#trigun meta

[allbuthuman]

(in)humanity and the challenge of hope – Vashwood thoughts

Wolfwood's persistent questioning of Vash's stubborn hope to resolve every single situation without any life being lost is also a continuous test, and it takes him a long time to decide whether or not he wants Vash to pass it or not.

On one hand, deep in his heart that dislikes violence and would long for a world where he wouldn't have to resort to it, if only the possibility of such a wish coming true wasn't beaten and shot out of him, Wolfwood hopes that Vash will hold out, that he won't have to break, that there can be someone who can save everyone that needs to be saved and survive it.

On the other hand, admitting such a possibility would make his own guilt even harder to bear: it would mean that it it's possible for someone to protect those they care about without having to either die or take a life, but he couldn't do it. It's easier, if only a little, to believe in a world in which it simply can't happen.

His guilt and his learned pessimism ""want"" Vash to cave in and kill someone, not only because he fears what he believes is the only alternative (aka Vash dying), but also in order to maintain the belief that what he despises but still does is indeed necessary. As the story progresses, the scale tips towards hoping for Vash to succeed: he maintains his view of the world in general, yet believes in Vash in particular.

Vash's inhumanity is important to the equation: humans can't do it, but he isn't human. He can afford to keep throwing himself into danger, because he isn't human. He can afford his ideals, because he isn't human. He can keep on chasing after things that most who've seen the world wouldn't dream of, and his hopes aren't entirely naive, because he isn't human.

And maybe the most heartbreakingly bittersweet part is that he's right, and in a way proves himself right with his own death. He believed in Vash enough to put that belief into action, to go into his fight with Livio intent on not taking a life, only to lose his own, while reassuring himself that he made a friend who isn't like him, feeble and human, that even if he himself dies, Vash will continue on his quest. Vash gave him that hope, Vash has never forsaken anything and he never will, and Wolfwood really didn't want to die, but he knew then that he could. And he did. Because he's only human, and humans can't afford such hopes.

Perhaps ironically, and in similarly heartbreaking fashion, Vash, having held out inhuman hope for decades upon decades, "fails" his ideal like a human – kills Legato for the sake of someone he's loved, not as humanity's impartial protector, but as Vash. He makes the choice that everyone in that world eventually has to, and immediately the thought that rises from his despair is:

"Did it feel the same for you too?"

[imustbenuts]

Wolfwood is an underdog character screwed by social hierarchy and Japanese cultural subtext more ways than one: a messy half-assed write up.

This is me saying that Wolfwood is in no way the equivalent of 'white' or even near the top in terms of class even when viewed with a Japanese lens and there's at least a few threads you can follow that will lead up to that conclusion. So to try and (badly) cover this topic as best as I can, the sections highlighted in this post will be the following

Colorism and imperialism

Tribes and burakumin

Shintoism and the burakumin people

Wolfwood's entire fucking design

I explode

Colorism

So in short. Asia has a colorism problem on top of a racism problem, but people like me get really frustrated when a more American POV is applied to try and shoehorn the discussion into purely racism. The reason is: history.

So. Japan was super imperialist back in history. And so was China, which Japan took many inspiration from in terms of language, culture, and most importantly, governance.

In order for their particular system of governance to work, both China and Japan ended up having their own respective court systems where the aristocrats and nobility would spend their days indoors as they administer governance. (Or more accurately, to be so educated, cultured and refined as the world outside implodes.) Thanks to this system, there is essentially a walled garden system where the well-educated nobles would spend their time well away from hard labor like farming under the sun.

This meant there is a greater amount of favoritism towards fairer skinned people as opposed to tan, since it became a quick indicator of class and status. Bc only laborers tended the field under the harsh sun, and women got this especially bad, bc imagine her having to tends the field like a peasant. Gasp.

Anyway bada bing bada boom white skin eventually became so associated with beauty and status. The old poverb, "色の白いは七難隠す", or White skin covers seven flaws, refers to women with pure white (sometimes powdered) skin is attractive no matter what their physical flaw might be. Think Geishas and their job of entertaining at private events with a face full of white powder makeup.

This colorism also hits men less, but the idea of status stays.

...Wink. (To note the above gif here for a sec: IMO Vash doesn't qualify as desirable purely because he's a blonde. A foreigner. An Other. But the hiding flaws part might be worth chewing on.)

And now we suddenly are looking at some kind of a vague hierarchical system. And indeed, Japan has had a caste system of sorts in with varying degrees of social mobility depending on which era you look at. The lowest in some era were slaves. And even then, there is another class even lower than that, the Burakumin. Put a pin in this bc it'll be important in the next part.

Tribes and Burakumins

There are actually, in fact, different tribes (or rather, ethnic groups) in Japan even today. Current day, the well known ones are the Yamato people, who make up 98% of the population in Japan. Mostly fair skin, black hair. East Asian.

Then there are the Ryukyuans, who live mostly in okinawa with their own culture, and then the Ainus.

I don't want to get even MORE historical, but those two groups were conquered and forcibly had their culture identity, language, and even land stripped off them. Attempted to have loyalty towards the emperor instilled towards them at various points. One might think the presence of these two might mean that there were more tribes back in ancient Japan, and, yes, you would be right!

Many of them might have been assimilated into what we think of as Japanese people today. There are always variation in skin color, hair color and facial features alone if one pays attention even in Tokyo. Not all East Asian are fair skin and have straight black hair, but an overwhelming majority do. (plus hair dyes and perms wahoo. who's to know sometimes)

One example perhaps is this. Ever watched Princess Mononoke? Did you know that part of the story centers around Ashitaka, who is part of the Emishi tribe, who are a group who has been rebelling against the Emperor Yamato for 500 years? And so he shoots samurais on the regular?

So here's the rub: the Emishi were in fact a real indigenous group who were basically conquered and assimilated. Some did resist during the 11th century, with their villages/hamlet out deep into the north of Japan. They were of course, greatly outnumbered.

These people who resisted the rule all over Japan with different identities, names and culture and survived came to be called the Eta 穢多 (lit. abundance of filth). Later, Burakumin.

EDIT: Another class of people called the Hinin 非人 are also closely associated with the Eta. 非人 lit means non-human. Hinins were more criminals in the eyes of the law, as these are the people who did not pay taxes or commited crimes like theft etc. The status is hereditary, same with Eta.

Now I mentioned the Burakumins. Burakumin are written like this 部落民, and refer to a strongly discriminated class of people who live in discriminated villages/hamlet. The kanji though, literally translates to "People who falls outside of the order", or, "Outcasts". In other words, even though there's a caste system which basically at least recognizes people as part of a governing system, the Burakumins do not qualify to even as to be human in this system.

And indeed, some of these tribes who had their culture and identity stripped off them are not even people in the eyes of the ruling government. Today, the term refers to the descendants of these people, and they do encounter a lot of discrimination and abuse in their daily lives from social to work. It's so bad that parents do not tell their children of the ancestry to avoid discrimination. Also its possible to know if one is a burakumin just by checking family names and registers jsyk, since they were once location based.

EDIT: thus the word Burakumin will refer to both the Eta and Hinin. These two are closely associated with each other even in feudal Japan.

More info by a Japanese guy regarding current day burakumin problem here on youtube.

Oh and also, many burakumin ended up joining criminal gangs like the yakuzas. Put another pin in this.

Shinto and the Burakumin people

Preface: shinto is a very sacred religion to many Japanese people and is still actively practiced today. Be respectful and just know I'm being hyper specific about this singular aspect of shinto. It is a very old religion and history which is fascinating.

But to not talk about this specific topic would be to kinda miss what Studio Orange has been doing to Stampede Wolfwood so I'm just gonna do this super quick. A more indepth messy write up can be found here if you like.

Right. So. Like with many religion, Shinto was also used as a means to convince people to fall in line. One thing that Shinto has is the concept of spiritual dirtiness, which is generated upon contact with death, blood and disease. Being dirty would then draw evil spirits and invite terrible misfortunes, so being clean is important in Shintoism. So important that meat was considered dirty. (With the exceptions of game meat and the whole religion thing applied to them.)

It's so important that certain professions such as Butchers, Tanners, Gravediggers etc were seen as so terrible that no one but the etas, the burakumins would do it. This whole thing then reinforces the hierarchy. And meanwhile the rulers in their court and shinto priests could conduct rituals to purify themselves.

And for me, this is the most insane thing since dirty jobs like that must be done no matter what era it is. Just by being alive, people get dirty and there's no avoiding that.

Anyway. In Trigun and even Japanese media, this gets translated into what I would call The Tormented Ones Whose Hands Are Permanently Stained With Blood.

Nicholas the Undertaker was certainly an interesting choice of writing. At least imo.

FUcK

Ok now to recap. I've established that even without colonization and talking about (american pov) racism specifically, there are still very real elements of Japanese history that is too strong, too deep, to intertwined with classism to ignore.

This is the historical baggage of Japan's colorism. Whether or not if Wolfwood is a burakumin here is not the point, but rather that it borrows from that issue all of its influence in varying shades.

It's the erasure of ethnicity and culture in its totality, or to be so consumed by the bigger ruling group that this thread straight up disappears. And to be considered so unwanted that even their descendants today are considered dirty.

They abolished the feudal caste system in the 1800s by the way. Still dealing with like over a thousand years' worth of shit though.

Now I can finally talk about Wolfwood.

Wolfwood's entire character design and writing choice.

Since trimax wolfwood is the base, I'll start with that.

Dark(er) skin, sunglasses, a business suit and a kansai dialect.

All of those are significant.

Now remember that I've mentioned Fair Skin and Black Hair to be the most defining trait of an East Asian. Even people who say East Asian even casually have that specific image in mind. But Wolfwood with the exception of BLR has always been depicted as just slightly tanned especially beside Vash.

The shade fluctuates all the time depending on the artwork, but it's clear that the production staff knows the roots his character design is touching on in order to elicit that "otherness" from the Japanese audience. Which is all that above. The entire post.

Sunglasses and business suit also has a significance. One might think it's just the outfit of an average Japanese salaryman, and yes, that would be technically correct. More so though, this combo is also the outfit style of the Yakuza. Sans ties maybe bc Ww hates his organization.

This is a picture of a Yakuza group known as the Yamaguchi-gumi. Their leader stands in the middle of this photo, the oyabun/father of the group, Kuzuo Taoka. More info and another rabbit hole here.

The Yakuza are a historically violent criminal gang whose membership often consisted of societal outcasts. Outcasts like the Burakumins, who due to their status in society could not find a proper job, and suffer abuse. Being in the Yakuza meant respect and status, and turned boys into men.

All that was needed is absolute loyalty to the leader, the oyabun or the patriarch of the group. If he says it, white is black and black is white. Disloyalty means to chop one's finger off.

If any of this sound even familiar.... Well, yeah. Unhinged criminal boss Knives and his merry Gung Ho Guns.

Next, kansai dialect. So, Japanese dialects are never properly taught when one attempts to learn Japanese. It's a thing that's not Standard and therefore unnecessary to learn. We learn the -desu's, -masu's, the keigo, but never the '-yan's', the 'eenen', the 'akan' or the chau's. (Or even the many other dialects out there)

I will now ask you to hold the idea that 'dialect' and 'language' can be interchangeable. The implications of the Standard Japanese is that it is the ruling class' language and the most proper form of it above all else. Seeing as the Capital of Japan is Tokyo, and their government centers there, it would not be stretch to also call Standard Japanese Tokyo Japanese.

Which means, Tokyo is the classy city and Osaka, the largest city in Kansai, is not as classy. Not as important. Not as well educated or hold as important of a place to the entire country.

It is also very common to hear Japanese people mask their dialect with Standard Japanese when they're in Tokyo, and then go back to their hometown and code switch. Because it's considered 'hick'.

Which, if you haven't considered is also a thing many of us do, I now present you the gift of this fun knowledge.

I Explode

In closing I hope this at least is interesting to chew on for anyone interested. It's by no means perfect and I might have gaps in my knowledge but fwiw, I hope it's at least fun.

Nightow has stated Wolfwood's ethnicity is ambiguous, which I would also interpret as him saying indirectly that Wolfwood is as valid an interpretation to see him as anything but a privileged guy having a good time in the story of Trigun.

It's possible that his ambiguity of roots is meant to simply elicit the idea of a "stolen child".

One fun thing I do consistently notice is that Fanon Wolfwood almost never is in a comfortable position in life even in AUs, and always somewhat broke. In both EN and JP. Which, yeah. Yeah.

There is intersectionality going on and I hope this post helps people see some of it at least. So thanks for reading! (sorry it got so long...)

Additional cool posts other people have written from their pov:

udon-tea's write up about wolfwood's unestablished canon ethnicity

interesting thoughts about tortoise matsumoto being the base and what they think of wolfwood's possible ethnicity

[revenantghost]

Man, there are a lot of great (and very true) posts about how Knives doesn’t see his fellow plants as individuals, but this was the moment I really first had that gut-punch realization. I’m sure there are no rituals for laying a plant to rest, but it’s incredibly fucked up to take a corpse, writhing in pain, and string it up for your own motivation. Your own selfish purposes. The afterlife is something fairly present in the Trigun universe, and this soul surely isn’t at peace

[eldritchneuro]

One thing that I seen Stampede Wolfwood often characterized as by folks is well... distant is probably the best word for it. Mopey. Averse. The sort of guy who you wouldn't catch asking for a hug on the worst day of his life.

But I don't think that's true. Or at least, not beyond being a front he puts up. And there's one scene that for me confirms it. Because when Vash gets shot in Julai, Wolfwood's first response isn't to attack back.

It's to run over, put an arm out for support, and check in on him. Only when Vash shows himself to be okay do we see Wolfwood tell these people to back the fuck off.

You could read motivation into this act of comfort. There's fuel here for shipping, or perhaps Wolfwood is that terrified of his boss's mark getting injured. But it does also pair nicely with another scene not a few minutes later.

"My body moves before I can think."

In the split second before someone gets hurt, Vash isn't considering whether or not he should help them. He just does. The desire to protect is something so deeply ingrained in his core that it has become pure instinct.

And I think it's the same with Wolfwood. The moment that he takes to put up that shield of unbothered-ness is a moment too late. Big brother Nico has already taken action.

And even when he's just messing around, for someone who is meant to be cold and uncaring, Wolfwood's suspiciously handsy. This scene between him and Meryl would not have the same affectionate 'bickering siblings' vibe if he didn't insist on throwing his arm around her.

He's trying to mask it here by being annoying, but there's affection here. Not just emotionally, but through physical touch. Proximity too - guy's not adverse to getting up in people's faces to nick (ha) stuff.

And even at his most hostile and snappy, well, there's no strict reason why he has to get so close to Vash and grab him by the shirt like this:

But is it really a surprise that Wolfwood's like this? After all, the flashback with Livio shows that he was absolutely an affectionate and caring kid, even if edgy-teenager logic would have it utterly mortifying to admit out loud. The Eye of Michael can try to beat it out of him all they want, but a desire for closeness isn't something you can just remove from someone. It may end up muted, sure, but deep down it will always still be there.

TL;DR Wolfwood is absolutely secretly the biggest cuddlebug on this godforsaken planet and you can't convince me otherwise.

[cinsketches]

You ever think about how Vash was the one who gave a voice to the plant song, but the motif is heard all over Knives’s themes?

Knives never heard it before Vash did:

And Vash was the one who added it to their little duet (I couldn’t add another video, but it’s at the start of episode 8 🥲)

Ironic that the man taking on the task of saving his sisters is using the song his brother—who is much more in tune with them than Knives is & can help in ways Knives can’t—came up with to represent them himself.

[h4venpha]

me when baby knives who had just as shiny, sparkly, big ol downturned eyes as vash. so full of wonder and joy and curiosity!!!

poor baby :((( pls look at his gentle eyes and little sheepish smile

[nanomooselet]

Vol. One (Nebraskas)

Same shit, different universe. There's always a cyborg giant and his dad out to ruin your day, there's always some trigger-happy idiot with a rocket launcher, and there's alway a damsel to rescue from the fallout of your own reputation. Poor Vash.

I like that Orange gave Gofsef a little bowtie but removed his shirt.

They likely shrank Gofsef not only to make it easier to rig his movements (if he were much bigger, he'd need a correspondingly custom rig, and building one would take more time than it's really worth spending on a minor antagonist) but to fit him inside the shot with other characters and let him take more varied actions. You may notice in Stampede Gofsef has opinions on what's happening, even if he does ultimately defer to his dad.

By contrast in the manga by these two are gag villains and not much else, though they certainly set a tone! It's always fun seeing Vash in hero mode and still taking time out for the all-important tasks of making stupid faces at people and being a little shit.

[orcelito]

everyone always talks about That One panel of Trigun: Multiple Bullets, but i havent seen anyone talk about how fucking BATSHIT INSANE the surrounding fight is

like

Vash & Wolfwood fighting back-to-back, both using the punisher as a shield

(the rest under a readmore bc this accidentally got LONG...)

Vash seeing the shots coming from behind & purposefully not moving bc he knows if he does, Wolfwood would get hit

Wolfwood getting injured too, but not moving from Vash's back. the way he's stanced, it looks Protective. he's doing what he can to keep Vash out of the direct line of fire.

even when he's getting shot up for it, he Doesn't Move. (this also seems to be the moment he got hurt, which leads into the panel later)

& throughout this whole scene, we are only seeing Wolfwood's reactions.

until the girls give them an opening, and they burst out with THIS:

Wolfwood injured, so he can't properly aim the punisher... and he gets around this by sticking one of the leather straps in his Mouth

and then we FINALLY get to see Vash's face again as he grabs the punisher (with a "GAN" sound effect, so he fuckin SLAPPED that metal hand on the punisher).

Wolfwood trusts him enough to just do what he says in the thick of battle, so we FINALLY get to the iconic panel:

which brings us to the aboslute insanity of what Vash is actually Doing.

"DON DON" -> two shots fired for two missiles launched. he literally manages to TURN THEM AROUND MID-FLIGHT (interesting to note that they seem to have internal propulsion, rather than simply being fired by Wolfwood. how many of these does Wolfwood have? they seem heavy.)

he manages to avert the third missile from hitting the dude directly, and instead makes it land Behind him. then the other two missiles, he rests his arm on Wolfwood's shoulders to hit them and direct them behind the other two enemies

Boom.

killing no-one, but showing an INSANE level of fine control AND teamwork.

and in the end, Wolfwood's arm is in a cast, Vash seems either unhurt or hurt but unbothered by it (typical Vash). And Life Goes On.

(forgot to mention before, but all panels are from @trigun-manga-overhaul! thank u for the beautiful pages)

[justmaghookit]

I see a lot of Vash outlives the gang and lile eventually reincarnation aus and stuff but my personal headcanon post trimax is Vash has used up like all his power, his hair's fully black. I think he starts aging normally(aging like a human), I think he dies first actually, the years catch up. I think he's surrounded by his loved ones, I think they stroke his hair and hold his hands and he feels so so loved and he's going to miss them so much but its almost a relief to not see them all go first, to know they have years ahead of him. I think he falls asleep peacefully and wakes up to a hand ruffling his hair and asking if he's really going to sleep in "Needlenoggin" I think Wolfwood's there to greet him in the other side. They've got places to go, things and people to see.

I think the phantoms of The Puisher and the Humanoid Typhoon are main stays in the local legends all across gunsmoke.

[lilmelodrama]

Thinking about ship 3. About Lina and her grandma. Thinking about the people whose hearts are changed by Vash and get left behind. Even if afraid of him at the beginning, like Brad in tristamp, they end up considering him family. Luida calls ship 3 a "home". They gift him his coat. Luida goes back for him when he runs away and she risks her life for him just like Rem did. Vash keeps pictures of all the crew in his room just next to his picture with Knives and Rem. He considers them all his family. He knew all names of the sleeping colonists of ship 5 by heart and greeted them every morning. The same goes for ship 3.

They saw him at his most vulnerable (same for Lina) and know who is, all of them aging while he stays the same. They would be justified in their fear of him, with ship 3 knowing what Knives did. And yet they greet him each time without fear, because as he said himself, he belongs.

Jessica keeps a picture of him, same goes for Rollo. The love he feels for humanity is often reflected back at him. And he knows it, that is why he always walks away from everyone before feelings can truly take root because he knows how much it hurts (with Knives) and wants to spare them the hurt. But he denies his own hurt time and time again, causing others that very same pain. He can care for people, but people shouldn't care for him.

Do you think ship 3 and everyone else worries about him each time they hear news about him on the satellite? Do you think they prayed for his safety when they put a bounty on his head? Do you think Luida and Brad cried when they heard about July, Jeneora Rock or Augusta? Even if they know he's pretty close to immortal? Because I think they did.

Which makes this whole scene all the more gut-wrenching. Because yes, they died terrified for their own lives but also knowing someone was after Vash, someone powerful enough to be a real threat. And even then, their bodies were used to torture Vash even more. Because these weren't the Puppet-Master's words. These were their own words and thoughts speaking from beyond the grave with a stolen voice. Because Vash would have noticed the difference, instead he's surprised as their voices die in his arms and he doesn't even have bodies to bury.

[allbuthuman]

love for one's children / love for humanity

I think a big part of Vash putting Rem on a moral pedestal, thus clinging to unrealistic standards for himself, has to do with him projecting the particular kind of love that Rem had for him and Knives onto humans indiscriminately, while Rem didn't mean for it to be that way.

He thinks that, in order to honour her memory, he has to love everyone to the point of self-denial, to have space in his heart for every person he meets and to grieve them when they're gone as if they're his friends and family, because that's how Rem loved him.

The thing is, Rem loved him, Knives and Alex, and she also loved humanity, but those are not the same kind of love. Being fond of humanity as a whole and devoting yourself to it with your work is very different than loving your children or your spouse. Both are loves, but Rem, having had a life on Earth, would be able to tell them apart.

But Vash, at the time of Rem's death that marked him irreversibly, hadn't yet lived among humans at all. His conviction to live by "Rem's wishes" traces back to when he'd only been alive for a single year, among his immediate family. The only love he's ever known is his mother figure's towards her children – unconditional, self-sacrificial. So, with Rem having told them that they are humanity's protectors, he twists this into thinking that he has to suffer for everyone in the same way she would suffer for them, jumping in front of bullets like she jumped in front of that knife.

Being assigned the role of the protector, in combination with having wholly internalised his otherness (alongside his massive guilt complex), he fully believes that he has to protect every stranger as if they were a family member, a child or a spouse, and anything less is a betrayal to the woman who simply loved her children as her children.

It takes him actually getting close to people on a personal level and loving them as his friends versus indiscriminately as humans, it takes him realising that they don't see him faltering as a betrayal, that they'll forgive him if he breaks his moral code, that they will neither leave nor die because of it, to begin to deconstruct this.

[museqmeg]

When the animation is accurate to piano proficiency and the score tells a compelling story 🤌

*cracks knuckles*

It's time to put my music degree and 20+ years of performing to fandom use. I'm gonna deep-dive into a music analysis of "Duet" and the care Orange put into animating musicianship.

Let's first look at the animation!

Nai and Vash are both correctly playing the notes heard and in the correct form. Here's an interview with Trigun Stampede's composer, Tatsuya Kato!

Kato:

"For Knives - There are multiple scenes in this anime where Knives is playing the piano. In those piano scenes we had an actual pianist play the piano, and filmed them using multiple cameras to create the motion data. His piece combines his beautiful frailty with his huge ambitions and powers. His touching yet fierce impression is expressed through the duality of the minimal music that uses both orchestral and digital sounds quite boldly. Also, the melody of the plants’ song is based on Knives’ theme motif, which allows it to make the son an epic expression of tragedy and destiny."

-- from the Bernardelli Times Extra of the Trigun Stampede BluRay

Let's look at the score for "Duet."

The piece is composed in a minor, starting with Nai on the treble clef staves. The tone is hopeful in its theme despite the minor key, and we get a prelude to the plant theme.

When Vash joins in on the bass clef staves, the tempo is more than doubled and we hear an "agitation" in Nai's lines. Vash is also a few octaves below Nai, miles away in pitch. Sound like their story?

Looking at Vash's upper staff--while Nai is "on" the beat, Vash is off the beat (see highlighted figure). Their melodic lines are also ascending & descending away from each other in contrary motion. The rhythmic figures &melodic movement is causing the dissonance you hear.

This continues throughout the piece, each of the brother's hands becoming their voices and ideals clashing. That auditory dissonance created in the music showcases their struggle. Nai's part is more frantic and urgent, whereas Vash is holding steady with the bass line chords.

I like to think of Vash's sustained bass line as a motif to the steadfastness of his beliefs and ideals. Being true to himself.

"I'm Vash the Stampede."

As the piece goes on, both right hands of the brothers swap the rhythmic dissonance. Nai now on the off beats and Vash on the beat. Nai's repetitive figure on the subdivided 8th notes holds that tension, while his left hand is having the argument with Vash's right hand.

What's also interesting is that while sitting side-by-side for the duet, the hands closest to each other are the ones having the "conversation." There's a small parallel octave moment where they are as close as can be, physically & musically.

The outside hands are the dissonance.

Something else to note on the swapping of beat placement--the twins are both changing the meter within the meter from common to duple with the figures & subdivision.

It all comes to a head with an accelerando & both brothers playing forte.

(Brahms Symphony No. 1 anyone?)

During the climax of the piece, Nai is reduced down to the triplet moving line. It's frantic and desperate. Like fear and running.

(Check out Shubert's "Erlkönig" to learn more about these types of motifs.)

Meanwhile, Vash is pounding out the bass line and the plant theme.

"Duet" comes to an abrupt end with no tonal resolution; ending on the dominant chord. The sudden ending is also breaking up the phrasing, leaving the listener jarred and expecting more. Unresolved. And that's truly where we're at with Trigun Stampede.

My interpretation of "Duet" is that it's much like a tone poem, telling the story of two brothers. Vash and Nai's story isn't finished, and I'm guessing that "Duet" is an unfinished piece as well.

My personal predictions is that, if Tatsuya Kato is the composer for Trigun Stargaze, we're going to hear "Duet" become a complete musical composition that resolves the story and conflict between two brothers.

If you'd like to learn play "Duet" and analyze the score, here's a pretty good transcription on MuseScore:

[imustbenuts]

Stampede wolfwood has been given the confused young adult characterization beam its actually funny when it pops up in EP 7

When he gets asked what's his plan to stop this gigantic sand ship steamer and his reply in jp is just "I don't fucking know! With guts and determination (ガッツと根性)!" Gattsu to konjyou

ガッツと根性 is one of the most hail mary keep your chin up and press on term I've ever heard, and it's often used by characters in shounen who don't have a plan. Typically bad planners with bullheaded room temp IQ approaches to solving issues.

But it's not very often used together, it's usually only gattsu or konjyou on its own. Combining them is like making the strongest cocktail of "god help me I DONT KNOW but we gotta DO SOMETHING"

It's so hail Mary they turned the term into a tee

I wouldn't be caught outside wearing this bc it's too otaku for me but it's so funny

(random note, I also found the term connected to this song from 1995 with 9.7M views: Gattsu da ze! by Ulfuls. This japanese rock band is from Osaka, so it might be a multi level connection given Wolfwood's Osaka/Kansai dialect lmao)

Edit I've been informed and holy fucking shit. Urufurusu and urufuuddo:

[revenantghost]

Man, I think the best and worst part of Knives’s character is just how compelling he is*

I get it. You get it. We all understand exactly how and why he is the way he is. So many people have put this idea into better words than I could. He witnessed an unspeakable horror at an incredibly young age. He knew he was different, that he was other, and a worry set deeply into his bones that humanity would reject him for being born who he is. 

And he was right. It was so much worse than he could have ever realized. He was born to be an object for humanity to use as they see fit. All he wanted was love and peace for himself and his brother. And after seeing that? What they did so mercilessly to Tesla? Who can blame him for not believing in any future with humanity in it. Who can imagine a future without unbelievable strife and prejudice when you’re outnumbered and are seen as an item to dissect and toy with as you see fit

And yet

And yet

In his fear, in his need to control and correct, the cycle continues. The abused becomes the abuser. He assaults his brother multiple times. He takes away Vash’s autonomy and manipulates his body without his consent. Hell he happily experiments with/tests and uses Vash’s body while unconscious. He says he loves Vash while refusing to hear a word coming out of his mouth. Because, if he has a moment of doubt, any hint of weakness, all of that anger slips away and he becomes that boy again--afraid and weak and alone

In his fear, he takes plants. He strips them of their independence and will, denying them their souls. Again, he uses the bodies of his siblings against their will. He displays their corpses to keep him angry instead of putting them to rest. He kills and breaks apart the body of his sister so that he doesn’t have to die, so that he can be reborn. He willfully denies the thoughts, dreams, and pains of his sisters and instead absorbs them, impregnates them, tries to kill them in the “right” way

In his fear, he drove humanity into hurting his kind more. He forced their hand into injuring and killing more plants than they’d ever dreamed of harming. He’s the one that put Vash into a constant position where he’s gaining mountains of scars. (His brother who, on the opposite end of the spectrum, has let the cycle of abuse continue while using himself as a shield instead of breaking free from the pattern.) He uses and discards the humans near him no matter the kindness and devotion they shows him

The same behavior Knives shows everybody and everything else

He’s awful. Absolutely sick and perverted and so stuck in his own mind that all he does is hurt and hurt and hurt

And yet

I get it. I’ve been traumatized to the point where all I want to do is cause pain in return. To feel that justice can exist and will come to pass, no matter the cost. To be so afraid that anger is the only safe emotion you can cling to. It’s what makes him one of the most compelling antagonists I’ve ever seen. Kudos to Nightow for fucking me up about Knives and his pain more by the day, honestly

*Except for ‘98 Knives lmao, that man is fabulously unhinged and overly dramatic about everything and I love him for it

[eldritchneuro]

Ah Knives. Classic abuser bullshit - 'You aren't doing what I want so there must be something wrong with you'.

Of course, Knives' evaluation of his brother is a deeply subjective one, and deeply flawed. He considers Vash's attitude towards others nothing but an impediment, even though Vash's empathy has very much saved his hide multiple times. Be kind enough to folks and you too can snag a genetically-modified assassin and a couple of plucky reporters by your side! (If you know anything about what some journalists have to get into for their stories, then you know Meryl and Roberto are far more intimidating then Woowoo in the long term!)

Not that it matters of course. 'Sickness' is just an excuse here. Something to point to in order to justify abuse. And it's not just limited to Knives. It's rhetoric that extends throughout the Eye of Michael itself, and indeed into many real-life evangelical cults.

'These people are sick, and making them not-sick is more important than then their human rights' isn't just the excuse Conrad uses to torture innocent children. It's the drivel of the Nazis, of the colonists that murdered entire indigenous civilizations. It's the excuse used for conversion 'therapy', and the horrific treatment of people in prisons and psych wards. It's the same abusive bullshit swallowed and vomited up again and again and again.

Actually, speaking of stuff like psych wards, are there any other disabled people who find Knives and co's assumptions about the dependent plants rather... uncomfortable? Specifically:

Knives' attitude towards 'freeing' the plants is that they should be made independent. Removed from their bulbs, removed from human care and made into something that can walk around and do stuff.

Which seems fine and dandy. He's right that the plants deserve autonomy and choice. But it's the core assumption underlying this that's the problem. To him, the plants in their bulbs are also sick. They are sick specifically because they are in their bulbs and can't do what he and Vash can do. Therefore, they must be 'cured', even if it means violating them.

Even though Stampede saves it's critique specifically for the way outsiders take advantage of dependent plants, not plants having to be dependent in the first place. And for all his talk, none of Knives' sisters are asked to weigh in on his grand plans. For all we know, many dependents could be quite happy the way they are and have no wish to be anything different.

To clarify my point, what happens if we reframe this dynamic? What if we were talking about, say, a high support needs autistic person, who literally would not be able to survive without being dependent on others? For people like that, the assumption that liberation and agency must mean independence isn't just untrue, but also something that will (and does!) prove fatal.

See the problem?

[firethekitty]

thinking about how knives’ last interaction (not only with a human but literally ANYONE) is with this cute little kid in awe of his apple tree who just treats knives like a totally normal guy, not like a freak or a god to worship

you’d assume for someone who hates humans so much that knives would eventually die in a blaze of glory like shot down by the military or something. but the real beauty of his death is how in willingly creating the tree with the last of his powers, he ensures not only the survival of vash, not only the survival of these two humans, but the survival of ALL humans. and at this point, knives has finally accepted the fact that humans are inherently good and he’s confident in leaving vash with them. he TRUSTS them to save him.

i especially love that the kid asks if knives told vash he was leaving. just like a very basic indication that you care about someone. and knives kinda takes that as his cue to finally let go and leave vash on his own