialize rather than pour all his focus on you. It wouldn’t do him much good to have too much of a codependent relationship with you.

Them together were an odd bunch, they all seem to look so different! Some seem to be living armor, while others, like Aziel, have more human like forms but with horns protruding from their head, looking the living embodiments of demons or monsters. They visited weekly, typically to discuss their own theological literature from what little you can understand in gothic, pray, and chant. It seemed no different than the Sunday worship that your christian friend took you to once. Sometimes listening to their chanting puts you to sleep at night.

Today’s visit was the same. The Word Bearers passed by with a nod or a wave as they made their way down to the basement as usual. You looked at your own Astartes carrying a box in his arms. Curious, you asked him, “What do you have in there?”

“Items for our ritual, my darling goddess.”

You couldn’t help but blush at his pet names, but frown at the mention of a ritual, “Please tell me that a half-decomposed animal carcass is not part of it.” the memory of a decomposing deer carcass that stunk up the house for several days made you want to wretch. Where did Aziel acquire such a thing any way? You wonder.

Aziel nuzzled you and reassuringly replied, “I promise it is nothing of that sort.”

Your shoulders sagged with relief and turned to start filling the kettle, “The usual for you guys?”

“Yes. Thank you, my radiant light.” The Word Bearer leaned down and kissed your temple. You giggled and smiled at him, “You’re welcome. You go ahead, tea and mocha will be ready up here when you’re done.”

Aziel purred as he nuzzled you again then left. You started to brew very strong coffee. You stuffed the massive tea strainer full with rooibos tea mixture, set out honey, a large tin of powder hot chocolate, and a jar of dried chili flakes. They had a preference for sweet and strongly flavored drinks given how much they enjoyed the mocha you made. Aziel and his friends would take a while and when they start their ending chants, it would be the perfect time to boil water.

You were reading a novel on your tablet when a cloying smoky scent filled your nostrils as if something was baked way too long. Was something burning? Smoke billowed out when you opened the door to the basement.

“Aziel?” You called out worriedly.

You coughed and waved the smoke away from your face. Concerned and forgetting that your Astartes could withstand a lot more than the average human, you rushed downstairs.

“We summon you, St. Valentine!”

You paused when you heard them say the name “St. Valentine”, catching on that they were trying to summon something or someone. When the smoke cleared, you were left standing awkwardly on the stairs, the group of Word Bearers staring at you, all positioned around a summoning circle drawn with what you hope was red paint. Three of them were kneeling in prayer, one was holding a book aloft, and another one was swinging an incense burner pouring with smoke. Aziel stood in front of them as if directing the entire ritual. A heart shaped box of chocolates and a bouquet of red roses laid in the middle. It was clear the St. Valentine they were trying to summon was the St. Valentine of Valentine’s Day. Not that it did anything.

“Sorry… Aziel. I… I thought… something was burning.” You stuttered in embarrassment, quickly turning to go back upstairs, “I’ll go, sorry I interrupted you.”

Suddenly, you felt yourself falling forward into an armoured embrace.

“Don’t leave. Please, my guiding star.” Aziel rubbed his face against your hair like a cat seeking affection.

“But don’t you have to finish the ritual?”

His grip tightened, scared that you would disappear if he let go, “We are finished, but the ritual was not successful.” He mumbled.

You felt bad for breaking their focus at such a critical moment thus contributing to their failure, “I’m sorry…” you started.

As if he knew already what you’re going to say, Aziel reassured you, “You have no fault in this. It is much more difficult to summon anything in ancient Terra. Do not fret.”

His fire-patterned eyes held a glimmer of humour and something else as you looked at him, “We summoned you after all.” he chuckled.

You snorted and laughed, “I don’t think that counts. Why are you guys trying to summon St. Valentine?”

“We wish to ask for his wisdom in properly courting our bonded.” Aziel replied earnestly.

Your mouth dropped open. Heat spread across your face and your heart skipped a few beats. You stammered, “You… I… um… you want to court me?” Aziel was very devoted to you and at times a little too devoted, but you thought it was just the way he was as a Word Bearer. Never in your wildest imagination did you think that Aziel had feelings for you to the point he would try to summon St. Valentine to ask for advice. It was a lot to take in. Perhaps you’ll take the lead and rein back Aziel a bit, knowing how gungho he could get

The fact that his buddies went along with him to do so just made the situation even more ridiculous. You laughed and reached to rubbed the smudge of dirt off the base of one of his horns. Purring loudly, Aziel leaned into your touch. You then cupped his face with your hands stroking the scarified mark on his left cheek, “I am very flattered. But…”

Aziel’s face fell.

His face brightened once again when you pecked his nose with a quick kiss, “You silly man. I was about to say let’s talk about how I want to be courted and we can go from there.”

If your Word Bearer had a tail, he would be wagging it in happy excitement, “You are saying ‘Yes’?” he asked.

“Yes. Now, go clean up and bring the chocolate and flowers up with you. Then we’ll chat. I’m sure it will help your brothers as well.”

Aziel gently pressed his lips against yours, “Of course, my lovely moon lily.” before releasing you from his grasp.

#warhammer 40k #space marine husbandry #space marine husbandry sentience #reader insert #word bearers #oc: aziel #space marine x reader #adeptus astartes x reader

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house-of-mirrors · 2 days ago

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Saw a reddit post saying fbg knows their playerbase because there's a little tease of romance with a master* in the ttrpg guide

No, I don't think they know their monster loving playerbase (refuses to elaborate)

(Elaborates anyway) I don't know how to explain it, only that you can tell when someone truly understands the genre/subgenre they're writing. The monster romance in motr fell extremely flat for me as a paranormal romance reader/writer. The romance fell flat for me as a romance reader. Paranormal is not just romance with a nonhuman. You can't just write human romance and add fur or scales or fangs. Readers are not scared of the beastly traits or power struggle trust me. It needs sincerity, not "haha our fans will try to kiss anything that moves." (A bat doesn't even have the lip shape to kiss which #real master lovers know--)

*It's Mr Pages. The scraps of master romance content are always for Mr Pages. No shade at fans but please there's more than 1 master character and they all have different personalities. They just arbitrarily decided one was the most popular because hd (and a certain ending) is the ambition the fandom is most vocal about

(The fandom woobifies and likes to think Pages is the nicest master despite the fact it represents state censorship and kills people for censorship but that's a whole other post)

#fl crit #ask to tag #got annoyed by a reddit post at the same time i was supposed to be doing something else. a terrible catalyst for motivation for posting

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dunroamins · 14 hours ago

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It really fucking sucks as someone who likes both Steve AND Jonathan, but sometimes the fandom lowkey makes me hate Steve - whether it's by demonizing Jonathan/attributing his best tributes solely to Steve, or by wildly mischaracterizing him.

Yes!

Steve has his own, entirely valid, good qualities, many of which he actually shares with Jonathan: being brave, protective and loyal.

He's also practically intelligent and observant (realising the recording was coming from inside the mall), and he's done what a lot of young lads do. He was a bit of an arsehole in high school, and now he's grown up and grown out of that behaviour.

What that means is that he's a fairly ordinary kid. That's the whole point-he's the normal small-town boy who ends up doing battle with interdimensional monsters.

Jonathan, by contrast, gets so much hate because he's not ordinary. He is primed for the Upside Down. He's not ready for what happens to Will...but he's been expecting things to go wrong his whole life because they always have. When the GA calls him weird, or ugly, or boring, what they really mean is 'I can't relate to what he's been through so I don't have any sympathy for him'.

He's intelligent, sharp, witty, spiky, strong and compassionate. He has a moral centre because his father never did. He's a dad before he's a high-school grad; a mother's helper before he gets to be a child. This is the young man who organised his little brother's funeral, and still made sure his mother ate. This is the young man who had his spine cracked wide with a surgical stool, and tried to save his girlfriend through the pain.

This is a man who (probably without fully realising) limits his own choices because he's determined to expand his little brother's.

The constant erasure of Jonathan's complexities-his constant relegation to the background by large swathes of the fandom-hurts, because that's exactly what happens to kids like him. To kids like me.

Jonathan is different by design. The whole Byers family (sans Lonnie) is different by design. They are the ones best equipped to deal with all of this because they know the darkness that lies beneath normal life. It's not a shock or a surprise to them. The whole concept of the show is about a family that's been beaten down by people who don't care to understand, responding to the Upside Down in a way only they can.

Jonathan doesn't get to have the redemption arc Steve does, because (aside from the photo debacle) he doesn't need one. He doesn't need to grow up, because he's already had to. His outlook on life is more mature, more cynical, more responsible, because it's had to be. From the first episode, Joyce is already in the habit of focusing on Will because Jonathan 'can take care of himself', so his needs don't show on her radar. Not only does that mean she doesn't see them: it also means that Jonathan doesn't have a good handle on his own needs either.

When you learn to make yourself small to keep everyone else afloat, you lose the ability to tell when you're sinking.

And a big chunk of the GA seems to see this and go 'Oh, he's sinking, what a loser!' because it's become normal for him to sink. They see his character as the oddball tragic foil to Steve's everyman charm, when they were supposed to see it the other way around. Jonathan was supposed to be one of the central characters for once, and to take that away from him because he is the way he is...misses the point entirely. You're supposed to sympathise with Jonathan. You're supposed to watch the show and think deeply about the harm we do when we exclude people. You're supposed to learn from him.

Yes, Jonathan does struggle to be sociable, and charismatic, and open! He does struggle to express himself! That's the whole point: he is a child who's been through more in 16 years (as of S1) than most people in small-town America have in a lifetime. He is the way he is because he trudges through Hell and keeps going.

Because he'll be damned if anyone he loves ends up there with him.

#jonathan byers #when the general audience has no sympathy for jonathan they are missing the whole point of the show #stranger things critical #general audience critical #steve harrington #jonathan and steve are both valid characters #but only jonathan seems to get mischaracterised on the regular #jonathan byers is an excellent big brother #jonathan byers is an excellent character #jonathan byers is arguably way more interesting than steve #and they are both good men in different ways #stranger things

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poppitron360 · 1 day ago

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@cometmoons so for some reason tumblr has glitched and isn’t letting me respond to the ask you sent me so I’m just gonna do it like this.

OK OK OK OK OK OK SO-

There is SO MUCH to talk about with Wouldn’t You Like. I feel like it’s hard to describe on a written post so I took the liberty of downloading a music notation app and transcribing the bits I wanted to talk about (This took me aaaages. But it was a really fun process and taught me a lot.)

Be warned this is a LONG post.

Firstly, here’s my overall take on the narrative of this song:

Odysseus is one of the smartest heroes of Greek Myth. He’s a mentee of Athena. He’s tactical. Yes, he is a fighter, but he’s for the most part a strategist and he uses diplomacy and cunning and his words to defeat his foes. Big Slytherin energy. Up until this point, that’s all he’s ever used. Eurylochus has doubted and challenged this approach, and has now come to him, saying that Circe is too powerful to defeat and that they should just run away. Odysseus “Pride is my fatal flaw” of Ithaca is insisting on fighting Circe, but is realising that he might not be able to talk his way out of it.

Hermes has now shown up like “hey ✨dAhLiNg✨how about you try something different? DRUGS!”, offering him a taste of something he’s never had before… power.

This, in my opinion, is a big step in Odysseus’ fall from man into monster, and Jay uses music in so many different ways to convey that, so let’s start with a break down of the song one section at a time:

Intro:

For most of the song, you’ve got the Lyre/Harp playing- Hemes’ signature instrument, which is significant to him because according to myth he invented the Lyre. This is the first thing we hear in the song, immediately setting up the things you need to identify his character.

Harps and Lyres are typically used in film and videogame music to give a mystical, magical atmosphere. I love how Jay blends modern (1980s) Synthpop with more classical, eclectic instruments that don’t normally fit the style. I’m assuming for budgeting reasons he’s using a VST or some kind of sample pack and not a real harp (session musicians are EXPENSIVE), but still- you hardly ever hear a harp in this kind of music but it WORKS.

The introduction played by the harp also lays out something that is shown throughout the whole song:

AEOLIAN MODE!!!!

Modes are hard to explain bc I barely understand them myself (I said music theory was my special interest, not that I was any good at it) but according to the Wikepedia article I’m reading about them right now, they were used a lot in ANCIENT GREECE. The Aeolian mode specifically was used a lot back then. The word “Aeolian” comes from… you guessed it- the Islands of Aeolus!!!

Aeolus, being the God of the wind- Aeolian mode is this mystical, free-flowing mode that simulates the feeling of wind.

You know when you hear a high wind through a telegraph pole you get this whistling sound? That’s basically a rudimentary, naturally occurring Aeolian Harp. There’s a whole Physics lecture about sound frequencies and microtones and shit in here that I am not yet qualified to give but this kind of stuff FASCINATES me about music.

I found this 60sec short that explains Aeolian mode really well from a channel I really like: https://youtu.be/bJ6TRQ3k45Q?si=sksSz4xyf_96uMrp It’ll give a much more concise explanation than I could, but basically all you need to know is that the melodies are in this special scale.

Aeolian mode is the natural minor scale. It’s often used to feel spooky and mystical- perfect for a song like Wouldn’t You Like where this magical character is singing about a magical plant. It’s not the standard G minor scale, but something a little more twisted and not really something we’re used to hearing, giving it a mysterious quality.

This is established immediately by the harpline, and sets the entire tone of the song. We then hear his trademark giggle, and so in the first 3 seconds we know everything we need to know about who Hermes is and what he’s like.

Speaking of the giggle- I briefly mentioned Panning in my post about Scylla, and while I can’t discern any use of it just by listening, but I imagine Jay’s probably used a subtle amount of it to give the sense of Hermes flying overhead.

Panning is a thing done in audio production where you can choose how much of the sound is heard on the left or the right.

Verse 1 (“I must say”… etc.):

It’s very gentle at this point, the orchestration and vocalisation is calm and lilted. It’s very beautiful, although the minor tonality gives it a slightly uneasy feel. (Often the minor key is described as sounding “sad”, but that’s not always the case. This is a great example).

The harp melody is repetitive, giving a sense of persistence, this adds to the sense of unease. It also has elements of hip-hop, as a gentle beat comes in as the chorus starts.

Chorus 1:

Now the harp cuts out and you’ve got that synth bass-line coming in- the repetitive, insistent beats and this “four-on-the-floor” drum pattern where the bass drum (which sits on the floor) kicks on every beat (in a four-beat bar). This feeling of it almost pounding in your head on every thump.

The instrumentation is very stark, you’ve just got the vocalist, the bass, and the bass drum. This technique is used by Taylor Swift in both the songs “Look What You Made Me Do” and “Vigilante Shit”- this really makes you listen to the lyrics as there’s nothing distracting you. As this is the first time we’re hearing these words, it draws you into what he’s saying.

On the line “Wouldn’t you like to have some of the magic?”, the Lyre comes in, playing this repetitive line that goes up and down and up and down. It’s a repetitive, almost hypnotic sound.

Verse 2 (“She can turn you to an animal”… etc.):

This is when this bluesy piano comes in.

The piano is used a lot in different points of Epic- it’s an essential part of any musical orchestra pit or just a song in general, and crucial in every composers instrumentation arsenal (and was also the first instrument I ever learned to play and my first real taste of music, so it’s not like I’m biased or anything)- but it’s mostly associated with Athena as it’s her signature instrument. It’s a stretch, but my interpretation is that Hermes is trying to appeal to something familiar to Odysseus. So far the only God he’s interacted with at length is Athena, who taught him this idea of being strategic and tactical. Hermes is acknowledging that this is Odysseus’ main way of fighting, while also showing him that there could be something more to it.

The piano plays these low-octave chords in this syncopated rhythm, which adds a layer of intensity that you didn’t have in verse one. This continues into the second chorus.

Chorus 2:

The orchestration is much more intense, pulling the audience (and Odysseus) in.

I’m gonna talk a lot about the musical “language” that Jorge has established for the universe- bits of music theory he’s tied in with themes that don’t necessarily have the same connotations anywhere else, because I think it’s genius.

Jay has said that the mythical beings (Gods, monsters, Odysseus when he kills the suitors) are all able to summon non-diagetic backing vocalists to back them up. Interestingly, Hermes doesn’t use this the first time round, speaking to Ody on his level, and is now rising up and displaying the power he’s tempting him with.

This is when we first hear the backing vocalists. There’s now a group of voices, so there’s more people urging you to taste the flower. Musically speaking, the harmony moving in the same rhythm with the same words as the soloist creates a sense of movement, congruent with Ody’s temptation.

Here is where we get to how this harmony works. This is the section that will actually answer your question.

First of all, I also struggle with overstimulation so I totally get what you’re talking about. There’s a right way and a wrong way to do backing vocals, and I know from experience that writing harmonies as complex as this takes skill and practice.

I think that’s why music is so special to me. The sensory calm certain sounds and songs give me, the good kind of stimulation and the bad kind. It has always made me so curious as to why and how the choices made in music can impact a person psychologically, make the listener feel immersed in a story, inflict specific emotions.

This is what fascinates me about music theory. Yes, it should overwhelm you. Yes, it should sound wrong. But it doesn’t. It WORKS. And what’s so interesting to me is why.

Jorge describes it as “crunchy and punchy” which is honestly perfect.

He is of course, referring to dissonance.

I have been studying music most of my life, and pretty much every music teacher I’ve ever had describes dissonance as just “sounding smushy”. It’s actually “a lack of harmony among musical notes”, usually two notes next to each other played at the same time.

But why does this sound “crunchy” and not “smushy”?

The Melody remains modal, as it has done the entire song. This is our grounding, our “Home”, but the harmony does something different. It’s moving down and up, flowing like wind, like the sea. And it’s doing this chromatically- using notes from the G minor key instead of the Aeolian mode- which creates clashes. Also known as dissonance. Also known as “smushy”.

And this is where we break out the good ol’ notation! I transcribed this myself by ear, so it might not be perfect. I can sight read tablature but not sheet music, so if this is wildly off then I’m sorry. I find it easier to explain music through annotations, but in order to make this screenreader accessible, I’m just gonna cite the lyrics and explain it in the text underneath.

In this section, “Wouldn’t you like to have some of the magic? Wouldn’t you like your outcome preferred?” The melody pretty much remains on C this whole time, only changing at the end of each two-bar phrase. This gives a forceful, repetitive, driving feeling. Hermes is being very persistent here.

For the first two-bar phrase- “Wouldn’t you like to have some of the magic”- both harmonies are the same. They then split at “Wouldn’t you like your outcome preferred?”

“Wouldn’t you”- The harmony starts on G, which is the root of G minor (the key that we are in). This is diatonic (using the notes from the key)- so it sounds nice, not “smushy”.

“Like to”- We then go down to F sharp, which is dissonant to the Aeolian mode, even though it’s the major 7th of G minor. This is why it sounds “smushy”

“Have some of the”- And here is where the “crunchiness” kicks in. It’s resolving down to the flattened 7th, which is F natural. The flattened 7th is the modal note.

“Magic”- The first two-bar phrase ends in E natural, which is dissonant to the mode. The melody also ends in D, which provides a lot of dissonance with the E as they are right next to each other, which can create clashes.

“Wouldn’t you”- This is where the two harmonies split. Harmony 1 goes back to G, which is the root of the mode. Harmony 2 goes down to E flat, which is also consonant (not dissonant).

“Like your”- Harmony 2 goes down to D, which is dissonant with the note in the melody (C) because they are next to each other. Harmony 1 goes to F sharp, which is dissonant to the Aeolian mode, as said before.

“Outcome”- Harmony 1 resolves to an F, and Harmony 2 goes back to an E flat.

“Preferred”- The last two notes “smush” as F natural (Harmony 1) and E natural (Harmony 2) are a semitone apart, then both harmonies join at E natural, which clashes with the D in the melody.

So the pattern goes from “nice” to “smush” to “nice” to “smush” to “nice” to “smush” to “nice” to “even more smush” and then when the next part of the harmony starts “deep in the night” you resolve back to the G, which is the tonic note.

Why does the dissonance work in this song?

It’s passing. Going down by step and resolving to a modal note. Passing notes that resolve don’t have that smushyness. They crunch.

Dissonance is a funny thing. Often musicians stay away from it because it sounds muddy and awkward and not great, but it can at times sound quite sweet, and with skill and knowledge you can learn how to use it effectively.

It also works here because it fits with the aesthetic and Hermes’ character. We’re already in this spooky, mysterious mode. We’re in a minor key. And Jay is using all these other musical techniques to give a slightly uneasy, hypnotic feel. The dissonance feels strange- not the sweet, diatonic harmonies we’re used to hearing. This is what makes this song stand out, and what makes Hermes such an intriguing and appealing character.

There’s this “up and down” melodic pattern that occurs throughout the song in several places. While Harmony 2 is doing that, Harmony 1 is just going down, repeatedly. I find it interesting that Odysseus isn’t rising to this power, but falling to it. It hints at Hermes’ trickster nature. These musical motifs (harmony, the harpline, the synthline, etc.) go up and down and up and down and up and down like gentle waves. We’re on the ocean. It’s lulling, compelling, hypnotic. “Come hither” whispering in the ear. It’s creepy, to be honest, and shows a darker side of the song that I will talk about later.

Bridge (“Here in the root of this flower”…etc):

Jorge has talked about how this is one of his favourite bits to sing, and musically that makes perfect sense.

Firstly, you’ve gotta hand it to Troy Doherty’s amazing performance. Hermes is so expressive even without seeing him.

Quick note about vocal techniques- YOU CAN HEAR SMILES. The act of smiling changes the shape of your mouth and thus changes the quality of your voice. You can HEAR Troy break out into a smile on the line “Though it’s only for a moment, ‘til you’ve beaten your opponent”. This is also my theory as to why the line “Penelope Whyyyy, you know I’m too shyy” is so stuck in everyone’s mind. Try singing it without smiling and then try singing it while smiling. Do you think it would’ve been that catchy if Jay wasn’t such a cutie pie?

Smiling is contagious, even if you’re only subconsciously noticing it. Hearing a smile gives you that little hit of dopamine.

When we hit the bridge, the piano, bass, and backing vocals cut out. Again, it’s just drums, harp, and lead vocals. This signifies a new section of music and also does the same trick as before- drawing you into the vocalist- but this time making you focus on the melody instead of the lyrics.

This whole bit is solely in Aeolian mode. The downward motion of the bridge increases the intensity of the song, dragging you into his words, falling into the power of the root. It’s sort of a callback to the downward motion to the second harmony line.

The constant quaver rhythm of this rising and falling conjunct “stepwise” melody gives a spiralling feeling, leading downwards. The rhythm is almost conversational, which fits with a mode like Aeolian that flows like the wind. It’s also why it’s so catchy and fun to sing. I love how Jorge composes in this uncommon scale in this particular pattern to reflect this idea.

There’s also one particular detail about the rhythm of this riff that compositionally shows something even deeper:

THIS IS IN TRIPLETS.

DO YOU KNOW WHAT TRIPLETS SYMBOLISE IN EPIC???

RUTHLESSNESS.

Ruthlessness is usually a theme reserved for Poseidon, Act 1 Athena, and Act 2 Odysseus. You wouldn’t expect a “friendly” God like Hermes to be using it. But he is. He’s being persistent, constant. He is trying every trick in his bag to persuade Ody to take the flower.

Jay is VERY deliberate about his arrangements and his composition, so this is not a coincidence. He has established this “language” of musical voices, rhythmical voices, and motivic voices to symbolise all his characters and themes. It’s fascinating to me that he made this choice for Hermes. Ever so subtly hinting that the God might not be as benevolent as he seems.

Chorus 3:

The instrumentation of this new chorus is pretty similar to Chorus 2, except…

These DRUMS.

I asked my dad about these while I was staying with my parents over the Xmas holidays, and it resulted in a 5-minuite-long infodump about a specific type of drum used in 80s pop music (yeah I totally definitely don’t see the family resemblance at all /sarcasm). Any Brit in the audience might recognise this drum sound as sounding almost identical the intro to a show called East Enders (which I never watched, but was aware of) and idk if that was Jay’s intention, but the drums apparently have a long and complicated history, which I will give you the abbreviated version. (If this is too much information you can skip the next paragraph if you so wish, I realise this can be overwhelming)

Bass drum called the Simmons’ drum- electronic drum pad- famous for being hexagonal- they were radical in that they gave an electronic palette to modern dummers- they weren’t well-built and the very earliest ones were made from the same composite materials as police riot gear- caused repetitive strain injury that became known by session drummers as “Simmon’s wrist” because it was a bit like using your drumsticks on concrete (What’s that? You don’t think music is as intense as sport? Musicians get injured just as much as footballers do)- the sound is one of the most distinctive sounds in 80s music and entirely synthetic, generated through synthesis so some poor technician had to sit and programme a synthesiser to sound like a tom-tom- in the 90s and early 00s it was seen as cheap and over-the-top but is now looked on with a sense of love and nostalgia.

This is, of course, a sample of the Simmon’s drum as I doubt Jorge owns a real one.

So what does that do for Hermes? It grounds the song it its 80s retro aesthetic, creating Hermes’ unique stylistic voice. Jorge has described how he got the idea for Hermes’ sound when he saw a retro, multi-coloured lamp that made him think of 80s music. Each character in Epic has their own soundscape, and this very particular drum sound adds to it.

It also adds intensity to this final chorus. These loud, heavy drum sounds give that adrenaline rush that the previous verses and choruses have been building to, when Odysseus finally takes the flower.

Then we get Odysseus singing the “oOOOooOoOOhHHHhs” as he eats the holy moly, then the chorus ends, and we get a repeat of the harpline from the intro as he thanks Hermes for the help.

My conclusion:

Odysseus has made a Faustian pact with Hermes, the trickster god. While Hermes’s words are friendly with no ill-intent, the composition and orchestration lean more towards this idea of “making a deal with the devil”. Gods know the game, and how it’s played. You, mere mortal, do not. When they entreat mortals to do their bidding will offer riches, money, fame, success, magic, power, but very rarely are their motives sound.

This is Odysseus’ first taste of the magic that separates gods and monsters from mortals. He is able to fight Circe as an equal, and this new development teaches him that he doesn’t always have to be strategic and diplomatic, but ruthless and relentless as well.

I know that the fandom see Troy Doherty’s performance of Hermes as “omg babygirl so slayyyy!!!” But there’s actually a deeper level to what he’s doing here. He’s a trickster God, tempting and teasing Odysseus down a path of magic and power- giving him the first taste of something that will later drive him into becoming the Monster. Hermes is almost seducing him to the dark side, using rhetorical questions, waving the Holy Moly in front of his face and saying “Come on. You know you want it. Wouldn’t you like a taste of the power? Wouldn’t you like to be victorious for once?” In his lyrics describing a “taste” of the power being something almost like a temptation. Odysseus is breaking from his norm- using magic and might instead of logic, diplomacy and reasoning. While he’s doing it to save his men, this is a major step in his descent into monsterhood, and it’s fascinating how Jay does this not only lyrically, but musically as well, using what’s called “word painting” (music and words working together) to create the sense of hypnotism and manipulation.

Hermes is being:

Ruthless (triplets),

Ceaseless (repetition),

Persuasive (rhetorical questions),

And hypnotic (lilting, lulling melody).

He’s drawing you in, forcing you to listen to him (stark instrumentation focusing on the vocals, then increasing the instrumentation as the intensity progressively increases, culminating in this big, expressive final chorus with this pwerful drum sound)

Overall Jorge uses all these techniques to show Hermes manipulating Odysseus into taking the flower. By subconsciously making you feel the temptation that Ody- the Narrator- is feeling through music and orchestration.

So anyway, those are my thoughts on “Wouldn’t you like”. I didn’t even have time to talk about “Dangerous”- perhaps I’ll make a separate post about that but no promises. Thank you so much for reading if you made it to the end!

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