Noah Kahan
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@kotalefanzu
sketchys based on Go for it! Octomura by @pirozhkiparty :)) where Nakamura is a Cecaelia (obsessed with your writing fr fr)
Guys pls go read this fic it cures depression. It actually adopted 63 orphan children and solved world hunger. This fanfic has been ordained by the holy church of BL
also the first page I was too lazy to flesh out a full comic but Hirose fell into the ocean and Octomura saved him and revealed himself or something, idkkk man i just work here
To what extent does Christopher Nolan’s adaptation of The Odyssey diverge from Homer’s depiction of Archaic Greek polytheism by reinterpreting Greek mythology through a Christian theology resembling monotheistic doctrine in regards to its portrayal of divine authority, ethics of heroism, and morality?
Christopher Nolan’s adaptation of The Odyssey presents itself as a modern retelling of Homer’s epic, yet its deviation from the source material extends beyond narrative condensation or cinematic requisite. Rather than merely omitting scenes, the film fundamentally alters the religious worldview that structures Homer’s poem. The Odyssey is not simply a story inhabiting Greek gods; it is a narrative of metaphysics, ethical, and conceptual heroism that is inseparable from the religious beliefs of Archaic Greece. In Homer’s cosmos, the Olympian gods are active participants in human affairs, each exercising distinct authority, interests, and limitations within a decentralized divine hierarchy.
By contrast, Nolan minimizes the active role of individual deities, collapsing divine agency into an abstract and unified moral authority, reshaping Odysseus into a conventionally virtuous protagonist. The result is a theological framework that more closely resembles Christian monotheism than Homeric religion. Consequently, the adaptation transforms not only the plot and characterization but also the philosophical meaning of The Odyssey itself.
The most significant divergence between Homer and Nolan concerns the nature of divine authority. In Homer, no deity possesses absolute sovereignty. Although Zeus reigns as king of Olympus, he is neither omnipotent nor omniscient. Rather than functioning as an all powerful creator, Zeus acts as an arbiter among competing divine interests. Athena consistently aids Odysseus because she admires his intelligence, while Poseidon relentlessly persecutes him for blinding his son Polyphemus. Hermes serves as Zeus’ messenger, Aeolus grants Odysseus the winds, and Circe ultimately becomes his ally. Divine power is therefore political, negotiated, and fundamentally pluralistic.
Nolan largely removes this dynamic. Individual gods rarely appear, and references to divine action are frequently generalized into statements such as “Defy the gods” or “I can’t save them from the gods.” This linguistic shift is subtle but significant. Rather than portraying multiple deities pursuing conflicting agendas, the film presents “the gods” as though they possess a single, unified moral will. Such language resembles Christian monotheism, in which God embodies one coherent source of moral authority, far more than it reflects the decentralized cosmology of Homeric religion.
The diminished presence of the Olympians reinforces this transformation. Ironically, by rendering the gods largely invisible while maintaining constant references to their authority, Nolan’s adaptation causes them to resemble the distant, transcendent God of the Abrahamic traditions. Homer’s gods, by contrast, are unmistakably present: they disguise themselves, intervene directly in battles, deceive mortals, argue with one another, and frequently alter the course of events. Their visible participation constitutes the metaphysical structure of reality itself. Apollo is not merely associated with plague; he personifies plague. Athena does not merely inspire wisdom; she embodies it. The gods are not external supervisors of creation but active manifestations of the natural and moral order.
Nolan’s reinterpretation of heroism further reflects this theological shift. Homer’s Odysseus is neither morally pure nor conventionally righteous. His defining quality is metis; cunning intelligence. He lies, deceives, manipulates, and survives through wit rather than physical strength or moral perfection. Athena favors him precisely because of this exceptional intelligence. Greek heroes are not saints; they are extraordinary individuals whose pursuit of kleos (glory and everlasting reputation) often requires morally ambiguous actions.
The Trojan Horse exemplifies this difference. Within Homeric tradition, the horse is celebrated as the ultimate demonstration of strategic brilliance. Nolan, however, presents it as something closer to a moral offense, a crime burdening Odysseus with guilt rather than confirming his excellence. This reframing substitutes modern ethical judgment for Homeric admiration of cleverness.
Throughout the adaptation, scenes emphasizing Odysseus’ morally ambiguous ingenuity are reduced or removed. His flaws, arrogance, and calculated deception are softened, resulting in a protagonist who more closely resembles a morally superior figure than Homer’s deeply imperfect hero. The film consequently replaces Greek ideals of excellence with a conception of heroism grounded in moral righteousness, a framework more recognizable within Christian traditions than within Archaic Greek thought.
This transformation also elevates Odysseus into an almost prophetic figure. Rather than emphasizing his exceptional intelligence within a competitive heroic culture, the adaptation increasingly presents him as a wise, suffering figure whose authority derives from moral insight. Such characterization evokes the archetype of the holy prophet more readily than the Homeric warrior celebrated for cunning and glory.
The adaptation similarly alters the ethical foundations of the narrative. Hellenistic faith cannot be understood simply as Christianity with multiple gods. Where Christian ethics are fundamentally concerned with sin and obedience to divine commandments, Homeric philosophy is rooted in honor, reciprocity, fate, ritual obligation, and social custom.
The institution of xenia exemplifies this distinction. Zeus Xenios protects strangers and guarantees hospitality between host and guest. This obligation is closely connected to theoxenia, the belief that a stranger might be a god in disguise. Hospitality therefore functions as a sacred reciprocal institution: hosts and guests each owe obligations to one another because Zeus safeguards the custom itself. Violating xenia insults Zeus not because hospitality constitutes a universal moral commandment comparable to “love thy neighbor,” but because it disrupts a divinely protected social institution.
Nolan’s adaptation appears to reinterpret xenia as something resembling a universal divine law comparable to the Ten Commandments. References to “Zeus’ law” frame hospitality primarily as an absolute moral prohibition rather than as a reciprocal religious custom embedded within Greek social life. This subtle shift fundamentally changes the ethical logic of the story.
The treatment of Penelope’s suitors further demonstrates this difference. In Homer, the suitors are condemned not simply because they are immoral individuals but because they repeatedly violate xenia, consume Odysseus’ household, abuse sacred customs, and destabilize the divinely sanctioned order of the oikos. Consequently, Odysseus’ slaughter of the suitors restores cosmic and social balance rather than constituting personal vengeance. By reframing these actions primarily through modern moral categories, the adaptation obscures the ritual and religious significance of justice within Homeric society.
The diminished roles of Athena, Hermes, and Aeolus fundamentally alter both the narrative and its theology. Without Athena’s continual intervention, Odysseus increasingly appears to succeed through individual effort alone. In Homer, however, divine favor is inseparable from human excellence. Athena repeatedly disguises Odysseus, advises him, strengthens him, and orchestrates his return to Ithaca. She represents the divine recognition of his metis. By removing her active presence, the adaptation shifts responsibility almost entirely onto Odysseus himself, replacing cooperation between mortals and gods with a more individualistic conception of heroism.
Hermes’ absence produces equally significant consequences. In Homer, Hermes provides Odysseus with the herb moly, enabling him to resist Circe’s magic. Without this intervention, Odysseus’ victory over Circe becomes an achievement of personal ingenuity rather than divine assistance. Likewise, Hermes delivers Zeus’ command ordering Calypso to release Odysseus. Removing Hermes transforms Calypso’s decision into an act of personal choice, eliminating the divine deliberation that originally motivated the event and reducing the political complexity of the Olympian gods.
Similarly, omitting Aeolus and the Bag of Winds removes one of Homer’s clearest demonstrations of collective human failure. The crew’s inability to trust Odysseus, driven by greed and suspicion, reveals their own hubris and ultimately prolongs their suffering. Without this scenario, responsibility shifts away from the crew’s moral shortcomings, simplifying both character development and thematic complexity.
Collectively, these omissions abstract divine action into an impersonal force. Rather than attributing events to Athena, Hermes, Poseidon, or Zeus individually, the adaptation repeatedly invokes “the gods” as a unified entity akin to the Holy Trinity. This linguistic and narrative consolidation aligns more closely with monotheistic assumptions about divine agency than with the fragmented, competitive theology that defines Homer’s world.
Christopher Nolan’s The Odyssey modernizes more than Homer’s narrative; it reconfigures the religious philosophy upon which the epic depends. By minimizing the active participation of the Olympian gods, collapsing divine authority into a unified moral force, redefining heroism according to contemporary ethical ideals, and reframing Greek concepts such as xenia through assumptions resembling Christian moral theology, the adaptation fundamentally alters the worldview of the original poem.
Homer’s Odyssey presents humanity navigating a cosmos governed by competing divine wills, where excellence emerges through the interaction of mortal intelligence and divine favor. Nolan’s adaptation instead portrays humanity as existing under a more unified moral order, one in which virtue increasingly resembles obedience to an overarching ethical authority. In doing so, the film transforms not only Homer’s characters and plot but the theological and philosophical foundations that define The Odyssey.
People thinking the past was dark and monochromatic when in reality life has never been more devoid of colour is PISSING ME OFF. Look around yourself. Everything is something shade of gray or neutrals. Cars, interiors, exteriors, clothes.
The Greek statues were painted, and their clothes were dyed rich colours. Odysseus was dressed in purple. People of the middle age LOVED colour. Do you realise how prevalent colour symbolism was in the medieval times? I so wish people would stop idolising this washed out version of history. It was so so vibrant, once
I really loved this. RIP Salao 😔
The Boy with the Arms - chapter 13
Chapter 13 has been finished. Read it here!
The story is approaching its climax. I have such big feelings about the next chapter: nervousness, excitement, fascination, and quiet heartbreak. But for now, I hope you enjoy this chapter.
I will never emotionally recover from Overture
I'm done.
our new dumbass that makes people explode without a single flinch
a ghost from the future.
Part 1 | Part 2
Edit: The two updated versions got lost in the reblogs, and people keep asking for characters, so I'm editing the original post now.
Also, after playing In Stars and Time, I have realised Siffrin isn't really voiceless in the way I meant, and people have said Six and especially Mono shouldn't count, but consider: it's my gender and I get to choose the blorbo
everyone deserves sunshine!!
Kinda visual aid thing i whipped up for Haunting Gotham on ao3. YES I KNOW CANONICALLY DAN'S EYES ARE RED. SHUT UP. For this fic theyre kinda flipped. He gets scary green floodlight eyes as a ghost and red-ish-brown eyes as a human. Ta-da!
nakahiro doodles...🐙🦀
Third years.. or second maybe
Go For It, Nakamura! Episode 13 Review - A Charming Person (Season Finale)
As Go For It, Nakamura was one of the first anime to air this season, it means it’s also one of the firsts to get a season finale in the middle of this month. Anyways, how was the finale? Honestly, it was good! People may not like that the main pair did not get together, but I like the open-ended aspect. It gives a possibility that they can get together in the future, but not right now.
oh that boy is so gay literally EVERYTHING hirose did in the finale was screaming “i’m on the cusp of a gay awakening pls keep hanging out with me until one of us builds up the courage to do something about it”
good for him good for them they’re canon in my mind
statement statement
