Why Do You Draw Aeolus With A Flat Chest? I'm Not Hating, I Really Really Love Your Art And Athena Drawings!

Why do you draw Aeolus with a flat chest? I'm not hating, I really really love your art and Athena drawings!

I'm just curious 🤔

because uhm people with flat chest exist

🧍

Why The Voice Of The Cold Hates The Narrator

Replaying the Nightmare -> Wraith route and I'm realizing...

Jesus fucking christ, The Cold hates the narrator. Honestly, I think he might just give Smitten or Contrarian a run for their money.

He:

Doubts every word the narrator speaks

Insults the narrator whenever he gets the chance

Actively suggests killing the narrator, even stating that the princess could help do that

Not only suggests killing the narrator, but also suggests that—no—actually, death is too good for the guy. They should lock the narrator in a void just like the fake good ending. Mind you, this route doesn't even have the narrator do that!

Mocks the narrator when he finally gives up on trying to make you slay the princess

Seems happy that the narrator is gone, saying he had a feeling The Wraith could deal with him

I'm pretty sure Cold over here'd rather be playing Slay The Narrator.

Really though, upon further reflection, The Cold's hatred for The Narrator is also prevalent in The Spectre, where one of the few things he actually seems to have a firm stance on is "We should kill the Narrator". In the Greys, though he's arguably at his most nihilistic, he still seems to oppose the Narrator. He joins the Skeptic in his suspicions, and though he mostly just seems to be having a time provoking Smitten during the Burned Grey, he still does take the occasional second to spite the Narrator.

And honestly, come to think about it, it makes sense. After all, the Cold manifests not necessarily from slaying the Princess, but more specifically, from killing yourself. But not just from killing yourself, slaying yourself in The Tower at the hands of the Broken doesn't manifest him, but specifically by killing yourself to spite the narrator. I mean, other than Empty Cup and Moment of Clarity (Where we don't actually know how he manifested due to the timeskips), each iteration of Cold's manifestation checks out.

Spectre: You slay her, get the good ending, but then decide "fuck this and fuck your contruct", and stab yourself even as the narrator repeatedly urges you not to.

Burned Grey: You kill the Damsel, and in a fit of rage against both you and the narrator, the Smitten kills you, even as the narrator urges him not to. (Funnily enough, this means that, despite the Smitten's line of "you killed her, and so I killed you", it was the opposite, and the Smitten manifested the Cold)

Drowned Grey: You kill the Prisoner, and, just like in the Spectre's route, you kill yourself even as the Narrator urges you not to. If you refuse to kill yourself, Skeptic does it for you, seeming apologetic towards you, but definitely not towards The Narrator.

Wraith: You kill yourself as the Narrator urges you not to, and Paranoid also spends this route doubting the Narrator.

These routes involve various levels of emotion for the Princess, ranging from "My love! Still gonna kill you though" to "So scary! Still gonna kill you though", and an overall perception of the Princess as a corpse. But the Narrator? In all of the routes leading up to Cold's manifestation, the Narrator is met with hostility, usually leading to you killing yourself out of a mix of spite and suspicion.

So Cold's manifestation has two constants:

Some level of apathy towards the Princess, regardless of your previous interactions with her. Whether she's your perfect damsel or your worst nightmare, you don't care. You stab her.

Disregard for your own safety. You're just going to stab yourself, cool. It's better than this hell. Sometimes it's another voice fulfilling this requirement for you, like Smitten in the Damsel, or Skeptic in Prisoner depending on whether or not you willingly die.

Distaste towards the narrator. A conclusion that the Narrator is untrustworthy and distinctly not on your side. No matter how you manifest the Cold, it is clear that you do not like this pesky raven one bit. The Nightmater -> Wraith route shows this through Paranoid's constant suspicion of the Narrator. This distaste frequently, thought not always, occurs due to the Narrator attempting to force you to live out your life in the void, though it can also occur due to the Narrator attempting to make you live a life without the one thing you cherish (Damsel route).

Apathy towards most things, but one thing's for certain: You don't trust that Narrator guy. He tried to make you live out a crappy, boring life for eternity.

Cold's attitude makes sense when you look at how he was created. Just like Smitten was made by deciding the princess was an immediately trustworthy damsel in need of rescuing from the pesky narrator, or that the witch is a gorgeous woman whom you can save by giving your blade in spite of the narrator's wishes—Cold is made through deciding that neither your nor the princess's safety particularly matters, but fuck that narrator guy. He sucks. As apathetic as the Cold likes to act, he reacts to Smitten's threats and the Princess's murder attempts with "interesting", and reacts to the Narrator's explanation of the timeline with "we should kill him".

So, my point?

Well, I think that—not only does the Cold hate the Narrator—but hating the Narrator is part of him as a voice. He's cold, apathetic, and he hates the Narrator. It's been baked into his very being through the choices that you make. The princess doesn't matter, your physical well-being doesn't matter, but know that the Narrator is an untrustworthy little prick.

TLDR: Replaying Wraith made me realize that the Cold probably hates the Narrator very very much, and he does so because it is baked into his very being because of the choices you made to manifest him. You go, king. Let your inner hater run free.

ARES IS NOT THE PROTECTOR OF WOMEN IN GREEK MYTHOLOGY.

He is never presented as such in any source, there is no evidence such a role was ever assigned to him in any account, and as far as I'm aware this popular yet unattested assertion is born from the echo-chambers of tumblr. In fact quite the opposite could be argued. TW for sexual assault.

This baffling claim seems to originate from a sort of shallow examination of the way Ares "behaves in myth", and the following arguments are the most frequently presented:

1. Ares protects his daughter Alkippe from assault, and is therefore morally opposed to rape. (Apollodorus 3.180, Pausanias 1.21.4, Suidas "Areios pagos", attributed to Hellanikos)

Curiously this argument is never applied to, among other examples: Apollo for defending his mother Leto from Tytios, Herakles for defending Hera from Porphyrion (or his wife Deianeira from Nessos), or Zeus for defending his sister Demeter from Iasion (in the versions where he attacks her), etc. The multiple accounts of rape of the previously mentioned figures did not conflict with these stories in greek thought: they're defending family members or women otherwise close to them. This sort of mentality is not uncommon even in contemporary times, e.g. a warrior may have no ethical problem killing men, but would not want his own family or loved ones to be killed. The same goes here for sexual assault.

2. There are no surviving accounts of Ares sexually assaulting anybody.

The idea that the ancient greeks pictured that, among all the gods, Ares was the only one who shied away from committing rape is baseless and borders on ridiculous. In this case absence of evidence is not evidence of absence.

The majority of surviving records regarding Ares' unions are presented in a genealogical manner, and do not go into details on their nature. This is the case for most works of mythography, where specifics of sexual encounters are to be found elsewhere. However, common motifs present in other accounts of rape also appear in stories concerning Ares' relationships, e.g. tropes like shape-shifting/the use of disguises, the victim being a huntress, secrecy, and the disposal of the concieved child, are to be found in the stories of Phylonome and Astyoche respectively:

Φυλονόμη Νυκτίμου καὶ Ἀρκαδίας θυγάτηρ ἐκυνήγει σὺν τῇ Ἀρτέμιδι: Ἄρης δ᾽ ἐν σχήματι ποιμένος ἔγκυον ἐποίησεν. ἡ δὲ τεκοῦσα διδύμους παῖδας καὶ φοβουμένη τὸν πατέρα ἔρριψεν εἰς τὸν Ἐρύμανθο

"Phylonome, the daughter of Nyktimos and Arkadia, was wont to hunt with Artemis; but Ares, in the guise of a shepherd, got her with child. She gave birth to twin children and, fearing her father, cast them into the [River] Erymanthos." (Pseudo-Plutarch, Greek and Roman Parallel Stories, 36)

οἳ δ᾽ Ἀσπληδόνα ναῖον ἰδ᾽ Ὀρχομενὸν Μινύειον, τῶν ἦρχ᾽ Ἀσκάλαφος καὶ Ἰάλμενος υἷες Ἄρηος οὓς τέκεν Ἀστυόχη δόμῳ Ἄκτορος Ἀζεΐδαο, παρθένος αἰδοίη ὑπερώϊον εἰσαναβᾶσα Ἄρηϊ κρατερῷ: ὃ δέ οἱ παρελέξατο λάθρῃ: τοῖς δὲ τριήκοντα γλαφυραὶ νέες ἐστιχόωντο.

"And they that dwelt in Aspledon and Orchomenus of the Minyae were led by Ascalaphus and Ialmenus, sons of Ares, whom, in the palace of Actor, son of Azeus, Astyoche, the honoured maiden, conceived of mighty Ares, when she had entered into her upper chamber; for he lay with her in secret" (Homer, Iliad 2. 512 ff)

In neither of these cases is a verb explicitly denoting rape used, though it is heavily implied by the context. The focus of the action is on the conception of sons, the nature of the interaction is secondary.

Other examples are found among the daughters of the river Asopos, who where (and here there's no confusion) ravished and kidnapped by different gods to different parts of the greek world, where they found local lines through children borne to their abductors and serve as eponyms. Surviving fragments from Corinna of Tanagra tell us:

"Asopos went to his haunts . . from you halls . . into woe . . Of these [nine] daughters Zeus, giver of good things, took his [Asopos'] child Aigina . . from her father's [house] . . while Korkyra and Salamis and lovely Euboia were stolen by father Poseidon, and Leto's son is in possession of Sinope and Thespia . . [and Tanagra was seized by Hermes] . . But to Asopos no one was able to make the matter clear, until . . [the seer Akraiphen reveals to him] 'And of your daughters father Zeus, king of all, has three; and Poseidon, ruler of the sea, married three; and Phoibos [Apollon] is master of the beds of two of them, and of one Hermes, good son of Maia. For so did the pair Eros and the Kypris persuade them, that they should go in secret to your house and take your nine daughters." (heavily fragmented papyrus. Corinna fr. 654)

"For your [Tanagra's] sake Hermes boxed against Ares." (Corinna fr. 666)

It seems that, similar to the myths of Beroe or Marpessa, the abducted maiden is fought over by two competing "suitors", and though we can infer that the outcome of the story is that Hermes gets to keep Tanagra, apparently by beating Ares in a boxing match, we don't actually know what happened or how it happened. In any case, Ares does mate with another daughter of Asopos, Harpina, who bears him Oinomaos according to some versions (Paus. 5.22.6; Stephanus Byzantium. Ethnica. A125.3; Diodorus Siculus 4. 73. 1). There is little reason to suppose that this encounter wasn't pictured as an abduction like the rest of her sisters.

The blatant statement that each of his affairs was envisioned as consensual is simply not true.

3. He was worshipped under the epithet Gynaikothoinas "feasted by women"

This was a local cult that existed in Tegea, the following reason is given:

"There is also an image of Ares in the marketplace of Tegea. Carved in relief on a slab it is called Gynaecothoenas. At the time of the Laconian war, when Charillus king of Lacedaemon made the first invasion, the women armed themselves and lay in ambush under the hill they call today Phylactris. When the armies met and the men on either side were performing many remarkable exploits, the women, they say, came on the scene and put the Lacedaemonians to flight. Marpessa, surnamed Choera, surpassed, they say, the other women in daring, while Charillus himself was one of the Spartan prisoners. The story goes on to say that he was set free without ransom, swore to the Tegeans that the Lacedaemonians would never again attack Tegea, and then broke his oath; that the women offered to Ares a sacrifice of victory on their own account without the men, and gave to the men no share in the meat of the victim. For this reason Ares got his surname." (Paus. 8.48.4-5)

As emphasised by Georgoudi in To Act, Not Submit: Women’s Attitudes in Situations of War in Ancient Greece (part of the highly recommendable collection of essays Women and War in Antiquity), "it is not necessary to see the operation of an invitation in the bestowal of the epithet Γυναικοθοίνας on Ares". The epithet is ambiguous, and can be translated both as "Host of the banquet of women" or "[He who is] invited to the banquet of women". In any case no act of divine intervention occurs, and the main reason for the women's act of devotion lies principally in recognising their decisive role in the routing of the Lakedaimonians. It's they who preside/participate in the feast of war, the men are excluded.

Also this a local epithet that isn't found anywhere else in Greece. As such it would be worth reminding that not every Ares is Gynaikothoinas, in the same way not every Zeus is Aithiopian, not every Demeter Erinys, and not every Artemis of Ephesos.

4. He was the patron god of the Amazons

He was considered progenitor of the Amazons because of their proverbial warlike nature and love of battle, the same reason he was associated with other "barbaric" tribes, like the Thracians or the Scythians. In this capacity he was also appointed as a suitable father/ancestor for other violent and savage characters who generally function as antagonists (e.g. Kyknos, Diomedes of Thrace, Tereos of Thrace, Oinomaos, Agrios and Oreios, Phlegyas, Lykos etc.). Also he was by no means the only god connected with the Amazons (they were in fact especially linked to Artemis, see Religious Cults Associated With the Amazons by Florence Mary Bennett, if only for the bibliography).

Similarly, Poseidon was considered patron and ancestor of the Phaiakians mainly because of their mastery over the art of seafaring (and was curiously also credited in genealogies as father to monsters and other disreputable figures).

On another note I have found no sources that claim he taught his amazon daughters how to fight, as I've seen often mentioned (though I admit I'd love to be proven wrong on that point).

5. Finally, the last reason Ares could never be portrayed as a protector of women is because of his divine assignation itself

The uncountable references to his love of bloodshed and man-slaying don't just stop short of the battlefield, but continue on to the conclusion and intended purpose of most waged wars in antiquity: the sacking of the city. The title Sacker of Cities as an epithet of Ares (though it is by no means exclusive to him) is encountered numerous times and in different variations (eg. τειχεσιπλήτης or πτολίπορθος), and the meaning behind the epithet is plain. Though it is hard to summarise without being reductionist, the sacking of a city entails the plundering of all its goods, the slaughtering of its men, and the sistematic raping and enslavement of the surviving women (to name only a small few of the literary references see The Iliad, The Trojan Women or The Women of Trachis). There is little need to emphasise that war as concieved of in ancient greece, especifically the brutal aspects of war Ares is most often associated with, directly entailed sexual violence against women as one of it's main concerns. The multiple references to Ares being an unloved or disliked deity are because of this, because war is horrifying (not because his daddy is a big old meany who hates him for no reason, Zeus makes very clear the motive for his contempt in the Iliad (5. 889-891): "Do not sit beside me and whine, you double-faced liar. To me you are most hateful of all gods who hold Olympos. Forever quarreling is dear to your heart, wars and battles.")

Ares was only the protector of women inasmuch as he could be averted or repelled (e.g. surviving apotropaic chants):

"There is no clash of brazen shields but our fight is with the war god, a war god ringed with the cries of men, a savage god who burns us; grant that he turn in racing course backward out of our country’s bounds, to the great palace of Amphitrite or where the waves of the thracian sea deny the stranger safe anchorage. Whatsoever escapes the night at last the light of day revisits; so smite him, Father Zeus, beneath your thunderbolt, for you are the lord of the lightning, the lightning that carries fire." (Shophocles, Oedipus Tyrannos, 190-202)

"And let no murderous havoc come upon the realm to ravage it, by arming Ares—foe to the dance and lute, parent of tears—and the shout of civil strife." (Aeschylus, Suppliant Women 678)

~~~~~

All that being said, this is a post about Ares as conceptualized and attested in ancient sources, made specifically in response to condescending statements about how "uhmmm, actually, in greek mythology Ares was a super-feminist himbo who was worshipped as the protector of women and was hated by his family for no reason, you idiot". It is factually incorrect. HOWEVER, far be it from me to tell anyone how they have to interact with this deity. Be it your retellings, your headcannons or your own personal religious attachments and beliefs towards Ares, those are your own provinces and prerogatives, and not what was being discussed here at all (I personally love art where Ares and Aphrodite goof around, or retellings where he plays with his daughters, or headcannons that showcase his more noble sides, etc.)

~~~~~

I've seen that other people on tumblr have made similar posts, the ones I've seen were by @deathlessathanasia and @en-theos . I have no idea how to link their posts, but they're really good so go check them out on their pages!

"eurylocus was mad just because he originally had a torch, and so he realised his captain didn't care for him anymore (because of the wind bag mistake) and could sacrifice him at any moment i think he didn't really care for his crewmate"

This is a real comment I saw on Tictok and I'm sorry, WHAT?!

Eurylochus, the only character who isn't represented by a instrument but by the voices of the crew? The character who instantly tried to confess to opening the wind bag when there was multiple people involved? The one who mutinied because of the 6 crew members that were sacrificed to Scylla?

That Eurylochus doesn't care about the crew?

I'm so tired of people saying this shit about Eurylochus. He does care, if he didn't then he would have left Circe's Island without Odysseus, if he didn't then he wouldn't have tried to confess to opening the wind bag the first moment he could, if he didn't care then Odysseus would have died in Mutiny.

Yes he fucked up, tremendously, but he cared about the crew, it's why his instrument is the voices of the crew.

I think the most tragic part of Eurylochus’ part in Epic is that his one act of true selfishness (or two acts) are what condemns him not only in the eyes of Odysseus but also most of the audience. Warning: spoilers for all sagas of Epic: The Musical below the cut, up through Thunder Saga.

He’s introduced in the musical in Full Speed Ahead by mentioning wanting to find food to feed the rest of the men of the crew. In the same song, he grows defensive immediately after suspecting a lurking threat, suggesting that they take an offensive approach. He just wants to find what they can (to eat) on the island and keep going so they can all return to their families.

In Polyphemus, his only line in the entire song is him giving credit to Odysseus and Polites for finding the cave and takes note that there are enough sheep to feed everyone.

I have no doubt that he’s fighting along with everyone else in Survive.

But he shows his concern for the others in Remember Them. He is the one who snaps Odysseus out of the brief dissociation he experiences following the slaughter of a handful of his men. He also asks Odysseus what they should do with their “fallen friends.” Of course, we know that if people weren’t buried correctly, they were doomed to an eternity of unrest.

He’s worried about the souls of those men that they lost and is (most likely) not happy about having leave them behind and neglecting such an important ritual.

When Polyphemus awakens after being stabbed in the eye and it becomes apparent that there are more cyclopses in the cave, Eurylochus gets even more concerned and antsy, even pleading with Odysseus for them to just run before things get worse and they lose even more men.

In Storm, Eurylochus’ lines are all about expressing concern for their fleet (although a little pessimistic) and their well-being.

Luck Runs Out is personally one of my favorites and one of the most obvious signs that almost everything Eurylochus does is for the sake of their crew. The entire song is about him looking out for everyone else including Odysseus. “You could be caught off guard and lose your life. Or piss off this guard and infuse us with strife.”

It’s also important to note that the chorus has Eurylochus and the crew singing in unison. Eurylochus expresses his doubts but not because he wants power or to just get under Odysseus’ skin, but because he genuinely cares about everyone on board and just wants to make sure they’re making the right decisions.

And honestly, as a second-in-command, he should get some say or consultation and perhaps this song is him starting to realize that he is not being heard.

“I just don’t want to see another life end. You’re like the brother I could never do without.”

“And suddenly you doubt that I could figure this out?”

This right here is where it becomes apparent to me how dedicated Eurylochus is to Odysseus and the crew. And I can only imagine how he feels after pouring his heart out to only be met Odysseus’ indignant response. Eurylochus wasn’t trying to challenge Odysseus’ authority, but his response is defensive regardless.

Eurylochus switches from referring to him as brother back to referring to him as Captain, maybe sensing that sort of division, maybe sensing that he overstepped in some way. But still, he reiterates his concerns once more before Odysseus pulls him aside.

When Odysseus tells him that he needs to always be devout and comply with whatever he says and tells him to do or else they’ll all die, Eurylochus ultimately agrees. The beginning of that reluctance shows.

He doesn’t really have many noticeable lines in Keep Your Friends Close, but I do want to give you some food for thought that my partner and I @cat-gwyn-gunn discussed. Do you think that Eurylochus would have opened the bag of winds if Odysseus entrusted him with it to guard and made it absolutely clear what is inside and what will happen if he does?

How would you feel if you were your captain’s supposed second-in-command who had led the fight with you and stood by your side for 12 years suddenly came back from a god with a mysterious bag and guards it while staying awake for 9 entire days? Does that not show a severe lack of trust in your crew and would that not make you suspicious? Do you think maybe Eurylochus was sort of egged on by the crew who also thought it was treasure to check?

It’s hard to really put yourself into their shoes because we know how things end and we know that the storm is actually trapped in the bag, but they don’t.

Then, Poseidon comes in Ruthlessness. And Eurylochus sees all those men die. They went from 600 men to just 43 men. While of course he feels guilty for his decision to open the bag, he’s also hearing confirmation that Odysseus is the reason that Poseidon is after them. He probably remembers begging his Captain to just run and escape, and instead Odysseus proceeds to dox himself and all of that leads to that moment.

But still… that guilt does do something. Because after opening the wind bag, we don’t really hear any sort of defiance from Eurylochus for a long time.

In Puppeteer, we get an even further look at this growing divide between the two brothers (in-law). Eurylochus wants so desperately to let Odysseus know what he did, his tone is remorseful, he’s practically pleading for Odysseus to acknowledge him and reassure him. He is incredibly shaken after what happened with Poseidon.

Only for Odysseus to completely wave him off and send him on a mission. Perhaps it’s because Odysseus needs some time to process what happened and strategize or maybe he thinks Eurylochus is going to talk about it and he’s not ready to hear any of it. Or maybe even he’s jumping to being defensive, thinking Eurylochus is defying him again.

Eurylochus, who promised Odysseus that he’d be devout and compliant, and whose one failure to do so attributed to the loss of hundreds of their men, agrees to do what Odysseus says with little fight. However, his fears and concerns are left unaddressed and unacknowledged and he has not received any sort of reassurance.

While he is recounting his (and the crew’s) encounter with Circe, it shows that he is cautious in his decision to not join their men inside with her. Which pays off, since he gets to run back and let Odysseus know what happened.

When Odysseus says that he has to save them and Eurylochus says that they don’t, it almost sounds dismissive, like those men deserved what happened and they’re no longer their problem. This is a cold take and there’s no defending his callousness with leaving the men behind- I won’t defend it.

However, I will point out that with the next line he points out that they’ve already lost so much and gained almost nothing and once more he suggests that they run if only to preserve what little crew they have left. And again shows concern for Odysseus (or at the very least concern for him as their Captain who can get them home) saying that he doesn’t need to play Circe’s game and asking him if he will leave if she proves too hard to kill.

Notice that he says Odysseus doesn’t have to play her game instead of outright telling him not to. He’s trying so hard to be compliant because he just saw what happens when he isn’t.

He might also be wanting to avoid being responsible for even more bloodshed and loss even if slightly.

Eurylochus doesn’t really have any more parts to play during the rest of the Circe saga and throughout the entirety of the Underworld saga. He’s essentially not only just doing what Odysseus tells him to do but he’s also holding onto all this awful guilt and shame for what he did. 

Underworld is almost entirely Odysseus’ point-of-view. We really just see into his world for this saga. He tells his men that no matter what they find, keep going, yet he falls victim to the voices he hears and the guilt that arises and eventually peaks. We have no idea really what anyone else is thinking. For all we know, Eurylochus is drowning in his own visions. He has all this time to think and reflect.

In Monster, Odysseus comes to the conclusion that he will become the monster, he will do whatever it takes to get home to Penelope and Telemachus. I don’t think it’s a stretch to believe that Eurylochus also comes to the conclusion that he will do whatever it takes to make sure that the crew is taken care of and preserved. This is the beginning of when that line that truly divides them starts to be drawn. 

Different Beast is when it starts to become clearer to the crew and Eurylochus that a change has occurred. They start the song by singing along with Odysseus, using “we” and “us”. Odysseus is driving them all to be monsters. His actions are being reflected on the crew as a whole as their Captain.

Odysseus tells the siren that his actions almost cost his life, no longer reflecting on the crew’s toll as a whole, and that he must see his wife. This is when the crew starts to sing that “he” is the monster. And they end by calling his name- confirming that they are now aware that the monster is Odysseus. Really the only times someone’s name is called is when they’re an opponent like Polyphemus or Poseidon. So foreshadowing!

Scylla is where things take a turn for the worse- it’s where that line is nearly fully drawn between Odysseus and Eurylochus. But it doesn’t start off that way. Scylla begins to sing that “deep down you hide a reason for shame.” Immediately after, Eurylochus admits to being the one to open the wind bag and he apologizes profusely and pleads to be forgiven. 

Odysseus doesn’t respond but Scylla does in a way. She continues to goad Odysseus into believing that his actions are merited. It’s what he must do to survive to see his wife and son again. He has always known this deep down- he said it in Just A Man - deep down he would trade the world to see his son and wife.

The next time Odysseus speaks, he tells Eurylochus to light up six torches. Now, I imagine that this is a moment of great relief for Eurylochus. Even after the awful betrayal, Odysseus still trusts him. Going back briefly to Circe when she says “maybe showing one act of kindness leads to kinder souls down the road” maybe this (Odysseus showing trust in Eurylochus) was the act of kindness and Eurylochus picks men he trusts and likes to hold the torches as a way to pass on that kindness. 

Then, all hell breaks loose. 

He watches as all of these men are snatched up one by one by Scylla’s six heads. He comes to the realization that Odysseus knew that was going to happen, that he made him actively participate in the murder of six of their men. That he didn’t communicate anything about what he was about to put his crew through. 

Eurylochus knows what he must do. 

In Mutiny, He goes right out and demands Odysseus to tell him that he didn’t not know that would happen which is a far cry from “please don’t tell me you’re about to do what I think you’ll do.” It’s a direct challenge. He spits out the word “Captain” almost mockingly. He continues to prod at Odysseus, telling him to use his wits (when in Luck Runs Out, he said that people die on it). He brings up that every other time they faced someone Odysseus came up with a plan to save his men, but this one time he runs (when before it was Eurylochus who urged him to run with both Circe and Polyphemus). 

He has pretty much lost trust in Odysseus, but still is trying to give him the opportunity to say something, to explain. However, when Odysseus says he can’t Eurylochus says he’s forced his hand. He doesn’t really want to fight Odysseus, let alone kill him. 

Once again, Eurylochus is the voice of the crew. They know now that Odysseus is willing to do absolutely anything to see Penelope again. They attack him. They voice their doubts in him and echo the sentiment that Eurylochus does which is that Odysseus must be stopped. 

When he awakens, and they’re on the island, Eurylochus is the first man he sees and Eurylochus no longer sounds angry. He uses “we” and “us” telling Odysseus that hunger is so heavy in the crew. Voicing their concerns again. Looking out for them again. 

He holds no malice for Odysseus. He’s resigned; he has lost complete hope in returning home. All he wants is to share one last meal with his brother and friend and the crew. 

He switches to just using “I” stating that he is suffering, he is hungry, he is tired. This is one of the first times (if not the first) where he lets it known what his own desires and complaints are. Every other time it’s been on behalf of the crew. He’s being selfish. He knows this, but he’s so overwhelmed and hopeless that he’s willing to make this impulsive decision. 

Odysseus continues to respond to Eurylochus’ pain with only thoughts of himself. He says that he needs to get home, he pleads with just him. But then the crew comes in and echoes Eurylochus’ sentiments. Odysseus addresses the crew this time, switching to “we” can get home. He knows that he’s fighting a losing battle, that the crew is essentially listening to Eurylochus now, that they don’t trust him. 

And with Eurylochus’ action he declares that he’s just a man. He’s selfish. He’s hungry. He’s tired. He’s suffering. He makes mistakes. He can’t always just push through. He’s flawed.

And when Eurylochus hears the panic in Odysseus’ voice (which panic is not something he has shown before: he’s dissociated/been in shock, been angry, and desolate but never panicked) he realizes what he’s done. He immediately reverts back to seeking Odysseus’ guidance as his Captain. He calls for him by his title.

He’s relinquishing control, but it’s too late at this point.

Thunder Bringer closes out their portrayals of betrayal and brother's final stand arc with Zeus rubbing it in Odysseus’ face that his crew’s hunger is his responsibility. That as their King and Captain, he failed them so badly that they resorted to damning themselves to alleviate that hunger. He’s the one who drove them to mutiny. 

Zeus tells him to choose and the crew already knows what he’s going to pick. They realize now that the monster was with them all along, that Odysseus has come full circle to being the true monster. After they sing their piece and Zeus fills Odysseus’ ears with Penelope’s song, there’s a deafening silence as the decision is being made. 

Eurylochus breaks that silence, calling out one more time. He calls for his Captain but in his voice he’s calling out to his friend. He’s scared. He knows they’re going to die. It’s almost like they’re children. He’s making that final reach for reassurance that he already knows he won’t receive. There is nothing but resignation in his voice. 

When Odysseus confirms his choice, saying that he has to see his wife again, all Eurylochus has to say is “but we’ll die.” Again, he’s scared. He was willing to die over the cow, but that was an impulsive decision. It is very different when imminent death is staring you right in the face and especially when it’s at the hand of someone who you thought you knew and cared for. 

I imagine that as the rest of the crew rushes forward to strike Odysseus down, Eurylochus stays behind and just looks him straight in the eye. He knew all along who Odysseus would choose and he has accepted it. 

It comes full circle. Eurylochus came in as the voice of the crew and he died as the voice of the crew.

calypso x antinous is so funny to me because i just imagine it goes something like this

calypso, hoping it works this time around: soon into bed we'll climb and spend our time~

antinous: HELL FUCKIN YEAH FINALLY A WOMAN WHO KNOWS WHAT SHE'S LOOKING FOR!!! LETS GO

NO CUZ I THOUGHT THE EXACT SAME THING I EVEN DREW IT SOME DAYS AGO

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