*That* scene in Six Hundred Strike is not about vengeance, it's about vulnerability ... because the Vengeance saga isn't about vengeance

To think all of this started because I was trying to determine why it feels so natural to read intimacy into the torture scene in Six Hundred Strike ... See, I'm personally not someone who reads an angle like this into things easily, but this time I found myself doing it too. And I just needed to know why.

It just made no sense for a while, because if you look at it superficially, it shouldn't make sense; it's a freaking torture scene. But I don't know, somehow, I must have felt that there was something there ... and I think I figured it out.

See, the reason why it feels so natural to read intimacy into this scene is because ... it actually is incredibly intimate. Not in an actually sexual way, but more so in a, "Imagine you were suddenly able to read someone's mind, and they yours" kind of intimacy.

It's really easy to just assume Six Hundred Strike is literally about vengeance, but it isn't. Now, please stick with me for a bit because we are going on a bit of a tangent here, but I promise we'll get back to this eventually.

The tangent I want to explore first is (as you've probably seen in the title) that the whole Vengeance saga is, ironically, about the unnecessity of vengeance and how destructive grudges and resentment can be. Think about it:

... And there is no resentment or vengeance in Six Hundred Strike either.

On one hand, it's easy to assume phrases like "For every comrade, every one of my friends, almost all of whom were slaughtered by your hand" or "How does it feel to be helpless? How does it feel to know pain?" indicate resentment, but ... not really.

We already know that Odysseus doesn't want vengeance, or he wouldn't have tried to lead from the heart one song earlier.

And then make yourself aware of something else: Not once during any of their encounters is Odysseus actually accusing or resenting Poseidon for anything.

"Almost all of whom were slaughtered by your hand" is an objective fact. It's just true. Someone vengeful may have said "I'll make you pay for all of those you slaughtered" or "All of their deaths are your fault" ... Odysseus just says, "for every comrade". He doesn't specify what he's doing for his comrades ... and it sure as hell isn't that he's (trying to) cause Poseidon pain or harm for them (which would be vengeance.)

For every comrade, he is fighting Poseidon, in order to finally reach his goal. For every comrade, he's doing everything that he has to do in order to get home, and in order to end this feud.

And then we get to the torture scene and it's ... actually so incredibly freaking intimate. Because it's not actually about vengeance, it's not about accusing Poseidon, or making him pay, or suffer more than necessary. If Odysseus were speaking from a genuine vengeance angle, he'd probably sound more like, "You killed my friends, now you pay for it. You did this to me and now it is your time to suffer." But he doesn't.

The torture scene in Six Hundred Strike is actually ... just another, much more extreme, repeat of Odysseus' lines from Get In The Water (my beloved 🫶): "Aren't you tired, Poseidon? It's been ten years, how long will this go? We're both hurting from losses, so why not leave this here and just go home?"

Odysseus tried saying it nicely ... now he's stabbing him with his own trident, hoping, practically begging, that he finally listens and accepts. Just lets them both go home.

And the thing is, this time, he isn't just saying "we're both hurting from losses" ... All you have to do is repeat to yourself Odysseus' entire monologue that he unleashes while he's stabbing him in a calmer, gentler tone and you'll see that what he is actually yelling out at Poseidon are all of the reasons why he is hurting. Sharing with him all of the pain that he probably hasn't shared with anyone ... ever.

The first time I heard this, I firmly believed that Odysseus was actually crying during this part, and honestly, I believe that to this day. The canon visuals don't show us his face and I want to almost say that's intentional.

This whole scene is about vulnerability. Forced vulnerability, in a lot of ways, but raw, real vulnerability nonetheless.

This isn't just a torture scene; it's actually one of the most intimate scenes we've ever seen Odysseus share with anyone on screen. Seldom do we see him this honest in front of others (the vulnerable scene with Circe at the end of There Are Other Ways is the only other example I can think of.) Otherwise, all of his honest, raw songs are his solo songs (Monster, Just A Man, ...)

But here, Odysseus is essentially using the symbol of Poseidon's invulnerability—his trident—to force him into the most vulnerable position that he's probably been in centuries, if not ever ... and at the same time, he is being incredibly vulnerable himself. He's opening up to Poseidon in a kind of absolute way that we have actually never seen him open up to anyone.

... If that is not intimacy in its rawest, most painful, uncomfortable, and yet cathartic forms, I don't know what is.

As if that weren't sad enough... The saddest part about all of this is actually Poseidon's "Monster!" ... Because it tells us without a doubt that he is actually incapable of receiving or understanding those words from Get In The Water (my beloved 🫶). He is incapable of understanding vulnerability. All he can see is the "monstrous" act that accompanies it because that is something he knows and recognizes.

Although I believe, in the end, Odysseus did get through to him, and did get him to drop the grudge, I believe it happened on a kind of subconscious level rather than genuine acknowledgment or agreement. It's further proof of how Odysseus is capable of growth while Poseidon isn't (yet.)

Poseidon remains stuck in his ways, in his "ruthlessness" philosophy, because he isn't ready to acknowledge its flawed nature, essentially making it his own cage that prevents him from growing or moving forward. Meanwhile, Odysseus is walking away, walking ahead.

... Part of me almost wants to claim that he started begging Odysseus to stop so quickly not because of the physical pain, but because of his words. Because the vulnerability forced on him was hurting in a way that physical injuries, even from his own trident, never could. Because deep down, very deep down, he must've ... "felt" what Odysseus wanted him to understand and feel anyway.

Remember how I compared this type of intimacy to the sudden ability to read someone's mind before? I chose this analogy for a reason. What is intimacy if not using the very source of a god's invulnerability, essentially putting yourself into his divine shoes, doing what you know he would do to you ... in order to force him to connect to your mortal feelings and pains, even if he can still not truly understand them?

Here is where we see, for the first time, maybe ever, what even Odysseus and Athena couldn't do (yet), and the core reason why their partnership broke apart: a mortal and a divine genuinely understood each other's perspectives ... saw themselves in the other, even if only for a moment.

Given all that ... there is absolutely nothing I can say against kicking my feet and giggling excitedly over this scene.

NO BECAUSE EPIC TELEMACHUS DOES FIND HIS FATHER WHILE FIGHTING THOSE MONSTERS

Interesting that his father too has become a monster but more on that at nine

Let's talk about "Monster" ... and one of Odysseus' criminally underrated traits: his lack of judgment.

I was re-listening to "Monster" the other day and it kind of just hit me... Overall, that song isn't my favorite (it's somewhere in B tier; the lyricism is great, and the part after "So if we must sail through dangerous oceans..." absolutely slaps, it's just not one that I go back to frequently.) But there are some things I genuinely adore about it because I adore the way it progresses Odysseus' character arc as clearly not a "corruption" and how this is conveyed through the way the song is set up and presented.

First of all, I simply have to yap about how Odysseus isn't justifying his foes' actions the way that I have seen some people falsely assume. He's describing what they did or do and essentially saying, "They aren't letting themselves be stopped by guilt from doing what they think they have to do, so why should I?"

You look at that and you may think, "That's all very fair, but that doesn't mean any of those actions are justified" ... and you'd be right. None of the actions above are actually right or justified.

But the thing about "Monster" that I love so much is that it's specifically NOT something like, "These people I've encountered are all evil and ruthless and they are right and justified in being that way; I'll be the same." It's actually, "These people I've encountered act with ruthlessness; it clearly aids them in achieving their goal, and they seem to have figured out how to not feel guilt over their actions. I want to reap those benefits too. So far, I've been acting with mercy, which seems to have disadvantaged me. If they can do it, I can and should do the same to level the playing field."

Odysseus isn't saying that their actions are right, wrong, or justified. He's simply exploring why these people act the way they do. And he does so entirely without judgment.

I'm not surprised about him not judging Circe; while she was still wrong since she went overboard and struck preemptively against people who were not guaranteed to ever cause harm, she was pretty much redeemed in the end and her point is the easiest out of these to understand.

But the rest? Polyphemus killed his best friend. Poseidon drowned his whole fleet. The Trojan horse? It never comes up anywhere else but since he mentions it here, I think it's safe to assume that Odysseus feels guilty for using a tactic such as this. And still... Odysseus talks about his foes' actions with understanding and an open mind. He acknowledges their points of view—all of them, even if none besides Circe ever acknowledged or understood his.

The only time we genuinely see Odysseus act out of resentment is when he tells Polyphemus his name... After that, he never shows anything of the sort ever again. If he ever held any resentment toward any of his foes, I feel like this is where he lets it go for good.

Hell, even Poseidon, whom he would have by far the most reasons to resent, Odysseus doesn't actually judge or resent. I wrote a whole mini-essay on why the Vengeance saga proves that Odysseus doesn't actually seek or want vengeance on Poseidon. One might argue that he sounded like he was avenging his crew in "Six Hundred Strike" but it's important to remember that he offered Poseidon forgiveness one song earlier. He didn't lead with vengeance or resentment, but he rekindled his anger when Poseidon rejected his mercy.

My point is that Odysseus doesn't judge or resent any of the people who attempt to stand between him and his home... which shows incredible character strength in and of itself. This occurs later, but he acts similarly toward Calypso in "Not Sorry for Loving You" as well.

This is such an underrated trait of his, especially considering it fits perfectly with EPIC's themes, which revolve around seeing every perspective and balancing between ruthlessness and mercy. Honestly, I don't think those themes would even work with a protagonist who isn't so open-minded.

Coming back to "Monster," as we've established, Odysseus doesn't pass judgment on his foes. Similarly, he isn't saying that his decision to embrace ruthlessness and "become" a Monster (read more to find out why I put that in quotation marks) or any of his future actions as this Monster are justified.

I genuinely despise it when people call his arc a "villain arc" or "corruption" because that's pretty much missing the entire point. He isn't actually becoming a monster, corrupting, or genuinely changing his personality—hence why I put those quotation marks earlier. He is deliberately choosing to embrace a certain ruthless way of acting, fully knowing that it is not actually right or justified. "So what if I'm the Monster?" is self-gaslighting. He knows it's not "so what?" But he's doing it anyway because he has seen this way of acting aiding his foes. He literally says, "I must become the Monster / And then we'll make it home." He is convinced that this is what he must become because he keeps being told this by everyone.

From the top, his values or person isn't actually being corrupted. He's not really internally changing. He's merely adapting a way of behaving because he thinks it's the only way he'll still get home, and only because of that. It's really f*cking sad actually. Especially because he is wrong; his not being ruthless is not actually the problem, as we find out later.

Genuinely, his monster act lasted exactly 3,5 songs; in the second half of "Mutiny" it's already all gone because he is so afraid for his crew and what they're about to do to themselves that he instinctively goes back to wanting to save them despite how they just led a mutiny, despite how they don't listen to him regarding the cows.

Odysseus' entire arc can be described as, "He tries out mercy, and it doesn't get him home. He tries out ruthlessness, and it doesn't get him home either. In order to get home, he needs to learn balance, in Hermes' words "Every trick in his domain"." And that is also, as I believe, the main theme of EPIC: Neither ruthlessness nor mercy by itself is the solution. Both have their place; one needs balance. Or: treat people as they ask to be treated.

Only by the time of the Vengeance saga does Odysseus seem to have finally figured this out, and that's where he genuinely starts succeeding.

So no, Odysseus is no longer "The Monster" by the time of the Vengeance saga, no matter how much the visuals in "Six Hundred Strike" try to convince us otherwise. But he isn't "Just a Man" either. Did anyone besides me notice how he stopped calling himself this or justifying his weak moments like that in "Monster" and how he doesn't go back to it even after dropping the monster act?

And here we have the perfect segway into an essay I haven't written yet that might answer the question, "If now he's not a man and not a monster, what is he then?"

Well, technically Odysseus told us himself that one time he acted out of resentment... "Neither man nor mythical." But that's an essay yet to be written... I'll get to it soon, and there we might answer what actually happened in "Six Hundred Strike" and why the line "If you dance with fate I know you'll enhance your state", that I see is mostly overlooked, matters so much more than we probably all think.

Until then, know that I am not actually the first one to address the "Neither man nor mythical" significance. Credit goes to @glisten-inthedark; coming across her post on this matter genuinely enhanced my understanding of what happened so much and I need all of you to read it because it's a truly brilliant conclusion. I'll write my own essay on this topic soon, I promise. But without that post, I would've probably not come to this realization for a long while.

Either way, we end this essay with words that I will never tire of repeating: Stop villainizing Odysseus, y'all. It's not cool, not only because it's undeserved but also because it pretty much shows that you have successfully missed the point and core theme of this musical.

... See you when we inspiration for another essay strikes me. In the meantime, have a brief introduction to what that essay will cover in meme form because I can.

Still thinking about EPIC because I just love how EPIC handles Ody’s guilt.

Now, I don’t think I need to deep dive on how Odysseus’ guilt drives him in Act I. We’ve been obsessing over that for ages lmao, but very briefly: He feels awful for killing the infant Astyanax, and tries to force Polites’ “Open Arms” philosophy in order to ease that guilt.

Then, in “Monster,” Odysseus grapples with how his guilt leads him to make mistakes, asking: “What if I’m the one who killed you / every time I caved to guilt?”

And the implication is that gives up his guilt, deciding he needed to be a monster who “threw that guilt away.” And yet.

He never does.

He never stops feeling guilty—not about what he does in Act I, and not about what he does in Act II. We see it in how he agonizes over Zeus’ impossible choice in “Thunder Bringer”; in “Love in Paradise” when he’s haunted by the ghosts of his loved ones. And it’s not like he’s unaware of what he’s doing—Odysseus knows he’s been trying to suppress his feelings, most of all guilt and remorse.

In “Six Hundred Strike,” Poseidon rhetorically asks “How will you sleep at night?” He wants to know how Odysseus is going to live with his guilt, if he even still feels guilt. Odysseus answers his rhetorical question literally, “Next to my wife.”

Which, not only is that just a raw line, but it also does give a rhetorical answer. Odysseus knows that he isn’t going to be okay, that the guilt will way him up inside for the rest of his days, but he also knows he can count on Penelope. That she will help him shoulder his burden.

And he’s prove right in “Would You Fall in Love with Me Again.”

Because, finally. After twenty years, Odysseus is home, safe and sound—and all at once the guilt hits him. The pain and regret over every decision he had to make comes crashing down the moment he no longer had to suppress it.

And he hates it; he hates himself for making those choices, even when there was no other way to get home.

So he tries to dehumanize himself once more—to convince Penelope and himself that he’s become some kind of remorseless monster. Because that’s how he coped with it last time. That’s how he survived “Monster.”

And Penelope sees right through his bullshit. She cuts through his guilt and self-loathing to tell him, in no uncertain terms, that he is still human; that he is loved. And in doing so, tells him that it’s okay to grieve, to feel that guilt and let it go. He’s suffered enough.

Actually going insane over all the melodic motifs in the Ithaca Saga because what do you mean "keep your head down, he's aiming for the torches" is sung the same way as "keep your friends close and your enemies closer", what do you mean Odysseus's name is sung in the danger motif the same way Polyphemus's was, what do you mean the danger motif plays when Penelope asks Odysseus to move the bed, what do you mean Athena's motif mixes with Legendary when Telemachus arrives, what do you mean an instrumental of Little Wolf plays when he fights the suitors, what do you MEAN-

i don’t think you’re ready / this is who we’re fighting / hunger is so heavy

that melody is so ughhhh is this something

Shaking the Epic the Musical fandom by the throat rn

Penelope did NOT weave a shroud for 20 years. Odysseus was away for 20 years. 10 of those were part of the Trojan War! Okay?

They don't have instant messaging and shit back then so you didn't know who was alive/dead until after the war for the most part.

The suitors would not show up until After they were 100% sure that the king was dead. (They are Not looking for a death sentence, which it would be if he was found alive after the war).

Not only that, but it would take a few weeks to months after the trojan war was over for Ithaca to find out. She could probably buy a few months after that of: "oh he just hasn't returned yet, he'll be home soon."

From what I researched Penelope would then have 1 year after death seemed the only option for Odysseus's absence before the suitors would show up because it was considered unclean in ancient Greece to be close to death (husband, father, brother, etc. dies? You're considered unclean for a year no matter what. People have to leave you alone or else they're also considered unclean).

A burial shroud takes about 4-5 weeks to make, so it is still impressive that Penelope managed to ward off the suitors for 8-9 years. Don't get me wrong.

But it Was Not 20 years!

A detail I love about Epic is that Odysseus is never actually named in the musical itself until he reveals it himself.

If someone went in blind into a stage play version of it without any prior knowledge about the Odyssey then all they’d learn about him first: he’s a high ranking soldier to be commanding others in a war in Horse and the Infant and learns that he’s fighting for two people named Penelope and Telemachus, possibly his wife and child (and also that he might be a king if they catch the “he will burn your house and throne” line); then that he’s a father with the confirmation that they are his wife and son in Just a Man. For the rest of the Troy saga they’ll learn the names of the rest of the cast but not the name of the main character himself, but will get titles he has or gets called by like “Captain” and “Friend” (Polites) and “Warrior of the Mind” (technically “Boy” is also one as that’s what Athena used to describe him when he killed the boar). Then in the Cyclops saga he names himself “Nobody.” It’s obviously a lie, but there’s an impact from listening to it in order with the rest of the songs because it’s the first time Odysseus claims a name for himself, and for that unknowing audience member it’s the only confirmed name they’ll have for him in the moment, until Remember Them, where finally, from the character himself, you learn that he is the infamous Odysseus, king of Ithaca.

His name only start appearing in lyrics after this point.

Even for someone who knows his name, there’s a impact that stems not just from the awesome way the line was delivered, but also from the fact that it’s the first time you hear it spoken out loud in the musical if you are listening to it in order.

Ok but you know how Jorge said the lines “ruthlessness is mercy” & “maybe we can learn to forgive” are sung with the same melody?

As I was falling asleep last night, I realized that the melody for “I can’t help but wonder” is sung in the same tune & cadence as “what if I’m the monster”

WHAT THE FUCK HOW DARE TOU MAKE ME HEAR THIS IN MY OWN TRAUMATIZED BRAIN

Can we get something straight here about Penelope and this whole “Spartan” thing?

Sure, we all know Penelope was from Sparta (well, technically), and we’ve all seen enough 300-inspired pop culture nonsense to think that every Spartan woman must be some spear-wielding, leather-clad, muscle-bound badass. So let’s clear that up once and for all: Penelope was absolutely not that type of Spartan. In fact, that vision of Spartan women is more of a modern fantasy than an actual reflection of Spartan society, and Penelope herself would probably laugh in your face if you tried to pin her down to that archetype.

First off, let’s talk about what it actually meant to be Spartan. Yes, Spartan women had a reputation for being strong, but we need to understand that strength wasn’t defined by throwing a spear or taking down enemies with a shield. Spartan women were celebrated for their physical health and were tasked with producing strong offspring to build the next generation of warriors. They were also responsible for the running of the household when their husbands were off fighting in wars, which meant managing estates, controlling property, and overseeing the everyday operations of Spartan life. So, while Spartan women were not helpless, they weren’t exactly wandering around with weapons, challenging every person who crossed them, either. Penelope’s version of Spartan strength was a little more intellectual, shall we say. For twenty years, while Odysseus was “getting lost” (as one does), Penelope faced down a horde of suitors who were camped out in her house, constantly pressuring her to choose a new husband. Did she pull out a spear and kill them all? No. That’s not what spartan women did. Did she start a war? Absolutely not. Instead, she employed the ultimate weapon: patience. She weaved and un-wove a shroud for years as a stalling tactic, keeping the suitors at bay. Sure, there’s no sword involved, but let’s be real: that takes more cunning than any weapon ever could. Spartan women are not known for fighting, but for surviving.

Penelope’s Spartan roots may have given her the ability to endure, to manage her household, and to outsmart the suitors who had overrun Ithaca, but we’re missing the point if we think that means she was out there battling it out like a heroine from some action flick. Her version of strength was mental, not physical. Instead of wielding a spear, Penelope wielded her intellect, her wit, and her ability to play the long game. If you’re expecting Penelope to start slaying suitors left and right, or charging into battle with a sword in hand, you’re setting yourself up for disappointment.

Pop culture would love to turn Penelope into a spear-wielding warrior queen, but the actual historical context is far more subtle and far more impressive. She was Spartan in the most meaningful sense of the word: resilient, strategic, and damn clever. Penelope did not need muscles at all. She had the power of endurance — something a spear can’t give you.

if epic ever gets a stage adaptation, imagine how the song odysseus is staged.

it’s dark, with a single spotlight on ody as he sings his opening monologue. all of the lights go out when the electric guitar kicks in & the chorus chants.

then, somewhere in the aisles, torches are lit. the suitors are in the audience, between the rows of seats (some intentionally left open so they can maneuver), up in the boxes. u can’t see odysseus anywhere, but arrows fly from multiple directions during the slaughter.

during his ending monologue, some of his lines could even be prerecorded to throw his voice around to mimic him being everywhere.

the remaining suitors try to flee from the exits of the theatre but they can’t. ody walks down the aisles to get to them, bow in hand. the lights go out a final time as the song ends.

Athena: So... who's the big spoon and who's the little spoon?

Odysseus: We're chopsticks!

Athena: Well... that's cute!

Telemachus: Does that mean you two snuggle together perfectly?

Penelope: No, it means that if you take one away, the only thing the other is good for is stabbing.

Mr Jay's Thought Process While Writing Epic:

Jorge: Oh yes! And this character is gonna have this motif and it's going to meld with this character's theme and we're gonna sprinkle some ensemble here for extra spice and we're gonna make the lyrics rhyme according to syllable! Yes! It's going along well!

Jorge:

Jorge:

Jorge: bUT WHAT IF I MADE PEOPLE CRY-

Mr Jay's Thought Process While Writing Epic:

Jorge: Oh yes! And this character is gonna have this motif and it's going to meld with this character's theme and we're gonna sprinkle some ensemble here for extra spice and we're gonna make the lyrics rhyme according to syllable! Yes! It's going along well!

Jorge:

Jorge:

Jorge: bUT WHAT IF I MADE PEOPLE CRY-

Alright, to ao3's soon to be arriving Wattpad Refugees, a basic guide to general user culture:

1.) Unlike Wattpads vote system that let's you like each chapter, the ao3 equivalent kudos only allows one per work. Everyone is generally quietly annoyed about this. To engage with each chapter, you're heavily encouraged to comment. Trust me, it makes people's day.

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4.) Speaking of warnings, ao3 has very few restrictions on the type of work that's allowed. Whatever your personal thoughts or feelings on that are, thats how the site is. You're likely to run across some dark subject matters and a lot of people are uncomfortable with reading that. You're well within your rights not like these works and have your opinion on whether they should be allowed, but harassing the authors of such works (or any works) is more likely to come back on you than them. Ao3 operates on a strong policy of 'don't like, don't read'. Use the tagging system to your full advantage to only engage with the kind of works you want to see.

We look forward to welcoming you all and seeing the fantastic works you create. Happy writing!

*after the events of the odyssey*

*telemachus and odysseus walking down to the docks, after odysseus said he'd go sailing with his son*

(listen the man had missed 20 years of his son's life, he could ask ody to dress in drag & do the hula and odysseus would already be shouting "LUAU" in a grass skirt before tele finished his sentence)

telemachus: i'm so excite- *looks ahead*

telemachus: *stops walking* oh no *sad noises*

odysseus: *still walking* what's wrong son?

telemachus: *points to the sea beyond ithaca's shores* poseidon must be angry today, look at the storm in the distance

odysseus: *looks ahead but without worry on his face* no need to worry, we can still go sailing, follow me

telemachus: *confused but follows his dad*

*both make it to the docks*

odysseus: you get started, i've just got something to do & then i'll join you on the ship

*telemachus hops on the ship and odysseus turns to face the sea*

odysseus: *red eyes activate* i'm. going. sailing. with . my. son.

*the sea storm dissipates in record speed*

odysseus: good.

odysseus: *red eyes deactivate*

odysseus: *turns to telemachus smiling like nothing happened* shall we go then?

telemachus: *happy but very confused*

telemachus: *mumbling to himself*what just happened?

While sailing, Telemachus falls off the boat.

Ody doesn’t even have time to panic before a body of after plops Telemachus back on the ship (moana style) with a note saying “I didn’t do shit.”

hdjlsjskdkdj yES

poseidon ain't giving ody a single reason for a second round of stabbings. no sir, not him.

now i just want scenarios of poseidon going out of his way to not potentially piss of odysseus or have him angry with the sea/ocean.

telemachus: *looking down at the sea from the ship*

telemachus: *gasps* father look! dolphins!

odysseus: *comes over to look* oh yes i see them!

telemachus: can i take a closer look?

odysseus: *mulling it over*

telemachus: pleeeeease?

odysseus: *is weak for his son* ok fine, but please stay close to the shi-

telemachus: *dives in*

odysseus: -p.

odysseus: *gives the sea a warning look, and then looks down at his son*

*nearby a shark has taken notice of the human jumping in the water*

*shark is getting closer. telemachus and odysseus have not noticed yet*

odysseus: *finally notices the moving water not too far infront of telemachus*

odysseus: *about to dive in the water to save his son* telem-

poseidon: *appearing out of nowhere in the water*

poseidon: *absolutely bodies the shark away from telemachus and the surrounding area*

odysseus:

telemachus: *who just saw a blur of something/someone hit a shark(?!) infront of him*

telemachus: what was tha-

odysseus: how about you come back on board now?

odysseus: it's getting late, and i think your mother will want us both back soon

telemachus: *gets back on the ship* *is confused again*

Headcanon that Athena mentions her "friend" to Telemachus every time she has the chance and Telemachus, being this curious boy always wanting to hear stories, always encourages her to do so.

Then one day, Telemachus being bored as hell and probably got into another fight with the suitors, goes up to Athena and asks her if her friend ever did something stupid

And Athena just. Jumps to tell all the bullshit Odysseus got into. It's like a therapy session to talk about how dumb he can be. And Telemachus eats it all up

Fast forward to when Ody comes back home and Athena just hangs around sometimes. Telemachus, again, bored goes to ask Athena about stories of her friend and the shit he did. And Athena freezes up. Odysseus gets curious, and jealous, cause he never knew about a friend, and asks his son.

The mix of pure horror on his face when he discovers his son knows all the stupid shit he did in his youth, and the joy of Athena calling him her friend and talking about it goes entirely unnoticed by his son.

Athena meanwhile is dying inside.

Penelope is cackling