Ok, so I was responding to a post from @shrublee (hi!!!) and I realized that no one can see into my mind and instinctively understand the twelve different layers of One Wheat Mark all my thoughts go through before they reach my mouth. Or text, in this case. So here’s the star question of the day:
Is thesleepiestking on tumblr.com INSANE? Or is he COOKING?
Ok, so context: I said that Will is someone who wants control very badly. I’m gonna gather all of this evidence while very tired and chronically yap-jawed so. Oh well, here we go!
Will is crazy strong-willed throughout the comic. Like, even when he lets Mike choose everything because of his low self-esteem, he continually goes against it if he doesn’t like it. Not common behavior for someone in a toxic relationship like theirs.
We know Will is saddened but resigned with his “loser” status. At how easy he is to control. He doesn’t like being stepped all over, but he doesn’t have the self-esteem or confidence to really stand up for himself. What he has is his rage and threats he doesn’t follow through on.
Will looks visibly morose while talking about how easy he is to control. Prior in that chapter, he had even vented about being seen as a joke by others. Read: being seen as lesser saddens him.
That’s some weak-freaking evidence though. Anyone would feel bad about that. Doesn’t mean Will has a complex or something. These next panels, however, from much earlier in the comic are where I first started noticing Will’s desire for control.
Why does Will want Mike to know he wants to kill him? Doesn’t that make the whole killing thing, y’know…harder? Your victim knows! They’re not just gonna let it happen!
He even just told Mike he’s not trying to bring the demodogs to them! So why! Reveal! His intentions?!
It’s because Will wants Mike to be scared of him. He wants that power shift gained by Mike’s fear. It’s the most understandable explanation for constantly, openly going against him despite not even believing in himself. It’s what he gains by telling Mike (though that seems to fail initially).
We know Will is always fighting back against Mike. Even though Will is in a lesser position in his relationship with Mike, he never settles for that. In fact, the narrative shows them as equals battling. Equal enough to call it a mutual heading-to-war, not an attack from one side.
This is supported by the planned ending. Even though Will starts out in a “lower position” in the relationship, he doesn’t settle. He gets power.
Mike and Will are meant to be equals that are constantly, subtly shifting their power dynamics.
A lot about this is revealed in the bunker dialogue. Think it’s a coincidence that Mike has a line about them both ruling the world and heading to war? Right before he masquerades as an American official online and gets Russia to nuke them? Immediately after which, Will attacks Mike? Will (Russia) attacks Mike (America)?
Mike continues this comparison when he says this right after stabbing Will:
“PEACE TREATY?” Are you seeing the vision? The signs placed for us to pick up on? These two are equals fighting in a war!!!
There are actually lots of moments too, beside the ending, that showcases Will’s lust for control.
Take a gander at these panels:
Will SCREAMS at THE DEMON IN HIS HEAD because it was trying to make Will change his decision. He’s mentally feeling bad, but DANG. That’s a steel-like confidence. Will hates being told what to do, and he will stand up for himself. Looks at this next panel:
What’s the point of showing Will smiling at the Mind Flayer? He didn’t even want to exit the bunker in the first place, and now they’re going to— but he’s focused on his triumph over the Mind Flayer? Even Mike finds it comments on it because it’s so odd.
Like, dang. I wouldn’t grin at a demon infesting my head with unimaginable power right after cussing at it. Will confirms at the counselor’s office that he doesn’t even know why the Mind Flayer chose him. For all Will knows, the Mind Flayer can decide to swap hosts at any point, easily. Or even just kill Will. And he cusses it out anyway. Will is on that power-high.
“Oh, but Sleepy!” I hear you cry, “Will listened to Mike right before that, though!”
Not without mental struggle. There’s four panels dedicated to showing Will’s struggle to just go along with Mike here. In the end, he doesn’t have the confidence in himself to say no— that doesn’t negate all his other contrarian acts.
He likes Mike’s confidence, but he clearly doesn’t trust Mike at all. See: the first image on this post.
Besides, since Will keeps fighting back and eventually gains the upper hand in the planned OWM ending, we know he’s not satisfied trusting Mike with decisions.
Rounding back to his evil grin at the Mind Flayer; that isn’t the first time Will grins that grin after spitefully going against somebody. Like at Furcon…
…He just kissed his crush, and he’s grinning at this girl’s crushed expression? (*cough* not the only crushed thing she’ll be that night…)
Say what you might about being happy to “prove” to Tiffany that he’s with Mike, it’s still mighty weird to focus on her here.
It’s especially significant because Tiffany was someone who caused him hurt before. Tiffany made him uncomfortable and then her boyfriend beat him up for something he didn’t do. Will is being spiteful.
Will revels in whatever power he can get. Not only is he pulling a power move on this girl by kissing someone else in front of her— when she’s clearly interested in him— but he’s pulling a power move on Mike too.
Ask yourself; why is Will so concerned with Tiffany’s reaction when he gets to kiss Mike? Does he not like Mike? It’s complicated, definitely…but the clearest conclusion it shows is that his wants are more important to him than his care for Mike, regardless of how selfish or cruel those wants may be.
He could’ve just left Tiffany to burn, or told her he was dating Mike. Instead, he forcefully kissed Mike. Because it's not just to hurt Tiffany; it’s to hurt Mike. It’s a power move because he ignores Mike’s feelings on the matter. He even grabs Mike and holds him in the position he wants him. It literally brings Mike down to his level, face to face. Will loves power and he hates being lesser.
There’s this sick combination of infatuation and condescension that likely stirs in Will as he kisses Mike.
There's some other points I could make, but this post is already way too long and if I don't stop here, I’ll never stop.
I’d like to clarify as well: subtextually, Mike and Will are equals. In the surface plot, Will is certainly the one getting the short end of the stick in their relationship. Will is a victim in this relationship from the start, even if Mike turns into a victim too.
Feel free to tell me what you think about Will and control! Agree? Disagree? Mysterious third thing? Does this post make any sense at all or am I crazy tired? Who knows!!!
Remember that these are just my beliefs. I’m pulling evidence from canon, but ultimately anyone can believe what they want to. This comic is for sillies and love, please continue interpreting it as you like! <3
Mike’s Music and the Ending of One Wheat Mark - Analysis Part 1
Ever wonder what happens after chapter 25? That elusive thread of what truckstop05 might’ve planned…fret no more. Take my hand. Here is a rather interesting hint…
One common way to embed more meaning in stories is through music. For example, in the movie Spider-Man: Into the Spider-Verse, the protagonist, Miles, sings “Sunflower” by Post Malone (of course, bar any of the lines referencing coitus). The song is about an on-and-off, turbulent relationship; the protagonist deals with his own turbulent relationships (his identity as Spider-Man and his love interest, Gwen Stacy), which switch between an intensely positive thing to a horrible thing.
This sort of thing applies to just about every song you can think of in the media. Remember that these stories aren't real; they are painstakingly crafted. When trying to share a message, the story doesn't often have the time or allowance to distract from cultivating that message. So, every inch of every scene is embedded with meaning. Or, well— if it's more professionally made, you can safely assume it will be. Regardless, the reader relies to evidence to determine these meanings, and to determine if they are there at all.
We'll fully address the evidence for this metaphor’s existence later. For now, I think all the evidence you need is truckstoptiger05 quite pointedly letting everyone know what Mike was singing, and the rather interesting way it aligns with Mike and Will's characters...
Here’s the songs Mike listens to:
1st song: Get Low by Lil Jon & The East Side Boyz, Ying Yang
And 2nd song: First by Cold War Kids
The lyrics of these songs add depth! To tackle the weakest dummy…
Get Low has a very simple meaning. It’s just about some dudes (including the singer) being very attracted to a bunch of hot girls and that’s the whole song. Not really a deeper meaning.
It’s a bit. Lewd. Read the lyrics with caution.
…That does, however, mean that Mike did ignore Will while listening to a hetero-lust song. The lack of depth in the lyrics mirrors the lack of depth in Mike's feelings regarding heterosexual behavior. We already know from "not totally against these thoughts" that Mike is not very straight, so this makes sense.
All in all, Mike's comphet is what separates them, here. It is interesting that it actually separates them here, unlike before...l'd expect that to continue to grow into a bigger plot.
Furcon kiss to music-induced separation, to more. Or, it would've. If OWM was finished (I...l am dealing with this normally.).
The second song is much more interesting!
I’d recommend reading all the lyrics yourself, honestly, because it fits the OWM-Byler relationship so well. Here's the link to the lyrics.
Basically, it's about this guy who was in a relationship that ended not so well due to toxic behavior on one or both sides. The guy takes it hard, while the girl takes it more easily (at least, from the singer's POV), going out with other people all the time. This is where the line that Mike sings comes from. He is the singer in this case, the one who takes it hard. The line he sings may suggest a sense of drifting or un-reality that can accompany a tough break-up. It can also show, in OWM, the juxtaposition between how Mike says he's taking it ("heavy as a feather") and the reality (slamming his face into dirt inelegantly).
The singer even shifts the blame! "I do not deserve to wait around forever—" the singer assumes they will come back— "when you were there first." Consistent blaming others. Sound familiar?
The singer then transitions into seeing the other person as pitiful and hurt, not unaffected ("First you lose trust, then you get worried (...) / It's not your house, where'd you go wrong?/ First you get hurt, then you feel sorry"). The last aforementioned line can also refer to the speaker, further emphasizing the toxic cycle all the participants in these reckless relationships go through.
A “chance” occurs, and they get back together. (“There comes a time/ in a short life/ Turn it around, get a re-write”).
Straight after these comes the line "Call it a dark night of the soul." This is my faaaaavorite part, because (thank you, Genius annotations) it may be a reference to the poem, "Dark Night of the Soul" by St. John of the Cross. To turn a mile into an inch, the protagonist is roused from sleep, and at the end of the poem, finally obtains a union with god. Of course, in the song, "god" would refer to the girl he's singing to. Therefore in the comic, "god" would refer to Will.
However, this relationship isn't the lasting-type.
("Ticking of clocks, gravity's pull/ First you get close, then you get worried").
However, this relationship isn’t the lasting-type. (“Ticking of clocks, gravity's pull/ First you get close, then you get worried”).
This couple gets closer emotionally, and it's exciting, but it's still shallow. They want to get a deeper connection, however, even if it will only make the end of their relationship come quicker.
("You're going silent, the silent treatment/ It's not inviting now/ Don't deny what you meant/ You get excited, you get excited/ You got a feeling, or at least you can pretend/ (...) You wanna light it now, the candle from both ends").
The candle, in this case, is lit from both ends to make it end faster. l.e., their relationship (the candle) is moving towards its end faster due to both partners (both ends) of the relationship.
The first song is in line with Mike's character (closeted) and the situation occurring at that time (separating Mike and Will). So if, in the second song, the relationship depicted is that of ex-lovers getting back together, then we can assume this is also relevant to Mike and Will. As one must do when analyzing any metaphor, we must analyze the context surrounding it.
So, what happens while the song plays?
Mike walks with Will. Loses him. As he sings about the rough fallout of a break up, he falls harshly, and realizes Will is gone.
Remember: things in media are not placed willy-nilly. Every moment is created with the intent of furthering a purpose (unless it is made without meaning, often by a beginner, in which case you will need to find evidence to support this conclusion, too. We'll get to that.)
If Mike was real, he could've just played the song because he liked it. But Mike is not real: that song was put into the narrative by a real author trying to sculpt a message. Similarly, the context around this song is just as intentional. This context is meant to support the hidden metaphor and help you come to the right conclusion.
This break-up song plays as Mike and Will literally separate. Mike falls harshly as he sings about taking a break-up hard.
There is a clear connection here. This song and situation intends to liken Mike and Will spreading to a separation of lovers. Mike and Will are (subtextually) broken up, right where the comic left off. Following the song's development, they would get (subtextually) together again. They would get closer. This would, however, only speed up their relationship's inevitable end.
Ah, but I know what you're thinking about. You must be concerned that I haven't yet explained how I know this was all on purpose! Oh, and I haven’t dissected that poem I mentioned earlier, that's a rather important part of all this. Haha, don’t worry, I’ll– hm?
Oh, oh dear. I’m afraid our time’s all out, haha! You’ll have to wait for the next article! Haha!
Well, this was lovely to finally post– (I grab my coat)-- really, I have a lot of fun making these– (I tug a sleeve on)-- despite the wait, and all, see I’m a busy man– (I slip on the other sleeve and straighten out the front)-- unfortunately, that means I can't spend all my free time and energy abusing my use of parentheses in little texts– (I grab my bowler hat)-- but really, I do appreciate that all the love I feel for these analysis has shot back at me, tenfold. You are all the sweetest.
So, to conclude, as always- (I straighten my bowler and tip it cheekily at you) -- subtext is the culmination of metaphors in the text and creates a level of meaning separate from the surface plot; feel free to share your thoughts on this analysis; and remember, feel free to keep whatever interpretations you please. I'm just the evidence-man.
