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Texhnolyze's protagonist, Ichise, personifies the human condition. He is persistent in his struggle to survive despite inhabiting a crumbled society, becoming a symbol of hope. Never does Ichise allow his surroundings to interrupt what his goal or task is at any given instance throughout the series' run, and while most of his time is spent being a tool for technological advancement or a developing weapon to protect his masters, his resilience is always present, and his lack of independence is ironically enough, ITSELF an act of independence. This is because this is all Ichise knows. Since his parents' death, his existence requires instruction, and without ... it, his is nothing more than an enraged, primal beast, and as his character develops, this requirement gradually disappears, as does his instinctive rage. His construction as a human being feels organic. There are moments in which Ichise emotionally reverts, seemingly submitting to the overwhelming events unfolding before him. Through this, it is important to understand that Ichise, as a personification of the human condition, demonstrates emotional fragility, which consistently makes his personal development difficult. This gives him something both internal and external to overcome, making the finished product more rewarding. By the show's end, Ichise is the sole survivor, content with the fact that death is inevitable; a testament to his newfound maturity. Having witnessed and being responsible for countless deaths and destruction, all that is left is a man satisfied with fulfilling his purpose with nothing left to give. Anybody reading this could reasonably find something within you that can be find within Ichise. Lord knows my emotional fragility is nothing short of intense. He is humanity; an allegory of self-improvement, self-reflection, hope, and survival.

Ichise comes into contact with an array of significant characters, but none more compelling than Eriko, colloquially referred to as "Doc". While Texhnolyze's characters effectively construct Ichise into the character he eventually becomes, Eriko is a character constructed BY her interactions with Ichise. Her sole motivation was technological innovation, which gradually becomes secondary upon discovering the perfect lab rat, Ichise. Through her infatuation with him, her goal is set to be realised, and her faith in humanity to strive further as a species can be justified. As the show progresses, she detects Ichise's rejection of the platonic, almost parental relationship she created, which, as a result of this suspicion being accurate, prepares her for isolation from the world entirely, returning to the surface alongside Ichise before she eventually kills herself in a reveal that is superbly illustrated, maintaining thematic and tonal consistency with enough subtlety to infer what is being presented, as well as being agonizing to witness upon realisation, creating the show's most powerful death scenes in a show that is emblematic of death itself. Her initial image as a saviour and a solution to humanity's prosperity is, in and of itself, rejected, and her character arc is a reflection of the species' futility and powerlessness, as she allows her emotions to get the best of her; character traits starkly similar to her beloved guinea pig.

In Texhnolyze's first half, there are three ideologically opposed factions. Firstly, Organo predominantly holds power over citizens of Lux, boasting strong organisational prowess and resources by way of technological advancement. This however is viewed as a commodity, and through their power came the segregation of classes. The subset of individuals who have lost all hope are unable to access the impressive technology Organo possesses, and are actively neglected by the above class. Organo is materialistic and self-serving. Their arrogance is best highlighted in a scene where Ichise, post-texhnolyzation, is disgusted and enraged by his modified body, interrupting a conversation involving Eriko. Eriko sees Ichise's behaviour as ungrateful as if he owes her, and, by extension, Organo for all that they've done for him, placing themselves on a holier-than-thou pedestal, which is also a solid example of Eriko's saviour-complex being displayed. To acquire their services requires total submission, and that is Ichise's relationship with Organo. Of course, within Organo as a collective lies characters with ideological agency themselves, Eriko already serving as an example. Her position in Organo is merely advantageous to her actual goal. To give another example, there's Organo's leader Onishi, who displays immeasurable conviction to his principles throughout the show, leading to internal conflicts within the organization. He is calm and collected to a fault; almost benevolent, if not for his passive leadership and naive perspective on the society he leads. His organisational behaviour is his undoing, and he is often seen struggling to maintain control amidst the chaos, forcing him to wholly reshape himself. To understand Onishi's decisions as a leader, it's important to remember a key phrase repeatedly used to justify said decisions. To paraphrase, "the city doesn't wish to see a spectacle". This appeal to decorum and peace indicates that for all the power and influence that Onishi has at his disposal, the inevitability of conflict is inescapable, forming the basis for his character progression. Referring back to my initial point, the second of the three factions are Organo's opposition the Salvation Union, who sought to interfere with Organo's work as they wish to rid Lux of texhnolyzation, so as to not sully their flesh. Obviously most resembling a religious cult, the Union through sheer charisma and dogma, have the ability to indoctrinate individuals who have nothing left to lose or had nothing to fight for in the first place into following their cause. Unlike Onishi who prefers to dismiss security accompaniment, Kimata, the Union's leader, has no problem allowing his followers to guard and protect him. He views his underlings as disposable, whereas Onishi does not, and under the guise of salvation, Kimata seeks to gain power through manipulating those beneath him, which is a striking reflection of the reality of cults and their larger-than-life leaders. Thirdly, Lakan is an organization of texhnolyzed individuals who desire nothing more than freedom from the turmoil surrounding Lux, and the freedom to do as they wish. Lakan, despite their rejection of a system designed to oppress, ultimately falls victim to complacency. Much like the Union, their advocacy invites and attracts individuals who have nothing to fight for and want purpose. However, one crucial difference is that the Union's followers had long forfeited their agency, meaning their capacity to abandon the cause is impossible, whereas Lakan's members, as implied by Yoshii, will, for lack of a better description, run away when shit hits the fan. Yoshii is a man who derives fascination from human behaviour, believing Lux to be an embodiment of this component. He almost serves as the viewer's avatar by virtue of being an outsider. Though his actions throughout the show [a small example being when he kills two people as a method of liberation from their personal hopelessness and entrapment] make him so much more than that. Yoshii's philosophy essentially boils down to "to embrace death is to abandon suffering", which is a notion that is prevalent thematically long after his death, meaning he remains an integral component and is not forgotten after his exclusion from the show. His actions shift the paradigm; he essentially wants to watch the world burn or, more specifically, wishes to analyse the primitive nature of humanity by testing their fortitude to adapt.

Compared to what has occurred so far, the latter half of Texhnolyze is more abstract with its thematic presentation, shifting focus away from gang warfare in favour of the fight against a greater enemy, raising the stakes exponentially. Surrounding this, a couple of existing minor characters are developed and/or are thematically relevant. For example, Toyama, an Organo member, who is initially tasked to show Ichise the ropes upon his recruitment, is an intriguing character in his own right. Throughout his time with Ichise, he reflects on why he chose texhnolyzation; to erase any trace of relation to his father, who is presented as despicable and perverse. This parallels Ichise's hatred of his father before discovering he was framed, forming somewhat of a rivalry, making Toyama the yin to Ichise's yang. While it's clear their angst is based on similar circumstances, Toyama is fundamentally different as a person. Ichise himself is very forthcoming and motivated, despite his motivation effectively deriving from angrily punching people and seeking instructional purpose, whereas Toyama is willingly subservient and unsure of himself. All Ichise knows is subservience, while Toyama is aware of his subservience and does nothing about it; he is accepting of it. His development is driven by inferiority, which culminates in his eventual defeat after choosing to fight Ichise one-on-one, which Toyama specifically desired by killing the grunts invading the surface alongside him. As a character with an inferiority complex, Toyama is superb.

Another superb supporting character is Kohakura, a member of the Organo's council with significant influence within the organisation. Lux's inhabitants are no strangers to seeking personal gain, but I believe Kohakura best represents the concept through his actions and ideals. He is initially responsible for the loss of Ichise's limbs, which already presents him as cold and ruthless, given how this event was also an independent decision rather than an order. He picks his spots with calculation unlike his fellow council members, who shared a similar dissatisfaction with Onishi's leadership during the show's first half. A natural opportunist, Kohakura decides to become a Shape, the next step in evolution and advancement, as we see his head on, what appears to be an operating table, connected to a mechanical torso. It is a horrifying visual that elicits curiosity and fear, as well as an insightful view into the nature of separating one's physical humanity. Even after the technology's defection, Kohakura considers his evolutionary ascension as fortunate, his only regret being unable to make Onishi see and follow the path he did. Ultimately, as a man who understands the moral bankruptcy of the society he inhabits, he finds solace in the fact that such an unfortunate outcome was always likely in a world where misfortune is commonplace.

A prevalent theme, which most closely relates to the neighbouring village of Gabe is determinism vs. free will. Gabe's governance is influenced by a "seer", an individual who possesses the ability to see visions of one possible near-future out of many. In Gabe, the seer's visions are infallible, making them followers and purveyors of fate. Their actions have little to no impact on the happenings within Lux, mainly because their way of life permits them to back off. The impending destruction of humanity is essentially common knowledge to Gabe, meaning that through their complacency, they have already accepted death, while their neighbours are attempting to fight it. The seer is a young girl named Ran who, contrary to her followers, is extremely crucial to the events of Texhnolyze. Ran often rejects her responsibility of seer, and her lack of maturity and a combination of other things, such as her desire to protect Ichise, prevents her from accepting her visions, shown to be in a state of panic in one instance. Her presence is omniscent; her existence fuels humanity and its sanity, which is an incredible burden to carry and it shows. The connection between her and Ichise for example is formed via desperation and her acknowledgement of potential in Ichise as a ray of hope among the hopeless as evidenced by her visible disappointment whenever Ichise falls back into old habits, as well as her ominous prophecy of "you will hurt many people", which I believe to be a way to direct Ichise into doing the opposite. Ran as a character is a terrific and tragic example of unfathomable power being forced upon a host who can't possibly control it, which by extension forces them to either find an unlikely escape or accept the consequences through no fault of their own.

The world of Texhnolyze is defined by its barren atmosphere, which perfectly coincides with the show's world building. The towering architecture reinforces the city's oppressive aura, and, like its citizens, Lux distinctly lacks colour and vigor; blacks, greys and browns engulf the landscape alongside a harsh, synthetic sky that blasts down to truly emphasize the city's internal darkness. Ironically, the lifeless nature of Lux is what gives it character; the destruction and constant turmoil breathes life into the city unlike society on the surface, which is a peaceful haven but robotic in nature. Citizens of the surface mechanically follow almost programmed motions ignorant of the fact that death has already taken them. The aesthetic irony and contrast between Lux and the surface is staggeringly apparent, with the latter being a heavenly and prosperous paradise upon first glance until the facade of beauty disappears. In the same way an abandoned ghost town is haunting, the surface generates the same feelings, and it is presented with a deft understanding of what can potentially make a setting scary; repetitive and ambiguous radio transmissions, citizens being translucent figures absent of natural human behaviour, even something as simple as an empty movie theatre, they serve to provide a chilling atmosphere, greatly enhancing the fear factor. It is known that the show as a whole highlights the acceptance of death through the nihilistic realisation that life is meaningless, so I don't believe that the theme's presence is unique to the surface. Instead, using that as a basis to suggest that death acceptance is what the surface primarily represents, secondarily the surface is representative of the monotony, misery, and tedium of peace. Before I explain, it's important to note that I define peace in the context of Texhnolyze as the omission of conflict, regardless of its severity. Citizens of the surface are husks, either ignorant of the near-death or are awaiting death, nostalgic of their past now trapped within an infinite state of nothingness. It is through conflict that humanity is able to function or, at the very least, it is a dominant component to its functionality. Something like simple disagreements constitute as conflict and without something as innate to social engagement as this, you get the surface's citizens, who may as well be drones. This idea is best evidenced in scenes featuring former citizen of the surface turned train engineer Sakimura, who upon returning from Lux, accompanying Ichise and Eriko, is met with the same unnatural, unchanging, and uniform behaviour from his old work peers and boss. Sakimura raises concerns about an invasion to his old boss, to which the response given to him is that of apathy, which is putting it lightly. The response is not so much apathy as it is just a predetermined, programmed interaction prompt. This best demonstrates the robotic nature of the surface, as well as the exclusion of conflict through the fact that citizens are seemingly programmed with piece in mind at all times with no consideration of any deviation.