#I know some people go the killing them route for narrative reasons tho so maybe not

[libartz]

What if Nathaniel was a companion in DA2??

We could’ve had him and Anders sharing Awakening tales and making inside jokes and confusing the fuck out of everyone

We could’ve had an interesting dynamic between him and the Warden sibling who he’d be senior to and might even command

We could’ve had Varric thinking he’s the ‘normal one’ until it becomes clear he’s just as kooky as the rest of them

We could’ve had a moment when Justice comes out and while every other companion is freaking out Nathaniel is like ‘oh hey man how’s it going’ which starts people fearing Justice less

(Also it comes out that the janders merger was Nate’s idea and the reactions to that would be interesting)

We could’ve had him and Anders getting together if neither was romanced like how Fenris and Isabela have a thing!!!

[isuzukuretsuki]

me before playing blue lions: haha I’m not like ~other girls~ I don’t like Dimitri and I think he’s boring and basic.

me after playing blue lions: I will die for Dimitri.

I finally finished Azure Moon!! Can’t believe it took me 4 damn months to finish this route. Just like with Crimson Flower, I decided to do a very long write up of my thoughts of this route after letting my thoughts marinate for a bit. There will be spoilers for both Azure Moon and Crimson Flower. Also disclaimer: these are just my personal opinions.

Tldr: this route was so fucking good!!!! I jumped ship from being team Edie/BE to team Dimitri/BL faster than Sylvain jumps girlfriends because I enjoyed this route more than Crimson Flower in almost every way possible. The Blue Lions are my KIDS and I will die for each and every one of them. Blue Lions may not be my first route/house, but this is where my heart rightfully lies. 

I guess the first thing I should get out of the way are the negatives. While this isn’t really a complaint about AM specifically and more so the narrative over the entire game... the conflict between Edelgard and Dimitri seems really stupid and contrived. In other games, war happens because the villain is evil. In this game, war happens because the villain is fucking stupid. Basically, I still ain’t convinced that Edelgard’s war was ever necessary LMAO. She straight up nuked the church’s authority and relevancy out of orbit the chapter before the time skip, so she technically already accomplished her goal; why she still feels the need to go on a savage conquest alludes me. 

Speaking of nuking the church’s relevancy out of orbit, that’s exactly what happened to Rhea LOL. Despite all the church goons clamoring every .5 seconds about how they gotta save Rhea, we literally never see her again at all after the time skip, even at the end of the game. It makes no sense why Edelgard would keep Rhea imprisoned and not kill her, especially when Rhea seemingly served no greater purpose to Edelgard and became completely irrelevant in the war phase.

Edie says some mumbo jumbo of “I weighed the victims of this war against the victims of the world and I deem that there will be less victims of war” like bitch, how??? How do you tangibly quantify “victims of this world”. If she means “people who had a shitty life because of shitty society”, then those people are always going to exist because every society has its flaws. Even if you change society, you aren’t decreasing that number because you’re only solving problems by creating new ones (Edelgard’s specialty). Also the mental gymnastics you have to do to be tortured by an evil organization only to team up with said evil organization to take down another organization that, unless I missed something, isn’t even directly responsible for the death of all your siblings??? In both CF and AM, Edelgard comes off as incredibly thoughtless and illogical in her actions and I can’t help but feel that if she had been just a little bit more diplomatic, then maybe, just maybe, she could have found a better solution without starting a bloody war.

This brings me to the god forsaken chat between Edelgard and Dimitri. Dimitri demanding to know why Edelgard started the war only for her to go “it was the only way” has about the same narrative weight as “Riku why did you become one with the darkness?!” “Because I’m the worst”. Instead of bitching about whose ~ideals~ are better, how about y’all sit down and actually discuss what each person wants to accomplish and maybe figure out a way to accomplish these goals without murdering each other over it? Not that I think Edelgard would accept anything BUT murder, but jesus, this is why you don’t leave diplomatic matters to actual children.

Speaking of why you don’t leave diplomatic matters to children, god that Gronder battle. I get that it’s supposed to be an epic showdown between the three houses that mirrored the mock battle pre time skip but... the Kingdom had literally NO reason to fight the Alliance!!! The reasons they provided to justify why the Kingdom and Alliance couldn’t team up at Gronder was so fucking dumb, especially when two chapters down the line, Claude is knocking at our door begging for help. I will say tho, I never knew how much I appreciated himbo in distress Claude until now lmao.

Rodrigue's death was also really poorly done imo. As much as I liked having Dimitri’s father figure be the one to snap him out of his insanity, (I love found father/son relationships...) how on earth are you guys so fucking incompetent that you let this tiny little girl kill Rodrigue??? It doesn’t help that the exact same thing happened with Jeralt and Monica. This... just ain’t it, chief. 

I think the biggest bone I have to pick at AM specifically is... so what the fuck is the truth behind the Tragedy of Duscur LMAO??? They literally blue balled me by dropping the bomb of “Dimitri’s step mom may have conspired in it” ONLY TO NOT DO ANYTHING WITH IT. I assume that the full truth behind the Duscur tragedy will probably be revealed in VW (I hope) because it involves the slithers but it’s highkey ridiculous that the BL goons... never actually find out what really happened, and why. And I get that the story is about them moving on from their trauma and the past, but they should have at least figured out the actual truth behind it so they can get the closure they deserve???

Despite the gripes I have with some of the writing, unless VW or SS is mind blowingly amazing, this route will easily stand as the best route for me, because.... it is kind of is mind blowingly amazing. I wholeheartedly love character driven stories, and this route absolutely delivers in that respect-- the character writing is amazing and is essentially the heart of this story. To think Dimitri and the Blue Lions were the lord/house I was least interested in at first. Even after hearing people talk about what the BL goons and Dimitri’s character arc was roughly about, I was still blown away by just how damn fucking good it was, and this route exceeded my expectations in every way possible. 

When playing CF, I struggled to connect with a lot of the beagles; I didn’t have that problem at all with the BL goons and the route does a phenomenal job at making me actually give a shit about these characters and their problems. Childhood friend squad (+Marianne and Ashe) are easily my favourite characters in this game by a landslide, and the dynamic between not only the childhood friend squad, but all the BL goons, was just so, so amazing. Watching these characters that are seemingly joined by a single tragedy, rise above all their suffering as they grow, heal, and overcome hardship together is just so... MY KIDS... MY HEART..... I really got the sense of not only their shared pain, but also shared intimacy, care, and friendship. Their support conversations with each other had everything; from goofy and fun, to soothing and nurturing, to painful and harrowing. 

The connections that the BL goons have to the pre time skip missions gave part 1 story so much more meaning, and it only gets better after the time skip. I really appreciate that the BL bean boys actually feel relevant to the main story, and that their input and opinions actually mattered. The cast’s struggle to come to a consensus on the best course of action during the war phase made them feel like actual people with opinions, unlike in CF, where everyone was just a mindless passenger to Edie’s not so merry joyride. This also made Dimitri’s arc way more impactful because the narrative actually holds him accountable for the consequences that his behavior/poor decisions had on others. What I also really liked about the war phase is that you could just feel how war torn the kingdom was and how much everything went to shit after the time skip. I felt really strongly to the characters’ sense of hopelessness at fighting a losing battle as they struggled to keep their home land in tact while everything just kept spiraling out of control and deteriorating further. 

So to see the BL goon beans slowly, one battle at a time, turn the tide of the war and push back against the corner they were backed in, was SO fulfilling and rewarding. The battle of Fhirdiad is probably my favourite battle in the entire game because it felt like all the suffering and toiling that the BL goons went through was finally worth it, and just watching the kingdom slowly heal after being liberated was just such a good feeling. This kind of payoff is something I think CF sorely lacked, since tbh, I struggled to celebrate Edie’s victories with her. Though I do appreciate how Edie’s a much more threatening antagonistic force than either Dimitri or Rhea were in CF too bad Edelgard’s boss battle was pathetically easy and Dimitri shredded through her armor like swiss cheese... at least Rhea put up a slightly challenging fight.

I could gush about the characters all day, but Dimitri? He makes this game, 100%. This truly felt like his story and he was the star of this route. On a superficial level, I’m a basic bitch as well as a slut for angsty boys who have trouble talking about their trauma because I want them to rail me. I fucking loved his feral personality it was just so fun to watch and interact with LMAO 10/10 would let him use me until the flesh falls from my bones. His dialogue in this state is just so demeaning, belittling and raw that it somehow comes a full circle and becomes charming I promise I’m not a sick masochist.

I’m also a degenerate and dimileth is my otp. The way the relationship between Dimitri and Byleth develops over the game truly felt like a bond forged over time. The way Dimitri admits that he couldn’t trust Byleth at first because he was put off by the way they could “kill without batting an eye”, to being so elated when he sees them smile for the first time that he’s completely mesmerized when they starts expressing emotion... oof, talk about otp material. I think what really sold me is the way he’s their anchor after Jeralt’s death; their emotional support both in a traditional sense, but also in a darker sense when he declares he will kill anyone so they desire it because their enemies are his enemies. Character A declaring they’d die for character B? Soft shit. Character A declaring they’d kill for character B? A+ romance right there, boys. 

On a non superficial level, Dimitri’s character arc of his fall from grace and subsequent redemption was absolutely phenomenal. Just seeing how far he sinks, how far he goes, only to see how far he climbs his way back up after hitting rock bottom, was such a roller coaster and I loved every minute of it. I also probably like revenge stories more than I care to admit. Dimitri has everything; blood lust, cruelty, obsession, but also empathy and compassion so extreme that it’s his very own innate kindness that drives him into insanity, which is what makes him such a compelling character in my eyes. The extremity of his psychosis was absolutely heart breaking, but despite everything, him making the conscious decision to change for the better and rise up to fulfill his role as king was just astounding to watch. 

I will say though... maybe I have a screwed up moral compass but tbh Dimitri brutally killing imperial soldires didn’t really upset me because... this is war??? That he didn’t even start?? Everyone is killing everyone??? Even if he never went feral, he’d still be killing because his bloody kingdom is being invaded?????? But I digress.

While I think just how damn avoidable everything was kind of detracts from the tragedy of his relationship with Edelgard, I still really loved how steadfast and unconditional his love for her was (after he stops going feral), and you can tell just how much she meant to him every time he spoke of her. I also love how the dagger kind of becomes a symbolic motif throughout the story, and Edie throwing the dagger at him in the final cutscene as a sign of her wholehearted rejection of him was just fucking depressing, but also very fitting of her character. 

I adore the whole overarching narrative and themes surrounding grief and death, befitting of a war game. How, as tempting as it is to constantly keep the memory of the dead alive, there comes a point where you have to move on and not let your life be ruled by those no longer around. The way that the characters react to the death of loved ones and grieve so differently was a huge highlight of the BL squad’s characterizations, which just makes them feel more alive and human. Honestly, no words can really describe just how incredible of an experience Azure Moon was.

Anyway my order from favourite to least favourite BL goon bean boys are: Dimitri > Ashe >/= Sylvain >/= Felix > Ingrid > Mercedes > Annette > Dedue. (I love Ashe/Sylvain/Felix almost equally LOL)

tldr my experience with Azure Moon:

tfw my second best girl is childhood friends with all the best boys in the entIRE GAME and she settles for a guy with a dead wife, daughter, and most likely triple her age :|.

I’ll be finally playing Golden Deer next, which I’m gonna do on NG+ Maddening so.... hope that goes well!!

[neven-ebrez]

i see all your grieviances with s14 and i do get where you're coming from, but everything you see as negative and tiring i see it as... well, not positive, but not the worst thing that has happened. characters being in a stalemate is still much better than reversing back like what happened with s9. it is tiring, but i don't mind the waiting if i can see the light at the end of the tunnel. some got advantages in the race while others are still behind. have some patience, they'll get there.

Whoever sent this, I’d like to think we’ve probably talked before. And I’d like to agree with all the points you’ve made, the sentiment. My gut tells me as much... but like, I’m beyond weary, you know?  I’ve been in the race for a long ass time. And to see people talk about the state of Destiel like it potentially isn’t very, very similar to what the meta community (and fandom) has already been through, what I personally have already been accused of for years…??  It’s like watching old history unfold into yet another heartbroken bloodbath. 

And yeah we’ve come so far from S9 and the quick downward regression, but like… Dabb could still follow straight down Carver’s path (which didn’t end well for Cas fans). Dabb’s faced with a similar problem, prolonging the show past a certain “vision”, and is now being “forced” into the same “stalling route” as his predecessor. And I can tell he knows and doesn’t necessarily want it, given his past pacing decisions. But he has hit the proverbial turn signal just the same. There’s only two ways to go. You take the exit to loop back around or you take the exit after, the one that leads to the road that takes you home. I don’t think we’re quite heading home just yet.

And there’s so much I wanna say but can’t because of what I know that others don’t, what I’ve experienced that other meta writers haven’t, stuff I’ve heard with my own two ears from the people actually making the show. It’s… just different after stuff like this happens. It’s why I don’t actively write meta essays like I used to, on the subjects I used to, and especially not with the language I used to. I feel I simply can’t, knowing some of the things I do and also knowing how much that knowledge can quickly become useless anyway. I’m not interested in leading anyone on and so this is where I’m left.

When all is said and done, I just didn’t want to leave it at no one said just how badly, just how reductive everything could still go… It’s my own worry and my personal feelings, so I’m saying it now, even if it puts a damper on things for some people. Meta writers love to say, “It’s exactly what we’ve been saying!”, and “Look at all the times we were right!” (these are… not good things to say btw… I’d know because I used to say them, a lifetime before I ever talked to any writers or production staff, and I can say I regret them now). No one ever likes to say, “Oh, man, was I fucking wrong as hell here.” But that was me after 9x03 aired and I personally had to face the part I played in the Destiel fandom’s disappointment. Because I thought I knew then what I was talking about. But I didn’t know shit. I… misjudged. Hordes of people left fandom after that as Carver took an exit I don’t think anyone was really prepared for in order to “buy time”. And I was left to explain to those that remained exactly what was happening (a mirror-filled narrative of lovers separated by duty that was painted against a rape metaphor that is, still, today, the worst thing Supernatural has ever done to its brand imo) because I was like, the only structural Destiel meta writer left standing.

I looked… delusional, having to point out what was happening to other characters to figure out and explain how Sam, Dean, and Cas all felt (because the narrative was coding itself to where this was necessary to try and understand what was even happening at times, since the characters were all either lying or saying the “wrong things”!), what we were *actually* dealing with, whether the Destiel narrative still existed as a structural romantic thing or not. Not everyone agreed, but I felt I was right in my analysis then, still do; the show is forever written a certain way (tho narrative mirrors do not a textual and tangible narrative make!), but my expectations… they had shifted. The shift remains, still, along with a pestering voice that will never go away, “But what if?”

It’s the reason I only deal in the tangible, textual narrative now, or, at least when it comes to discussing Dean and Cas. I’ve learned the hard way that nothing else matters. Because the truth is it doesn’t.

Supernatural’s narrative structure is a structure I’ve studied more closely than perhaps any other pro-Destiel meta writer past or present. Almost everyone that has come before me has left. Few remain. I don’t know many who write “meta” now. Do they even know the structural writers that came before me? (Flutie? Sara?) I don’t know this either, most of their stuff has been wiped from this blue hellscape. That I do know. And no one writes sourced essays anymore, especially ones at great length, that aren’t just a speckling of themes and musings that often contradict one another.

Hell, I might be the last one still writing from the “golden age of meta” on tumblr, back from the surgence of S8. And while I wouldn’t say everything in the structure is *exactly* as before (there’s been significant textual gains over the mirror narrative, what’s actually needed before the end), but I do see things now taking a similar route as they did then, especially if by the mid season finale point Dabb has Michael!Dean kill the ailing and seemingly finally killable Jack. Depending on how it’s written, Jack’s death could set Dean back a lot, like… A LOT. He’d see it as him finally becoming his father, the best of intentions to protect gone very, very wrong.

Maybe I’m wrong.

Maybe that won’t happen.

I hope I’m wrong anyway, but I don’t think I am.

Impatient as I am for the end, because I don’t want the detour I fear we are about to take (and I do want to talk about the finished product when we get it finally!), and as much as I appreciate the reassurance, I don’t say any of this needing it. I appreciate it nevertheless. I’m more confident in my opinions now, where before I was blindly, carelessly optimistic in both language and outlook. I simply want to remind people of the truth: we’ve been here before, it didn’t end well then and I doubt it will end well now (here, in the present), for everyone who is left…. so please, PLEASE manage your character development expectations, especially those that are tied into hope for text over Destiel. Jokes about being joined “at the everything” aren’t good for anything, no more than Crowley saying to Dean that he’s like his mistress, because he’s “cheating on Sam” with him. In fact, I’d argue it’s reductive. I don’t think I’d be alone in that.

The things they need to do to pull the Destiel narrative into text…the writers aren’t doing, but it very much is tied into the stalling tactic Dabb has chosen nonetheless. Dean *has* to get past the ghost, the trauma of John Winchester. That’s first. Everything else is after. I doubt we’ll even be that far this season. You’ll know when/if a textual Destiel narrative starts to happen. I’d like to think the windup will become obvious (hint: they’ll actually have scenes together). But wherever we are, with Dean’s last developmental hurdle (as decided by Dabb with S14) and Cas�� need for Heaven closure still staring us in the faces as more proverbial unboiled water left on the stove, we’re just not there yet. And please remember, there’s always room for this to be a tragedy. People always seem to forget that.

Maybe not the meta history lesson you were looking for (which honestly has nothing to do with me separately finding the narrative slow and boring), but thanks for coming by anyway.

[thegeminisage]

What other characters (of DBH) you think people should appreciate more and why? I love read your opinions❤

omg anon pls thats so sweet

(if anybody wasn’t here for the last ask the first character was north & there’s a follow-up here)

alright just a “””quick””” (lol as if) little thing for each one bc it’s getting late & you’ve already been waiting on this for like an hour at the time i started typing. it’s probably gonna be long as fuck but the tl;dr is at the bottom

LUTHER:

they did luther so dirty…it was like david cage was playing “racist trope bingo” for his entire debut chapter…and then on top of that all he cares about is kara & alice, these two near-strangers, and it’s real easy to get him killed for them. in fact, in an ending where kara sacrifices herself at the border, she tells alice that luther will get her across the border, and after that, rose will take care of her. UM WHAT? don’t call ur PSN trophy “happy family” and then try to erase luther like that!! what does luther want? what are his hopes and dreams, his fears? nobody ever bothers to ask bc they’re too busy making ralph alice’s dad. and it’s not that i don’t like ralph - i do! but he threatened alice with a knife TWICE. after her previous dad’s bullshit, that’s the last thing she needs!!

here’s my take on luther: he says that what his life was before kara & alice doesn’t matter, and that’s because david cage doesn’t care about him. but imagine instead that luther remembers what he did (was forced to do) before he broke his programming. our luther is sweet and gentle and good, but zlatko forced him to use his strength as a weapon for LITERALLY tearing people apart. don’t you think luther regrets that? don’t you think he wishes he could take it back? perhaps his even temper and loving heart is a RESULT of those early memories: he’s seen the worst sides of anger and callousness, he’s had to be complicit in it. my feeling is that he never ever wants to be complicit in something like that again…it feels weird when he picks up a gun in the game because i think he would be even more of a staunch pacifist than josh?? i feel like even when luther does get annoyed or angry he’s so afraid of the harm he’s capable of doing he doesn’t even really let himself feel it And That’s Sad. he should be able to get annoyed at like a broken coffee maker or some shit without illogically worrying it will result in someone’s maiming or death?? maybe he is So Ready to throw himself on a grenade for kara and alice because yes, he does love them, but also he feels he has to redeem himself somehow, yk? he has to be willing to do absolutely WHATEVER it takes to be Good

they didn’t give luther any depth…he never got to speak to zlatko’s captives and apologize, he never got to express a feeling about kara potentially burning down the whole fucking nightmare house (with living androids inside, i might add) - would he have wished to save those androids? would he be glad their suffering was over? would he have motherfucking hearts in his eyes for kara single-handedly destroying his own personal hell? he deviated for alice, it was alice that made him say “ok, doing this to kids is where i literally can’t take it anymore” - don’t you think he’d be so retroactively terrified of all the terrible things that could have happened to her? 

like i truly don’t get why people make ralph alice’s dad when luther loves her so fucking much he’d bring her the moon if she asked - he’s the only person who loves her just as selflessly and unconditionally as kara does. she accepted him and wanted him to say goodnight their very first night together…as soon as he resisted his programming, she stopped being afraid of him, and it must be so amazing for him to finally have people around who don’t either fear him or try to control him…whether u ship him with kara or not (i do, everyone should - it’s one thing to HC kara as gay but i side-eye people who don’t wanna ship luther with anybody) you know he’s gotta cherish them so much

AMANDA:

ok look i know amanda is the antag to connor’s story but honestly she’s metal as FUCK. i was so fucking floored to not only learn the garden isn’t a garden but that amanda isn’t amanda…my first playthrough i was letting connor be just a lil bit deviant but whenever amanda would ask about it i would panic and lie…now i know it doesnt matter what you can say and you can be blatantly deviant right in front of her and she’s like ok Whatever BUT i was deeply shook to realize all my lying to her all along hadn’t meant a thing…she did in fact KNOW i was lying because she wasn’t real, she was living in connor’s brain and she could see all that shit he was doing

and also?? like, imagine you were made out of a dead person’s face and voice. we don’t know if amanda has a body, we don’t know if kamski actually liked what he created or thought it was creepy (like imagine if he and amanda were close and then she died…it’d be weird to see her like that), we don’t know if amanda CAN deviate like the androids…she’s living this half life potentially stuck in some garden and just doing what her program says like everybody else. but even though machines get all the sympathy in this game i very rarely ever see people stop and go “dude, is she ok…is someone controlling her can we help her” - amanda’s a lot like connor, she’s hunting down deviants but she’s not a human and she’s not alive yet so who’s pulling her strings?? can they be cut??? 

JOSH:

i’ll be honest i haven’t figured out what Angle i like best for josh the way i’ve got one for luther and north but he has such strong convictions i feel like they would have to stem from some past experience. everybody’s always arguing about simon vs north that nobody stops to give josh the attention he deserves…he’s part of the fantastic 4 too!! who is josh? what does he want? what is he afraid of? does he refuse to be violent for reasons like luther - did he hurt someone, deliberately or accidentally? (to a lesser extent, a pacifist markus who shoved leo can also follow this pattern - he gave into violence and thought he’d killed carl’s son, so he swore to do no more violence after that.) or: did he see someone else get hurt/get hurt himself? i know the backstory they give him in the gallery but tbh it’s very similar and not stand-out from most of the rest of the stuff we hear…

like, what made josh deviate? we literally never find out. i think it would be interesting tho if instead of just being the victim of violence, he was ordered to DO violence, and refused - maybe that’s why he got hurt. but i think his relationship WITH violence could be a complex thing for anyone who wanted to tackle it. we know why north prefers violence, why does josh detest it? (similarly, why does simon prefer safety over either approach? - but fandom gives him a lot of love and attention and tries to explain this, and nobody tries to explain it for josh.)

KARA & ALICE:

like…to a small extent…i know they’re main characters but i could write an essay just on why they didn’t get a fair shake either - constant victims of assault, little depth, kara got to choose what happened to her but not what kind of person she was gonna be like markus & connor, significantly less playtime than markus & connor, had NO influence on the big macro plot like markus & connor, i could go on…but definitely the worst for me is that everything about kara that made us love her (from the short), was ERASED - david took her memories and never made the slightest move towards kara wanting them back, or her being able to get them back. she’s six years old and he took all of her history from her, all of her agency!! i feel like translated into fic they can both become very flat - all kara cares about is protecting alice, and alice is constantly scared or hurt or needing to be taken care of, like a baby doll. granted that’s not actually far from the game’s canon, but it could have been MORE. kara had six entire years of experiences before she met alice - what makes alice special? who is kara without alice? 

i really wish we had been able to take a personality route with kara - her main superpower seems to be empathy and getting people on her side (ralph, jerrys, zlatko’s creatures), but she can also wave around a gun at anybody who gets near her baby. it would have been really interesting to explore two sides of that - to have a kara who is 1000% Done and ready for wholesale murder if it means surviving vs having a kara who can bring out the best in anyone, even if they seem like bad people at first. (imagine the influence you could have over alice - she would learn to be wary of strangers or be warm to them.) but instead the narrative is wishy-washy; you can’t teach alice anything, and in fact she serves as kara’s moral compass instead of the other way around - you wind up doing things like comforting the guy who broke kara multiple times and waving a gun at ralph (who like, shouldn’t have done that, but also isn’t 100% in control of his own facualities all the time). it would have been really interesting to see kara be able to influence her own fate more as well - the camp sections are shitty and should not exist but like maybe a kara who had spent the whole game yelling at everyone with a gun would have the ability unlocked to then rally the people inside, and who cared what connor and markus were doing, you know? 

but david doesn’t know how to write women so that’s not what we got - kara carried that entire franchise into reality and he totally screwed her over!!

TL;DR

luther was forced to do terrible things and that could explain a lot of his behavior if anybody cared, nobody ever wonders if amanda is being forced to obey programming like the rest of the machines or if she’s ok, josh’s relationship with violence could be very complex and we don’t know his motivation for refusing to participate in it the way we know north’s for preferring it, and david can’t write women so he shafted kara so fucking bad and it is an honest to god shame

(dbh meta tag)

[janiedean]

Man, you have no idea how much I hate you. I hate you so much that I’m going to force you to choose between THREE songs to analyze. “Shut out the Light”, “Gypsy Biker” and “The Promise”. I’d wish you best of luck, but I so highly dislike you, that I wouldn’t DARE to offer you such a kindness. (Also, I'm just not sure if you've analyzed any of those yet so I'm covering my bases.)

HELLO ANON THIS IS AN OLD ASK BUT SPRINGSTEEN DAY IS COMING and therefore I’m going with my favorite out of the two I had left (I’ll do the other one asap tho!

*DRUM ROLL*

So: The Promise is one of those mythical songs from Bruce’s vault, in the sense that it’s from the late seventies and everyone knew it existed to the point that it was supposed to be the title-song instead of Darkness on that record but instead he never properly published it because it was too personal and he could never find the right version, which is why there’s like fifteen different takes of it in between the one on tracks, the one on the promise boxset with all the darkness outtakes, the ten live versions and so on - basically he was reworking it for literal years. So I’m just going with my favorite version - I mean I love them all but this one to me is.. just… IT SPEAKS TO ME MORE THAN THE OTHERS? idk but I love this one above all others ;_; (I think I like that it starts slow and goes into full band while the others tend to go either all band all piano idk)

Now, context: in order to get what’s behind this, you need to know that post-Born to Run he ended up in a trial with his former manager of his first two records out of contractual reasons (tldr: the contract he signed at the beginning was shitty and the manager didn’t want to settle for new conditions he found more favorable/fair) that lasted two years and during which he couldn’t publish anything because in the contractual drama there were also song rights involved. So: it was not the best time of his life and he felt it as a betrayal of sorts since he was actually close to the guy and considered him a friend.

With that said, let’s go at it:

Johnny works in a factory and Billy works downtownTerry works in a rock and roll band looking for that million-dollar soundMe sometimes I don’t do nothing, some spend a lot of time aloneSome nights I go to the drive-in and some nights I stay home

Now: the two people in the first line are probably imaginary and they’re there to establish a situation, in the sense that factory and downtown are two types of job that he could have had and his friends could have had, while the third one is relevant to our discussion because he works in a rnr band looking for that million-dollar sound, which is what *he* was doing up until he actually published Born to Run and hit it.

And then, he doesn’t do nothing, spends time alone etc., which is (according to his autobiography too) what he was doing when he couldn’t write or record music thanks to the trial and when he was starting to hit a fairly bad phase in his life. So: he’s basically staying on his own with his thoughts. Not good.

Now: he goes to the drive-in.

I followed that dream just like those guys do way up on the screenRode down the Challenger down Route 9 trough the dead ends and all the bad sceneWhen the promise was broken, I cashed in a few of my own dreams

Key elements we have here: dreams and cars.

Now: follow that dream is the title of another seminal mythical Springsteen bootleg which also sums up a lot of his philosophy, and it’s in a few other songs of his, but in this case: he followed that dream the way people did in the movies, meaning, making music, but that can also apply to anyone trying to make their way through life following some dream they have.

Now: the Challenger is a car which is one of his most basic metaphors, and in this case he rides it ‘through dead ends and bad scenes’, but it’s kind of obvious that it’s about his music, not a car, which he brought through dead ends and bad scenes meaning all the false starts he had until he could actually publish his records.

And then the promise was broken and he cashed in a few of his dreams, meaning that when the legal drama started, he saw it as a broken promise which eventually ended up having to sell his music ie his dreams, which was not what he was hoping for when he went into the business. Actually:

Well now I built that Challenger by myself, but I needed money and so I sold itAnd I lived a secret I should’ve kept to myself, but I got drunk one night and I told itAll my life I fought the fight, the one that no man can ever winEvery day it just gets harder to live the dream I’m believing inThunder Road, here one ride in the morning till it turns lightThunder Road, there’s something dying out on the highway tonight

‘I built that Challenger by myself’ = I wrote that music by myself obviously, and ‘I needed money and so I sold it’ = ‘I signed a bad contract also to survive and bring it to the people’, but that goes into the main narrative of the *fictional character* he’s singing about who has built that car and then sold it. But what’s the real deal in this is the middle section ie I fought the fight no man can ever win + it gets harder to live the dream I’m believing in, as in, we’re back to the main themes of the album consisting in how following your dream doesn’t necessarily means getting what you want nor the end of your problems/fights (the fight that no man can ever win) and living in it can turn into a nightmare (because it gets harder).

Now: the Thunder road part in the refrain has another double meaning because it’s, again, both the title of one of his most iconic songs and the title of a noir movie (remember: he goes to the drive in and wants to live his dreams like people on a screen from before), and we have a) one ride in the morning until the light comes (hopeful imagery), b) something dying on the highway tonight (negative imagery), so that dream he achieved - or anyone else - can either end up hopeful or wrong and it can even be both at the same time, or maybe you can hope it goes well while in truth it’s wrong. Who knows. IT’S UP TO THE INTERPRETER.

Well now I won big once and I hit the coast, oh but somehow I paid that big costI feel like I was carrying the broken spirits of all the other ones who lostWhen the promise is broken you can go on living, but, man, it steals something from down in your soulLike when the truth is spoken, but it don’t make no difference, something in your heart grows coldWell I followed that dream in the southwestern flats to the dead ends and a two-bit barsWhen the promise was broken I was far away from home sleeping in the backseat of a borrowed car

And now we’re at the big guns.

‘I won big once and I hit the coast’: general enough that you can see yourself in it if it happened to you, but if you know the backstory you know it’s about him finally getting to publish his music and somehow paying that big cost anyway (count that in between that, the previous contractual conditions and having to pay off contracts and so on he was half-broke at least until the River tour);

‘the broken spirits of all the other ones who lost’: he feels like even if he won or partially won, he’s still feeling a kinship with anyone else who went through the same situation;

‘you go on living but it steals something down in your soul’: whenever someone breaks your trust in such a bad way when you were intimate friends or partners or whatever even if you go on it breaks something in you that might never change back and it’s actually… a very… universal thing I mean it’s true that if you get betrayed by someone you’re close to it’s usually a bad blow, which goes hand in hand with the ‘something in your heart goes cold’ the moment someone tells you the truth and for you it changes nothing when it should;

the final line is more his fictional character than him, but it lines up with the rest because we have again following a dream through dead ends and he sleeps in the seat of a borrowed car, because he sold the one he made with his own hands and so the breaking of that promise goes with having to sleep somewhere that’s not his and that he can’t relate to and that he feels like has been stolen from him - and he’s also far away from home ie in the place he should feel safest/more at ease.

And:

Thunder Road, here’s one for the lost lovers and all the fixed gamesThunder Road, here’s one for the tires rushing by in the rainThunder Road, remember me and Terry what we’d sayThunder Road, we’re gonna take it all and throw it all away

We’re back at the Thunder Road refrain, where it stands for: a) lost lovers/fixed games ie all the relationships he lost and all the *games* that he hadn’t thought existed before going into the business, b) tires rushing by in the rain ie an image of someone running away in a car under the rain which is not exactly a good omen but still is about getting out of a situation you don’t like, c) something he and the friend in the band used to say, which is d) we’re taking it all and throwing it all away which is the exact same idea as the it’s a town full of losers and we’re pulling out of here to win of Thunder Road’s ending, except that TR’s is optimistic, this one is more ‘we said we would do it and then look at how we ended up’. It’s probably interesting to note that Terry is also the name of the friend in Backstreets with whom the protagonist has a falling out thanks to a supposed betrayal:

Blame it on the lies that killed us Blame it on the truth that ran us down You can blame it all on me Terry It don’t matter to me now When the breakdown hit at midnight There was nothing left to say But I hated him And I hated you when you went away Laying here in the dark You’re like an angel on my chest Just another tramp of hearts Crying tears of faithlessness Remember all the movies, Terry We’d go see Trying to learn to walk like the heroes We thought we had to be Well after all this time To find we’re just like all the rest Stranded in the park And forced to confess To hiding on the backstreets

I mean, coincidences? We just don’t know, but I DON’T THINK IT’S 100% A COINCIDENCE that the name is similar and that this is the guy who gets mentioned again at least here rather than the other two. Anyway that’s me doing speculation lmao.

Anyway: this song had endless versions and it only ever was published two decades after the fact because it was Too Personal and he couldn’t find the proper, but even if it’s really personal it still manages to be relatable thanks to those key passages in stanzas 2 and 3 (the fight that no man can ever win/when the promise is broken it steals something from down in your soul) and while I don’t know if it’s The Best Springsteen song as a lot of people rightfully think (BECAUSE IT’S A FUCKING GREAT SONG) it’s definitely one of the most intimate, raw and beautiful Springsteen songs exactly for how his experiences are made relatable to everyone else in a way that’s imo heartwrenching and bye I love this and I love all of the other versions and BRUCE IS GREAT OKAY? okay. ;__;