#<- I mean this epically and poetically

[intravention]

my suspension of disbelief is suspended like mykola's (nikolai's) body in the new DoA color spread. he has such insane core strength! it's impressive enough being able to support all your body weight with a one handed bar hang, but he somehow manages to do that and position himself in a way that looks like he's casually sitting on air...? there's no visible tension in his body, he looks very relaxed... this guy is strong far beyond average, what the fuck. he has to be ripped underneath that outfit. think about the (delusional) implications here!

what is his workout routine. seriously. I want him to drop it.

for references:

this is how harukawa explains how he's holding himself up (image attached below for those who can't open the link):

and this is a video with a guy recording himself doing the bar hang with one hand for over 2 minutes. skip to around 7 minutes into the video, and you can see him try to adjust the rest of his body to a posture about halfway to the one in the color spread (albeit more realistic and nowhere as casual; this guy's grip slips and he falls shortly after).

[fluentisonus]

also always thinking about the like certain flavor of horror at being at the very site of the trojan war but have totally lost the epic ability to communicate with the dead somewhere along the line

[app1es0uce]

The ticking at the end of “Love In Paradise” is Athena using her power, but also represents that there is a time limit, and they're running out of it. 

[a-bit-of-writing]

How they flirt with you {BG3 Male Companions}

Trying my hand at writing down my headcanons for the companions starting with the males! Next batch will focus on the females.

Astarion

Flirting is second nature to Astarion, but it's also a tool sharpened by centuries of necessity. Whether he's luring prey or disarming suspicion, his every word and gesture is curated for effect.

He doesn't ask if you're interested, he assumes you are.

His confidence is intoxicating, deliberate, overwhelming. He doesn't give you space to not want him.

“You’ve been watching me, haven’t you? Don’t bother denying it — I’d recognize that kind of hunger anywhere.”

But behind that ease is calculation. Every flirtatious word is a chess move. He wants to know what makes you squirm, fluster, melt. You are both a puzzle and plaything.

He rarely flirts directly. Instead, he laces his every comment with insinuation, elegance, and a touch of threat just enough to leave you off balance.

Elegant insults wrapped in compliments:

“You’re clever. Not clever enough to hide your tells, but clever. It’s adorable, really.”

Carnal metaphors twisted with menace:

“There’s something exquisite about restraint, isn’t there? The way anticipation lingers on the tongue. Almost… painful. But then — release is so much sweeter.”

Astarion touches to control the room. To control you. He’ll invade your personal space like a whisper at the nape of your neck — there, then gone, leaving heat and confusion behind.

He doesn’t hold hands. He trails fingers across knuckles.

He doesn’t kiss, he hovers close, lets you ache for it, and then smirks when you do.

“Careful. Lean in any closer, and I’ll have to assume you’re offering something.”

Flirting is his mask. He uses it to avoid intimacy, even while pretending to offer it.

When he flirts with strangers, it's a dance of masks. He’s dazzling, merciless, intoxicating.

When he flirts with someone he actually likes, it becomes more dangerous for him. The flirtation falters, just slightly — too honest, too slow to deflect.

“Don’t look at me like that. I’m not… I’m not some tragic thing you can fix. I’m far more interesting than that.”

And yet, the plea hides beneath the jest.

If someone earns his trust (which is rare), his flirtation starts to change. It's less about dominance and more about connection but he’ll never admit it outright.

He might say:

“I suppose I’ve grown used to your company. Annoyingly so. There, are you happy? That’s practically a declaration of love from me.”

But he’ll mean:

Don’t leave.

Gale

Gale doesn’t flirt so much as he courts – with words. Lots of them. He offers compliments as if he’s reciting from a sonnet he wrote in your honor, then revises it mid-sentence because technically, there’s a better metaphor.

He’s the kind to start a sentence with "Forgive the boldness, but…" and then say something bold anyway.

“Forgive the boldness, but when you smile like that, it puts the sunrise to shame. Not in hue, mind you, but in how it warms the world around it.”

He’s not afraid of sincerity. In fact, it’s his default setting.

He gives affection like he's offering a gift – open-palmed, hopeful, slightly nervous.

Gale’s compliments are poetic, precise, and occasionally too much. He speaks like he’s writing you into an epic poem, and sometimes he’s aware of how ridiculous he sounds but he leans into it anyway.

You’re not just beautiful – you’re “resplendent,” “arresting,” “a living stanza.”

“There’s a rhythm to you, you know. A cadence I can’t quite match, but I find myself wanting to try.”

He loves analogies. Everything is a metaphor. You’re the flame to his magic, the gravity to his orbit, the comma in his sentence.

Unlike Astarion, who touches to test, Gale touches to reassure. His hand lingers a second longer than necessary, as if memorizing the moment.

He brushes hair from your face not to seduce but because it’s in the way, and you deserve to be seen clearly.

“There. Much better. Your face deserves an unobstructed view of the stars.”

His gestures are protective without being possessive – hovering, not holding, unless you lean in first.

To Gale, being understood is the deepest intimacy. He flirts through discussion, especially if you match his curiosity.

He’s most drawn to someone who can challenge him, surprise him.

A battle of wits? That’s foreplay.

“I had a theory about you, but every time I think I’ve unraveled the mystery, you delight in proving me wrong. Please — don’t stop.”

Magic is seduction. If you show interest in the arcane, you’ve already claimed part of his heart.

What makes Gale’s flirtation touching is how often it trips over genuine feeling. The deeper he falls, the less polished it becomes.

He second-guesses, hesitates, smiles softly in the middle of his own sentence.

“I’ve lived through the ecstasy of magic and the terror of loss… and yet, you – you – somehow feel more dangerous than either.”

And when he truly lets go:

“It’s foolish, perhaps, how much I wish to be someone worthy of the way you look at me.”

Halsin

Halsin doesn’t flirt to impress or manipulate –  he flirts because he means it. Everything he says comes from a place of deep sincerity, laced with the calm assurance of someone who knows exactly who he is.

His gaze holds yours like a quiet forest – no pressure, just presence.

“You move through the world with such purpose. It’s… beautiful to witness.”

He speaks plainly, but with a natural poetry – his words aren’t practiced, they’re felt.

“When I look at you, I see strength. But it’s your kindness that draws me in.”

Halsin doesn’t pile on flattery – he notices things. Deep, subtle things. And when he speaks of them, it feels like sunlight warming you from within.

He’s observant, not performative. You might not even realize he’s flirting at first – it just sounds like honest admiration.

“You speak gently, even when the world demands fury. That’s a rare kind of courage.”

He isn’t embarrassed by affection. He says what he feels, and he doesn’t play coy.

“You make the world feel less heavy. I hope I do the same for you.”

Halsin’s touch is deliberate, comforting, and patient. He touches with permission, not presumption. But when he does touch — it’s undeniably intimate, as if saying, I’m here. I will not break you.

He places a hand over yours when you're tense. Holds your gaze, anchoring you.

“Breathe. You don’t need to carry this alone.”

And when desire simmers beneath the surface, it’s elemental – not rushed, not performative, but felt in his closeness, his stillness.

“If I touch you, it will be with all that I am. Say the word.”

Halsin doesn’t need grand declarations. He flirts by showing up – carrying your burdens, tending your wounds, sharing the quiet.

He listens with his whole self. Even your silences are welcome with him.

“You don’t need to fill the space with words. I’m content just being near you.”

He’s drawn to strength, but moved by vulnerability.

And if you let him in, he will never belittle it.

“You let me see you. That is no small gift. And I cherish it.”

Though gentle, Halsin is not shy about attraction. When he wants you, it is unmistakable and entirely honoring.

He’s open about it, but never pushy.

“You stir something in me I haven’t felt in years. Not just desire but hope.”

And if you respond to his touch or words, he’ll smile – slow, unguarded.

“Then let me show you what it means to be cherished.”

Wyll

Wyll leads with charm but it’s never hollow. He knows how to wink and tip his head just right, but every line carries an undercurrent of sincerity.

He wants to make you smile. That’s the whole goal of his flirting: to brighten, to uplift, to show you you’re worth every stolen glance.

“If I had a coin for every time you crossed my thoughts today, I’d have enough to buy you something nice. Though… I’d much rather earn your smile than your silence.”

There’s always a touch of theatricality. He is the Blade of Frontiers, after all. But he never uses the title to elevate himself above you—only to make you laugh.

“Would you believe the famed Blade of Frontiers was brought to his knees by a glance? Because I’m about ready to kneel.”

Unlike Astarion’s razor-sharp innuendo or Gale’s encyclopedic poetry, Wyll gives tender compliments. And if you compliment him back? He flusters, adorably so.

He notices the little things, and they move him.

“You tend to others before yourself. That’s not something I see often and it humbles me.”

If you flirt back, he might laugh – low and genuine – but you’ll catch the faintest blush.

“Careful now… keep that up and I might forget I’m supposed to be the charming one.”

Wyll touches sparingly but when he does, it’s full of reverence. A hand to steady you, fingers brushing yours when passing something, a palm pressed over your heart after battle.

He’ll ask before crossing a boundary.

“May I?” (Offered hand. An honest question.) “Only if you’d like me to stay close.”

Even his teasing has warmth:

“If you keep looking at me like that, I’ll start thinking I’m special.”

Wyll doesn’t just flirt with words – he flirts through action. Standing by your side. Letting you see the cracks in the armor.

He wants to be someone you trust. And that starts by offering you his truth.

“I made mistakes. I carry them with me but I’d carry yours too, if you let me.”

He brings you into his world, slowly and willingly. If he tells you a story from his past, it means he sees you as part of his future.

When Wyll desires you, it burns low and steady – never rushed, never careless. It’s controlled, because he wants to earn the right to want you.

He doesn’t take. He offers.

“I won’t ask for anything you’re not ready to give. But know this – if you choose me, I will never leave your side.”

And if you do choose him?

That smile – the real one, soft and reverent – comes to life.

“Then let me be the man who proves you were right to.”

Rolan

Rolan is not here to charm you. In fact, he would very much like to be left alone, thank you. But there’s a twitch in his mouth when you say something clever, a pause before he looks away. He’s fighting it and that’s exactly how you know it’s real.

Flirting often sounds like irritation at first. He’s too observant. Too annoyed. He notices you far more than he admits.

“You're always putting yourself in danger. Someone’s going to have to clean up your mess. …Don’t look at me like that. I didn’t say it’d be me.”

He flirts like a man sharpening a blade – precise, deflective, and with his guard raised.

“You keep looking at me like I’ve said something sweet. I assure you – I haven’t.”

(He has.)

Rolan doesn’t give you praise straight. He’ll call you reckless when he means brave. Annoying when he means magnetic. And when you catch on? He’s flustered – genuinely.

He’s the king of “I didn’t mean it like that” after saying something surprisingly intimate.

“You’re… capable. For someone with such an irritating tendency to leap before they look.”

If you catch him staring, he’ll roll his eyes. But he won’t deny it.

“Don’t flatter yourself. I wasn’t… I wasn’t admiring. I was assessing.”

(He was admiring.)

Rolan is awkward about physical affection unless it’s practical. Helping you up, catching your arm in battle, brushing past you on purpose. When he does reach out first, it’s a big deal even if he pretends it isn’t.

Touches are brief, careful, and loaded with tension.

“Hold still. You’ve got something on your – here. There. It’s gone.”

He touches like he's expecting to be rejected. When you don’t pull away, it floors him.

“...Huh. You didn’t flinch. That’s new.”

Rolan connects through arguments, side glances, shared snark. He bonds with people who can keep up, challenge him, call him out and not back down.

He flirts through tension. You’ll know you’ve gotten close when he actually stops snapping at you.

“You’re not as infuriating as usual today. …Don’t let it go to your head.”

And if you tease him back? His ears go pink. Every time.

The rare moments when Rolan lets down his guard are intensely vulnerable. He won’t wax poetic but when he says something kind, it matters. He won’t say it unless it’s true.

It slips out before he can stop it:

“You make things… bearable. More than bearable, actually.”

And when he finally stops fighting it:

“I’ve spent so long pushing people away, I forgot what it feels like to want someone to stay. …I want you to stay.”

Though my next batch will focus on the females, I’m open to any scenarios you will like me to explore, so feel free to drop in a request! 

[quixotic-paladin]

Ok I finished it, and though my opinion of it hasn't improved, I do concede that there was considerable effort and skill put into the writing. Some individual tracks were genuinely good and catchy with clever lyrics, but it still feels a bit over simplified and... Kiddish? Idk I hate when people mix modern slang and music with classical literature, but that's just my opinion. To each their own.

I finally started listening to "Epic" the musical after a coworker begged me to check it out. It's uh, alright I guess? I can see the appeal it could have for a grade school aged audience but I'm kind of bored listening to it. It has a style similar to Lin Manuel Miranda's Hamilton, with a peppy beat, quick fire lyrics, and modern slang. I've never interacted with the fandom but, after seeing the way people acted regarding the founding fathers with Lin's musical, I dread to think of how people will now treat Homer's works.

[tapwater-made-everyone-gay]

!!!SPOILERS FOR THOSE WHO HAVEN’T LISTENED TO THE VENGEANCE SAGA OF EPIC THE MUSICAL!!!

I find it really interesting that people are so upset about the Poseidon loss, using “it’s weird that a mortal beat a god” when the whole thing with gods in Greek mythology is that they’re parallels to humans. That’s why they have emotions, human anatomy, feel pain, and bleed (even if it is ichor that comes out). There are multiple cases of gods being beaten by humans, primarily demigods, but still humans—MORTALS. What makes them so powerful is their domain. Take that away? They’re practically powerless.

Poseidon is shown to be arrogant, claiming that the only reason he’s still hunting Odysseus (DESPITE killing his men, teaching his lesson, and even likely knowing about the brutal siren deaths) is because “the top dog can’t be seen letting his prey go. How else can I send the message that I’m a big dog? It’ll ruin my reputation!” He’s a cocky bastard, playing with his prey, telling Odysseus to get in the water because it’s more entertaining to him than just getting his revenge and killing him then and there. He talks like he’s never felt pain in his life and doesn’t think he ever will because “the top dog is untouchable”.

But he forgets that he needs his domain, needs his range to keep himself from losing. When Odysseus pulls the same trick with the wind bag (which he should’ve seen coming), he isn’t ready, because he’s never had to fight that fight. Odysseus has, and he has the anger to push himself farther. The god gets downed (which has happened many times with many gods as discussed earlier), and he still acts cocky. Odysseus opened the bag. He can’t leave. But that knowledge—knowledge that he’s stuck here and will eventually die anyway—allows Odysseus to make his decision. He can hurt Poseidon for as long as he’s capable of, make him suffer just as much because, hey, he’s going to die anyway, right?

Now, Poseidon has an out. He can get rid of the storm before Odysseus even lays a hand on him, let him go home, and flood Ithaca like planned. But he doesn’t, because he’s so in his own head that he doesn’t realize the position he’s in. And then Odysseus makes the first stab, and then the other. It hurts, even more because, like I said, Poseidon has probably never felt this pain before. And Odysseus doesn’t plan on stopping, not until Poseidon calls off the storm. He’ll go until his arms stop working, and if Poseidon hadn’t given in, he probably would’ve.

Poseidon can’t stop him either because the wounds are made before the others can heal. Does this punishment seem familiar? It should, because it’s the exact same one given to Prometheus by Zeus. Truthfully, it’s a punishment made for a god.

I should probably stop here because this has gone on way too long, but I do understand why some people might think it’s weird. We’re raised to believe that any god is untouchable, that they’re all-powerful and incapable of harm, especially at human hands. But that’s not Greek mythology. Gods aren’t capable of death, but they are capable of suffering, and a lot of them do. Just because the one suffering this time is one of the “big three” doesn’t mean it’s unrealistic.

Epic’s message isn’t the same as the original, and it never has been. It’s about what you’re willing to sacrifice, how far you’re willing to go for your own gain, and what the repercussions are when you do. Poseidon really kick started that message hard, and I think it’s poetic that it ends with him facing the outcome of that message himself.

Ruthlessness is mercy upon ourselves, but it’s not the same being on the receiving end, is it?

[teambyler]

The most heartbreaking way Byler can culminate (and how I predict it will)

(pic from 80smayfieldz)

Just cry me with today, okay? :')

We all know that when Mike and Will confess their love it has to be EPIC. Like, extreme circumstances need to happen to make these gay boys in an 80s small town confess their love. It's the only way a romance with THIS much build-up over years should pay off.

Bylers need to watch this scene from the Season 1 finale of Agents of SHIELD (Warning: spoilery if you plan to watch this old show... and you will cry!) It's two LONG-TIME BEST FRIENDS but only one can make it out alive. A secretly loves B and has avoided confessing his love because he thinks it's unrequited. He finally admits it, to explain why he's making the ultimate sacrifice.

Now think of Mike and Will on a dangerous mission that is KEY to saving Hawkins. Maybe they're in the church that Noah and Finn are shooting a scene in. Will realizes only one of them can make it out alive, and decides it'll be Mike:

Will: "You're going... I couldn't live if you didn't." Mike: "I feel the same way! There's got to be another plan, this is RIDICULOUS! Why would you make me do this? You're my best friend!" Will: "You're more than that, Mike (can't believe he said it, fights back tears) ... Now, PLEASE..."

This is my best prediction of how it'll go. WILL confessing to MIKE makes more sense writing-wise. Mike probably figures out the Painting Lie early in s5, but how he feels for Will remains a mystery. So how MIKE responds to a love confession is uncertain.

This is a season where the Duffers have hinted they'll highlight Will's courage. So he can finish his coming-out arc by telling the person he loves. The Duffers have said Will, always the protected one, the rescued one, will come into his own in s5. I think this means he gets to be the hero this time. It will be a poetic way for Will to finally thank Mike for everything he did for him in s1 and s2; it gives symmetry to their relationship. And it would be a heroic send-off for Will.

(And NO I don't think Will will die. We gays have already had our Reddie and Destiel tragedies. Will dying would go against how the Duffers have set this show up.)

What will Mike do, when confronted with losing Will forever?

We know how he felt once before...

Mike offers himself instead, but for the mission it needs to be Will. This is the last time he'll see Will alive.

Does Mike tell Will he loves him? We know the boy struggles with saying how he feels.

Mike begs Will not to die. He can't lose him AGAIN. He couldn't live if he did. When Will doesn't believe it, MIKE KISSES HIM.

Actions, not words. ("I didn't say it." "You didn't have to.")

Mike insists on staying. Will tries to make him leave, but he refuses.

"You've always been an idiot, Mike." Will doesn't know to laugh or cry. He's sad... not about dying, but regrets the years they lost not being together.

They kiss again and hold each other as tightly as they can... And we again hear Peter Gabriel, as the church walls fall and the world is about to end:

And we kissed as though nothing could fall And the shame The shame was on the other side And we can be heroes just for one day.

-teambyler

[nosyp]

Twst chars from most to least likely to entertain ur weird bs

Note = by weird bs, I mean like ur random ass behaviours, from screaming random stuff to pranking ppl... This has been in my drafts for a whileee... enjoy

MOST

Ace Trappola

Ace is LITERALLY the embodiment of chaos. He loves to stir things up and will almost always jump into pranks or loud public behavior. His mischievous nature and carefree attitude make him a perfect partner in crime for wild antics. He’ll often initiate chaos just for fun, and his energy is contagious.

2. Kalim Al-Asim

This is a no brainer, he'll literally join in everything and ANYTHING you're doing, no matter how busy he is. He thinks everything your doing is fun and he won't wanna miss it for the world.

3. Cater Diamond

Cater LIVES for content and trends. Anything that promises or even slightly hints at entertainment (or is post-worthy) will have him fully engaged, he's listening as soon as you mention anything fun. He’ll even suggest to turn your antics into videos or memes.

4. Lilia Vanrouge

He literally tricks his friends for no absolute reason at all. ANYTHING that promises trouble for him, he's in. He adores chaos and he'll go wherever it goes and it's going in your direction.

5. Floyd Leech

Floyd loves unpredictability, so as long as your antics keep him entertained, he’s gonna be there. But once he gets bored, you’re on your own so you better keep it fun.

6. Jade Leech

He enjoys watching chaos unfold, and while he might not always start it, he’ll definitely join in. And he's not going to deny entry in your chaos.

7. Ruggie Bucchi

Another no brainer, bro literally tricks people for his own benefit. He is down for fun, especially if it’s harmless pranks or mischief. He loves silly ideas as long as they don’t get him into trouble.

8. Rook Hunt

Rook finds beauty in everything, even your weirdness. He’ll narrate your antics poetically while fully participating, making everything feel dramatic and epic, only further motivating you into doing smt crazier.

In the middle of most and least likely, varies on the situation kinda guy

9. Sebek Zigvolt

He’s loud, intense, and has a strong presence, especially when it comes to Malleus. And while he might not always go along with pranks, he can certainly be swept up in the moment, especially if it involves defending his pride.

10. Deuce Spade

Yes, he might be quite dumb sometimes but he is not like that all the time. But when he’s in a group, he’ll sometimes get swept up in the chaos, but it’s not something he seeks out on his own. He enjoys the excitement but can feel out of place in overly loud, chaotic situations.

11. Ortho Shroud

He'll engage with genuine enthusiasm, analyzing your dopamine levels to determine whether or not he'll join. If it’s wholesome, he’s all in. However, if it’s dangerous, expect him to step in with big-brother energy (even if he's younger).

12. Epel Felmier

Since epel is a bit more rebellious and will join in on chaotic behavior when it suits him. He’s not afraid to break the rules, especially if it’s for a good reason. BUT he might be hesitant to start chaos on his own but will happily get involved if it’s fun or a way to express himself.

13. Jamil Viper

Jamil is composed and prefers to keep things orderly, but he’s not completely against chaos. If it serves his goal or it’s in the best interest of his plans, he will engage but he’s not the first to initiate chaos, but he’ll follow along if it’s part of his strategy or if it helps him control the situation.

14. Azul Ashengrotto

Azul prefers things to be controlled and orderly, and he isn’t one to create chaos just for fun. However, if there’s a situation where the chaos might even benefit him or his business, he won’t hesitate to join in. His motivations are more strategic, so he’s likely to engage in pranks or chaos if it serves a purpose.

15. Leona Kingscholar

Leona is the type to avoid unnecessary noise and chaos, preferring peace and quiet. However, if he’s in a good mood or if chaos is tied to something that interests him, he might engage. He’s not the first to start pranks, but he might join in if he finds it amusing or if it helps him relax.

16. Malleus Draconia

Malleus doesn’t actively seek chaos, but his curiosity and fascination with human behavior make him more likely to get involved in loud or chaotic situations, especially if they intrigue him. He’s not loud or disruptive by nature, but he’ll join in if he’s in a group, or if the situation calls for it.

17. Jack Howl

Jack is a serious guy, but he’s also loyal to his friends. If the situation calls for it or if his friends are involved, he’ll reluctantly join in on pranks or chaotic activities. He’s not one to seek out chaos, but he’ll participate if it’s necessary or if it helps bond with others.

18. Silver

Silver will go along with your antics even though he might not fully understand the point. BUT if it’s too chaotic for him, he’ll try to steer you toward calmer activities, kinda saving u and him from trouble.

19. Riddle Rosehearts

Riddle is strict and values rules and order above all else. His temper can get the better of him, though, especially if someone challenges his authority or pushes his limits. He might reluctantly get involved in chaos, particularly if it’s something that breaks the rules, but he’s not someone who enjoys it on a daily basis.

LEAST (No way, nuh uh)

20. Trey Clover

Trey is calm, collected, and extremely responsible. He values order and structure and will steer clear of any chaotic or loud activities. You'll NEVER catch him dragged into chaos, willingly.

21. Vil Schoenheit

Vil is all about maintaining perfection, both in his appearance and in his environment. He won’t tolerate loud or chaotic behavior, as it conflicts with his polished image. He avoids situations that might risk his reputation or status and is very unlikely to partake in any public mayhem.

22. Idia Shroud

It's no secret that Idia WAY prefers to stay out of the spotlight. He would rather stay in his room gaming than get involved in chaotic public behavior. Loud pranks and disruptive activities are his worst nightmare, and he avoids them at all costs.

A/N = The order is so... tacky ew... pls tell me if you disagree or there are any mistakes🙏

[bugwolfsstuff]

It is accurate (as far as i can tell) its just really really simple in its language

There's a post somewhere that I cant find that shows the comparison between translations and gods is Wilson lacking

So was anyone gonna tell me Penelope gets told about the suitors plot (to kill Telemachus. Theres no rape plot on Penelope in the og) and prays to Athena to help Telemachus on his travel home in the Odyssey?

Or was i supposed to learn that by having to read the subjectively worst translation of the Odyssey (Emily Wilson)?

Because like.....

That kinda backs up the whole theory/headcanon that Penelope heard the plot in Epic during Hold them down.

[literaryvein-reblogs]

Poetic Genres

Whereas a poetic "form" defines the way a poem arranges sounds, rhythms, or its appearance on the page, a poetic "genre" is something like the poem's style. Many poetic genres have a long history, and new poems almost always seek to explore a new aspect of the traditional style and thus to redefine the genre in some way. The following list is a selection of the major genres of poetry.

allegory A narrative with two levels of meaning, one stated and one unstated.

aubade A song or poem greeting the sunrise, traditionally a lover's lament that the night's passion must come to an end.

ballad Broadly speaking, the ballad is a genre of folk poetry, usually an orally transmitted narrative song. The term "ballad" applies to several other kinds of poetry, including the English ballad stanza, which is a form often associated with the genre.

blason A Renaissance genre characterized by a short catalogue-style description, often of the female body.

cento A poem composed entirely of lines from other poems.

dirge A funeral song.

dramatic monologue This might be called a "closet soliloquy": a long poem spoken by a character who often unwittingly reveals his or her hidden desires and actions over the course of the poem. The "I" of the dramatic monologue is very distinct from the "I" of the poet's persona. Robert Browning was a master of this genre.

eclogue A short pastoral poem; Virgil's eclogues are one of the first examples of this genre.

ekphrasis Originally a description of any kind, "ekphrasis" is now almost exclusively applied to the poetic description of a work of art.

elegy This genre can be difficult to define, as there are specific types of elegiac poem as well as a general elegiac mood, but almost all elegies mourn, and seek consolation for, a loss of some kind: the most common form of elegy is a lyric commemorating the death of a loved one. Greek elegiac meter, which is one source of what we know as the elegy today, is not normally associated with loss and mourning.

epic A long narrative poem that catalogues and celebrates heroic or historic deeds and events, usually focusing on a single heroic individual.

epigram A brief and pithy aphoristic observation, often satirical.

epitaph A tombstone inscription. Several famous poems end with the poet writing his own. (See, for example, Thomas Gray's "Elegy in a Country Churchyard" or W.B. Yeats's "Under Ben Bulben.")

epithalamion A song or poem that celebrates a wedding.

fable A brief tale about talking animals or objects, usually having a moral or pedagogical point, which is sometimes explicitly stated at the end. Aesop and la Fontaine are perhaps the most famous fable-writers.

georgic The agricultural cousin of pastoral, a georgic is a poem that celebrates rustic labor.

hymn A song of praise.

invective A personal, often abusive, denunciation.

lament An expression of grief.

light verse Poetry that is mostly for fun: this can mean anything from nonsense verse to folk songs, but typically there is a comical element to light verse.

lyric This genre encompasses a large portion of the world's poetry; in general, lyrics are fairly brief poems that emphasize musical qualities.

masque Courtly drama characterized by elaborate costumes and dances, as well as audience participation.

occasional verse Poetry written with reference to a particular event.

ode A long, serious meditation on an elevated subject, an ode can take one of three forms.

paean A song of joy or triumph.

palinode A recantation or retraction, usually of an earlier poem.

panegyric Poem or song in praise of a particular individual or object.

parody A comic imitation.

pastoral Originally a poem that depicted an idealized singing competition between shepherds, "pastoral" has come to denote almost anything to do with a rural setting, although it also refers to several specific categories of the genre. Associated genres of varying synonymity are idyll, bucolic, eclogue, and georgic.

psalm A sacred song.

riddle A puzzling question that relies on allegory or wordplay for its answer. Riddles are often short, and often include an answer to the question posed, albeit an unsatisfying one. The riddle of the Sphinx, which Oedipus solved, is a particularly famous example: "what walks on four legs in the morning, two at midday, and three in the afternoon?"

romance An adventure tale, usually set in a mythical or remote locale. Verse forms of the romance include the  Spanish ballad and  medieval or chivalric romance.

satire Ridicule of some kind, usually passing moral judgment.

tragedy This genre originated in ancient Greek verse drama and received extended treatment in Aristotle's Poetics, which made the downfall of the main character one of the criteria for tragedy. The genre has since expanded to include almost anything pertaining to a downfall.

verse epistle A letter written in verse, usually taking as its subject either a philosophical or a romantic question.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Word Lists ⚜ Writing Resources PDFs

[aventurineswife]

Hi Kittiki!

What if the roles of the reader and the characters were the other way around? I mean the reader is a character from a video game (like Genshin) and the characters are a big fan of the reader. I think the idea is great ;)

(Please Aventurine, Blade, Mydei, Phainon and any other character You want.)

Between Pixels and Reality

Tags: Aventurine x Reader, Blade x Reader, Phainon x Reader, Mydei x Reader, Character Adoration, Obsessive Love, Unrequited Love, Admiration, Self-Reflection.

Warnings: Obsessive Behavior, Unhealthy Obsession, Fixation on Fictional Character (aka the Reader), Character Introspection, Dark Themes.

A/N: This is a pretty good au ngl

Aventurine had made a career out of high-stakes gambles, but this—this was an entirely different game.

You, the enigmatic protagonist of a wildly popular strategy-based RPG, were his personal obsession. Not that he'd ever admit it in such simple terms. No, no. That would be boring.

He had every piece of in-game merchandise featuring you, from limited-edition figures to posters signed by the voice actors. He kept your theme song as his personal notification sound. He'd even researched your in-game stats, calculating optimal builds and team synergies.

"You're just a fictional character," he'd tell himself while reading through forums, scrolling past debates about your lore. But deep down, he envied the players who had unlocked your rarest voice lines, the ones where you broke your usual witty demeanor to reveal hidden depths.

There was something thrilling about playing the long game—about investing in something others might dismiss as trivial. He was always betting on the best outcome. And to him, you were the ultimate prize.

Blade had never been one for indulgences. But you? You were his one and only exception.

Your game, a dark fantasy soulslike where pain and perseverance were the core themes, spoke to him on a level he couldn’t explain. The way your character staggered back up after every devastating defeat, the way you carried a burden too heavy for one person to bear—it resonated.

Even Kafka had noticed.

"You're watching those cutscenes again?" she teased, leaning over his shoulder to watch you, bloodied and battered, facing down the final boss.

Blade grunted in response, eyes locked on the screen. There was something poetic about the way you fought, how your weapon—much like his own—was chipped and weathered, yet unyielding.

He didn't care about the game itself, only you. The way you refused to break. The way you endured.

And maybe, just maybe, the fact that he could see a little too much of himself in you.

Phainon’s room was a shrine dedicated to you.

Not in the creepy, obsessive way—no, no! He was a dedicated fan, not a lunatic. The difference was very, very important.

Ever since he'd played your game, an epic fantasy RPG centered around gods and heroes, he'd been entranced. You were his favorite character, the noble warrior fated to challenge the heavens themselves.

Your voice lines? Perfect.

Your battle theme? Divine.

Your tragic backstory? Heart-wrenching.

He spent hours grinding for your best gear, optimizing your stats, and writing essays on forums defending your in-game decisions. He debated lore theories and memorized every dialogue option.

And every time he replayed the game, it wasn’t for the different endings. It was for you.

Even knowing how the story would unfold, he kept coming back. Because no matter how many times he watched your journey, his admiration never wavered.

Mydei had never lost a battle—except, perhaps, against himself.

And you.

He first encountered your game through sheer accident, a turn-based RPG where the protagonist, you, was an undefeated champion searching for a worthy opponent. It was a ridiculous premise, but one that intrigued him.

No matter how many hours he put in, he couldn’t beat you.

It wasn’t about difficulty; it was about strategy. You predicted his every move, countered his every attack, adapted to his every playstyle.

At first, he was furious. How could a fictional character best him? But then, his frustration gave way to admiration. He began studying your animations, your fighting stance, your AI’s decision-making. It became an obsession, a goal—to finally defeat you.

The day he did—after hundreds of battles—he put his controller down and let out a slow breath.

And yet… victory didn’t feel as sweet as he thought it would.

Because now, without you to challenge him, he was lost.

Perhaps he had never wanted to win.

Perhaps he had only ever wanted to fight you forever.

[the-littlest-goblin]

this started as a reblog comment on this post but it got tangential so it gets own post instead. still, credit and thanks to @utilitycaster for reigniting a brainworm I've been meaning to exorcise for ages, which is: fate as a narrative element of Critical Role.

Cause "fate"/"destiny" is another thing that gets name-dropped a lot where frequently the function is purely poetic, but is also shown to be a metaphysical truth of Exandria even though it's unclear exactly how it works. We can say for certain that Exandrian fate is not predestination. On a meta level that would be antithetical to an improv and dice-rolling format, and it's not a belief we ever hear of in-universe to my recollection.

I spent a lot of college studying Homeric epic, and also writing about fate and predestination as functions of narrative temporality in general. There's two load bearing concepts in Homeric studies that I often find useful references in other literary context, especially as a precedent for epic fantasy like CR vis a vis gods and fate as elements of the worldbuilding. First is that the Greek word for 'fate', moira (μοῖρα), also means 'lot,' 'share,' or 'portion.' "One's lot in life" gives a more accurate impression of the workings of fate in Homer than the connotation of inflexible predestination, as it is often misconstrued. The ultimate and only truly unavoidable moira is death (for mortals, at least). That is the model for the relationship of fate and causality (which, side note, can be surprisingly compatible with existentialism in certain contexts).

Speaking of causality, the other concept is the "double motivation," which is an interpretation of the gods' frequent influence on mortal action that allows divine interference to coexist with free will and character agency. It simply attributes causality and moral responsibility for divinely-influenced actions to both gods and mortals simultaneously (as opposed to other interpretations which seek to deduce a position on one side of a binary between either straight-up divine mind-control or gods as figurative personifications of mortal interiority.)

In the past, I've used double motivation analogously as a frame for literary criticism more broadly, paralleling the divine-mortal duality with an extradiegetic/structural sense of the narrative and the diegetic/internal world of the characters, respectively. It also loosely maps onto when we talk about plot-driven stories vs character-driven stories. My personal metric is that the best works achieve a harmony of double-motivation such that they can't be sorted into the plot- or character-driven dichotomy. The needs of the story and the motivations of the characters are coterminous.

It's worth noting that modern expectations of narrative and standards for what makes a "good" story differ in a lot of ways to ancient modes, especially when it comes to the psychological facet of characters. We hold works to much higher standards in terms of justifying why characters do things, which makes metaphysical destiny a trickier concept to incorporate textually. A lot of modern lit crit (and a lot of fandom discourse, in my experience) only wants to see or consider the character motivation. Some structuralist corners are more hospitable to the narrative motivation, but it depends on who you're talking to really. I digress.

As for how these relate to CR: I see the sense of "destiny" attributed PCs as relating to their narrative function as protagonists. In the same way that death is the ultimate moira for mortals, the inevitable "destiny" of PCs-as-such is that they will be the heroes of a story; the story itself is not preordained—it is loosely planned, but obviously not set in stone. We cannot be sure what actions and events will make up the story, but we can be sure that the PCs will be at the center. This is also just another, more top-down way of phrasing the linked post's point about destiny as a matter of character intent. There's a conceptual link between "destiny" and "agency," counter to the connotation of predestiny.

The format of TTRPGs make them an excellent ground for demonstrating the double-motivation narrative in process because of how visible and integral the diegetic facet of the story is (*don't say Brechtian, do not call it Brechtian*) playing out in real time. And I think out of all the AP shows I've seen, the CR cast most tends to build characters in pursuit of psychological realism. Those pieces in combination make a higher bar for achieving that narrative harmony; the marvel of CR is how often they still manage to accomplish it, and it's extra satisfying because of the challenge at the outset. This is why I find Campaign 2 especially so impressive: even as PC choices warp the path of Matt's anticipated narrative in some big ways, it all still synthesizes into narrative harmony. M9 are not traditional heroic types to start out, and often act counter to the expected archetypes of the genre. Matt responds to their decisions with a degree of flexibility in the plot, resulting in a deeply believable psychological story about M9 developing into heroes—one which still hits the promised elements of heroic fantasy and the necessary beats of Matt's story outline, while being the most sandbox-y out of all the campaigns, complete with serendipitous emergent themes of choice, agency, and identity throughout.

Campaign 3 is the opposite. BH are metatextually "fated" to be the heroes of their narrative the same as M9. Like M9, their actions much of the time don't correlate to the role; unlike c2, the story does not respond to or accommodate the characters. BH may seem to lack a "sense of destiny" as part of their NPC vibes, but they nevertheless retain the moira of being PCs and are stuck as the primary focalizing point of the story, regardless of how they continuously lean on literally anyone else to make decisions. The commentary on being nobodies who fell into this position could have been a gratifying thematic through-line similar to what both c2 and Divergence accomplish in different ways, if only BH had ever developed past the premise of that statement and started acting like PCs. Instead they kind of made the opposite thematic statement: shirking destiny not in a textual way that actually engages with fate as an in-universe concept, but by trying to abdicate the narrative duties of protagonist without ever escaping that positionality. Thus the hand of god—both in the figurative sense of the DM's writerly hand and the in-universe deus ex machinae feeding BH plans of action—is extremely visible as it props them up through the plot. To bring back the Homeric comparison: imagine the Odyssey with all the same plot beats, but Odysseus spends the whole poem talking about how his wife and son are kinda meh and he doesn't really care all that much about returning home. That's c3, to me.

[mimir-anoshe]

"Why do we fall?"

SPOILERS for Thunderbolts* and Theorising for Doomsday. If you don't want either don't read. Contains discussion on suicidal themes TW.

So guys what if... And it's a big IF 'cause ducking hell there's so many characters in this damn Doomsday movie, but GOD would it be poetically beautiful storytelling...

I think, in Doomsday at some point Yelena is going to fall to her death.

Yikes, right?

Either trying to stop something and accidentally getting thrown off a cliff/building/space ship or more likely... in some sacrificial play. Just like Nat, because what are their stories if not poetically entangled tragedies? The rise and fall of mythical heroes with human hearts and broken souls, like two ships passing in the night. They miss each other, separated paragraphs on a page, but the rhyme remains the same. One epic poem. The same story, though I'm hoping Yelena's has a different ending.

And it's going to play into the crux of Bobs story in Doomsday, or atleast the "False Victory" in his heroes journey and Yelena's symbolic death and rebirth (or very literal), which will lead into Secret Wars.

Why do I think this other than the character angst of it all? Well...

Theory?? A poetic wish?

(Fanfiction? A hope... somebody please write this, I would but I don't have a lot of time. This fandom already feeds me so well).

Yelena is as stubborn as Nat, if not more. Whatever reason - I think it has to do with the anchor being of 616 but that's a different theory for another time - she believes she has to do it alone. She has to jump. She has to fall. Because at that point everyone else has failed. Nobody else is coming to save the day. Its on her, or at least she thinks it is. This is the last shot, and she doesn't have super strength or speed or the ability to fly. But she has this. She can do this. She can give this.

She has to be the hero, just like her sister. Choose the fall so everyone else can rise back up and win the day. Even if she loses. Even if it means her life is the cost.

That's what a goalie does right? Falls in order to stop the team from losing. Leaps. Makes the sacrifice. When everyone else fails, they're the one everyone falls back onto. Either they hold that line, or all is lost... Dooms day. And in her mind, what's her life compared to that of the multiverse. What's her life compared to the lives of her new family?

Nat did it, made the ultimate sacrifice. Scored the goal, or stopped one from going in. Not only to save everyone, but especially to save her found family. The people she loves. And heartbreakingly, to save Yelena.

Yelena is painfully aware of that, and Nat never gave her the option to do the same in return. I do wonder if a part of Yelena was angry or bitter at that. Grief can feel like that, especially when it comes to suicide. Like the person made their choice, but in doing so, took others choices away. Even if that's illogical, and unfair, even if thaty person saved the Universe, those feelings are still real.

Part of Thunderbolts* themes - if subtle - is Yelena living in the shadow of her sister's sacrifice. The legend of her heroism. Like Bob lives in the shadow of his own Void and his fear of unleashing it again. A big theme, it seems, going into Doomsday.

She's trying to follow in her footsteps. Trying to do better. Be the hero. To fill that emptiness with purpose, the same as her sister. Bob is afraid of being a hero because of the Void, Yelena is afraid of not being any kind of hero at all. Because of Natasha.

In Thunderbolts* she falls off that building into a "void" at the beginning of the movie, foreshadowing her stepping into the actual Void near the end.

Foreshadow is a very ironic verb in this case for both of them.

She stepped forward, knowing that there was a very real chance she was never coming back. It was actually incredibly reckless, with no regard for her own safety. It was not unreasonable to say she could've died right there. Even Bucky calls it out in the text "What if she's dead?"

She bets it all based off of one small moment earlier where Bob saw her past in the void and Yelena experienced a shame room for the first time... (I could talk for days about her void room being THE ONLY ONE WHERE BOB IS PHYSICALLY PRESENT but I'll save it for another midnight meta fest). But she does it, because she wanted to save him, to bring him home, in the way she wanted to bring Natasha home but never could.

Those scenes do several things for the story and work on a few different levels in terms of symbolism, character and theme.

It harkens back to her sacrificing herself in Black Widow to kill Dreykov, exploding and falling to what she thinks is her death. Both that and her falling in Thunderbolts* were meant to be visual and thematic parallels to Nat sacrificing herself in Endgame by committing suicide. Falling to her death. Nat gets to save Yelena in Black Widow, but Yelena didn't get to save Nat in Endgame. Like Clint said, she was better, and so she got to make the choice. Clint couldn't save her from her own choice, and neither could Yelena. And they both have to find a way to live with that.

Its also an overarching visual metaphor for the mental health themes that are so important in this movie. Themes of loneliness, depression and suicide. Themes that apply to every character in the movie, but in terms of the movies thematic heart, are specifically a binary between Bob and Yelena. Those feelings of emptiness, of loneliness. Of a Void.

Yelena: "What is even the point of all this?"

Bob: "Then I remember that nothing matters..."

Both of their arcs are connected to themes of suicide, or suicidal tendencies, and finding a reason to live. To keep going, even if its for each other. Everything about Yelena's mission at the start of the movie is akin to a passive non-verbal suicidal ideation, not actively trying to kill herself but also not being careful or respectful of her own life. Same as Bob in the vault, they parallel each other in those ways. It's the "Meh. Guess I'll just bumble on but if I die, no big deal" mentality. It breaks my heart.

Though, unlike Bob who has the toxic Valentina whispering in his ear, spurring on his later manic episode (Bipolar represent). Instead, Yelena has Alexei to help her see that in the darkness, there is a light. It doesn't drive out the darkness, but it makes it lighter. Warmer. Brighter. If the Void in all of us is a dark mirror that reflects our own negative views of ourselves, our perceived mistakes, guilt, regrets, shame, then Alexei's line about "you need other people to see the good" is about the loved ones in our life being mirrors of light. Where we see the flaws in ourselves, the reason we need each other is because we can act as mirrors that reflect the good in others.

Its like what Natasha said about the avengers in Endgame.

"They made me better."

Other people can see the best versions of ourselves, and when we see it through them, it allows us to see ourselves in a more eclectic, realistic and positive way that can help us escape the illogical doubt and shame of our void.

And because Yelena sees that in herself through her Dad, and from her sister who was a light in her life - a symbol of hope and redemption - she can then be that mirror for Bob. Cue Yelena and Bob seeing each other/communicating through a mirror, because they are both deuteragonists and foils for one another. The Void is Bobs dark mirror. Yelena is Bobs mirror of light. Same in the way that Yelena has her own darkness, and Bob becomes a beacon of goodness and light in her world that she strives to protect.

Yes there's the nihilism of her walking into that void, a version in her head that her suffering, her loneliness, her "pointless" existence can end. There might even be a relief in that for her. But it's overshadowed by a hope. A hope that she can reach through that despair, those feelings of unworthiness, and save somebody. To be the sunrise to somebody else's endless night. Because she couldn't be there to save Nat, she was going to be damned sure she leaped over that edge and fell into that Void to catch Bob. And in doing so, save a part of herself she thought had died with Natasha.

Which brings me back to Doomsday.

Yelena is the Avengers "Goalie." She was in Thunderbolts* and that theme will continue into Doomsday, I'm sure of it. The one who brings everyone together, who lights up the room.

"I want to be the one everyone can rely on if they make a mistake."

-Alexei quoting 5 year old Yelena.

Its such a beautiful message for a character, and I thought I loved Yelena before this movie... Boy do I love her now. Yelena is the one everyone can rely on, who will catch everyone when they fall down. When they make a mistake. From Sam Wilson, to Carol Danvers, to the Reed Richards... To John, to Alexei, to Ava, to Bucky... to Bob. No matter what it costs her. But if she's catching everyone when they fall, who's going to catch her?

When Bob falls in this movie into the lifts "void" its Yelena who catches him. Saves him. When Bob metaphorically "falls down" and the Void begins to consume the light, she catches him. Holds him. Shows him he's not alone. And I have a feeling in those 14 months when he's had moments of darkness, when the entire worlds been against him because of the potential threat the void poses including Sam Wilsons Avengers, she's been his biggest supporter, biggest defender alongside the other Thunderbolts* (or New Avengerz lmao), and the one who catches him when he falls down. The one he relies on.

So in Doomsday, after he spends most of the movie suppressing his powers as the Sentry because of his fear of the Void, of hurting people... There will be a moment where Yelena makes a choice. Where because of that choice, she falls. And Bob as he is, hiding from his powers, can only watch as she falls into another Void. To her death. So Bob comes to the height of his arc, and has to make a choice too.

Let the girl he loves fall and save the world from the potential threat of the void and Doom using that power. Or rise above his fear, and catch her. Be a hero, even if it means potentially dooming the world and worlds beyond.

I believe this is the moment in the movie where Bob finally stops stalling and acts, whether through choice or instinct (though I hope he makes an active choice to save her). It would bring the symbolism of both Yelen and Bob falling into the void full circle, also resolving the tragedy of Clint being forced to drop Natasha and Yelena having to live with her sisters choices. This time Black Widow doesn't have to die to save everyone by falling to her death. This time, someones there to catch her, with Bob rising above his own darkness to do it.

Now it could go one of two ways, either Bob manages to catch her before she hits the ground and dies which is what I think will happen. There's also a version in my head where she falls and dies, Bob comes onto the scene or watches it happen without being able to help, and then turns into the Sentry to heal her/resurrect her. Which I believe, the more power he uses the more likely the Void is to take over, and healing/resurrection is the fastest way for that to happen. So instead of physically catching her, he metaphorically catches her falling into death, and in doing so, becomes lost in the Void (keep wanting to type Void Sauce lmao; lost in the void sauce) afterwards to the point that not even Yelena can pull him back out this time. Enter Doom and whatever bullshit he has up his sleeve to use the void and or manipulate that power/Bob, or even completely strip Bob of his powers altogether.

The gist of it is, as foreshadowed in the Thunderbolts* movie...

Yelena will fall, and Bob will catch her. Finishing off the poem of Natasha and Yelena's story not with a tragic cut off, but hope, allowing Yelena to live on and do the things Natasha never got to. The life that Natasha gave her when she was snapped back. And in the same breath Bob will finally truly accept his power and responsibility as the Sentry, overcoming his fear to save the girl who saved him.

All before it comes crashing down. Yelena may be the catalyst that saves the Avengers and also Dooms them. Enter... The madness that is my mind making up theories for secret wars...

God what has Thunderbolts*, Bob and Yelena done to me? I haven't written meta like this in yonks, or been this excited about Marvel in a long time, outside of the comics at least. I'm expecting to be disappointed, hell all of my above theories could be completely off mark, they just make sense to me because of their character arcs and what I would consider a well-written story. Amazing foreshadowing if that is the case. But honestly, the fact they gave us this gem? I will love this movie and the fandom creativity that comes out of it forever, even if Doomsday once again drags me back into my apathetic marvel era.

Here's to hoping.

"Why do we fall Bruce? So we can learn to pick ourselves up."

-Thomas Wayne, the Dark Knight.

[khaire-traveler]

The Nine Muses

This is a very simple post about the Muses in hopes of explaining who they are, what their domains are, and some things they may be able to help with. This post isn't a deep dive by any means - just a simple introduction. Enjoy!

Who are the Muses?

The Muses, or Mousai, are goddesses of inspiration for various creative, scientific, and poetic endeavors. They were believed to also have knowledge of all things that have come to pass, remembering events with clarity that mortals could not hope to have. Their names are Kalliope, Kleio, Ourania, Thaleia, Melpomene, Polymnia, Erato, Euterpe, and Terpsikhore.

In total, there are nine Muses. The god Apollon was often believed to be the leader of the Muses, having a very close connection with them. The goddess Artemis was also paired with them.

Their origin and family varied depending on the source, but the most common notion was that Zeus and Mnemosyne are their parents and that they were born at the foot of Mount Olympus. Some other possible parents are Ouranos and Gaia, Zeus and Plousia, Pieros and Antiope, or even Apollon.

Poets of the past used to invoke the names of the Muses in hopes of gaining inspiration and the ability to gracefully convey their words. When a connection was drawn between them and Apollo, they were also known for their prophetic abilities as well, even being said to teach the art of prophecy.

What are each of their domains?

Kalliope - The eldest of the Muses, she is the goddess of eloquence and epic poetry. She is often considered the mother of Orpheus. She was depicted with a tablet, a scroll, or (later on) a lyre. Her name has been translated to mean "beautiful-voiced".

Kleio - Wise and intelligent, she is named the goddess of history. In art, she was often depicted with an open scroll or chest full of books. Her name was translated as "to make famous".

Ourania - Associated with the stars, she is the goddess of astronomy and astronomical writings. She has been depicted pointing at a celestial globe with a rod, but I wasn't able to find more information on her symbols. Her name means "heavenly one".

Thaleia - A goddess that helps bring joy to the world, she is the goddess of comedy and bucolic poetry. She was also considered to be the mother of the Korybantes (a group of seven demigods). She was often depicted with a comedy mask, a shepherd's staff, or a wreath of ivy. Her name has been translated as "festivity" or "blooming".

Melpomene - Holding a domain more somber than the Muse above, she is the goddess of tragedy. She was named the mother of the Sirens by Apollodorus. She was depicted with a tragedy mask, a sword, a wreath of ivy, or cothurnus boots. Her name likely means "to celebrate with song (and dance)".

Polymnia - With a name meaning "many hymns" or "many praises", it's no surprise that she's the goddess of religious hymns. She was often portrayed in a meditative pose.

Erato - A Muse that needs no introduction, she is the goddess of erotic poetry and mime. She was often portrayed with a lyre. Her name means "lovely" or "beloved".

Euterpe - Likely full of rhymes and reasons, she is the goddess of lyric poetry. She was often depicted with a double flute. Her name likely means "well pleasing" or "giver of much delight".

Terpsikhore - Filled with music, she is the goddess of choral song and dancing. She was often depicted with a lyre and plectrum. Her name has been translated to "delighting in dance".

Kalliope - Speaking presentations, writing essays, script reading, reading/writing informational posts/articles/etc., interpreting poetry, poetry writing/reading, sharing your own poetry, communicating clearly with others, important conversations, coping with conflicts, addressing conflicts, making peace with others.

What are some things they can help with specifically?

***These are merely suggestions.***

Kleio - History exams/tests, studying classics/history, delving into your own history, discovering family history, recalling past events, writing myth retellings or similar, identifying patterns of behavior, releasing the past, learning from the past, finding hope for the future.

Ourania - Studying the stars/space, story-telling, understanding the universe around us, memorizing constellations, finding peace in the night, finding hope in the darkness, creating goals for yourself, "reaching for the stars", holding onto your wishes, finding a sense of direction.

Thaleia - Creating your own joy, finding what makes you happy, performing stand-up comedy, writing any form of comedy, play-writing, healthy positivity, learning to laugh things off, releasing stress/burdens, moving forward, expressing your joy.

Melpomene - Coping with hardships, moving through difficult times, releasing the past, forgiving oneself, coping with past mistakes/regret, healing from difficult events, coping with the "downs" of life, play-writing, telling tragic tales, addressing difficult topics sensitively.

Polymnia - Writing devotional poetry/hymns/songs/etc., growing closer with religion/devotion, inspiration for offerings/devotional acts, coping with religious difficulties, finding comfort/joy in religion, connecting with the divine, religious/spiritual writings, connecting with your practice.

Erato - Love letters, confessing your feelings through writings/songs/etc., connecting with sexuality, writing/reading erotic stories, communicating sexual needs, establishing/discovering sexual boundaries, sex positivity (especially through literature), embracing your sexual interests.

Euterpe - Writing poetry, interpreting poetry, communicating one's emotions, romanticizing life, sharing poetry with others, devotional poetry, expressing one's feelings through writing, processing emotions, finding the "right word" for a piece you're writing.

Terpsikhore - Song-writing, learning to dance, expressing yourself through dance/song, connecting with music, processing feelings with musical aid, instrument playing, choral/instrumental performances, writing a musical, musical theater, finding your voice, embracing who you are, expressing yourself.

[oddyseye]

What is your opinion on Emily Wilson’s translations of the odyssey & Iliad

Translation is about precision, weight, and nuance, and Wilson throws all that out the window in favor of making Homer “accessible” to a modern audience. That’s the real issue here: her work prioritizes accessibility over accuracy, depth, and poetic integrity.

Homer’s Odyssey is lyrical. It’s poetic. It demands a sense of rhythm and weight. And what does Wilson do? She strips it down to the most basic, plain, casual language imaginable. She turns Odysseus into some dude who just happens to be narrating his life like it’s a diary entry instead of an epic that shaped millennia of literature.

If you want Homer (the real, poetic, gut-wrenching Homer) you go to Fagles, Lattimore, Mandelbaum, or even the archaic but deeply poetic Chapman. If you want a version that captures all of the depth without dumbing it down, go with Caroline Alexander’s Iliad. A woman translator who didn’t feel the need to strip Homer of his complexity (and the ACTUAL first woman to translate it, mind you!!!)

Wilson’s work isn’t bad per se. If you just want a quick, breezy read of Homer, sure, she’ll do. But if you want Homer, if you want the blood, the anguish, the gods trembling on their thrones, then Wilson’s translations are insultingly basic. They are an entry point, at best. But if you stop there, you’re missing the true power of these epics.

Take the famous first line: Ἄνδρα μοι ἔννεπε, μοῦσα, παλύτροπον ὃς νο νεος πλάγχθη, ἐπεὶ Τροίης ��� ἱερὸν πτολίεθρον περα hele πολλών δ ᾿ ἀνθρώπὼν ἴδεν ἄστεα καὶ νόον ἵ ἔγνω, πολλὰ δ' ὅ Υ ἐν πόντῳ πάθεν ἄλγεα κατὰ θυµον, ἀρνύμενδε ήν τε € ψυχὴν καὶ νόστον ἑταίρων. My translation: Sing to me, O Muse, of that man, who was driven far and wide, after he had sacked the sacred citadel of Troy. Many cities of men did he see and learn their ways, and many sorrows he suffered in the deep sea while trying to save his life and bring his men home. Wilson’s translation: Tell me about a complicated man. Muse, tell me how he wandered and was lost when he had wrecked the holy town of Troy, and where he went, and who he met, the pain he suffered in the storms at sea, and how he worked to save his life and bring his men back home.

…Excuse me? That’s it? That’s what we’re opening with?

Complicated is a word you use for your ex who ghosted you for two months and then slid back into your DMs like nothing happened. It’s weak. It’s flat. Polytropos means "many-turning," "twisting," "full of cunning and guile". It carries layers of meaning about Odysseus' intellect, adaptability, and deceit. But Wilson waters it down to "complicated," a word so broad and noncommittal it could apply to a goddamn houseplant that won’t stay alive.

This is my biggest issue with her Odyssey. She flattens Homer’s intricate, layered language into modern, sterile phrasing. She turns a poem into something that reads like it belongs in a middle school English class. And I get it, okay? Not everyone wants to wade through the complexities of poetic translation. But if you strip Homer of his artistry, what is even the point?

Odysseus is not relatable. He is not just a “complicated man.” He is a liar. A survivor. A poet. A killer. A king and a wanderer. The voice of his story should feel like it belongs to a man who has seen the edge of death and laughed in its face. Not someone who just got out of a messy breakup and needs to process his emotions over a pumpkin spice latte. Athena? Poseidon? Hermes? In Homer, they feel vast, like forces beyond human understanding. Wilson’s version? They might as well be casual workplace supervisors, checking in on their guy to see if he’s hitting his quarterly goals.

Then came her Iliad. And gods help me, she did it again.

The Iliad is not just a war story. It is the war story. It is a brutal, raw, terrifying, beautiful masterpiece that drags you onto the battlefield and forces you to feel the blood soaking into the dirt. It is poetry that moves like a storm, swelling with rage, grief, fury, and honor. Every line is drenched in myth, fate, and the crushing weight of mortality. It is not supposed to feel simple. It is supposed to feel overwhelming.

And yet, somehow, Wilson makes it feel like a historical documentary with voiceover narration. Her Iliad lacks brutality. It lacks weight. The language is clean, straightforward, and, worst of all, forgettable.

Homer’s descriptions of battle wounds, of armor shattering, of men crying out as they fall. These moments should feel like thunderclaps. They should make the reader flinch. They should make you feel like you are right there, watching a world built on violence tear itself apart. But in Wilson’s version, it all feels so…polite. Like we’re watching a news report instead of living inside a mythic war.

And Achilles? Oh, Achilles.

Achilles should be rage incarnate. He should be untouchable, terrifying, beautiful, and doomed all at once. His grief should feel like an earthquake. His vengeance should feel like a divine reckoning. But in Wilson’s version, it’s just… sad boy hours. Her Achilles is fine, but he’s not the Achilles. He doesn’t shake the heavens. He doesn’t make you afraid. And if you don’t feel the fear of Achilles, then you have completely misunderstood him.

If Homer is a towering mountain of fire, an eternal song of gods and heroes echoing through the halls of history, then Emily Wilson’s translations are a dim, flickering LED bulb in an overpriced AirBnB. Lifeless, soulless, designed to make basic people feel like they’re experiencing something grand while removing everything that actually makes it grand.

Homer is not a novel. Homer is not a beach read. Homer is not something you should be able to breeze through like it’s the latest Netflix adaptation of a half-baked Greek mythology YA series.

Homer is vast. He is cosmic. He is a voice calling out from an age where gods still walked the earth, where warriors lived and died by their names, where fate was a force stronger than any man’s will.

And Emily Wilson? She flattens it. She strips it of poetry. She shrinks Homer down to fit into a neat little modern box where everything is clear, simple, and easy to digest.

She translates Homer as if his grandeur is a barrier to be broken down rather than the entire point of the text.

His poetry is dense because it is immense. His epics are sprawling because they are meant to capture the sheer, incomprehensible weight of the world he describes. When you read Homer, you should feel like you are standing at the edge of time itself, staring into the fire-lit past, listening to a voice that has been singing for thousands of years.

She has taken one of the most majestic, ferocious, poetic voices in literary history and neutered it into casual prose that would not be out of place in a modern novel.

She has removed the rhythm, the fire, the breathless intensity that makes Homer’s epics epic.

Homer does not need to be simplified. He does not need to be made “accessible.” He is accessible, if you have the patience to listen to his song instead of demanding he speak in the dull, flattened language of today.

If you want to read Homer, read Fagles, Lattimore, Alexander, Chapman, anyone but Wilson. Because Wilson’s Homer is not Homer. It is his corpse, gutted and hollowed out, wearing his name like a mask.

I’ll give her this: she is one of the few translators who correctly translates the people in Odysseus’ house as slaves rather than dodging the word with softer, more palatable terms like “servants” or “maids.” And that is, objectively, the right call. Because that’s what they were. Slaves. Enslaved people. Owned. Their lives were not their own, and to pretend otherwise is a dishonest whitewashing of the past.

Fine. Credit where it’s due. She was willing to be blunt about that in a way a lot of male translators have not been.

But.

And this is a big but.

She takes it too far.

Yes, the enslaved status of the people in Odysseus’ house matters. Yes, it’s important to acknowledge the power dynamics at play. But not every single reference to them needs to be hammering home the word ‘slave’ when Homer himself is not constantly doing it.

Homer’s Greek doesn’t just call them “slaves” every time they appear. Sometimes they’re household workers, sometimes they’re serving women! The point is, Homer’s text has variety. He doesn’t feel the need to shove their enslaved status into every line, because their actions, circumstances, and fates already make that clear.

Wilson, though? She will not let you forget for a single goddamn second that they are slaves. Even when the Greek text is using a different term. Even when the original doesn’t explicitly remind us. It’s like she’s standing over the reader’s shoulder, going, “Did you forget? Did you forget that they’re slaves? Huh? Huh? Did you?” And that kind of heavy-handedness actually reduces the impact rather than enhancing it. Because instead of allowing the reader to absorb the reality of their status naturally through the story, she is constantly, aggressively pointing it out, making it feel like a modern political statement rather than something emerging organically from the text itself.

It’s like if a translator took The Iliad and, every single time Achilles is mentioned, they wrote "Achilles, a traumatized war victim suffering from PTSD, fueled by toxic masculinity and colonialist violence", even when the Greek text just says Achilles. Like, yeah, we get it, but you don’t have to rewrite the entire tone of the epic to spell it out for us every five seconds.

So, yeah. She gets one gold star for being accurate where so many before her were dishonest. But she loses that same gold star for swinging so hard in the opposite direction that it becomes grating and intrusive.

One thing I can’t deny, though? Wilson’s translation is crisp. She doesn’t get bogged down in convoluted, archaic English like some older translators (looking at you, Lattimore), and she isn’t inserting flowery nonsense that isn’t in the Greek (hi, Alexander Pope). When you read Wilson, you understand what’s happening. She doesn’t make you fight through endless clauses or needlessly elaborate phrasing.

Now, this is a double-edged sword. The problem with making Homer too direct is that you lose the grandeur, the layered meaning, and the sheer rhythm of the poetry. But if we’re just talking about clarity? She nails it. If you want a quick, digestible Homer, she delivers.

Unlike some translators who have either over-corrected for misogyny (cough Butler cough) or amplified it beyond what Homer actually says, Wilson lets women in the text exist as they are. She doesn’t downplay Penelope’s cunning, nor does she turn her into a feminist icon she was never meant to be. She doesn’t demonize Helen for daring to exist (looking at you, some Victorian translations), nor does she make her more sympathetic than Homer does.

She walks a careful line: she presents the women of the text as Homer presents them, without layering on extra judgment or modern ideology. And honestly? That’s a breath of fresh air in a time when some translators try to rewrite ancient texts to fit contemporary political narratives. Also, do you know how many past translators didn’t actually know Greek that well? More than I’d like to admit. Some of the most famous translations (especially older ones) were basically interpretations rather than true translations. Wilson? She knows her shit. She understands the grammar, the meter, the structure. She’s not just guessing based on previous translations. And even when I disagree with her choices, I can at least respect that she made them intentionally, not out of ignorance.

But ew anyway.

Because at the end of the day? I don’t read Homer because I want clarity, or directness, or even historical accuracy. I read Homer because I want to feel like I am standing on the shores of Troy, watching Achilles rage like a storm. I want to feel like I am hearing the song of the gods themselves, not just reading a book.

And Wilson’s translations? They don’t sing. They talk. They explain.

Yes, she makes Homer readable. But does she make him great? Does she make him breathtaking? Does she make you feel like you are reading the oldest and greatest war epic of all time?

No.

So, credit where it’s due. But ew, anyway.

[beauty-and-passion]

And finally... the Ithaca Saga

We did it. We reached the end.

And we did it this year, in 2024! I suppose the moral of the story is: if you're truly passionate about something (and have big plans), you can do anything.

And by "anything", I don't mean just "finishing the concept album": I mean fighting against weather, bad luck and probably the gods themselves, to do what you planned.

I imagined everything, except that Mr. Jorge's plan for the final stream of his entire album, was to go to the goddamn island of Ithaca and stream there.

But, you know, it was right. It felt right. It was a very poetic choice, to bring a modern version of the Odyssey back home. To let the musical reach its artistic birthplace. And it's even more impactful that it wasn't just Odysseus' voice to (figuratively) return home: it was the entire story, through the voices of all artists involved.

However, since it's the Odyssey we're talking about, the trip to Ithaca couldn't have been simple either: what kind of boring story would it be, if everything went smoothly from start to end?

Greece's weather is overall warm, even in winter. However, there are the occasional storms/typhoons/rainfalls that last for a couple days and drown or destroy parts of the cities. And Jorge faced them not at the end of his trip, not in the middle: at the beginning, just in time to stop him from reaching Ithaca too easily.

And I believe this is all Ithaca's influence, because something similar happened to my father and brother. Last summer, they were supposed to visit Ithaca as well, but first found no available ferries, then the rain started to pour down, their car died on the nearby island, there was no available mechanic and when they finally found one, their car got fixed just in time for my brother to go to Athens and get his flight back home.

Sooo... it looks like Ithaca doesn't want visitors at all, no matter if it's summer or winter, and it does everything to keep people away - or at least, to make them have a small personal Odyssey before reaching it. Also because, according to the last shorts from Jorge, it looks like the weather changed into the usual warm, greek temperatures now. And he seems to enjoy his stay too, so I suppose the true obstacle is just reaching the island.

But enough about Ithaca, let's talk about Ithaca: there were huge expectations for this Saga. This is the final one, this is supposed to wrap up Odysseus' story and the last loose threads.

And it does. It takes its time to wrap up the last characters and it does it organically and coherently. There are no OOC moments - and this is a huge point for me, because my main complaint in the last Saga was that Odysseus moved too quickly from "let's try to discuss" to "stabbing time": here you can see and understand why he gets so angry and he even takes a few lines to further clarify his emotions.

The pace of this Saga is good too: there are no dead moments and the songs move smoothly from one event to the next. It surely helps that they cover a period of 24 hours more or less, but still.

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The Challenge: this is the first time we actually hear Penelope. Not the one from Odysseus' memories, not a siren, not a vision, but the real one.

And the real one is truly the perfect woman for a clever man like Odysseus: she's intelligent, she's resourceful, she reads the signs and does the right things to buy more time. That's what she did in the Odyssey too, so it's nice to see this trait of her character here as well.

And even though the events here happen for slightly different reasons (in the Odyssey, the bow challenge was just another attempt to buy more time, while here it's something Penelope proposes right after the storm, as if she feels things are going to change very soon and her husband is coming back), it still doesn't sound forced or unnatural. It fits Epic's narrative, without damaging or going against the spirit of the original work. That's how you do a good rewrite.

One last thing about Penelope: I love how, with one single song, we can see her pride, her strength, her cleverness... and her love too. She herself says she didn't expect to end up like this, but for love, she's ready to do anything. Even waiting 20 years for a husband she doesn't even know if he's still alive, buying him time in every possible way and keeping on hold 108 dangerous, younger men who need just an excuse to rise against her and her family.

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Hold Them Down: what did I say about that excuse?

Jokes aside, this is some powerful villain song and I ADORE it. The rhythm? Great, majestic, terrifying. The drums and the chorus are chilling.

But even more than them, it's the entire song, to be terrifying. And not because of its themes: it's because of the details.

Antinous doesn't just say "We will kill Telemachus and rape Penelope": he describes step by step what he wants to do. He presents a clear, precise plan of what he wants to do and how he wants to do it.

That's what makes it so chilling: how careful he is with the details. How he pondered about everything. His willingness to do all the things he says, without an ounce of doubt or fear.

And what's even more terrifying, is how Antinous' words are welcomed by the chorus of the other Suitors. There is no coldness, no shock, no fear: there is this palpable, growing excitement, that grows stronger the more he describes his plan. The chorus accompanies his words, anticipates them eagerly: they cannot wait to hear what he wants to do next.

And when Antinous says Penelope will be at their mercy after Telemachus' death, silence drops for a moment and the line: "And then we'll" is welcomed by pure silence. This perfectly shows how all Suitors held their breath, for one second, waiting for Antinous to say it out loud, to push his plan further and say what they were all thinking: without a man in the house, they could've had access to the queen's bedroom and body. They were waiting to hear it. They wanted, needed to hear more.

This is how you make a great villain song. This is how you build a terrifying villain: it's not just Antinous, who can stir up an entire crowd, by pushing on their primordial instincts. But it's the crowd itself, that welcomes the terrible images he proposes, because they were already in their minds. They were already thinking all of that: all they needed was someone to propose it out loud.

Of course Odysseus goes into full rampage mode after that: who wouldn't?

One last detail I appreciated a lot: the allusion about how the prince was on a diplomatic mission. Sure he was, that's how Odyssey starts: Telemachus leaves Ithaca to search for more news about his father, visits Sparta, Menelaus tells him about the Troyan horse and so on. It was a nice reference.

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Odysseus: a song better known as "Odysseus cleans his house from 20 years of filth".

I've already talked about the first lines and I appreciate them a lot, not just because they further clarify Odysseus' thoughts and actions, but also because they imply he spent some time in Ithaca before this moment, enough to see how the Suitors treated his palace. There's a huge lack of Argo, the only dog who lived something like 20+ years and died right after seeing his owner one last time, but I suppose that his dog's death would've sent him into ultraviolence mode instantly.

I lovelovelove the ensemble chanting Odysseus' name. It's solemn, it's ineluctable, it reminds me of old church hymns and I am a sucker for that stuff.

But I am also a very bad person, so when I listen to Eurymachus saying "hey, what if you spare us and welcome the world with open arms instead" and he gets slaughtered with a "no" as a reply, I laugh.

Yes, I am a bad person.

Okay, fine, we can acknowledge how this wasn't what Polites meant with open arms and how no one has been able to fully understand his mentality... but also, it works perfectly to show how Odysseus changed. In the past, he would've been tricked by these words - and it would've led to him losing more people he loves.

But after going through so much shit, he's not willing to trust others anymore. The time of open arms is gone forever. As he says, "And as long as you're around / My family's fate is left unknown".

And so, it's ruthlessness time. Because, as Poseidon told him, ruthlessness is mercy upon ourselves. And Odysseus would find peace, only if he gets rid of all the dangers around.

Because come on, we know the Suitors would've found a way to still try to kill or hurt him and/or his family. They don't play fair, they said themselves. Sparing them would've only hurt Odysseus in the long run.

And if we consider the time period, killing all the opponents was all Odysseus could do, to regain control over Ithaca.

Think about it: he has been away for 20 years, leaving the island without an adult male ruler. Of course this led all other, younger men to become restless and prideful and do things they would never do, without a strong leader: like trashing the leader's palace or trying to hurt his family.

Odysseus' only way to regain control was to show everyone he was still the strongest. And the only way he could do it, was to get rid of all the people who were undermining his authority. This way, he got rid of the dangerous ones and taught everyone else a lesson: do not even try to oppose my authority again, because I am still the strongest man of this land - and therefore, the only leader.

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I Can't Help but Wonder: so, right after showing everyone he was still the ruler and the stronger and so ruthless, Odysseus takes his time to softly listen to his son and tell him how much he loves him.

No, I am not crying, I got this song stuck in my eye.

But seriously: the softness, the love, the affection he holds for his son. And how this is all beautifully portrayed through Jorge's voice.

I know others already said it, but the way he modulates his voice is incredible. He really sounds older here, an old man talking to this young boy who is so confused and full of doubts about his own strength... and like the father figure Telemachus always wanted, Odysseus reassures him: he's sure his son is strong, he understands his pain and the troubles he experienced. And he loves him, with the unconditional love a father has for his child.

I said I am not crying.

The Athena part has been a surprise: honestly, I feared Jorge forgot and we would never see a closure for them, but we actually got it!

And it was a very good one: Athena asks if there is a world where empathy is stronger than fighting. A world where people can understand each other more and not always resort to violence and ruthlessness.

There's an implicit invitation in her words: would Odysseus help her pursue this world? Would he still be her warrior and work for this new, greater tomorrow?

And Odysseus refuses. He's too old, too tired. This world is too far beyond his reach. We are still trying to reach it and we are getting glimpses of it in our everyday lives.

Athena, thanks to her immortality, can live long enough to see this far-away future, but Odysseus? Maybe in the past, when he was younger, he would've loved to see it. Now he's had enough of adventures. All he wants is to finally see his wife again.

And Athena proves her growth, by that simple "very well". You can hear a smile in her tone. She's not angry at him, she's not resentful: Odysseus made his choice and she's okay with it. Their paths divide forever, not with bitterness but with understanding.

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Would You Fall in Love with Me Again: better known as "I am not crying, I said I am not, I just got the Odyssey stuck in my eye".

Odysseus reveals his wife all the awful things he did, he insists he's not the same man - Tiresias told him too, he's not the same kind and gentle husband he was and he will never be anymore: he's a man marked by hardships, by the war, by the world.

By saying it, he reminds me of the war veterans, the people who faced horrors and survived, to come back as changed people. Odysseus is one of them: the war left a mark on him and the following 20 years deepened that mark, made new ones, scars and terrors that will haunt him forever.

So of course he's not the same and he will never be: life and its hardships changed him too much to come back to the naive, younger man he was.

And yet, despite everything, Odysseus is still the same man. And Penelope proves it, through the bed trial. Again, I love how it has been used here: in the Odyssey, it was Penelope's way to be sure the weird beggar-looking guy who just killed everyone truly was her husband. Here it's her way to prove to him first that yes, he still is her husband. He may be rougher, more ruthless, filled with more regrets and anger than before... but he's still him. And she doesn't care what he did: all she cares about is that he's finally back.

Does that make Penelope a bad person too? Personally, I think it makes her more human. She spent 20 years imprisoned in her own house, with 108 possible predators trashing her place, desperately trying to buy more time for a husband she didn't even know if he was still alive, all while trying to hold the predators down as long as possible, so they wouldn't hurt her or Telemachus. Can we really blame her, if she doesn't care about what her husband did to come back, as long as he's finally back?

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A truly passionate project

Epic the musical is a project overflowing with love. Every artist, every voice, every song is filled with passions and emotions and they shine here, in the final Saga, more than ever. Jorge's voice has been incredible, the way he went from sounding like an old father, to a younger man again. How we shifted from love and affection, to anger.

Penelope? Amazing, brilliant, incredible. All female voices are A+ and she's no exception.

The instrumentals? Always on point, they highlight the emotions and the mood of every song perfectly.

All the artists? Incredibly fitting, superb voices. Each of them did an amazing job with their characters, each of them brought their own spin to it and made them iconic. I don't think we'll easily forget characters like Hermes, Circe, Calypso, Athena, Scylla, Tiresias or Zeus. I know I won't.

And yes, I will fondly keep this version of the Odyssey close to my chest. It's so hard to find good modern versions, now that I found one, I won't forget it so easily.

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The end?

The concept album is done, but that doesn't mean Epic is over. Jorge already said he wants to make videogames and, hopefully, give the musical some live adaptation.

So it's now right to say this is the end: this is the first step of a bright future for this series. And I personally can't wait for what it will bring.

In the meantime, as always, do not forget to stream the Ithaca Saga (and the whole musical for that matter), support Jorge and show love to all the people involved: they deserve it. Every last bit of love. It would be only fair, considering how much love and commitment they poured into this project.

That's why I would like to thank them all again for their hard job. It has been a truly wonderful journey and I can't wait for what 2025 will bring them - and us.