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[moonafalke]

Iron Burns

Something I'm super curious about is just how badly iron hurts when a ghost touches it. I posted a little ramble about Charles being chained and unable to help Edwin while she tortured him, and how we didn't get a reaction shot of him hearing Edwin screaming. And something clicked in my brain. I will preface this by saying that I can't prove anything, and could very well be completely wrong. This is just a possible explanation/option.

This was supposed to be relatively short, and that did not happen lmfao Here's your long post warning 😂

Charles VS Iron

This is Charles we are talking about. He is fiercely protective of Edwin, and let's be honest, can get physically violent when provoked. He was sitting there, listening to Esther, until she specifically brought up rescuing Edwin from her plans. It's only when she says that that he starts moving, and he very obviously intended to attack her.

It confirms in Charles' head that there is a specific reason why Edwin is separated from him, and that is bad. Very bad. He possessed Esther to get them out of their first fight with her; she very nearly succeeded in getting them eaten by that Forest Elemental. She is seriously dangerous, and he knows it. Whatever she has planned for Edwin, Charles knows it's vicious and vile.

That thought spurs him to physically attack Esther, without hesitation. Based on the fact that his hands are open, Charles was going to grab her rather than hit her, and, based on her proximity to him, by the throat. That is the only effective attack from his position I can think of; it's the only way he can completely incapacitate.

Logical reasoning aside, choking someone is a pretty common violent anger response. It's probably because it's the easiest way to kill someone with your bare hands; in shows, many characters use a weapon to hurt their adversaries. It's the bullet, the blade, the bat, or whatever that actually hurts them, makes contact with them. It feels different when it's literally you hurting them. Your hands are weapons on their own if you know how to use them. Ex: Vi from Arcane has boxing as her go-to fighting style.

Okay, I went on a bit of tangent there, but my point is that Charles is fucking pissed. This is Charles, who fears being like his father, wanting to hurt Esther.

Violence is the last resort for all of their cases and situations. Charles will take out his cricket bat if he senses danger, but it's more of an intimidation tactic than a true threat. Charles does not actually attack anyone with the cricket bat who is not already an established threat. He takes it out during their first encounter with Esther, when they meet the Cat King, in the Devlin House, when the Night Nurse first shows up, in the forest against David, and against the snake. Most of those encounters are not a matter of negotiation; the first fight with Esther, the Devlin House, David, and the snake were all situations where "talking it out" was not an option, so pulling out the cricket bat to intimidate them would have been pointless. When he takes the bat out in those cases, he's already fully intending to use it. When he takes it out against the Cat King and the Night Nurse, he waits. He holds it up to send a message. It says, "Don't make me hurt you, because I will if I have to."

Charles doesn't want to hurt people, and usually tries his best to find another solution; even when we see him having to fight someone, a military veteran no less, he apologizes and only defends against him because he knows this is a ghost who's cursed, and doesn't deserve it, despite his violent behavior. They attempt to talk the Night Nurse out of taking them for several minutes before she attacks him. She attacks him mentally and emotionally in a way the others don't see and can't fathom; you could even argue that it is a physical attack as well because she makes him relive being beaten by his father and stoned by his friends. The Night Nurse does not hit him, but she hurts him, hurts him bad. When Charles hits her with that music box, despite what the others see, he's retaliating, not initiating. Because again, Charles wants to find another solution first.

But with Esther? He is so far passed that. He is so furious that he wants to attack her. He wants to hurt her. And that is before she starts torturing Edwin.

When he heard Edwin screaming, do you realize just how angry Charles would have been? I can't comprehend how badly he would've wanted to break free and fuck Esther up for what she did. Charles is genuinely intimidating when he's angry; he would have been absolutely terrifying.

Tiny Note: this is the best shot of Charles in the whole show. Let my boy beat the shit out of someone without getting judged for it, please! Let him go apeshit, please!! 🙏🏻

I struggle to believe that anything would have stopped him from getting to Edwin in that state, iron collar be damned.

But Charles doesn't. He doesn't break free. He tries, and continues to fail repeatedly. Almost every movement makes the collar burn him.

The thought I had was how little Charles would care about his own safety/pain if it meant saving Edwin. This boy willingly enters and traverses Hell itself for him. He tells the Night Nurse that if he goes, he can either succeed in bringing Edwin back, or get stuck in Hell so she knows where they are. Charles admits that he would rather be stuck in Hell with Edwin than spend another second without him. When Crystal asks, "What if something happens to you?", he has no response. He honestly does not care if something happens to him, but he doesn't want to admit that to Crystal's face cause that would hurt her, so he refuses to answer.

Getting hurt does not matter to him, so just how painful was that iron that Charles, at his angriest, and in his most desperate state, could not break out?

We see him pulling on the chain and struggling, but he's moving as little as possible because he's trying that hard not to touch the collar. He lets go because it hurts too much. Even when his bag is just out of reach, which is the solution to all of his struggles, he can't bear the burning long enough to get his foot under the strap.

Based on all of that, my brain told me this: the iron burning was so painful that Charles could not endure it long enough to escape, even in his angriest and desperate state, listening to the most important person in his world screaming in a way he has never heard before, and pleading for Esther to stop hurting him.

Like, that sounds crazy to me. Seeing how angry he got at the Night Nurse, and the intensity of his rage in that scene makes me wonder what was going through his head while chained up.

Edwin VS Iron

But my brain was not done with this information. One of my favorite details that I want to be explored in the future is how nonchalant Edwin is while his hand is burning.

He did not notice it was burning until Crystal pointed it out. He looks and sounds genuinely surprised when he sees it. His expression and the way he says he was careless makes me feel like he wasn't in pain and trying to play it off, but was upset with himself for making a very noticeable mistake in front of Crystal while trying to show off and prove a point.

Edwin's pain tolerance is so high that he does not even notice a simple iron burn.

The second time he gets touched by iron is when Esther knocks him across the garden. He looks down at the burn that's what's hurting him, but I don't buy it.

This boy just got swatted like a tennis ball across a courtyard into a small greenhouse.

We all know that Charles does the fighting/takes the hits, so Edwin getting hit like that is probably a new feeling. Since iron makes them tangible for a couple seconds, he probably physically felt it when he landed.

Being burned and crashing into things are two very different sensations, and one of them Edwin hasn't experienced in thirty years. The burn is localized to his hand, and it's a burn. It stings. Hitting a structure that fast and landing like that is going to effect your whole body. It's aching, it bruises every part of you, from your skin down to your bones. It's so much more uncomfortable and hindering than a simple burn. If you burn your hand, you can still operate day-to-day almost normally, but if you mess up your body in some way, you're not going to be able to walk without being in pain. If you asked me which one I'd rather have happen to me, I would take the burn so fast.

Point being that him looking distressed and hurt after that hit makes a whole lot of sense, despite his high pain tolerance. It probably surprised him more than hurt him. It doesn't last long either.

The only time we see him truly react to iron is in Esther's torture device, which is obvious but I'll talk it through anyway.

The cuffs restraining his arms are touching his bare wrists, tightly and constantly. His wrists smoke from it. Him gasping at that makes sense.

But the real kicker here is obviously the rods. Upon first glance, it looks like they touch down on his torso, zapping him or whatever you'd call that, on a surface level. But if you pay close attention to the shots where he's somewhat transparent you can see that those prongs are actually going through him, at least a little bit.

I took a screenshot, up-ed the brightness, and marked where it looks like the rods hit him, versus where they actually end.

Edwin moves around a bit, so there are definitely some shots where they are just touching his skin, but that's kind of the point I'm trying to make. The rods are not moving, they are static, so when Edwin's body moves around them, they stay put. That is fucking painful.

The rod is not moving, but Edwin's body is, and there is nowhere for his skin/muscles to go but through the metal, like it is cutting through him in reverse. If you push a knife down to cut through something, like a carrot, it cuts. But if you hold the carrot, and push it down on the blade, it still cuts.

That would explain even more why Edwin reacts to whenever Esther touches him, even when the device is paused. It would also explain why he was begging Esther "don't come any closer" during one of the cutaway shots.

If you think about it, that doesn't make any sense. Esther's proximity to the device doesn't determine whether it's on, off, or higher/lower. She walks around the room with her glass of ghost juice or whatever you want to call it. She gestures with her hand when she turns it on and turns the intensity up.

Esther getting closer to him wouldn't matter since the device is already on. That is, unless she was actively doing something to him while torturing him. Considering how sadistic she is, I wouldn't put it past her to mess with him whenever she got bored of just watching. Touching him, shaking him, whatever, would almost definitely make it worse. Edwin not wanting her to get close to him would make perfect sense if she was occasionally doing something like that.

So, we have iron making him corporal, burning him, and zapping him with some kind of electricity-like energy, that are also piercing into him, and yet Edwin doesn't scream from the pain initially. There's quiet moaning that you can tell he's holding back, but he doesn't gasp or yell. This is same metal that hurt Charles so badly he couldn't escape in his angriest state. It takes hours of prolonged exposure and gradual increasing of the intensity to make him scream.

The secondary question to this whole thing is just how high is Edwin's pain tolerance that he is able to endure that while withholding making noise?

I can't comprehend it, honestly. Though Edwin spent 70 years in hell being literally torn apart over and over again. We have no idea how long he feels the sensations of his previous body after he respawns or how quickly he does so, especially since the manner of death in this case wouldn't be instantaneously fatal. If his head and heart are in some capacity intact, he'd still be alive for at least a few seconds. As Dr. Alan Grant explains to that kid about raptors in Jurassic Park, you are alive when they start to eat you. It would be believable if Edwin is basically immune to pain unless it's a fucking insane amount of it. I mean, in the Cat King's words to Esther, "Edwin has been through more pain than you, or I, could ever imagine."

That would be pretty fucking crazy if this is all true/accurate.

Is it intentional? Probably not. Could I be reading too much into it, and unintentionally hyperbolizing it? Absolutely. I'm using observation and some information about their characters that I can't actually prove to be true. Maybe I'm just seeing things with the prongs and they're not going through Edwin. I can't prove that Charles would've been angry enough to break out of restraints if they hadn't been made of iron. Maybe iron effects all ghosts differently. Who the hell knows?

Even if I'm not 100% accurate, we do at least know for sure that Edwin has a way higher pain tolerance than anybody else based on the burning hand that he didn't even notice was burning, and how long he was in that device before he started screaming, and that's badass as hell on its own.

Thanks for reading! If you enjoyed this essay & would like to support me, you can give me a tip on my Ko-Fi! ☺️

[moonafalke]

Okay so I have more thoughts on Dead Boy Detectives but this is less about scene analysis and more about my own personal interpretation of Charles as I truly believe Charles' inability to fully "reciprocate" Edwin's feelings is less about accepting his sexuality/lack of awareness about his sexuality and more about feeling unworthy of being on the receiving end of Edwin's love (and about bad timing - them being in an afterlife or eternal suffering situation on the literal stairs of hell, but I digress lol). This would explain, pretty seamlessly, why he seems to seek out fleeting or "fun" romances and flirtations. It would also explain why, immediately following the confession, there are micro-changes, blink-and-you'll-miss-it differences in Charles' behaviors and expressions. It's clear that our boy is reflecting, and he meant it when he said he intended to "figure out what the rest means..." even if it takes him forever (and I doubt it will, but again... I digress). This is why calling his reassurances to Edwin on the staircase a "rejection" and putting Charles in a box as default-straight is a complete disservice to his character, to the writers, to the queer brilliance that rings beautifully in every facet of this show, and to Jayden Revri who is an exceptional actor with a palpable, deep love and reverence for the character he's portraying.

As a repressed PTSD bisexual™️ myself, I can't help but connect Charles' history with abuse alongside his poor perception of self, people-pleasing tendencies, and his quickness to stifle and repress his own feelings and desires to his fear of being a "bad person." It would not surprise me if Charles would fear the possibility that he is capable of taking something fragile, beautiful, raw, and vulnerable (Edwin's love) and destroy it in the way his father did.

Charles has always loved fully and without caution; I would even say he loves recklessly at times, throwing himself in front of danger, even to his own detriment. But has anyone fully loved him back in the way he loves? Charles has always loved Edwin, but did he ever allow himself to humor the idea that Edwin might just love him back?

It's evident that Charles had very little kindness in his life. Charles' friends were conditional at best and violent/abusive at their worst, his father was a monster, and his mother (who, in all fairness, was also a victim of abuse) was quiet and complicit in the abuse Charles received from his father. His entire afterlife is intrinsically connected to Edwin's - his entire existence, and Edwin's entire existence, are so closely entwined to one another that to "screw up" the delicate balance they've struck would be more than unfortunate - it would be earth-shattering, a loss like no other. Charles is impulsive, but he is not careless...quite the opposite, actually. I truly think whether or not he's attracted to men is not the issue; it wouldn't surprise me if, at the very least, Charles is aware he is attracted to people regardless of gender and just doesn't have the language to put a label to that sensation yet (he might have never been compelled to put a label on it, frankly). The issue is that Charles is unsure if he is deserving of someone not just loving him, but being in love with him... especially when it's coming from someone he thinks is the best person in the world, the most important person to him, the only person he would deny heavy and defy hell for.

Honestly Charles might even already know he has feelings toward Edwin specifically that are not strictly platonic, but taking that gamble even though he struggles with feelings such as being undeserving of Edwin; that he would be selfish to take a love he's undeserving of; that Edwin might come to realize, at some point, that he was mistaken in loving Charles and that being with Charles isn't actually enough/what he hoped it would be and he regrets his confession all together. Or, perhaps worst of all, what if Charles finds that the nagging fear he's buried deep down was correct all along... that he actually is like his father and capable of hurting Edwin and bastardizing the concept of love as a whole?

There are stakes when it comes to loving Edwin - if he were to screw up what they have, the consequences would be disastrous, it very well might destroy him. He cannot be careless, he cannot be impulsive, he cannot risk destroying what he and Edwin have. I'm not sure Charles has ever not loved Edwin, but he probably never humored that his Edwin: touch-reserved, buttoned-up, logical, stubborn, beautiful, kind Edwin who brought a warm light to Charles in his darkest moment, could feel that way, too... especially about him. What is he to do with that?

[moonafalke]

The line when Charles said, "Edwin's told me loads of stories about Hell," and him seeming to know he'd find a map in Edwin's book always hits me hard.

Now I acknowledge Charles might’ve been posturing to reassure the Night Nurse he could navigate Hell, but let's assume this fact was real.

Because that means that Edwin felt comfortable enough to talk about all of his trauma to Charles. He mentions Hell a lot in passing in front of the girls, but he never goes into specifics. However, it seems as if he actively told Charles quite a few details about Hell. I also noticed that Charles is very calm when he's going to find Edwin. Yes, he's studying the book a lot, but he is also navigating the space with a certain amount of confidence. I'm sure it's partially due to Charles' tendency to do things without thinking and project confidence. But also, it seems as if he might have at least a very basic level of knowledge or familiarity with the levels of Hell based on the stories Edwin told.

I think this is probably another reason why Edwin struggled to believe the fact that Charles had faced abuse in his past and never shared it with Edwin. Because Edwin was always up front and honest with Charles. He told him the very first time they'd met that he had just escaped Hell. I'm sure Edwin did not want to relive his memories of Hell, and maybe it took him decades to feel like he could share. But I bet when he started talking about it with Charles, he felt relief. Because sharing your trauma with someone who accepts you and loves you no matter what is always a relief after holding it in and pushing it down.

So I just imagine Edwin feeling that relief after sharing his stories from Hell and feeling closer and more bonded with Charles because of it...and then he finds out that Charles has this huge amount of trauma from his past that he has been keeping inside. It probably breaks Edwin's heart that he hadn't been able to offer Charles the same relief he'd felt.

And yes, Crystal mentioned that Charles was probably denying the trauma even to himself. We all know that Edwin knew something was off with Charles and that he was probably frustrated in himself because he hadn't been able to figure it out, but Crystal apparently had.

But I also think there might be another level to it. The boys have been solving cases for 30 years. I find it hard to believe that they never had another case involving abuse or at least someone with a controlling personality that would've reminded Charles of his father. Maybe Edwin thinks back to a couple of those cases and how Charles was acting strange and withdrawn during them and realized he'd missed a huge clue about how his friend was feeling.

All those years of sharing his stories from Hell and being comforted by Charles and Edwin hadn't been able to do the same. Edwin is definitely hurt that Charles didn't feel like he could confide in him and heartbroken to think about how much pain his friend was going through alone.

[moonafalke]

One thing I've spent a lot of time thinking about is how quickly Charles opens up to Crystal, and why it was he showed her things that he's kept from Edwin for thirty years.

The first component is, I think, because she needs him to.

Charles is, at his core, an extremely supportive person. He tries so hard for everyone around him, unfailingly. He's there for Edwin and Crystal, emotionally and physically, throughout the series. He tries to put on a happy face to keep everyone's spirits up, because at his core, he needs to be needed. He desperately wants people to like him, and his always-cheerful act is at least in part meant as an offer of support to others.

Not only that, but he routinely puts his own needs and wants aside in favor of giving others what they need instead. (I go more into how that affects his relationship with Crystal here and with Edwin here.)

So it's interesting to note that the first time he opens up to Crystal, it isn't for his own sake. Crystal is saying that it's hard not to be able to go home.

And what does Charles do? He reaches out in the way he thinks she needs.

He shows her his parents.

It's his way of saying that he gets it. He understands where she's coming from. It is hard not to be able to go home. And won't she let them help?

But it's interesting that this is something that he hasn't shown Edwin.

Not only hasn't he shown Edwin, but he still doesn't want Edwin to know. He specifically asks Crystal not to tell him.

So, why?

Well... just like he thinks Crystal needs to hear it, Charles thinks that Edwin doesn't.

One of the very first things he learned about Edwin is that he escaped from hell. Charles says that Edwin has told him a lot about it. And from the very first episode, it's extremely clear that Edwin doesn't shy away from talking about his time there.

So we've got Charles, a consummate people-pleaser who's desperate for approval, faced with this boy who just did the kindest thing anyone has ever done for him. We've got Charles, who supports the people he cares for as naturally as breathing, faced with a boy he cares dearly for, and that boy is dealing with decades of trauma.

So what does Charles think that boy needs? He needs someone to help him. He needs someone to be kind, and optimistic, and cheerful, because Edwin's time in hell has taught him to always expect the worst.

So Charles stuffs his own issues down somewhere deep because Edwin needs him to put on a cheerful face.

That's the first part.

The second reason why Charles opens up to Crystal so quickly is, I think, circumstantial.

She happens to be there during the Devlin house fiasco, when he's being faced by very visceral, unavoidable reminders of his own abuse. She's literally in the room when he reads Hope's diary, and from what we see and hear about Charles' family life, everything in that diary mirrors what Charles went through.

Hope's father has very strict rules. She's walking on eggshells. She never knows what's going to set him off.

Charles relates deeply to all of those things, and seeing his own thoughts and feelings spelled so clearly out on the page is enough to bring him to tears.

He's looking at this girl who, like him, struggled constantly to be good enough and constantly fell short.

For the first time in three decades, Charles is confronted with a situation that mirrors his own home life, one to one, and Crystal is there for it in real time.

She's able to see him put the mask down because she's there when it cracks.

Which brings us around to the third component.

And this one is a little more speculative, but hear me out.

Picture one Charles Rowland, circa 1989.

His dad beats the shit out of him on the regular. He thinks it's because he can never quite manage to be good enough, even though he's trying as hard as he knows how. His mother never defends him or speaks up for him.

His so-called friends? They'll beat him to death later this same year.

He's bi, but the AIDS epidemic is in full swing, and even if it wasn't, he's busily pretending the part of him that likes boys doesn't exist, because he looked at a boy the wrong way once, or maybe even kissed one, and his father beat the shit out of him for it.

So with a dire home life and the world's worst friends, what's left? Where's this boy who's desperate for a little kindness going to look for it?

Well, the only option that's left.

Charles is starved for approval and affection both, and for most of his short life, he's got exactly one avenue available to get either of them.

Girls his own age are safe.

They don't hurt him. They don't stand by and let his father beat him. They don't turn on him and literally murder him, when they don't get their way.

After he dies, he's got Edwin, and Edwin is everything to him. But for thirty long years, Edwin's sexuality and romantic inclinations are so far under wraps that they may as well be in another galaxy.

Edwin is kind, but he's stilted and does poorly with people. Edwin values Charles dearly, but he's awkward at expressing physical affection. Edwin cares about Charles a great deal, but he shies away from strong emotions. (If you're interested, I talk more about Edwin vs emotions here.)

So of course Charles would miss kissing. That's the only chance he's ever had, as far as experience has taught him, to earn any kind of physical affection.

And Crystal, when she comes along, falls directly into that "safe" category in his brain.

[moonafalke]

forever thinking about the fact that as they were about to be devoured and destroyed by a horrifying transdimensional creature charles reaches out and holds edwin’s hand.

because if they’re going to go out of the world it’s going to be together.

edwin didn’t want charles to be afraid or alone when he was dying and it meant everything to him. everything. charles might not be able to keep edwin from being afraid now, it’s probably a bit too late for that when they’re moments from their grisly end and charles is terrified himself. but he sure as anything can try and keep edwin from feeling alone in this moment. edwin isn’t alone—he’s got charles.

charles who has bloody adored him their entire shared afterlives. would follow him anywhere. isn’t about to stop now.

no matter where they’re going; if they get dragged to another plane; even if death herself comes to collect them—it doesn’t matter, does it? because they’ll be with each other. charles is here with edwin and there’s some sort of peace in that. he’s in the only place he’d like to be, if this is going to happen to them. the sunless lands sound pretty dark, but that’s okay. edwin’s plenty bright enough to light charles’ way.

and he just hopes edwin can feel him, just this once when it’s never been more important, through the layers of their gloves that separate them. he hopes edwin can feel him holding his hand.

[moonafalke]

what in nbc hannibal was this

[moonafalke]

Don’t give me soulmates, give me ‘I’ll find you in every universe not because we are meant to be, but because I chose you over everyone else’. Give me ‘we were never supposed to meet, but I will never love anyone more than you’. Give me ‘the universe didn’t tell us we were destined to be lovers, but I decided to love you anyway’

There’s something inherently more romantic about choosing someone on purpose than just loving them because that’s what is supposed to happen

[moonafalke]

In the Devlin house, after Charles gets stuck in the loop - particularly after Crystal makes Edwin see how deep the trauma Charles has been hiding from him is - Edwin changes toward Crystal, and I find it so moving.

When they find the VCR and he stops her from smashing the tape, he so swiftly and sweetly switches from "I could lose Charles" to "we could lose Charles" in a way that you would not have expected from him even at the beginning of that same episode. It's not begrudging. He doesn't wince saying it. It's a simple acknowledgement that she cares about Charles too, that they're both scared, and that they're in this together. And it's such a huge shift for Edwin.

And then David shows up, and the misery wraith, and Edwin just goes ahead and saves the day on his own and then saves Crystal too. He barely flusters. The first time David turned up Edwin yelled at Crystal for it without giving a fraction of a shit about the terrifying experience she'd just had. He actually berated her two separate times for "her demon" creating a distraction and interfering with a case. But then when it happens right in the middle of trying to save Charles(!), he doesn't even snap or say anything remotely cutting. He saves Charles while keeping an eye on her too, and then makes sure she's safe.

For some reason the moment that gets me most is this: he's just carried her out of the AV room and they're being chased by a monster. He sets her down and tries to close the door behind himself just as she snaps out of her David-situation. Edwin is desperate for help and he goes, "quickly, please."

So gentle and polite in the middle of a terrifying situation, when previously he'd been hostile toward her as a matter of course. I think seeing that she could understand Charles in a way he couldn't - and how necessary her insight was - really changed the way Edwin saw Crystal. And I really feel like every bit of bickering and sniping that happens after this is playful and sibling-like. They are actually closely bonded.

Because later, when Charles breaks down, Crystal backs off and lets Edwin take the lead. He would not have understood what was going on with Charles at all if it hadn't been for her, and she supports him in learning to be there for his friend better. Like they're a loving-Charles team.

Anyway, Edwin + Crystal forever, basically.

[moonafalke]

What if I stayed here for a bit with you, instead?

[moonafalke]

dbd season 2 should have a scene where after escaping/getting out of some situation edwin and crystal hug and then both pull away horrified they were just visibly affectionate w each other

[moonafalke]

Dead girl detectives

I was inspired by @unicorngunter ‘s shapeshifting art. love everything this person does! go to their page and see how much beauty there is!

Repressed Edwardian girl who reads books and 80s girl with a cricket bat and anger issues

I’m sorry they are too powerful

[moonafalke]

just musing about how niko was one of edwin's biggest unconditional supporters and gentle guides in his self-discovery of his sexuality, and i think it's so interesting that we still never saw edwin confide in her overtly about his feelings for/attraction to charles, though he easily could have at any time.

before the cat king ever shapeshifts into monty or charles to tempt edwin to realization, niko's there to tell edwin that it's okay for two boys to like each other, to let him know it's okay if he noticed monty when they first met, or if he enjoyed the idea of monty liking him; and she plainly tells him that he's completely allowed to want explicit things with another boy.

they talk about edwin's feelings and desires multiple times - he admits to her he's never kissed anyone, and even that the idea of kissing has become appealing to him. she asks him, does he want to kiss monty? does he want to kiss the cat king? but she never asks him directly, does he want to kiss charles? charles is the elephant in the room of that conversation, so to speak; the only other boy they know, the one she knows edwin is actually closer with than anyone else.

but she doesn't ask edwin about charles.

i think it's actually one way niko shows her love and care for edwin, her perceptive understanding of his boundaries, and her respect for his comfort, that she never pushes him to open up to her about this most vulnerable and newly-developing aspect of his truth—that his feelings are for charles—who is already the most important person in his life, and thus so much more life-alteringly consequential to him. even though she hasn't known edwin a long time she seems to grasp that he needs both the push and the personal space to come to his deepest realizations, even as she opens the door for him to come to them.

(i did consider for a split-second that maybe she never realizes it's charles that edwin's in love with, but i vetoed that thought immediately because... edwin just seems too deeply unsubtle for that to ring true. monty can see he's been passed over for charles. the cat king knows it immediately and asks about their 'special friendship,' and not just because he can literally read edwin's desires. crystal is going through amnesia and an identity crisis, and she still clocks that edwin and charles are like a married couple. so it only makes sense that niko can see it as well.)

plus, niko's got excellent reading comprehension, by her own admission; and she and edwin bond over both being great, astute detectives—getting to the bottom of a case is a love they share. and so i just think it's neat that between niko and edwin, the conversation about charles seems to remain deliberately unspoken even when it could easily become overt.

instead she speaks to edwin about charles in metaphors. she starts their conversation about physical intimacy and romance specifically with drawing edwin's attention to the red and blue starfish. "isn't it romantic? they're in love." they proceed to talk about monty, and about the cat king, but i doubt either she or edwin could fail to notice the color symbolism there. and when edwin tries to get scientific about it, she reminds him, "luckily, love requires no logic." and finally she gives him the red sea glass, for courage. courage to help him come to terms with what—and whom—he really wants, whoever it could be.

and in the end... edwin tells niko, "i did actually tell the boy i like that i like him." this is directly after niko tells edwin she's sorry monty turned out to be an evil spy crow and she and edwin commiserate about how things with monty didn't work out for him. and obviously, it was never the cat king edwin really liked. so, just like that, through process of elimination, edwin can only be talking about charles. and even then, they never say his name. they never have to.

i just think there's something awfully soft about how edwin's feelings for charles are first so deeply ingrained and natural to him as to be something he had to be woken to rather than something that happened to him suddenly. then once he was awake to what he felt and wanted, there's something i find lovely about the deep bond niko has with him, that she understands and honors his need to speak around his feelings for charles while holding space for him to still share them with her in his way. something about how charles is so deeply loved that it is easily understood, that he is there in the conversation without his name ever needing to be spoken.

[moonafalke]

When they're far enough away from Death — from that godforsaken school — and Charles says that he needs a moment to himself, Edwin hesitates for a second. Then he nods and produces a small notebook from his pocket.

He is still scribbling something in there when Charles returns some minutes (hours?) later. The map of Hell, he answers when prodded, he wouldn't want to figure this out from scratch once again if it comes back for him. Charles grins and promises to kick every stray hellspawn's teeth out, should it come to this. Which is incredibly confident for someone who was bludgeoned to death by a bunch of teenagers not two days ago. Edwin doesn't mention it. Just as Charles doesn't mention the fact that the page Edwin was working on contained not some hellish landscape, but a sketch of a tree just across from them and — Charles is pretty sure — Charles' own name.

Edwin keeps doing this for years. He keeps meticulous notes for their cases, sure; but he jots down other things just as meticulously. Small things, everyday things, not even new to him. He would get his notebook out when they catch a sunrise on the roof; when the girl who lives downstairs helps her older neighbor with the groceries; when he spots a first blade of grass in spring; when they get their third edition of Clue; when Charles makes some terrible joke. A lot of times Charles can't even pinpoint the reason. He would think it a sudden conclusion about their case Edwin came to, some thought he'd like to return to later, except Edwin shares all of those.

(Edwin also doesn't let out a tiniest, easiest-to-miss sigh before writing them down — ghosts don't need to breathe, but it seems to be a habit of his.)

Charles doesn't ask, of course, because how awkward would that talk be? He figures it out pretty quickly, though. Edwin tells him about Hell in dry, impersonal descriptions, and among the different kinds of demons and all flavours of torture, there are stories of people: forgetting their past, forgetting their names, forgetting everything but pain and despair and fear.

Edwin never talks about his own experiences, but Charles can make an educated guess.

Seventy years is a long time.

It takes about twenty for Edwin to stop frantically keeping notes of everything he would like to remember.

…and then all of his notes are left on this plane when he is dragged back to Hell, all his hope to escape, all his hope to stay human, and Charles would be damned if he doesn't — at the very least — get them back to him

inspired by this post

[moonafalke]

Dead Boy Detectives does a lot of things very, very well, but one thing I haven't seen touched on very much is set design. It is phenomenal, and the amount of detail that's gone into literally every scene is truly mind-blowing. I'm going to do a couple of posts breaking down the setting details in various locations I think, but I wanted to start with one that does an incredible amount of storytelling in the tiny understated details.

So let's talk about Charles' room from when he was still alive.

Some of the details are quite small, but I've circled and numbered them so that I can discuss them more easily.

First up, and this one doesn't have a number because it's the entire room, but. They have this boy down in the basement. In a cramped little space that looks like it's twice the size of a twin bed.

Then we come to all the little things that make it so much worse:

1: Charles' room is covered with band posters. If you look closely though, these aren't the kind of posters you'd buy in a store. These are the sorts of posters that they display at venues when a band is in town. Every one of them that's readable has locations/dates/sales info. These aren't someone buying Charles something of his own, to decorate his room with. This is Charles "My smile is pretty convincing" Rowland going to venues after the band has finished its run and asking for the posters to take home.

2: It's hard to tell from the angle, but it looks like he has a couple of model airplanes up on the ceiling. Okay, this one's kind of cute.

3: Again, hard to tell from the angle, but it looks like he has a shelf of sports trophies tucked away back there. This boy tries so damn hard.

4: A dart board. Huh. That's funny. Where are the darts?

5: Oh, here they are. They're outside the room! Like his asshole father! Stole his darts! And threw them at the door!!

6: Probably a boombox, presumably the one that he used to play the tape mentioned in the Devlin house episode. Notably, there are no tapes in sight. Did his father break his only tape?

7: The world's saddest bed, with a ratty old pillow and one (1) single sheet.

8: And as if we needed any more heartbreak in this scene, that's Charles' cricket bat there in the corner. His weapon of choice? The thing he picks up to defend Edwin, over and over, episode after episode, for the entire series? He's cowering practically on top of it while his father beats him. He didn't so much as touch it when it was himself that needed defending.

You're welcome. If I have to be heartbroken over set dressing, I'm dragging you all with me.

[moonafalke]

I hope they solve my case when I die.

[moonafalke]

“One fell first the other fell harder” doesn’t quite work with Payneland, because I think they both fell first and neither fell hard. They meet at the worst point in their lives— Edwin has spent decades being tortured, he doesn’t remember the last time he knew someone who laughed or smiled at him, and Charles who is dying and has never had someone care for him while he is suffering— and they both fall in love at least 60% of the way that first night. They latch onto each other with desperation until it’s not Edwin and Charles but EdwinandCharles.

So of course they are in love. Neither of them realize it but they fall in love a little bit every day for 35 years. It’s small things (like tandem bicycles and teaching each other how to dance) and big things (solving dangerous cases and saving each other from their own pasts), but it happens slowly and gently.

Until Port Townsend, and suddenly Edwin realizes that he’s been in love this entire time. But he doesn’t fall in love then, thats the thing, he’s been in love for decades. And no one in their right mind can argue Charles doesn’t love Edwin just as much, but to me there isn’t gonna be some great big “Charles fell harder” moment because he fell a long time ago, and has continued to fall every time he gets that full face grin on Edwin when they’re alone, or when Edwin reads to him during the nights they both wish they could rest like living boys.

So, in conclusion; they both fell at relatively the same time (that is, over and over again, because every time it seems impossible to love him more he saves you with his magic books or he effortlessly proves he’ll knock Hell itself away with his cricket bat) and it wasn’t hard. It wasn’t sudden. It wasn’t quick. It was 35 years of being EdwinandCharles, and maybe the realization hits them both fiercely, but the love has always been there hasn’t it?

[moonafalke]

Esther may be awful but her philosophy of “the past is just that, its the past” for dealing with mistakes that you can’t anything more to fix is actually really healthy. Gonna start implementing it in my daily life.

Of course she was wrong because Crystal then used her memories of the past to summon a goddess to destroy her, but given that my mistakes are more in the called someone the wrong name vicinity than the was tricked was a goddess while trying to make a deal for immortality one I think I'll be safe.