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hajimedics · 1 year ago

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On Puppets, Agency, and Fate

I’ve been writing this thinkpiece for around a week while looking further into Welcome Home’s symbolism through queer/neurodivergent lenses; strengthening my belief that its themes of freedom and fate cannot be separated from the struggles the characters face as queer/neurodivergent folks.

This writing is going to be a mix of canonical content and my personal interpretation as I make many connections to various readings. Not to mention that the story is very far from done according to the words of the creator himself, so please take the things I say with a grain of salt.

You can view this thinkpiece in Google Docs format here.

CW: mentions/discussions of homophobia, transphobia, ableism, and abuse

I've always adored explorations of humanity and their deteriorating, fluctuating psyche through characters constantly challenged by the narrative (example: Phos from Land of the L*strous, Kris from D*ltarune, Guts from B*rserk, Mae from N*ght in the W*ods) and how they struggle to find their place in the world and freedom. To progress, humanity has always desire freedom. Freedom of expression. Freedom to think. Freedom to honestly, unapologetically be who one wants to be. Humans and humanity are not always synonymous. Welcome Home is a case of this too, its ensemble cast consisting of puppets.

Clown has stated that themes of being queer/neurodivergent are very integral to the story in many aspects, from the characters to the metanarrative. I want to talk about the things I've noticed, the analogies they carry, and how every character's identity contributes to the themes or the story.

First off, the neighborhood.

The neighborhood in general

From the perspective of Welcome Home Puppet Show’s creators, the neighborhood is the idea of a perfect, idyllic community through the lens of cisheteronormavity from the 70s. It is something out of a children’s dream with the colorful imagery, the peaceful yet eventful neighborhood filled with fun activities where everyone in the neighborhood is happy and there are no realistic problems like capitalism, oppression, relationship problems, sickness, and death. Of course, it’s the given obvious because this is a puppet show we’re talking about. A show aimed at kids.

Everyone has a role to play in the neighborhood – the shopkeeper, the mailman, the baker, the bug nerd – they all fit the traditional, stereotypical, cartoonish American mold of what the dream urban life is like in the 70s (and it still is in my small hometown, in Indonesia! We’re quite traditional in a sense) especially with the lack of serious overarching threats of aforementioned human problems.

Welcome Home first aired on 1969 and abruptly ended on 1974. A possible theory is that they cannot keep up with the competitor shows at the time (Sesame Street started on 1969 and The Muppet Show started on 1974, fun fact!), but seeing the amount of merchandise they put out and the way it stood out from various angles, this theory can be thrown out the window. The “about” page for WHPS also describes the show as well acclaimed and doing well during its runtime.

Another one is that the sentience of the puppets (and their desire to have autonomy over their own lives) have possibly impacted the writing of the story, given how they have their own identity outside of the one given by WHPS’s writers to them. Even more when you take into consideration that WHPS is produced during the era when LGBT history in America is at a major turning point. As cited from The Atlantic:

“Those years that followed, the decade of the 1970s, represent a remarkable period of transformation for gays and lesbians, particularly those living in America's coastal cities. At its core, that transformation was about visibility. During those years, there was the first gay television movie (That Certain Summer); a sexy on-screen kiss between two men in Sunday, Blood Sunday; and the release of Cabaret, which has been hailed as the first movie that "really celebrated homosexuality.

There were gains in politics too: Edward Koch, then serving in Congress, "became one of the first elected officials to publicly lobby on behalf of the homosexuals of Greenwich Village," Kaiser writes. Gay Pride Week was established. Perhaps most significantly: In December of 1973, the board of the American Psychiatric Association* voted 13-0 "to remove homosexuality from its list of psychiatric disorders."

The laws that no longer criminalizes or dehumanizes queer folks are being written. Changes are made. Even when LGBT movement was going on a fairly optimistic path, oppression and bigotry towards the community was still rampant. After all, oppressors just can’t change their views in a whim! Their hatred comes from their own thoughts and not because the higher ups told them so.

I won’t turn this into a writing about queer history instead of focusing on Welcome Home. Though, I think it's all worth mentioning given the things I'm going to discuss here and how Clown stated that these themes will become prevalent throughout the story. I decide to write this thinkpiece as an outlet for my thoughts and how I connected many of the story's aspects to the themes of freedom – both from their status as puppets and their identity.

Now that the overview is out of the way, time to bring in the big guns.

The neighborhood and Playfellow Workshop

If we take Playfellow Workshop's involvement in the characters' lives outside of episode recordings, Welcome Home becomes a huge transgender allegory, wrapped in a neat colorful package called "being puppets whose view on the world is much more narrow and simple in which they are controlled by beings above their comprehension".

Playfellow Workshop is the company that creates WHPS and owns its characters. They act as the "parents" to the "children" – WHPS' characters – in this comparison. They house the characters, have them as their responsibilities and assets, and, as any show production goes, they most definitely have staff that takes care of the puppets to see if there are any rips or tears in their bodies, making sure they are fit for the show production. It's just like how parents house their children when they cannot afford housing or live on their own, taking care of (or rather monitor) them, giving them shelter and food.

They are controlled both literally and figuratively by Playfellow Workshop – former because they're hand puppets made for children's entertainment and latter because of their status binding them to their duties. Just like how a parent has authority over their children under the guise of “you live under my roof, you live under my rules.” The rules in questions are the episodes which are produced on story scripts, and the puppets follow said scripts.

Playfellow Workshop is extremely important to the puppets, whether the company is taking a positive role, a neutral role, or an antagonistic role. If the puppets were to break free from their grasp, who would take care of them? Who will place them onto their cases, or fix their rips and tears, or make sure they're in good shape? Playfellow Workshop may have taken a toll on the puppets, but no one can take care of the puppets better than Playfellow Workshop.

You might be wondering, “But Senja, this can be read as a typical controlling parent and clueless children dynamic. Why so specific about it being a trans experience?”

It can be read like the former! I made more connections and thus thought "Hm. This is so true to my trans experience".

There are multiple transgender characters in the story such as Frank, Poppy, and Julie. I was struggling on how to put my thoughts into words about the ways the producers of WHPS (could it be that they thought about the puppets not being cis?) can write in trans characters in WHPS, but I believe Clown himself and the wikipedia page for Gonzo from The Muppets said it best.

A similar case for the puppets can be applied to the trans characters of Welcome Home! Still, the way the puppets present themselves to the audience is also ultimately a decision made by Playfellow Workshop, especially during episode recordings. Clown also said that they won’t reveal much about it since he doesn’t want to give out spoilers. Perhaps regarding to the nature of Playfellow Workshop, too?

The puppets and the scripts can also be a stand-in for how trans folks who still live with authoritative adult figures (especially those that don't accept them or begrudgingly does) are handling autonomy over their own bodies and actions. Although not shown for now, I predict there’s going to be an eventual identity dissonance between who the puppets truly are and who the puppets are according to WHPS’ writers. It reminds me of my experience of when I was much younger, being a closeted trans person who often struggles with disassociation, looking into the mirror and feeling like me and my body are not one. Not myself. It's like they're two separate beings, "me" who is what I truly am, and "my body" that is dictated and dressed up by my parents. As much as I love my body, little me wanted to claw out and break free if it means I can have a semblance of independence over my life. (Things are much better these past few years, though!)

Again, I don’t like accusing Playfellow Workshop of purposefully mistreating the puppets or even taking pleasure in hurting them because we are just getting started; getting to know the personalities and character dynamics between each character. Authoritative parents won't exactly be abusive to their children. Maybe Playfellow Workshop is just doing their job. They take care of the puppets because if they're damaged, the show won't go on. They act indifferent towards the puppets because well, they're just puppets. No personal feelings. That's just how business goes.

We do know that Playfellow Workshop is a big problem regarding the WHPS’ cancellation and the puppets’ worrying fates.

Playfellow Workshop aside, what about the community regarding the puppets?

The neighborhood is a small town consisting of nine residents. Everyone knows each other, and it’s hard to keep secrets from one another with just how tight-knit everyone is; the experience of living in a small town rings true to mine. Almost everyone in my quaint hometown knows many details about each other and their families because our community strongly believes in the importance of bonds and our culture is built on the word "family".

The neighborhood is a family that does not fit the general criteria of what the traditional structure of a family is. There is no concrete "father" or "mother" or "siblings" assigned here – they're also not the typical found family where they meet one another by chance. They are placed inside the set by the creators of the WHPS, lives already decided by its writers (like a traditional family), but they find solace in each other, having their lives intertwined with one another through bonds that they also take part in building, even outside of the show's production (like a found family, as seen in the "answer" pages). They are friends. They are family. Not to mention how the neighborhood is called "Home", a place where a family lives.

But they also cannot get out – as in get out of WHPS instead of just the neighborhood. I will be covering connections to freedom for each character later on (Sally falling from the sky, Poppy as a flightless bird, Howdy as an adult caterpillar) but the way their existence is bound by the colorful stage sets and rainbow props can also be seen as a small analogy that traditional families are expected to always stick with each other no matter how bad things are.

Themes of family aside, I’ll talk about how the so-called “long lost and unknown of number” episodes. WHPS’ episodes start with Wally leading the viewers through the cacophony of the neighborhood. Then other characters join in, with many of them having notable activity segments. The episodes then end with Wally, who has finished journeying with the viewer, when the day has ended. It is most peculiar and harrowing that the agency of the puppets regarding the show is dependent on Wally and the time of the day. Wally plays the central figure of the story, first being placed in the position as the protagonist and most important character in WHPS, then having to act as their savior because he is the only puppet thus far that has contact with the restoration team and you, the viewer. He is akin to a child who has to take the lead as the head of the family even though he is not prepared for it.

Nobody remembers Welcome Home. Nobody remembers who the puppets are. At the time, the puppets only have themselves and each other to rely on for support. Then again, it’s not even clear if they are with each other when they went missing or scattered around.

Now that I've covered the connections I've made regarding the neighborhood as a whole, I’d like to analyze its residences one by one.

Wally Darling

Wally is a very complex character and by far the most – ironically – human out of everyone in the cast. The word "freedom" is written all over him and the word "love" is sewn into every inch of his body.

Wally is shown to show little to no interest in romance or dating. He allowed his friends to get touchy-feely with him (examples being sleeping with Barnaby and getting hugged by Eddie) and doesn’t hesitate to show his affections to them, but it’s been said that he never found them romantic. Wally’s lack of interest in romance gives me the impression that he is in the AroAce spectrum. Clown even mentioned that he doesn’t know what to do if someone confesses their love to him. Wally knows what romance is, he knows what romantic love is, he just doesn't see himself finding a partner anytime soon.

Wally's view on love not only ties into his queerness, but also his neurodiversity – his autism. He is not good at reading social cues or acting "as accordingly" to the situations presented to him. Clown also suggested that Wally cannot process emotions “the way humans do”. They also entertain the idea that Wally is “emotionless”; but I’d rather interpret it as Wally having low empathy and possibly alexithymia, traits shared by many autistic folks (including me).

He expresses his love in a way that accommodates his neurodiversity: real actions.

Wally has been shown from time to time as someone who absolutely, truly loves his friends. The way he loves others cannot be categorized into simple boxes such as “romantic” or “platonic” or “familial”. Wally loves his friends dearly and it is deep and true, simple as that. He also loves you, the viewer, and a hidden page in the Welcome Home page says that "Wally is your best friend". When he was communicating with you, it read to me more like fascination, curiosity, and cries of help instead of macabre obsession as I normally would expect in psychological stories such as Welcome Home.

All of this makes the struggles he faced after WHPS' cancellation and getting separated from his friends more tragic.

Having the world that he knows ripped away from him must've been traumatizing to him. The world that he has always known is gone. The people that he knew and met everyday are scattered everywhere. Although there are many image file names that suggest he has contact with some of his friends, he doesn’t know if everyone is fine. He’s now left to pick up the pieces and try to stick them back together. He has so much to think about, too much to think about, and so he decides to reach out to you.

When you take into consideration that autistic folks often rely on self-made sets of rules, Wally's situation turns from sad to depressing. Autistic folks rely on schedules and routines (also seen through Frank) to give them a sense of control over their lives and help them ground themselves in reality. When Wally's "routine" is ripped away from him, he has to immediately make sense of his situation and make himself accustomed to a life full of uncertainty. His adaptation to change isn't simply about comfort – it's about surviving. His struggles don't only stop there.

Wally's intentions are read wrongly, some people interpreting him as "creepy" or "malicious" instead of just "awkward" or "desperate". Interestingly, this flanderization and misconception of his character comes from the internet's view on him instead of from the audience/staff in-universe. His autistic traits that cannot be deemed "cute" enough (the way he stares, his mannerism, how he talks slowly, or his fixation on the viewer) is considered creepy in a way that appeals to the fandom and thus extrapolated into something more extreme; him being a lovesick obsessive love interest, him being a religious cult leader, or him being the overarching villain of the story. The way that people outside his universe are the ones demonizing him is poetic in a way – reflective of the world that we live in where ableism towards autistics are so embedded even in the way we view tragic characters with low empathy.

Maybe Wally’s mannerisms are written that way because it’s to add more mystery, but knowing that Clown likes to play with secrets and says that neurodivergency plays a huge part in the story makes me think it’s also the other way around. His behavior as an autistic and traumatized character is what makes people believe that he's the villain. It’s unintentional on his part, but people who fail to read between the lines can think otherwise. It reminds me that when autistic folks cannot express emotions "correctly” or act a certain way that is expected regarding certain social situations, neurotypicals immediately jump into bad, unsavory conclusions about their intentions.

In reality, Wally is a desperate person who just wants the viewer to know and realize his presence and (assumedly) save his friends. Sure, he isn't straightforward in his words when communicating to us through hidden audio files, but his intentions are getting more clear to me. He’s thrust into a situation where he now acts as the guardian for his friends instead of Playfellow Workshop. He wants to get in. He's not a saint. He's not a villain. He's a struggler.

Sally Starlet

Sally! Her name is a fun one. She’s a star. She’s also an actress/play writer, related to the phrase “star of the show”.

So far, Clown hasn’t confirmed anything regarding her sexuality or gender identity, but the interactions she has with other characters from various audio files gave me some clues.

Her interactions with male characters are comedic or bossy in a comical sense, definitely stays true to her bombastic personality. She's not particularly fond of having Barnaby or Howdy star in her plays – the former not taking it seriously while the latter advertising his products in the middle of her plays. She also likes bossing Eddie around as shown in Eddie's Big Lift and is entertained by his antics, from him calling her "ma'am" to him not being able to refuse any of her commands.

Sally is noticeably more mellow around women like Julie and Poppy, notably the latter. Despite getting tired of Julie messing up the script of her plays, she isn’t annoyed with her and thinks of her antics as amusing rather than annoying. She is also patient with Poppy, not getting deterred by her always worrying nature and talks to her calmly. She encourages her ideas, help her to be more confident in herself and is very supportive of her! Their personalities bounce off one another really well, and she is just so sweet. Sally also endearingly calls Julie “Juliet” and Poppy “dear” and “darling”, something she doesn’t do with the male characters.

She gives me the impression of being a lesbian. She reminds me a lot of Lady D from RE VIII who’s a canon lesbian, calls Evan “manthing”, and speaks/acts in the same sophisticated manner as Sally, haha!

Besides her queerness, I found an interesting connection to freedom from her backstory. Sally was originally a star from space that falls to earth in order to pursue her interest in acting. She fell from a place that is vast and endless to a place surrounded by trees and predetermined fates. Also her working with play scripts… the show running on episode scripts… hm…

A falling star has a close definition to a meteor, burning brightly due to the pressure but then losing its spark and mass during its journey, ultimately burning into nothingness. Possibly just a coincidence, but the symbolism when related to Sally is sad.

Frank Frankly

Amidst the cheerful technicolor citizens of the neighborhood, Frank stood out the most by having grey skin and a constant frown on his face. He’s the bookworm character archetype of the show and is described as “arguably the smartest person in the neighborhood”. He’s also one of the handful characters that doesn’t have any information regarding where he was before he came to the neighborhood.

Frank is autistic. As I’ve mentioned in Wally’s part of this thinkpiece, Frank relies on routines and familiarity to give himself a sense of agency and control over his life. He likes arranging things in the order they’re supposed to go, he has a keen eye on organization and structure, and he wants things to be done right in his own ways. “This is the way things should be done, not that way.”

There are drawings Clown made depicting him stimming and infodumping about his special interests, those being entomology and insects.

Frank and Julie are paired together in many Welcome Home-related content. They are best friends who does things together and spends time playing together. They perform a comedy duo; Frank is the "straight man" to Julie's "funny man". His friendship with Julie is very important to both the show and the overarching story. They are something more than simple friends, something less than lovers, and something just right and deep for the both of them. Not that Playfellow Workshop thinks much about that.

The animation cells for “Julie-rella” has given me a very thin theory that themes of cisheteronormavity will be at play as the story goes. Frank is the prince charming, while Julie is Cinderella – fated to be together when the story ends. Well, maybe it’s just Sally, being her over-the-top self and her reenacting a classic fairy tale with her personal spin, but I just can’t help but think harder about the implications of it. Frank is not a cishet man, and Julie is not a cishet woman. I have talked about it in this short writing I made about Eddie and Frank.

Frank is canonically nonbinary and gay. He and Eddie are each other's love interests, something that isn’t outright shown. One can argue that they don’t exactly “act” like a typical couple from what we’ve seen, and their interactions in WHPS’ audios and merchandises gives off the feeling that they’re amicable at best (referring to the link I embedded above). They are noticeably closer in the “answer” page, though. It is not certain that their relationship at the time WHPS was still going and before Welcome Home Restoration Project’s involvement was already established or they’re just starting to get to know each other – though many audios in the WHRP website leans more towards the latter. Either way, it reminds me of the way some queer people have to hide their relationships in public to avoid getting hate or persecution.

You know that one art of a terrified Frank with a bright red rectangle and many appendages surrounding him that can be found in the staff-only page? Regarding his status as the bookworm character, I have a feeling that the phrase “ignorance is bliss” will come at play here, subverting his character.

Poppy Partridge

This sweet, poor bird who is always shaken by everything around her. Poppy grew up in a nest with her family, though growing up to become the biggest bird out of everyone, eventually leaving the nest and moving into the neighborhood, living inside a barn and rarely leaving it because of her anxiety. Poppy is described to not be based on just one bird, as Clown said. She is said to be a mix of “flamingo from father’s side, hen from mother’s side”, fitting with how unique everyone is in the neighborhood.

It is heartwarming that she is surrounded by people who are understanding of her anxiety. Nobody makes fun of her fretfulness or forces her to be “more social”, Howdy brings her groceries to her barn, and she even has her own baking business! She’s not the greatest at the things she likes doing, but it’s nice to see that she founds joy in them.

Poppy is canonically a trans lesbian. She’s very close with Sally, whose personality is a stark contrast to hers. Poppy feels like she can trust Sally with handling the jobs she’s supposed to do and Sally encourages her to be more true to herself. Poppy feels at ease whenever she’s around Sally and even seems to act more flustered around her – a possible love interest between the two. It’s also cute that Sally likes to drag Poppy in her antics, with the latter not being too bothered about it. They trust each other very much. Also their dynamic is also just really good, y’know?

Connected to themes of freedom in this story, Poppy is a flightless bird, yet another symbol of her state of freedom as a puppet to Playfellow Workshop. Many birds have the ability to spread their wings and fly away to the places that they desire while Poppy cannot. Like the rest of the cast, her world is limited by the trees around the neighborhood. She also left her nest not because she has big dreams like Sally or ambitions like Howdy, but because of the circumstances she cannot control on her own.

As I’ve mentioned earlier, Poppy grew up to be the biggest bird out of her family and it became the reason why she left for the neighborhood. And when she got there, she prefers being inside her own barn instead of going around and socializing with everyone.

Howdy Pillar

Ohhh my god. This guy. He originates from an apple as a teensy little caterpillar, then leaving the place where he was raised in because of his dreams (similar to Sally, different to Poppy). He is shown to be very proud and confident in himself, having a clear ambition on opening his very own shop and takes great pride in what he does. He’s a great talker and can easily convince even the proudest people in the neighborhood to purchase his wares, and his character gives me the impression that he prefers being around people that understands his dreams.

I cannot find any notable queer readings regarding Howdy, but his interactions with Barnaby gives me the impression that they’re close to one another. Howdy considers Barnaby his favorite customer, and is seemingly happy that Barnaby is willing to listen to him ramble about his family gossips.

I do find connections between his physical appearance and the story’s themes of freedom.

In a caterpillar’s life, when they’re about to reach their adult stage and move on from their juvenile stage, they turn into butterflies. Not the case with Howdy. He’s an adult caterpillar whose family are a bunch of butterflies. Like Poppy, whose symbolism of lack of freedom is the same as Howdy's, he cannot turn into a butterfly and fly away from the grasp of Playfellow Workshop – outside the neighborhood, outside the town surrounded by colorful trees and dictated by scripts.

Unlike Poppy however, Clown mentioned that Howdy has the possibility of turning into a butterfly someday. Poppy is also an adult bird, the last stage of her life cycle, while Howdy is an adult caterpillar, the beginning stage of his life cycle. A possible foreshadowing for his fate regarding freedom later on…? Or maybe just a fun little trivia.

Barnaby B. Beagle

Barnaby, the comedic relief who's the most emotionally intelligent. The jokester who knows that something is amiss when the situation calls for it, the comedian who can be honest and straightforward in what he finds amusing and not, the humorist whose appearance is always met with cheers, claps, and boos, as if he’s the main character of a very long winded sitcom.

As far as I’ve noticed, there aren’t as many connections to themes of freedom regarding Barnaby as there is on other characters. Though I can say that Barnaby can stand his ground more than Eddie, another character who is usually put in situations where he gets the boot to the head and usually lets people do as they please. I cannot put these into concrete words, but Barnaby has an air of professionalism to him despite his character archetype being the comedic relief.

Barnaby is close with Howdy (see the writing regarding his character above!), sharing jokes and puns with him. Barnaby is also considered Howdy’s greatest customer, always making the latter crack up and their personalities bounce off one another really well.

Another resident that Barnaby shares a close bond with – closer even – is Wally. Barnaby is very close to Wally. They are best friends, and many art for Welcome Home depicts them together a lot of the time. Barnaby includes Wally in the things he does like getting hotdogs together or sharing jokes. Besides Home, Barnaby knows Wally the best. He is also quick to notice changes in Wally’s demeanor, getting concerned about him when he doesn’t react to his words the way Wally always does in the last “answer audio”.

Clown also said that in any universe, Barnaby and Wally will always become best friends. They are the definition of soulmates. Platonic, romantic, whatever you call it – but like I’ve said earlier, the puppets’ view on love are not as complicated as humans’, and I can say that they love each other deeply, simple and true as that. Like someone once said, they’ll find each other in any universe. This makes me fear for their relationship even more, given that Wally and Barnaby are most likely not near each other when WHPS ended.

Eddie Dear

Eddie! Neighborhood’s creative, kind, and hardworking mailman. He has a good eye on arts and craft, and is more than delighted to lead the viewers of the show with the things he wants to create.

As Clown have stated, Eddie is a gay man. I’ve covered most of the things I’ve said regarding their (blooming) romantic relationship in Frank’s section of this thinkpiece however, so I implore you to go back there if you don’t want me to rewrite the whole thing all over again here, haha!

A recurring trope with him is that despite his adherence to work ethics and schedules, Eddie tends to forget a lot of things. The Welcome Home website says that he hails from a town far away from the neighborhood, but he always gets the name of the town wrong and oftentimes mentions names of places that doesn’t exist. He talks to inanimate objects to aid his forgetfulness (also for endearing character traits) and Frank once suggested that he ties strings to the things he doesn’t want to forget, but this doesn’t always work. Eddie also doesn’t remember where he came from and his character profile says that he and the post office appeared out of nowhere one day.

Eddie is also accident-prone, always getting himself into situations (a bug landing on his paper chains, getting chased by Barnaby) and is mainly depicted as the unwilling comedian. Many of his character aspects are depicted as a source of comedy, even by himself. Eddie also has tendencies of prioritizing what others want before himself because of his even-tempered nature. So far, Eddie doesn’t express any serious frustration over this, but with the themes of agency recurring in this story, I’m afraid that it’s going to be a matter of time before we see Eddie express discomfort over this.

Throwback to what I have said: Frank is a smart person who constantly searches for logical answers to things, while Eddie is more laid back and isn’t very focused on finding the right answer and just wanting problems to be handled. This contrast on their personalities and how their backstories are foils of each other (Frank coming from unclear origins, Eddie not knowing the name of the place he’s from) make me think: Is ignorance bliss to Eddie?

Julie Joyful

The sunshine of the neighborhood! The bringer of rainbows in Welcome Home! Julie stays true to her surname, always depicted with a bright smile on her face. She is the one that can turn Frank’s frown upside down. She is the one that can bring a tinge of comedy in Sally’s tragic dramas.

Julie joins the side of the neighborhood that has clear origins. She once lived inside a cave with her siblings, but ultimately leaves under her own volition to find life for herself. Regardless, she is a character that is known for her constant interactions with other neighbors, notably Frank, her best friend.

Her friendship with Frank is extremely special for both of them – if you want to read about it, you should go to Frank's section of this thinkpiece as I've covered most of my thoughts about Frank and Julie's friendship there, but I want to add a few more things.

She is the "funny man" to Frank's "straight man", forming the neighborhood’s comedic duo. She drags him into her shenanigans, like the time they played “Business Woman In The Big City”. They’re also quite competitive when participating in the games that Julie conducts. She brings out the best in Frank, always making sure he feels included and happy in any activity they do. Julie is the “spontaneity” to Frank’s “routinity”. Julie is the “fun” to Frank’s “frown”. They’re inseparable from one another, like Barnaby with Wally.

As stated by Clown, Julie is genderfluid and bisexual. She doesn’t have a love interest set for her, but what’s important is that her character is emphasized with her connections with others. When Frank couldn’t play with her, she plays with Sally and enjoys spending time with her and even stars as the main character in many of the latter’s plays. There are lots of love inside her, after all! She is also said to be quite touchy with her friends, often hugging them and encouraging them to go through with the things they want to do. It doesn’t always have to be seen as “romantic”, like I’ve said before.

Onto her status as a puppet for Playfellow Workshop. Something funny is that Julie has a tendency to go off-script as shown from her interaction with Sally while practicing for a play. She has issues getting into the mood of her plays, making scenes that are supposed to be emotional… comedical, instead.

Is this supposed to symbolize something further? Is this habit of hers pointing towards how she’s going to express her unwillingness to be a mere cog in the big machine? The puppets are very much sentient, but I am not sure if they are aware if their actions in the WHPS episodes are controlled by the script. Time will tell, and perhaps, Julie too.

Home

Finally, we get to the last but one of the most important characters in this story – Home.

Home is the ninth residence of the neighborhood, though it’s not a puppet but a stationery character. It houses Wally, the main character of this story. Unlike the rest of the cast, Home talks in onomatopeias, like creaking its doors or opening its windows to produce sound as means of communication. Its eyes are very expressive and is constantly moving. Unlike other houses in the neighborhood, they’re very expressive.

Their importance isn’t only limited to being Wally’s house or being the only character in Welcome Home that cannot walk or talk.

The mobile characters of Welcome Home never expressed annoyance for Home’s non-verbal trait and instead put in effort to understand them and include them in their activities. They accommodate for Home, making sure they feel comfortable, wanted, and not left out. Home feels… at home around them.

Wally writes for Home to help it communicate and makes his canvas face Home whenever he’s painting, Julie teaches it how to hula hoop, Eddie makes small talk with Home, Barnaby makes jokes and laughs with Home, Frank tries to include home in games of chess, and so on! Home isn’t just a building like the rest of the cast’s houses. They are part of the family. It makes me so happy to see that their existence isn’t considered a burden or an annoyance or have their traits be seen as sources of comedy. It hits close to home for me as a physically disabled person.

Regarding the overarching story outside of WHPS, Home is a character that plays a significant part in Wally's journey. Wally loves Home dearly. He takes care of Home and makes sure he is in great condition. He is the caretaker for Home and becomes its communicator when the situation calls for it. In return, Home makes sure Wally is safe and sound inside their cavity and expresses their love for Wally through communication from creaking noises and even lightly squishing him between their door and door frame. Home is also quick to notice changes in Wally’s behavior and shows their concern for him, signifying just how deep their relationship is.

As I’ve mentioned many times before, their closeness cannot be boxed into the usual types of love humans are used to. You just know they are extremely linked to one another and that their relationship is not only important in WHPS, but also the story as a whole.

Home and Wally are inseparable from one another. They have their separate personalities and are distinguishable from one another, but ultimately they will always be one. Home is Wally’s fortress. Home is the shield to Wally’s sword. Home is the pericardium to Wally’s heart. After all, “Home is where the heart is”, right?

Afterwords

Yay! Whew! Congrats on making it to the afterwords! I’ve spent more than a week writing this whole thing and having my friend @rxveriecaeli proofread this thinkpiece (Morfe if you’re reading this I love you bestie). Huge HUGE shoutout to them because I’d be lost without them giving the finishing touches!

I know, some people will say that I’m reaching or thinking too much about this story, but hey! That’s why it’s called a thinkpiece and not a theory or concrete proof of X or Y. I cannot say that I’m 100% sure about where the story is heading or what Clown has in mind for certain characters, but I just want to think and love making connections and my brain just keeps producing questions after questions after questions. Are the feelings they have with each other theirs and not the byproduct of the script commanding them? I believe so.

What if Poppy is a flightless bird because she's based on Big Bird and not because it's an analogy for her not being able to fly freely away? What if Howdy is an adult caterpillar because he just IS and not because it's an analogy for not being able to turn into a butterfly that can fly? These options might be so, but even if Clown someday confirm that their design choices are simply because they're inspired by other puppet characters, I'm just happy that I manage to find symbolism that I can connect to their character designs.

I think it's too early to assume that the puppets are surely seeking freedom. At most, they just want to be saved from the tragic states they’re in, and Wally is on the lead. I mean, the show's canceled and they no longer live by following the scripts made for them! We don't even know the true fates of them aside from being nearly forgotten to time. And even if the puppets do achieve freedom, what will be of them? The producers aren't around anymore, the employees that treat them as toys but also take care of them aren't there anymore, and they have to fend for themselves in the big world.

I am not a native English speaker and I cannot put some of my thoughts into words both because of my language barrier and my ADHD. I do not intend on expressing malicious or harmful subtext through this writing, but do tell me if I had worded anything incorrectly and I will fix it. I would love to hear your thoughts about this thinkpiece too, so don’t hesitate to leave comments or tags in the reblogs (though please be patient with me!). Not that I will tolerate hateful or bigoted comments, however!

Please do not start accusing me of spreading the rhetoric that “being queer/neurodivergent is painful and constantly suffering and if you don’t suffer you are not part of those groups”! Being queer is fun and liberating. Being neurodivergent or disabled is something to take pride in. I’m proud of who I am and I encourage others to be so too. The experiences of queer/neurodivergent won’t always be easy, though, and I made this analysis and the correlating connections based on my own experience as a queer, autistic, and physically disabled person.

That being said, thank you for reading!

Fun little trivia! The characters' favorite colors form a rainbow when put in respective order, just like the colors of the original pride flag :]