#not the best when my brain is also think other stuff

[anthropwashere]

THIS but fucking. MBTI. When I was still in the Air Force my... hell, I don't remember his position name. I'm so happy to realize I've brain dumped so much military minutiae after only three years out. Anyway. My supervisor's supervisor. This Master Sergeant (MSgt) was OBSESSED with MBTI. It was literally the first conversation I had with him when he took the position and was doing the rounds to meet all of us. We were working for a 3-letter agency AND working outside our unit in an almost wholly civilian org on top of that, so thankfully we didn't work in the same office, but good christ he took potshots at ANYBODY he ASSUMED was one flavor of alphabet soup or another that he didn't "agree with."

He did, for whatever it's worth, correctly guess my flavor of alphabet soup (I have never ever been able to remember or care what my MBTI is, it's fucking alphabet soup, leave me alone) after a 5-minute conversation. He also, however, failed to notice my far more aggressive and obvious extremely mentally and physically unwell signs thanks to my miserable recent divorce and far more miserable unfolding chronic illnesses that were going to end up with me getting a whole-ass 100% disability rank/pay with Veteran's Affairs and insisted on visiting my shit-ass cubicle EVERY. FUCKING. DAY. to CHAT. USUALLY DISCUSSING FUCKING THE MBTI OF VARIOUS OTHER DUDES IN OUR CHAIN OF COMMAND (COC). THAT I BARELY KNEW THE NAMES OF. NEVER MIND WHAT THEY LOOKED LIKE OR WHO THEY WERE AS LIKE. ACTUAL DUDES. BECAUSE. I MUST STRESS AGAIN. WE WORKED IN A MOSTLY CIVILIAN ORG. SO 90% OF THE MIL FOLK IN OUR COC DIDN'T WORK ANYWHERE NEAR ME. TO THE POINT WHERE I LITERALLY DIDN'T HAVE THE DOOR CODES TO ACCESS WHERE THEY WORKED. AND THE OTHER 10% DID LIKE. ACTUAL INTEL SHIT IN OTHER OFFICES I HAD RARELY ANY REASON TO EVER ENTER. AND THE ONES I DID HAVE REASON TO ENTER WITH MILITARY FOLK IN THEM WERE USUALLY FUCKING INSUFFERABLE. AND I AVOIDED THEM AS MUCH AS POSSIBLE. SO. I DID NOT. FUCKING KNOW. WHO HE WAS. EVER!!! TALKING!!! ABOUT!!!!!

Hngh. This is why I try not to think of those awful fucking 5 years of my life. I get caps-lock-y about it. Sorry.

Anyway, this motherfucker like. Trauma bonded? To me? Because of his also miserable recent divorce? And he wanted to fuck me SO HARD while also endlessly ranting to me about MBTI horseshit 60% of every conversation we had (the other 40% and his otherwise normal behavior did actually meet me compatibly on the Normal Human Scale and we got on well, and also he was my supervisor's supervisor so like, I had to be somewhat respectful of his stupid MSgt rank). It was an exhausting fucking. What. 8 months? A full year? MBTI this. MBTI that. Etc. Etc. Etc. ETC.!!!!!!

Anyway the SECOND I said "asexual" he entirely quit talking to me entirely, so I guess that's something.

Secondary anyway birthstone-obsessed people are wild to me. Us March folks got royally fucked over by boring-ass AQUAMARINE and you expect me to take that stuff seriously? Lol

Thirdly anyway I haven't dealt with any hardcore astrology people since high school, but she was my friend's mom and she and her husband were honestly the best role models in my life at that age? To the point my shit-fucking-terrible mom resented her otherwise a-okay positivity in my life for like? A decade?? Hell, she probably still does. It's wild how many times I had to remind my Chronic Gaslighting Bitch of a mom, "I haven't talked to Betty since I was 18, WHAT are you talking about."

Fourthly anyway shout-out to Civilian Megan (whose spelling variation I can never remember on account of having one of those Normal White American Girl names with 50 spelling variations, even with her full name on a paper name plate) who sat across from me and went out of her way to save me from Awkward Lengthy conversations with MSgt MBTI and SSgt Marvel Movies Nerd every goddamn day, she was a real one and I should probably shoot her a 'hi how are you' message on Steam today

“Bat swinging at wasp nest” post but I cannot be nice about astrology people. No you did not find the one good or cute or quirky way to believe the quality of someone’s character is biologically pre-determined. Just because you found a way to not base it on race or ethnicity or gender does not make judging someone’s character on an innate and uncontrolled attribute suddenly teehee fine.

I’m even more baffled by the people going “it’s just fun!” “It’s just a hobby!!” Sure if it was something harmless. It’s not. We are quite literally talking about how you intend to judge, treat, view, respect, and interact with someone entirely differently based on an inherent trait. How are you not aghast? How are you not embarrassed? Why are you so insistent on needing to operate on a hierarchy of pre-determined character judgement?

[lady-harrowhark]

lol not me crying because someone from my program texted me to ask how i was doing and that they hadn't seen me around in a while

[wings-of-ink]

Hi Lunan, I was wondering about the player stats if you have time. I keep getting reckless as a go to response for things despite trying to play a more shy and timid MC and it made me curious. How do you determine what choices actions constitute which stat? I understand that the game is still in development and it may not be set in stone or other aspects of the game might be more of a priority, but I was mostly interested in picking your brain, in a general sense, if that's OK. I'm sure you're very busy so there's no rush to answer this ask, or answer it at all.

Hello, Anon!

Let's see, player stats are definitely something that will get fine-tuned as we go. And, funny that you ask, I have literally been dwelling specifically on the reckless stat this weekend.

I'll just explain how I have worked this out below. I apologize that I went a little long...I genuinely enjoy chatting about this stuff, and I gotta bit...lost in the sauce here, lol. ^_^

For the MC's personality and actions/reactions and some of their speech patterns, I have 4 main stats. These are on a scale with their opposing characteristics, so 8 total. There's a 5th stat that tracks how your MC flirts.

Reserved vs Outgoing

Gentle vs Assertive

Serious vs Playful

Reckless vs Cautious

Bold Flirting vs Shy Flirting

The MC starts with scores directly in the middle for all of these (50 on a scale of 100); however, I decided not to code for much in the way of "middle ground" behavior. This saves me tons of coding and tons of agonizing about what a middle-of-the-road response would be. So, if your MC's score is above "49" they default to the characteristic listed first, but lower than that, they default to the one listed second.

The only score that is treated differently is the one for flirting. To default to bold, the score needs to be below 40, so the character must show a fairly direct preference for boldness in this area. I did this since shyness is a fairly "safe" bet for this type of characteristic.

Number 4 does not come into play very often - yet. As things heat up, some actions that the player does not get to choose will be determined by their score in this stat. Currently, there are only a few options to choose what influences this score. It is possible to barely have any score for this stat one way or another. I'm going to be increasing the influence of this and probably adding some new ways to get points for this as I do some editing.

As for how I determine if something raises or lowers a stat in general, I try to use my best judgment to determine motivation when I design the choices that influence stats. To me, being reckless or cautious could be either intentional or not. I think the first time this stat comes into play is in Chapter 1 when MC decides if they are going to try to steal the honeycakes at the beginning. Trying to snatch one gives an increase to recklessness since it could be a naughty or impulsive decision.

I also wanted 1, 4, and 5 to be independent of one another since someone could be more outgoing but very timid when they flirt and cautious when they act. Outgoing/Reserved is another that needs some adjusting as well and will be tweaked in the future.

The others are more straightforward. If an action or speech choice is more kind/soft/mild/considerate, I label it "gentle." If it is more direct or even a bit aggressive, I label it "assertive." I kinda just have to use my own interpretation as best I can, and I know that to other people some of my options will feel flipped (occupational hazard, lol).

I have liked this system for the most part. It took a lot of working out when I got started. I was just learning so it was easily a solid week of me just hammering out what I understood and what worked. I have learned so much since then. I knew I wanted to keep things paired down to ease my own burden. Lots of stats can be so much fun in a game, but I just do not want to get too lost in it, so I keep my focus narrow.

Hope that helps, Nony! If you have follow-up questions, please feel free to let me know! ^_^

A side note, while we are on the subject...

For my next IF, I may play with a different way to set the MC personality. I may just have players pick at the beginning from either specific stats or like 4 or 5 MC archetypes. The wheels are still turning on this though, nothing is set!

[endlessxdreams]

The little hints that are easily missed part 2:

1. When Charles said to Declan (I’m paraphrasing because I don’t remember exactly the lines) that he and Rupert are the same, stubborn, workaholics and want their way always winning I feel like it was a for shadowing for the dynamic between Declan & Rupert’s relationship with each other. They are the same person that in another universe they might be the other way around (Rupert married with kids and Declan a playboy). Regarding that, I feel that it was intensionally assigned as a scene to showcase that Declan’s hate was influenced by Tony but also reasonated the reason why Taggie is entangled with Rupert. Electra’ s syndrome where women fall for men that have the same personality as their father. She sees a lot of her father (which she admires) in Rupert. It may be far fetched but hear me out. Maud is a really bad mother to her children, especially Tags, which she is jealous because of her youth and beauty and she calls her retarted and stupid. Declan on the other hand, has a drinking problem, is a workaholic who rarely goes to his house, has anger issues and has been in a weird relationship with his wife (he enjoys other men watching Maud, lusting after her, being desired and sleeping with them) but as a father he loves Taggie (I think she is his favourite because in their house she’s the only person that is not problematic and tries her best to care for them).

2. Declan immediately saw the way way Rupert was watching Taggie at the pub and said “Stay away from Taggie, you’re old enough to be her father”. So if Taggie is 20 years old (in the books she’s 18) that makes Rupert 40 (in the books he’s 38). The dirt he gathered for Rupert and his secret weapon he will use it when he finds out about AngelBlack (I love the ship name, kudos ❤️❤️ to the person that suggested it).

3. The way he calls her “Angel” is his way of seeing the celestial light, she is an innocent creature, full of love, care and compassion for animals, people, her family. She’s an introvert who loves her own space, likes to provide comfort and love to others but also she didn’t choose this role. She’s not the typical 20 year girl. She’s like a mother figure, she takes care of the household, she cooks, she tries to help other people, her father, her sister while at the same time she tries her best to make her life better, to overcome her own difficulties (dyslexia)- As someone who has dyslexia I can assure you that is difficult, I’m lucky in a sense because while it was 20 years ago (I was in first grade) and it was when my teacher noticed and informed my parents, they didn’t dismissed her and they took me to speech and occupational therapists and is not bad (I read-write-think perfectly without a grammar mistake and when I tell people that I have dyslexia they don’t believe me because I’m the devils advocate and they tell me I should be a lawyer because I’m always 5 steps ahead. But I have a terrible ADHD brain disorder and I can’t remember stuff I read a day before and I can’t concentrate to read and understand what I’m reading/I have also a bad anxiety disorder so while I read I can’t get my mind to remember shit and get anxious and start crying and feel like I’m an idiot because I read the same paragraph 15 times to comprehend what I’m reading and wherever how hard you study and you try you always fail miserably). Mind you that this was 20 years ago in Greece which is not a place that people have empathy or tolerance toward someone else being different than them (even some teachers back then didn’t want me in their class or they didn’t want to help me study because they though I was slow and dummy and some of my classmates were the same). Therefore, I love the representation of people with learning disabilities and how difficult is for them to navigate life. And in the 80’s when so little things were known back then. Thus, Taggie is a fallen angel, she pays for other people’s sins, she is a pure sensitive soul, who from a young age she is always puts other people’s needs first, she keeps her distance, doesn’t try to make herself visible to others, doesn’t take space, attention, affection and love (only her siblings love her continuously as we saw at the hug scene of the NYE episode but I feel like the love her like a mother figure and not as a sister). Rupert’s sees all of that, her sacrifices, her fierce nature to others and her willingness and is drawn to her like a dog needs water, he is the devil and she will redeem him from himself. Someone on Tik Tok mentioned that the bedroom scene from the NYE episode was directed to Rupert’s emotional state. He is in a cold place, he doesn’t care about anyone or tries to give this impressions, he doesn’t see his children because his ex wife didn’t want him anywhere near them, he finds comfort between women’s legs but is temporary and he is a shell of himself and his glory days. And as he puts Taggie to sleep and they look at each others eyes, the celestial light shines bright making Rupert feel warmth inside of him, like all his sins will be consumed.

4. From all the people in NYE episode he was the only one that went into the kitchen and told her to relax and have fun, no one other cared to bother to remember that she existed (expect Patrick and Caitlin). He took care of everything that needing to be taken care of, he protected Charle’s photo of panic attacks getting on paper, he payed the DJ’s, cleaned up and went home. Acts of service. He saw Taggie in an fragile emotional state, feeling unlovable, unworthy, unable to cope with all of this pain and wanted to help her. He talked to Freddie and wanted all three of them to make the franchise in order for Taggie to not leave and because she was devastated by her father losing his job, credibility and leave the town she liked for once in her life. Rupert saw all of this. She had the world on her shoulders at such a young age and wanted to make her happy.

5. The line “What if no one ever loves me?” is a parallel to Rupert’s own thoughts. He confessed to never have been in love in Declan’s show.

6. The way that he was jealous of Ralphie and said that she can do so much better than him and watched intensely and wanted to throw hands for hurting her in the worst way, of Seb who took her to the movies meanwhile he was fucking Cameron.

7. He cared about her opinion of him. He doesn’t give a fuck or pretends to to other people’s opinions but with Taggie he’s eager to learn what she feels of him and he starts slowly to unmask himself from his persona. He gave her an egg jewel and not something mainstream which he would get for other women (for example the bracelet). He was pleasantly surprised by the fact that she accepted his apology but not his gift, because he is so used to pay his way into women’s hearts-pants and Taggie returns it. Also I believe that the egg jewel was a personal gift in which he choose himself whereas all the others were picked by the Jewerly stuff or his assistants.

8. He wants her empowered and to speak her mind. In the episode of the killing of the birds which she did the catering, he pursue her to admit that she will not do another catering job for hunting/killing innocent animals.

9. Rupert’s worry of Taggie’s accident and the way they hugged each other, especially him, the realisation that shr could have been dead. He immediately drove the car and Taggie home because she was so upset that she couldn’t drive and when he heard the tape of the directions, he offered both of them to go to the tours around city promoting Venturer.

10. The way that I HATED HIS GUTS/ LOATHED HIM in the first episodes and couldn’t fathom the fact that they’re a ship and slowly we saw him change, yearning and longing for a glimpse of her, like he see his true self come to the surface and be vulnerable when he sees her . As Bas said “crushing like a school girl”. A 40 year old playboy with a lot of issues that wants his partners daughter which he promised that “she’s out of bounds” and everything is complicated, he could loose everything, his money, his house, his position as a minister, Declan, Freddie, Taggie and his entirety of his life. Talk about complicated and difficult.

[nightyraven-art]

I hate dealing with anxiety and anger issues

One second I'd be worried and then I get angry because anxiety makes me impatient and usually I'm often calm and patient but anxiety makes look like I'm the opposite and it's frightening to just be patient when I'm anxious-

Then it's a mix of embarrassment and anxiety because I make myself a fool...

[bacchuschucklefuck]

pygmalion and galatea for aroace people

you should tell your friends what I look like, riz gukgak.

[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. ❤️

[imavikingo]

Everytime I look at Tumblr and see the tl I remember why I hate endgame with a passion you couldn't understand.

They fucked up Steve and Bucky so bad (yes, Bucky too bc suddenly he doesn't matter/isn't even a secondary character that deserves to be near Steve)

It's so funny to me (not) bc they talked about gay characters being in the movie at panels and interviews and even talked about Stucky at some point (basically queerbaiting) for then... Steve not even acknowledging Bucky. An awkward and impersonal hug doesn't cut it.

And Steve suddenly yearning and talking about Peggy? When he didn't even mourned her that bad and already had let her go ages ago? They knew they fucked up in CATWS with Steve and Buckys relationship, so they tried to distance them and then inserted Peggy bc ofc

(they possibly didn't have the time for a new character and they already had fucked up pairing Nat and Bruce and Wanda and Vision). Steve didn't have anyone else he cared about so they couldn't give him a new girlfriend. So they used Peggy AGAIN.

I'm not mad bc "Stucky not canon grr"

No.

I'm fucking pissed off because they did the worst character assassination and friendship assassination possible. Every movie of Cap America revolved around Steve saving Bucky at some point and him caring about him above all else, and you want me to believe that Steven Grant Rogers didn't care about him when Bucky died in front of his eyes? AGAIN? That Peggy's death was more important and impactful for him? If that was the case then why the fuck did he crash the plane then? If he cared so much about Peggy since forever?

No, that was just lazy writing and a way to reinforce Steve's sexuality "He can't be gay and you can't say that bc he LOVES PEGGY"(even tho he only kissed her once, even tho he crashed the plane and didn’t give her the coordinates, he didn't really care that much after all) they could have paired him with Nat in later movies, but they didn't.

That's why I only raise my eyebrows a lil when people say that x character will be gay canonically in a marvel movie/series. Is more than possible they won't. And if they are they're Deadpool, a secondary character no one cares about (obscure in lore too, so they can cut them off) or is plain queerbaiting again (because yes, even if you don’t see Steve and Bucky’s relationship as romantic, they DID QUEERBAIT IT)

Steve and Buckys relationship wasn't even written in a romantic way (you can ship them or not), but they tried so hard to rectify Steve's heterosexuality in endgame, that they fucked up their character arcs on purpose. And now they will always feel hollow and inconclusive. A bad taste in the mouth, a painful reminder of what it was and a what? 11 year long? characterization.

Idk man, I know I've talked about this more than three times, but omfg Tumblr reminds me why I hate that fucking movie!!! It's not my fault!!!

I know I'm going to end up writing something out of spite bc I can't take it shdkdjjcif

"It's been more than 4 years get over it" NEVER

Also the bit with Johnny Storm in Deadpool and Wolverine was also a dig (a fuck you if you will) to the fans bc Deadpool explicitly calls him Cap. And it implies that Steve as a character (not that old Steve nonsense) won't be back.

It's funny they've remade over and over again some movies (Fantastic 4, Spiderman) changed actors for characters (James/war machine, Bruce) and they include them in the multiverse/plot, but they won't do the same to some movies and some characters when they fuck up their stories, because they know if they do, they will have to acknowledge WHY they did it. Like with James/war machine changing actors.

So yeah, that's one of the reasons I don't care about Marvel anymore.

**I mean remake the movies ((Also they Can't remake Cap America bc that would mean they need to remake every important movie. And they don't have the time, the money nor the need. So that's why they decided to fuck their character arcs))

or include some characters in multiverse (they're going to do that with Tony/RDJ/Dr Doom after all, no?) and they also won't remake Cap bc the movies are amazing.

But the point stands. Steve couldn't be in DaW bc that would imply he's an alternative one or that Old!Steve was an alternative one or wasn't even Steve to begin with. But they couldn't do that ofc, no, bc that would give the fans hope in seeing Steve and Bucky together once again. So they did a dig at the fans bc "haha you thought it was Steve, but it's Johnny!"

Idk if I'm making sense at this point I'm tired af, need to sleep.

The thing is that they fucked up Steve Rogers's arc on purpose (Bucky's too, and others charas too tbh) and now they expect the fans to accept everything they give us with open arms. And imho I won't accept shit.

"Deadpool saved the MCU" how? If the other og characters are DEAD or they fucked them up too? Or are the butt of the joke now? Don't make me laugh. Most people don't gaf bout the new charas bc they only are presented in series not everyone watches (only available in one place) or are presented with characters that are dead now or as a replacement for the og characters. They aren't interesting on their own (not really, at least in mcu) and that's why most of the new stuff isn't liked as much. If they wanted to present more characters the opportunity passed already.

Also now if you want to watch and really understand 1 movie (if you don't read the comics too) you need to watch like 20 other movies and 5 shows. it's fucking exhausting.

[seawaveleo]

i’m too scared to watch 3rd life in its entirety, so this is the first time i actually saw the infamous “you may slay me and take the enchanter”

it was so awesome and heartbreaking but all i could think about was this post LOL

[13eyond13]

actually stunned by how gay The Beatles has been all this time and I just never knew

[lilowoof]

ngl gamers, I think I'm gonna inevitably lose to the hormones and depression in the near future XD

Can't bring myself to be active cause I'm using a lot of energy to not vent post all the time. But fuck it, into the tags I go!

[b-blushes]

also wish i had a better way to describe it than 'migraine that makes me stupid' as a shorthand. i guess i don't really understand what's going on nor can i pinpoint exactly what's going on any more specifically than 'the stuff that makes me understand stuff is broken currently' but it's *more* than that. i can feel the widespread process happening in my brain but only through the impacts of it, i can't, like, put my finger on it at its source i'm just like 'huh i can't spell? or i'm substituting letters?' but it's NOT like i suddenly FORGET how to do this is that's wires are being crossed while i'm doing actions and the outputs are odd but the actions aren't just isolated to 'typing', it's 'anything that flows through my brain'. which is why i'm also more prone to doing things like 'touch a burning hot pan that i just safely got out of the oven one second after doing so with bare hands' when i have a migraine.

i guess 'migraine that crosses all the wires in my brain' works pretty well. maybe i'll use that because i don't like to say stupid even if i'm saying it in a 'neutral descriptor of my current situation' way.

[whump-n-comfort]

when you read a fic that gives you a hyper-specific whump scenario that you know would either A.) take forever to find in another story or B.) hasn't been written at all so the obvious conclusion is that you have to write it yourself

[keeps-ache]

gonna keep it shmoovin man

[numbaoneflaya]

@summer-solemnly-swears sometimes yeah :/ I’ll imagine or write cute little scenes and shit but eventually again I’m like hmm.. well what if she was going through the horrors again . Anime monologue in the tags as usual

[deoidesign]

For my birthday... read my webcomic! It's literally free! (Unless you want books. Those are not free)

It's beautiful, it's gentle, it's funny, they're canonically t4t and gay... And it's about time traveling vampires solving supernatural mysteries!

I've spent thousands of hours writing and drawing it, and it's really good! I'm not biased!

It's on hiatus right now and coming back in 2 months, so it's the perfect time to get caught up