#character analysis

[paraphwrites]

please understand that as a character, charles rowland is fundamentally grieving. he is grieving his own death - all that is taken from him, all that could have been. he is grieving his own life - how his father's abuse took his childhood away from him. he is grieving his society - how taught prejudices ended in his death being erased.

but charles is stuck in a state of denial. he entertains himself with cases and edwin and pretty girls. he doesn't think or acknowledge his grief because when he was alive he was never allowed to feel it and now that he is dead he doesn't want to. because everything is brills, now, isn't it? why waste your time dwelling on your kinda shitty dad when you could be traveling through mirrors or learning how to navigate magic items.

and occasionally his grief slips out. sometimes the grief is too large and too all consuming and he yells and he pushes a woman off a cliff but it is because she is a threat. she is all of the issues he thought he had escaped, she is the only thing threatening to take away his paradise, his person.

charles rowland is a character who lost literally everything a person could, and because of it, he found a new family. but in order to find a family, you have to first loose one, and that does not erase the loss you have endured or the damage it has done. and charles never allows himself to process or appreciate that.

[castielsprostate]

okay but what if wade's birthday wish was to finally mean something. to finally have a purpose bigger than himself, to be something, anything! be someone that has a meaning. to finally be seen as someone worth sticking around for, someone worth dying for- someone worth living for. and then he opens the door

[starcurtain]

Hello! I just saw your latest post and you might have been referring to my ask if it was the one about Ratiorine's differing philosophies or of what philosophies they abide by (existentialism, absurdism, etc) then that's me! If you weren't referring to that I apologize for the confusion. Sending it off anon this time so maybe it doesn't disappear 🥲

Sorry for the ask disappearing the first time; I'm not sure what happened, and I was so sad because I had been carefully holding on to it to answer it! I'm glad you were able to resend.

I do have to say first that philosophy is not my area of expertise, so there may be much more qualified philosophy buffs out there who can answer this more accurately than me, but I'll give it a go with my personal understandings of the characters:

First, Ratio is the easier of the two I think. As many people have said, he's a good fit for existentialism. His entire shtick is basically believing in the power of the individual to improve and enrich their own life, to fight valiantly regardless of the hardships imposed by their life's circumstances, and to make themself into a better person by their own choices.

It's important to underscore that this means Ratio believes in self-determination, in the idea that people's lives are not foreordained but are actually actively shaped each day by personal decisions. Therefore, people have inherent freedom to decide the course of their own lives by accepting what they approve of, refusing to accept what they disapprove of, and harnessing their own individual power to ultimately achieve self-actualization.

Essentially, Ratio works under the impression that life is not guided by something as intangible as destiny, and no matter where you start off in life, what ultimately happens to you is within your control (or at least within the control of whoever controls you). This is likely a small part of why it grates on him so badly that he wasn't recognized by Nous, because the fact that one can dedicate everything to a goal and still not achieve that goal runs contrary to his central philosophy.

If he believes that people have the power to determine the course of their own lives, then what does it say about him, who fought so hard to do exactly as he claims even idiots can do--seize control his own fate--and yet didn't succeed? Are there some things outside of man's power? It's enough to make even a renowned doctor question himself, and Ratio decided to come out on the side of "It's a personal failing, not a flaw in my philosophy." He literally said "Skill issue" to himself.

Changing tack a tiny bit here, I think it's also important to emphasize that there is a difference between existentialism and nihilism even though these philosophies dovetail. Again, I'm not an expert in philosophy, so my understanding is very limited, but the basic idea of existentialism is that "existence comes before essence"--that is, things start as a blank slate and gain nature and meaning after the fact. We are not created by some grand design, nor is there any inherent "purpose for living." Things just exist because they exist.

This is where existentialism intersects with nihilism, at the starting point that existence is inherently meaningless. But, in my personal opinion, nihilism as a philosophy fails to move beyond that. Pure nihilism is ultimately self-defeating because it leaves us with no motivation to commit to growth. It's a philosophy antithetical to the continuation of life as we know it. Existence is meaningless and any meaning you personally derive from existence is also meaningless, so why bother attempting to derive any meaning at all? This complete apathy is the Device IX that Star Rail paints as so dangerous.

And Ratio is not this way at all. His philosophy absolutely reaffirms that life can have meaning, so long as people create that meaning for themselves. He simultaneously asserts that anything that people create is not meaningless ...which basically means that meaning itself cannot be meaningless. (If that makes any sense to anyone.)

Frankly, I would argue that this philosophy may be a core part of why Ratio has not been recognized by Nous so far, rather than simply his "being a good person." (Nous is a robotic AI super-computer, why would THEY care about the presence or lack of human empathy?) Ultimately, Ratio's central philosophy about people being capable of determining their own fates and purposes also applies to his understanding of knowledge--knowledge is not something which is inherent in certain beings from birth or limited to the purview of the "special" (geniuses), but is attainable by all people. People are not "born talented" or "born untalented," they are simply "educated" or "uneducated," with the only barrier between these categories being one's own personal willingness to change. The mundane can become the divine--if they work hard enough at it.

Thus, knowledge is not wealth to be hoarded, but a currency to be spent to enrich other members of humanity.

(By the way, completely random aside--it also surprises me that everyone relates Ratio to Alhaitham from Genshin when they literally have such a glaring fundamental discrepancy in their understanding of the concept of wisdom... But anyway, back on topic!)

Ratio may (sort of) respect the members of the Genius Society, may recognize their incredible knowledge and abilities, but at the heart of the matter lies a single all-important question: Does Ratio even really believe in "genius" as a distinction (other than as a concept to insult himself)? Does he truly believe there is barrier between brilliance and idiocy that "ordinary people" can never cross?

He speaks convincingly about geniuses being different from "the ordinary," but if his core belief is that people have the power to pull themselves up out of despair and achieve greatness through effort and self-development, rather than some form of luck or god-given talent at birth, then... do born "geniuses" even really exist? Is there really an insurmountable difference between brilliant and mundane?

If knowledge is the equalizer of all sentient beings, do we not all have at least the initial capacity to become geniuses?

I personally think this central distinction about the capacity for knowledge among all humanity is the actual deciding factor in Ratio's rejection from the Genius Society, because, at the end of the day... how do you become a member of the "Genius Society" when you fundamentally reject the distinction of "genius" as an exclusive category from the start?

Ratio wants to share knowledge and uplift everyone (even if he thinks most people are starting off at the rock bottom known as idiocy).

His mission is diametrically opposed to the concept of a "Genius Society" in the first place.

He wanted in to the cool kids club because he desperately craves validation and acceptance, but the philosophical values of the Genius Society are ultimately incompatible with his own. In short, he would have to cease to be "Veritas Ratio" to succeed in joining the geniuses.

Okay, okay, back to the original point again, and just one more note about Ratio: Even though existentialism also goes hand-in-hand with absurdism, I don't think Ratio is far enough down the philosophical rabbit hole to believe in the wider definition of absurdism. Although I think he does agree with the inherent meaninglessness of existence, I don't think he views existence itself as truly irrational and the universe as as manifestation of unknowable chaos. I think he'd at least like to imagine that there are some ontological principles and inherent laws governing the operations of reality, and I think he does believe that certain things can be predicted with the application of enough thought... He certainly seems to believe in some form of "objective truth," at the very least.

I think he'd at least like to believe the universe is semi-orderly, even if he might deep down admit this is also wishful thinking.

So, to me he reads as a strong metaphor for pure existentialism, with deliberate rejections to both nihilism's apathy and absurdism's lean toward solely subjective reality.

PHEW, this is already long and I still have a whole other character to talk about... I had more to say about this topic than I thought. Sorry for the long read!

Anyway... Aventurine.

I've seen all sorts of things thrown around for Aventurine's philosophy, and while I think he does inherit a bit of Acheron's absurdism by the end of 2.1, I actually don't think Aventurine is an absurdist, an existentialist, or a nihilist.

I think Aventurine is a struggling fatalist.

He doesn't like it. We see him actively question it, but ultimately, he does come back to the concept of destiny over and over.

First, I think it's important to draw a clear distinction between Ratio and Aventurine: Ratio's existentialism is a philosophy that technically works even in a theological vacuum. Nous doesn't have to exist for Ratio's philosophy to function. Ratio's belief in the self-determination of humanity is, in fact, somewhat opposed to belief in aeons in the first place, and only works because technically the aeons of Star Rail used to be human (or were originally human creations). It's essentially an atheist viewpoint.

But Aventurine is a religious character. Like, he's just... religious. That's a fact about him. Even though we do hear his doubts, at the end of the day, he actually believes in Gaiathra, and believing in a omniscient supernatural being that is not human in origin (is from outside the aeon system) comes with a whole set of philosophical foundations that most aeon-worshipping characters just don't have in Star Rail. (Sunday is the obvious exception here, by the way.)

Kakavasha's like the one practicing pagan in the middle of an atheist convention. Awkward.

Being more serious: Religion requires faith. Faith requires the ability to believe in things you cannot verify with empirical facts. To believe in things you can only feel, never see. The belief that a goddess is watching over you, blessing you, and guiding you requires you to also accept the idea that events in your life are not always in your own control--that some of what occurs to you is decided by powers beyond your comprehension.

In essence, faith requires belief in fate. And that leads to fatalism.

No matter how much he doesn't like it, no matter how much we see him struggle with it, Aventurine does actually seem to believe in the concept of fate. He believes that some events in life are destined to occur, that some things are outside of individuals' control, and that ultimately not everything can be changed.

This is the dead opposite of Ratio's mindset: No matter how hard we fight, how far we push ourselves... in the end, sometimes people fail. Sometimes the only answer to our endless struggles is that we die, as we were destined to, before ever achieving the greatness we sought or the futures we were promised.

As an aside, I don't think faith or religion are necessarily the only factors connecting Aventurine to this particular philosophy either. Even removing theological aspects from the conversation, his extreme focus on the gambling aesthetic suggests a strong connection to fatalism too--if not a goddess, then one's fate may as well be in the hands of luck itself, of the whims of the rolling dice--or the push and pull of "powers that be," those figures of authority in the room where it happens, who make their shady deals according to preset rules and expectations, every bet resulting in an ultimately predictable outcome.

(He keeps gambling and gambling, hoping that he'll get a different result than the one he knows is inevitable...)

This is, of course, an inherently pessimistic mindset, a perfect dark-mirror to Ratio's deep-down optimism. Fatalism puts humanity into a position of powerlessness. All hopes and dreams are given over to the goddess, by whose judgment and whims the actual events of one's life are decided. Pain and poverty are inevitable trials. Suffering and death are foreordained.

And yet Aventurine has to cling to this, as much as he doubts it, as much as he hates the idea that things in his life are beyond his power to control.

Because if fate doesn't exist... If it wasn't destiny, if the tragedies of his life weren't trials from the goddess, if things weren't supposed to go this way... Then every single thing in his life really is meaningless. Everything he suffered, everyone he loved and loss, his mother's and sister's sacrifices, the torment he went through--just sheer bad luck. All of it, completely and utterly meaningless.

How can you convince yourself to keep living, in the face of such supreme and all-encompassing Nihility?

This is the central struggle of Aventurine's character, the actual mental and emotional journey we see him undertaking from 2.0 to 2.1. He is literally on the precipice, swinging between a viewpoint that he hates--his fatalistic belief in destiny--and an entirely self-defeating philosophy--nihilism--whose only possible final outcome is suicide.

This is what his talk with Acheron at the end of 2.1 is all about. This is how she saves him. In that final cutscene, we witness Aventurine reach a mental compromise, managing to finally reconcile his necessary faith in the concept of destiny with the reality that life may truly begin meaningless--but beginning meaningless does not mean staying meaningless, and believing in destiny does not bar you from making your own choices or finding your own purpose in life.

Later on in Penacony's story, we literally see Acheron use Ratio's philosophy to reject the same nihility that crept into Aventurine's:

Acheron wards off nihility's apathy through an absurdism all her own, but one which manages to enclose both Ratio's and Aventurine's otherwise incompatible mindsets: We have no way of ever knowing for certain whether the events of our lives are fated or mere nonsense. We have no way of knowing if our choices are our own or foreordained. But we don't need to know this to find meaning and value in them. Whether life is nothing more than unpredictable chaos or a predetermined pattern of cause and effect, what matters is what you make of it.

Ultimately, I think that this post has really helped me recognize just how well Aventurine and Ratio work as philosophical foils.

They really are perfect opposites.

Aventurine's fatalism is deterministic, while Ratio's existentialism is self-deterministic. Aventurine's philosophy is inherently pessimistic; Ratio's is inherently optimistic. Ratio's philosophy operates on a core belief in the freedom of humanity to decide their own paths in life, while Aventurine hates but does ultimately believe that people aren't really in control, that even if no gods are guiding us, we can't rise above our own natures. Ratio's philosophy makes meaning from growth; Aventurine's makes meaning from loss...

And they both struggle with fundamental doubts in their own philosophies, core questions that are directly tied to their own lives. Aventurine worries that his faith might be misplaced, that destiny might not exist, and that everything he suffered might have been in pointless, empty vain. Ratio faces the crisis of recognizing that his core belief in the power of humankind to determine their own paths and make their own meaning might not actually apply to everyone--because it doesn't seem to apply to himself.

It's literally only by bridging this philosophical binary with Acheron's anti-Nihility absurdist rhetoric that we can reach some sort of healthy outcome. That's why it takes both Ratio's note and Acheron's comments to finally lead Aventurine to acceptance. Ratio probably needs a little bit of Aventurine's "If you didn't make it into the Genius Society, there's got to be a reason" mindset to finally reach some peace with his situation too.

I'm not even a philosophy expert and even I can see that there's really only one takeaway here: These two characters were totally written with each other in mind.

Aventurine and Ratio need each other on core metaphysical levels! 😂

It's so good guys. You can't see it, but I'm making chef's kisses, I promise.

[wesleysniperking]

Usopp, Representation, and the Black Experience: My Perspective (maybe TL;DR)

Disclaimer: This post reflects my personal interpretation and connection with Usopp's character. I understand that not everyone may share the same perspective, and that's okay. This is just my own take based on my experiences and thoughts about identity and representation.

When it comes to Black characters, I’ve noticed a recurring theme where they often distance themselves from their non-Black friends or take time away due to personal struggles. It’s a reflection of the weight they carry, and sometimes there’s even some regret for doing so. I can think of plenty of shows that have touched on this, and honestly, I get it. A lot of Black people, myself included, feel the need to face things alone, likely because of deep-rooted issues tied to our history, upbringing, and the challenges of navigating predominantly non-Black spaces—especially when tokenism is involved.

I’ve been that person, and in many ways, I still am. My sister and mom often joke that Usopp feels like a Black guy with a lot of “white” friends. They also mention how Black men, especially those in subcultures like the hipster scene, often juggle two social circles. My cousin, a big One Piece fan, is the perfect example of this. Even Jacob Gibson, who plays Usopp in the live-action series, gives off a similar vibe.

I know this might come off as blunt or even as a generalization, but to me, Usopp reflects a part of the Black experience. He’s like the Lando (or Finn) in Star Wars, Link Hayes in The Mod Squad, Noah in Young Riders, and Marcellus in The Originals. He’s the Renee in Ally McBeal, Tucker in Danny Phantom, Black Panther in Avengers, Cyborg in Teen Titans, Gerald in Hey Arnold, James Rhodes in Iron Man, Chris Washington in Get Out, Ben in Night of the Living Dead, and Christopher in Scrubs. He’s that Black guy.

Maybe One Piece could show Usopp as more than just his race, but it’s hard to ignore the connection. And that’s okay. It’s something I’ve been reflecting on for a while, and I wanted to share it.

GIF credit

[sugashook]

wade goes "i need you" and he literally grabs logan and is very clear and consistent on it, like i need you, all the time. i think logan needs that clarity and certainty and forwardness..honesty, someone to push him and need him. someone with transparent emotions that will get him out of his head,

and wade needs someone to be there for him no matter what a stable rock. it's like logan's no longer a puzzle piece for war, he's extremely important in wades world, his other half at the moment perhaps (bark)

wolverines entire thing is that he can take great beatings and come back seemingly fine and unaffected its like a very strong closed off person, a fortress that protects his emotions. i think he feels good having people to protect.

but that's also a bad thing because being really strong and feeling like you can take all the bullets you took in your life and bounce them off while at the same time suffering in silence seemingly unaffected by what happened to you is harmful to your psyche. and seeming this way to others as well is even a bigger issue, especially with logan who has the base need to be with people and be there for others.

and for that he NEEDS someone to dig deeper and pierce through his perfect disposition he is NOT easily open and easy going like wade he needs someone to see him and give him a chance and fight for him! wade will make way for himself in someones life, logan will go deeper into himself.

others could see you perfectly "unscathed" all the time and if they don't understand you or try to understand you and how much you can be dealing with complex emotions inside, they will grow resentful,you'll be rejected and treated badly.

wade is very fragile on the other hand, sure he regenerates, but the scars of his trauma are visible and harsh on him, he knows it , everyone knows it.

that's why he's so repulsive to others, his life beat him so hard that he can't control himself with his emotions and it weirds people out, they don't understand it and they get mad,upset,etc.

even scared just by looking at him, you survived trauma, but it shows on you how it affected you and it makes ME uncomfortable, that's pretty scary, you're different and you don't fit in anywhere. they judge him in the opposite way that logan is judged. your overwhelming presence is unnerving to me.

thats why wade hides with his suit his entire face, and the blood. dont notice me,my wounds, and the wounds i give to others. while logans suit screams "notice me!! i'm not okay!! i want people to see me!"

when he regenerates, wades body generates bad body tissue from his skin to his core. and the scars of all that trauma add new trauma so he's constantly re-traumatizing himself and it layers on. he doesn't get stronger or bounce it off himself, bad things such as trauma are just bad they create more bad and he's made out of all the bad things that happened during his life sort of, so he needs a lot of external support.

cause he has no strength left! all the trauma and SLS (shitty life syndrome) is like up to his gills. but he is very joyful and positive despite the harshness of life.

he is a little positivity clown bouncing around in wolverines fortress of solitude.

wolverine can sort of take attacks from life and endure and wade can attack life more easily, he's a positive, up beat, go getter. he loves the world and sees hope in it when there's none. and when the world doesnt love him back ,it crushes him and he cant take it. he doesn't understand how anything he tries he gets hurt by. but he never stops trying :)

logan shuts himself off from the cruel world with his perfect skin and metal bones, but the world has shut off from him as well. wade keeps being hurt and open to the world just like his open wounds and scarred body. even though the world hurts him through his openness.

[emoangel44]

Most people interpret these lines as Silver not understanding trash talking but I'd argue that's not the case.

He doesn't understand trash talking as a sport because every time he 'does it' himself it's his completely honest thoughts, not an attempt to get under someones skin or poke fun. Every time Silver is smug or rude or an asshole he is not putting on an act. He's doing it completely unconsciously because he has zero filter.

He answers “Okay.” to “I'm so gonna own you.” because he does not register this as playing. He registers this as a statement, and an incorrect one at that, which isn’t worth his attention.

It's like in Sonic Rivals 2. He expects Espio to believe him unquestioningly because, in Silver's perspective, it is the truth. He doesn't understand why he would say it if it wasn't true, or why Espio wouldn't believe him because he has no reason to lie.

The thesis here is that what Silver doesn’t understand isn’t trash talking- but lying. Specifically people he views as 'good' lying because of his own default honesty and tendency for black and white thinking. He understands that ‘evil’ people lie to hurt others but he cannot conceptually get why him or one of his friends, who are ‘good’, would say something that is dishonest- even if it's just as a joke.

[yetanotherexhaustedalchemist]

IDK if this is still being debated but the argument about whether Malleus overblotted because of Lilia or because of Yuu leaving to just... be so unnecessary? 

I think that the big issue a lot of people had were the overzealous Malleyuu shippers insisting that he overblotted because of Yuu. And I mean, yeah, that's fair, but I just??

Personally, I think the issue wasn't just Lilia leaving or just Yuu leaving, it was that he was suddenly losing everyone. Lilia is his parental figure and the only thing consistent in his life, and Yuu was the first person to get to know Malleus for himself. Yes, he has Silver and Sebek - but they're mortal and he'll outlive them by centuries, and he knows this. Also, they were raised to respect him and be awed by him, like everyone else in Briar Valley. To Yuu, he was just Tsunotarou / Hornton. To Lilia, he's the child of his best friends and his adoptive son. 

The argument of whether Lilia or Yuu is more important to Malleus is just silly to me. They're equally important, just different. Whether you personally see Malleus and Yuu's relationship to be purely platonic or romantic, it doesn't matter. Yuu gave him a sense of normalcy that he couldn't find anywhere else, and that's important. Yuu is every bit as important to Malleus as Lilia is.

Maybe, if it was just Lilia or just Yuu leaving, maybe it would have been okay. Malleus wouldn't be okay, obviously, but I don't think he would have been pushed to the point of overblotting. At least he would have had Lilia or Yuu still with him. I think he overblotted because of the sudden loss of all of his most important relationships. He overblotted because he couldn't bear being alone again.

Compared to his expected lifetime, he'll lose both Silver and Sebek soon, so there are two connections he knows are on borrowed time. Yuu (while also human) is different, being from a different world with no preconceived biases to view him one way or another - and they're going to leave now, too. Lilia, who is the longest bond Malleus has, is now going off to die in a far off land.

The most important relationships Malleus has, different but all needed - they're all disappearing, one after another.

[abnomi]

Something i find so fascinating about Turbo and his desires is just how human they are; it's normal to crave the attention of your peers, especially those you look up to/admire (keeping in mind how gamers to video game characters are basically gods in their world). I think that could potentially be a reason as to why I've been seeing more people admit to relating to him and seeing themselves in him; or at least, it's why I relate to him.

The only catch is how he takes his desires way too far, to the point of something so natural transforming into an animalistic beast beyond his own control. The racer is so preoccupied with the idea of being under the spotlight, the only spotlight, that it dictates every decision he makes; from how he interacts with others to how he processes his own feelings, it infiltrates every process of his mind. He yearns for acceptance, to mean something, but in the process of trying to attain that, he destroys himself alongside everything he knows, only spiralling even further down into his deranged obsession.

If he doesn't get exactly what he wants, or in his eyes, what he needs more than anything, he will take things to the extreme, acting completely on his urges to attain the only thing that could ever possibly satiate the null, hollow space inside of him; attention.

[angel1tez]

I think about pretty much every Whit scene all the time and this is no exception

I find this interaction so interesting because when you think about it Whit was probably really lonely himself? His mother is dead, his father lives overseas, and he has no siblings so after his mom died he functionally had no family. I also think he didn’t have many close friendships. Whit’s always looking to help people, and considering his talent and “annoying” personality it’s easy for me to imagine that people only talked to him because they wanted something from him.

Note that this is the only time we see him acting somber not counting the fte’s. I think Whit is very lonely (or, was. He has Charles now at least)

[shyjusticewarrior]

Calling adult Jason Todd "little man" is crazy work.

Imagine getting beat up by that guy. No wonder why the people Jason trained hate him lol.

[paraphwrites]

so obviously the time period a character comes from impacts them. but i adore the analysis of dbda and loneliness so now i want to analyze the characters + their time period + loneliness

edwin. so, edwin is from the 1900s. he was raised with the knowledge that he would join the military, that he would get married. this was an accepted part of life. now, i do not wish to analyze the full scale of edwin's relationship with violence (at least, not here), but i do think it's interesting that edwin goes out of his way not to inflict harm on others. this is potentially because he was raised in such a way where that was the norm, and he always knew he did not fit traditional male standards. he has always preferred knowledge and books to fighting and sport. this would have been incredibly isolating, especially as a young boy in a school for children of military members. additionally, as a queer person, edwin would have been entirely socially isolated from his peers. whether they picked up on it like simon or just thought he was un-manly, the point stands: edwin would not have fit in with his peers and seemingly had no friends when he died. which is very sad. and very lonely.

crystal. crystal's parents neglected her for their work. she lashes out. she lashes out and pushes people away (or in front of traffic). she is volatile and destructive and she is like this because she lives in an age when parents are expected to care for their children, and her parents still actively chose not to. crystal is especially traumatized because even tho she is in upper class which may have a higher rate of willful parental neglect, the expectation is still that parents love their children. moreover crystal is psychic, and that's never really been fun. she'll be completely different from all her peers in a fundamental way which she probably never talks about with any of them! so, like, of course when david, a demon, comes along, she lets him in - she's finally with someone who understands and makes her feel less lonely. someone else who's weird and angry and pretty and supernatural. and then he, too, betrays her. there is also almost certainly a race element, which may further disassociate her from her peers, seeing as the upper class is usually very white.

jenny. so jenny grew up as a lesbian in the 90s. now, i don't know much about washington state, but i do know that they legalized gay marriage in 2012. which means for over half of jenny's life, she was living with the knowledge that she would never get to live the same type of life as her peers; though the white picket fence americana dream may have been less prevalent by the 90s, it still was very ingrained in american society - especially small town society. i wonder if part of jenny's gothic fashion is to distinguish herself from other people - if she cannot have the same lives as them, then no one will make the mistake of assuming she will.

so the night nurse is lonely in a very unique way. she is lonely because she does not have a proper conception of an actual human life. she has no friends or relationships - nor does she want to; she does not know what they are like. and, i think, because she exists so outside of time and removed from society, that it makes her inherently lonely. she is lonely because somehow she was created and somehow someone convinced her that her only purpose in life is to collect lost children and she is satisfied with this but she is also alone. she has no time period to be contextualized in, and that in itself is the context.

niko is lonely because her dad is dead and her mom lives in a different continent. and i think that because she is able to utilize manga and cartoons as a form of escapism, it allows her to fill that void of devastating loneliness a bit more. she lives in a world where if she doesn't want to think she does not have to. she is not obligated to be courageous. however, she also lives in a world where she is able to choose to self-isolate, even if that isn't good for her. so when she is sad she hides away because she can and it's scary and she doesn't want to do it alone but she doesn't want to do it with her mom. i've seen people saying crystal is such a teenage girl but niko? niko wants her mom to comfort her but doesn't want to talk to her mom. niko is horribly lonely and it's only a gay victorian twink who can get her to smile again. niko is lonely because she exists in a world which allows her to be and it takes someone who is not from this time to help her move past this

charles. god, we all know how lonely charles is. biracial, abused by his father, probably bisexual, good with people yet killed via hate crime, morally upstanding. charles is the epitome of loneliness because he grows up in such a particular moment of time. he lives in the 80s. feminism and queer rights have been radically shifting in the past two decades. the 80s have huge amounts conservative pushback from these movements. so, yeah, being gay isn't a crime anymore, but gendered expectations are being reestablished in a new harmful way. so, yeah, charles is growing up in a time of progress, but he's also growing up in a household which will absolutely be anti-progress, and ergo charles is stuck in this dichotomy of he could hypothetically have everything but that would mean losing everything, too. he's lonely because his dad beats him. he's lonely because his mom doesn't say anything. he's lonely because he has a piercing but his dad locked him in his room for three days after it. he's lonely because he attends a boarding school which rich racist pricks. he's lonely because never once in his life has he admitted how the intersection of all his identities puts him in a situation where he is completely alone. and he isn't alone -he's got edwin- but their experiences with loneliness are vastly different.

as i have said a stupid number of times, dead boy detectives is a story about loneliness. and the writers made these characters so damn brilliantly because they all make so much sense in the context they were raised in.

we are all shaped by the context's we're raised in. everyone is raised at a different moment in history in different environments with different families. human experiences are so unique that everyone is inherently lonely. but lonely does not mean alone and lonely does not mean forever. it means when you were fourteen you cried yourself to sleep but now you're twenty and know how to play cricket and your friends come to all of your matches. it means you were raised in a world that was cruel and unforgiving, AND it means that because of that you don't have to be. dead boy detectives teaches us that we're all horribly lonely, and maybe that makes each other a little less lonely

i'll take some of your burden if you'll take some of mine, and whatnot

[enanansbbg]

Anhane’s relationship, and it’s complexity:

this was originally uploaded onto twt, but I wanted to reupload it here because I was very proud of this analysis, so please enjoy and feel free to add anything I may have missed or skipped over!

With that being said, here we go! ٩(๑❛ᴗ❛๑)۶

Let’s start with the basics. The pure power of their aibouness, and its connections to vivid street.

To begin, you must understand what a partner is in VBS terms. In this case, it’s ‘a person who brings out parts of you never knew existed’.

In relations to Anhane, this is based off pure raw emotions. This is shown through An’s abandonment issues and Kohane’s want to make her heart pound.

Kohane wants to recreate that feeling she felt when she first heard An singing inside of An, to ‘make her heart pound’, while An’s abandonment issues cause her to fear Kohane’s rapid growth may lead to Kohane abandoning her.

This also plays into a certain factor about Kohane and the idea of her and angst, I believe.

Many people want Kohane to have some kind of angst event, especially related to her backstory, but that would go against all her motives.

See, Kohane’s pure movies for pursuing music—for working to surpass Rad Weekend all tie back to An. It was hearing An singing at WG that made her heart pound and An asking her to be her singing partner that caused her to even consider music as an option.

From here, their relationship develops into a lot more, and it’s when the idea of partners ‘bringing out an ugly side of you’ comes to play.

You can see even in the maim story An not seeing Kohane as an equal. It only gets called out and resolved in Singing in Sync.

Singing In Sync, ep. 1 and 3

🎧: “In the unlikely event that something does go wrong, I’ll cover for you and get you back on track, okay?”

…

🎧: “I failed as her partner…I couldn’t protect her…

…

🎧: “I mean, she’s my partner…And I wanted to guide her so that she could sing without worrying…”

…

🥞: “You don’t think of Kohane as one of the team.”

An telling Kohane “I’ll protect you if you mess up” subconsciously puts the idea into Kohane’s head “I’m not good enough, so I’ll probably mess up” This is what caused the entire issue in SIS to begin with.

But it’s once An tells her “you can protect me too” that Kohane is able to subconsciously think “I have the power to make her heart pound too”

Singing in Sync, ep. 8

🎧: “If I miss a cue at the next event…”

🎧: “Could you cover for me?”

🐹: “An… Sure, I can do that!”

After this we get Awakening Beat. Kohane is able to come out of her shell and fully adapts the idea “I can make her heart pound too” and has a large boost in confidence because of it. An both brought her confidence down and back up in the spam of one rotation.

Awakening Beat, ep. 8

🎧: (“It’s like she’s not even the Kohane I know. Could this be because she’s completely resolved herself?”

🎧: (“But even with just that, she can really change this much…?”)

However….In the same event, An’s insecurities begin to bloom and in Bout for Beside You, An has to face them for the first time.

Awakening Beat, ep. 8, BFBY, ep. 4

🎧: (“I was just gonna tell her she did amazing… That I never knew she could sing that amazingly, but…”

🎧: (“What’s going on? I just can’t get the words out—”)

…

🎧: “Kohane is…going to leave me behind?”

Here, An realizes her and Kohane ‘perfect’ relationship is more complicated now. While Kohane’s adapted the idea of “I want to make her heart pound”, An opens to idea of “I wont he able to make her heart pound anymore” (they doki doki more than ddlc i swear)

At the end of the event, An ask Kohane the golden question. “If I were to leave somewhere far away, would we still sing together?”

BFBY, ep. 8

🎧: “But what would you do if I said that I’d be going somewhere far far away someday?”

🎧: “And I wanted to reach greater heights just like what Uncle Taiga did exploring the world. If I were to go to someplace even greater and far far away from here—”

Of course, Kohane affirms this. Naturally, Kohane takes a lot of pride in being An’s partner, being the only partner for her. (as said in ORS) She wants to keep singing with An forever.

BFBY, ep. 8

🐹: “Even so, I would want to keep singing with An-chan!”

🐹: “No matter where you go or what you become, I’d still want to be with you!”

🐹: “I want to properly stand beside you and sing with you!”

We’re gonna skip ahead a bit and jump up to KIUAN, where we get our lovely “She looks like Nagi-san” line, the line that killed every Anhane shipper in the tristate area.

But what makes this line so special? Well, for that let’s discuss what made Nagi’s death (and the lie surrounding it) so impactful.

Nagi was someone An looked up to highly. So, when she was suddenly told that Nagi moved, not even saying goodbye, to pursue her music career, it left a mark on An. Added to the fact that Nagi wasn’t returning An’s messages or calls, just completely disappeared.

Now, looking to Bout for Beside you and KIUAN, you can see the importance of these lines. An fears that Kohane will improve so much that she leaves without a word, never talks go her again and just moves on. It’s why she looks so distressed.

VOT ep. 8, BFBY, ep. 8, KIUAN ep. 7

🎧: “…Aww. I wonder what Nagi-san is doing over in America? I wish she’d give us a call at least.”

🎧: “Ah! Maybe I’ll send her a text then! I wonder if she’ll be surprised~?”

…

🎧: “But what would you do if I said that I’d be going somewhere far far away someday?”

…

🎧: “…She looks just like Nagi-san…”

And, it’s why she can’t even believe Kohane when she says just how important An is to her, how much she loves her and wants to sing with her because Nagi said the same thing and now Nagi is gone.

This manages to reach a resolve in WTWG, where An ‘fights’ Kohane, takes all those raw emotions out in a healthy way, through her song.

An’s card in WTWG is more than just ‘An takes her anger out on Kohane’, because in truth that’s not entirely what she’s doing. Instead, it’s An’s raw emotions taking form.

An wants Kohane to grow, she wants Kohane to thrive fully, but that fear of abandonment—Fear that Kohane will leave and never speak to her again makes her want to hold her close and never let her go anywhere.

So what about Kohane?

Well, starting with thr WTWG card/story, Kohane wants to be An’s best partner. As she states, ‘to make An’s heart pound’.

So, to be vulnerable here is to accept all of An’s raw emotions. Let her lean on her and feel everything because to Kohane, that makes her a worthy partner.

She says over and over throughout the fight that An is amazing, that she wants to be like her, how much it makes her heart pound. Really, it reminds me of Kohane’s colorfes story.

WTWG, ep. 7

🐹: (“An-chan…really is amazing.”)

🐹: (“…Whenever I hear An-chan sing, it really makes my heart pound like nothing else. It makes me wish I could sing like her.”)

In it, Kohane goes to Vivid Street, but everyone thinks she’s An. This happens after she thinks about what it would be like to be An, but only going through this dream does she realize that she doesn’t want to be An, she wants to be her. She wants to be An’s partner.

Colorfes Kohane ep. 1 and 2

Record Store Onee-san: “You caught me off guard, using polite like that, An-chan!”

🐹: (“Did she just say An-chan…?”)

…

🐹: (“—An-chan’s so cool and strong…and there’s times I wish I could be like her…”)

🐹: (“I have to be me! Because—”)

🎧: “—Y’know, I was thinking, your singing is always so amazing, Kohane.”

🎧: “Whenever I hear your singing, it makes my heart race. The tension rises, and it makes me feel like I have to start singing right now!”

🐹: (“Because I’m An-chan’s partner—!”)

And to be An’s partner, is to drag all those raw, vertical emotions out of An, just like she does in WTWG.

In conclusion, Anhane explosion their relationship is so complex and strong and I love it

[stary-night]

Siffrin and Loop make me so emotional because it's like:

(In Stars and Time Spoilers, through Act 6 and the Two Hats Ending, content warning for mention of canon unhealthy coping mechanisms and self-loathing)

What if you could go into the past during your period of worst mental health and help yourself? What if you could talk to them gently? Offer them companionship and touch, when they're too isolated to be with your loved ones? What if you could remind them to take care of themselves, to sleep enough, to keep going? What if you could help them find the key they lost for the fifth time that week, help them keep appointments, remind them of what they have to do?

What if you realize, part of the way through, that they are less alone than you were? That, you through being there, can act as a guide, as a support system. That... you're stuck in the past. You see your past self, you see how much their friends care about them. You're not sure if you'll ever see your friends, especially that version of them at that point in time, again. Your past self still doesn't know. They don't see it, just like you didn't see it. And you try to remind them, but you can't tell them, you can't make them see.

You watch yourself get desperate. You see all of your most unhealthy coping mechanisms reflected back at you. You know they make it worse, that they don't work long-term, that they cause you so much pain. You try to tell them. You do everything in your power to tell them, before it's too late, before they end up like you. Before they lose everything.

You can't stop them, because they're you and they have the same self-destructive habits you've always had under stress. You can't let them end up like you. Being where you are has to mean something. You tell your friends, who don't recognize you, who will never recognize you, that you need help. And maybe pray to an entity you know better than to believe in, that someone will help you this time. That you won't be alone in your mind, like you always have been, like you are now, trying to desperately to build a future that will never exist for you, because you already fucked it up.

And... it works. They get help. They know they are loved, that they can get better, that their family cares about them. You wonder if you could have had that all along. You wonder if you weren't brave enough, if you didn't try hard enough, if it was possible for you. Is it better if it was? Is it better to have failed at getting the good ending or for it never to have existed, like the light of distant stars, teasing you but always being out of your reach. You can't even measure up to yourself, how can you expect to be enough for anyone else.

And you want to get that happy ending so bad. You miss your friends. You miss being able to build a life for yourself, to have potential. And you worked so hard to help your past self, maybe this is your reward? Maybe that's how the Universe fulfilled your wish. But you look into your eyes, and you see your own fear. Your own grit, your own determination and something different. You see love. For the first time, you feel loved. And it burns. It burns hotter than the starlight that makes up your very being because you are loved and you haven't been in so long and you don't know what to do with it. What is there left to do with it?

But you don't want to fight yourself anymore. You don't want to see yourself suffer. So you leave. And you find something new. And you hope that one day, you can meet again when you're both happy. When you're both ready to be loved, when you can love yourself (and in some way, you think, maybe you already do.)

[maximumqueer]

Ok, so I got to (and past) ep. 26 of Witchlight, where Gideon is hit with a fey love curse which has him be head over heels in love with Kremy. And it just has me thinking about how vastly different the two of them reacted to being fey cursed to be in love with the other (though we all know they are in love without the fey curse) and what that says about them as people, as well as the way that they view relationships.

When Kremy was under the effects of the fey curse, he was dead set on making sure Gideon (or anybody really) did not find out about him being in love. He, for all intents and purposes, did not act all that differently that he would have other than being more outwardly jealous of the fact that Gideon was marrying other people. (Richie saying "I know" with that smug look in his face will live rent free in my mind forever). This says a lot about Kremy, and the way he views romantic (or even just more intimate) relationships. He is so full of shame and insecurity at the prospect of being in love of Gideon that it all has to be done through a false lens of irony. And I think that is because Kremy, at the end of the day, is a conniving conman. He views relationships as advantageous. He is so clearly afraid of vulnerably that, even when under the effect of a love curse, is still trying his best to not let on that he is in love. (I also think this points to him actually being in love with Gideon, as it does not completely alter his behavior). He needs to maintain control on his feelings in order to be in control of every situation he is in, so that he can exploit the people he needs to, as well as make himself as un-exploitable as possible. Obviously he is friends with Gideon, Gricko, and Frost, but I can't help but believe that the trust we see him have in them was built slowly over years. Just look at the way he views Torbek earlier on. And as such, admitting that the relationship he has with Gideon goes deeper, and is more intimate that just friends and business partners, is a (nearly) impossible task for Kremy, as he does not want to feel or be viewed as vulnerable.

With Gideon, the second he gets cursed, he immediately goes all in. He says that he loves Kremy, that he is happy they are married, and goes out of his way to touch him, be close to him, compliment him. Now, this is more distinctly different from how Gideon usually behaves around Kremy, but I don't necessarily think that means that his love is completely fake. I do think, however, that it means that Gideon is unaware of the full extent of his feelings when it comes to Kremy. Because, while it was said in a joking manner, I believe that there is some truth to the claim that Gideon has commitment issues. Not in the sense that he is or ever would be unfaithful in a more committed relationship, but rather that some wires got crossed in his head (thanks to the years and years of trauma from the fucking train) and that he now views being 'tied down' to one individual in a romantic sense in a similar way as being imprisoned. He wants freedom, he doesn't want to feel beholden to a single person. And obviously this is an unhealthy way to view relationships, as a healthy one will not make you feel like you are being caged. But this does not seem to be based off of experience for Gideon, as all of his 'romantic' exploits seem to have been causal hookups that may end in him getting shotgun married and then immediately cutting town, but nothing more. It is the concept of romantic commitment that Gideon does not like, not the actual act of commitment itself. Because he IS committed to Kremy, and he has no qualms with being 'tied down' to Kremy in this way. As such, he doesn't view his feelings as being anything other than platonic, as he expects romance to feel like a cage. Until he gets slapped with fey magic, and those feelings about commitment temporarily go away.

Basically this is a really long way of saying that I LOVE how Richie and Mace both decided to play their characters being (explicitly) in love with the other. It makes for beautiful (and very funny) character work and gives us, the audience, a bit more insight into the dumbass minds (affectionate) of Kremy and Gideon.

[sakuraswordly]

[fa9ette]

One thing about Apple that’s always intrigued me is how her hair is blonde, and seeing a TikTok slideshow sharing the OP’s head cannons and reading ‘Apple white dyed her hair but her mother taught her how to embrace her own natural hair’ which is so cute but it actually lead to me thinking about it for a week straight

Personally, I too also like to think that Apple had her whole childhood with her mother reassuring her that her blonde hair is beautiful, even if it’s not black like Snow White’s. But seriously, I never searched for any character analysis regarding Apple’s design— specifically her blonde hair differing to her mother Snow White, whose hair is supposedly as black as ebony. But big kudos to the designers of Apple, her Blonde hair makes her interesting and it adds up to her character, maybe taking one’s curiosity and interest into wondering how. Black hair, Blonde hair— I don’t know, both hair colors somehow suit her color scheme perfectly (though I prefer the blonde color more)

Unlike other Snow White inspired characters like Neige LeBlanche from Twisted Wonderland whose hair is black just like the snow white he’s inspired from, Apple’s hair being blonde makes her really unique !!

Okay I’ll stop the yap-sesh rn, since it’s just me talking about how curious I am of Apple’s blonde hair but then later on saying how much I love it