#what is characterization

[petr1kov]

i really think we should all outgrow once and for all the idea that a character making a dumb decision is a plot hole. sometimes people are dumb. sometimes a character making a smart and informed decision is the real plot hole

[radiance1]

By all accounts, it shouldn't have worked.

By all bloody accounts, that should not have worked.

Constantine will repeat.

That, by all accounts, should not have worked.

The warehouse was shitty. The materials were shitty. The summoning circle was shitty. The chanting was shitty. The magic was shitty.

By all accounts, the summoning should not have worked.

So Constantine couldn't give much of a shit about really stopping it because the summoning was so shitty it shouldn't have worked by an means possible.

So what. In the ever-loving fuck. Was the Ghost King, known tyrant of the Infinite Realms. Standing in the middle of the circle and not, last he checked, imprisoned?

That was another thing that he thought would have made it fail, actually. Because the Ghost King was incapacitated, asleep, gone, unavailable, nada.

So what. The fuck. Was he doing. Here?

Constantine knew the day was going to well to stay that way but wow. The universe loves to fuck him over, apparently.

Or the Justice League in specific.

Or both.

Doesn't matter, because now he has to bullshit his way out of this or get ready to brawl for his life.

Good thing he's good at both of those things, then.

Mostly the bullshit-

"Phantom what the fuck are you doing-" Constantine wheezed out, watching one of their newest members-a ghost going by the name Phantom-fly over in front of the known tyrant and-

Oh.

Oh, holy shit this won't end well.

Ghost King.

Phantom. A ghost.

Well, shit.

This is fine. This is totally fine. He just needs to bullshit his way out of this or face two powerhouses.

This is fine.

He's done worse.

"Sup War" Phantom said, floating around the summoning circle that contained the king of all ghosts like it wasn't a problem. "Didn't expect to be seeing you here."

"Ward." The Ghost King inclined his head slightly, eyes trained on Phantom. "I would not have come here if not for Time's insistence and I have been meaning to..." The King paused, hands gripping and ungrasping the pommel of his sword. "...Check in... on you."

"Aww, were you worried about lil old meeeee?" Phantom, ever the little shit and holy shit did Constantine want to go over there and shut him up, said. Floating around until he was staring upside down in the Ghost King's face. "Didn't know you were so soft, pa."

"I am not soft." The King huffed, flame dancing at the edges of his hair. "I was merely... concerned. Over how you would be acclimating to your circumstances. This world's League of Justice covers far more than your small haunt."

"Weeeell, it's not that bad honestly." Phantom admitted. "Haven't really done anything too big yet just some smallish things here and there. So, you know." The ghost boy shrugged, swinging back in the air to turn upright and crossing his legs. "Nothing too bad."

"Good." The Ghost King nodded, shoulders slumping so slightly that if Constantine wasn't looking, he wouldn't have seen it. "That is good. Yes. Good." The King slightly cleared his throat, grasping and ungrasping the pommel of his sword.

Silence echoed in the warehouse as the King seemingly looked for words to say.

"Would you..." He cleared his throat again, squaring his shoulders and standing up straighter. "Would you like to join me and Time for a meeting? It has been some time since you had last joined us." The King shifted slightly before adding. "Of course, if you're busy you do not have too."

"Sure." Phantom said, rolling back and forth in the air as he hummed. "Been a while since we've had some family time-"

"Family time?" Constantine caught someone-who he thinks was Green Lantern-say. He was just as bewildered.

"And if Time sent you here then it must be important." Danny paused before shrugging. "Or maybe not, can never know with him. But yea, sure. I'll come."

"Wonderful." The Ghost King smiled. Smiled. At Phantom. "Then I shall. Leave. Now. To do. Things. Yes. Things." The summoning circle flashed a familiar green, the same green when the King was first being summoned. "Goodbye, ward."

"You can call me son, you know."

The King paused for a moment, blinking slowly before hesitantly nodding.

"Then goodbye. Son."

The circle flashed and just like that. The king was gone.

"Kid. What the fuck." Whoever said- okay wait no that was Constantine, him. But yea fuck it he agrees with himself. "What the fuck." He repeated.

Phantom, the brat, only gave him a shit eating grin and a peace sign before disappearing on the spot.

[carolinanadeau]

"this female character is underdeveloped" TO YOU. I can read subtext and I know all about her backstory and her rich inner life. also she told me personally

[hinamie]

the sirens are turning red

[divineandmajesticinone]

LOVE IN THE AIR: KOI NO YOKAN (2024) I EP. 4

[vaguely-concerned]

little detail I've picked up on: lucanis seems to like it when rook is smart. not in an academically minded way, necessarily, but when they're clever/analytical and clear-eyed about the practical realities of a matter and able to sort out the bullshit. most immediate example that comes to mind is of course when rook points out to illario that zara physically can't have made it back to vyrantium yet by conventional means in the café scene (where they're also backing what lucanis is trying to say, so the approval there makes extra sense), but it pops up in several other places too where rook cuts through to the heart of a problem with that kind of thinking. his and davrin's approval often overlap, but davrin seems to like it when rook is resolute and practical (and kind but don't tell anyone that sssh <3 ilu davrin), where I get the sense that lucanis gets that extra little thrill when they're also clever. in another contrast emmrich likes it when you're curious and openminded and kind (a lot like solas in da:i really) -- more like a life-long earnest academic *would* think about and value learning and knowledge in terms of a process and way of thinking rather than the results that come out of it -- while i think lucanis kind of likes it (and possibly gets a little ah frisson out of it depending on your relationship with him lol) when your mind is a knife. which I think is really neat. also tracks perfectly with him liking both viago and neve too haha. he clearly enjoys the Thinkers of the world.

[gearoxbutabox]

LITTLE STUPID KIDS THAT LIKE COLLECTING LITTLE STUPID MONSTERS (AND GHOSTS)

[siggiedraws]

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.

[fairuzfan]

also stop fucking talking about "what if indigenous americans did october 7th to you today??" you weirdo. stop! what a disgusting argument to make, have some fucking shame.

[kaiju-krew]

stargazing⭐

[dykedvonte]

Jimmy tries so hard to not let Anya haunt his narrative but she is his narrative and he hates that.

Everything loops back to what he did to her and every hallucination, action and choice he makes or does directly goes back to her and he deserves that strife. She persisted and spoke up and he hates her for it. He can erase her but not her presence over them and that’s the best type of ghost.

[wandixx]

I've seen a lot of different takes on Fear Toxin/other fear causing stuff (Yellow Lanterns Ring or something)(later just called Fear Toxin cause I'm lazy) but here is another one.

Danny seems like he isn't affected by Fear Toxin because his biggest fear is that his accident changed him so much he is no longer human, he can no longer truly experience human things.

So when he gets lungful of fear Toxin, he feels normal. He was antsy before, because c'mon, it's a rogue attack but it's not worse. Or so he thought. Because the anxiety lingers. Not enough to register as abnormal just this slight hypervigilance that makes you see things about yourself and your surroundings that you'd never realize otherwise. He'd realize he doesn't blink as often. He'd realize that if he doesn't consciously focus, he sometimes seems to not touch the ground. Forgets to breathe. He can't feel his own pulse at time. He'd realize people will miss him when he's walking down the street as if he was invisible (people just don't care about everyone they pass by). When he'd look straight into his reflection, he'd look slightly to the left. Not enough to actually name anything that was wrong but just stretched enough to fall on the wrong side of the uncanny valley. If he just caught his reflection in the peripheral vision, it'd be vaguely shadowy creature with glowing green eyes and white smoke instead of hair. Overall he'd be just wrong enough to be distinctly not human.

For everyone else, he'd be just a dude. Literally couldn't find more normal dude than this dude. Will pass as absolutely normal human unless someone is specifically looking for ecto-ghost stuff. Even most magic users wouldn't clock him at the glance

Tldr: Fear Toxin makes Danny perceive himself as some sort of eldritch horror but not enough to make him believe he'd actually be affected, while from outside perspective he's Just A Dude™

[bumblingbabooshka]

Society if in TOS we had Doctor Mccoy who was an expert in Human Medicine and the Human Heart contrasted with Doctor M'Benga who was an expert in Alien (Specifically Vulcan) Medicine and the Vulcan Heart and they often clashed/collaborated on how to treat Spock whenever he was injured or acting strange....medicine in space...the down home doctor vs the extraterrestrial physician. How to be humane to the non-Human. Spock's struggle between Human and Vulcan made real, made flesh, made immediate, on the surgeon's table.

[sk3tch404]

Normalize drawing what u enjoy

This is canonically how he got into photography /j

Am I blanchin girl we blanchin, I live up Inna mansion 💃💞🗣

[mint-fixates]

I want to make an AU where Bill was never evil but his personality is still the same outside of that so the Pines twins show up to stay with their Great Uncle Stanford and he introduces them to his husband who's just. A funky little chaotic triangle creature from another dimension. He gives them deer teeth as welcome presents and both he and Ford (who is extremely accustomed to his weirdness after 30 years together) act like that's a Perfectly Normal Thing to Do. Dipper is LOSING it, Mabel is LOVING it (she makes a necklace and earrings out of them)

[reingkings]

In-ho’s books.

Does anyone who speaks Korean happen to know what it says on his shelves? This is season 1 episode 2. The time stamp is around 28:45. I’ve managed to work these out:

Fiction

Catcher in the Rye by J.D Salinger

Basic Writings of Nietzche

Desire and its interpretations by Jacques Lacan

3 Unknown (appear to be fiction, titles are Korean, sit next to Van Gogh)

1 Unknown (first book from left next to Nietzche’s)

Seminar XI: Four Basic Concepts of Psychoanalysis by Jacques Lacan (credit: afterubleedout-blog for finding it)

Visual

Picasso’s Blue and Rose Period

Van Gogh: The Complete Collection

A Claude Monet book (unclear)

Renée Margritte’s Empires of Light (I believe a picture of her paintings is also hanging on his wall)

There is another shelf on the top left with more books but I think it would be virtually impossible to recognize them unless you already knew it by the spines.