Kaname is a reserved and unassuming man in his mid-forties, working in a sinecure position at his father's company. Despite the outward appearance of a functional marriage, both Kaname and his wife, Misako, acknowledge that their relationship has effectively ended, although they lack the decisiveness to pursue a divorce. This stagnation stems from Kaname's waning sexual interest in Misako and his aversion to her fascination with Western culture. While Kaname himself is somewhat influenced by Western ideas, his inclination has shifted towards the appreciation of traditional Japanese culture, specifically the Osaka puppet theater.

Kaname's fascination with the puppet theater is symbolic of his quest for a "doll-like" woman, reflecting his admiration for the harmonious relationship between Misako's father and his young, old-fashioned mistress, O-hisa. Despite this potential shift towards traditionalism, Kaname's habitual indecisiveness leaves his future uncertain. He is also drawn to the puppet Koharu, a symbol of the eternal, submissive woman in Japanese tradition, which Misako fails to embody, thus contributing to his emotional detachment from her.

Occasionally, Kaname engages with the demimonde, taking interest in figures like Louise, a Eurasian prostitute whose melodramatic nature satisfies Kaname’s fleeting interest in Western erotica. However, as his cultural inclinations evolve, his interest in Louise declines, underscoring the novel's exploration of role-playing and performance. Ultimately, Kaname’s journey is one of cultural and personal exploration, as he teeters between Western influences and the allure of traditional Japanese aesthetics.

Misako, Kaname’s wife, is a modern woman who distances herself from traditional Japanese values, aligning instead with Western trends. Her marriage to Kaname is marked by mutual indecisiveness, partly fueled by their concern for their ten-year-old son, Hiroshi. Misako finds solace in a two-year affair, though her lover's lack of commitment invokes anxiety in Kaname, who fears divorcing her might leave her vulnerable.

Her struggles are further compounded by the performance she maintains in the presence of her father, despite the disintegration of her marriage. Misako's relinquishment of the dolls during the Doll Festival signifies her rejection of traditional femininity and the roles historically ascribed to women. Although she attempts to adapt to modernity, Misako remains ensnared in her theatrical role, a point of contention that deepens the divide between her and Kaname.

Hideo Takanatsu, Kaname’s cousin, distinguishes himself from the other characters through his straightforwardness and practicality, having already navigated the realm of divorce himself. During a visit to Kaname and Misako, Takanatsu addresses their marital issues head-on, urging them to confront their realities. He takes decisive action by informing Hiroshi of the impending divorce, providing the boy with much-needed clarity and relief. Takanatsu functions as a truth-teller, advocating for transparency and change, and offering a critique of the self-deception that plagues Kaname and Misako's lives.

Hiroshi, the sensitive young son of Kaname and Misako, navigates the uncertainty of his parents' troubled marriage. The absence of transparency from his parents leads Hiroshi to fear abandonment, a burden too heavy for his young shoulders. It is only through the intervention of a relative that Hiroshi learns about the impending divorce, a revelation that surprisingly alleviates his fears as it assures him he will not be left behind. Despite his age, Hiroshi's perceptiveness enables him to mask his inner turmoil, mirroring the adult pretense that pervades his family life.

Louise is a Eurasian prostitute who sometimes assumes the role of Kaname’s lover, fulfilling his transient interest in Western erotica and woman-worshiping tendencies. Her melodramatic nature aligns with the novel's motifs of role-playing and performance. However, as Kaname's intrigue with Japanese traditions deepens, his interest in Louise diminishes, symbolizing his shifting cultural and...

Misako’s father is a staunch advocate of traditional Japanese culture, with a particular passion for the Osaka puppet theater. In his early sixties, he represents the old-fashioned values starkly contrasting with Misako's modernity. His relationship with the young, docile O-hisa exemplifies his adherence to tradition, a lifestyle that captivates Kaname. Through the lens of theatrical imagery, Misako's father is often likened to a puppet master, embodying the cultural ideals Kaname is drawn to.

O-hisa, the mistress of Misako’s father, a woman in her mid-twenties. She is the opposite of Misako, the modern woman. O-hisa not only is young and pretty but also is old-fashioned and docile, quite content to wait hand and foot on Misako’s father. She serves as the model for the type of woman to whom Kaname may be beginning to turn; in fact, she serves as a living counterpart to the Osaka puppets to which Kaname increasingly finds himself attracted.