cw: implied sexual trauma, panic attack, intimacy struggles
You don’t notice it happening until it’s buzzing under your skin. Loud and unavoidable, the only thing you can pay attention to is the irregular flutter of your heart and the way it seems that all the air has been vacuumed from the room—
“Hey.”
You blink, and Katsuki is no longer above you. He’s not touching you at all—you turn your head to find him next to you, propped up on an elbow and only worried.
“Too much?”
The panic flares at the question, because what if this is the last time? What if he’s tired of this?
Your exhale is shaky—your laugh is forced and sounds out of place. “No, it was fine, I just—“
“Oi—“ he says, gently, “tell me the truth.”
The truth burns your eyes and keeps them on the ceiling, away from his. You nod, helpless and resigned to whatever comes next.
“What’s goin’ on in your head?”
You feel the tears spill over before you can catch them. You swipe them away with the back of your wrist. It’s still numb. “I’m just sorry. I didn’t mean to ruin it.”
He grunts a little in acknowledgment—a displeased, ugly sound—and then there’s movement that finally draws your eyes to him. You watch him cover himself with your duvet—all the way up to his chin.
“S’it okay if I hold you?”
He reaches for you and you let him pull you in. His hands stay above your shoulders and pointedly avoid your neck—cradling your head, letting you hide in the curve of his throat. His pulse is steady and constant against your forehead—or you imagine it would be, if it wasn’t muted by the fabric.
“Nothin’ is ruined,” he murmurs against your hairline, “s’my job to keep you safe.”
Your chest shudders against the cushion of the blanket and you feel a little guilty about crying all over it but Katsuki keeps you there, tethered to him. The ringing in your ears subsides, just a little. Just enough to hear the panic in your own voice.
“I promise I want it. I don’t know what’s wrong with me, I’m sorry—“
“Hey, hey,” he shushes you, careful not to tighten his arms around your shoulders. “Nothin’ to be sorry for. S’too much today—that’s all.”
It’s quiet, then, save for your sniffling. He keeps his mouth pressed to your hair, and his arms wrapped around you. There is a noticeable absence of his fingertips tracing along your skin—you don’t feel them there at all, and it’s on purpose. He’s considerate and it makes you anxious.
“Can hear you thinkin’.”
“I just—“ you inhale, trying to be brave, “I don’t want you to leave. I know I can’t—give you this—“
“Oi,” he gruffs, a little sharply, “I don’t give a shit about that. M’not a barbarian.”
You feel the expansion of his lungs as he draws in a slow exhale, and lets it out against the crown of your head. “Don’t think so little of me,” he murmurs, tone laced with hurt.
“You’re right,” you whisper, because he is, “I love you.”
“Love you.” He kisses it into your skin, soft and barely there. “Always will.”
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Okay, let's finally talk about EPIC's Apollo
I feel very compelled to say, first of all, that I do not dislike Epic. In fact, I am very fond of Epic and have been following its production and status very eagerly! I attend all the launch streams, I watch all of Herrans' update videos; I am, at the end of the day, a fan and I want it to be known that my words are spoken out of love and passion as much as they are spoken from a place of critique.
So really, what my problem with Epic's Apollo?
In the briefest possible terms; the choice to have Apollo be defined by his musical aspect in God Games is thematically strange. And not in the 'oh well in the Odyssey, Apollo was important to Odysseus and his family so it's weird that that wasn't kept in Epic' strange, strange in the sense that Odysseus' character arc since My Goodbye has been getting more and more obviously Apollonian and so it is positively bizarre that when we get to meet Apollo, the god seems entirely disinterested in him and his affairs. So much so that he is not even defined by any station that would indicate that he has been watching over and protecting Odysseus and his family.
What do I mean by 'Odysseus has been following an Apollonian arc'? I'm so glad you asked!
Remember Them is the last song in which Odysseus explicitly uses his sword until Mutiny where he must use it to defend himself against Eurylochus' blade. He uses it to help enact the plan to conquer Polyphemus and, due to Polites dying in that battle, Polites who wished for Odysseus to put the blade down entirely and embrace a post-war life, Odysseus also retires his sword. This is an action that symbolically separates him from Athena - and the image of Odysseus as a traditional warrior set for him in Horse and Infant - as much as My Goodbye physically separates him from the goddess and her war-ways - from this point onwards, Odysseus will no longer be leaning on Athena's wisdom or methods to solve his problems. Likewise, he will no longer be able to rely on her protection.
Odysseus thusly solves most of his upcoming problems through diplomacy and avoidance. He approaches Aeolus - a strange and ambiguous god (both in gender and in motivation) and appeals to them for help. Circe too, he approaches not with wishes to conquer or for revenge, but for the safe returning of his men and an alternate way forward. In all of these scenarios, there is some Apollonian element which is subtly interweaved alongside the influence of other gods; it is with a bow and arrows that Polyphemus' sheep is slain (and thus it is this Apollonian element which is at the root of Odysseus' spat with Poseidon), it is a vision of Penelope that warns Odysseus that his men are about to open Aeolus' wind-bag, Circe's peace offering to Odysseus is to refer him to a prophet of Apollo who has since died.
In this way, Apollo is walking alongside Odysseus for all of his journey after Athena departs - even in the Underworld, he is guiding him. It is Tiresias' proclamation that is the last straw for Odysseus, it is by the power of a mouthpiece of Apollo that Odysseus decides to embrace his ruthlessness. It is with the bow and arrow that Odysseus subdues the siren who sought to trick him, likewise, Odysseus does not attempt to undermine or escape the fate of paying Scylla's passage price - he knows of the doom about to befall the six men and quite unlike the rest of the journey until this point, he does not fight against it. This all comes to a head on Thrinacia where it is a blade which sacrifices the sun god's cow and brings destruction upon the crew once more.
My point with all of this is that when I heard the teasers for God Games years ago, it made perfect sense to me that Apollo would be Round One - he is not Odysseus' adversary and has no reason to oppose Athena's wish to free him. From other teasers about what will happen in the climax of Epic, Apollo will still be walking alongside Odysseus - it is Apollo's bow that Penelope will give the suitors to string. Likewise, it is Apollo's bow that will prove Odysseus' legitimacy and identity. That bow will be the power by which Odysseus hunts his adversaries and cleans out his palace - it is Apollo who is the avatar of Odysseus' ruthlessness, not Athena.
So tell me, truly, what was the point of having Apollo raise a non-argument in God Games? Why have him appear unconcerned, aloof and slightly oblivious? Why have him appear in his capacity as the Lord of Music at all?? And if the intention was never to make Apollo an active player in Odysseus' life like he was in the Odyssey, why keep Odysseus as a primary archer?
The answer of course is that Apollo is inextricable from the fabric of the Odyssey - his influence and favour exudes from Odysseus just as much as Athena's. In Athena's ten year sulk, it would have been Apollo who kept Telemachus and Penelope safe. It would have been Apollo protecting Odysseus from Poseidon's gaze as he travelled the seas (according to the Odyssey anyway)
Forgive me for not being excited about something that I thought was being purposefully set up. I was extremely ecstatic about all of the little Apollonian details that litter the sagas because I know where this story ends up (loosely) but all God Games did was reveal that maybe those Apollonian details were not intentional at all, but merely the ghost of the Apollo who persistently haunts those he favours, even if he cannot explicitly come to their aide in an adaptation.
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say it with me everybody: personal health is completely immaterial to morality, including mental health. leading a mentally unhealthy lifestyle (or what you perceive as a mentally unhealthy lifestyle) does not a bad person make. no one has to socialize, exercise, have healthy coping mechanisms, or lead (what you perceive as) a fulfilling life with fulfilling hobbies in the same way that no one has to go to the doctor to get a broken bone reset. both of those types of management of personal health are likely to be beneficial to the individual, but they are in no way moral requirements or debts owed to society. they do not actually say anything about a person's principles, personality, or actions towards others. additionally, people know themselves and their own situations better than you do. maybe a person judges that the physical and financial toll of going to the doctor outweigh the benefit of getting their bone reset, maybe a person just does not have the capacity to develop healthy coping mechanisms at this point in their life, and yes, maybe a person feels like they are totally fulfilled by "media based" hobbies alone and would feel no difference in their life if they picked up a loom. just like. let people be sick without accusing them of being representative of the lazy, degenerated state of modern society.
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It's been more than two years since Inazuma and I'm finally starting to appreciate Yae.
I think what threw me off was thinking of her as a trickster (although she is one as well) and what helped was thinking of her in terms of DnD alignments.
Yae is chaotic evil, and I don't mean it in a judgmental way, only in the way that her "meanness" is not a funny quirk, it's pretty much core to her character.
She's openly sadistic and she only does things for her own entertainment. She only behaves because of Ei, that beautiful trope of a fox falling in love with someone principled. Wrecking too much chaos would upset Ei so she plays nice.
Also I'm not even sure she's good influence on Ei most of the time. Evil fox advisor/courtesan is a Trope.
At the same time she's innocent in the way all yokai are innocent. She loves power in such self-gratuitous way, but she also loves mysteries of the universe and she's one of them.
I hate her. She's precious to me.
She also has the prettiest love confession I've ever seen.
"Let me tell you all that has happened over the last few centuries. [...] It will probably take me another few centuries to relay it to you."
We "liberated" Inazuma and left it with a lovely duo of a lawful evil ruler with a chaotic evil advisor/lover. Yay. The Traveler is a nice person indeed.
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