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deconstructthesoup · 6 months ago

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One thing I absolutely adore about Dead Boy Detectives is the immaculate costume design. Specifically, how it perfectly encapsulates who the characters are, both as a whole and who they are in the moment.

From the very first scene of the show, we know immediately that Edwin is a bookish, somewhat stuffy guy from the Edwardian era who attended a boarding school, and Charles is a punk from the 1980's who's most likely the wildcard between the two of them, just going off of the way that they're dressed. Both of them have distinct color schemes and different styles, but the general shape of their outfits is actually relatively similar---both of them have collared shirts (Edwin's dress shirt, Charles's polo), something over those shirts (Edwin's vest, Charles's suspenders), a jacket of some kind (Edwin's suit jacket, Charles's flannel thing), a longer overcoat (Edwin's traveling coat, Charles's peacoat), something around the neck (Edwin's bowtie, Charles's necklace), slacks, and nice shoes. They're distinct, yet matching, two clearly defined separate characters yet part of a set.

Edwin's prim, proper, buttoned-up personality lends itself to the way he dresses throughout the season---in the first episode, he only dresses down when he's in the office with Charles, aka his safe place and his safe person, and he doesn't really dress down like that again for a good long while after getting stuck in Port Townsend (though, if my memory serves me correctly, he does take off the suit jacket while watching TV with Niko). But in episode six, he's changed up his usual look for a cozier, casual-looking sweater and a little bit of collarbone, and in episode seven... well, he's in his nightclothes, and he's about as open, raw, and vulnerable as you can get. Edwin's color scheme is also predominately blue, which lines up nicely with his logical and practical, yet deeply sad and closed off personality, and the only time he really wears anything other than his normal blue-and-brown outfit (willingly, that is) is when he's in that green sweater in episode six. And, uh... all I can say is that it's quite telling how blue and green---or, well, teal---are the main colors of the gay/mlm flag.

Charles, by contrast, dresses down a lot, and that makes a lot of sense when you consider the fact that unlike Edwin, he feels comfortable pretty much anywhere. On any given episode, he goes from wearing his peacoat to just wearing his flannel to ditching the flannel to not even wearing the freaking polo---though, again, the latter is something that only happens when he's in the office with Edwin. Safe space, safe person. And, well, plenty of people have analyzed Charles's polo shirt going from red to burgundy to black over the course of the series, and there being a little bit of red under the collar of his coat that's only visible when Edwin fixes it, and then it goes back to burgundy, and then it's red again when Edwin's out of Hell... for good reason! It's color symbolism at its finest! Not to mention, the red and black not only perfectly contrasts Edwin's color scheme, but it also lines up with Charles's personality---he's a rebel, he's hotheaded, he's bold and brash and loud... and yes, he's angry, but he's also so, so loving.

When we first meet Crystal after she loses her memories, her outfit choices feel very deliberate. They're stylish and vaguely trendy, they're arty and a little bit witchy---pretty fitting for a psychic who's also a showbiz kid, even if she doesn't know that last part. But all of her clothes appear thrifted, or at the very least vintage, and the patterns and the general vibe all feel natural and comforting. Her makeup's always fairly simple, her hair's either down or up in a couple of cute space buns... overall, this Crystal looks like the kind of person who'd make you tea when you're in a bad mood, who'll listen when you just need to vent, and who may not always know the right thing to say but will understand what you're going through. But when we see her in the flashbacks, her clothing's flashy and prioritizes high-end trends over comfort, she's either got her hair up or has it straightened, and she not only has dramatic makeup, but acrylics. This is a girl who talks shit about you behind your back, who's bitter and cynical and wants everyone to feel the same way, who makes up for the lack of love and stability in her life via material things. It's also worth noting that Crystal's color scheme has a lot of purple, which is a color that connects to wealth and luxury, but also creativity and magic---which, yeah, fits her two conflicting sides pretty damn well.

You cannot talk about Niko Sasaki without talking about her outfits, and the meaning behind each of them has already been talked about at length. However, one thing that really stands out to me is that the reason they're so iconic isn't just because of the monochrome color schemes, but because they're out there. They're weird, they're eclectic, they're a little mismatched in style sometimes, and they're so unapologetically her. Niko wears heart-shaped sunglasses, unironically. Everything about the way she dresses speaks to how, even though she's a recovering shut-in who initially doesn't want to be perceived, she's still very sure of who she is.

Jenny's design, like Charles and Edwin's, is a design that gives you the key information you need the minute she first appears onscreen. The dark makeup, the silver jewelry, the leather apron, and the hairstyle all point to a person who's tough, doesn't take anyone's shit, and has long since given up on caring what other people think---in other words, she's a badass. But the butterfly tattoo hints at a softer side, a side that we see time and time again throughout the series as she shows that she cares about Crystal and Niko, and even the boys... eventually. Also, Jenny's design is perhaps one of the most clearly queer-coded in the series, to the point where her being a confirmed lesbian is pretty much a no-brainer.

Esther's design oozes camp, from top to bottom. The fluffy coat, the bustier, the boots and the cane and the everything, speak to a woman who's kept with the times and yet has seen it all. There's really not a lot I can fully say about her design, other than what Charles has already said: "She looks like a witch... like, kind of a sexy witch, who smokes a lot." (Or maybe I'm just tired and running out of steam at this point, idk, I love Esther's design and I can't really put it into words.) It's also pretty fitting that her color scheme has a lot of yellow in it---after all, she's always striving for more, so what better color for her than the color of gold?

Everything about the Night Nurse's design speaks to a woman who follows rules and discipline above all else, from the pantsuit to the pinned-up hairstyles to the tie to the heels. She's also the most muted out of the main cast in terms of color, dressing mostly in browns, dull greens, and duller browns---and while I don't have a lot to go into detail about there, I feel like that's kind of a symbol of her narrow-minded and bureaucratic worldview.

And the animal characters... Jesus Christ, I fully forget that they're all being played by human actors. Tragic Mick dresses like a man who's always spent his life by the sea, layered denim and all, and it's never a stretch to see this sad, bushy-bearded, baggy-clothed fisherman and imagine him as a walrus lounging on a beach. Monty, at first glance, seems to only wear black, which would be perfectly fitting for a crow, but when he's in better lighting, you see that he dresses in layers of red and blue, calling to how he envies Charles and Edwin and clearly longs for something more---and this might just be me, but I think that even though his outfits seem fairly normal at first glance, they feel kind of like a costume for Monty more than anything else, like he's trying to emulate a teenager that he's seen on TV more than someone in real life.

The Cat King fits this just as well, with all of his outfits aligning perfectly with whatever his cat form is at the time---when he's a fluffy ginger, it's always sequins and fur coats and clothing pieces that are specifically designed to take up space and call attention, and when he's a black shorthair, it's sleek styles and shiny leather and pieces that are designed to cut an intimidating yet more subtle figure. And while I could go into detail about all of those, what really stands out to me is how clearly queer everything is---more than Jenny's alt lesbian attire, more than Esther's campy coat and corset. From the very first scene he's in, he's wearing a skirt, and it looks natural. Nothing about the way the Cat King presents himself is exaggerated, nothing about the way he dresses is played for laughs---he's flamboyant and feminine and flirty, and he looks so fucking hot while he does it. It's gorgeous.

So... yeah, uh, all the awards for the Dead Boy Detectives costume designers!

#dead boy detectives #dead boy detectives analysis #costume design #edwin payne #charles rowland #crystal palace #niko sasaki #jenny green #esther finch #the night nurse #tragic mick #monty finch #the cat king

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julymusings · 2 days ago

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you're good to me, baby

with the roar of the fire my heart rose to its feet, like the ashes of ash i saw rise in the heat. settle soft and as pure as snow, i fell in love with the fire long ago.

or; because the red hood bleeding onto your living room carpet is exactly what you need right now [3.6k]

Jason Todd x fem!reader; based on this lovely ask; ngl this turned into a personal vent jason doesn't show up until 1k words in LMAO; warning there’s blood (duh) and reader is type A and suggested to have heavy anxiety; pre-established relationship where reader doesn’t know his identity + muzzle red hood bc HOT

Compartmentalize. Create baskets in your mind. Analyze the situation, and drop the corresponding emotion in the appropriate basket.

One: You had a fight with your best friend. She called you selfish because you weren’t enthusiastic about her new relationship. She just can’t seem to understand that no matter how happy you want to be for her, it’s painful to see everyone find safety in another person when you can’t. Every attempt at romance is squashed by something or the other that you keep doing wrong. I thought you were hot, your latest dating attempt had said when you ran into him and asked why he never texted back. But you’re kind of a lot. Not something I have the space for right now, you know?

Two: There’s an important presentation today, one that could determine the fate of your position in the company. Your coworker, the one who’s convinced you stole his promotion (he just flirted with the higher-ups while you actually completed the requirements), refuses to let you forget how much is at stake. All it takes is one misstep, one stutter, one hesitation, and he will take it as an excuse to demand your demotion— or worse, termination. You’ve been preparing for this presentation for three weeks. If after all that effort it’s still not good enough, maybe you should be fired.

The emotions here? Frustration. Anger. Exhaustion. Jealousy. Just to name a few. But there’s no time to dwell on anxieties right now, so you shove those thoughts aside. Drop them in their compartments and move on because, after all, if you can strip them down to their bones and find where they stem, you can yank those anxieties from the ground before they have the chance to root. And then there’s no need for unnecessary heartache, right?

(Who cares if the baskets are overflowing, crumpled fragments spilling over the sides like garbage in a landfill? Who cares if the room of your mind is so packed that you’re pressed against the wall and breathing becomes painful.)

The digital clock beside your bed reads 6:12. The numbers blink in and out of the window, their red dots and dashes taunting your heavy eyelids. You still have forty-eight minutes of peace before it will scare you awake. Its beeping will ring so loud and angry that the adrenaline from the startle will power you through your morning routine, and your beating heart won’t dare still to entertain wishes of just five more minutes. 6:13 now. You have forty-seven more minutes of peace, minutes which should be spent sleeping, giving your poor brain a break from itself. But you can’t. Every time you close your eyes and begin to sink below the level of consciousness, your heart pumps a house-special cocktail of cortisol that laces through your bloodstream and convinces you that if you fall asleep you will miss your presentation and you will get fired. The off-grid escape plan formulating in your head switches from hypothetical to tentative when your neighbors, apparently awoken to lust as well as tired by it, start going at it again. You want nothing more than to bang on their door and scream obscenities until they hate each other enough to never touch again, but you resign yourself to consciousness, giving up on the dream of what would now be forty-four more minutes of sleep.

It’s Friday morning; only one more day to get through before the sweet release of the weekend finds you. (The whole weekend will be spent contemplating the start of a project, feeling like two days is not nearly long enough to complete anything, and dreading Monday until it finds you with nothing done and the same, endless cycle awaiting.)

After completing your morning routine 44 minutes early, you use the spare time to go through your presentation once more, just for good luck, wrapping up the third run-through just in time to hear your alarm to leave for work.

The presentation goes decent, at least well enough to quell any doubts about your ability to do your job. Your coworker ate his words for sure, and you might have enjoyed the look on his face had you not mentally checked out as soon as you finished your closing remarks. Rush hour traffic has the ice cream tub you bought at the convenience store dripping condensation all over the passenger’s seat and your hips hurt from being in the same sitting position for most of the day, but you remind yourself that peace is only a few miles out. Stopped at yet another red light, your grip tightens on the steering wheel. Breathe in. Breathe out. The line of cars starts to move forward.

When you get home, your frustration is close to boiling over. You kick off your shoes right at the door, your keys and bag following close behind.

Far be it from you to break down on the floor in the middle of the room, the plan begins to formulate. There’s a box of tissues on your desk– that can go on the nightstand, along with two of the chilled water bottles you keep in the fridge for after you work out. And you’ll need something for the tissues, right? The small wastebasket from the bathroom should be fine. You drag it over to the side of your bed, sitting in your usual spot to make sure you placed it at a reachable distance. You won’t want to get out of bed to wash your face after this, so a washcloth should go next to the tissues. And an extra one, just to be safe.

You keep a set of comfortable clothes ready, the nicest, softest pajamas you own that you only wear after an everything shower. This shower, however, is a quick one, not much more than a few minutes under scalding water to comfort you, if nothing else. The light pink pajamas are a high-quality cotton and you feel like you’re in the clouds when you slip into them. Remaining is the ice cream, which you set out on the counter right before your shower so it would thaw just enough to be soft but not melted, With everything in your room ready, you go to retrieve the ice cream but stop with a startle when you round the corner.

“Jesus,” you mumble.

He’s just sitting there, doing nothing except bleeding out on your cream-colored carpet. He’s spread out on the couch like he owns the place, head leaned back against the wall as he lets his injured arm hang over the armrest and drip blood and dirt onto your cream-colored rug. The liquid seeps into the expensive wool, staining it with reddish-brown hues and the scent of iron, and he doesn’t even notice.

“Hey.” The Red Hood lifts his head when he sees you.

On any other day, you’d be quick to action, hauling him up off the couch and sprinting for the first aid kit under the bathroom sink. Today, your arms are too heavy and your gaze remains rooted on the widening splotch of red against white. Your throat feels dry. “You’re getting blood on the carpet.”

He peers over the armrest. “Oh, shit,” he curses, lifting his arm to hover it over his lap. He sounds robotic through his muzzle mask. His hood, pulled down to reveal his thick black hair curling at the ends from humidity and sweat, rests on his back.

I don’t have time for this, is what you want to say. You want to scream it in his face and kick him out for having the audacity to think he can come and go as he pleases, that you’re nothing more than a drive-through emergency room who will drop everything if he gets so much as a paper cut. But you can’t say any of this, and you do want him to come to you whenever he needs help. God knows he won’t go anywhere else.

Holding back your heavy sigh, you wordlessly walk to the bathroom. He takes that as an invitation to follow.

It’s clinical. Rehearsed. Neither of you speak. It’s a partnered dance long since committed to muscle memory, steps you can take in your sleep. He knows to seat himself on the step stool you got just for him, for nights like these. He knows where to find the first aid kit and which supplies to hand you first. You know the exact steps to follow. Check the palms for abrasions. Antiseptic to the lacerations. Concussion exam.

Maybe he can sense the air of tension surrounding you, because he doesn’t say as much as he usually does (though, granted, it’s still not much). It’s a reflection of your dynamic several months earlier when this arrangement began, back before you’d managed to chip away at the surface of his rough exterior. You notice the way his fingers curl against his thighs when you, somewhat carelessly, wipe the dirt from his skin with more pressure than necessary and the way his eyebrows tilt inward when you work slower than usual. You notice, but you ignore it.

We both know you have at least a dozen people who could do this for you. The words echo in your mind. Don’t act like I owe you this. If anything, you owe me a new carpet. These are things you wish you could say, but never will. Being realistic, you’ll probably never be able to say things like this. You’ll be subjected to all the shitty coworkers and unsympathetic friends and exploitative vigilantes of the world for the rest of your life.

This isn’t his fault, you remind yourself, but still, your lips turn down and your jaw feels tight with the effort to keep your face still, to not burst into tears right on the spot. In the second it takes for you to calm yourself, your hands pause. He notices. He says nothing.

It’s not until you’re finished with cleaning the blood from his arm wound and giving him a wad of gauze to hold against it that he tests the waters and asks, “Is it too bad?”

He sounds automated, but over the last few months, you’ve learned a thing or two about reading even these robotic actions. There's a certain quietness to the beginning of his sentence like he’s debating if he should say it or not.

“It’s fine,” you say, shortly.

“Sorry about your rug,” he says. He tugs at the strap of his muzzle with one finger, rubbing at the skin underneath the leather. “I can get the stain out.”

You retrieve the needle and thread from the kit and don’t respond. You don’t even look at him.

After a moment’s hesitation, he continues. “It’s easy. You just need salt and—”

“Okay.”

He goes quiet.

You don’t mean to be so tetchy, but you don’t have the energy for anything more. Every little thing has you feeling on the edge of shattering. It’s too much. It’s all too much.

It’s when you’re kneeled at his side, staring into the gaping wound on his bicep and trying to thread the needle, fingers trembling from the chill of the tiled floor with nothing but a layer of thin cotton to keep you warm, that it happens. He shifts on the stool, a mere twitch in an attempt to get comfortable, but it brushes his bloody arm against yours. Flecks of fresh red on the light pink fabric. First your carpet, now your pajamas. Your favorite, special, extra soft matching cotton pajama set, a rare splurge after your promotion that stood out among old t-shirts and sweat shorts. Ruined. Again, he doesn’t seem to notice.

“Did I say something?” Hood asks. He waits for your response, but when none comes, he adds, “I’m sorry if I did.” He speaks so quietly you may not have been able to separate his words from the whirring filter of his mask, if not for the chilling silence of the bathroom floor. The insulating brick walls of your old apartment building are something you’re usually grateful for, but tonight you find yourself wishing for the city’s commotion to seep through the walls. Something, anything to buffer his proximity to you.

You hear his inhale as he prepares to say something else.

“Can you just let me work?” You snap before he has the chance to speak again. It’s loud, louder than you’d ever dream of speaking to him, and he flinches. Your eyes shut in apology, but only for a moment before you get back to it. He looks away. His feet point towards the door.

He wants to leave, you can tell, and you don’t blame him. You just messed everything up. But you started this, so now you have to finish it.

You sit in silence for the several minutes it takes for you to clean his wound and stop the bleeding.

He’s not looking at you, gaze transfixed ahead of him on a chip in the paint. At least, you assume. It’s difficult to guess what’s going on behind the milky white covering over his eyes. His subtle body language can be read if you pay close enough attention, you’ve learned, but that’s not something you care to do right now.

(Maybe you noticed in the back of your mind that he’s not exhibiting any body language since you snapped at him, but the compartment in your head for guilt is already overflowing, so maybe you didn’t notice it, you tell yourself.)

You stare at your sleeve, at the patches of blood blooming like ink blots. The red and pink hues blend together behind your blurring vision. You sniffle.

“Are you—” Hood starts. Because now he’s looking at you.

“Excuse me,” you say, pushing yourself off the ground and stumbling out of the room without so much as a glance back at him. You stagger into your room, needle and thread still in hand, and push the door closed. The lights are off, and the darkness is calming, quieting your buzzing thoughts. You close your eyes and lean against the door. Breathe in. Breathe out. You continue this exercise, breathing in through your nose and out through your mouth to soothe your sympathetic nervous system, the same way a therapist instructed that one time you went. You wipe away the moisture that has collected in your eyes, roll out your stiff neck, dry your sweaty palms over your thighs. You toss the needle and thread aside, because they are definitely not sterile anymore, and take a few more breaths before opening the door and going back to the bathroom.

You avoid his face, following the lines of grimy grout between the tiles before resuming to your spot at his side. His inspecting eyes burn on the side of your face. You wipe down the forceps with a sterilizing wipe and rip open the plastic packaging for a new needle, holding it up to the wound, but your hand refuses to steady.

Another deep breath. Then another.

Hood sighs. It’s almost chastising. “I think I should go.”

“What?” You’re just surprised enough to be torn away from your thoughts and look him in the eye (mask) for the first time all night.

“You can’t do this,” he says, gruffly. “I don’t know what’s going on, but I’ll let you figure it out.”

You scoff. “Yes, I can. I’m fine.”

Before he can argue, you grab him by the wrist to hold him in place just as he starts moving to get up. He winces, but you keep your grip tight on him. You can feel his scrutiny through the cold, expressionless barrier of his disguise, practically track his pupils as they search your face.

You both pretend he couldn’t break from your hold in an instant if he wanted to.

“You’re shaking,” Hood says. His voice is much softer now.

You follow the turn of his head to your hand where it hovers the needle right over his skin. You are shaking. Trembling, in fact.

“No, I’m not.” It comes out as an empty whisper.

You focus all your strength on steadying yourself, but the harder you try to stabilize, the harder you tremor. Your other hand releases his wrist to clamp over your dominant hand and force it to stay in place. It guides the needle closer to the skin, but now your vision is blurring. You blink rapidly, but it’s not enough. The tears start falling. You look away from him, but a warm hand settles over yours. You don’t dare look at him, unable to bear showing him your shameful face, wet and blushing and screwed up in misery. You turn your face into your sleeve. Clamp your eyes shut tight, thinking maybe if you keep them closed, this darkness will swallow you up and he won’t be here anymore.

But the warmth of his skin on yours is the first feeling of softness, of relief you’ve felt in months, and then it’s gone. Your shoulders are shaking, quaking with the effort to keep your sobs quiet.

One finger ever so gently hooks around your chin, pulling it back up to face him. You keep your eyes closed, not wanting to see him see you like this, but the tears are still streaming. He brushes them away. Whether that makes it better or worse, you can’t be sure, because you cry even harder, snatching your face away from his grasp to muffle your sobs into the back of your hand. You don’t realize he’s pushed himself off his stool to sit cross-legged on the floor until you feel his hand circling your arm and pulling you closer. The tools in your hand clatter on the floor as your palms come up to press against his chest, fighting against him with half-hearted protests murmured through your cries. But even with only one good arm he’s too strong for you, and you’re pulled into him.

He’s so gentle with you, rubbing your back and resting his chin atop your head while you cry and cry and cry into his shirt. Several minutes pass like this, with your face buried in his chest and his good arm holding you tightly against him while the other dangles lamely at his side, throbbing with an intensity he’s trying to ignore.

When your sobs die down, and you’re sure you’re all cried out, you linger against him. He smells like smoke and gasoline, and his shirt is soft and warm from his body heat seeping through. His hand continues to stroke up and down the length of your back, even after you’ve quieted. The edge of his mask digs into your scalp where his chin sits, but it feels worth it. Your hands, still pressed to his chest, slide higher, completely of their own volition, out of a newfound desire to wrap your arms around his neck. You don’t hear it, but you can feel his sharp draw of breath, his chest rising quickly under your touch. Your hands lose their nerve at his clavicle as you hold your breath for fear of the smallest movement drawing attention to your forwardness. You wait for him to rebuff you, to lean away from your touch, or grab your wrists and pry them off. He doesn’t.

“I’m sorry,” you whisper. His chest finally falls.

Eyes opening, your thumb swipes over the edge of the red bat symbol just below his collarbone.

His movements pause, lightly gripping the fabric of your shirt for just a moment, before releasing it. “It’s alright,” he tells you.

You pull back from his chest to look at him, the way his cold and unfeeling expression stares back at you. You wonder from time to time what’s under the mask, but tonight the desire is overwhelming; you ache with the want to know what he looks like. The color of his eyes. What his mouth looks like when he winces over a deep cut or chuckles at one of your anecdotes. You wonder if his lips are soft or chapped. If he’d like it if you dragged your thumb across the bottom one.

The metallic odor spreading through the room brings you back to the present, and you hope the flush from your tears hides your cheeks’ growing heat when you realize where your mind had wandered.

“Oh, fuck, your arm.” You speak in a watery voice, wiping at your face as the urgency returns to your senses. Though you try to move away, his firm hand on your back pulls you back in.

“Don’t worry about it, okay?” He says, resuming his caresses up and down your back. “I can take care of it.”

“Then why do you even need me?” You sniffle with a small smile.

He stays silent. But when you search his face, waiting for an answer, his hand moves to your side, palm sliding a fraction of an inch closer to your waist and fingers tensing, you can almost see through the mechanical muzzle to the way his lips shape the words. At least, he wishes you could.

You know why.

this was lots of fun to write and thank u for your patience ik i said i was gonna "knock this out in a day" 2 weeks ago😬😬 also we're gonna pretend they aren't just letting his open wound marinate for half an hour when it should be getting stitched up bc it's fiction ok? everyone say thank you mostly-imagines for proofreading this😚

but anyway happy new year!! it's been barely 2 months but starting this account made my year so much better🫶🫶🫶and ty for 500 followers that's crazy🫣🫢

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