#About time I post some other stuff here

[ksdesign]

i drew skins of minecrafters that you guys suggested and I’m a bit unfamiliar with >:D how’d I do? Who should i draw next?

[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.

[sainz100]

2024 Abu Dhabi GP

[chiropteracupola]

A very fine captain, and a finer friend.

[dustmint]

Hello, I am not dead– I have crawled out of my grave to do some art dump, so!! Yeah, some art dumping ahead :D

All ocs by @leonenjoyer69 :3

Oh and also, warning for Shirtless-ness and some blood

This is a work in progress, but. Siren Kell my beloved <33

[gods-perfect-idiots]

something something blood-soaked hands cradling your face something something

anyway here's the post btw

[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

[what-aboutno]

An analysis on c!Owen and his behaviour throughout the Outsiders SMP series!

Some disclaimers before I go into this. There will be spoilers up ahead! I would like to warn anyone reading that this post will mention some blacklisted members from the smp because their characters play a role in showing us about cOwen.

For convenience, all the members mentioned are the characters, not the actual ccs themself. Some of this might seem all over the place, but when the characters learn random parts of themselves at different points it's bound to happen.

Owen has changed a lot as the series has progressed and many find his personality to have changed entirely towards the end, however, this isn’t really the case. When we go over his character, we can see his core values have stuck with him throughout the series, so in this post, I will go over how exactly he has changed over time and his character in general.

To make it easier, I’m gonna split it into 3 parts. Early maze days, the introduction of clearing 2, and post memories.

During the early maze days Owen establishes his character very early on. Right from the beginning, Owen arrives with the demon Rasbi. They are notably one of the three pairs that come up, with most coming up the elevator alone. The first time we see him, Owen immediately takes up a role as a protector, asking if Rasbi knows how to fight in case there is danger up ahead.

In this first section, we can also see that he acts a lot more childish and naive. He’s very emotional and easily upset by his past. He can be seen jumping on rocks with Mohwee and the others and crying on his first night over his loss of memories. The overwhelmingness of the clearing gets to him. This isn’t to say he is some weak, stupid or soft character though. 

Owen may be naive in believing things should be played in certain ways according to his rules but there are many instances where we can see he’s not stupid. First episode he can immediately recognise what knife Oeca is holding “Hey that’s a throwing knife right? No that’s a dagger” 

After getting more settled in the maze he asks about the maze’s agriculture, he mentions everyone is unarmed despite fearing the dangers in the maze. He starts asking about protection, armour, shields and notably, “So this place is safe on the inside? It's safe to walk at night?” He’s already worried for everyone’s safety here, he knows the maze is dangerous so is there anywhere that’s safe? 

Very early on his past also becomes a very important aspect of his personality. He is probably one of the first to remember anything significant about his past. By episode 2 he is getting flashbacks about how to make a bow. But he makes a javelin first, noting “I think I was a hunter. No, I was an archer. I was a hunter. I was a soldier? I was good at this.” He then proceeds to aim the javelin at Oeca’s name, because at this point he can’t fully trust Ocea. He is very quick to violence, although he doesn't want Oeca dead, he certainly can’t trust in him. 

Another important note is that Mohwee is one of the people in the clearing he respected and saw as someone with the ability to act. Which is why we get this interaction where Mohwee calls out “Owen.” and Owen replies with “yes sir”. His past even without his memories is important and ingrained enough he still acts like this, and this only continues as we go through this section.

The first time they go in the maze as a group is when Apo arrives. This is a very important moment for Owen because their first trip in the maze solidifies his personality throughout this section and maybe even the series. Oeca is shot because Mohwee was careless and brought anyone in. When the group comes back, Owen asks Graecie, “How many entrances are there to this maze?” After finding out this is the only one that opens, he refuses to let anyone get hurt again and starts blocking it off.

Trust and promises are very important to Owen here too because it's one of the key reasons he blocks off the entrance. It’s not just Oeca getting hurt, it’s the fact he promised Graecie he wouldn't go in. “I broke my promise.” He also takes Apo’s word very seriously in the mine when he tells Owen he didn’t pull the lever. Also because of this he only trusts himself to go in the maze.

When the entrance is blocked off Owen is quick to violence and threatens people if they try to get past him. After finding the old battle axe he starts using it to threaten and intimidate people. “Anyone who goes past this (the gate) i will attack”

“Anyone else that will, I will just cut down” are some of the things he says. He punches Mohwee for trying to get past him. When Oeca comes back after Mohwee’s disappearance, Owen follows him with that battle axe trying to talk.

Owen then goes on to say “I’m not looking for violence” and “I'm not collecting weapons this was instinctual (points at bow)” he doesn't want people to think he’s dangerous and he knows people are scared of him.

Even if he seems aggressive he still wants to protect others. Owen goes back in the maze to look for Mohwee after he randomly disappears on their way back. “My job is to protect people and I will do that to the best of my abilities. At every possible stage”

When Mohwee disappears Owen takes a massive risk to stay in the maze overnight to see if the gates would open. “The only thing I remember about my life Graecie, is that I was raised to protect people. That's all I remember. And I know it was dumb and stupid to go in the maze but if it got us a step closer to finding Mohwee. I was willing to make that risk”

So we’ve established that Owen cares about the people in the clearing even if he doesn't trust all of them, he wants to protect them and he will do it no matter what. It's the purpose he has given himself in order to be useful.

He knows it doesn’t work how he wants it to. People are scared and wary of Owen’s protection. There are multiple instances where he tells his voices, “They don’t get it,” because he knows people don’t trust his methods. His method of control is disliked by a lot of people. 

Ori is one of the main characters to go against Owen. Owen hates this because not only does it risk the safety of others but it goes against his main purpose he gave himself. He takes this job very seriously. So when Ori goes in the maze it’s no wonder Owen becomes very violent.

“Ori I'm seriously sorry I will break your legs and I'm very close to it. Are you gonna make me. “

He doesn’t see himself to be super aggressive though “People think I'm being really aggressive when I talk like ‘oh hey if you come near me I'm gonna break your legs’ but I'm saying it in the most friendly way I can, you understand that right? I'm not trying to be aggressive with that”

“I'm saying like if you do step in here I will have to break your legs. In like a very gentle and I'm very sorry I hate to inconvenience you but I do have to break your legs.”

When Ori sneaks into the maze, Owen talks a lot about his purpose. Things like “Don't, I'll fail them. They'll kill me. My entire purpose here is to stay by this door and stop you from coming in.”

Owen hates to know he is failing the purpose he has given to himself “When I discovered I was a soldier that's what I set myself to (protecting others) but what do I have to show for myself? I have tried my hardest to protect these people. And get they look at me and tell me I'm a tyrant” “you're not in control, who are you to say what happens?”

He would do anything, even if it meant sacrificing himself. As shown before when Mohwee disappears but also as he protects the gate after the second lever gets pulled he says “I'm going to protect them if I die in the process so be it”  

Another note before this section ends is that it’s not just Ori who opposes Owen. Sillvia also talks about Owen’s method of leadership.

Sillvia about Owen: Owen I think you would be great. If not for the fact that you have a militaristic mindset. I don't want to see your leadership spiral into a place where Apo wants. Owen I fear you and I want you to know that. I actually fear you and I don't say that about many people. And ruling should not be through fear. You are a terrifying individual and to see you be in a position of power would be a slope we cannot afford or gamble slipping down. We've seen you tussle with Ori. I know you're a strong individual. You could lead us quite well but it's the risk that comes with your leadership that I am not willing to risk. 

The perception Owen has of himself differs from how he comes off. It becomes more of an issue later but we can already see this happen. 

So as clearing 2 is introduced this is what we know about Owen. He was a soldier once, he wanted to protect people in the clearing even if it meant sacrificing himself. He’s nice to others but his methods are still aggressive and violent, ready to hold a weapon to someone if needed and Owen cares a lot about trust. 

With the introduction of clearing 2 we can see how Owen changes and develops. He’s very cautious of clearing 2 members because for all he knows they could have led the creature that destroyed half their clearing in on purpose. 

Owen also faces betrayal from Apo. We know trust is something Owen values a lot. It’s mentioned in the early days, and it’s a major part of why he feels so strongly about Apo lying. During the scene where Owen faces Apo after finding he pulled the lever that killed the second clearing, his main issue with Apo isn’t the fact that he killed people. It was the fact he lied to him.

“You lied to me. Why did you do it? No no no I don't care about the lever. Apo why did you lie to me? You're my friend I trusted you. I stayed there. I held your back when oeca said it was you. I put my name on the line. Because we stood together in the mine and I asked you to swear to my face that you didn't do it. And you lied to me. Im meant to be your friend and you lied.” 

You can also see what Owen values in a person when they discuss Apo’s punishment and Owen says there's 3 main things he did

- went into maze without group consent

- pulled the lever

- he lied

Owen only adds on at the end that he left Squidney.

With all of this too we see Owen for the first time back away from the job he gave himself. He backs away from leadership, we start to see how tired Owen is from the stress of it all. His reasoning has to do with his trust being broken.

“What's the point they're all liars. This entire place is filled with filthy liars. Every single person. All I've ever done is tried to protect them”

“Forget it. I'm done. I'm don't helping people. No I'm not villain, I'm not a hero I'm nothing.

From now on there is no leader of the maze. They put me in charge. My word means nothing to them I'm done.”

“How am I meant to protect them when I try and stop them with physical force im made out to be some kind of monster. When I try to reason with them I'm made out to be soft.”  

Owen being viewed as soft has always been something he’s aware of. People tend to think because he’s kind that they can do whatever they want (sneak into the maze etc) and this perception Owen is a soft person develops. Even if he’s emotional and kind we’ve seen before in early maze days he is not soft. 

Owen tries to ignore all his problems but with it he grows more aggressive than before. His tone changes when he speaks about other people to his voices.

“To visit him would be to acknowledge he exists. And right now the last thing I want to do is consider the fact that this thing lives and breathes and eats and sleeps under my feet. The sooner he wastes away and fades into nothingness the better. I don't see a life going forward with him in it” - Owen about Apo

“The more I look around these stupid 4 walls the more I'm reminded that he that. That I trusted him.”

"he's everywhere. It's like a disease. Like it festers. The outside looks fine and you look just below the surface and it's rotting vile and it's him”

Apo: Just give me a chance.

Owen: why should I? So you can have another tick to the long list of times Owen has naively believed there is some good in the people that infests this clearing? Oeca, mohwee, Bekyamon, Magic, Graecie, Ori, you, liars. All of you.

I’m not just putting quotes here just for you to see oh trust is important! But more so for you to see that Owen changes when his trust has been broken or when he sees someone as a threat. Some of these things sound very similar to what Owen would say when he gets his memories back. Because to Owen trust and protection are 2 very important values. When that is broken he can’t be certain someone isn’t a threat. 

With this change Owen does become more aware he isn’t the most approachable person due to his methods. I do want to bring up this quote first though 

"Can I kill someone? Ive been thinking about this recently I say I'm a soldier. But I've never actually killed anyone. All my life in these 4 walls I've spoken about security and fighting and I can't remember a time I've actually taken someone's life. What if I have to. What if it comes to that I don't think I could stomach it either. I doesn't feel like me. It's not me it's not who I am. No I can't. I'll only attack this person if they do something first. And even then I'll just aim to incapacitate" - Owen about Ash

This is an interesting quote from Owen knowing his later actions but it’s not that out of character. If we look at every flashback he’s had so far we can see the life of a soldier is not one he’s always wanted.

Owen to his dad: What if I'm not ready to be your protector? No It's what you've always wanted! What if I wanted to do something else? What if I don't want to be a soldier what about me when do I get to look out for myself.

However he is always ready to attack if he needs to, if it comes to it he would do anything to protect someone. I think that means to kill even if Owen doesn’t think so at this point. 

His notebook btw

Another note about his behavior is that because of how others view him he almost dies from the creature’s venom. Ayngel even said before Owen is more angry. Other people even though it sounds jokingly say Owen gets grumpy when people disrupt him, leading to no one but Soup to check up on him when he gets stung.

When Bek comes back he doesn’t hesitate to do the things he did before. He does what he thinks is right and protects Magic by aiming a javelin at Bek. He says he’s not violent but anytime he feels like he’s in danger he pulls out a weapon. He did it when he was in Soup’s basement, he does it anytime he hears about someone potetially harming Rasbi, and he did it when he heard Oeca attacked Graecie. 

Owen in general is a fighter at heart. Even if he says he doesn’t want to kill anyone he is still ready to attack. 

Owen: this isn't you Ori. You fight. That's what you do.

Ori: what are you talking about?

Owen: you fight people. When you don't get your way you fight. You and I are the same

At the end of this section, the group decides not to go back in the maze. They had lost Squidney, Oeca, Mohwee, with the presumption that Red, Apo and Graecie were either dead or dying. Owen is tired of it all “Every Time I've tried to protect someone they've ended dead Kyle” he tries to hope but he is so tired. This tiredness also explains some things that happen when he gets his memory back. 

So to summarise before looking at Owen when he gets his memories back, this is what we know about Owen. He wants to protect his friends, he believes in trust a lot, he is both seen as more aggressive and angry these days and soft at the same time, he wants to be a good leader but other people don’t listen. Not much has changed since the early maze days, but it’s a more solid character now. 

When the reunion comes around Owen in the story has finally had a moment to think about everything that happened between him and Apo. His main regret in the series was how he treated him even if he broke his trust. 

Owen loves to contradict himself a lot but it’s a very human trait he has. He has complex feelings about Apo, and Beks and a lot of people. Yet he’ll still offer his protection to them. It’s because of this the ‘sudden’ shift in personality he has becomes very shocking to the audience. 

Since right before he sees Apo, Owen is very emotional here. Very similar to how he was in the early maze days. It’s out of his character to hope for something like seeing Apo because he knows it’s very unlikely he’ll see him again. However he gives himself this hope, one more chance. 

When Owen regains his memories the tone shift is obvious. He acts less emotional, he seems more mature. But we do need to consider this is someone who just had a lifetime of memories shoved back in his head and his core values are so strong that Owen doesn’t hesitate to act the way he used to. 

There’s lots of similarities to Owen here to the one we’ve known. Like his purpose. He sets one for himself immediately after arriving in the clearing. Even as he talks to Apo about his past he talks about his purpose

“I had a purpose once. I was useful, vital, adored. And suddenly everything changed. The world grew tired of blood shed. When all you're good for is violence, when you've been breed into a killing machine, a nation of peace will toss you aside like a spent torch”

There’s an obvious difference here right? The man we’ve watched in the maze who wanted to protect his friends just killed his best friend. This is definitely a different person right? Yes and no. Owen hasn’t changed that much, and I'll explain why after we go through some more things. But it’s important to note that this isn’t a completely new person, this isn’t something that is unexpected when we go through the information we already have about Owen. 

“I know what you are, you are everything wrong in the world has to offer. You are the amalgamation of all the gluttony and lust of humans with the evil and cunning of demons. You stand as a testament to everything vile. You are a disease on the face of this earth and I am it's curse” 

Apo: this isn't you you've changed 

Owen: incorrect, this is me. The man you manipulated and lied was nothing more than a puppet driven by the instinct to survive. 

Owen wants protection for his friends. He goes to extreme lengths to keep people safe, so when he remembers demons as this evil creature that will hurt people for their own gain he wasn’t going to stand around and do nothing right? 

Surprising or not this is very in character for Owen if we look at everything else we have from the series. To him, he is still doing his job, the one he’s done since day 1 in the clearing. Just now the threat isn’t just the maze and the occasional person, it’s demons. 

The way Owen became a demon hunter is essential too. He used to live in comfort, and based on past flashbacks he was training to be a soldier even if he didn’t fully enjoy it. His mother was a poet and his father was a general. He had grown up hearing all about how terrible demons are, and he didn’t understand until his village had been burned down.

One negative interaction with demons had put this deep hatred in his heart for them. Before his memories returned he was ready to forgive Apo, he knew he wasn’t as dangerous as he made him out to be. But when the sudden influx of memory comes, he has this past knowledge that Apo is a threat. 

Since Apo had hurt Owen before this only adds to it. Remember Owen really values trust. Apo has broken that trust in the past, so everything combined and letting go of the final restriction it’s no wonder he kills Apo. 

Despite this ‘massive personality change’ Owen has, when he returns to the clearing he still makes sure Magic is safe. He doesn't tell people about the lava rising so he wouldn’t cause panic. He still cares about these people. 

But Owen starts to view all the demons as a threat, every demon in the clearing has done something to suggest they could be dangerous. The reason Owen kills Guts is because they poisoned the food at the feast, which led to Magic being poisoned. He carries out this duty for protection

I think another thing people tend to forget about Owen is that he's been slowly breaking apart trying to fit what others want from him as seen in the last section. And it took a major toll on him. His outburst at Magic is one of the ways shown to us how much stress he’s been under. Perhaps even guilt he’s been feeling.

Magic: if you don't you're just putting everyone danger by not leading us… in there…

Owen: danger? You want to talk about putting others in danger? All of this coming from who exactly? The woman who's clearing burnt down under her leadership? The woman who lied about that previous position of leadership as she lacked the spine to correct her friend when she lied? The woman who was tied up and left for dead by that same friend? The woman who swore to protect a stranger only to them shot down in front of her? What the woman who stood still as her friend was ripped apart beside her? Oh yeah the magnitude of your failures Magic is deafening. Do you hear it? When you fall asleep at night, do you hear the screams of the dead who's blood stain your hands? How do you cope? When you find out be a good friend and let me know would you? Been looking for a way to shut them up. 

Owen does try to justify his actions to his voices even if they don’t listen. He knows people here aren’t good. He’s known this since clearing 2 was introduced, but with his memories back he feels like he has to carry on this duty by killing the threat. That’s the only way to keep people in the clearing safe right?

Owen to voices: have you stopped to think why I'm doing this? You seem so attached to these creatures, why? What good have they done? These people aren't good people. None of us good people. We're all in here for a reason. Just because you haven't taken your rose tinted glasses off to see that doesn't mean the rest of us haven't. 

Like before he won’t let anything stop him, even if it means hurting a few people. He doesn't hesitate to pull out a weapon when he hears Ayngel might know him. He can’t risk anything ruining his plans because he can’t afford to. He’s so tired. I think at this point anyone that was a major threat to him he would kill. 

Ayngel: I feel like I recognise you. You and your face from somewhere 

Owen: oh? (Starts to pull out knife from his bag)

Ayngel: I've been having this thought and it's got me thinking (Owen pulls out a knife in case)

Ayngel: actually, honestly forget it. It's all a dream and I'm overthinking

The only exception to his thinking is Rasbi. Rasbi actually hasn’t done anything wrong to him personally. She’s one of the few people that didn’t break his trust but he still kills her. Why? 

First off he doesn’t see her as the friend he wanted to protect but instead as something he protected only to kill in the end to fulfil his duty. Her sister is the reason why he ended up in the maze, so even without Rasbi directly harming Owen in any way it’s enough for Owen to kill her. I’m sure any small mistake or detail would have led Owen to killing any demon, because it only proves his thinking. 

Owen barely survives after Rasbi attacks him. So as Owen starts planning how to kill Krow he starts going a bit insane. His room is a mess, his mind is a mess and he can barely stand it anymore. We really start to see him fall apart here

Owen: this yolk is a burden is a burden I can't carry for much longer. I'm tired. I want to rest. But I took a pact, I made a promise. A glorious death is his for who his country falls and either I or they thing will have to die before I stop. 

Something that’s brought up when discussing the idea of ‘Maze Owen’ is the fact that we can see ‘glimpses’ of him in different interactions. For example when Owen and Krow go out into the maze and Owen spots Puddy he makes sure Puddy doesn’t die by keeping him away. Even if he’s aggressive in the scene the fandom interpretation is the care he has for Puddy as ‘Maze Owen’ slipped through. But It’s not out of character for him to still show care for people after his memories are returned based on everything we’ve seen.

Before ‘killing’ off Krow, Owen does say this “There's no escaping who you are” Which is really interesting since most characters he’s interacted with will tell him in the maze you can escape who you used to be. Owen knows for a fact no matter what he does in life now he will never have anything outside the maze. Because the world doesn’t need him anymore. He kills the demons as his final act of service to the world because he has nothing else to offer. 

When Krow finally comes back and Owen gets hit in the head he says to the rest of the group “I was protecting you all.” and “You don't know what they're like! You haven't seen the outside world.”

Looking at his final moments we see that everyone that Owen has cared about doesn’t trust him anymore. They don’t believe his protection was needed. He’s told that he will not get out of this cell. He’s left alone in the silence of the cell. Finally with the time to think. He starts experiencing multiple flashbacks and it makes it hard for him to think. 

We’ve seen in the past how Owen deals with multiple flashbacks. It gives him a headache or causes him pain in some cases. He also becomes really emotional afterwards. This follows the same case. Except he starts to realize some things.

Krow: I know those eyes. That glint of desperation for approval but knowing it's never coming. We're more similar than you let yourself believe you and I

(Flash back ‘i was an archer.?’ ‘i was a hunter?’ I was a soldier)

“I was a tool. Used.”

He knows he’s going to die soon and he starts to panic. The most important line he says is 

“So what now? This is it!? I deserve to die in battle. I killed them. It was what I. Its just what I was meant to do. I was trained. Should i have? I should have. I should have. I can't think inside my head, it's split in two” 

“So what voices? What was I before then huh? Was that me? Is that who people trust? People trust that one. Old Owen. Yes? It wasn't me. That wasn't me” flashback about Apo first coming up

“I can't think. I can't. They trusted him. They trusted him but not me? My head…”

After this he pleads with Magic to let him out. Owen claims “I hurt them, I hurt my friends. Rasbi, Guts. And Apo, Krow I don't know why I did those things” He pleads and cries. And he's desperate

Owen: “No magic it's me please.” 

Magic: “You kill people owen”

Owen: “It wasn't me I'm sorry. I just wanted to keep people safe.” 

Owen: “Magic please don't go… no… magic. You can't do this.”

Magic: “I can and I am” 

I think when we look at these final clips there’s a very important thing happening. Owen is separating himself from the past. He can’t understand why his friends don’t trust him. Even though nothing has changed. To him his eyes have been opened to the dangers of demons and he fulfilled his purpose. 

Why does this separation even happen? This is where we move to the final part of this long analysis and look at theories. There’s no way I can say for sure this is right or this is wrong. I can only tell you what I think based on the material already there. 

So before I go into this I have to emphasize I am not saying you can't refer to earlier Owen as maze Owen to explain Owen at different periods of his life. I'm saying when we really look at it, maze Owen doesn't exist since they're the same person. 

So what am I talking about? The concept of ‘maze’ Owen has been around for a long time. Even ccOwen talks about his character like that. The idea that just because Owen didn’t have his memories that he was some sweet, soft guy that needs to be babied is something that affects a lot on how you view him as a character. 

'maze' Owen doesn't actually exist because it's a way that Owen has come up with to justify to himself how he could have cared for demons without shattering his ideals. This is confused with Owen have distinct personalities and missing how he hasn't strayed from his ideals since the start with his idea of protecting everyone.

To separate that period of Owen's life in the maze ignores the fact that the characteristics you see in Owen post reunion are the same from before but taken to the extreme.

He's always been capable of ‘evil’'. It's the same as every other character in the series. We don't separate them like we do with Owen. Every character in the series is inherently morally gray, they do things out of desperation to survive. You can never say someone is 100% good or bad. 

Owen’s same mindset of 'I need to protect the people I care about because they're in danger now' carries through. After the reunion in his head demons are no longer part of that group he wants to protect. 

The separation of 'maze' and post reunion Owen forgets even in the post memory phase he had the ability to love like 'maze' Owen had. He released Puddy, he started a small farm, he started to relax. It's all part of him.

In his final moments he says a few important things to note. The first being "I was a tool. I was trained. Should I have... I should have." And then right after "I can't think in my head it's split in two"

It seems some take this as 'maze' Owen coming back and fighting with Owen on should he have killed Apo and the others. However rather than 'maze' Owen coming back i think it's this internal conflict he has with himself and his ideals.

Before he says this he's getting flashbacks to the early maze days where he showed kindness to demons. Something he would never let himself do in the past outside the maze. And something he would never do after he remembers it all.

Then he says to the voices "Is that who people trust? Old Owen" while those memories are playing. The voices respond saying they miss that Owen and he replies "Yes? That wasn't me" this is possibly where it further adds to the whole 'maze' Owen is a different person thing.

Rather than facing the fact that his thinking doesn’t make sense anymore he separates himself from those memories. As soon as Owen accepts that demons are not these creatures that betray and kill you at any moment, his life has no purpose.

Owen’s thinking comes from the manipulation and propaganda he's been fed. In his final episode we get these quotes which show just how much his thinking revolves around protection and also showing what years of training did to him.

He understands he was a tool that was used. He's well aware everything he is doing may not have a purpose and yet he still plays this part. He can't break away from that thinking because if he lets himself, Owen has to face the fact that his whole life had no true meaning.

That is a terrifying thing to do. He has been in this environment for so long you can’t just take him out of it. 

Going over everything you can access in Owen’s pov, we know that before gaining his memories Owen is a person that cares deeply about his friends, he risks himself to protect them, he won’t hesitate to hold a weapon against someone he sees as a threat. Owen thinks trust is an important value to have, he takes it very seriously. But we also know that not everyone likes Owen and his leadership. He’s seen with a military mindset, people don’t want to upset him and it nearly costs his life.

Now let’s compare that with the Owen we get to know after his memories return. He wants to protect the people he deeply cares about, he risks himself to protect them, he doesn’t hesitate to hold a weapon against someone that he sees as a threat, only now the threat is demons. When we start looking at these differences, yes, Owen when he regains his memories is different, his tone changes, he murders people. But those core values we’ve seen throughout the series stay with him.

It’s one of the reasons why Owen can’t understand why no one in the clearing is on his side. He protected them against the threat they didn't know about. That is his purpose, and that’s what he’s good for. Remember right at the beginning of the series Owen sets his purpose to protect these people, now this is still the same. He views demons as a threat because he hasn’t had good experiences with them. Even if Apo became his friend in the clearing, Apo ends up lying to Owen, and betraying his trust. Guts became his friend but Guts tried to poison Magic. Owen has never fully trusted Krow and that distrust only furthers once he knows what Krow is capable of based on his experiences with demons.

So let’s go back to the previous question: who was it there? You’re probably thinking well how do you explain maze Owen and the chips. ccOwen has mentioned before that it's a possibility for the chips to alter memories. Maybe Starr suppressed those memories and maze Owen was there again. Or he was hit hard on the head right? Maybe his chip was damaged and it altered his emotions and memory.

There is too little known information to us as an audience about the chips in their head. We know they can supposedly make the outsiders lose track of time, alter their memories, their emotions and change how they act. But if the chips in their head is the explanation for everything then why does Owen remember killing his friends when he talks to Magic? He says it like he wasn't the one doing it, like he watched someone else do it. How do you explain his behaviour then? If the damaged chip really made him act like that then why do flashbacks still occur when he's in prison? He seems to have no control over those, so the chip must still work fine?

I think when we look at his character the maze has already changed him whether he likes it or not. There’s more doubt in him than before. He lets Apo go with extra time. He hesitated before he ran after him. No matter how small, he has changed.

But when Owen talks about himself in the past he makes this separation. The voices in his head won't stop calling for the guy they used to know, even though he's right here. I think Owen doesn't even want to acknowledge at one point he was friends with the demons he hated so much. 

In that prison cell all his ideals and values are facing him. Everything he's done and he's known has been a lie. I think he knows this but can't bring himself to acknowledge that. Would you admit what you thought for your entire life was wrong? That you killed countless for nothing?

When faced with death Owen becomes desperate. Which I think explains his behaviour with Magic. That is his last hope and he knows people like the older version of him. I don't think he's fully lying though when he says i don't know why I did those things. Not because maze Owen came back or anything but because in the maze he no longer has this duty but he still carries it out. He's so tired from it all and he wants to leave it behind but he can't.

So let's go over his death scene one more time. “My head it's split in two” I think the explanation for this is that he was just hit with a bunch of flashbacks of his first days. Right before this he also says ‘I was a tool. Used’ I believe in his final moments where he has a moment to think he starts to fight himself. Should he have done all this for a country that throws him away the second he's useless? He was trained to do this. But should he have really? That's what I think is making him say my head it's split in two. He's fighting his own views and alongside these positive memories it makes him confused. And overwhelmed.

It's important to note Owen doesn't have a single bad flashback about Apo and Rasbi. He doesn't think about the levers, he thinks about his friends that he met. That he protected.

The more flashbacks he gets the more defensive he becomes. “I'm right here you can't convince me otherwise” He doesn't understand why the Owen in his memories is trusted so much, even though they're the same person. In his mind he's doing what he's always done. protect.

“It wasn't me I'm sorry I just wanted to keep people safe” everything he says to Magic is half genuine and half lie. I don't think even Owen knows which parts are which. It's easier if he separates himself into the nice trusted Owen and who he is now.

No matter what in the end, that was Owen. Not Maze Owen but Owen who is desperate to live. He's tired of it all. He's finished his mission and he won't even get to see what he thinks will be an honorable ending for him.

Remember what Owen says to Apo? "The man you manipulated and lied was nothing more than a puppet driven by the instinct to survive."

So of course he'll do anything to survive even if it means playing up the truth.

It's hard to separate Owen into these neat boxes and say for sure that was Maze Owen at the end or that was full manipulation. Because like Owen everything is a bit grey here. Maze Owen wasn't the best person, he hurt his friends, people were scared of him. And post memories Owen isn't some misunderstood guy that needs babying either. 

My final thoughts on this debate is that in the end the one that pleads for his life is just Owen. To separate him and say it was Maze Owen doesn't allow you to understand how complex Owen is as a character. And continues to let you believe that Owen can't do anything wrong. Not understanding sometimes a good person is capable of this evil. To the end Owen still believed he was doing what was right and that was protecting the ones he cared about. So has anything really changed since the start?

[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~)

[tetzoro]

hiya friendz !! happy monday lovelies !! i’m buzzing in to wish you all the best week ahead and giving you guys big big hugs !! i will be on a hiatus for a little while. see you soon 🤍 take care of yourselves & each other ! ✨

[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. ❤️

[penins]

Disco elysium portrait "studies" and doodles <3

[spaciebabie]

hey so im not white

[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