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I started this:

I just thought that this face perfectly fits Athena.

Lemme know who you wanna see next with what face!

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The crossover is real!!!

THEY MET

THIS ISNT A DRILL

JORGE RIVERA-HERRANS AND LIN MANUEL MIRANDA HAVE OFFICIALLY MET

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A post shared by Jorge Rivera-Herrans (@jayherrans)

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Silly,,,,

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Made pixel art of the silly guy known as Hermes

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I PASSED ALL MY EXAMS BABEYYYY

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New ao3 message unlocked:

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So if y’all remember way back i made this odypen pin design but never got to make it- i’ve decided to open up a kickstarter! its not open yet, but ill keep you updated

Big Question - who else from Epic would you like to see in a pin duo like this?

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watch til the end

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Guys... my favorite fanfic got deleted😢

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HAPPY PRIDEMONTH EVERYONE!!!

BE GAY, DO CRIME, RAHHHHHH!!!!!

🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈

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This is so incredibly cute!

My friend made me this 🔥❤️

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Polites!

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WHAT DO YOU TRY FOR?

Finish the Lyrics ! (Reblog to continue)

Alright, my brothers listen closely

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Finally continueing writing my OdyPoli fic cuz I've only got 1 more exam to go and that means more freedom! My phone's suggestions however made a really great summary off what the fic about this far tho:

/\See all the plot this far up above/\

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OMG yes

wait why would modern academic rivals to fwb to lovers hit so hard for odypen.

they meet at a classics conference where he calls her work "elegant, if overly cautious," and in return she calls his "fatally self-indulgent." they start leaving snide commentary in the footnotes of their papers. he assigns her essay to his undergrads—“for contrast”—and she responds by publishing an academic critique dismantling the philological assumptions in his latest book, line by line, with surgical clarity.

the sexual tension is not just academic, it’s epistemological. he thrives on ambiguity; she demands clarity.

then in the middle of a charged discussion about textual fidelity and translation ethics (him insisting that meaning matters more than form, her arguing that the original structure is itself a kind of meaning), he kisses her mid-retort, and she kisses him back like it's another part of the argument. they're still arguing when he lifts her onto the desk in his office. still debating when he drops to his knees and finally puts that mouth of his to good use.

he realises that making her laugh is even better than making her seethe. and she realises that he was always listening to her. not just waiting for his turn to speak—but listening, carefully, consistently. he argues so intently with her because he sees her as an equal, because her perspective genuinely challenges him. because he likes the way she thinks and wants to hear the shape of her reasoning.

one day, she overhears him describe her as “one of the finest minds working in our field today, intellectually ruthless in the best way," and she knows she's in love with him. (he knew it back when she sent him that scathing critique of his book and he read it in one sitting, heart pounding—not from offense, but admiration.)

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Think of your wives and your children,

Finish the Lyrics ! (Reblog to continue)

Alright, my brothers listen closely

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I do think these changes would absolutely be for the better, I already love EPIC as is ofcourse but this could definitely clear up some confusion!

Tweaks I would make to Epic the Musical (while changing as few songs as possible) to make the theming more consistent.

As a note I personally disagree with the chosen theme and message. But I think compelling narratives can still come from themes I dislike (Dune is a great example of this). Epic's theming, however, also feels a little inconsistent.

1. Neoptolemus should have killed Astyanax, not Odysseus.

2. Polites should have died by Poseidon's trident at the start of Ruthlessness.

3. There should have been a song where the crew argues over opening the bag while Odysseus is asleep.

4. More attention should have been drawn to the fact that Odysseus is Hermes' grandson.

I think just these 4 changes would do a ton to better establish narrative cohesion. Explanation under the read more.

1.

"Just a Man" is currently in conflict with the contrast of 'man' vs. 'monster' set up by the rest of the musical. In this song 'just a man' is used to mean 'I'm therefore weak to my own fear and will kill this infant to avoid that fear'. 'Man' however in the rest of the musical is used to mean 'not willing to do what it takes/paralyzed by moral indecision'. This is in contrast to a 'monster' as someone who is willing to resort to ruthlessness and brutality in pursuit of their goals.

Having Odysseus chicken out last second, and Achilles' brutal son doing the job instead would better align the song with the themes of the musical without having to fundamentally change any lyrics except the very last part. In this version Odysseus is 'Just a Man' because he can't bring himself to do it. But he's also 'Just a Man' because he can't bring himself to stop Neoptolemus either (again that moral indecision). This would make the return of the "don't make me do this" leimotif in Thunderbringer all the more poignant now that Odysseus chooses the brutal option where before he refused to do so.

It also makes Odysseus' journey from man to monster feel a lot more believable. Kinda hard to argue he's not a monster from the get go when he kicks things off with baby killing.

2.

'Open Arms' as a philosophy needed more time to settle in before Ruthlessness came in to pull the rug out from under those ideals.

Killing the 'Open Arms' spokesman at the start of "Ruthlessness" would have really hit the point home. BUT it would have also allowed the Cyclops and Wind God arcs to be better tied into the 'Open Arms' theme. Setting up a starker contrast when Ruthlessness comes in.

Instead of letting Odysseus' ego and rage get the better of him Polites should have convinced him to give the Cyclops his name as an act of mercy. His friends had abandoned him to his pain because he was acting like a fool claiming 'Nobody' was hurting him. Having a name would at least give him the means to better call for help. Yes this is less accurate to the original story, but the original story's theme was hubris, not ruthlessness. This shift lines up better with the new theme.

Polites can also be there encourage Odysseus to approach the Wind God with open arms to once again reinforce Odysseus' prevailing philosophy in the arc. Once again serving for great contrast when "Ruthlessness" makes its debut.

3.

From a practical point of view a song sung by the crew at this point would give Odysseus' singer a break during an actual show. But I also think this is a missed opportunity to better establish the crew as their own characters, foreshadow "Mutiny", and present a weakening of Polites "Open Arms" influence right before "Ruthlessness".

4.

This is just to make "600 Strikes" a little more believable and clarify why Hermes is so willing to help out even after Athena abandoned Odysseus. A lot of artists have interpreted the chorus of "600 Strikes" as the literal ghosts of Odysseus' crew dragging Poseidon down. This isn't entirely unprecedented in Greek myth, vengeful spirits are a thing, and Poseidon is considered particularly terrifying because death at sea often denies a person a proper burial (Greeks love their burial rights). So giving Odysseus 600 vengeful spirits at his side is actually a not a bad way to explain a mortal getting the upperhand on a god in his own domain. If this were foreshadowed a bit by connecting Odysseus to Hermes, and Hermes', as a psychopomp, to spirits with a few throwaway lines in a couple songs it would have made 600 Strikes feel more earned. No I'm not suggesting giving Odysseus death powers. Just give him a tangible connection to the dead that makes his conquest of Poseidon fitting with pre-existing character traits.