because the thing is Viktor’s whole back-and-forth is all about trying to make the world a better place using what’s best about humanity to further technology, right? Like that seems to be his schtick—the Dr. Frankenstein’s “discovery-must-be-good-because-it’s-spurred-on-by-humanity’s-desire-to-improve-things” tropey characterization, right?
I mean I didn’t get very far into Season 1 but that seemed to be the thing they were doing with him. But it was obviously taking a tragic turn when I left it; like, he’s realizing that to “make the world a better place” through “discovery-and-progress,” you gotta break some eggs to make the omelette. Something something about how he didn’t want to let the giant salamander suffer when he was a kid, but then he’s going to let it suffer when he grows up and sees that it’s suffering could further the greater good (starting with saving his own life) or whatever
you know, the unholy matrimony between human empathy’s motivation to “do good” and steadily-marching progress. Eventually “doing good” becomes the end that justifies any means. And then you’re no longer doing good.
So in that way, “invention” can be a medicine which, if drunk too often, becomes a poison.
Just like human emotions. After all, human emotions initially cause the inventor to want to use his skills to prevent harm and improve lives. Emotions can be fuel. But then those same emotions can rupture and rot over time into obsession, pride, self-centeredness, hate, mercilessness. Emotions can be fire.
So what I’m saying is (assuming they kept plodding along that dichotomy-of—responsibility-for-gifting-&-man’s-not-meant-to-meddle-even-if-it’s-for-the-greater-good trope with Viktor in Season 2,—again, I haven’t seen the whole show) the only character that could’ve made sense for Tyler Joseph to write a song about is Viktor.
because he’s always wrestling with the use-versus-the-dangers of human emotion.
On the one hand, his songs show that if you ignore your emotions and try to cover them up with a functional savior (your car radio during long drives, lyrics that mean nothing, a fictional city of emotionless citizens, etc.) you might as well be a zombie. If you cut off or ignore your emotions, you’re not being real, and you’re not seeing the reality that your emotions are trying to warn you about.
But on the dangerous side, if you use emotions too much, give them too much attention, they’ll overpower you and become dangerous. Negative emotions can become all you feel, and then your emotions replace reality. Anxiety, depression, pride-born-of-lack-of-control—give those emotions too much free rein, and you’re a new kind of zombie.
Emotions can be fuel, emotions can be fire, and Tyler Joseph’s always trying to figure out which to use and which to not.
Kind of like how it seemed like Viktor was the kind of Dr. Victor Frankenstein’s “I owe it to the world to get this exactly right” obsessive character…who would go too far with a medicine and turn it into poison. But he has moments of self-awareness where he tragically realizes that’s what he’s doing. That sort of thing lends itself well to twenty one pilots.
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