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siggiedraws · 2 months ago

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Sonic is fundamentally unrelatable and unrealistic - and that's a good thing

I want to address a common sentiment in the fandom that I've seen countless times over the years - the idea that Sonic should be more humanlike. Specifically, the idea that Sonic should have more human traits, such as anxiety or insecurities, that make him emotionally vulnerable in some way.

I have always felt that this sentiment strips away what I love about Sonic so much—that it goes against his character as someone who is meant to be inspirational rather than relatable. From the bottom of my heart, I truly believe that making Sonic more relatable ruins his appeal and misses the entire point of what role he is meant to fulfill. Sonic being the way he is, an inhuman being that is extremely strong and unyielding mentally and emotionally, makes him an inspirational character that is appealing outside of the realm of relatability.

Please note that I am discussing Game Sonic for this essay, not any versions of Sonic from spinoff media.

(Special thanks to @blurredblu for helping me write this essay!)

Relatability =/= likeability

First, it is important to define "relatability" for the rest of the essay, as what is seen as relatable can vary across countless different cultures and lifestyles.

In this case, we are discussing facets of the human psyche. Traits such as emotional vulnerability, insecurity, or trauma are traits seen as humanlike because they imitate the depth of the human mind. They come across more realistic, and thus relatable to people in real life who have generally gone through emotional hardships.

Relatability is also considered with the implied audience in mind, according to Craft in the Real World by Matthew Salesses.

If relatability were somehow a goal of craft, then the question should be: How can a writer go about trying to make a piece of fiction relatable? If we mean “relatable” as sharing a reader’s experience, the first place to go is audience. We must always ask: Relatable to whom? Which brings us back to the elephant in the room—to call a manuscript “relatable” is really to make a claim about who the audience is or should be.

When writing relatability in fiction, what is important to recognize is who the target audience is. Sonic is a character that was initially created to appeal to a wide target audience, not only meant for young boys but for girls, women, and an older age range in general. When it comes to marketability however, Sonic is almost always advertised towards children, and this demographic is the most pertinent when we look at versions of Sonic written with relatability as a goal. With this idea of the target audience in mind, a character who is portrayed as young and having a childish temperament would be more relatable. The Paramount Sonic movies are a great example of a version of Sonic explicitly written to be relatable to the target demographic on a broad level, heavily influenced by the culture that the movies derive from: specifically a middle-class, suburban, small-town vision of American life. Sonic is portrayed as dependent, inexperienced, and abiding by a nuclear family structure who idolises many elements of American popular culture, such as Keanu Reeves or Marvel/DC superhero comics. Compare this to the games, where Sonic is shown to be self-supporting, wise, and living life as an unfettered vagabond, all without a trace of any pop culture utterances.

In other words, Sonic was created to be the height of unrelatability to his target audience.

It is not lost on me that the prevalent desire for Sonic to behave realistically ties into the idea that the goal of crafting a good character is to emulate realistic human characteristics. A character's relatability is what allows audiences to connect with the character, which is considered unequivocally a good thing.

What is forgotten in this rudimentary line of thinking is that characters in media need to fulfill a role. Characters are not people like you or me, but fictional creations made to serve a particular purpose. There needs to be thought put into what narrative role the character fulfills and why they are portrayed a certain way to the audience. Hence, there must be a reason for the relatability, instead of employing it haphazardly.

To quote Craft in the Real World once more:

"readers’ expectations for fiction are created by their previous experiences with fiction—in other words, by culture."

The desire for Sonic to be relatable can be attributed to people recognizing pervasive tropes present in their previous experiences with fiction, internalizing these commonalities as the correct way to write good stories, and assigning these to Sonic as a result. While I can understand the logic behind this thinking, it is crucial we don't limit our appraisal of media by saying a protagonist ought to abide by a certain limitation, when it's the breaking of rules, however rigid they are, that allow for different methods of storytelling. Sonic breaks the so-called rule that a protagonist must be relatable, and it's this unrelatability that enhances and strengthens the narrative in many Sonic games. In other words, writing Sonic in a relatable way can be a way to write him; that does not mean it is the only or correct way to do so.

We should bear in mind that there are usually financial incentives to cast characters as mentally or emotionally relatable to audiences. To create a protagonist that appeals to all audiences to maximize revenue, the solution is typically to make them broadly relatable. While this can be a successful formula, it is important to not apply it to media indiscriminately. If a myriad of works all prioritise having characters be relatable over what makes them unique, you may end up sacrificing creative integrity for the sake of following a trend. In Sonic's case, you would lose the inimitable appeal that makes him stand out. While relatability can be valuable in certain contexts, it should not dominate all other considerations of writing a character, especially when it is done for the purposes of profitability as opposed to earnestly conveying a character to, ultimately, tell a story.

What makes Sonic stand out

What, then, makes Sonic stand out as a character? His inhuman mental fortitude. In a wide and varied cast of characters such as the Sonic cast, each with their own unique emotional struggles, Sonic stands out as the sole character with no struggle. He has no weak point, no Achilles' heel. Though he is weak to water, that is only a physical weakness. Mentally, he is too strong for anything to affect him long-term.

As stated before, characters are designed to serve specific creative purposes. In Sonic's case, his striking mental resilience is to highlight other messages and characters in the story. This is because Sonic usually plays the guiding or support role in his stories. He is not the sole focus. There is always at least a second character that the story focuses on to highlight that character's problems and struggles, and how that character ends up overcoming that conflict, often with Sonic's help.

With all this in mind, would Sonic stories be improved if Sonic was, instead, a human-like character with human flaws and insecurities? Or would this muddy his core concept and require all Sonic stories to be changed unrecognizably to fit this new, different character?

Sonic has no backstory - and that's a good thing

Understand that this section is not an attack on backstories in general. For the most part, backstories provide insight into a character's motivations and personality. They are effective in accomplishing what they were meant to do - creating characters that are meant to be realistic.

Sonic is not meant to be realistic.

Yuji Naka once stated the reason behind Sonic's lack of a backstory in an interview: if you uncover all the mysteries, then the character will become uninteresting.

Very little information of Sonic's backstory has been revealed. We know that he is from Christmas Island (same interview link as above) and it is implied in the Sonic 1 manual that he and Eggman already know each other and have been regularly tussling before the events of the first game. These are vague and unspecific details that are not brought up in Sonic games at all, and for good reason.

Distance is required to portray a character who you are meant to be separate from rather than analogous to. Maintaining a certain level of mystery around Sonic creates intrigue, as a question is begged but never answered or even brought up in Sonic stories. This is because Sonic's backstory has no relevance on the narrative and delving into it is not necessary.

Sonic's motivations are simple and straightforward. He likes to run and go on adventures because it's fun. He likes to help people not out of some heroic obligation but because he wants to do what he feels is right. There is no need for a backstory to explain Sonic's motivations when they are plainly presented to you in such an uncomplicated manner, and what's on the face of it is just wholly what it is.

Sonic is also a character that remains static rather than having a major character arc. While he can grow when it comes to things that don't affect his overall character, such as Sonic learning and overcoming Shadow's Chaos Control technique in Sonic Adventure 2, he has no emotional conflict to overcome. He has been a fully realized character since the beginning of the franchise.

Compare this to a character like Tails, whose character arc is about him being bullied for his two tails in the past and being inspired by Sonic to be more confident in himself, as communicated in the Sonic 2 manual and his Sonic Adventure campaign. Divulging Tails' backstory is necessary for the improvement of Tails' circumstances and confidence levels to be effectively communicated in the story.

Fictional characters are narrative devices created to tell a story. They are not real. Again, there must be narrative reasons for them to be the way they are.

Providing Sonic's backstory would serve no narrative purpose—none that would serve the themes his stories and character are meant to serve, at any rate.

Sonic has no trauma - and that's a good thing

Upon analyzing Sonic's character in the games for so long, it has become astoundingly clear to me that Sonic does not have an ounce of mental trauma from everything he has been through. This should not be seen as a bad thing, but rather a well-thought-out and deliberate decision that serves to reinforce the role his character serves.

In the face of situations that would be considered stressful or traumatic to the average person, Sonic remains unfazed and even excited. There are countless examples of this: Sonic jumping from a plane with nothing but shrapnel to use as a surfboard in Sonic Adventure 2; Sonic expressing excitement that he's near an active volcano spewing lava in '06; Sonic exuberantly grinding over pits of lava in Black Knight; Sonic burning up with excitement at the prospect of dangerous stakes in Team Sonic Racing while everyone else seems to be concerned.

For Sonic, danger and near-death experiences are not a source of emotional struggle, but rather a source of fulfilment and joy. He lives life on the edge; the excitement of diving off of a plane or nearly falling into lava only fuels his love for life.

Additionally, Sonic also enjoys the simpler pleasures of life. Exploring the world. Reading books. Going on relaxing vacations. Racing through open fields. Life is one big adventure and Sonic is having a blast living it.

The idea of Sonic having some kind of secret, hidden trauma that he hides under the guise of a fake smile can be a fun fanon trope, but, for the purposes of canon and official Sonic stories, there are clear reasons why they should stay as fanon. If Sonic had trauma, it would undermine his unrelatability and make no sense given his role in his stories. Tropes such as Hurt/Comfort and Angst are ubiquitous when it comes to fandom culture, and this could be a case of those tropes appearing in the Sonic fandom simply due to the nature of fandom itself. Enjoying fanon in and of itself is all well and good, but advocating for it in canon will homogenize it by stripping away what is unique about the media we love.

In the end, there is no reason to believe that Sonic pretends or does not behave genuinely when it comes to expressing his true emotions. Sonic simply has nothing dark inside of his heart to hide. This is confirmed in Unleashed, where Sonic's heart is strong enough to resist the negative emotional forces of Dark Gaia without him even realizing. The subconscious nature of the action combined with his humility even leads him to initially think it to be Chip's doing. His heart is so strong and so pure that it is incorruptible by negative forces. This shows how Sonic's resolve is effortless and practically baked into who he is.

Sonic's internal strength is completely unconscious on Sonic's part. He doesn't actively try to be the way he is. He just is.

Sonic doesn't cry - you get the idea

It has become a hot topic in the fanbase in recent years that Sega once provided a revision note for Sonic to not express excessive emotion such as outwardly crying or sobbing.

This idea has generally been met with hostility and aversion from fans. However, this negative reaction has always confused me, and I hope to offer a different perspective to the issue.

Why does Sonic need to cry?

Let's expand on this argument for fairness' sake. A common rebuttal grants that Sonic doesn't usually cry. But in extremely emotionally difficult situations, such as loss or mourning, Sonic should cry because it is only natural to cry in such a situation.

Again, I want to challenge this notion. We could approach it from the angle of human psychology and behaviour—it is far from the case that everyone cries in response to severe adversity, belatedly or otherwise—but instead I want to explore this with respect to the narrative angle we have covered so far. Specifically, with respect to the idea that characters, unlike you or me, are designed and portrayed with certain purposes in mind.

Why would it be natural for Sonic to cry?

To help understand Sonic's handling of loss, let's analyze four examples from the series of Sonic losing someone.

In Sonic Adventure 2, Sonic stays strong and composed right after Shadow's presumed death, paying respect to his fallen ally.

In Sonic Unleashed, after Chip leaves him, Sonic takes a deep breath before moving forward with a smile on his face.

In Sonic Battle, Sonic is desperate for Emerl to live and expresses this openly.

In Sonic '06, Sonic expresses a great amount of despair when Elise dies in an explosion aboard the Egg Carrier.

It is clear from the outset that Sonic is not an uncaring individual - he wouldn't do all the selfless things he does if not because he didn't care about people. He also still feels strong emotion at losing those close to him, but he handles those emotions with a great deal of fortitude. In Adventure 2 and Unleashed, his reaction is more subdued, while in Battle and '06, it's clear that Sonic is upset and isn't afraid to show it. The difference could be due to that in the prior examples, Sonic watched them die in front of his eyes, while in the latter examples, they were already gone by the time we see Sonic's reaction.

Nevertheless, Sonic feels emotion. It is only because he does not express himself in an adequately typical way that this idea is met with so much outrage and pushback. Because Sonic does not cry, and because an expected response in certain scenarios would be to cry, it is perceived as a writing mistake that must be fixed. Sonic is perceived as a bad character because he does not fit into a rigid box of socially acceptable expressiveness.

But why is Sonic acting outside the norm necessarily a bad thing? The fact that Sonic can go through such hard situations and remain positive is a testament to his strength. The fact he doesn't cry makes him come across as superhuman when it comes to mental fortitude. That is not a mistake of his character that needs "fixing." That is the entire point.

The animosity towards the idea of Sonic not crying, that he must express himself a specific way, a distinctly normal and humanlike way, is stirred from the irrational, yet sadly common, leap in logic that Sonic must behave and experience life like you or me.

There is an irony, too, to how localised this demand of realism is of Sonic. I've seen no outrage demanding that he spill blood or break bones like us. But, apparently, he must shed tears to be a good character. Sonic is superhumanly resilient while running, or fighting, or taking on the miraculous powers of the Chaos Emeralds. Chaos is power and power is enriched by the heart. Sonic's is shown to be one of the strongest and purest out there, one that moves ever on from and through the pain of loss, grief, and tragedy. Isn't it bizarre, then, that this is considered a defect to him?

The messaging of Sonic

Sonic's core concept as an inspirational character must be maintained because it is key to the emotional messaging of nearly every single Sonic game.

Right from the very first game, you play as a plucky little hedgehog, fighting against the tyranny of Eggman's industrialization threatening to destroy all life on the planet.

Sonic is small and unassuming. But he fights anyways, determined to stop Eggman. And he does.

This concept remains throughout the franchise. Sonic always remains steadfast in the face of great adversity. From Sonic CD's "You Can Do Anything" vocal theme telling the player to believe in themselves to simple yet motivational phrases—ones that Sonic himself has given to the likes of more normal characters such as Elise: "If you have time to worry, then run!"

There is even a quote on the Japanese box art of Sonic & Knuckles comparing Sonic to the Sun, the far and unreachable star in space that our entire galaxy revolves around.

We look up at the Sun like how we look up to Sonic.

As brought up earlier, Sonic is the antithesis of relatability to his target audience, children.

This is because he is meant to inspire children.

The fact that Sonic remains so popular and successful to this day is undeniable proof that relatability is far from a necessary ingredient for likeable characters. Given the fact that Sonic is such a strong-willed character, that he fights endlessly against adversity with a smile on his face, that he always gives positive words of encouragement, is it any wonder why he is so popular with children? Sonic is a wonderful role model that promotes living life to the fullest. Sonic is deceptively wise, seeming to know simple yet effective solutions to every problem. Sonic encourages you to chase your dreams, to stay strong through hard times, to enjoy life.

Sonic is a friend who is always there for you.

Not only does Sonic provide guidance to characters, he provides guidance in the real world as we navigate our lives and the trials and tribulations that come with them. Each character that presents a problem is the character we are meant to connect with, and Sonic is who we strive to be.

CONCLUSION

I do not hold any grudge against relatable characters. I love them, just as I love all kinds of different characters in all kinds of media.

I believe that coexistence is possible. I believe that you can praise a character for their relatability and realism, just as you can praise a character for being the antithesis of both of those things, and these do not have to be contradicting principles for one to have. It all depends on a character's narrative function and how their character traits – both relatable and unrelatable – serve the story that is being told.

Sonic the Hedgehog is a character whose role in the narrative is to inspire and guide other characters. From a Doylist perspective, he represents the prominent, all-embracing messaging about staying strong and positive despite all odds, inspiring and guiding his target audience.

Every decision put into Sonic's character traits serve his role perfectly. Of course this extraordinary character does not behave like you or I do. Why would he? That's simply not his nature; a gust of wind in the breeze, moving endlessly all throughout the world. A pure and positive heart who has achieved the innate desire of all humankind in a way that we will never truly understand, free from the burdens of human nature. Freedom.

Sonic is unrelatable and unrealistic. And he is an amazing character.

#sonic the hedgehog #sonic #essay #sonic characterization #sonic fandom #long post #sonic analysis #my first time writing and posting an essay online about sonic!#i've come to realize that people may actually be interested in what i have to say #and i am very passionate about sonic so this was a great exercise for me

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thankskenpenders · 9 months ago

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The Knuckles show

The announcement of a live action Knuckles streaming miniseries was surprising, to say the least. I mean, what would such a show even be about in a version of the Sonic universe with no Angel Island and barely any characters from the games around? Is he gonna go treasure hunting with the gang from Montana or something? Would a streaming miniseries have the CGI budget to squeeze in any new game characters, even briefly? Rouge? Amy? At least one member of Team Chaotix? Anyone?

Now the show is finally out, and it turns out what they actually made was a comedy show about bumbling deputy sheriff Wade Whipple, the minor comic relief character played by Adam Pally who you might not even remember all that well from the first two movies, with Knuckles as his sidekick. While, yes, Knuckles does get a decent amount of screentime and opportunities to punch bad guys and do cool moves from the games, large stretches of this show focus on Wade's personal life, to the point that a couple times I almost forgot I was watching a Sonic-related show. If you're judging it purely by the metric of how well it adapts and engages with its source material, this surely must be one of the worst adaptations the Sonic franchise has ever seen.

So then, despite some huge complaints... why do I kinda like it?

(This will contain full spoilers for the Knuckles show.)

A brief summary of what the show is actually about because I know half of you aren't going to watch it

The show picks up not too long after the end of the second movie. Knuckles is now living in Montana with Sonic, Tails, and the Wachowskis out of a sense of debt to them, though he doesn't really see it as his home. He doesn't feel like he belongs on Earth, and his life currently lacks direction. After communing with the ghost of Pachacamac, though, Knuckles is instructed to keep his culture alive by teaching "the ways of the echidna warrior" to a new apprentice: deputy sheriff Wade Whipple, who's currently more concerned about winning a bowling tournament in Reno than anything else.

Things are complicated by the interference of two rogue GUN agents - Agent Willoughby, played by Ellie Taylor in a bad wig, and Agent Mason, played by Kid Cudi. (Yes, the artist behind the second movie's credits song is one of the bad guys in this.) They want to steal Knuckles' power and sell it to a former associate of Robotnik's played by Rory McCann (The Hound from Game of Thrones), who now works as a black market arms dealer. Yes, they're still doing the thing where Sonic and friends' quills radiate some kind of super-energy that the bad guys all want. No, I don't particularly love this element of the Paramount Sonic continuity. Anyway, they go after Knuckles and Wade, complicating their straightforward road trip to Reno. Antics ensue.

The Wade show

So here's the thing. While the first episode focuses largely on Knuckles, the entire rest of the show is very much the story of Wade, and by extension the other original human characters invented for this miniseries.

Episode 2 is about Wade having to rescue Knuckles from captivity after the GUN agents get him. Knuckles spends most of the episode in a cage.

Episode 3 is about introducing Wade's Jewish family, including his slightly overbearing mother and weird sister, so that Knuckles can learn about their family traditions and have Shabbat dinner with them (and then save them from bounty hunters that the GUN agents hired).

Episode 4 only features Knuckles at the very beginning and very end of the episode, probably for less than a minute total. Wade is captured by a bounty hunter he personally knows, and Knuckles decides to let that be a trial for Wade to overcome on his own.

The last two episodes feature the climactic showdowns with the GUN agents and their arms-dealing ally, who comes in with a mech for the obligatory final boss fight. You'd think this would be Knuckles' time to shine, but really, these episodes are mostly about the bowling tournament in Reno where Wade encounters his estranged father, wrapping up his own personal arc. While Knuckles does get some fights, a lot of the finale is spent on lengthy bowling scenes where Knuckles isn't in the room or even mentioned. It frequently feels more like a spiritual successor to '00s sports comedy movies like Dodgeball, Talladega Nights, or Blades of Glory than it does a part of the Sonic franchise, and the presence of ESPN 8: The Ocho commentary in the finale only drives those Dodgeball comparisons home. They get so immersed in the bowling stuff that it's genuinely hilarious when the show suddenly pivots and remembers "oh shit we still need to do the final boss fight"

Throughout all this, Wade is the protagonist. He's the character we spend more time with, he's the character who drives most of the major events, he's the character who gets more of an arc. The emotional core is Wade's journey. Knuckles is still present - sometimes, at least - but he's there as Wade's wingman, and also just as the excuse for there to be some fight scenes.

How much Sonic stuff is actually in this show?

Honestly? Not much.

Sonic and Tails are only in the first episode. Sonic gets some good scenes, but Tails gets a grand total of five lines. I counted. Unsurprisingly, Jim Carrey is absent as Robotnik, though he does get mentioned a fair bit. (For that matter, basically the entire established human cast beyond Wade is absent, even including Tom, though Maddie is there in episode one.)

GUN is involved in the story, which helps it feel slightly more connected to Sonic, but it kind of feels like it's GUN in name only. They don't use any recognizable GUN tech, and they don't call in the military. It's just two agents in suits. They might as well be the Men in Black.

The Master Emerald is mentioned as something Knuckles has to guard, but it's never seen. Angel Island is pictured as a drawing during the show's intro, appearing exactly how it does in Sonic 3, but it's never referenced at all beyond that.

I guess the climax taking place in and around a Reno casino is a reference to Sonic's many casino-themed levels. That's something. I'll give them that.

Oh, and if you're wondering if this is the point where we finally start to get actual music from the games: no, it's not. The soundtrack consists of a lot of '80s needle drops, many of which are generic Hollywood picks like "Holding Out for a Hero" for the billionth time, thought it at least has some slightly less obvious picks than the Mario movie. The theme song is '80s rock song "The Warrior" by Scandal. You'll hear it many times. You'll hear the Adventure era Knuckles raps zero times in this. You'll briefly hear classic A Tribe Called Quest song "Can I Kick It?" before Knuckles takes the question too literally and breaks the radio in Wade's car.

Beyond a handful of surface level references for nerds (one of which is admittedly wild - we'll get to that), this is probably the least an officially licensed adaptation of Sonic the Hedgehog has ever tried to actually engage with its source material. I struggle to think of another Sonic adaptation that has less to do with Sonic. For as much shit as I and countless others have given Penders for seemingly ignoring the content of the games in favor of building his own convoluted mythos, his Knuckles comics honestly included way more elements from the games than this show does.

Somehow, the one new(-ish) Sonic character introduced in this is the ghost of Pachacamac of all characters. Not even Tikal! Pachacamac! A very minor character nobody has particularly strong feelings about! You can't even use the excuse that they already had the character model, because they completely redesigned him compared to his cameo in the first movie to better match his Sonic Adventure design. And he's voiced by Christopher Lloyd! Honestly, so many of his lines are strained that it sounds like he's on death's door here, but then he'll surprise you with a more casual line like "just do it, man" and it catches me so off guard that I can't help but laugh.

Pachacamac here has basically nothing to do with the game character he takes his name and appearance from. Where the game character was a cruel warlord who kicked off a 3000 year cycle of violence, Paramount Pachacamac is now just this chill old man who gives Knuckles (and later Wade) advice in two episodes of the show. Hell, he also feels completely disconnected from his established role in the movies, where he's literally the guy who shot Longclaw. The show will not grapple with this contradiction at all. He's just here to be a thing fans like me will recognize from the games. Again, if that's all they wanted, it's kind of baffling that they didn't just use Tikal.

I don't love Knuckles in this

But what about Knuckles himself? Well, he doesn't feel all that much like Knuckles to me. Ironically, he sometimes feels like one of the weaker elements in his own show.

Back when the second movie came out, I noted that Knuckles' characterization seemed to be pulling heavily from MCU Thor as a gallant warrior from an archaic alien culture who doesn't really understand modern day Earth stuff. That worked for me in that movie. It was just there for spice. Just a little extra flavor for the character in what was otherwise a very faithful adaptation of Knuckles' storyline in Sonic 3 & Knuckles. Without those familiar elements grounding him and with a much higher reliance on comedy, Idris Elba's Knuckles becomes a pretty one-note character in this.

In damn near every scene with Knuckles, he's going to say something about being a proud, honorable echidna warrior, or brag about his glorious feats of strength, or be confused about some Earth thing and call it sorcery, or act like every other character is also a member of some noble warrior clan. He still has his moments for sure, but this schtick kinda gets old fast, and it just doesn't feel like Knuckles to me. His entire character feels derived from the scene in the diner where Thor smashes the cup on the ground and goes "Another!" Sure, I can picture game Knuckles smashing a radio to turn it off and being a little too gung-ho about busting holes through walls. That's Knuckles behavior. But building a barbarian combat pit in the living room so the Wachowski family dog can fight the mailman? Nope. That's some other guy now. It really does just feel like them taking a broad character archetype from something popular that kinda sorta fits Knuckles and just running with that, rather than trying to actually adapt the character.

Oh, but don't worry, he wears the OVA hat for like two minutes! AND he loves grapes! See, Sonic nerds? We read the wiki! That's his favorite food! Grapes! This is gonna come up like five times!

Knuckles kind of gets an arc here, but not as much as Wade does. I think the stuff about him starting to feel at home on Earth thanks to Wade's mom and the way he connects with their Jewish family traditions is oddly sweet. This arc is kind of let down, though, by the fact that Knuckles' heritage is treated as a complete joke. He's a cartoonish pastiche of various historical warrior cultures stuck together in a blender and used mostly for comedic effect. When Pachacamac's ghost appears, he's reading a newspaper and bemoaning the fact that the Mets lost again. This is not the place for a serious examination of Knuckles' feelings on being the last of his kind.

This is far from the only time the show undercuts itself with its jokes and attempts at self-parody. In the first episode, for instance, Knuckles clashes with GUN Agent Mason and his tech-enhanced punches, leading to an extremely on-the-nose inversion of the "Do I look like I need your power?" scene showcased in the trailer for the second movie. Except this time, Agent Willoughby butts in and points out how stupid that line is in this new context, since they're literally trying to steal Knuckles' power. The fight can't just be cool, they have to get cute with it. A lot of stuff like that happens in this show.

Given all these complaints, the first two episodes left me thinking I'd be fairly negative on this show overall. This seemed like the version of the show from the fandom's collective nightmares, one that undoes all of the progress the movie series seemed to have been making towards faithfulness to the games. Like, just look at these cast posters. Is this what you want out of Sonic? Do these excite you?

But then, something strange happened. Over time, I just kind of let the jokes and shenanigans wash over me and basked in how fucking weird this show is.

And I started to actually enjoy it.

Look. The Wade & Knuckles Show was never going to be peak Sonic. But that sure as hell doesn't mean it can't be entertaining.

This show is so fucking goofy

Here's the thing.

The show is funny.

Unlike a lot of other people, I didn't hate all the wedding stuff in Hawaii in Sonic 2, because I thought a lot of it was funny, both in its actual jokes and in the ways in which they tied everything back to Sonic. Tom looking wistfully at some bodybuilders doing Top Gun shit and spraying each other with beer and being like "I wish Sonic had that" is weirdly funny. The twist that those muscle bros are all agents of the newly formed GUN, who orchestrated the wedding as an elaborate scheme to catch Sonic, is funny. Mr. Olive Garden becoming the fucking GUN Commander is VERY funny. Are any of these elements of my dream Sonic movie? No, of course not. But my dream Sonic movie was never gonna happen in live action.

The Knuckles show follows up on the comedy of the previous films by being probably the funniest live action Sonic release yet. Did every joke land for me? God no. There are some stinkers in there that made me roll my eyes. But enough of them landed that it worked out for me overall. A big part of this is the fact that they've got a good cast of actors and/or comedians here.

Adam Pally is funny as Wade, and I found myself liking him more and more as a character as the show went on. He becomes an oddly endearing loser, with some sweet moments in his personal arc that made me feel for the guy. I like Wade more than Tom now, thanks to this show. I will now be happier to see Wade in Sonic 3 than I would have been previously.

The supporting cast is frequently great, too, many of whom are playing completely cartoonish, over-the-top characters. They took a cue from how exaggerated Carrey's performance was as Robotnik and decided to just abandon all pretense that this is the real world. Stockard Channing as Wade's mom is funny, and carries some of the more sincere parts of the show. Cary Elwes as Wade's very British dad who abandoned him as a child to run off and be the world's most egotistical professional bowler is funny. Edi Patterson as Wade's sister Wanda is... well, she's kinda trying too hard, but she has her moments. The Mighty Boosh co-creator Julian Barratt(!!) as a scenery-chewing bounty hunter, who was also somehow Wade's former best friend and bowling partner, is VERY funny. I love this guy.

(Honestly, they should let more people who were on Garth Marenghi's Darkplace be in Sonic stuff. Where's Matt Berry)

This is kind of a stacked cast for a bunch of stupid side characters in a live action Knuckles show! And honestly, that just makes it funnier to me. Even when they're not funny, the fact that this exists makes it funny. They somehow convinced Paramount to give them a bunch of money to make a spiritual successor to Dodgeball about a schlubby guy who wants to beat his dad at a bowling tournament... except also Knuckles the fucking Echidna is there as his personal life coach. My life is richer for the fact that I can say that sentence. I think about all the little kids who are probably watching this show this weekend, going in expecting a show about Knuckles the Echidna and having to sit through extensive bowling scenes and lore about Wade's family, and sorry kids, but I just have to laugh. Wade isn't even on the poster! The poster is just a picture of Knuckles!! They punked those kids!!!

In a franchise where every single aspect is so carefully micromanaged these days, it feels truly special to get an adaptation this bonkers. It frequently appeals to the same part of me that enjoys the fact that there's an officially licensed Knuckles comic in which Charmy Bee's best friend (also a bee) dies of an accidental LSD overdose from a drug-laced chili dog. Or like, everything about the original 1993 Super Mario Bros. movie. Or the fact that they made seven direct-to-DVD sequels to Alpha and Omega, one of which is half a retread of the adventure from the first movie (with more annoying supporting characters in tow this time) and half a literal clip show of the first movie. The sheer absurdity of the fact that these things exist is charming to me. Except, with the Knuckles show, it has the added benefit of frequently being funny on purpose! This is why I'm not sure I'd call it "so bad it's good." Like, it's not amazing, but there were a lot of parts that I enjoyed in the exact way I was supposed to enjoy them.

Look. Here's a list of real lines of dialogue from the Sega-approved Knuckles the Echidna streaming show that they're billing as a pillar of the Paramount+ lineup, to drive this point home. Let these marinate for a minute:

"I only eat grapes, and Cool Ranch Doritos™."

"Annihilate this little girl, Wade. Crush her spirit. Humiliate her so badly her parents won't even look at her again." "Doesn't that seem like we're going a bit far?" "Not far enough."

"So is he Jewish?" "Half, I think."

"I had a friend who when he listened to Alien Ant Farm he could lift a Toyota Corolla over his head."

"I'm in dire financial straits. Due to my lawsuit against an unnamed rainforest-themed restaurant franchise, I don't have two pennies to my name."

"We're here in sunny Reno, Nevada, which is so close to Hell you can smell the sparks."

"You can't threaten me with your Jewish karate chops because I am a federal agent."

"I will say, regardless of how you feel about child abandonment - and I'm against it! - the deals at TJ Maxx can't be beat."

This is a Sonic show in which they got Paul Scheer and Rob Huebel to appear as ESPN 8: The Ocho commentators.

This is a show where Wade's mom insists upon pronouncing "Knuckles" with the throaty Hebrew "ch" sound, and declares that Knuckles is basically Jewish. Later, they watch Pretty Woman together while enjoying a nice slice of key lime pie. Knuckles comments: "I don't understand. This young streetwalker with a heart made of gold, why do the others treat her with such disdain? Is it so wrong to walk the streets?"

This is a show where the fourth episode is directed by one of the guys from The Lonely Island and features a hallucinatory low budget rock opera stage musical put on by the ghost of Pachacamac. It recounts Knuckles' life story, with Wade playing Knuckles and the "evil" Longclaw played by the bounty hunter guy who's played by the Mighty Boosh guy.

Look at this.

And also, Knuckles' singing voice is provided by Michael Bolton, which they proudly announce in the middle of the musical.

And also...

Also...???

IBLIS IS IN IT????????????

Yes, Iblis!

From Sonic '06!!

Knuckles is said to have looked for a mythical power called the "Flames of Disaster" to avenge his clan, which ended up being the power that was within him all along that lets him do fire punches yadda yadda yadda. As part of this, he apparently fought Iblis off-screen at some point, as conveyed with the giant singing papier-mâché Iblis in the musical.

...Then Iblis sings about hitting up Facebook Marketplace

How? How does any of this exist? Why reference '06 of all games? How did Iblis get into the live action Sonic movie universe before Amy and Metal Sonic? Why are they using Iblis and the term "Flames of Disaster" in such a goofy way that completely disregards their original context?

I don't know. I don't know how any of this happened. But I love it. We got a Knuckles miniseries in which Michael Bolton sings the phrase "the Flames of Disaster." The world is a beautiful place sometimes.

Some people will tell you to skip episode four. "Knuckles is barely even in it," they say. "It's dumb and pointless," they say. "They clearly just ran out of special effects budget," they say. These are people whose opinions you should disregard. The episode with the least Knuckles in it is somehow the most entertaining episode of the show. I would, in fact, go as far as to say that if you only decide to watch one episode of the Knuckles show to see what goofy bullshit they get up to, it should be this one.

I cannot be mad at this show. It's so dumb, but it completely owns the fact that it's a dumb and unnecessary spinoff. Inferiority is baked into its very DNA. It's very self-consciously redoing the premise of the first movie, but stupider. It's about The Other Cop from the movies, instead of the competent one. Instead of being into a "cooler" sport, his life revolves around professional bowling. Instead of going to Vegas, he goes to Reno. Even his tragic backstory that shaped his entire life sucks. He was abandoned by his pro bowler dad in a TJ Maxx. Not even a nicer department store. A fucking TJ Maxx. This whole show is a Dril tweet.

They put a ton of effort into making it dumb in an occasionally spectacular way. So much effort was put into that joke rock opera that fans will just write off as stupid filler. They put their whole pussies into it. This is not a poorly made show. This has better production values than half the shit made for Disney+. This was made with love. Maybe not as much love for the Sonic the Hedgehog series of video games as we'd like, but it's love nonetheless.

Maybe this show broke me and these are the ramblings of a madwoman. Maybe I'm just really nostalgic for the '90s and '00s comedy movies all the Wade stuff is modeled after. Maybe the Alan Wake fan in me just really loves it when a story pivots to a silly rock opera for no real reason. I won't discount any of these possibilities. This isn't high art. This isn't something I would recommend to anyone with zero interest in Sonic, and it also isn't going to sway Sonic fans who hate the Paramount universe. I really can't blame them for being bewildered by this show. But for a specific type of person, this is the absurd three-star Sonic-adjacent comedy miniseries of your dreams. It's a mid masterpiece.

Again, I just have to step back, realize the fact that this shouldn't exist, and smile. Sega's too afraid to do stupid bullshit with the franchise like this these days. And I can't blame them, after years of Sonic being a treated as a laughingstock. But part of me misses some of the goofy shit. No matter how much I tore some of the Archie comics apart as I was reading them for this blog, I just look back on stuff like Cal and Al or the Many Hands issues and laugh. And that same part of me looks at this show about Knuckles being the sidekick to this fucking guy, and just goes...

"We're so back."

In conclusion, I genuinely think this was a more enjoyable TV show than Sonic Prime.

I wouldn't go back and rewatch Sonic Prime anytime soon, aside from maybe, like, a couple of the Shadow-heavy episodes. Huge stretches of that show bored me to tears. The writers squandered all of that show's potential. But I would rewatch the Knuckles show, which takes a terrible premise and has a lot of fun with it, in a heartbeat. Even the bowling parts. The bowling scenes in the Knuckles show are more engaging than 70% of the fights in Sonic Prime. I am not trolling. I mean that sincerely, with all my heart. Don't @ me.

Stray observations

There is effectively zero meaningful setup for the third movie in this, unless Wade's family or the two GUN agents come back or something. Project Shadow is not mentioned in this. There is no secret post-credits scene with Gerald

The CGI in this is pretty good. Not quite on par with the movies, but pretty good. Sonic's weird forehead wrinkles are distracting in his scenes though. Please fix that

I wouldn't say I liked this as much as the second movie, which obviously gets a ton of points for, you know. The Cool Sonic Shit. But I had more fun with it than the first movie, which I still feel is a painfully generic family movie that was only saved by Tyson's redesign

"Grapes are an interesting choice for someone who doesn't use his individual fingers."

Agent Willoughby was apparently the one at GUN who had to buy the Olive Garden gift cards and set up the fake wedding. Her origin story is that she hated doing shit like that and wanted to go fight aliens

This miniseries contains another Keanu namedrop because Wade's childhood bedroom has a Speed poster on the wall. I swear, if Sonic doesn't say Shadow sounds just like Keanu...

Knuckles is familiar with Paul Blart Mall Cop

Near the end the ESPN 8: The Ocho commentators say that the 1974 Reno bowling championship was also interrupted by an extraterrestrial, and given that was exactly 50 years ago I can't write off the possibility that that was Shadow. Please for the love of god give us a sequel series after the third movie where Wade takes Shadow the Hedgehog bowling. I need this more than I need air

#tkp post #other media

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seangardnerxiv · 3 months ago

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Shadow and Maria's Complex Relationship

FOR DISCLOSURE: this thread is going to be discussing the complexities of Shadow and Maria’s relationship based on many different factors. Though I will be including the romantic interpretation (NOT a sexual one – I do not support nor condone sexualizing these two, nor most of the characters in Sonic, as they are almost all minors) as a potential, I will not be arguing to assign a definite label to their relationship – I will, in fact, be doing exactly the opposite (I am also not interested in engaging in shipping discourse over Sonic the Hedgehog characters). I would simply like to disclose that that will be discussed in case the topic upsets you and you would prefer to stop reading now. I accept this post may not be received well by some.

SPOILERS FOR SONIC X SHADOW GENERATIONS

So I've had to break out my Tumblr for this - my usual haunt is Twitter/Bluesky, but those don't really allow for longform posts. This is also a major departure from my usual FFXIV posting, so apologies to anyone who follows me for that.

Sonic x Shadow Generations recently dropped, alongside the short animations “Dark Beginnings” as well as the (non-canonical) manga “The Jet Black Hedgehog: Shadow the Hedgehog.” With it, discourse surrounding Shadow and Maria’s relationship has kicked up again, largely in two parties – that Shadow and Maria held a sibling relationship, or that Shadow and Maria held romantic feelings for one another (some people have also argued that Shadow is her uncle, or Maria is his mother, but I won’t be discussing those views). There are arguments for both drawn from a variety of sources – I will do my best to present both (if there are others I've missed, please feel free to comment and I will add them).

For siblings:

This Twitter post of artwork for Dark Beginnings has the following alt text: “Shadow and Maria reach out for one another in an infinite abyss (as long-lost siblings would) with the Moon and the Space Colony ARK in the background."

The manual for Shadow the Hedgehog (2005) describes Maria as “like a sister to Shadow.” I have also seen another screenshot of a different manual that states that Shadow as "like a brother to Maria," but I've been unable to find which manual it is. (EDIT: It’s a Prima Games manual, not written by Sega)

Gerald refers to Shadow as “son” during the climax of SxSG.

For romantic:

Maria saying “I love you” in the Japanese version of SxSG uses the kanji “ai shiteru,” whilst her “I love you” in the Japanese version of the manga uses “daisuki.” Whilst it can be used for familial relations, it is apparently very uncommon for both of these to be used outside of romantic intent.

Shiro Maekawa – the original creator of Shadow and Maria – based them (or at least parts of them) off of a romance manga known as “Please Save My Earth” (with Maria sharing the Japanese voice actress for the female lead from the anime), and has frequently supported them together, often retweeting romantic art and posts of Shadow and Maria.

In a recent interview from Sega, Maria touching Shadow’s face in Dark Beginnings was equated to Beauty and the Beast.

For Tanabata – a Japanese festival celebrating the meeting of the deities Orihime and Hikoboshi, and the separation of them as lovers – Sonic Channel posted artwork of Shadow and Maria reading the story beneath the stars. Sonic Channel has also published fanart for Valentine’s Day relating to Shadow and Maria (although they publish a lot of fanart).

Before I go any further, when the topic of Shadow and Maria in a romantic lens comes up, many of the same criticisms arise that I do not believe are fairly levied – namely accusations regarding their age, species, and familial ties. I would like to address – and debunk – these three before we go any further. Keep in mind while you read these – this is not meant to convince you that their relationship was one thing over another, but only to provide validity to a subjective point of view I feel is unfairly stigmatized.

“It’s incest because Shadow is Maria’s brother/uncle(?).”

While there were notions of family stated by both Maria and Gerald, Shadow was grown in a tube with alien DNA and has zero blood relation to the Robotnik family. Whilst there are abstract labels of “like a sister” or “sibling coding” that are only ever applied in a meta sense, neither of them define their relationship in such a way within the lens of the universe. And it is not as if the topic never arises - in Shadow Generations, Maria herself likens young Abraham Tower as akin to her little brother, but she makes no such distinction with Shadow.

“Sibling coding” is ultimately a nothing statement, and unless a proper adoption is made, it does not magically turn romantic feelings towards the two involved into incest. Frames of reference are often informed by what young people are familiar with, and they sometimes lack the proper tools to acknowledge that their feelings towards each other are more complex than they first believe - to say that this is something that potentially occurred with Shadow and Maria is not outlandish, and not a concept unique to Sonic as a series.

Similar examples to this include Clive and Jill from Final Fantasy XVI (Jill is accepted into the Rosfield household and raised alongside Clive and his brother, only to later enter a romantic relationship with him as an adult), Nero and Kyrie from Devil May Cry (Nero is fostered by Kyrie's family and considers Kyrie a sister initially, only for her to become his love interest as adults) and Sidon and Yona from The Legend of Zelda: Tears of the Kingdom (Sidon grows up perceiving Yona as a sister, only to realize his feelings for her are more complex later on). None of these are incestuous relationships, nor is Shadow and Maria’s were it to be romantic.

“It’s bestiality because Shadow is an animal.”

Bestiality is applicable to regular animals that do not hold human sentience of thought, as they are unable to consent to a relationship, like a dog or cat. Shadow is not this, nor are any of the anthropomorphic characters within the Sonic games - were you to change the anthropomorphic animals in Sonic into humans, basically nothing about the series' content would change. All of them are completely sound-minded beings that are essentially just people who look different. Shadow is not Maria’s pet, he is her fully sentient friend that holds the same degree of thought as she does – given that Shadow’s entire arc is about finding his purpose in life, degrading him to simply a lab animal rather than acknowledging he is a person defeats that entire arc (something the manga also touches upon).

A lot of people also cite Sonic and Elise from Sonic ‘06 (namely the scene where Elise kisses the deceased Sonic) as a reason why Shadow and Maria should not be done - while I think it’s valid if you didn’t like watching a human girl kissing Sonic the Hedgehog, I maintain that a good chunk of that disdain stemmed from two major reasons:

Elise was very poorly characterized in her game. She existed to constantly get kidnapped and be saved by Sonic, and so both the relationship and the kiss came off more like pandering than something earned.

Sonic '06 had a bizarrely realistic artstyle for the human characters, whilst all of the animal characters retained their cartoonish appearances. This clash of artstyles looked its worst when Elise kissed Sonic at the game's climax.

Maria, however, does not fall into these pitfalls. She does not exist to be purely a love interest for Shadow - she’s certainly not someone for him to save, as the entire inciting event of Shadow's character is his inability to save her when she saves him.

For a frame of reference, Shadow is more akin to an alien from Star Wars – a setting where humans also exist. It is not bestiality for a Human to hold a relationship with a Twi’lek, as both races are fully anthropomorphic and sentient. On a similar note, Beauty and the Beast is not considered bestiality either, even though the Beast bears obvious animalistic traits. Some people have also entertained the notion of Rouge and Topaz from Sonic X, even though the latter is human. This is all the same principle, and none of it is bestiality.

“It’s creepy because Maria is young.”

Shadow – while said to be ageless – is not an adult, and to imply that he is one is a fundamental misunderstanding of Shadow’s character – whilst there are many instances where he demonstrates maturity on some levels, he has shown much immaturity since his inception in Sonic Adventure 2 (his desire to destroy the world out of revenge for Maria), and his most recent storyline in Generations involves his naïve desire to change Maria and Gerald’s fates (or rather, an initial indifference to what it will bring). Not only that, but his time on the ARK was mired in confusion over the point of his existence – Maria was the one that helped him field through his confusion, and was arguably the more mature one between the two of them. We can safely say that Shadow is not an adult character, nor is he ever presented as one in the lens of the game.

As the closest thing Sonic likely has to an equal in both body and mind (Sonic holds his own immaturities similar to Shadow), he can likely be placed mentally close to his age of fifteen. This is reinforced by the leaked transcript of Sonic ‘06 that refers to Shadow as 15 (the red squared text in this image).

Maria has no canon age established in game material, but Sonic X lists her as 12. 15 and 12 is the same age gap as Sonic and Amy respectively.

In addition to that, many people have claimed that Shadow is over 50 years old, but this is only true of his chronological existence, not the time he has been conscious and aging. He spent 50 years stuck in cryosleep, and awoke exactly how he was when he was placed in there.

A similar example would be Aang and Katara from Avatar: The Last Airbender - Aang was frozen at the age of 12, and awoke 100 years later. Nobody, however, tried to claim that he was 112 years too old to kiss the 14 year old Katara, as Aang was physically and mentally still a 12 year old upon awakening - most people who watched the show were also actively rooting for these two characters to kiss, which they did at the show's finale. It's the same principle regarding Shadow - he is 50 chronologically, not 50 in mind or body.

If we’d like to really get into it, I would point out that nearly every character in the lens of Sonic is in and around Maria’s age range (according to the Sonic Channel). As stated previously, Sonic is 15. Amy is 12, Knuckles is 16, Rouge is 18, Blaze and Silver are 14, etc. Nobody bats an eye at notions of romance between any of these people (not that I’m saying they should inherently).

Romantic intent between minors is not inherently viewed as a bad thing - see the examples of Aang and Katara or Clive and Jill above, or for an in house example, consider the canonical (to Sonic X at least) relationship between the 8 year old Tails and Cosmo - yet for some reason when it comes to Shadow and Maria, a relationship is stigmatized.

To reiterate in the wake of the last point, my discussions of romantic intent ARE NOT SEXUAL IN NATURE. As I acknowledge these are minors, any notions of that are completely off the table, and I do not agree with anyone who would imply their relationship was a sexual one. I want to make that unmistakably clear.

My major takeaway from observing both the Sonic fanbase and those on Sonic Team seems to be that in western circles, Shadow and Maria as siblings is the popular perception, whilst in eastern circles, they are more commonly perceived romantically. But ultimately, Shadow and Maria’s relationship seems to have many contradictory signals that makes it hard to pinpoint a concrete definition, especially in the most recent releases – and I believe that this is fully intentional.

Shiro Maekawa has stated in DMs has stated this regarding their relationship when asked if he saw them as siblings or love interests (translated from Japanese):

“I think they have a special bond that is unique to them that doesn’t fall into either of those categories. Just my personal opinion.”

From the way that the two are written post-Sonic Adventure 2, this appears to be a sentiment that is fully carried forward – their relationship is more nuanced than a canonical label would make it. Maria was the only person who made Shadow feel loved, and Maria unquestionably loved him back. What kind of love that was is up to the viewer, especially given that Maria died when they were both young, before they even had a chance to expand upon their relationship, if that was ever on the table – not that they needed to, given that their bond seems to have transcended both labels. Maria was the only one who acknowledged Shadow as more than an experiment or a weapon, and Shadow was her rock in an environment where she was isolated away from her family and home. Maria was Shadow's person, and still remains that in death.

To disclose for me personally (in case it was not obvious), I have always interpreted their relationship as romantic - or at least having romantic implications - ever since playing Sonic Adventure 2 Battle and Shadow the Hedgehog when I was a kid. I have both a fiancé and a sibling, and the way they treat each other is far more evocative of how I treat the former than the latter (especially in Dark Beginnings – I do not imagine my sibling through a shoujo filter while I wistfully think about cuddling them in a field of flowers). I do not take the awkwardly placed alt text verbiage from the Sonic Twitter account, used to fake-argue with the Wendy’s Twitter account, as gospel for anything, and I think that treating it as a damning disproval is silly. Had she lived, I believed the complex feelings they held would have been identified as romantic down the line. The relationship always just read as too intimately charged for me to perceive as siblings (it still does especially in the wake of seeing how she touches and speaks to him), even before I had a serious relationship. I think that arguing the nitty gritty over Twitter alt text and translations is silly, as all it took for me to takeaway that the relationship was still romantic was to play the game, watch the animations, and read the manga for Shadow Generations - but that's just me.

That said, I will concur that if you are weirded out by romantic notions between the two of them, that is completely understandable, and I would never argue that you should not feel what you feel for yourself. The sibling viewpoint is also wholly valid an interpretation, with or without word from a meta source. Though she had her grandfather and later Abe, she was largely alone on the ARK away from a family that she clearly loved and missed, and it’s not unusual to presume that Shadow filled in the role of a brother for her. I will also acknowledge that many things I have not mentioned - such as Shadow blushing at Maria calling him cool, or her saying "I love you" in general - are not inherently indicative of romantic intent, and can be read as fully platonic interpretations, and I find those that try to state that the romantic interpretation is the objective one just as irritating as those that state the sibling interpretation is the objective.

My intent is only to dispute the idea that romantic interpretations, and the people who hold them, deserve to be scrutinized. The pairing is completely innocent, and the treatment people have received for believing them to be romantic is obscene. Sweeping blanket statements have been made to insult all who do (some going as far as to wish death and harm upon them), all just based on subjective viewpoints held by people who see them platonically. The fact that there is so much discourse surrounding this topic, and that there is evidence enough on both ends to make an argument, means that Sega has intentionally left the relationship up to interpretation - including the romantic take.

Everyone unclutch your pearls.

But with all that said, I will reiterate that this post was not meant to convince anyone of one thing or another, but rather that both interpretations of their relationship are valid, as it is essentially a secret third thing that transcends both labels and is special only to them. Strictly defining their relationship as “siblings” or “love interests” (even as someone who perceives them romantically, I would never want that to be definitively confirmed for this reason) is deconstructing what is perhaps the most nuanced part of a series that does not always tend to be terribly nuanced, and a definition matters far less than acknowledging what Maria means to Shadow in the present – he is who he is because of her, and because of that, he is now living a life for himself. Shadow the Hedgehog (2005) ended in a way that had Shadow let Maria go, and Shadow Generations ends with him carrying her forward with him after accepting her loss. She was, and will always be, the person who loved Shadow - however you define that love is up to you.

Nothing has ever been hard confirmed by Sega, no matter how much either side wants to pretend it has been.

In summary, both points of view regarding Shadow and Maria’s relationship are simultaneously true and not true – it is a matter of interpretation according to the viewer what their feelings towards each other were, yet their relationship in the lens of what it is now after the tragedy of their existence (even before Maria died) is purposefully indefinable, and it should remain that way. Nobody should ever try to say that Shadow and Maria are definitively something - that goes for both points of view. I doubt it will, but I hope this goes towards removing the stigmas towards one of the more nuanced parts of this series, as nuance in Sonic the Hedgehog - frankly - does not come along very often, and it would be nice if that were encouraged rather than smothered.

Thank you for reading.

#shadow the hedgehog #maria robotnik #shadow generations #sonic x shadow generations #dark beginnings #shadow dark beginnings #sonic the hedgehog #shadaria #shadria #shadow x maria #ark siblings #シャドマリ

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shayminlucario07 · 2 months ago

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Wholeheartedly agree, however, I feel that attention must be drawn to other aspects of Silver as well, because while he definitely is that awkward-but-genuine sweetheart, that awkwardness comes from the fact that he was basically completely alone, with Blaze being seemingly the only person in his life prior to the events of 06 (And Blaze herself has some. Social quirks), so he didn't exactly have much guidance or experience in most departments. He's also extremely capable, able to contest even Sonic and Shadow both in ideology and in strength, and was able to survive on his own in harsh conditions of the destroyed future impressively well- he may be underdeveloped socially and lacking in the wisdom department at times, but he is indisputably self-sufficient (At least to the standard of keeping himself alive) and might even be more dedicated to his role as a guardian of the world than Sonic.

To use the family allegory, he's that younger cousin who was always considered the baby of the family, and was largely coddled and even infantilized by the family, and ultimately- by necessity- becoming remarkably mature and capable for their young age, but is still largely underestimated by the rest of the family due to the inescapable perception of being the "baby" or the "youngest". Silver's coolness, at least to me, comes from the fact that he's always far more than people expect from him- he has a mysterious factor to him; not in the same way as Shadow, who is very much the traditional understanding of the mysterious character, but in the sense that no one is ever quite sure exactly how much he's capable of- at any point, he could shock everyone with how impressive his knowledge, capabilities, and/or observations are, not necessarily because they didn't think he was capable of it, but because they didn't *expect* it.

Silver's coolness is the kind of coolness that comes from watching someone break out of the perceptions and preconceived notions others have of them in a way that can't be ignored, and personally, that's my favorite of them all.

whats great about sonic shadow and silver is they're all the epidemy of coolness but in their own way

#Silver the Hedgehog #Sonic the Hedgehog #Shadow the Hedgehog #STH #Sonic series #Can you tell that I love Silver the Hedgehog a very normal amount #Can you tell I consider him the most relatable character in the series?#Yes you can

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lucabyte · 6 months ago

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i'm so curious about your character gender reads now tho 👀👀

(You enter the kitchen and see me, eating shredded cheese out of the fridge by the handful)

(I turn around to face you.)

Hi. Do you want me to sell you on amab NB Siffrin? I'm going to try and sell you on amab NB Siffrin. And maybe even a little bit of tranfem siffrin and/or loop. as a treat. just for you.

So, (I put the cheese back in the fridge.)

This read of mine comes from a number of things, a lot of them to do with the game's themes, and to do with Siffrin being a narrative foil to the other characters. And Vaugarde as a whole.

(READMORE WARNING: THIS IS LIKE 6K WORDS LONG. YOU ALL SHOULD KNOW BY NOW I DON'T MAKE POSTS WITHOUT UNCONSCIOUNABLE AMOUNTS OF EVIDENCE AND EXPLANATION. IF ANYTHING I'M BEING RESTRAINED HERE. THUMBS UP.)

(Pre-readmore note: this is in response to me having given an analysis of how I personally percieve Sifloop in relation to asexuality and shipping. Which you can look at here. (x))

It is however, not what my like, no-holds-barred no-rules just-for-me headcanon for Siffrin would be. (which is intersex 'head empty no thoughts' siffrin, for the record). This is instead my close-reading-of-the-text-and-themes interpretation of Siffrin. This is why I'm gonna be saying Read and not Headcanon, to distinguish the two. (Anything I consider a little bit too much of a stretch vis a vis interpretive hard reads I will call a headcanon. But those are for the last bit of this post.)

Unlike *gestures at mass media* All That… ISAT is already packed to the gills with queer rep, to the point where I feel no need to grasp at straws and make overextended reaches into obviously unintended subtext. Like with, y'know, most media. Since here, the subtext isn't unintended. Like this isn't a Transfem Metal Sonic or Aroace Ash Ketchum situation where I know none of the evidence is on purpose and I'm just having fun making a conspiracy theory pinboard out of it. This is like… There's intentionality there. And I want to engage with it on its level, see what the text itself suggests. It's my personal preferred method of expressing deep respect to a text. (Not that it has to be anyone else's, obviously. This is just my way of showing I love a work.)

So yeah, I am, in general, very interested in hearing hard-fought arguments when it comes to interpreting texts. I'm glad ISAT has a lot to pick at here, and so, I will. (and since not a lot of texts ever have anywhere near this kind of depth in this arena, i don't wanna squander it… i'll try and keep my own biases as in check as i can, and already have done by hashing quite a bit of this interpretation out with two people of very different gender identities to mine. To put it mildly, binary-aligned or transfem I am very squarely Not.)

(Now that the cheese bag has been removed from the equation, I drop this framing device, sit you down at the table and begin to dredge up evidence from below it.)

Okay, so. What are my like… Core reasonings here? I think I can split it into three categories. Broadly, with an amount of overlap, so bear with me…

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Okay so up top I'm going to split my argument for Siffrin's gender identity Present and Future here. This means, for now, I'm arguing for AMAB NB Siffrin alone. The transfem stuff is for later (and more for loop, in my mind, too).

I have a few direct observations of the text here that set things up. Here are the things in-game that make me assume that Siffrin, as of the start of the game, has not yet undergone any radical change to their identity in their life. Not on purpose, at least. These are ordered in a messy but logical flow, so uh, try and keep up. I'll synthesise at the end. I Prommy.

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

CHANGE & THE UNIVERSE: PERCEIVED OPPOSITES

When interacting with most objects in the Changing Room in the house, they express a genuine curiosity toward body craft. It seems they are legitimately unfamiliar with it on a deeper level than having simply heard of it.

Despite this curiosity (explicitly stating they've previously wondered about it), they dismiss it as too much work early on in the game. These points combined seem to suggest to me that they have never previously sought out any kind of real change to their appearance or identity. Either for gender reasons, or other body dysmorphia reasons. (Which, despite the dismissal, they do refer to their body as a 'meat prison', which is not particularly positive) However...

This changes in Act 3. In acts 3 and 4 they flatly state: "You're thinking about crafting your body. You seem to have all the time in the world now." While still never spoken aloud, their declining mental state corrosponds with a worn-down, almost nihilistic reckoning with the feelings they masked with the 'meat prison' joke in act 2.

[Image: Interactions with the change craft textbook in acts 2 and 3/4.]

In talking to Mirabelle, they are very self assured that one can stay the same/be comfortable with their born identity. They also seem a little unsettled by the change religion's flippancy in general, which makes sense, as they have been clinging to the famliar (even when painful) to cope with other traumas. (More on this later, section 2)

The Universe Faith appears to heavily disincentivise Wanting for oneself and other expressions of Free Will due to safeguarding against Wish craft. This seems to have impacted Siffrin's mental state majorly, even if they do not recognise it. The followers of the faith are (if Siffrin is to be believed) incentivised to 'go with the flow' and take paths of least resistance, and those that DO make big decisions will tend to justify things as being The Universe's Will. (See: The King's entire Modus Operandi, and the way Loop (and Siffrin) do the same rote actions, constructing worldviews (the play analogy, the Universe's Will) and justify that as what the Universe Would Want (despite a total lack of evidence to prove as such)) As such, it seems as if a follower of this faith as neurotic as Siffrin would be unlikely to act upon any Wants to Change Themselves without a lot of turmoil and backwards-justification. (Of note, Loop's forcible change coinciding with a dropping of pronoun. But that is again for later, section 3) As of the start of the game, they do not appear to have broached this kind of turmoil directly.

[Image: Act 5 interaction with the star journal, emphasis on it being a cautionary tale against reckless usage of wish craft, instilled so deeply to be a children's bedtime story]

Siffrin, in act 5, grows frustrated with both The Universe and The Change God, feeling abandoned by the former. They struggle with simultaneously anthropomorphising the Universe as a cruel onlooker, while also seemingly acknowledging them as a cold, almost scientific fact of nature. This would heavily imply that the 'blame' put upon the Universe by Siffrin in these moments is known to them, at least a little, to be potentially meaningless. It seems that somewhere in Siffrin's belief system is something, be it the core or merely a creeping worry, that the Universe is not a thinking, feeling, thing. And thus that their invocations of "The Universe's Will" are merely rationalisations of random chance and consequence. This is in DIRECT contrast to the Change God, proven to be an emotive sapient entity, who merely refuses to offer a helping hand. (Similar sentiments are, too, spoken by the Change God itself.)

[Images: Interacting with the window in the observatory in act 5, text from the change god meeting]

So. These are the bulk of my observations when it comes to how Siffrin is positioned in contrast to the Change Belief. It would seem to be that Siffrin, inkeeping with their role as an outsider, is a complete fish out of water in Vaugarde's change-centric world. This makes sense! It makes them a compelling foil to the Vaugardians in our cast, and allows the Vaugardians to challenge Siffrin's worldviews merely by existing. It also, more importantly, makes Siffrin an interesting lens through which to inspect our two most Change-driven characters. Mirabelle and Isabeau.

MIRABELLE.

Mirabelle and Siffrin's differing faiths are put on display the most frequently. Interactions like the circle key and the party's disbelief of Siffrin's facts about the stars make this clear. These interactions other Siffrin from the group further, and are another avenue through which Siffrin can ignore their own needs, not communicating with the party and allowing them to dismiss things he deems important.

Obviously, the friendquest is primarily about Mirabelle's struggle with her aromanticism and asexuality. But there's an implicit undercurrent of gender there too. Mirabelle has never made a big change, not like Isabeau. She has never 'changed completely', by her words. And Siffrin distinctly finds this an odd thing to be worried by. Whatever culture he carries has no pressure to explore these avenues, it seems. Siffrin is able to help her by sharing their honest opinions, that he's never felt the need to change these things, and he's happy (allegedly). Why should she?

[Image: Mirabelle's friendquest text] Siffrin is not thinking particularly hard when he first does the friendquests, they are just being themselves. By positioning Siffrin as this unchanged yet confident object, they are in the perfect position to help Mirabelle by being in her almost exact position, both sexuality and transgender status (albeit, with the caveats of potential alloromanticism, and a they pronoun), that they become her ideal foil. (And in fact, the subtle differences between their positions in canon add to this, showing a display of Perceived Genuine Truth, rather than simple in-group camaraderie)

Whereas…

ISABEAU.

When Mal du pays speaks as Isabeau, it says the following;

"I don't want to know someone who won't even try to change, who luxuriates in things staying the exact same like you do."

I don't want to know someone - Shame of being known, that's Isabeau's insecurity. Reflected back at Siffrin, who has become the worst thing imaginable to each of their friends, in Siffrin's own mind. He absorbs their insecurities like a sponge and incorporates them into himself. Empathy turned ill.

Who luxuriates in things staying the exact same - Now THAT'S interesting. This is not Isabeau's insecurity, it's Siffrin's own. But also, it appears as if, Siffrin, whom to Mirabelle was unflappable in that not changing was alright, has internalised some of her worry. That it is MDP's Isabeau saying this, though, shows this is about Personal Change, perhaps even Specifically Gender and Self Image, rather than Mirabelle's spiritual side.

Isabeau and his distinct change in personality and gender, to become someone who he actually likes… Diametric to Siffrin, who has been stagnant for a long time, presumably as far as they can remember. It would seem to imply they have no recourse against this argument. Siffin becomes, in his mind, the opposite to Isabeau, a man he deeply admires the bravery of when told the story of his Change. These are Siffrin's words against themselves, that they consider themselves to have never even 'tried' whatever it is they think Change to be.

So. These are my main points vis a vis: Siffrin as a foil. This reading would posit that Siffrin's He/They status is, well, almost accidental? Which I would imagine befitting of them. They are, at the start of the game, still the mysterious rogue who never elaborates upon anything. They aren't going to be correcting a they/them from a teammate who is likely far more cautious about assumptions.

Notably, Mirabelle excludes Siffrin from the label "man" in the bathroom monologues… But as does Siffrin when in the prologue poem room. Though one needs remember, Siffrin only expresses these thoughts internally.

[Image: Bathroom conversation featuring Isabeau identified as the party's singular man]

[Image: Prologue!Siffrin expressing that they are not a man in very certain terms.]

While I do wonder what Mirabelle's knowledge (or lack thereof, potentially! Did Siffrin actually divulge this to her, once? Or is she making assumptions again?) is here, this is pretty clear evidence that Siffrin doesn't see themselves As A Man. (that, and Adrienne's word of god "fella" comments). I'm sure you can see where I'm going with this… but.

The thesis here is, that Siffrin may want to explore their gender further; doesn't feel connected to Masculinity, and yet, keeps that He pronoun around? Well, the Universe does not, in Siffrin's mind, really allow for personal wants and desires. If their friends start they/themming them, then cool. They like it, but never requested it, so it's the Universe's will. But, asking? Making decisions and requests and rocking the boat? That seems to scare Siffrin a lot. It seems to scare them so much it causes a lot of, if not all of, the conflict in the game. I feel like it's a fair deduction that this aversion to humour their own desires pervades a lot of their existence.

Plus, I think there's meat there. By only allowing Siffrin to reckon with any potential desires to change only after growing closer with the family, you get to explore things like "How does Mirabelle feel that even the person who said she didn't have to change is changing." and the slightly less potentially harrowing (OR MORE, IF YOU WANT IT TO BE? IDK. I'M NOT YOUR BOSS.) "Isa's continued changing allows Siffrin a space to explore it, maybe even just by proxy, or maybe by joining them."

But mostly, this section is about how Siffrin not having Changed Yet makes them delightfully strong narratively; allowing them to relate to Mirabelle, and get cold feet when comparing themselves to Isabeau. I love this as a narrative strengthener. It's very rare in media that we get to explore a nonbinary character's thoughts and insecurities on whether or not they're "doing enough" to be nonbinary. Even less so Aligned nonbinary people. And reading that alignment and insecurity through the lens of a nonbinary person not fully disconnected from their assigned gender at birth? It's a very compelling exploration of a very common and raw and yet underdiscussed feeling, much like the rest of ISAT. I think this is an extremely potent element should it be read this way, and is only strengthened when taking Siffrin's other themes into account.

Speaking of which.

2. SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

HOLDING ON TO WHAT YOU KNOW. (OR KNOW THAT YOU DO NOT.)

I explained above many of my thoughts on the Universe Faith, and trying to keep these two sections separate was difficult, but needed to be done for the sake of clarity. But this section and the above are deeply intertwined.

Siffrin… Holds on to the things they know. They do not know much. But man do they fucking hold. And yet, paradoxically, they are also avoidant about it.

It is made clear in the text, to the point where I really don't feel the need to rehash it here, that Siffrin's disconnection from their homeland is incredibly painful, but that they consider that culture utterly and irreplaceably important to them. They cannot face it, it is too painful. They cannot let it go, it is too important.

Knowing what we know of the Island's irl inspirations (though, word of god, the exact location is not supposed to matter, one can infer it from the text (and I did! within reasonable proximity!)), Siffrin is of an indigenous peoples of some description, more than likely. And at the very least, Siffrin carries with them inherent biases and ignorances that show that Vaugarde's conceptions of things don't quite mesh with their own. Bowing to the Vaugardian way of things could very easily be seen as assimilation, in this way.*

And identity? Gender? Presentation? Role? All of that has a cultural element. There's no telling what specifics Siffrin has lost in that arena, and that's the problem. Neither do they. How paralysing, the feeling, to know that should you change yourself you risk unknowingly erasing another piece of home? I wouldn't blame them for locking it off. Keeping their old clothes, keeping what little they can remember of themselves… It doesn't seem to me a conducive or safe mental space to get experimental.

And the Universe makes for a perfect scapegoat. As referenced in the section above, a lot can be justified should you call it "The Universe's Will", because who's there to call you on it? Hardly anyone. Your divine right to Freeze A Place In Time; Your Deserved Punishment for Wanting to be Loved: All of it the Universe-- If you want it to be. And thusly, if the Universe wanted you to be a certain way, wouldn't you already be? Wouldn't it make you so? (Wouldn't it take away your body, that which makes you human? If that is what it thought of you?) So best to put it out of your mind. Wouldn't want to accidentally wish anything.

But as the game itself puts it, personified by The King, you cannot stay mired like this forever. As Loop themselves puts it, they can "get so fixated, sometimes." At some point they need to allow themselves to grow in whatever direction they need, because in the end, they need to live their life. They don't need to abandon their country, their culture, but they can't let it restrain them either.

(* MASSIVE CAVEAT: im white as fuck boyyy. i cant say shit. im like technically Of The Land im like 90% pictish or something ridiculous like that so my particular line has never moved anywhere but. this is notttt something i have input or insight on. this is all gleaned from reading and listening to indiginous perspectives from wherever they may be. i am simply trying to infer from what the game gives us without inserting my own feelings on the matter.)

3. SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Alright, here's some less heady and purely-thematic points to round things out. And where we'll also address the fucked up star being in the room; Loop.

My last couple of reading points are the most potentially-transfem to me. Or at least the ones that really hammer home, to me, a seeming lack of want to be masculine-aligned.

ANOTHER NOTE ON THE 'NOT A GUY' THING.

Obviously, there is the aforementioned "Not a man/not that you're a boy" thing. This is rather straightforward, but also still pretty ambiguous. You can be masc-aligned and still Not A Guy. But it does seem to be of note that being a guy very much does not seem to be a goal of Siffrin's. I would posit this in direct contrast to… Isabeau.

But not Isabeau's masculinity. I would instead hold it up against Isa's femininity.

ISAT, as a text, has its characters have genuinely different levels of security in their gender identity, and Isabeau, despite still having insecurities, seems super chill on the gender angle specifically! Their internal strife comes not from their 'not feeling like a man enough' or 'hating being a woman', but instead from their self perception as a friendless nerd! Something that seems to be only tangentially related to Isa's gender, really?

The big dumb bruiser thing is certainly aided by being a dude, but Isa still seems completely comfortable referring to themselves with feminine language, calling himself a "mother hen" (prologue) and having "the heart of a fair maiden" (cookie snack time). (However, they also take being excluded from Mira's girly book club as a surprised compliment, implying they weren't expected to be excluded, and find it affirming.) And even further so, Isa states they want to continue changing further and exploring their identity more, being rather blatant that they might lean back into femininity (and more importantly, let themselves be outwardly smart again), since they're starting to feel hurt by everyone assuming they ARE genuinely stupid.

[Image: Prologue Isa calling himself a mother hen]

And man, this is such a breath of fresh air vis a vis representation. I don't think I really need to explain that. A character who's gender identity is driven by chasing euphoria, even if it started out by trying to drive out misery. Isabeau's character is so damn good. But this essay isn't about him, so get back in the crate, boy.

... So here we have Isa, who is genuinely comfortable reclaiming things about their birth gender, and Mirabelle who loves her traditionally feminine traits to the point where she feels a little guilty that she isn't rejecting them to foster change. And then we have Siffrin… who seems to reject masculine language…? Hrm… (… And then we have The King. A Masculine Title. Someone who Siffrin increasingly sees themselves in and deeply, deeply dislikes this.)

APATHY AND SURVIVAL

It should be clear by now that I see Siffrin's core character as being driven by avoidance and survival. This seems to lead to a lot of apathy, brushing off emotions that are too intense or events and occurences that are too painful. (See: just absolutely everything with Bonnie)

It's all Siffrin really seems to be able to do to Survive. They've travelled, seemingly alone, for what would be around a decade by what the game says about the island's disappearance. They've lived alone on the road as a traveller in a country that so openly welcomes strangers that THE KING and his whole motives can happen. Siffrin is avoidant and refuses to acknowledge problems or strive for help and comfort.

So. That line about the dress. Let's unpack the line(s) about the dress.

THE DRESS LINE, AND THE WAY IT CHANGES BETWEEN PROLOGUE, ACT 2, AND ACT 3.

Good god where to start with this. Full disclosure, the first draft here was way more vague in how I approached this line because I remembered it (and another line, I'll get to it.) way more tame, but going and getting the screenshots..... Siffrin. Buddy. We gotta unpack this.

In act 2, we have "You haven't worn a dress in forever!". This is a neutral, if seemingly a little joyous statement. All we really glean from this is the information that Siffrin at some point, wore 'a' dress. No real inferences there. (Maybe you could say that the singular as opposed to plural makes it more likely that they borrowed/only owned One Dress rather than owned several? But that's a massive stretch...)

Then, act 3/4 shuffles this off into a more general "You wonder if you'll ever wear different clothes again." Which is a more despairing and distant statement. Considering Siffrin seems to travel with only the items they can carry, and owns sleep clothes... It's unclear how many changes of clothing they have. The party seems to consider the cloak a pretty permanent fixture, anyhow. But this line doesn't really say much aside from 'oh god i'm losing myself to the time loop malaise'

NOW THE PROLOGUE. Prologue Sif, buddy, pal, Loop, if I'm allowed to call you that....

Thousands of loops in. We are wistful for specifically dresses. You've forgotten almost everything. You dream about someday seeing the sun again. To be anywhere but here. You want to wear a dress again.

I. Kind of do not know what to do here but point at it. Like I said, my first draft had me half-remembering the progression of this line and as such I was far more vague on what I thought it could imply. Instead this is just straight up yearning.

To, try and segue back to what I had initially written, we'll pick up here...

Siffrin expresses a want to wear other clothes, explore changing their body... But instead, they wear a ratty old form-covering cloak that keeps them warm and safe and is a last reminder of home. They are shapeless, formless, hiding their face under the brim of a wide hat. They do not voice their desire to wear a dress aloud. They once again, keep a desire to themselves, because they do not allow themselves to want publicly. Apathy is safer. Apathy and quiet means you do not risk retribution or hurt.

While I do not think the above is exclusively a transfeminine feeling, it really, really reads like one when taken part and parcel with assuming Siffrin has denied themselves prior exploration.

... And here I have to break my first draft again. I was being, once again, restrained in my reading when writing this. Because I had convinced myself I had maybe straight up imagined one of the lines I was basing my reads on, because I couldn't find it. Because it was a line that read so strikingly desolate to me that my brain had slotted it in during Act Five, meaning when I went looking for it neither me nor my friends could find it.

It's in acts 3 and 4. It's a line I already brought up.

"You're thinking about crafting your body. You seem to have all the time in the world now."

good fucking christ. sorry to break the academic tone but Jimminy Fucking Willikers, Siffrin. What's with that bit. The resignation and despair and guilty comfort we know the timeloop brings them, bleeding into the gender.

This. *taps my finger harshly on my desk* THIS, this feels transfem. this feels so wildly transfem to me. The knowledge that they've never changed before this line lends. The admission that they've been holding back because it's 'too much work'. I spent a lot of time during the game relating Siffrin not to myself but to my friends.

If I'm honest, really, truly, I'm not all too often in Siffrin's shoes. I'm the stable one, of my group. I'm the rock people ground themselves on. And I see so much hesitance, all the time. Denial of joy because what if it's taken away, again? Or futilely out of reach? It hurts more to try, and to fail, than to never try at all.

I wanted to shake Siffrin by the shoulders this whole game. Grit teeth beg them to accept help because for fuck's sake people are clearly offering it get it through your skull--

*coughs* Ah. Ahem. Right. The uh, academic tone.

Right. What I mean to say is, this read as transfem to me because of the way it relates to real-world experiences of denial. And this combo of the Dress line, and the progression of the Meat Prison line, the constant evidence of never having strived for what they want, and that insistance that you're not a man, seem to dislike being percieved as a man, but not being able to shed the outward signifiers?

Individually, yes, these points can be read in different ways. The total opposite ways, even, I'm sure! But as a gestalt it feels really, really transfem. Even if yeah, sure Vaugarde is a magical setting where being transgender is accepted, and this hesitance, specifically, around gender, might not 'make sense' in 'the lore'...

Diegesis isn't everything. Sometimes something that reflects a real-world feeling is important, even if it doesn't 'mesh' with 'the lore' of the world.

TANGENT: DIEGESIS AND READING INTO NON-REAL-WORLD-SETTINGS.

This is a Watsonian vs Doylist spectre that's been haunting this whole argument. In-universe (Watsonian), Vaugarde has seemingly no discrimination between genders, sexualities, and a lackadaisical approach to most things in the arena. Reading our own patriarchal/heterosexual/amanonormative/perisexist society unto it does not make sense, not in this context.

In the real world, however (Doylist), ISAT is a text made in our prejudiced society. A text that is distinctly flavoured by those bigotries which it is kicking back against. Because of this, it is not the whole story to simply read the text while discarding our real-world-informed inferences. Isabeau is a big example of this. While perfectly accepted in Vaugarde, he is very obviously a revolutionary character in our real-world space! He has so much to say, specifically BECAUSE things about him that are not readily accepted here, are accepted there! Same with Mira's struggles, and yes, Siffrin's too.

ISAT was written with the knowledge of how it would play against our real world in mind, we know this, clearly, from many an interview. This is most present in how it engages with asexuality and aromanticism (and immigrant identity), but make no mistake, it influences the Whole Text.

Ergo, just because I view certain writing choices here in the context of Our Real World Perspectives On Gender and not Vaugarde's In-Universe Perspectives, it does not make them an invalid read. They are simply a Doylist read.

There's been an admittedly loosey-goosey lack of delineation here between things I'm reading with either lens, because for the most part all of these points have been a vague synthesis of both that I can't quite decouple. Unprofessional, I know, but I'll admit to not having written my thoughts down like this in a good long while. Usually I just hash this out verbally over discord voice to a small number of weirdo literature and classics student friends who are willing to humour me. I'm an arts student too, but animation hardly required I actually write an essay to a literature degree's standard. Lol.

DE-PERSONING. AND LOOP. OH JESUS . LOOP .

Siffrin de-persons themselves a lot. I say de-person rather than dehumanise because, well, there's a subtle difference there. Siffrin doesn't see themselves as vermin or an animal or an object, but they do seem to see themselves as lesser, not requiring the respect they grant others. They aren't, you know, a 'real person'.

People get to have things like thoughts and wants and identities. Siffrin is, at best, Just Siffrin. They have what they have and they don't ask for more and they don't (CAN'T) feel too strongly on what they do have!

When Loop at first offers their pronouns they offer the Royal 'We'. This is at least a little bit, a joke. A nudge toward their true identity, a potential dig at themselves for becoming so understanding of The King. Mostly though, a joke on the first thing…. and a sign that they do not see themselves as a separate entity to the Siffrin stood before them.

When Siffrin rejects this, they settle for they/them. Loop drops the he/him, presumably partially to cover their tracks, but… They just showed their hand with the 'Royal We', and if you wanted to go even further with this, there's no way for us to know whether Loop is treating this pronoun as singular or not. They presumably are, but it is still a potentially plural pronoun.

Loop… Clearly does not see themselves as a person. It's, I would say, a completely reasonable assumption that the form they have taken reflects implicit feelings toward themselves as less than a person, an actor, a monster, a tool, a means to an end. They are rendered inhuman by The Universe, frivolous distractions removed. No mouth, inventory and clothes confiscated, nothing between the legs. Formed roughly in the shape of a person to allow them to do their only job: Help.

Loop's body does not make logical sense, given their continued ability to sleep, dream and their continued habit of deep breaths to self-soothe. It would seem to me, it was made in the image it was, with only the tools it needed to Help Siffrin. Why obfuscate their identity? Because giving the game away too early would likely make them lose hope. Why so deeply, thoroughly star themed? An instant signal, that even if a stranger, they are an ally. They are home.

[Image: Loop saying that they take naps and dream, and evidence of Loop habitually attempting to breathe in the twohats lose-to-loop ending]

And they… Degender themselves. No longer with any bodily signifiers of masculinity, and cruelly disallowed the ability to hide themselves beneath fabric, they are null. The spoiler Q&A (paratext, as it were) states that:

Q. Is Loop: 1. Actually comfortable with both he and they, but only gave the one pronoun to emphasize the distance? 2. Only using they/them because a large life event led to a shift in identity/ how they’d like to be perceived? or 3. time lops stole he from they they :( A. Mostly that first one. But all three of those reasons have a bit of truth to them.

While the 'mostly the first one' comment does imply that Loop would not baulk at being he/him'd (similar to how Siffrin does not), the other reasons, especially the second, having 'a bit of truth' does lend credence to this reading. That Loop's self-perception has shifted, and what I posit, is that this shift is in tandem with a disconnection with humanity. Due, presumably, to the dehumanising experience of the timeloop.

Loop has no biology to speak of, and yet they remain blind in one eye. I take this as an implication that they considered this so core to themselves, to who they could remember being, that it stayed. Even if they had forgotten their own face, trapped in a part of the house with no mirrors, they knew they couldn't see. They kept this, and yet seemingly they, or The Universe, or both of them in tandem, discarded all else.

This isn't like…. Healthy behaviour. That is for certain. But it is interesting that Siffrin and Loop seem to hold on to their masculinity by a thread, and that Loop, when actually given the excuse to make a choice, chooses the Neutral Option. Siffrin might de-person themselves, but Loop, Loop is absolutely dehumanising themselves. From Loop's own mouth (or lack thereof) do they call themselves a Corpse. That's… pretty damn bad.

TANGENT 2: POTENTIAL IMPLICATIONS OF THE JAPANESE TRANSLATION.

Did somebody say 'distance'? Yeah turns out that has some more potential evidence. In the form of First Person Pronouns. See, English, with its third person only pronouns relies on others to gender you. Japanese, you get to gender yourself. And Siffrin specifically has an interesting discrepancy in the way he refers to himself.

(DISCLAIMER: I . DO NOT KNOW MUCH ABOUT JAPANESE. THIS IS SECOND-HAND KNOWLEDGE. SOURCED FROM THIS TUMBLR POST AND OTHER QUICK SKIMS OF WIKIPEDIA)

Loop and Siffrin use the same, very neutral "mostly male but could go either way" pronoun of 僕 boku. Safe, soft friendly pronoun. Used by people on the younger side of adulthood, not so impolite that you can't use it in a formal setting. Such a neutral all-rounder that female singers in japan tend to use boku in their songs to relate to the audience with quiet confidence.

And in their internal monologue? Siffrin uses a completely different pronoun. In his head, for himself, he uses 自分 jibun. Now, this may be an artefact of the monologue's english second-person "You", since jibun can also be used to mean a very neutral "self". A "myself/herself/himself" type 'self'. But when used as a first person pronoun, it has a connotation of being… distant, introspective. Which is… a fascinating implication, if that was the intent.

But I don't know anything about japanese so ! If I'm off the mark, discard this!

LOOP, PART 2: MAYBE NOT A GREAT STATE TO BE IN.

While Siffrin I can comfortably argue that they can like, keep their current gender presentation, whatever you may perceive it to be, once the game is over, Loop, I cannot.

Siffrin's potential issues with their identity are ones that honestly feel like they would best be explored with gentle refinement and searching. They don't need to violently seperate themselves from what they are now, far from it, in fact. They need to learn to grow comfortable in their own skin, and with the people they love. To become open and trusting, with an open mind to where it may lead.

Loop has already lost this battle. They don't get to refine anymore, just pick up the pieces. While I don't necessarily think radical change is Good for Loop, I think they may Need It. For them, resting will probably become stagnation (see: napping all day under the tree, resigned, really, to the idea they're stuck there forever.), they need a shake-up in order to re-find their feet. Even if they end up right back where they started, they still need to do the actual painful process of soul-searching first.

Problem is, they're still rather avoidant. So it basically becomes a question of getting them into a situation where this exploration is forced upon them. At which point, that's a whole new plotline. This becomes fanfiction. Hence, why while I think Transfem-Egg Loop is a Valid Read when extrapolated from Siffrin… I must concede any actual adventures into them acting upon that as headcanon territory. I just do not know how you would get them there without making a whole new Thing, at which point it stops being Just A Read of the text haha. It doesn't help that Loop and Siffrin (grudgekeepers supreme) both have reason to spite the Change God after who was phone.

As for whether this egg-read reflects directly back on to Siffrin? Maybe! They are the same person. But I think that, especially with Vaugarde's lax views, and their actual differences (Loop's general worse mania // Siffrin's incentive to stay a reminder to themselves and Loop of their country) means they could easily go two different routes, along the road to becoming their own distinct individuals. (And in all honesty, growing into their differences is probably the more healthy option in the long run if you're keeping Loop around? But again, we are going so far into the future here this is no longer a read. And I am not here to dispense baseless headcanons without massive disclaimer, so…)

Tl;Dr:

Siffrin's Survival-Apathy and hesitance to change feels really thematic to their being 'what's left' of their homeland

They seem unsettled by the flippancy of the Change Religion at times, clinging to the familiar to cope with the trauma of displacement.

Mal du pays speaks of them that they have not 'tried' to change, showing an insecurity there, even outside of the literal stagnance of the loops.

They are self assured to Mira that one does not have to change, in a very genuinely personal impulsive statement.

They and others exclude themselves from being "A Man", but Siffrin keeps desires to explore their expression to themselves.

The Universe belief, seemingly in Siffrin's view of it, disincentivises Free Will and Wants very heavily. It is not hard to assume they extend this to all elements of their life.

They have self-admittedly never pursued tangible change, likely due to this aversion to choice. Despite this, they express interest in changing, seeming nonplussed with their body, and house at least some desire for more traditionally feminine expression.

Oh Good God. Loop Sure Does Not Treat Themselves Like A Person. Why Does That Come With A Pronoun Change? What Does That Mean?

But most of all:

It makes them such a fascinating foil and lens to Change and characters who believe in it! It makes them eerily similar to The King! It opens up such fascinating debate between characters like themselves and Mirabelle, Isabeau and Loop, on whether or not they want to change in future, or if it truly is okay to never radically change yourself! What genuinely fertile ground for dialogues. And man if I'm not heavily drawn towards dialogues.

(End of essay! Congratulations for making it the whole way! 🎉 I hope this nightmarish deep dive helps with understanding some of the ways I've been writing Siffrin and Loop too. Since while I've not ever focused on the gender side of it (and probably won't in comic form) this does pervade my view of the two, since it would be impossible for it to Not. As you can see, I do think it is pretty relevant to both their themes.)

(Now for some bonus material)

ADDENDUMS:

PERSONAL BIAS NOTE:

Not included in this analysis since this is more a Pet Theme of my own (usually kept quarantined to the realms of my OCs), but something else I see in Siffrin is a reflection of the Dude Issue(tm) of patriarchal irl society disincentivisng Dudes(tm) from ever fucking introspecting ever.

I'm curious about nonbinary/trans characters who have no idea they’re nonbinary/trans because they’ve been disincentivised from thinking/doubting their identity due to societal power structures or simply tradition. I dig around the themes of “a lot of guys are trapped in a societal prison without ever knowing and it makes them miserable but they can’t escape because they don’t even see the cage” like, a lot, in my personal work. It intrigues me. So bleh, cards on the table there. That mode of interacting with nb/trans characters is one I'm inclined to.

This kinda goes hand in hand with the watsonian vs doylist situation i took an aside to mention. But it is so far along the doylist side that I didn't want to include it, since it is a little too assumptive of the text for my comfort. I don't think the game necessarily has much commentary on this specific Societal Bind. But if it does, then hey, there's my thoughts on it.

STRAY SIDE NOTES AND HEADCANONS ABOUT OTHER CHARACTERS (AS A TREAT FOR GETTING THIS FAR):

MID-GAME OBSERVATION ABOUT BONNIE AND ODILE THAT I NEVER WENT BACK TO VERIFY:

I got the impression that Bonnie heavily favours they/them pronouns for Siffrin, and Odile he/him, as a bit of presumed character voice. I don't know that I am right, literally at all, in that observation, because it very well could've been confirmation bias.

BUT! It did give me the impression that one of the things Bonnie was idolising about Siffrin was a degree of "wow!! older person with my gender!! wow!!", which is just like, cute. I like it even if I don't have any solid evidence.

ODILE, WHAT'S HER DEAL?:

Oh she stays just as mysterious as she intends to be, huh? Even with her comments in the Changing Room alluding to knowing things about underground changing operations, you can't draw much of a conclusion about her. I appreciate verily that she's word-of-god unlabelled and also poly. That shit's great. Woman who has stopped drawing lines or caring what she's up against. Nice characterisation flavour I think.

Anyway, I do think that transfem Odile is a really, really nice take. I have no evidence in either direction for her in either direction, and her being a woman of any description makes her relationship with her absent mother something interesting to chew on, but the idea that she pursued womanhood intentionally lends an interesting texture. I've not much to say, but it's a thread to pull on. Makes you wonder what other female role models she had in her life instead. Anyway she's mysterious as fuck I can't extrapolate Jack nor Squat. Shrug! I'm also made curious by the idea of her potentially moving away from womanhood as she feels the weight of her history lifted. This goes either way, really. Diagnosis: mysterious.

HEADCANON NOTE: INTERSEX SIFFRIN

I don't have any in-text support for this so this entire thing is an unbased headcanon to me. but i DO like it because 1. fun and 2. potential for more thematic exploration

haha gotcha its fuckin themes again. its always themes with me.

But yeah. Not much to say here besides drawing a parallel (that I believe I've seen drawn elsewhere in the fandom already?) between ISAT's comments on how a society that values change would view Aroace identities, and how Mira feels about not wanting to change with the real world experiences of Intersex people having alteration and conformity forced upon them, saying the Change Belief would likely be just as bad for them as it is for aroace people.

So, adding it to Siffrin's situation further drags them into the opposition-to-change foil role. Which like I said, think has a lot to explore.

HEADCANON NOTE: A POTENTIAL METHOD FOR GETTING LOOP OUT OF THEIR GOD DAMNED COMFORT ZONE

I think utilising Loop's contrarianism is an effective and funny way to get them to explore their gender. I personally think running with them trying to hide their identity from the party is a hilarious way to do it. Having them try to position themselves in direct opposition to Siffrin to "throw the party off their trail" (not that i think they really need to?), going full feminine-revealing-clothing because it's NOT what a Siffrin would do and accidentally growing accustomed to it. Funny to me. Especially when the party eventually do find out who they are and go . "????? what was the girl stuff about ??? is that something you wanna do now ???".

[Isabeau] "Ohhhh it was a bit! Haha you really are Sif, still a jokester!" [Loop] "HAHA YEAH . JOKES. LOVE THOSE. LOVE TO MAKE JOKES!" [Isabeau] "Yep! Anyway. Tell me if you need anything!"

Bonus bonus:

[Siffrin] "Okay, so, if you're a girl. Does this reflect on like… me?" [Loop] "No doubles. Get your own gender, parasite~!"

#oh my god this is like 6k words what happened. well you can't say my claims are unsubstantiated i guess.#lucabytetalks #fuck dude i sure do !!!!#i have to assume a lot of other people picked up on exactly what i did too but i dont read other peoples meta very often so !!#i am simply shaking hands with anyone else who came to this conclusion. hi. sometimes its just fun to construct a small essay i guess #i have like no goal putting this out here other than like. For The Sport of Writing Out Media Analysis. so if it makes anything click #in peoples minds or actually sells them on this reading then that's just a bonus i suppose #in stars and time #isat analysis #isat meta #isat siffrin #isat loop #isat spoilers #2hats spoilers #lucabytewrites #welp. no idea what else to tag this. be free and into the wild my gigantic ass post.#is some of this redundant? probably! but cmon man its a tumblr essay i can't format it perfectly. sometimes points get repeated #anyway this post is lagging out my tumblr drafts now i have to post it oh god oh christ i hope nothing goes wrong #edit: i forgot i made the lucabytewrites tag a while back for purrgatorio this can go in there too

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sonknuxadow · 1 year ago

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sorry i dont really like the shadow is silvers dad theory/headcanon/whatever and part of the reason for it is that people keep presenting it as an actual thing that could be possible even though it makes no sense and all "evidence" people use to back it up is easily disputed

#''they both have white chest fur'' okay ? there are so many other characters who have small physical traits in common #doesnt mean they have to be related #''shadow and silver are lancelot and galahad in sonic and the black knight'' okay and .#im sure there might be SOME meaning to the character choices in the storybook games but i highly doubt their lives are 1 to 1 parallels #or that the character choices are meant to imply anything about the characters that we dont already know #plus amy was nimue and nobody tries to argue that shadow and amy are related because of that?#also im aware that a lot of dad shadow stuff takes place in the future when silver is a baby and shadow has still been alive for a long tim #(which. how would that even work wasnt shadow in stasis again in the future)#but sometimes i see people do it with like present day shadow being a father figure to the silver who time traveled there ?#thats like the horrible combination of people infantilizing silver in a way they dont do with other characters his age or younger #and people pretending shadow is an adult when he isnt . what #also i dont get why people insist that if shadow is silver's dad then the other parent MUST be someone from the existing cast #like . silver is not from a few decades into the future hes from 200 years into the future #none of the characters youre saying shadow is gonna get with are gonna be living that long im sorry to say #and why does silver HAVE to be the child of a couple in the existing cast why cant he just be some random guy #and im not saying every au idea has to perfectly align with canon #but a lot of the people who think shadow is silvers dad arent presenting it as a fun little baseless headcanon #theyre presenting it as an actual plausible theory . when it really isnt .#also ive noticed one of the most common pairings for silvers parents is sonic and shadow .#sorry but that is just not happening i feel so strongly about sonic never wanting to get married or have kids #i think shadow being an older brother figure to silver could be cute .#and the idea of a timeline where shadow doesnt die or get put into stasis or whatever the hell and is still around in silvers time #could be interesting . but im not really on board with the dad thing

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lv9su · 1 month ago

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K. Bakugo x reader.

Reader has a quirk called chaos control. Your quirk and storyline is based off the character shadow from the sonic universe but ofc not the exact same.

PART 1, DESCRIPTION AND BACKGROUND UNTIL PRESENT TIME.

Y/n can teleport, fly, fire bolts of energy - chaos spears, and blast giant explosions - chaos blasts. Because of the strength of the quirk you also have enhanced speed, strength, stamina, durability and combat. When I say enhanced speed, I don’t mean it lightly either.

Y/e/c eyes turn red when you activate your chaos energy, so they glow red a lot of the time. And y/h/c hair has natural red highlights in them.

You have to wear limiter rings around your wrists and ankles to control the chaos energy, and your shoes were specifically built for you, air gliders.

For 50 years you were frozen in time. Too strong to kill but also to valuable.

This was before quirks were common, you were kept as a science experiment. And your only friend, another guy with a quirk, you never knew his real name, you were both given names there, he was named sonic. You were named shadow. You never forgot your real name, y/n, but he decided he didn’t want to have the name given to him by a family who didn’t want to fight for him.

His quirk was enhanced speed, you were fast but he was the fastest being in the world.

The were brothers who frequented at the lab too, you never knew why but the younger one - yoichi shigaraki and his older brother, his older brother only went by shigaraki, and they were related somehow to the doctor, you never knew if it was because they also had powers or because they wanted to work in the same field, but you never cared to ask.

Yoichi was nice to you and sonic, he took you out of experiments when he could, snuck you food, played music. He became someone you could trust.

One day, tests were being run on you and your built up energy caused an explosion in the lab, taking multiple lives, the military immediately shut it down, sonic was killed before you, just like everyone else.

For 50 years you were trapped in stasis. Every single day replaying the memory of your only friends being shot.

When you woke up, you fought every military guard who came at you and escaped the prison to the closest city. Meanwhile, in the new surroundings, cars crashed around you as you stood in the middle of the road taking in the city, being cooped up in the lab most of your life you never realised how bright cities were.. how different they looked to the movies you watched.

A group of ..heroes? Came to the area. They looked abround your age, 16/17 with two older guys, one with long black hair and a long scarf around his neck, the other with blonde hair sticking up like a bunny. But they were with the military, they wanted to put you away again. You began to hover above ground and your eyes glowed red,

“Who are you? Why are you destroying this city young lady?” The blonde bunny hair man shouted up, his extremely muscular arms now resting on his hips. The ones your age stood behind him.

“The ultimate life form.” You tilted your head, examining the people before you, their faces twist in shock hearing what you said.

“What does that mean?” The older man with black hair asked.

One had green hair and a green costume, one with spiky blonde hair and a black and orange costume, one girl with pink skin, and one boy with yellow hair and a black lighting strike through it.

“Your a colourful bunch.” You glare down at them.

“..you don’t know who we are?” The pink one cocked her head.

“Your just wasting my time. Walk away, before you get hurt.” You clenched your fists, feeling your energy begin to build up.

“Easy there young lady! We don’t want to fight you.” This man raised his arms, seeing how you were just a kid, you didn’t know where you were or who anyone was, you just had a lot of ..anger.

“Yeah speak for yourself.” The spiky blonde one grumbled,

“Not now young bakugo.” He whispered.

“Why don’t you stop throwing cars for a second and come down to talk.” The man with long black hair shouted up,

“You all came here to hand me back to the same people who trapped me. There’s nothing to talk about.” You turned around,

“I’ve had enough of this angsty bullshit. How about we talk with our fists.” The boy referred to as ‘bakugo’ leaped up using explosions, his companions shouting for him to stop..

You teleported in front of him, grabbed the hand he’d brought forward to attack and twisted it. He practically growled, then, while still in the air you teleported everywhere around him punching and kicking him about before blasting him to the ground, you threw him so hard the ground broke when he collided with it.

“No way..” the green one muttered,

“Looks like bakugos met his match.” The yellow one with the black stripe added with wide eyes,

“She’s kinda cool” the pink one whispered, so the pros wouldn’t her her.

The green one and the teacher with long hair ran to him, clearly beaten.

You hovered in the air for a moment before blipping to the ground.

“Who is this girl..” the green one muttered again,

“Hey, you can’t take us all at once.” The yellow one smirked, charging lighting around his arms.

Soon enough him, the pink girl and the buff man were all in the ground the same way ‘bakugo’ was.

“Okay she took us all at once.” He spoke almost slurring and fell back down.

Beginning to hover again you look behind you “don’t try to follow me.”

—

Hours later back at UA, the pro heroes were having a conference.

You were a threat to Japan yet no one knew who you were, what your motive was and you were confused about everything around you.

“With her powers of teleportation, her speed, and those blasts.. she seems to be invincible. We need to get her on our side and make her realise all for one is lying to her.” All might says at a conference.

“That could be used for good. This is the first we’ve ever heard of her, yet we don’t even know her name.” Midnight mumbled.

“I’ll try to see if I can find anything out about her tonight and I’ll report back tomorrow.” Aizawa mumbled,

—

“You should have seen the way she handled bakugo, all might, Mina and Kaminari… it was like they meant nothing to her. It was insane.” Izuku rambled to the others in his class.

“What did she look like?” Ochako asked,

“She had y/h/c hair but with red streaks here and there, and whenever she used her quirk her eyes went red. It was strange. But she was really pretty.. and looked about the same age as us so I don’t know how she ended up the was she did. But she didn’t even know all might..” he rambled on again,

“Wait what do you mean she didn’t know all might? Everyone in the world does, has she been like ..living under a rock or something?” Sero asked,

“She didn’t know any of us. She didn’t recognise the city, nothing. But she hits hard that’s for sure.. I felt kinda bad though, she was dark and broody ..it was sad.” Mina pouted.

You were the talk of Japan. But nobody knew who you were. Except for AFO. Now he could use this to his advantage, and only the wielded of one for all could tell the truth about yoishi, and who really started the attack.

—

#bakugo x reader #katsuki x reader #mha x reader #sonic the hedgehog #shadow the hedgehog #mha x sonic #bakugo katsuki x reader #izuku x reader #deku x reader #aizawa x reader #denki x reader #kaminari x reader #my hero acedamia #bnha #bnha x reader #my hero academia crossover #sonic crossover

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silverthehedgehogexplained · 2 months ago

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Explaining Silver the Hedgehog's Backstory

One of the most confusing subjects in the Sonic fandom is Silver’s backstory, the chronology of Sonic 06 and how it affects the characters. So in this post I’ll go over what we know about Silver’s backstory, its effects on his character, his involvement with Blaze and how the ending of Sonic 06 affects them.

Silver was born 200 years into a devastated future ravaged by the Flames of Disaster Iblis. The sky was always dark and the world was filled with endless wastelands ravaged by constant disasters and hostile Iblis spawn. The people are exhausted and live without hope. Iblis rampages and burns everything in its path. Silver has fought against Iblis for most of his life and tried to find the source of the disaster for just as long but no one could tell him how the world came to ruin.

This backstory informs Silver's character in the following ways:

Silver is a warrior. He is proficient in and enjoys fighting, has very aggressive determined expressions with constant fists and is a noted fighter(Shadow describes him as a fighter in Team Sonic Racing) whose power is respected by Sonic and Shadow. Silver is extremely powerful and capable of defeating small armies of enemies and giant monsters by himself. This stems from his apocalyptic background in the hostile future filled with Iblis minions and disasters such as flame tornadoes that he had to battle constantly. When you surprise him in Generations he is instantly ready to fight and angrily looks around, he comes from a world where all manner of Iblis spawn could attack at any given moment. It is explained in Silver's introduction story on Sonic Channel that Silver fought and struggled for half his lifetime, indicating that Silver fought against Iblis and its forces from a very early age.

Silver is naive, he has a black and white perspective and tackles things bluntly. He expects people to believe and cooperate with him when he says he’s from the future or explains outlandish things about his mission. He is earnest, he has no filter and acts unrefined when talking to people(which in Japanese is signified by his use of the informal "Ore" and "Anta" to address himself and others when he speaks). He sometimes takes things literally, misinterprets things or doesn't get jokes. He can also be unfamiliar with things in Sonic's time period. We don't know how people lived in the apocalyptic future or what they did and didn't have access to but it seems to be very rudimentary, destitute and even militarized as one of the glimpses into Silver's future from Sonic Pict shows him eating calorie bar rations that are described as apple flavored. Related to the above, Silver likely spent the majority of his time fighting.

Silver is also very pragmatic. He has a straight to the point mindset and hates distractions, frivolous details or just things getting in his way. As a survivor there is no room for pointless things for him.

On the flip side of that however, Silver is also wide-eyed. He loves challenges and experiencing fun new things he never had access to and is said to engage in cheerful activities following the historical change of 06.

Silver is incredibly optimistic and hopeful. He was able to fight through the hopeless ruined future world because he had the hope for a blue sky and the determination to keep fighting when everyone else had given into despair.

Most importantly of all however is Silver's deep love and drive for peace and prosperity. Silver is a very empathetic person that cares deeply for the state of the world and people around him. Note the beginning of his story in 06 where he expresses outrage at the state of his future with dark skies, endless wastelands and people that live in despair then contrast that with his later dialogue throughout the series where he expresses love for blue skies, beautiful vistas or just places where people live happily. Something as simple as a desert is beautiful to him simply because there is no destruction and the people are happy. Silver particularly loves and desires to protect smiles and blue skies because he came from a world that is stated to be filled with darkness and despair according to Sonic Team's Sonic Channel stories. Silver fights for peace and prosperity for the world and its people because he has experienced quite literal hellish suffering and devastation.

I also want to emphasize that Blaze isn't part of Silver's backstory and he didn't have her in his life in the apocalyptic future. Sonic Team head Takashi Iizuka confirmed that Silver and Eggman Nega originate from the future while Blaze originates from her dimension and writer Ian Flynn has confirmed that Sonic Rush takes place before Sonic 06 with these answers on his podcast.

"I can't get too much into it because this is kind of internal stuff that has not been clarified publicly but Sonic Rush comes first, the Blaze of 06 is the Blaze of Rush and she doesn't die, she turns into Burning Blaze and warps back to her own dimension and forgets the events of 06."

"I don't know how much I can get into it without being given the official go-ahead, but Blaze is not from Silver's post-apocalyptic future. She is from her own dimension and it's extremely nuancey, but she doesn't really see or interact with Sonic until like the very very end of Silver's campaign. It's...an incredibly narrow loophole but she doesn't necessarily know that it's Sonic they're after. Again I'm sure someone can tear that apart very easily but suffice to say, I believe the intention is that she doesn't know that Silver is targeting Sonic specifically and she has no interaction with him or really anybody else in the main cast for that reason."

Meaning that Silver and Blaze only met shortly before the events of 06 and Silver faced the ruined future on his own before that point.

Things are gonna get a bit complicated here but Blaze only temporarily appearing in the future before being ripped away from Silver actually ties into their Tanabata parallel. In the story of Tanabata, Orihime(the princess) only descends to the world of Hikoboshi(the cow herder) for a short while before they are separated for neglecting their duties. At the end of Silver's story, Silver neglects his duty by refusing to seal Blaze away and so they are separated, only to ever meet again when crossing paths in Sonic's world.

When arriving in Wave Ocean, Blaze notes the world of the past. This is because Blaze seems to actually have amnesia.

According to Ian Flynn, the reason why Blaze was kept away from the cast besides Silver in 06 is as a narrow loophole to keep her from realizing it was Sonic they were after. In a 2012 Q&A for the Sonic Boom convention, Sonic Team Creative Officer Takashi Iizuka stated that the characters in 06 had amnesia and at the end of the Metal Virus arc in IDW we learn that rough inter-dimensional travel can cause amnesia which happens to Sonic when he crashes into Blaze's dimension. Blaze then reawakens Sonic's memories by reminding him of his super form, something that Blaze was kept from in 06.

What happens with Blaze in 06 as I understand it is that at some point prior to the events of the game Blaze was transported to the future where she developed amnesia upon arrival before joining Silver in his war against Iblis. They are deceived by Mephiles into trying to assassinate Sonic before Silver learns the truth and returns to the future to seal Iblis away, he is unable to do so however due to not being a compatible vessel and Blaze seals Iblis and herself away instead. Following the defeat of Solaris and the subsequent historical change, Blaze warps back to her Dimension and forgets the events of 06(according to Ian Flynn).

Silver also warps back to the future and forgets the events of 06 but not his apocalyptic life under the devastation of Iblis, only the events of 06 itself and his original partnership with Blaze which was clarified in his Fast Friends Forever profile that states he can't remember how his future was restored(as in the events of 06).

So yes, the ending of Sonic 06 doesn't change Silver or Blaze's backstories. Silver is still the apocalyptic warrior from Sonic 06 and Blaze is still the imperial princess from Sonic Rush before and after the events of 06.

The endings of both Silver’s Story and the Last Story of 06 tie into the game’s themes of duty, sacrifice and exchange.

“Do we have to sacrifice something in order to gain something?”

To gain something you have to lose something, to become a hero you must be willing to make sacrifices. Blaze sacrifices herself to save the future and in exchange for the peaceful happy future he always wanted, Silver, alongside everyone else, loses their memories of the events of 06.

But Silver's duty doesn't end there. He continues to protect the peace of the future as new disasters and changes in the timeline occur, and just like with Iblis, Silver will continue fighting them for a peaceful world.

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