#essay structures

[a-subscription-box]

every hbomberguy video essay about a video game he likes: this game is overwhelming, obtuse, and difficult. it lies to you and will kill you out of the blue and the secret ending will actually poison your hometown's water supply. isn't that great!

me (unironically) : oh my god yeah, what incredible game design

[owlafterhours]

not the most accurate but the Grid lives rent free in my brain

[tennessoui]

also i passed literally all my midterms with flying colors (basically A+'s if grad school did A+'s) (or gold star stickers if grad school did gold star stickers)

(they should)

and all my midterms were just essays and all my professors who graded my essays said my essays were very well-written and well-structured and had high readability

and im like thank you thank you i've written like a million words of porn for the internet. i know my adjective noun verb placement very well

[comikadraws]

What actually was Itachi's desease? Does anyone know?

I AM GETTING ITACHI ASKS! FINALLY!!! Though I imagine my answer might be disappointing :')

Itachi's Mysterious Illness

Length: • 3.2K Content: • Itachi's Illness as a Writing Tool • Itachi's Symptoms • Popular Diagnoses • Exploring Alternative Causes • My Thoughts and Theories

DISCLAIMER: I have no medical background and, for the most part, am relaying the findings of others, not my own. Some of the panels are out of order. Blue links are sources. The art in the header is mine.

Itachi's Illness as a Writing Tool

Itachi's illness is very much a mystery in canon. A side-note. Itachi doesn't make enough appearances in the story for us to get an elaborate picture of his health. While there are popular theories, the fact of the matter is, we just don't know for sure what he was suffering from.

Due to Itachi's illness not playing a larger role in the story, it is unlikely Kishimoto actually researched any particular disease to reference. He resorted to a fairly common trope called the "Incurable Cough of Death" which is known for taking inspiration from Tuberculosis and its bloody coughs. The author doesn't specify any illness. It is merely a plot device to push a storyline.

As a narrative device, you might even consider Itachi's illness as a metaphor. While dying young was a deliberate choice on Itachi's part, his illness further solidifies his decision, leaving him with no way back. It mirrors Itachi's lack of agency in life. And, of course, it also makes Itachi's suffering palpable and highlights it for the audience. Itachi is in agony, yet chooses to suffer for Sasuke's sake rather than taking the easy way out.

Of course, while Itachi's illness is an unspecified, plot- and/or narrative-device disease, that doesn't necessarily have to stop us from trying to find a real-world equivalent or an in-universe explanation. But to do so, we must describe his physical condition first.

Itachi's Symptoms

While hemoptysis is probably the trademark of Itachi's illness as portrayed in fandom, it can be argued he was experiencing a wider range of symptoms. None of these necessarily have to be the result of Itachi's illness but since they often come up in discussions, I will mention them anyway for the sake of completion.

Low BMI

To begin with, Itachi's body is in a fairly weak condition. For example, Itachi's BMI stands fairly low at 18.3 at the time of his death, which is considered to be slightly underweight. It is a slight drop from his 18.6 at 18 years old.

While BMI is not a professional way of measuring a person's health, it does bring things into perspective. Considering that Itachi is a physically active person, he probably had a low fat-to-muscle ratio. Combine that with his low BMI and we can fairly assume that Itachi had weight problems, assuming Kishimoto and/or his assistants put that much thought into those numbers.

Low Stamina According to Databooks

Itachi's stats in the Databooks also indicate somewhat of a physical weakness. While Itachi ties with Jiraiya in having the highest stat total in Sha no Sho (35.5 points), he has noticeably low stamina at a value of just 2.5 points. It is not a major deficit, but it is definitely odd, especially when putting things into perspective.

In the Databooks, characters with high stat totals usually have stat deficits at 3 or 3.5 points, not at 2.5. Stat deficits of 2.5 occur at slightly lower stat totals, like Might Guy who reaches a stat total of 31.5 and a hand seal deficit of 2.5.

Additionally, characters with stamina deficits are usually associated with physical ailments. Orochimaru is basically suffering from necrosis, Hiruzen is 70 (his old age likely impacting his physical prowess), and Kakashi basically goes unconscious every time he uses the Sharingan as early on as chapter 16 of Naruto (indicating low chakra reserves).

Again, we better hope those numbers were intentional or this doesn't mean anything.

Noticeable Frailty

But now, let's take a look at the manga to search for evidence. What other fans before me have already pointed out is that Itachi's interactions with Kisame are fairly curious.

In a seemingly random scene, Kisame worries about the weather, claiming both he and Itachi will catch a cold if they stay out in the rain for too long. It is a somewhat strange suggestion, considering that this is coming from a shark man who primarily uses water ninjutsu in his battle tactics. You'd think he isn't bothered by some rain or chill if he is already getting wet this often.

Not that this applies to his partner, however.

In chapter #364 we get a repeat of this scene in which Kisame expresses worry only for Itachi rather than for the both of them. Kisame is made out to be explicitly caring toward Itachi and sensitive to his health and needs. But looking back at chapter #353, he refrains from hurting Itachi's pride by stating it out in the open.

This recontextualizes the scene from a few chapters earlier as this pattern in Kisame's behavior is actually consistent with the rest of chapter #353.

Kisame mentions that Itachi was absent from his most recent battle against Roshi. For unknown reasons, this causes Itachi's expression to turn somber or melancholic (though it could be argued he is smirking ever so slightly). Perhaps Itachi was reminded of his physical decline. Perhaps he regrets missing out on this last mission with Kisame.

Either way, Kisame picks up on Itachi's mood and quickly clarifies that this solo battle was the former Kiri-nin's idea and not at all Itachi's fault. While we cannot say for sure, the possibility that Kisame insisted on going without Itachi specifically to spare the Uchiha from putting unnecessary strain on his body is definitely there.

Kisame goes on to say he is tired, yet the first person to sit down in search of a break is Itachi - The same guy who didn't even fight Roshi and, at least technically, should be in better health than Kisame.

Kisame's worry for Itachi's health supports the idea that Itachi has been struggling for a while now - long enough for Kisame to pick up on Itachi's condition. He watches out for any strain or health risks that Itachi might unwittingly subject his body to, implying certain frailty that could be explained by a weak immune system and/or a weak and easily fatigued body.

During the Battle (Hemoptysis, Vision Loss, Heart Attack)

Besides this, Zetsu comments on Itachi's condition multiple times - both during and after the brothers' battle. He mentions that Itachi's movements were sloppy and wonders why he was coughing up blood. He hypothesizes that Itachi's body may have already been pre-damaged at that point.

Guessing by Zetsu's reaction, this must have been a recent decrease in Itachi's battle performance rather than a long-established issue. Combining this with Kisame's behavior (that instead implies a longer history) Itachi's condition has likely been bad for a longer time but never impacted him this severely until now. The illness may have just worsened naturally, but Itachi could've also stopped medicating or caught an additional infection.

During the actual battle, we see Itachi struggling with several more symptoms. He suffers from vision loss as well as from hemoptysis (bloody coughing) and what appears to be a heart attack or otherwise intense chest pain.

After the end of the battle, White Zetsu also theorizes that Itachi's symptoms may have simply been caused by the Sharingan, only for Black Zetsu to voice his uncertainty. An odd reaction, considering that Zetsu is one of the few characters that should be fairly knowledgeable about the Sharingan and its drawbacks. This implies that Itachi's symptoms are atypical of your usual Sharingan overuse.

Medication

Obito later explains that Itachi's illness was terminal and demanded regular medication to prolong the patient's lifespan. Obito unfortunately does not comment on the origins of Itachi's illness or any of his symptoms, though.

While not necessarily canon, in "Naruto Jinraiden: The Day the Wolf Howled", Itachi uses a drug called "Kotaro", which uses hallucinogenic substances. It is applied via the eyes and also helps with irritation of the Mangekyo Sharingan.

Popular Diagnoses

Once again, Itachi's symptoms are rather vague, befitting the Cough of Death trope. But some people have still managed to find likely candidates for real-world equivalents.

One such candidate is obviously Tuberculosis. It matches some of Itachi's symptoms, such as his coughing up blood, chest pain, weight loss, and tiredness. Another Tumblr user pointed out, however, that Tuberculosis is highly infectious. Had Itachi contracted the disease, other Akatsuki members would've fallen ill as well, not to mention Sasuke who came into contact with Itachi's blood and was supposed to inherit his eyes. This would've been beyond careless of Itachi. Any infectious, terminal diseases can therefore be safely ruled out.

The same user argued that Itachi may have had Lupus or ITP, both of which are immunological and therefore better suited for Itachi's diagnosis. It should be noted, however, that Itachi does not express many symptoms associated with Lupus, such as joint swelling, rashes, and skin lesions, and ITP is not particularly known (if at all) for hemoptysis.

The most popular theory is probably that Itachi had MPA. It is known for bloody coughs, cardiac failure, fatigue, weight loss, and in rare cases it may damage the eyes. But there are also people who disagree with the MPA theory, mostly due to his young age (which is atypical for MPA patients), but also because MPA causes diffuse alveolar hemorrhage, which the original poster deems more severe than just hemoptysis. While Itachi's symptoms match MPA somewhat, it might not be a perfect match.

But Itachi could have also died of lung cancer, Sarcoidosis, AIDS, SLD, Viral Perimyocarditis, Pneumonia, Paragonomiasis, Lymphoma, or something entirely different, due to the vagueness of his symptoms. But since we are talking about a fictional universe, it could also be a fictional disease or even a disease that attacks fictional parts of ninjas' anatomy (such as Tenketsu, Chakra Pathways, etc.).

And while I do like the idea of Itachi just being hated by life itself (vocaloid reference, haha) and developing a terminal condition on top of all his other sufferings, I could also see it being a manifestation of his guilt and trauma rather than just simply being an unrelated burden the universe put on him. Heartbreak Syndrome, basically.

Exploring Alternative Causes

Another way to explain Itachi's symptoms is by finding alternative causes. Believe it or not, but it is not 100% certain that Itachi had a disease in the traditional sense at all.

Obito Is a Liar

One of the reasons why is that Obito, unfortunately, is a liar. Especially in his conversation with Sasuke, his goal is to make Itachi as sympathetic to Sasuke as possible and demonize Konoha. Both are in an attempt to win over Sasuke's loyalty and Obito is not at all afraid of lying to Sasuke.

This is hinted at in the Databooks but also becomes evident in certain instances where Obito's exposition simply proves wrong - most notably the cause behind the Ninetails Attack. Obito's words directly clash with Itachi's and later Kushina's flashbacks.

Not to mention, Black Zetsu appears noticeably confused about Itachi's condition, leaving us to question how Obito acquired this much information on Itachi in the first place, if not through the Akatsuki's spy. Is Obito really this knowledgeable about Itachi? Would Itachi's condition really have been terminal? Did Itachi have his condition treated with medicine? Or is it all just a shot in the dark on Obito's part?

Long story short, we cannot trust Obito's word when making any claims about canon.

But now, let's find the promised alternative explanations.

Itachi's BMI Is a Lifestyle

To begin with, most of the Akatsuki members actually have low BMIs. Obviously, Nagato is severely underweight, but even characters like Sasori and Hidan score quite low. The average among the Akatsuki appears to be at 17.8 (or 18.2 if we exclude outliers like Nagato, Konan, and Kisame). This might reflect the Akatsukis' precarious living conditions or just the standard Ninja physique, rather than indicating any specific ailments among the Akatsuki members.

Of course, Kisame still manages to somehow reach a healthy BMI, but this might be the result of their respective diets rather than Itachi just magically losing weight. While Itachi dislikes steak (which has high calories and protein) he eats less nutritious foods like onigiri with seaweed, dango, and cabbage. Meanwhile, Kisame loves shrimp and crab (which are high in protein). And beyond that, Itachi could be suffering from mental illness instead, impacting his eating habits.

It should also be noted that low BMIs (as well as stress and trauma) can weaken the body's immune system and impair its ability to fight off common infections.

No Training, No Stamina

As previously mentioned, while Itachi's low stamina is highly unusual among characters of comparable caliber, it is just a small difference of 0.5 points. It might merely be the result of his fighting style which relies primarily on genjutsu or quick and painless assassinations rather than physically taxing maneuvers. This would be similar to Might Guy, who has a 2.5 deficit in hand seals due to a lack of practice.

But this explanation still begins to sound less sufficient when we look back at the manga itself. Itachi's interactions with Kisame in chapters #353 and #364 imply a certain frailty beyond just a simple lack of practice. But this is where Itachi's Sharingan becomes relevant.

Mangekyo and Susano'o Side Effects

Many fans underestimate the damage a Mangekyo Sharingan can inflict on its user. Most notably, the Mangekyo causes the user's eye to bleed and become irritated. Their eyesight deteriorates with repeated use until full blindness. (refer back to chapter #386). Those are not symptoms specific to Itachi at all and can therefore not exactly be traced back to any disease.

Additionally, the Mangekyo does not just affect the user's eyes. In the case of Susano'o specifically, it is stated to be hard on the user's body. Sasuke describes it as an unbearable pain affecting every cell in his body. And to top it off, it causes hemoptysis for Sasuke as well each time the Susano'o is in use.

It appears as though hemoptysis is not at all exclusive to Itachi but a Susano'o-specific symptom. It doesn't change that Zetsu remains puzzled about Itachi's bloody cough, so we have to assume Zetsu might just not be as much of an expert as previously assumed.

Assuming Itachi had already used the Susano'o at a point in time prior to his battle with Sasuke, it is possible that this jutsu has damaged Itachi's cells.

Since we know that the body's cells are partially responsible for chakra production, cell damage should logically impact a ninja's ability to produce chakra. Assuming Susano'o-conducted damage is at all permanent and that Itachi has ever used it prior to his battle with Sasuke, this may have caused an irreversible chakra shortage for Itachi.

Sharingan Side Effects and Chakra Depletion

In general, besides the Susano'o, the Mangekyo is known for wearing out its users. Not just Kakashi, who famously ends up in the hospital each time he uses it, but Itachi too requires long rests after using the Mangekyo. Notably, Kisame describes using the Mangekyo as "dangerous".

Even the standard Sharingan can deplete the user's chakra to the point of being immobilized. As we can see in early Naruto chapters, the Sharingan can put Kakashi out of commission for a weak (refer to chapter #16). It appears as though chakra exhaustion causes muscle weakness (inability to move) and fatigue.

While not as extreme, this would explain Itachi's fatigue in his interaction with Kisame in chapter #353. In this chapter, we can see that Itachi's Sharingan has remained active for an unknown period of time and likely robbed Itachi of a portion of his chakra. If this is something he did regularly, it might also explain Kisame's concern for Itachi.

If we think about this one further, it could be argued that the heart, due to being a muscle, can fail in the case of excessive chakra exhaustion.

My Thoughts and Theories

Itachi's vision loss and hemoptysis can clearly be attributed to his excessive Mangekyo and Susano'o use, as far as I am concerned. And right now, all of Itachi's symptoms can be logically explained without adding an unknown disease into the mix.

Although Zetsu still remains an unreliable source in this instance (due to not knowing that hemoptysis is a common symptom induced in response to using Susano'o) it should be noted that unlike with Itachi, this does not result in a lethal outcome for Sasuke who, as opposed to Itachi, uses his Susano'o constantly. When hypothesizing that Itachi's body may have been damaged from the beginning, he probably wasn't far off. This is also what Itachi's interactions with Kisame seem to imply.

While Itachi's Mangekyo use and chakra exhaustion probably put the final nail in his coffin, it stands to reason that his body was prestressed by yet another condition that shrunk down his chakra reserves and left him, in Kisame's eyes, "frail". It's comparable to how many diseases such as AIDS, Diabetes, autoimmune diseases, or other conditions don't kill you on their own but instead lay the groundwork for a truly lethal illness.

But even then, this pre-sustained damage has logical explanations as well. His low fat could be the result of his lifestyle. His low stamina and chakra may be the result of repeated Sharingan/Susano'o use or a lack of practice. His heart attack may have been the result of ordinary chakra exhaustion. His immune system may have been weakened due to his low weight (but then again, he is not significantly underweight), stress, and/or trauma, resulting in the contraction of a regular infection as Itachi stood in the rain without protection. This explains his seemingly "sudden" decrease in battle performance.

Conversely, it is not unreasonable to assume Itachi indeed had an incurable condition - unrelated to Sharingan's drawbacks. While Obito and Zetsu are not at all reliable sources, they do push the "Itachi was ill" narrative rather hard and the story never cares enough to dispel their claims.

Beyond that, Itachi's symptoms can be viewed as a causality dilemma. What was first? The chicken or the egg? The immune system or the illness? While low weight, stress, and/or trauma can result in frequent infections, so can a major infection lead to increased stress or low weight. While blaming Itachi's poor condition on his lifestyle is a valid interpretation, it is not at all confirmed.

Narratively, it makes a lot of sense to burden Itachi with a painful, incurable disease. Aside from externalizing Itachi's suffering to the outside, where the audience can see it, it manages to evoke stronger sympathy from the reader, mixing in a sense of unfairness and tragedy.

But alas, this is not sufficient evidence, and instead, we could also view Itachi's damaged condition as a metaphor for how very often, life does not leave Itachi with any options other than harming himself. Due to his growing blindness, he is forced to use his Sharingan more frequently. Due to his status as Nukenin, he cannot take care of himself as diligently. And then those minor inconveniences spiral out of control, piling ailment after ailment on him.

Unfortunately, none of this leaves us with a definitive answer. Perhaps Itachi did have a terminal illness. Perhaps he did not. The story seems intentionally ambiguous.

[cringengl]

Realistically speaking, in a Hunger Games Stranger Things au, Jonathan Byers would be Katniss Everdeen.

[froschli96]

You know what, fuck it, I have to speak my truth! (this is gonna be a rant, so anyone who actually likes assassin's creed revelations and/or the secret crusade, be warned or maybe don't read this at all)

remember how altaïr talks to king richard at the end of ac1, and richard is like "[humans] come into the world kicking and screaming, violent and unstable. it is what we are. we cannot help ourselves."? and how altaïr answers "no. we are what we choose to be." and how that ACTUALLY has meaning bc he himself was "violent and unstable" at the beginning of the game but he has learned and is now CHOOSING to be a better person who cares about others and humanity at large? remember how his calmness and gentleness was something that he ACQUIRED over the course of the story?

and remember how in revelations they then suddenly had a PRE-AC1 altaïr say about the first of his targets "no man should pass from this world without knowing some kindness." and be all wise and calm and collected during a nice little chat with al mualim, who suddenly acts all fatherly? (like, this is suddenly supposed to be a positive relationship? what??)

also, during the confession the target says to altair: "you put too much faith in the hearts of men, altaïr. [...] humans are weak, base, and petty." and altaïr answers: "no. our creed is evidence to the contrary." KJASJFJDKL???? like, it’s almost insulting how close this exchange is to the one with richard. you know, the one that was actually earned after a whole game of character development. like WTF??? cool congrats now that development means nothing. like, apparently that was just altaïr reverting BACK to being the exemplary assassin who understands and believes in the creed that he was apparently just born as. (i also hate how having a young inexperienced altaïr saying this implies that altaïr's faith in humanity is a sign of naivete instead of a sign of the wisdom he has gained after being confronted with counter arguments for a whole game, and also something that distinguishes the assassins from the templars who use humanity's supposed wickedness to justify controlling them like in AC1, but whatever)

altaïr’s development in AC1 mattered BECAUSE he is not NATURALLY a good person, it actually said something about humanity's capacity for both bad AND good and how humans don't have to be forced to be good through mind control bc they can by their own free will choose to be better when taught how and when allowed the freedom to grow. but no. apparently altaïr has just always been calm, wise and gentle. and he just sort of forgot about that during AC1 bc…. ? bc of adha?? bc of abbas???

oh don’t get me started on the whole abbas thing. (it doesnt even make sense that abbas is so hung up about his father and "his family’s honor", like what about the whole point of al mualim not allowing parents to be close to their children bc it would make them weak? like, my dude, you’re not supposed to HAVE any family aside from the brotherhood)

they used the throwaway character that had like 5 lines and made him into altaïr’s main antagonist in revelations… like, abbas wasn’t supposed to be this ONE dude who had personal beef with altaïr, he was just supposed to show how while altaïr’s revered by many, a lot of his brothers also hate him, bc 1) altaïr is a shitty person at this point and 2) bc there’s no real feeling of community and family in this version of the brotherhood, but just a pervasive sense of competition and jealousy — these assassins don’t care about their goal of safeguarding humanity bc they’re too hung up on petty squabbles and divided by rivalries (you know, the things that made malik hate altaïr even before solomon’s temple and that he overcomes in the end which enables him to forgive and to reconcile with altaïr so they can work together and stop al mualim? (you ever just think about "we are one. as we share the glory of our victories, so too should we share the pain of our defeat. in this way we grow closer. we grow stronger." and cry? bc i do. all the time. malik, the man that you are))

and now abbas is altaïr’s childhood best friend turned lifelong enemy?? like, bowden bent over backwards to come up with an explanation for why altaïr is an arrogant ass at the beginning of AC1, when the explanation is right there: he was raised to kill without asking questions and was constantly praised for how good he is at murder, which resulted in him becoming arrogant and disregarding human life. like, it doesn’t have to be some shakespearean family feud type shit. and guess what, this "simple" explanation actually plays into the story’s themes, who’da thunk!

(like, abbas might not have been a "fleshed out" character in AC1, but he had a specific function and now that function is gone. mr bowden, mr mcdevitt, you know characters are allowed to simply exist to tell us something about their worlds and the systems they live in and sometimes that’s more important and also more interesting than having every single character have a detailed backstory to explain all their behaviors, right?)

with all of this revelations loses all nuance in regards to the levantine brotherhood and also the creed in general. like, altaïr being a master assassin at the beginning despite being a terrible person and not actually understanding the creed is a criticism of the brotherhood and the creed itself. like, it said something about the order that someone like altaïr was able to get that high in rank, simply bc he's good at killing, which also tells us what is considered important in the al mualim era assassin order. when you make altaïr’s arrogance the result of his personal conflicts instead of how we was raised by a brotherhood that only valued one's ability to kill, you lose that characterization of the assassin order itself!

and by suddenly making al mualim a semi good "father figure" you also downplay his manipulation of not only altaïr but all those under his care. (altaïr says something about al mualim being "as a father" to him exactly twice in the codex, but he doesn’t mean by that that he WAS a father to him, what he means is that he was the CLOSEST THING he had bc HE DID NOT HAVE PARENTS, not because his mother died in childbirth and his father was executed when he was young btw, BUT BECAUSE IT WASN’T ALLOWED, like his parents actually lived but weren’t allowed to be close to him, he says he came to view al mualim’s "weak and dishonest" love as enough and even better BECAUSE HE HAD NOTHING ELSE, BECAUSE AL MUALIM ISOLATED HIS ASSASSINS FROM THEIR FAMILIES. al mualim "loved" him bc he was good at killing people for him! hm, i wonder if this could be trying to say anything about cults and indoctrination and the inherent contradiction in fighting for peace and free will by taking children away from their parents and raising them to become killers?? like, altaïr wasn't ~the special orphan boy~ taken in by al mualim bc his father died a hero's death, it was "the way of the order" to have al mualim be the closest thing to a parental figure for everyone to ensure absolute loyalty! altaïr saying al mualim was like his father is not supposed to make you go "oh, he must have actually been a good guy for altaïr to consider him a father", it should make you go "oh that's kinda fucked up that he considers the dude who made him into a killing machine and who manipulated him a sort of father figure"!)

and then in revelations they suddenly portray that relationship as positive and healthy??? like, it would be one thing to give it some nuance by delving into the psychology behind al mualim’s "love" and maybe showing how al mualim did care about altair in a complicated, fraught sort of way (like, you know, there’s a lot of interesting things you could say about al mualim at several points addressing altaïr as "my child" in AC1 and how that parallels Garnier referring to the people he drugged and abused as his "children", and what that says about how the templars view the people who they say they want to save and in whose best interests they supposedly act (in any case, al mualim doesn’t use that phrase because he has any real parental feelings but rather to patronize and to invalidate any objections, like in a "mother knows best" way))

but they even fucking DARE to parallel that relationship with that of altaïr and darim in revelations, by having the reflection in the puddle of darim hugging altaïr showing altaïr hugging al mualim…. like their relationship wasn’t inherently abusive but just tragically cut short because al mualim was just "corrupted by the apple"… like WHAT???? so it’s not the very real problems like grooming, manipulation and indoctrination and the hierarchical structure of the brotherhood itself (all of which are antithetical to the assassin ideology), it was just the evil apple all along. great. that’s DEFINITELY a lot more interesting.

god im sorry i really dont want to spread negativity but this is driving me INSANE. like, somebody please tell me im not crazy bc i feel like somehow most of the fandom is in agreement that revelations and the secret crusade have better storytelling and characterization than ac1.

SPEAKING OF WHICH, can we talk about how, even IF we completely ignore AC1 and treat revelations altaïr as his own character…. the narrative still doesn’t really work?

basically, the whole point of his story in rev is that "he gave his whole life to the brotherhood", this obsession led to him not using his time with his family which has him ending up dying alone in a dark library and this in turn makes ezio reevaluate his life choices…. except. he doesn’t? neglect? his family? or whatever? like, his devotion to the assassins is sort of painted as this tragic flaw that leads to a lonely death bc it supposedly comes at the cost of his family, but… his wife has joined the assassins, (at least) one of his sons is in the brotherhood and even when he goes to protect the assassins against the mongols, he takes his family with him (except for the son who stays behind bc he has a family of his own and who, ironically, ends up dying bc of that)… like, you can’t describe altaïr as a good husband and father in the database and have his son tell him that "everything that is good in me began with you, father" when they say goodbye, and then want to make us believe that he put his family behind the brotherhood and that that is a character flaw that leads to his tragedy.

because you HAVE to have a character’s tragedy be the result of a character flaw. like. that is how tragedies work. otherwise it just becomes tragedy for the sake of tragedy which is… boring bc it has no purpose. and we know it is SUPPOSED to have purpose bc ezIO FUCKING QUITS BEING AN ASSASSIN AFTER WITNESSING IT!

it’s like they want to have their cake and eat it, too — they didn’t want to actually make altaïr a bad husband/father, but still wanted to make his life a tragedy where he loses his family which is why instead they outsource all responsibility to abbas who now has to be the reason for ALL the deaths.

like, they try to make at least maria’s death kind of sort of the result of altaïr’s rashness or whatever but like… these guys KILLED THEIR SON and TOLD HIM THAT ALTAÏR HAD ORDERED HIS DEATH. like, altaïr losing it in response to that is not rash, it’s fucking logical and justified! if anything the scene made me angry at maria for trying to stop him. like, GIRL, he was YOUR son too??? but god forbid we give female characters actual real emotions, she has to fill the role of "voice of reason who dies for altaïr’s man pain" i fucking guess.

like, it’s this weird mix where his tragedy is simultaneously painted as his own fault but also not really bc abbas is the one responsible for all the shit that happens. it just… it just doesn’t really go together.

the only way to make his story make sense narratively and to give it actual purpose is by looking at it in the context of ezio’s story, bc the things he sees in altaïr’s memories are supposed to be a revelation (ha!) to ezio specifically. and i guess that’s maybe the crux of it all — altaïr’s story in revelations was conceived of first and foremost to support ezio’s story and development. which is probably also why many people maybe don’t notice bc, having skipped ac1 and started with ac2, the majority of people mostly care only about ezio and only really appreciate altaïr’s story in as far as it serves to push ezio forward. (tho i’ve also seen a few people say that ezio is also written kind of weird in rev, but i’ve never really been an ezio girly myself so i can’t speak to the truth of that)

like, altaïr dying alone in the library doesn’t really have to make sense for his character, i guess, bc it’s only really supposed to be a cautionary tale for ezio.

so, i guess, for once, they actually had a MAN dying for another man’s character development, which is pretty woke actually. ubisoft, i take everything back jksdsfjhgdsahfhsdhfghfdsgjhsdgjh

[stylographic-blue-rhapsody]

I was deep in my drunk feelings when I made a joke post threatening to write about episode 5 symbolism and mizu, but then enough people said "where is the essay" so I am here to ramble as requested 

in ep 5, the tale told in the puppet show spliced with the flashback sequence of mizu’s marriage identifies mizu as not only the ronin, but also the bride and, with tragedy, the onryō. I would argue that mizu is also depicted (in a less linear fashion) as the phoenix itself, and will circle back to this thought later

mizu is first presented as the ronin, the warrior with a singular purpose. as the ronin’s lord is assassinated by the rival clan, mizu’s mother is killed in the house fire. the ronin swears his revenge, and dedicates his life to this cause. through his childhood and into his young adult life when he departs from swordfather, mizu is exclusively the ronin. he is not the onryō yet, demonstrated in his honorable unwillingness to harm the men who stab him and throw him out of the shop even after he insists that he wasn't looking for a fight in the first place

the ronin is only able to rest and put away his mission when he meets the bride, the lover. however, mizu’s bride is not literally another person she meets. the bride is not mama, or mikio, but the lover mizu discovers in herself, the one allowed to bloom in place of mizu-as-ronin. mizu’s growth into the bride from the ronin occurs over time, but solidifies in the moment when kai is gifted to her by mikio, paralleling the taming of her own distrust and expectations of being hurt. (side note, giving a nod to effective use of color: the bride puppet, dressed in reds and oranges, has matching coloring to the gifting scene, as it takes place in autumn)

mizu’s transformation into the onryō happens in two parts, beginning with the slaying of the bride and completing with the slaying of the ronin. the betrayal by mikio and mama kills the softness in mizu, kills the lover she has allowed herself to become. mizu-as-onryō retaliates by killing the ronin: the part of himself that hesitates before striking, that part that cares for honor. in not intervening in mama’s death and then murdering mikio in turn, mizu kills the ronin in himself, slaughtering it in retribution for the dead bride

mizu is both the bride and the ronin, peaceful lover and noble warrior, until he is not—he is the onryō, only the onryō. episode 5 opens with the narrator saying, “no one man can defeat an army, but one creature can.” only as the onryō, and not as the ronin or the bride, does mizu have the force of will and capacity for violence it takes to singlehandedly overcome boss hamata’s thousand claw army and protect the brothel

mizu’s identity and place in the world is a constant dialogue. he is too white to have a respectable place in japanese society, but is also seen by abijah (our stand-in for white british society) as filthy and corrupted. he is not perceived as enough of a man to walk through life wholly as one (madame kaji’s comments about his apparent lack of sexual desires, his bones breaking “like a woman’s” under fowler’s hands, his disregard for honor and recognition as a samurai). she is also not enough of a woman to exist peacefully as one with mikio (she is a swordsman, an accomplished rider, bad at domesticity; “what woman doesn’t want a husband?” mama chastises)

the moment when mikio rejects her completely following their spar is a particularly poignant narrative beat about tolerance of “the other” in gender presentation: mikio can accept her as a woman only until she bests him at manhood, at the sword, at violence. she is Other in that she is physically strong, a poor cook, able to wield a sword. these traits are all tolerable to mikio, also an outcast, so long as she is not so Other as to be a man. but her swordsmanship bests his, and bests his in the way the sun outshines a candle. it is too Other, and therefore she is not a woman. she is a monster to him, the onryō, even before she kills the bride and the ronin in herself

(( as an aside, this series does a very good job at discussing the oft-challenging relationship between race and gender (e.g. that it is difficult for mizu to live as a biracial man, but would be deadly for her to live as a biracial woman), and demonstrating how queerness of identity complicates that relationship even further—but that’s a topic for a different post ))

as the narrative has been building on this idea that mizu is both the ronin and the bride, the man and the woman, japanese and white, episode 5 concludes with the heartbreaking reveal that, although mizu is all of these things simultaneously, he has had these identities beaten out of him by tragedy and cruelty and his own self-loathing hand

but mizu does not stagnate as the monster. we return to the metaphor of steel: too pure and it becomes brittle, breaking under pressure. mizu is a sword, a weapon that he has forged for the sole purpose of revenge and blood, but he has excised too much of himself to successfully deliver on his goals—he is not the ronin or the bride, he is the onryō; she is not a woman or a man, she is the onryō; the onryō is nothing but pain and vengeance—and so it breaks

“perhaps a demon cannot make steel,” mizu says. “I am a bad artist” 

swordfather replies, “an artist gives all they have to the art, the whole. your strengths and deficiencies, your loves and shames. perhaps the people you collected… if you do not invite the whole, the demon takes two chairs, and your art will suffer”

to be reforged, mizu must not only acknowledge the impurities she has beaten out of her blade, out of herself, but lovingly, radically accept them and reincorporate them into the blade, into herself. he adds impure steel—the people he has collected, with their own dualities—to the sheared meteorite sword: the broken blade that fit so perfectly in taigen’s hand (the archetypal ronin, but a man seeking happiness over glory), the knife akemi tried to murder mizu with (the archetypal bride, but with ambition for greatness), the bell given to ringo and returned to mizu in broken trust (the man unable to hold a sword, but upholding samurai principles of honor and wisdom), the tongs that honed mizu’s smithcraft under swordfather’s guidance (the artisan, a blind man who sees more than most). to make of herself a blade strong enough to see her promises through, she must hold her monstrosity and honor and compassion and artistry in equal import

she is the onryō, and the ronin, and the bride, and all the people she has collected.

with this we finally come to mizu as the phoenix. mizu undergoes many cycles of death and rebirth, both in the main storyline and the flashbacks into her life leading up to the present. often, mizu is juxtaposed against literal flames—the burning of his childhood home, swordfather’s forge, the fire as he battles the giant in the infiltrated castle, the heart sutra forge of her own making, the climactic second confrontation with fowler. not every death/rebirth mizu undergoes is thematic to flame, of course. the fight with the four fangs, spliced with the rebirth ceremony of the town, for example, or the deaths of her ronin-self and bride-self, giving rise to the onryō

he is the phoenix, unable to truly die: every fatal combat he pulls back from the brink, reborn over and over in the wake of failure and setback. in episode 1, mizu prays for the gods to “let [him] die.” not to help him to face death unafraid, not to die with honor or victory, but to die at all. mizu has experienced death a thousand times over, but not once has it stuck

(( as a parting aside: the ronin’s rage at the phoenix clan for killing his lord parallels mizu’s self hatred of his mixed heritage (which he believes to be the thing that killed his mother), and so the ronin’s quest for revenge against the phoenix clan is mirrored in mizu’s quest to kill the white part of himself as best he can, by killing the white men who could be his father ))

mizu, the ronin. mizu, the bride. mizu, the onryō. mizu, the phoenix.

[varpusvaras]

My wife (late twenties, humanist, historian, archivist) is proofreading my (late twenties, geographer, environmental scientist) research paper on my ethnology minor studies and she just came over to tell me that my structure is quote un quote "seriously fucking absurd" and I had to tell her that that's just how we do it. She's now trying her best to make it read a little bit more like a humanities paper. Godspeed, darling.

[darlingofdots]

I usually read historical romances, but I've been branching into contemporaries more recently especially because I want to read more f/f and the offerings in the Regency/Victorian section are kind of grim. But I did pick up The Duke's Sister and I, a Regency-era f/f romance published by Harlequin (!) and while I am having a perfectly good time with it, something stood out to me about this particular book's target audience and who books are for in general.

First of all, I have gotten into the habit of coding romances while I read them because that's what I do for my academic work, and it's interesting to me that the protagonist dynamic in The Duke's Sister and I is clearly still rooted in the more traditional "he's a playboy and she's a virgin" setup that has gotten a bit less popular generally but was part of the submission guidelines for Harlequin/Mills & Boon until fairly recently: Charlotte has had lots of female lovers while Loretta doesn't even know that that's an option, and Charlotte is the one who will have to overcome her #issues to accept that love and happiness are even an option.

Secondly, this adds a bit of a twist to the usual arc of sexual awakening for the "heroine" but still echoes that exact dynamic: one character being the other's first ever sexual relationship, which means they are also the one to teach the "virgin" how sex and pleasure work. I am personally not a huge fan of this simply because I don't find that first unsure and often insecure exploration very interesting, and I much prefer to read about characters who know their own bodies and what they want from a partner. But with The Duke's Sister and I, we have a specifically gay awakening, which I am much more receptive to in the context of a historical setting.

This book also discusses how the patriarchy controls what women know and even how we see ourselves, through the lens of Charlotte as a painter specifically of "realistic" portraits that depict female bodies as they are. There's a lot of messaging about how women don't see representations of normal faces and bodies in art and how it affects their self-image. I am not knocking this book, to be clear, this is a perfectly good theme for a romance novel and I think it pairs with the gay awakening really well! For our baby gay protagonist Loretta, a whole new world is opening up that she didn't even know could exist before, and for the first time she is able to see herself and her life without the filter of what the patriarchy wants her to think, do, and see.

But here is the question of target audience: of course there are romance readers who are just discovering that they're queer and books like this can support the process of re-understanding themselves. HOWEVER for a reader who is not currently having that specific experience, this messaging is unnecessary. I do not need to be reassured that women can be in love with women! I know! So who is this book for? The playboy hero/virgin heroine dynamic this riffs on is deeply rooted in patriarchal conceptions of female sexuality even as it attempts to liberate from them, but the socially-motivated mechanisms behind the trope kind of don't work when you remove the gendered power differential. It's so interesting to me how The Duke's Sister and I is in many ways a really conventional and straighforward historical romance that sets up the protagonists in the well-established roles of heterosexual hero/heroine romances, but also is fundamentally about breaking out of the constraints of heterosexuality.

Queer romance novels constantly have to grapple with wanting to play in the romance novel sandbox, which sits in a firmly cisheteronormative playground, and using similar tropes and telling similar stories because it's fun, while also confronting how much of the genre runs on cisheterosexuality. How do we tell queer stories in this environment? How far can we bend the rules to our purposes until we realise we have either broken the sandbox or left it behind? And some novels very deliberately and thoughtfully engage with these questions and try to queer the romance as much as possible, but others just want to tell familiar stories with queer characters, and both of these are perfectly fine and fun! But that tension is always there and, in my opinion, really draws attention to how the genre is constructed and all the ways it relies on intensely gendered assumptions about love, sex, and happiness.

[cisthoughtcrime]

.

[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. ❤️

[feelingthedisaster]

one more person says aftg is badly written and im writing that essay

[phantom-of-the-501st]

Citadel Arc Strikes Again

Sooooo... I got to the bit of my Clone Wars rewatch that I've been procrastinating for weeks. And obviously, because the Domino Twins are involved, I have thoughts

Of course you all get dragged along as well 😙

Including you @saturn-sends-hugs @inkstainedhandswithrings and @the-bi-space-ace

Straight off the bat, look at our boys!!! I get so proud of them when I see them in their ARC armour. And I wanna know how much of a say Cody and Rex got in who came along on the mission because I like the idea of them just being like "our sons are coming and we will accept no objections"

Also, why does Echo look like he's ready to deck someone? Chill, dude. It's literally still the briefing.

But something I wanna talk about is how nervous Fives seems about this entire thing. While Echo seemed to be on board with the whole reprogrammed battle droid plan, Fives was less than enthused. And he was clearly unsure about the carbon freezing thing as well. It makes me wonder if he's been on edge about the mission from when they first found out about it and whether Echo had been comforting him and telling him that it was all going to be fine.

Because nothing makes this episode more gut-wrenching than the idea of a stressed out Fives feeling like something is going to go wrong and Echo telling him that everything is going to be okay. 😃

I don't know what happened to these guys during ARC training but Fives has become the one that's all "are we sure this is a good idea?" and Echo's in the briefing room like

And then we have "They're not about to let one of their own be tortured in the handing over of information that will help The Separatists win the war"

Oh the irony

OH THE FUCKING IRONY

How does this show get more depressing with every rewatch? You think you're prepared but haha NOPE

Of course I have to mention Fives handling carbon sickness like an absolute champ 🤜

This pic is also an accurate representation of my mental state after watching this arc

And I'm not sure why this following pic makes my heart melt so much but it just does.

I think it's because we never got much of these three in action together and just seeing them all in a shot like this just makes me think about how far the Domino Twins have come. Rex found these two when they were shinies and now they're all working together with Echo and fives as ARC troopers. They grow up so fast (literally). 🥲

Edit: Looking back at that pic for a second... are there two Echos? That's not Fives in the back. That's Echo's helmet design. And I'm not convinced that the pouches on the chest plates are on the opposite sides like they should be. Rex is talking to two Echos???

Next episode! Oh boy...

Every other clone death aside for a moment, this show really just glossed over the whole "a clone getting cut in half by a door" thing.

The idea of these three being stuck between two sealed doors with half of their brother is horrifying. And the show just moves on like this didn't happen. THEY JUST WATCHED ONE OF THEIR OWN BROTHERS BE CUT IN HALF BY A DOOR WTF

What a happy kids show 😀

And unfortunately it doesn't get much happier.

But I do want to talk about design for a moment because I feel like we don't talk about the clone helmets enough, especially when it comes to things like this shot.

Animating emotion well is hard. Animating emotion well when you can't see your character's face is harder. But what I love is that because of the fact that the top of the visor is just a straight line, you can change the emotion being shown by simply having the character tilt their head.

The first shot clearly shows Echo realising what he needs to do and the next is this very strong look of determination. Just a split second apart, with no change but the tilt of the head, and the emotion changes. It's so cool and I feel like it doesn't get praised enough.

A three-part tragedy:

I think what makes this so heartbreaking is not just the fact that Fives has now lost his closest brother, and the last remaining member of his squad besides himself, but also the fact that it's so sudden. It so quickly went from Echo and Fives to just Fives.

And this is going to be gutting for Rex and Cody as well. They found the Domino Twins as shinies, they would have watched them settle into the 501st, they watched them grow up, were the ones to promote them ARC troopers and were just so freaking proud of these two.

And they not only lost one of them, but they watched this pair of clones, who have been stuck together like glue from the beginning, be torn apart. They didn't just see Echo go, they saw Fives lose Echo as well and that's heartbreaking.

None of them have time to process it either. They have to get out of there and leave Echo behind.

This scene where Fives warns them about the hounds approaching hurt as well because he just sounds so... hollow. He sounds like a man whose lost all hope, and I don't blame him. There's an emptiness now.

Rant Incoming

THESE POOR CLONES. THESE POOR FUCKING CLONES WHO HAVE JUST WATCHED THEIR BROTHERS DIE AND COULD DO NOTHING BUT LEAVE THEM BEHIND ARE NOW HAVING TO PARTICIPATE IN A JEDI FUNERAL DESPITE THE FACT THAT THEY HAD NO OPPORTUNITY TO HONOUR THEIR FALLEN BROTHERS!!!

I'm not saying that Piell doesn't deserve to be honoured and have his body burned (side note: it's really convenient that there was lava everywhere for the whole burning the body thing) but this feels like such a kick in the teeth for the clones.

Also I just want Five's internal monologue here because he literally just watched his closest brother die trying to protect a Jedi who is now also dead. The important info still got back to the Jedi council but Echo gave his life to protect a man who didn't even make it off the planet.

ALSO THEY WATCHED ONE OF THEIR BROTHERS BE CUT IN HALF EARLIER WHY ARE WE IGNORING THE FACT THAT THAT WAS A THING???

Ngl I think I would rather just die than crawl across a wire like this

Despite being depressing as all hell, I do really like these episodes. I love something with actual tangible stakes and having points where they feel comfortable killing off important or well-loved characters is something I appreciate and respect (even if it just leads to endless despair about the Domino Twins).

It's a shame that Echo never gets mentioned between here and the final season because I would love to have explored Fives' response to his loss more. I do like how they handle it in these episodes though. It feels like there is at least some recognition of how Fives would be struggling with all this and it doesn't just have him trotting around like nothing happened.

Fives seemed so nervous for this mission and it's devastating to know how tragic it would be for him and Echo. They didn't go into this knowing that it would be the last time they ever saw each other, but it all got ripped away in an instant and there was nothing they could do about it.

And I think I'm just going to end it on this screenshot because I feel like it just sums it all up.

[transsextual]

beautiful sunny day today ^-^

[absolutely-not-my-main-blog]

You know how Shakespeare's plays had a lot of comedy and dick jokes and the like because they were fun and for the common people, but were tragedies nonetheless, or could change genres/tone halfway through, starting with a more comic structure, then slowly shifting into something darker or interweaving the two, like his "problem plays" ie tragicomedies... well, you know how Always Sunny—