#About time I post some other stuff here

[secrescaryat]

// pentiment spoilers (implied ig but still there)

more of these because i was inspired

[copia]

THIRTY-ONE DAYS OF GHOST ⛧ DAY ONE

first song you heard — Mary On A Cross

September 1969; Papa Nihil and the beginning of the Ghost Project take to the stage at the Whiskey a Go Go club in Los Angeles, under the watchful eye of Sister Imperator. Fifty-three years later, in Tampa, Florida, Papa Emeritus the Fourth performs Mary On A Cross, unaware that he is singing the story of his parents—and that of himself.

[chiropteracupola]

A very fine captain, and a finer friend.

[slickricklj]

Jill Valentine + Chris Redfield - When you know, you know.

Bonus:

[gods-perfect-idiots]

something something blood-soaked hands cradling your face something something

anyway here's the post btw

[98chao]

truly i love all of you and i'm so grateful for all the support i get on my vanilla milkshake posts here because i've just seen the way people talk about vanilla milkshake and mysticao on twitter and its genuinely taken 50 years off my life. now i've been reminded as to why i should never join the crk fandom on twitter

[themyscirah]

What runs/stories do you recommend for someone starting WW? Could you please be specific (/nicely)

Yeah ofc!

My Wonder Woman Starter Recs (specific style 😎)

First stops: for an initial introduction to Wonder Woman, I'd generally recommend going to at least one of three places first. These three are:

Wonder Woman: Historia: The Amazons by Kelly Sue DeConnick

Wonder Woman: Year One by Greg Rucka

Wonder Woman: the Hiketeia by Greg Rucka

Of these I generally recommend reading Historia first, as it's a retelling of the origin of the Amazons as a race and how Diana came to be (so it essentially starts from the beginning) and is also the most recent of the them (if that means anything). Something to note about Historia though is that it's a DC Black Label book, so it's events aren't strictly canon in the main DCU and there are some changes and new elements present. I don't think this is something that should discourage anyone from reading it though, it's the best WW origin story out there, and even in strict main canon over the years her origin is one that has had many fluctuations and small (& sometimes big) changes. WW:Historia is three prestige format (longer) issues.

You'll notice the third book there is WW: The Hiketeia. Hiketeia is a great book if you're looking for a view into Diana as a professional and experienced hero. It's a graphic novel so standalone and not too long, and has a great Diana and really interesting plot (Diana vows to protect a young woman and finds herself pressed against the wheels of Greek Tragedy). This is also the first work with Diana done by Greg Rucka, one of her most prolific and loved writers. A sampling of this work (and also Historia) I think gives a good guide to where to go next in terms of runs on her main title.

Wonder Woman: Year One is the second book on the list up there, but I'm mentioning it last here as it's a bit more complicated in terms of format. Unlike other year one books, WW: Year One is actually a series of issues on her main title, showcasing Diana's arrival to man's world in Rebirth (and also current p sure) continuity. The issue numbering for this one is strange (only the even issues 2-14 on WW (2016)) so I recommend looking for this in trade form if possible.

These 3 books I think give a taste of some of the best standalone stuff in the Wonder Woman mythos, and give the reader a good idea of where they may want to go next in terms of longer runs on the title. So I'll break that down here as a Step 2.

STEP 2: WHERE NEXT?

Here I break down some highly recommended runs based on what they have in common with the standalone books from step 1. As a rule, these runs are going to be much longer than the above and generally more connected to the wider DCU and other books. Look for the italics to see the introduction to each new work. Explanation paragraphs follow after each italic/bold rec.

Curious about Greek mythology in WW and the Amazons' origins after reading Historia? Liked the prescence of a supporting cast and Diana learning about Man's World from Year One? Willing to read a longer run? I recommend: Wonder Woman by George Pérez

George Pérez's time on Wonder Woman totally reinvented the character after Crisis on Infinite Earths, and is fundamental in establishing many core concepts of her lore. At 62 issues, 2 annuals, and a 4-issue crossover event at the end (War of the Gods), it's definitely a commitment to read, but it's the most enduring and well-loved run on Wonder Woman for a reason--it's just that damn good. Lots of focus on mythology (although with a lighter tone than Historia) alongside Diana learning her role in relation to Man's World & establishing herself as a hero and ambassador. Pérez's run also has almost-certainly the most expansive and developed supporting cast in WW comics, something that really drives the emotional core of the series, especially in later issues. Obligatory note that this series was written between 1987 and 1992 and contains some very occasional aspects that I thought were in some way dated/uncomfortable etc. while reading (details of Cheetah's origin, depiction of the Bana-Mighdall, Hercules) but despite that I still highly, highly recommend this run. The word fundamental cannot begin to describe it.

Liked the experienced Diana of the Hiketeia? Interested to see her attempt to balance the high stakes responsibilities of an ambassador and superhero? Looking for some really badass moments and fights? Haven't read enough terrible tragedy? I suggest: Wonder Woman by Greg Rucka 2003 EDITION.

Some of Diana's coolest moments of all time are collected here. Also one of her most controversial. The 1st Rucka run is very much the story for anyone who liked the Diana of the Hiketeia and the tragedy of that and Historia. 2003 Rucka Diana is a Diana tested, forced to make decisions that are anything but easy, and live with the consequences. She's extraordinarily capable, but her enemies know that and are prepared to that end. This run, along with the Pérez run, rank among my favorite Wondy comics of all time (those and Historia are my top 3). This run is such peak Diana, especially in terms of sheer badassery. Her final confrontation with Medusa is in my opinion perhaps the greatest Wonder Woman fight scene of all time. Her encounter with Athena in the second-to-last issue breaks me every time. Cannot recommend this book more.

*a note abt this run is that it is more context-dependent than the other ones listed here, as it's the run that finishes out the Wonder Woman vol. 2 book and so has some guest appearances from characters introduced in other prior runs (Artemis of Bana-Mighdall, Cassie Sandsmark, and Vanessa Kapatelis, to name a few). I read this run before knowing much (if anything) about any of them, and still enjoyed it a lot, so I wouldn't be worried about this really but just thought I'd mention it.

Rucka's 2003 run is published from Wonder Woman (1987) #195-226. You can also find it in trade and I believe(?) omnibus. Sometimes the Hiketeia is included in collections of this series, as the 03 run is thematically similar in many places, just with a much deeper look at Diana and the world & with higher stakes.

Liked the specific characters and plot threads of Wonder Woman: Year One? Want to see what happens with Diana's exile, or learn more about Barbara Ann? Want a Diana in between the extremes of young and highly experienced? Wonder Woman by Greg Rucka 2016 EDITION may be for you.

...yes I'm putting ANOTHER Rucka book on here. He writes a great Diana, what can I say. This run is the same one that Year One came out of, just the follow ups to that story and versions of the characters. I have this run listed as separate from Year One though, as there's some really big time skips since the events of that first volume. A lot of time has passed since then, and there's more history between the characters, not all of it without drama. This run continues to be weird with the numbering, as well as some artist changes, so I definitely recommend looking into reading this in trade format (physical or digital) if at all possible. My recommended reading order is WW 2016 by Rucka vol. 2 "The Lies" (Wonder Woman: Rebirth Special #1, followed by 2016 main title odd numbered issues 1-11), then Rucka 16 vol. 3 "The Truth" (odds 13-23) then Godwatch (evens 16 through 24) followed by 25? But The Truth and Godwatch combine near the end so that doesn't really work either. This run is so good but recommending it is such a pain because the numbering is so all over the place. On God I never know which order to read this in. Going to revoke my previous statement and say read it as Rebirth Special 1, then only odds 1 through 11, then from 13 through 25 normally. That may lead to some weirdness as you read because the two stories take place at different times and have different art styles, but they come together at the end pretty dramatically so I think it's less confusing to read it this way? Maybe? So strange bc this is one of the go to good starter runs and yet it's set up so unintuitively. If someone has a better way to read this then let me know and ill edit, ik this explanation is super confusing bc neither way to read it is totally ideal imo and I feel I definitely read it in a weird order.

Going to call that a good rundown of some of my greatest recommendations in terms of Wonder Woman comics. If anything wasn't fully clear here or anyone (not just anon) has questions or wants to talk abt WW comics/my choices feel free to send as many asks or dms as you want. Have a good day everybody, & as Diana says, may the glory of Gaea be with you <3

[mickeym4ndy]

i’m gonna say it the shameless fandom sometimes has a weird obsession with making fans prove that they disapprove of their fav characters’ quote unquote bad actions as a way to prove their intelligence or something

[faislittlewhiteraven]

Fais fanfic rambles: Introduction to my 'Selkies by Starlight' ISaT AU

Note: Not to be confused with @looped-140-and-counting / Soren_793's wonderful Selkie AU oneshot series 'The Northern Islanders are Selkies' which was hugely inspiring for this if potentially VERY different in vibe (we got very into talking about cloaks! XD)

Basic premise/summary:

In an alternate version of the precanon adventure, the party lead by Mirabelle to stop the King freezing Vaugarde in time, recruit Siffrin as per usual.

Thing is, Siffrin is a Selkie.

A very skittish selkie without a cloak of their own, who openly wears the cloak of another, and due to Reasons is under the impression that the party know all both of those things and the Implications about them, and for whatever reason have decided to welcome him into their group anyway.

Which er, he's completely wrong about as the party know absolutely nothing.

Mira and Isa like most Vaugardian humans think 'shifters' are just fairytales, Odile knows shapeshifters are real but is only really familiar with how foxes like her father work, and Bonnie is actually able to sense some pretty major things but is a preteen dealing with a lot and hasn't even joined the party yet, so this pretty major misunderstanding is sustained for quite a while...

Cue the AUs' main focus being on the resulting party dynamic shifts as more and more canon divergence due to Sif's 'selkie stuff' (both cute and serious) comes into play, the party slowly realising something is up, and all of it hitting an eruption point right around the time of the 4th Orb/the loss of Siffrin's eye...

Some key world building notes: (Note: very summarised from my docs. I have like 20k+ words on this stuff XD)

The Island - Probably the most drastically different thing from canon here, the Island was not forgotten or erased here. Rather it is hidden away and permanently shrouded in Wish Craft generated fog from 'those without cloaks'. Side note: Sif is still unable to return home and continues to have some very plot critical memory problems but those are due to unrelated issues, which means yay I get to have Sif talk 'home culture' with the others in this =D Also idk why the King is freezing Vaugarde still. I've got a few ideas I'm not sure about and he's not in focus enough for it to even matter really, but random suggestions -especially those with possible selkie motivations- would be very much appreciated.

Selkie powers in my setting - Went into something of a deep dive regarding selkie folklore for this and did you know they have an absolute ton of seer/oracle based stuff going on?

From selkie being summoned by their human lovers shedding seven tears into the ocean, to a selkie man telling a former lover that he and their child will die at the hands by her genuinely good and loving future husband, to a selkie woman forseeing her fisherman husband about to die out in a storm just in time for her to swim over there and rescue him, etc.

So... Yeah. This AU has a lot of plot relevant sensory/seer stuff going on as well as the standard seal shapeshifter stuff (Islander selkie traditionally believe it to be the Universe talking with them, in the same way Wish Craft is talking to the Universe), and going off all the stuff I read decided it'd be most fitting if the general rule for how it all works is: - Selkie always passively have a bit of it going on (aka Sif's canon 'you sense someone nearby' stuff) which like most things can be enhanced with Craft use a bit. - Near perfect understanding of all 'connected' bodies of water (aka they know EXACTLY where the tasty fish are/will be and can probably get a general sense of location for most people on a boat) - Potentially get strong 'visions of the future' and/or instincts on what they need to do to avert an outcome when it comes to loved ones being in danger/distress.

They also maybe get to pull very fast, high power Wish Craft 'curses'/miracles' at idk, the cost of something major like their cloak or lives (mostly based off of the The Legend of Kópakonan where the whole island of Kalsoy was cursed with death by a selkie in retaliation for her husband and children being murdered) but not super attached to this idea past it being in 'seal shifter' stories in-setting.

Other non humans in setting and regional differences in shifters - Pretty much only selkie and selkie issues are in focus here, but just as a general thing, all non humans in setting are shapeshifters and originated from human ancestors who went crazy with the the Body Craft and/or used Wish Craft in some way.

Ka Bue in particular has a ton of them since yokai, with their origins being various sects/clans back in the warring eras going so nuts with trying to weaponize Body Craft (super soldiers, enhanced life spans, infiltration, exploiting attraction to furries, etc), that after some particularly high profile incidents (for an idea plz see: Kiyohime, Tamamo no Mae, Kachi-kachi Yama) and 'Body Craft misuse leading to shut down of the brain/vital organs' being the most common cause of death for 10+ years once peace time was established, eventually Ka Bue's authorities set their foot down and banned Body Craft altogether.

Currently the shifter population in Ka Bue is around 30% of the population, shifters are required to have ID regarding their forms (or potential forms if they're merely 'half'), and it's considered distasteful for a shifter to be in non human form outside of private settings/necessity and even ruder to ask a shifter about their non human forms if they haven't brought the topic up yet first (kinda like seeing/asking about someone's underwear or something XD).

In contrast the Vaugarde, Mwudu and Porteria region is extremely shifter sparce, with most of its original shifter population being the result of various Universe worshipping peoples (mostly small groups, like greek mystery cults) deciding to use a big Wish Craft ritual as some sort of religious rite and becoming shifters as a side effect of their primary Wish (usually stuff like 'we wish for us and our descendants to be one with You and the sea/air' or 'may we Change with the phases of the holy moon' etc) which granted them some pretty neat skills but also tended to come with some 'potentially nasty' drawbacks attached (see: selkie and swan maidens with their cloaks, werewolves Changing in both body and mind etc) Which er, lead to some issues born of lack of knowledge about this stuff, later some very nasty anti shifter sentiment in the region, and then around... IDK 200 to 300 years ago or so ended up exploding into violence and other very nasty things, with most shifters able to do so fleeing the region, and those that couldn't either enduring horrible conditions until they could escape/died or went deep into hiding, with the Island's Country being founded by the two later groups who used Wish Craft to hide their new home, erase awareness of their existence from their enemies (a short term, fully intentionally 'forgetting' blast centered specifically around shifters), and developed a LOT of culture and traditions regarding when, who and what can be told to 'outsiders' about themselves, Wish Craft, etc in order to keep their people safe.

There are shifters living in present in Vaugarde of course (anti shifter sentiment died back a LOT after most people stopped thinking they were real, and most modern day Change Believers are more likely to view these 'totally fictional/allegorical' beings as children/messengers of the Change God rather than 'evil demons who stole power by tearing apart the Change God's cloak for themselves and thus have to be hunted down and made to repent' propaganda take that was everywhere back then) but numbers actually living outside the Island as opposed to merely visiting remain low, since either the shifters know their history and stick firmly to their 'stay secret' traditions or quickly pick up on how oddly unknown shifters are around these parts and decide to err on the side of caution... Also 'trust worthy' humans who do learn about them (usually northern coastal folk, gee wonder why) tend to help cover them up so... Yeah =D

---

And... Yeah!

This is hella long as is, so will stop here and ramble about the actual 'how this all affects our beloved Sif and Co plot and culture wise' stuff that is the actual meat of the AU in another post later, but hope this made for an interesting/idea provoking read, know that I have no issue with anyone using any of this for their own works (just please, don't use the 'Selkies under starlight' same story name unless it's actually a fanfic/fanart of my 'hopefully soon has a chapter/one shot up' fic/Ao3 series of the same name so people don't get confused), and I would love to chatter with you about any thoughts/questions you might have so...

Wishing you a good day =D

(sighes in relief finally getting this post finished after literal months. Pheeeeww~)

[moeblob]

Look, I just think it's VERY funny and on brand that I thought of an entire premise of colorful characters for half the cast and immediately drew the only one void of color.

[wavesoutbeingtossed]

Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

[tswwwit]

Lol omg at your last ask because imagine dippers under some truth spell and ends up spilling a bunch of secrets that Bill already knew and had stashed to use for later

This is no longer 'last ask' relevant because I had this partially written in my drafts for like a million years - but a Truth spell on Dipper would be very interesting!

So I took this prompt and didn't really answer it except in some ways.

Here's a thing!

“You never bring me any souvenirs.” Bill complains. In an all-too-whiny tone, and an all-too-close lean into Dipper's personal space.

Plus, it's a blatant lie. One Dipper shouldn't respond to. 

He does anyway. “I literally brought you harpy feathers last week.” 

“Doesn’t count! That was for a ritual you wanted to pull off!” Bill sounds miffed, though he also plants a palm on Dipper’s head and starts ruffling hair. “Now where's the emerald from last March? Or like, the headdress from that cult with all the rabbit bones? The good stuff."

Dipper grunts. He focuses on navigating back out of the cave, turning the clay tablet over in his hands.

Figures Bill would remember all the times he did get something. His memory is excellent. And he’s greedy, because a new toy every time is a big ask. 

What does Bill expect, anyway. Not every situation Dipper gets into has something to bring back. What could he even offer? An ear taken off every monster he has to fight?

Wait, no. Bill would love that.

Dipper makes a face. “You've just proved that it's not ‘never’. With examples." 

"Sure, but when’s the last time it was cool?” 

Dipper sighs. No point in arguing. Bill could go on forever about how 'unfair' it is that he doesn't get trophies from every trip, or trinkets from conquered lands, or, again, ears from every enemy. When he’s decided to complain, no reasonable argument will shake him out of it.

“Too bad, then. You’re only getting some gifts.” Dipper shakes his head rapidly to dislodge Bill’s hand from his hair. "It’s hardly the worst thing that’s ever happened to you."

“Hey! I could argue that it’s related! In fact -”

Dipper tunes out the rest of Bill’s ramble, rolling his eyes. Listening with half an ear to Bill's ongoing tirade about being a poorly kept man, and unappreciated in his time. 

Despite how much he already has, Bill always wants more. Somehow he sniffed out Dipper’s latest excursion, showing up right at the end and looking for ‘loot’.

Which Dipper, by all rights, should prevent. 

 Anything magical falling into Bill's hands can cause chaos, no matter how innocuous it seems. The flower incident alone is reason not to hand Bill anything, ever, and the fact that Dipper still does sometimes should be appreciated, damn it.

Bill's complaining on and on, but whatever. Eventually he'll get bored.

 In the meantime, Dipper turns the clay tablet around again with a frown. He found something interesting, at least.

Whatever this is, it’s definitely not a language he recognizes. The script is strange, scrawled in different directions. For all he knows he’s holding it upside down. He hopes Bill doesn’t notice until he’s figured out - 

"Whatcha got there?" Just as expected - and right on time. 

Dipper feels the tablet yanked out of his grasp, unfazed. He doesn't break his stride.

"I found it in the lair, after... you know." Charred bones, explosions - Dipper wishes he could use, like water, or something, but mastery over even one element is powerful as is. "Anyway, that monster was collecting a lot of weird magic stuff, and this was the only interesting thing it had." He shrugs. Then, because Bill will like it, adds, "So... to the victor go the spoils?"

“Now that’s the spirit!” Bill gives him a grin, holding the tablet up to squint at it. Thankfully not turning it around. One point for Dipper, on not looking incompetent.

Still, if anyone can read it…

“What language is this?” Dipper not-so-subtly leans over, trying to peek around Bill’s arm.

"Old Draconic," Bill says, without missing a beat. Humming to himself as he apparently reads the text. Perking up a bit, smile widening. "Oh, hey! Iambic pentameter."

"What does that mean?"

"Nothing, sapling. I just wish when people did the whole 'ancient poetry curse' thing, they'd get a little more creative. You never see hexameter! Or tetrameter! Not even a tasteful use of spondee.” Bill sticks his tongue out.  "Come to think of it - I don’t think anyone’s done a prose epic that made the reader wanna tear their eyes out since Joyce."

Sometimes with Bill, you have to read between the lines. The long, irrelevant babbling lines.

"Just tell me if I need to get Ford or not." Dipper says, flat. He rubs at the bridge of his nose. 

Among all the other stuff, Bill said ‘curse’. Never, ever a good sign.

Though the monster he just took down wasn’t a dragon, and that wasn’t really a ‘horde’ so much as something resembling the contents of the Mystery Shack, there’s absolutely no good thing about a curse. If Dipper somehow triggered it - 

Great. As if hanging around Bill alone didn’t invite enough bad fortune, he’s picking up parts of his own stupid curiosity.

"Nah, don’t bother with the loser uncle!" Bill waves his concern away, amused. “This is just purple prose! Buncha  ‘oooh, bad things’ll happen if you mess with my stuff.’ Totally boilerplate spellcraft with some flowery wording.” 

With a shrug, Bill dismisses the whole thing. Which includes chucking the tablet over his shoulder, but Dipper manages to snag it before it falls and shatters into a million pieces.

“Typical dragon horde enchantment. All bluster, no burning.” Bill keeps walking without a care in the world. “They’re full of hot air!”

“So I’m not cursed,” Dipper prompts, catching up to him. “Aside from you, I mean.”

“Flatterer,” Bill says, slightly warmer. He continues, shrugging. “No reason you would be! No dragons in the area, and the warning sign there’s too old. By my guess, the original horde was raided centuries ago! Just another piece of random crap that got dragged into that junkyard." And he ruffles Dipper’s hair again, in the second-most annoying way. "You’re stuck with me, though.”

Dipper ducks and twists, thus freeing himself from the minor torment. “I think I can live with that.”

One would think that chatting with a demon - one as cryptic and ominous and aggravating as Bill - would only cause irritation, at best. 

It still does, of course. But when it comes to Dipper, Bill… sometimes lays things out straight. On occasion. Especially when he’s instructing, doubly when it comes to magic. Like he’s trying to pour all the facts he can into Dipper’s brain, overfilling the cup.

If his goal is to overload this one mortal mind, though, he'll have to work a lot harder. 

Dipper gets out his notebook, while Bill looks away, and pretends he didn’t see it. Yet another poorly-veiled lesson, with Bill obviously trying to plant seeds re: actually casting curses. Tough luck managing that. His subtle lean towards chaos might escape the unwary, but to Dipper? Bill’s way too transparent.

The fact is, that Dipper absorbs things fast. Even Bill will admit it, sometimes without being prompted. 

That Includes stuff Bill doesn't even know he's teaching.

Bill’s also rambling on about historical curses, and how often these things backfire, or misfire. It’d almost sound like a series of unconnected, gossipy anecdotes, if it weren’t for the extra technical details. 

And Dipper’s not falling for it. As far as he's concerned, his first curse was his last one.

But then…

Even if he’s not going to use the knowledge, there's no reason not to learn it. Knowledge about making curses can also be used to break them, after all. Taking all the facts Bill smacked a ‘For Evil Purposes Only’ sticker on and using them to shatter an evil plan would be very satisfying.

They’re nearly out of the cave at this point, so Dipper figures it’s fine to let his guard down a bit. The monster's dead, all the traps were cleared out on the way in - everything should be fine.

He clicks his pen a couple times, and asks Bill to repeat that last thing, about the life drain. It gets a snort of amusement, but Bill’s more than happy to elaborate at length. Dipper struggles to keep up with Bill’s rapid-fire speech; he's trying to make this intentionally difficult, damn it.

Bill leads on with careless gestures and an uninterrupted stride. Getting ahead of Dipper by several meters, but Dipper’s got to note down what he says before he has to do something awful, like ask Bill to repeat himself.

Dipper is, in fact, so busy trying to write in shorthand, and walk, and not hit a stalactite with his face, all at the same time, that he sort of loses track of where he is.

And okay, maybe he trips over a rock slightly, and nearly faceplants, bonking against the sudden curve of a wall with a swear.

Dipper takes a step back, rubbing at his forehead. Annoying, but, whatever. There were a few traps around, but he pretty much cleared out the cave on the way in, so it’s probably - oh, hell.

Not fine, he dropped the stupid tablet.

Great. The only really interesting object, shattered into half a dozen pieces. So much from saving it from Bill; Dipper himself fumbled the bag.

He backs up to evaluate the damage -

The stone sinks under his foot, and something goes ‘click’.

With a start, Dipper raises a shield without thinking, arm jerking up as he wills his magic into the gesture. It's solid enough for something done on reflex, but an impact hits hard on his side, with sudden, stinging pain. 

And a pretty hard impact, at that. He didn’t get it solid enough, damn it, wasn’t expecting something physical -  

Dipper wheezes out a breath, slumping to the ground and clutching his stomach. 

Alright. So. He got most of the traps. 

He sits down, and lets his head thump back against the stone, teeth bared in a grimace. Stupid. Should have been paying attention. 

The commotion makes Bill turn his head, blinking at Dipper sitting on the ground. 

Then -  because he’s an asshole - he starts laughing. 

“I know I’m fascinating, sapling, but really?” He tuts, setting fists on his hips. “Not sure if I should be flattered that you’re obsessed with me, or disappointed that you’re dumb enough to walk right into a wall.”

Dipper sucks in a breath, gingerly touching his side. Doesn’t seem like - he glances down. Sure, it stings, and his shirt’s torn, a long, shallow cut on his stomach, just near the old scar. But that’s about it. Over to his side, an arrow rolls against the ground, stone head clicking against the ground.

Over by the cave mouth, Bill’s cackling. God, he’s a jerk sometimes. 

But he must not have seen the trap set off, too wrapped up in his own stupid bullshit, or he’d be less of one. Dipper knows that for a fact. Though he’d really, really prefer he’d never had that experience. 

“C’mon, kid. If you’re not even more brain damaged from your bump, let’s ditch this joint.” Bill jerks his head over his shoulder. 

Dipper hugs himself around the torso, grimacing. Not bothering to respond. His heart is still pounding, or he’d have a retort ready. Adrenaline’s helped him out in a lot of situations, but not with talking. He’ll get up when he’s ready.

“What, you smash your skull open or something?” Bill raises one arch eyebrow. 

Though Dipper knows why Bill’s like this, it’s still deeply annoying. He shakes his head in lieu of a reply. In a second, he’ll be calm enough to tell Bill exactly what he thinks of his incredibly poor bedside - and cave-side - manner. 

“Figures. Can’t leave you alone for five minutes without your guts spilling everywhere.” Bill clicks his tongue, folding his arms and stepping forward. “What’s the damage?”

“It hurts.” Dipper says, through gritted teeth. Then pauses. Wait, he meant to say - He shakes his head rapidly, only for more words to force themselves out, unbidden. “I got cut again.”

Again, not what he intended. Dipper lowers his chin, teeth clenched. What the hell, he shouldn’t have said that. Bill’s mocking aside, maybe he did hit his head a little too hard. Once Bill gets the mockery out of his system, he’s going to be a total pest about it, too.

With a huff, Dipper slumps. Settling in for a sulk, waiting for the next jab - But there’s no insult forthcoming. Or argument. 

In fact, Bill’s gone totally silent. Which is super weird. 

Dipper looks up at the cave entrance, expecting a comment or a question, or at least a huge grin. He tenses up, hunching over.

And meets a frozen, unsmiling face. 

Bill dropped his arms, they hang limp by his sides. His expression’s gone blank.

The next moment, he’s right in front of Dipper, kneeling and tugging at his arms with alarming urgency. 

“Alright, lemme see.” Bill’s face is very close. Though he’s trying to pull his arms away, Dipper resists out of sheer surprise. Bill growls, eye darting around until it lands on the arrow. “Oh for - Really can’t leave you alone for five minutes. Move.” 

Another pull, less hard this time. Like he’s trying to ease Dipper’s arms away.

“Wh- Hey!” Dipper plants a foot against Bill’s chest, but that hardly stops anything. He raises his arms. Holding them up, in fact, like he’s at gunpoint. Where’d this come from. “Don’t get upset, I’m fine.”

“Ha! Good one, sapling. Who’s upset, exactly?” Bill says, teeth bared, and in a deeply upset way. He tugs Dipper’s shirt, up, fingers tracing the cut before pressing into his stomach. “I’m just wondering if I need a replacement mortal this soon into your miserable existence. No big deal!”

Okay, this is too much. 

Dipper struggles up, despite Bill trying to shove him down again. Bracing himself on the cave wall, and glaring. “Calm down already.”

“I’m perfectly calm.” Bill says, through gritted teeth. At best he looks miffed, but he’s at least stopped trying to make Dipper lie down in the recovery position or whatever. With a glare, he tugs up Dipper’s shirt, prodding at the shallow cut. “What the hell, kid. I thought you said it hurt!”

“Ow.” Dipper’s stomach jumps at another poke. He smacks Bill’s hand away. “It does, alright? Quit poking.”

Bill doesn’t seem impressed. His fingers trail over the larger, older scar on Dipper’s left side, then glares at Dipper’s stomach like it’s insulted him. A beat, then - “You don’t usually complain.”

“I-” Okay, true. Dipper glares anyway. “Shut up.” 

He doesn’t complain because it’s the only option. For all that Bill whines and teases and taunts Dipper, all the time, about being some ‘fragile mortal meatsack’, already rotting before his eyes, he really doesn’t like it when it’s brought forcefully to his attention. 

God, he shouldn't have said anything. Ninety-five percent of the time, there isn’t any harm to mention. But when Dipper does ends up showing he is kind of… mortal, and it’s small, he just. Doesn’t bring it up. For all that they bicker all the time, he doesn’t like to make Bill upset.

Bill grunts, mouth turned down at the corners. He stands up quickly, folding his arms. His lip curls up in a sneer. “If you wanted attention, kid, there are way better ways to-”

Oh, fuck that. Dipper flips him off, and starts storming off. 

God, this is stupid. Whenever Dipper ever breaks a bone or something, he gets teased about being so weak and vulnerable. Which he is, but neither of them like the reminder. 

These days, it also comes with some weirdly maybe-sincere ‘kiss it better’ thing that Dipper then has to disinfect. A lot of hovering, and rambling commentary. Sometimes creative descriptions of how much worse it could have been, and Dipper never needed those, at any time. Bill gets oddly fixated on such random little moments, and it’s just -

Dipper doesn’t like it, is all. Bill gets the way he gets, it’s a lot, and it’s easier just to avoid it. If he were a different guy - a human guy, or even mostly-human monster- Dipper might try to talk to him about it.

But Bill’s a demon. Not normal, barely sane even on his best days, and worse, he’s Bill, so. That conversation would go precisely nowhere.

Behind him, he hears said demon approaching, fast. Stupid jerk. He should be as tall as his real form. That’d be fair. More accurate, too, and then Dipper could properly stomp off without Bill catching up so easily.

Already the bastard is by Dipper’s side. A tall, irritating presence. Hovering close without grabbing on, which adds to said irritation. 

Dipper leans away, but Bill catches him around the waist and drags him in.

“Don’t get so grumpy, sapling, you’re fine! A little nick in the outer layer rarely killed anyone since they invented antibiotics.” Though he pinches Dipper’s cheek, he yanks his head away with a grunt. Bill sighs. “Everything’s a-okay here! Looks like I don't have to find a replacement just yet.”

Bill’s an idiot. Dipper scoffs, though an unpleasant feeling crawls in his gut. “Oh yeah? Who would you replace me with?”

“Eh, not like I got anyone specific in mind.” Bill waves that off, nonchalant. “But I have options! Lots of options.” He bumps a hip against Dipper. “Keep that in mind before you go charging off into obvious traps.”

This goddamn liar. Dipper  elbows him in the side, because the asshole deserves it. 

Not that Dipper’s worried, or anything. From what little he’s heard of Bill’s exes in the demonic rumor mill - Bill’s been, as they say, less than successful. Already Dipper’s outstripped his longest by years.. Bill can lie day in and day out about his options, put on a brave face - but they both know he’s not going to find this again. Not easily. 

“Good luck finding another husband, asshole.” Dipper says with appropriate derision. It’s annoying that Bill even brought it up. There’s a good riposte in there, somewhere - but while his brain is coming up with an insult, his mouth runs on automatic. “But I was really worried that you would last week. I couldn’t stop thinking about it all day until you sent a dick pic. It was weirdly comforting.”

Bill turns toward him with genuine surprise. He even blinks a few times, no retort emerging, and Dipper looks back at him with equal surprise. 

Until his mind catches up with what he just said. 

Dipper digs his heels in the ground, slamming to a halt. Clapping both hands to his mouth, eyes wide.

Beside him Bill nearly trips at the sudden stop, flailing for balance with a swear.

Shit, shit shit. Dipper really didn’t mean to say that. He knows Bill’s not looking around, that he’s not interested. Cynically, that he couldn’t manage it if he was. Last week was just a one-off anxiety, like all the others Dipper’s brain comes up with when it gets too much free time. Totally irrational, and really hard to stop fixating on.

Bill keeps staring. Not angry, just confused, for long enough that Dipper wants to shrink into the ground and melt into nothingness. 

Then he asks, “What the hell, Pine Tree?” 

“I don’t know! I don’t know why I thought that. I don’t know why I said that.” Dipper cringes into himself, grimacing and ducking his head. He runs a hand over his slightly sweaty face. “I didn't even want you to know I got hurt.” 

At that, Bill snorts. “Oh, please. I’d have seen that first time I got your shirt off. You can’t keep secrets from me!” 

Dipper folds his arms, internally seething - and his stupid mouth moves to say,  “I’ve done it before.” 

This time, the silence is tense.

Dipper wipes his sweating forehead again, not daring to meet Bill’s eye. God he shouldn't have -

Before he can think, he blurts out, “I think something’s wrong.” 

“Probably!” Bill agrees, with a smile just a little too sharp. He takes Dipper’s face in both hands, eye narrowed. “Hold still a sec.”

As Bill’s eye flickers blue, and the magic between them surges -  Dipper squirms a bit, but. Well. If anything’s wrong with him - magically, anyway - Bill’s the best one to diagnose it..

Bill tilts his head to one side, then the other. After a moment, his mouth twists up into something unpleasant, eye glowing slightly brighter for an instant.

Then he sighs, and lets Dipper go. His expression is neutral, except for the slightest downturn of his mouth. His lips part like he’s about to speak, then twist up into a grimace.

Uh oh.

Whatever Bill saw, he didn’t like it.

“What?” Dipper pats his head, then his chest. If there was something weird, magically about him, he - wouldn’t be able to tell, actually. He’s too close to get a good look. Oh god, what if he did hit his head too hard, and something in his brain is bleeding, or worse. “Wait. Am I dying?”

“Worse! You’re telling the truth.” Bill claps his hands together. Though he’s smiling again, it’s brittle and annoyed. “Don’t suppose you know any curse breakers that aren’t your great-uncle?”

“Not really,” Dipper admits. Bill's words catch up to him, and he bites his lip. Then, because the situation deserves it, “Fuck.”

Protection curse. The tablet.

Damn it.

A part of a horde, from a long time ago. Messed with. It should have been something less awful. Like warts, or sprouting plants from his skin, or a big fireball. Pretty much anything else would be less awful.

Truth curses are rare, they’re difficult as hell - but judging by the words spilling out of Dipper, he’s caught a pretty strong variant.

Of all the curses that could hit him. Why this one.

Hell, maybe it’s intended to be the worst curse possible for the ‘thief’. That would explain how targeted this feels. 

And knowing Dipper’s luck, that part was explained on, like, the back of the tablet.

“Welp! Good thing I’m not short on contacts, kid.” Bill grapes his shoulder, shaking him a bit, before he trails an arm over Dipper’s shoulders. “Who wants some fumbling idiot uncle to fix this kinda spell, anyway?”

Dipper would! If it was feasible. He makes a brief attempt at shrugging Bill’s arm up before letting his shoulders slump.

The idea of Ford hearing about this is….

Dipper sucks in a breath through his teeth.

Ford really would have a way around this. He'd certainly have the best intentions, Dipper’s certain. He'd...

Also not have the best sense of boundaries.

Though he'd be doing it for the right reasons, he'd ask the wrong questions. Out of concern, and arguably valid worry; he's never fully believed that Bill can't influence him. Despite how many times Dipper’s tried to explain it to him, Ford just can’t wrap his mind around certain truths.

With this curse, though. Between poor social sense, the Pines curiosity, and what Dipper might blurt out, while compelled to answer - 

On this, Dipper agrees with Bill. They’ll have to find something else to break this.

In the meantime, he’ll manage, like he has all the other times his life has sucked. Hardly the worst case scenario. If Bill had been cursed - someone who lies like he breathes -  Who knows? Give it a few days, and he might just explode from all the backed up bullshit.

“Wait.” A horrible thought strikes. Dipper reels on his husband, eyes wide. “Are you okay?”

“What, me? I’m a perfectly moral human man,” Bill says, resting a hand on his chest, lifting his chin with pride. “A boring sentient mammal who’s never found curses entertaining.” 

Yep, Bill’s fine. As always, it’s Dipper who gets the short end of the stick. 

He breathes in slowly, and lets it out. 

Yeah. Still sucks. He’ll deal. Cursed, but not dead. In danger, but not the worst - and his husband’s being annoying, which means he’s perfectly fine. There’s a solution too - it’s just going to be a huge, annoying process getting to it. 

“So,” Bill says, slowly. Drawing the word out in a long string, while he finger-walks his arm up around Dipper’s shoulder.

Uh oh.

Speaking of annoying…

“Watch it,” Dipper hunches his shoulders, not daring to look his idiot husband in the eye. “You’re this close to sleeping on the couch for a month.” Not a big enough threat, Bill’s still thinking- “Or for a year.”

“Oh, sure,” Bill says, in a distracted tone. His fingers pause on their walk, one ‘leg’ poised on Dipper’s clavicle. They hold the position for a long moment, tapping out a little marching step - and seconds later, his palm slaps down on Dipper’s shoulder. “So, Pine Tree! How do you feel about this ‘Bill Cipher’ guy?”

Though Dipper resists, and he really tries to, the words slip out past his teeth, his lips form the sounds -

“I love you.” God. Damnit. He clenches his fists, as Bill’s sheer smugness radiates from him like heat. “And I’m thinking about shoving you off a cliff right now.”

When Bill paused, Dipper thought he might have fended this off. Wishful thinking, really, Bill’s almost impossible to stop. Dipper used what leverage he had, but all he’s managed to avoid are the worst, most invasive questions.

When it comes to Bill, that’s pretty close to a win.

Not that it’s going to feel like one.

Bill has, in fact, been encouraged. Now that he’s heard something he likes, he leans in like a weird creep. Dipper can practically hear the leer in his voice. “And on a scale of one to ten, how handsome am I?

“Ten point five,” Dipper needs to loosen his jaw or he might break a filling. Being pumped for information is bad enough without pumping up Bill’s already ridiculous ego. “You bastard.” 

Bill’s chest puffs out, there’s a strut in his stride. The grin is so wide now Dipper’s pretty sure it should hurt- and if he dares to pucker up, he’s not getting lips on his awful face.  “And am I the most clever and sexually amazing guy in the universe or what?

This time, Dipper snorts. 

“Definitely not.” He ignores the sharp, indignant sound next to him, tilting his head in thought. “For one, there’s succubi and incubi, so. Sexually, you’re not even on top amongst demons.” He glances over at the offended ‘o’ of Bill’s mouth. “And I know you’re not the most clever, because I win our debates nearly half the time. Maybe you’re up there, but not the most. And that’s just the surface level stuff.”

Dipper doesn’t have a complete cosmological view of the multiverse, but he has learned a lot. Mostly stuff he picked up from his husband, and demonic gossip. It’s absolutely enough to go on a long, long ramble about how Bill most likely doesn’t rank number one in anything. If Dipper avoids the topics where he actually is.

He’s barely fifteen seconds in before Bill starts scowling, with a grumpy hunch to his shoulders - But screw him. 

Dipper starts smiling, just a bit. Then, to be a dick, he adds, 

“The ten and a half is just me, anyway. To the average human, you’re maybe an eight..” Dipper continues, over another spluttered protest. Again, true; not everyone likes the slightly inhuman maniac cyclops look. “Six with your personality.” 

Bill groans. “Ugh, you pedant.” He squeezes Dipper’s shoulder, jostling him slightly. “C’mon, you know what I meant! What’s the real - “

“Don’t ask questions if you can’t handle the answers,” Dipper warns, jabbing Bill in the chest. So far it hasn’t been too much, but it could be. Time to draw a line. “I will suck so much fun out of this for you.” 

Bill Cipher, unintentional teacher once more. Now Dipper knows the curse isn’t about perfect truth. When he can deliberately misinterpret a question’s intent, and can go on tangents  - that means he has loopholes. There might even be more, if he tries.

And if they can’t get this settled soon, he’ll need every one of those he can find.

“Clever brat.” Bill’s frowning, but he can’t disguise the amusement in his voice. His eyebrows wiggle, his arm hauling him close -  "Go ahead, then. Anything else you wanna share?"

"I know two and half ways to kill you, Bill Cipher." Dipper gets right up in his face. He won’t let Bill push this any further. "Don't tempt me to use them."

Being face to face like this, Dipper watches Bill’s eye go wide - ha, didn’t expect that, did he. With that threat, he’ll - 

Start cackling. And weirdly, turn a little pink. Dipper feels all the momentum he had whoosh out of him like sad balloon animal. 

“Boy, you are a saucy one!” Bill whistles, low. He places his hands demurely on his cheeks, fluttering his eye at Dipper with amusement. “Oh, yeah. Talk deadly to me.”

By this time, Dipper figures he should be used to stumbling into demonic flirtation. Only it turns out it’s basically fractal in nature, and he keeps running into new and newer edge cases.

“Fun as this is - we gotta get you cleared up, and no time like the present!” Bill’s calmed down enough to scoop an arm around his waist, leading Dipper onward. “Can’t have you babbling everything to everyone, y’know?”

“What, you don’t want me telling you everything?” Total bullshit. Dipper elbows him in the side. “I thought you wanted to get in my head.”

“Hey! I didn’t ask for our game to be set on ‘beginner’ mode. That’s boring.” Bill flicks his fingers - but he’s got his ‘evading questions’ look on. “You’re lucky I’m so- oof.”

Another elbow, harder this time. Bill grunts, but capitulates. Rubbing at his eye briefly, he sighs.

“So! How many of my secrets would you say you know, Pine Tree?” Bill tightens his grip on Dipper’s waist, tugging him closer. “And I’m talking about the ones that I wouldn’t enjoy getting out in the world.”

“More than I can count.” Dipper says without thinking. Then, with thinking -  “Oh.”

Dipper hadn’t considered how much Bill’s taught him, before this exact moment. How much he’s learned. Even unintentionally. Especially unintentionally. 

Crap, even his threat before was kind of - 

Shit. There’s definitely, absolutely, no way can they go to Ford about this. Total recipe for disaster.

“See? We both got liabilities in play here.” Bill moves easily as Dipper picks up the pace. If anything he’s amused, and not feeling nearly as urgent. Another reason he’s an idiot. “All we gotta do is get you patched up quick, and no more loose lips sinking ships! Easy-peasy.”

“It better be,” Dipper mutters. Nothing ever goes right for him. And by extension, them.

“Trust me, kid! I got this handled!” Bill snaps his fingers - and smacks Dipper’s butt with a wink. “I know some guys!”

[spaciebabie]

hey so im not white

[hellogoodbyeitsme]

Broke: Damian is bad at being a Robin because he's too violent

Woke: Damian is bad at being a Robin because he's afraid to hurt people

[perilegs]

when you light up your cigarette from another person's cig it's called the same thing as fucking them in finnish. and. i was drinking with a couple of friends last weekend and now that i think about it there is something funny about standing outside in the cold and having someone ask me to fuck them (= light their cig with mine) in front of their partner bc it's funny (said partner has also done the same to me). and we were all joking and being silly but both me and the partner are the kind of people that are fun to tease and make fun of bc 1. we dont mind 2. we find it funny usually 3. we unfortunately make it v easy, so. anyways i offer the end of my 2nd cig to the person whose cig i lighted earlier bc i wasnt feeling it and they had just declined a full cigarette from their partner bc that was too much at that moment so the partner was jokingly like "whyd you take leevi's cig but not mine" the the convo took a weird turn and ended up in two people who are standing on both sides of me patting my head and leaning on me while calling me a good boy. obviously it doesnt sound as hot in finnish but if i didn't already have a praise kink that would have awakened something in me

[potatobugz]

do you think the mess in oshiros hotel is meant to signify that hes been letting his problems pile up until its become too overwhelming to handle.

im thinking about the fact that he's definitely the one who's been making the mess but he doesn't even realize it. he ignores the clutter until it becomes too hard to ignore you know? like when it starts actively blocking the way to the presidential suite. he insists that he and his staff will handle it and that madeline shouldn't clean up his own mess, but he still doesn't do anything about it. does he know that the staff is gone? that it's just him there?

mr oshiro is so hell bent on impressing madeline so that she'll stay in his hotel. he's so in denial of everything. he doesn't even realize he's dead, he still thinks his hotel never got shut down. I think his insistence on her staying is bc he really wants to believe that the hotel is open, and a costumer would affirm that belief. it could also maybe be a mixture of loneliness too. (also, him treating her as a costumer even after she says no is absolutely him being in denial. that man is very unhealthily attached to this hotel,)

and even though it was nice of madeline to clean it up, there's still parts of the hotel she can't fix. the plumbing. the windows. the, hole in the ceiling (oops.) she's not qualified to help him, and that's why I think the chapter ends on a bit of a sour note. madeline is of course not a bad person for wanting to help, the point is that she can't. it is unfortunate but true

anyways mr oshiro is a very good character i like him a regular amount. im normal about that old man