#analysis or whatever

[emeryofthestate]

quill and i finished the main story of Destiny 2: Renegades last night and I have some FEELINGS about Dredgen Bael that ive tried to express below the break, just in case anyone happens to care about spoilers.

its quite long.

first of all, very good expansion. i was worried about the star wars tie in shit but i actually think they did it very tastefully and also it kicks ass. it also gave us what has quickly become one of my new favorite villains, and favorite characters in general, in Dredgen Bael

Bael is a fucking phenomenal character. he's a pretty obvious kylo ren analogue on the surface (and maybe even beyond that, but im admittedly not so familiar with the latest star wars saga).

to catch up the majority of you who probably arent familiar with D2, theres a group of entities called the nine who essentially exist because we do. there are four of them (previously five, rip III) who care for us and want to help and protect us, the inner orbits, and four who want to find a way to exist with us out of the picture, the outer orbits. in the previous expansion they appointed an emissary, a human to act as a mouthpiece for them to interact with us in a way we can comprehend, as well as a Fated Weapon, the player character. the outer orbits didnt agree with the choice, but their dissenting votes were essentially ignored. now, one of the outer orbits, VI, has chosen to find its own vessel to enact its will independent of the emissary. the weapon, or the rest of the nine. that vessel is Bael.

The relationship between Bael and VI has all the hallmarks of abuse. Bael is uncertain, alone, directionless, and VI preys on that weakness and isolation to manipulate him. Bael talks throughout the story of all he's sacrificed to be where he is. he romanticizes his suffering at the metaphorical hands of VI. he gave up what little he had because he was finally chosen to be a part of something greater. VI told him of all it could give him, how much potential it saw in him, how great he could be if he just did everything VI asked and never asked questions because VI knew best and would guide him to greatness.

Then Bael talks with Lodi, the emissary of the nine. Bael asks how Lodi can stand to host all of the nine when just one is ripping Bael apart. Lodi explains it doesnt hurt him when the nine speak or act through him. it just happens. because hes meant to be an emissary. hes built for it. Bael isnt. VI doesnt care that it hurts Bael when it inhabits him. it does it anyway. Bael takes this as Lodi insulting him, denying his status as a chosen weapon of one of the nine. but it also makes him start to ask questions. why Does it hurt him and not Lodi? why Does VI do it anyway? is that just how it has to be? does he Deserve the pain and suffering VI inflicts on him? what if he Doesn't have to feel like this? what this Isnt all there is? what if he Doesnt deserve to be afraid and in pain all the time?

Throughout the rest of the story, Bael flip-flops quite a bit between questioning or even outright resenting VI, until VI speaks to him again and reassures him that he is important, and needed, and all of his suffering is virtuous and necessary, and Bael goes right back to romanticizing and justifying the abuse, until someone else makes an attempt to shake him out of it again.

We don't see him escape this situation in Renegades, but we also don't see him defeated by the end of it. im confident bungie intends to keep this character around to further explore his experiences with abuse and the resulting trauma, and hopefully maybe his recovery if we can manage to get through to him.

[every-dayiwakeup]

SPN forgives Dean for the things he's done and said because he had 15 seasons of redemption. The relative age of the fans also changed, but I remember when people *hated* Dean for how he acted towards Sam. So, once again, Billy fans are correct in that more people would like him if he had time to learn and grow.

Agreed. Dean was able to grow and change, because he was given plenty of time. Plus the narrative wasn't painting him out to be a villain, so there's that too.

That's the argument this fandom makes for Steve Harrington's redemption arc and all, but they completely miss the mark when it comes to Billy.

Yes, Steve did and said questionable things, but he was given the chance to change. Characters around him gave him a chance. The narrative and the writers never gave Billy either.

That is the argument we're making here. That he deserved a chance.

Even if Billy was racist or homophobic (one is debatable and the other is ridiculous to even imply), these are beliefs. Beliefs can be changed! They can be unlearned. Steve made a homophobic comment in season 1, then he was able to learn from that because he had time to have those beliefs challenged (and I don't think he was ever genuinely homophobic, I think he was misguided by the people he was around and high schoolers say shit they don't understand all the time 💀).

And like... that's what we're saying about Billy.

Antis argue that he needs to apologize to people, be held accountable or whatever. Putting aside the fact that his last words were an apology... these same people also say that they're glad he died. But hes dead. Tell me, how is he supposed to be held accountable??

It's the same thing with Henry fans! Killing is something you cannot change. It is a behavior that cannot be undone.

Racism is bad. We know this. But people acting on their racism is when it becomes more than a belief. When it becomes something like murder and hate crimes.

Trying to cancel fictional characters and their fans will not end racism or killing in any way shape or form.

[itstheafter]

then please give us the essay on from now on we are enemies

I spent too much time thinking about this song, so please forgive me for the essay! This absolute monster is also dedicated to @thenimyourprince

As always, this is only my personal interpretation of the lyrics; while you’re all free to hunt me for sport, I would prefer it if you didn’t. I am, after all, just shouting into the void. Bless xxx

Okay, here we go:

Pete is well-known for being a self-described film aficionado, and a bit of a pop-culture fanatic. His lyrics are full of dual-meanings, innuendo, obscure movie references and subtle nods to contemporary literature. These references are often either incredibly vague and scattered, or they serve as the basis or through-line for entire songs. Now, I’m only going to speak briefly about the film that I believe Pete may have referenced for this piece — I’m not super familiar with it, but I know enough to draw some parallels.

The 1984 film Amadeus is a fictionalised retelling of the life of Wolfgang Amadeus Mozart (yeah, that guy). The film follows the fictional rivalry between Mozart and an Italian composer, Antonio Salieri, who was jealous of Mozart’s musical genius. If I’m not incorrect, the title of the song comes from a monologue that Salieri directs to God — expressing his anger that the ‘heavenly father’ chose Mozart as His imperfect vessel through which to bless humankind with incredible music.

The lines go something like:

“From now on we are enemies, You and I. Because You chose for Your instrument a boastful, lustful, smutty, infantile boy — and give me, for reward, only the ability to recognise the incarnation.”

Now, we’ll come back this quote.

If you were going to argue that this film is the sole inspiration for the fob song, you’d be able to make a pretty solid case. The song makes direct reference to musicians who create their own works (composers). It provides film-appropriate allusions to Mozart’s struggles with alcohol addiction (“I just want to be better than your head's only medicine / A downward spiral just a pirouette / Getting worse til there's nothing left”). The song even alludes to Salieri’s jealousy: “I only want what I can’t have”. There’s more if you care to look; like I’ve said, there’s a solid case for this solo reading. BUT I believe that nothing is ever that simple — especially when it comes to Pete Wentz.

(Also, you’re in my world now. Just hold on tight, and come along for the ride.)

It’s pretty impossible to ignore that this song was released as a bonus track on Believers Never Die, the greatest hits record released just prior to the commencement of the hiatus. At this point, tensions were high and disagreements were vicious and common, especially between Pete and Patrick. @infintyonhigh has a great post unpacking how a lot of Folie reads like Patrick and Pete just picking at each other through the music — over and over again. I would not be surprised if the song’s title was intended to be, at least, somewhat literal. With that context in mind, let’s continue.

To me, this song reads like Pete mourning the seemingly-inevitable loss of his band — and getting in a couple of final, cheap shots while he’s at it. Pete has often spoken about how low he was at beginning of the hiatus, how the loss of the band amplified his own depression and marriage issues. The same lyrics that could allude to Mozart’s substance abuse and mental struggles could also reference Pete’s own similar battles, as well as the simultaneous, slow implosion of the band. The line “What good comes of something when I’m just the ghost of nothing?” sounds a lot like the words of a man who feels as though he’s been left behind by everything in his life (band, marriage, etc.) — like he’s just an afterimage. This theme is continued in the chorus: “I'm just the man on the balcony singing: / ‘Nobody will ever remember me’”. If a band dies, who is left to sing their songs? If Joe won’t play the riffs, Andy isn’t on the drums, and Patrick won’t sing Pete’s words… does Pete really exist at all?

“Rejoice, rejoice and fall to your knees” brings to mind the way that Joe and Patrick fought for the need to take a break, how they pushed for the hiatus — and eventually got what they wanted, while Pete felt as though his world was collapsing.

Speaking of Patrick…

Remember that quote from earlier?

I would not be surprised if Pete cast himself as the famed Mozart — an eccentric, gifted yet difficult artist with a god complex (“Lunatic of a god / Or a god of a lunatic?”) — and Patrick as the begrudging peer who has grown frustrated that Mozart’s (Pete’s) presence is necessary to produce wondrous music for the masses. Salieri’s description of Mozart as a “boastful, lustful, smutty, infantile boy” definitely seems like something that Pete would think of himself; however, it also doesn’t seem too far away from some of Patrick’s more aggressive insults. (I have a vague memory of Patrick calling Pete an “erratic narcissist” or something similar, but don’t quote me on that). These lines seem to be about the slow breakdown of the band and their relationship. It’s about being forced to keep pumping out tracks together, all the while growing more and more frustrated with their musical counterparts: “Oh, their faces are dancing / They're dancing til / Til they can't stand it”.

Now here’s the kicker: “A composer but never composed”. Patrick is Fall Out Boy’s musical heart. He’s the songwriter. The sound starts with him. Patrick is a composer. He’s also Pete’s favourite pretentious asshole. Patrick has never been calm or collected about music, especially when Pete is involved. He’s slapped cameras out of hands during recording sessions. He’s thrown punches over chord progressions. He’s admitted to being a control freak in the studio — a composer who is never composed, one who is known for “singing the symphonies of the overdosed”.

Oh, Pete.

Pete has had his struggles with substance abuse in the past, and is, thankfully, in a much better place now. I won’t go into too much detail on his overdose scares — I don’t think it’s my place. But these lines hurt. Patrick as the composer without calm, and Pete as the lyrical genius who is just barely hanging on. The madness of two. What a match, huh? It makes the following line even more insane to me: “A composer but never composed / Singing: ‘I only want what I can't have’”. Patrick is the composer singing Pete’s words. Pete only wants what he can’t have — for the band to stay together, for his best friend to stop resenting him, for everything to work itself out. Fuck, man. This song.

I’m thankful these dudes found their way back to each other, and I’m glad we’re all still kicking. I could go on forever about this song, but I might as well cut myself off here. I hope it gave you something to think about.

[sandwiches-of-solidarity]

I think it would be really interesting to do an existential analysis of Supernatural, especially in regard to what Dean and Sam's takes are on the "encounter with nothingness" and how it seems that Dean in particular actually strives toward the encounter with nothingness, rather than avoiding it.  See how smart I look?  But I don't have the time or in depth knowledge of existentialism to do this, so someone who is smarter than me and has more time, get on the stick.