Tell us some more of the motifs and connections between the dysseu and cuckoo lines! You've talked a bit about the people, but what sort of archetypes did you aim for when making them? What sort of connections did you plan out and which ones didn't work and which ones would you rework?
So, the Dysseu and Cuckoo lines are actually the same one! The Cuckoo line only exists from Medeia onwards: she was born in a helming facility as Auriga Dysseu, and when the rebellion rescued her from it, they changed her name to Medeia Cuckoo as part of the fake identity she used to infiltrate the university where Daedal worked.
The main motifs for the bloodline are:
JOURNEYS: the Dysseu’s get their name from the Odysseus! All of them face a journey of some sort during their life that defines them. Of the known members of the bloodline, we have:
MEDEIA: journey from working for others (being enslaved, and then serving the revolution) to, after her murder of Daedal, only working for self-motivated survival (psychically murdering any and all of her descendants that make it to space, and stealing their bodies).
THETIS: journey from only serving herself, when she was a gladiator and then the captain of Sayyid’s guard, to dedicating herself to the service of the unknown violet - and subsequently, fucking losing her life to it.
RMEROS’S JOURNEY is towards accepting that keeping his agency will require the loss of anothers, in the form of Pheres.
PHERES’S JOURNEY is accepting that he needs to keep his own agency, and he can’t just live life as a tool of others.
WATER: they’re a bloodline of cusps, and this means they have a fucked up water theme. Thetis was raised on the coastline, and loses her life to water - indirectly, through sacrificing herself for her violet. This parallels Rmeros, who was raised on the coastline and is drowned by Sipara. Pheres is endlessly drawn to the saline ocean of Alternia, which represents life to him - Medeia is endlessly drawn to the emptiness of space, in which the lack of water represents death.
ARCHETYPES:
Pheres’s entire archetype is, ultimately, that he’s someone that was raised specifically to be used, and he initially intensely feared moving past that. If someone wasn’t actively putting him to work, then he’d deal with that by putting himself to work, no matter how much he resented it. His overall character arc has always been “how can he move past this?”, and as of right now, “what can he replace this motivation with, and can he avoid falling back into it?”
Thetis’s archetype is basically just an examination of how people fall back into the habits they are used to, over and over and over again! She was raised as a servant to highbloods, and she risks her life repeatedly to escape from that lifestyle through the gladiator ring. But as soon as she earns her freedom, she doesn’t know what to do - so she begins falling back into losing it. Serving as Sayyid’s head of guard was the first step, but her choosing to cover up Sayyid’s matesprits rebellion - and dying for it - is a tragedy because Thetis doesn’t do it for love: she does it because, when push comes to shove, she was raised to serve highbloods, and when a violet asked her to put her neck on the line, she did it.
Rmeros’s archetype is functionally - at what point does self-preservation become immoral? Rmeros is someone who intentionally targets, abuses and isolates a child in order to murder them for his own gain. But if he doesn’t, he’s going to be stuck in a torturous existence that he does not deserve and cannot escape for the rest of his life, and he’s sixteen or seventeen when Birds & Lions occurs. It’s fucked up for him to kill Pheres - but he’s an adolescent given a loaded gun and one way to save himself, and the fact he chooses the absolutely most horrific option of all is supposed to highlight the tragedy of Alternia as a whole.
Medeia’s archetype is a follow-up on Rmeros’s! She’s the footsteps that he falls into, throughout the story, and the metaphorical voice in his ear that encourages him to keep moving forward. Her entire arc is meant to be an examination of the slippery slope fallacy. Is it okay that she murdered trolls escaping from the helming fallacy? Is it okay that she became quadrants with Daedal specifically to gain informtation, when Daedal only viewed her as a fling? Is it okay that she murdered Daedal, if it’s after she was turned in? Is it fine if she kills her descendants, when they’re doomed to die young regardless? When your choices are to commit increasingly horrible crimes or to die, when does it become immoral to lay down and give in?
TL;DR: Cuckoos and Dysseu’s main themes are self-preservation and agency as a whole! Divided up every possible fucking way.
CONNECTIONS:
The Dysseu/Cuckoo line don’t really have connections, tbh, nor many planned! Ancestors are hard for me and rarely interest me long-term, unless I can spin a story out of them. |D
But they’re always open to some!








