#sorry for writing an essay on main

[osamucide]

do we talk enough about how atsushi and the weretiger and his character overall are a great metaphor for healing from trauma, specifically through community? i mean we meet him as this scared young adult who believes himself to be incapable and worthless. he doesn't even realize the manifestation of vengeance inside him or the fact that it's already lashed out and hurt people - in fact, he thinks he's running from this exact thing that lashes out, without realizing it is in fact himself. memory loss is a common trauma response, and when he does learn he's the weretiger, he's frightened by it and its capacity for harm. it's dazai and the agency who give him the opportunity to use his willpower for selflessness and help him to understand that he's not bad, he's just hurt. throughout the story we're watching him move from uncertain, insecure, overly-polite and meek to strong, assured, determined, and unabashed in his protectiveness over others (see kyoka). we see him go from paralyzed by his flashbacks to determined to dispel those misconceptions about himself. when higuchi corners him and the tanizakis in the alley early in season one, he still doesn't know how to summon the tiger, but it comes out after akutagawa's words (and also, debatably, watching naomi 'die' - just the stressful situation overall, perhaps) trigger a flashback - a really sound metaphor as manifestation for his trauma (stressful/triggering event = fight response). and while his is certainly not the most common or relatable circumstance to understand and heal from trauma under, the weretiger is so powerful metaphorically because ultimately, he uses his harnesses this destructive, disruptive, terrifying power for good. sometimes healing your trauma feels like inching close to this big, scary animal until it trusts you enough to touch and when you finally do, you realize the big, scary animal was also once just a hurt cub who needed a figure to tell it hey, you're not any of those things you think about yourself. (the imagery in the manga/anime/official art of atsushi sitting with the tiger, cradling it, petting it, etc. is so powerful to me for this reason)

it's another reason why akutagawa is such a good thematic parallel for him. akutagawa was not given this grace as a hurt child, by dazai specifically, and thus grew up into a hurt adult - and this also speaks to how complex of a character dazai is. these characters just play so well with one another and demonstrate such complex reactions to trauma, how it is cyclical, how that cycle can be broken, etc. and i just think it's really beautiful and refreshing for a mainstream anime to deal with themes like this

[happywitchesofnewdi]

It's a day late but please humbly accept my Halloween contribution 🔫😜

[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. ❤️

[crippy-tangerine]

Not being able to describe/identify/communicate our emotions “normally” makes our therapy/medical check-ins so hard… And just. Frustrating, really.?

For a start!! “How are you doing this week?” feels impossible to answer. Like… It does not feel socially acceptable to respond with: “I feel like I am watching myself bury the sun beneath the dirt in third person- and as each handful of soil slowly extinguishes its light, my chest caves inwards and my blood seeps out of my pores and mixes with the earth. And my hands won’t stop patting down the blood-soaked earth over the star that I’ve just killed.”..???? Like yeah, don’t think that’s a good answer to give, especially when the person asking doesn’t actually care.?? But like… We don’t know how to translate the feelings we have into quick, one-word answers. Or even just a “normal” sentence. We just sound so damn emo when we write stuff (/lighthearted). And we need days/weeks/months (or sometimes years!!) to work out how we feel about a situation and how we want to respond to it. Which means our (lack of) response is not appropriate…

Emotions feel like music, so to then have people expect us to communicate them all with a single word.??? It’s not doable for us. Let alone when the response is wanted in a matter of seconds. So we end up saying “I don’t know” 95% of the time (because we don’t know!!) and we don’t communicate anything at all. The other 5% of the time we just guess and say something like “depressed” or “sad” or “anxious”. Because we don’t know any better words to describe the feeling of your world ending by your own hand.???

It’s extra difficult because we need AAC & simple signs/gestures to communicate anything. So we don’t even say “I don’t know”- we either have to put that into our phone, or just shrug.?? Interactions with us in-person are very one-sided (which often isn’t handled well by anyone involved). We don’t do well with conversations. As you can probably tell.!! Thanks, autism…. (/sarcasm).

TLDR: having a “nonverbal-autism-problems” moment!! This emo autistic struggles to not be emo & autistic- and fails!!! WOMP WOMPPPP.

(We don’t want “advice” on communicating “better”, we are already at peak performance for us. Unsolicited advice is NOT a slay!!!)

[polarisbibliotheque]

Hii!! so i just want to say first that i love love the way you write dmc fanfics. The way you just understand them, makes all their action seem like something they'd do. And well, if it doesn't bother you, may I ask a few advices on how to write Vergil, young and current? I'm trying to write a story and I think your input would be very helpful since you're probably the most accurate Vergil writer there is. Thank you andI just want to say that your fics helped me out a lot mentally. Thank you for bringing the characters to life 🫶

You just left me floored, loved to death, giggling like a 7 year old in public, and I thank you wholeheartedly for that 🖤🖤

First of all, thank you SO much for your words - and wow, I am absurdly flattered that you think so highly of me as a writer, really! I mean, I'm just writing my crazy shenanigans here, I don't expect much hahahaha words like yours make my day and, honestly, you made my whole week!

I am SO happy what I write helped you mentally. I do write to help myself in that regard too, and seeing I was able to have an impact on someone else, it makes everything worth it. That's what Dante would have wanted :')

Asking me for advice doesn't bother me AT ALL! Feel free to ask anytime you want it - by all means I see myself as someone so good as to give advice, but I've gained some experience and it's always good to share! Maybe I'll say something that makes sense to you!

So, without further ado, a few advices on writing Vergil - young and current - down the cut 'cause I haven't written it yet, but knowing myself, I know it's gonna be big :)

(spoiler: it's huge *puts on fool hat and jingles away*)

I sprinkled some things here and there about Dante and Vergil on this blog, but I think it'll be nice putting it all together in one place!

I recently got an ask about which MBTI personality I think it's Dante and Vergil, and there's a LOT on BOTH of their characters in there. You can find it here.

(I won't repeat the things I wrote there, 'cause oh boy this one's got bigger than I expected)

But oh, Verge, this little emotionally constipated goth man *sighs* he's Mr. Darcy from Pride and Prejudice. I'm not even joking.

But all of that aside, I do keep a few things in mind when writing him. I've said before I have many similar personality traits with him and I think it makes it easier for me to write this little bitch (affectionate).

Vergil is pretty much shaped by his trauma. You could argue Dante is as well, but differently from his twin brother, Vergil never really found acceptance. Yes, the twins lived through the same thing but the fact that Eva managed to save Dante and not Vergil is crucial to both characters.

Dante has survivor's guilt and depression from all that happened. He can't keep a deep connection to save his life, 'cause he keeps everyone at bay - he thinks his demonic blood is a curse and he is the reason everyone perishes. So it's best if people keep away from him.

But even with that, Dante loves being around people. It's what makes him so fond of his human part and, in my opinion, it's what made Dante healthier than Vergil. He seeks connection and humanity, he wants to use his strength to protect the weak - like Eva once used hers and sacrificed herself to protect and save him. That is crucial to Dante's character.

Vergil, in the other hand, believed for a LONG time he was left for dead. That his mother chose to save his brother because she loved Dante more and Vergil was left to die. He was left all alone in the cold, in a cemetery filled with demons who slaughtered him in quite a gruesome manner. If he hadn't find the rage, strength and power inside of himself that day, he wouldn't have survived.

Vergil learned he is on his own, his own family didn't love him (even if he was wrong, that's the impression he had for a LONG time) and the only one he could count on was himself. That made him withdraw completely: be wary of people and their intentions, shut himself to the world, allow only strength and power to come through his personality and keep his vulnerabilities and feelings shut down in the darkest and most protected place of himself because if he didn't, that could be his death.

Vergil didn't learn to protect the weak, because he wasn't protected when he was weak. He learned to survive, because when he needed the most, no one was there and his own will was the only thing that could save him. If he had given up, he would've died - no one would come, no knight in shiny armor, no powerful protecting demon, no sacrificing loving human mother.

✨That's why he's an asshole✨

Hahahaha jokes aside, that's why he's so laser focused on power, I think. When he was younger (around DMC 3), he finds Dante again and there's a hatred for his brother because he believed he was left to die and wasn't loved as much as Dante (as always, our red devil being a clueless himbo who just got lucky to be around Eva, poor guy). He wants to prove he is better than Dante, that he was worth something, that he too was worth saving - even more than his brother.

To some extent, up until that moment in DMC 3, Vergil is better than Dante (regarding power). He's got a lot of knowledge and control over his demonic heritage, things Dante didn't even know he could do. But Vergil is so blinded by his hurt and in so much pain he can only deem himself worthy if he beats Dante down, if he wins, if he gets all the power in the world.

I don't think he ever wanted to kill Dante - he just wanted to win. Like a kid, going "see, mom, dad, I win, I'm worth as much as Dante!!" - quite tragic, really.

With his power thing, it's not a desire for power for it's own sake, but as an armor. Given everything that happened to him, that Vergil has this thing of "only I can protect myself and I can count only on myself to save my life", it's very understandable that his logic takes him to the path of "if I am the most powerful being in this world, I will never bleed and I will never hurt again".

So, even if he says on the outside he is power hungry because he wants to honor his demonic heritage and humans are weak, on the inside it's actually that he's trying to carve his heart out from himself so he won't feel nothing and stop hurting - as well as gain all the power he can so NO ONE can make him feel scared, vulnerable, weak and powerless like he did that night when no one appeared to help him.

Vergil hides his pain under a mask of cruelty and hubris - since being honest means being vulnerable to him and that is something he's got a deep aversion to.

Current Verge has dragged himself out of Hell in a crumbling body. If Dante hadn't "killed" him as Nelo Angelo, he probably would've never been free of his shackles with Mundus, but once again he was left for dead (even if not intentionally, I know Dante would have gone through all the layers of Hell to bring his brother back, but VERGIL doesn't know that). Once again, Vergil had to muster all his will, his power, his demonic heritage to drag himself out of that godforsaken place.

He didn't know Nero was his son, he just took Yamato back 'cause he didn't really had time to explain everything that was going on. Vergil was on the brink of death, it's not like he could think logically about everything he was doing and weight pros and cons. He needed to survive. That's what he does.

It's only when he separated his human and demon parts that he came to realize a bunch of things - because Vergil never really had time to do anything else other than surviving; and thinking too much, going over your feelings and past trauma, doesn't do anything good when you're stuck in survival mode (been there, done that).

After he gets both of his parts together and goes back to being Vergil, he knows a lot more than he did before, because V allowed his heart to feel and to process all that pain he didn't allow himself to process before - because if he did, he would probably break, like V himself was falling to pieces.

He knows his mother loved him. He knows it wasn't Dante's fault. He knows it was all a tragedy and no one is to blame - he knows he wasn't left there to die: Eva died trying to get to him. It honestly changes everything he's been thinking for the past 40 (if I'm not wrong...?) years.

That's why he wonders, if he was in Dante's place all those years ago, would that change something? And honestly, it probably would. Because everything Vergil did was from a wound he couldn't bring himself to heal from that fateful night.

Therefore, current Vergil is a lot more accepting to his feelings - but internally only, he won't let it show. He also understands his thing of wanting to surpass Dante wasn't his brother's fault and it's something he has to work on.

Not saying he won't be a little bitch sparring with Dante all the time and keeping score over stupid stuff, because that's EXACTLY how these two function - but now Vergil is fueled by healthy sibling rivalry and fun instead of inferiority complex and pain/hatred.

Vergil's path is a lot similar to Anakin from Star Wars: fear leads to anger, anger leads to hate and hate leads to the Dark Side of the Force. If the Jedi Council had understood Anakin's upbringing as a slave, his deep love for his mother - and for all the beings on the Universe, I argue, because he did want to become a Jedi to free all slaves - his overflowing empathy, his deep feelings, his love for Padmé, etc., Anakin wouldn't find himself vulnerable to the grooming of an older man who saw all this and took the opportunity to twist it all to make him feel pain, fear, anger and hate.

If Qui-Gon Jin had trained Anakin he would've never turned to the Dark Side, I will DIE on this hill and fight EVERYONE, even if I love Obi-Wan

Star Wars ramblings aside, that's Vergil in a nutshell. And I think with him older, currently, he can finally see all of that, because he had a chance to be just demonic, as Urizen, and just human, as V - noticing how everything that happened to him shaped him to feel pain, fear, anger and hate, doing desperate things to protect himself and feel safe.

I argue Vergil hasn't felt safe for a single day in his whole lifetime, and that matters. Because in the end, that's how I write him: a wounded stray dog who knows only pain and hatred from the outside world.

If you try to approach him, he'll first bare his teeth, bark and try to bite you - not because he's mean, but because he's stuck in survival mode and that's his first response to ANYTHING. Just like a wounded stray, you have to approach carefully, offer kindness and show him you're not there to hurt him.

And just like a stray dog, he'll eventually melt and accept that kindness - he just has NO IDEA how that feels like.

✨What about Nero's mother, I hear you ask?✨

Hahahaha so that one I have some doubts myself. I often imagine two scenarios and I still haven't chose one of them to satisfy my heart HAHAHAHA

That might be me projecting, of course, but because of ALL THAT, I don't see Vergil as being open to relationships and one night stands - he takes things too seriously, and that's part of his character.

He either decided to try it out empirically with a one night stand with someone who was kind to him and he wanted to understand that kind of experience to understand himself better and out of curiosity (look, I know this sounds crazy, but that's exactly what I did on my first kiss with a super random guy at a party and I was like "oh, well, that's not for me, I'm gonna stick to kissing people I love, this sucks" and it took a weight off my shoulders)

oooooor he was treated with kindness for the first time in his life and that broke him for a while, he melted under a soft touch and gentle words and couldn't resist trying out new experiences he only had by proxy from his books - and when he woke up next morning, he was reminded how broken he is, how powerless, how not worthy of love not even from his own mother, and left because that would lead to nowhere. Because of him. Because he wasn't worth it - she probably fell for his looks, his heritage, his outside, but when she knew his inside she would run in horror.

Again, Vergil has a lot of issues, the poor man.

When I'm writing Nemesis, we have young Vergil - laser focused on power, proud as fuck, stepping over anything and everything to get what he wants, because life favors the ones who survive. The weak ones should die, that's the law of the jungle and he won't waste his time saving those who can't do it for themselves like he did for himself. When he sees the reader struggling to keep fighting him to protect others, he sees not only Eva, but himself in a will of a survivor who will go through excruciating pain to save themselves. He values that and admires that - admiring the reader as an enemy and having utmost respect.

When he's older, he's trying. And he has a LOT to learn - but his partner has to understand he's the stray dog who knows nothing but harshness. Vergil is quiet, methodical and disciplined, knowing how to live only with himself as company. But now he has a family: he has his brother back, he has a son, he has the whole crew to live alongside him. That's new, harrowing and comforting at the same time.

So, when in doubt, think about how a wounded animal would react - and how you would have to act to be able to approach and help.

Vergil, differently from Dante, is forever stuck in survival mode and has forsaken his humanity so he could keep going. As a younger man, he's ruthless and won't spare efforts to get what he wants because he is desperately trying to not feel vulnerable and worthless as he usually feels. As an older man, he's trying - in his own stupid Mr. Darcy way - to recover, to understand himself better and finally heal that horrible wound in his heart.

But of course. He is still proud, observing, regal and prone to overkill here and there and showing off his skills. These are all inherent to his personality.

(Also. Vergil enjoys some dumb fun sometimes - he only lets it show a tiny little bit when competing with Dante over ANYTHING. If Dante says he can eat a cheeseburger in three bites, Vergil will go above and beyond to eat it in two. Everyone thinks he's just being stupidly competitive with Dante and wants to win against his brother no matter what, but that's just his way of being fun)

Phew! That's quite a lot on the blue devil! Hahaha it isn't everything I keep in mind - of course there are the other things like him being reserved, more on the quiet side, intellectual, methodical, a lover of beauty (like literature, philosophy, poems, etc.), stupidly independent... But I think those traits are more "worldwide" known.

If you take all his trauma and how it affected him into consideration, I think, his personality follows easily. You understand a lot better how he would react in certain situations - in the end, that's what being a writer is all about: creating characters and watching how all of them react to situations given their backgrounds and baggage!

I'm so sorry it's such a HUGE answer, but I do hope it helps. There's a lot to unpack and I didn't want to just "oi, he's a traumatized asshole, that's it" - because you miss the nuances if you just work with that perspective.

Thanks a lot for asking, though, I had fun writing this little essay on Vergil, the man, the myth, the legend HAHAHAHAHAHA

Hope you have a nice weekend and have fun writing!! If you need any advice, even on writing in general, you can always ask me again! As you can see, I'm happy to help and I do love sharing what I know xD

[beatx-mavie-archangelx]

Hey Google how do I unlearn Fortnite's storyline and lore

[thinking-emoji]

wait you’re cooking. it wasn’t a hiatus (just a dapg hiatus) it just wasn’t the content everyone wanted/liked/were used to/whatever.

writing a book and pitching shows and preparing and going on tour is hard work. he was working he just… wasn’t like live streaming writing lol. also he was extremely depressed for a while. obviously that warrants a break.

but i do think you’re right about people just not liking it so they just kind of black it out. which like, if you don’t like something, fine. but that doesn’t mean he wasn’t doing anything. and also, like you said, covid fucked everyone’s sense of time so like. it feels like it’s been 50 billion years since 2018, not 6. which obviously doesn’t help.

Thank you! People in the notes of the post also pointed out how dnp had been doing A Lot of work in the mid 2010s (remember when we had 3 liveshows every week, including one on the BBC?), so it didn't help that phannies were unbelievably spoiled in terms of regular content. But I also don't think it's fair to dnp to expect them to never change the type of content they want to put out. Like, phannies keep saying they'd still love weekly livestreams where Dan just sits at his desk and yaps for an hour, and like. I'm sure he could do that. But I genuinely don't think he'd be more successful with it than with what he did do.

Like. Look at the other popular youtubers from the time of dnp's zenith. Zoella stopped posting. Marcus Butler stopped posting. Troye Sivan has fully pivoted towards music. Connor Franta gets 40k views on his videos. Tyler Oakley streams on twitch? For 60k subscribers, idk how many people he's usually got online in there? And like, the big guns? Shane Dawson? Pewdiepie? Should've quit! Jenna Marbles? Did quit!

I'm rambling on again but like. People need to understand that being a YouTuber from 2014 is not a long-term sustainable job. I honestly think it's almost a miracle that the phandom is still so committed and that they managed to keep their engagement so high (coming out at a time when most people expected their careers to be over probably helped a lot though. To be clear I don't think they came out in order to revive their careers, not at all, but I'm convinced it helped. A lot.)

But yeah what I was saying is. I get that phannies want the content they know and that they grew to love dnp for. So do I!!! But I think we're overestimating our stamina in watching the same thing for years and years and years without ever getting a taste of what it feels like to *miss* that thing. I don't know if the gaming channel return would have been as successful as it was if they both (especially Dan) hadn't disappointed us a little before. And like, I'm kinda sad for Dan bc I don't think that was his plan. I would love to like WAD! I would love to see the vod have millions of views! But unfortunately, I don't love it, and I don't want to click on it when I see it in my recommended, and it feels even more disrespectful to give it sympathy views. Because I want to have fun watching Dan and Phil. And I think we all do.

[eebie]

the underwater episode of bojack horseman makes me so SAD ..

[masterwords]

4x18 - Omnivore

I usually don't put thoughts here (I just write them out in long ass fics) but tonight I'm all in my feelers over this. Imagine you're Hotch and you're living in this waking nightmare of a case. Everything you do seems to be wrong, and you're just getting people killed left and right. You're already riddled with guilt over not building a profile sooner, over missing things, over the phone call. You've cried. And then you get a call saying there's been a fatality at one of the houses you just sent your team out to - the whole way there you're wondering who it is. He knows it was the house he sent Morgan and O'Mara to. Wondering the whole time whether it's Morgan he's going to find under that sheet.

He lets Rossi peel that sheet back. He lets Rossi look first. And when he sees O'Mara? Well then it's a whole new thing. Now it's the guilt he feels over instant relief that it wasn't Morgan. (You could see it on his face right away. Relief and then this overwhelming sadness.) And of course he's gutted about O'Mara, but it wasn't MORGAN...

Anyway. It isn't even about my shipping them (I could go on and on forever about how this could go in a different world where they kiss a lot), it's just about them. And how deeply Hotch feels for his team. And how close he came to losing one of them.

[fluxweeed]

hey. hope this message doesn't bother you. I love you. I love your work. you are one of my favorite fic authors, I am absolutely obsessed with everything you write. reread everything ten times over, drarry or not, fluffy or angsty - even when it absolutely shatters my heart (e.g. for lack of wanting, SUCH a great fic btw i'm so obsessed with it). the four doors? life changing. two to lie and one to listen? engraved into my brain for eternity. what's mine is yours? what a ride holy shit, im VERY normal about it. wrapped? my comfort read. and so it goes.

if I could aggressively smother you with kudos and love I WOULD!!!

awhile ago you said that there's no such thing as "big deals" in fandom and I 100% agree but at the same time you are a big deal TO ME!!! not in the sense of any kind of hierarchy but purely based on the fact that I think you are such a cool person and your writing is amazing and poignant and your presence in fandom makes it so much better. it's been a pleasure following you here on tumblr and just reading your tags and posts.

idk I just think you rule. that's it. thank you for hanging with us. MWAH 💛

ahhhh anon sorry for leaving this message sitting in my inbox for a couple of days but !! i have zero idea how to react to this!! you're so kind!! thank you!! please discard any and all inclinations u have that i am a cool person bc i can assure you i am NOT!!

[sunspinecity]

50$ to print 10 of the same skin has always been so insane to me. you're telling me it's 50$ to print....only 10.....of a single skin....and that's normal. And not only is that normal, that's what's required for a skin shop. where ppl may not even sign up for 10 runs. and then you're left in the shitter with at minimum 1-4 skins nobody wanted (not to mention if some people decide not to pay afterward) that you have to just pray someone finds & buys on the auction house. And it's 50$. Uhuh. And then that's just the artist's issue and fault and we're gonna blame them instead of the fact that a 10 print run costs as much as groceries.

[sygneth]

The confirmation that Harry's squad abandoning him is just poor writing just so the player can continue doing shit on their own is the fact that it never gets explained. Harry even tries to bring it up but kim just. Shuts him up about about it is so so sooooo absurd. Jean's inaction could also harm him but he just makes harry drop the subject? C'mon folk it could have not been more obvious that the writers simply did not come up with that part 💀 I wish people would just take things as they are: de is not really a detailed novel. It's a fuckin game. With excellent writing, excellent characters and worldbuilding, but still a game

I don't think there is much to add here anon. This is a very solid point.

EDIT: I figured it may be worth adding that this is about the posse leaving on the day of the mercenary tribunal, not before the events of the game

[theladyfae]

top 5 shenjin songs . or tenmartha songs. or both 👀🫶💖🌷🫂♥️💗🤍🌺💞🌸🌹🌸🥰💞🌺💖💖🌹

KISSING U FOR THIS ASK okay tenmartha have been on my brain Constantly (shocking ikr) and half of it is thanks to my beloved playlists so, in no particular order:

the number of niki songs that cater so specifically to my current flavour of brainrot is actually a startling amount she takes up like half my playlists for them atp

also ikot was a beautiful (hurtful) rec from poppy <3 and bop is just v fun. if u cant tell i like the idea of them just missing each other w the timings of their respective crushes </3 just as much as i like the slow realisation that they're not a sustainable dynamic, that someone has to give in first

[jedibongrip]

au where the jedi council gets word that palpatine has a child bride hidden away on naboo so they're asked to arrest him and go in and rescue the child. they don't know much, so they don't really know what to expect they approach the lovely villa that was bought under a fake name, paid for with an off-planet account.

they certainly don't expect to find a surly sixteen-year-old who is VERY pissed off when he finds weird people in his home, who gets even more pissed off when he finds out that they arrested his husband.

(after a few hours of anakin screaming at them, and obi-wan, shaak ti, and mace all trying to calm him down, they find out his name, that palpatine bought him when he was 9, married him on tatooine, where even there he was too young for it to be legal. palpatine has been keeping him in many lovely homes on many lovely planets. anakin insists that palpatine should be released, that he loves his husband, that palpatine has never hurt him, at least not on purpose.)

anakin technically doesn't have legal citizenship for any planet or system except tatooine, since his marriage was never legal, so palpatine's citizenship and diplomatic privileges don't extend to him. anakin tells the jedi that palpatine told him that all his remaining family died after he took anakin off planet. he's never had a job or friends (but he insists his husband is his friend) or any life outside of slavery or marriage. in the end, the jedi bring anakin with the coruscant, and ask obi-wan, who anakin seems to like the most (which isn't saying much, he hasn't stopped glaring at any of them since they found him) to keep an eye on him.

(if this is an a/b/o au then maybe >:] anakin also has a kid with palps. he spends the whole trip back cuddling his baby and snarling at anyone who tries to touch them. it's only after his kid throws up (space motion sickness) that he even THINKS about letting obi-wan touch them, if only to help anakin clean up. this also means that as much as anakin refuses to testify against sheev, everyone knows that he's going to prison. anakin is 16, still underaged, and he has an almost two year old kid. they know the dna will match sheev. as much as anakin fights them when they try to take a sample from his baby, by the time the results come back, he's so numb with fear and despair that he hardly reacts)

anakin ends up staying on coruscant while the trial plays out. obi-wan spends the most time with him, trying to get him set up in an apartment, trying to get him set up with school and friends and helping him figure out citizenship. he's surprised when he finds out anakin can use the force and he often brings anakin back to the temple, sparring with him and letting him use the training sabres that they use for younglings. (and anakin looks so young when he's laughing and having a good time, in the moments between when he remembers how angry and alone and betrayed he feels). obi-wan makes the mistake of letting anakin drive once, before he makes him sign up for a driving test.

in the end, palps is found guilty (as everyone expected, not even the best lawyers in the galaxy could fight the fact that anakin was bought and married younger than any system deems legal) and all the friendship and trust that anakin built with the jedi is shattered again. obi-wan does his best to keep in touch, sending little trinkets and letters and dropping by. but with palpatine in jail, the jedi have other matters to attend to.

basically obi-wan spends a few years just occasionally sending letters and gifts to anakin, hoping that he's alright, and then one day he runs into anakin again, all grown up, and somewhat well adjusted. he's still angry about how everything turned out, but he's not angry at obi-wan, not anymore. and he'd actually really like to be friends with him again, maybe, if obi-wan wants to as well.

(and then they fuck and it cathartic for both of them and they fall in love and obi-wan tries really really really hard not to think that he's having sex with the same person sheev did lmao)

[ruvviks]

having yancey and stevie from my original story the diner thoughts 💭💭💭

from all the characters of the diner i feel like these two are the most like two puzzle pieces instantly clicking together. just in general the story is very focused on starting over far away from the life you used to know and carrying knowledge with you that you'll never speak about for a variety of reasons (and will remain unspoken of throughout the whole story because you'll never know everything there is to know about a person even if you do end up growing very close to them; this is one of the main themes of the story) but especially yancey and stevie understand this like no one else and that's why they work together so well

from the moment they meet and through the first handful of interactions between them it becomes very clear that they're already very comfortable with each other; they skip the small talk, share cigarettes together in their break behind the diner, know that the other went through some heavy shit and they just kind of immediately offer the other their friendship; a judgment-free zone where they can both be their unfiltered and unmasked selves, no need to keep up appearances because they KNOW they both feel like fucking shit and they allow the other to feel like shit with them

but at the same time they know they can't help each other. which is why all their issues remain untalked about until the end of the story; they can't offer the other the comfort they need and deserve because if they'd try, they know they'd start making mistakes. i've thought briefly about letting them have a romantic relationship instead of yancey ending up with rafiq and teddy, but quickly realized it wouldn't add anything else to the story other than the same cycle of mistakes yancey went through with his ex girlfriend which is specifically the situation he's moving away from. so having a redo of all that with stevie wouldn't tell anything new. they'd make each other worse and end up having to get out of there AGAIN, when the whole point of the story is supposed to be that blightwood crossing ends up as their new home because they MADE it into a home

so instead their friendship is both profoundly strong because of the mutual understanding about each other's issues without even having explained anything about it to the other, as well as kind of stuck on becoming closer than they are on account of how they'll never be able to talk about any of it. they won't ever know about each other's past, they'll never learn what the other was like when they were younger, and when either of them needs to talk about something they know they can't go to the other for it because that's just not possible. but what they CAN do is sit with the other and for a while just be miserable in peace, and they know that no matter how bad it gets they WILL always have each other

something something their misery remains forever their own but no matter how ugly it gets the other will still be there at the end of the day

[theiliad]

GET HIRAMED! Do you have secret thoughts about Hiram and Archie?

okay we're doing this on main i guess <3 i have. so many thoughts on hiram and archie and they're not gonna be coherent sorry

the thing about hiram and archie is that you've got kj apa and mark conseulos' incredible chemistry, archie's canonical history of being groomed, the inherent comedy of a mob boss whose Main Rival is his teenage daughter's boyfriend, the inherent everything else implied by a mob boss whose Main Rival is his teenage daughter's boyfriend, riverdale's commentary on the lie of the american dream, the violence of the nuclear family, and the dysfunction both try and ultimately fail to conceal, a whole lot of homoerotic wrestling and boxing scenes, an episode directed by Gregg Araki, and of course the 'there's nothing soft about me' sauna scene all floating around

and i don't have time to unpack that all in a tumblr post or really much to add that i don't think is already pretty evident from just. watching the show. but they are deeply compelling and i'm rotating them in my mind. i'm always gonna be obsessed with their shared habit of vigilantism and how hiram once cured his mystery illness by punching guys in dark alleys.

hiram is hiram forever <3