#and i know dr0 plays with that /a bit/

[shsl-hubris-guy]

In-Depth Character Analysis On All The DR Characters Because What, Are You Gonna Try And Stop Me? Who Are You, My Mom? Yeah, I Didn't Think So- Part 5: Junko Enoshima

Oh boy, this is gonna be a big one. In fact, I wouldn't be surprised at all if this turns out to be the longest analysis in this entire series of ~100 characters. Why did I not save her for last. Why is this part 5. Why do I do this to myself-

Jokes aside, I am so so so excited to make this; Junko has become the face of this franchise for a reason, and the depth of her character and role in the series as a whole is massive. I won't be surprised if this takes over a month to complete. In fact, just for fun, let's track it. I'm starting the analysis on 7/5/24. When will we finish? Nobody knows!

(Final edit Crane here. It has been more than 5 months. Christ.)

This analysis uses only official material for the sake of analyzing the character, primarily sourcing official English localizations. It'll be um, lengthy, to say the least, so if you aren't that interested, just keep scrolling. Also, if there's even one canon installation of Danganronpa that you haven't played/watched/read yet (THH, DR0, SDR2, UDG, DR3, and/or V3) don't read this; the ripple effect of Junko in every corner of the franchise will be discussed and thus, there will be spoilers aplenty.

Also, a disclaimer that though I try to remain as objective as possible with these analyses, it will be at its core, an interpretation. Not everything will match up with how you interpret it, and that's okay! I don't claim to be perfect, and this isn't an infallible source of canon, only my interpretation of the source. Let's get into it!

Foreword

Real quick, before we get too far in: readers of my previous analyses know that I normally try to move in chronological order of release and events in-game to keep the analyses easier to follow. Due to the nature of Junko's characterization and the fact that she's present throughout the entire series, that isn't really possible here, as to talk about any one aspect of her, I may need to pull from multiple installations. I'll be sure to cite where I'm pulling from and provide evidence where necessary, but it definitely won't be perfectly in order by release or timeline. So hopefully it won't be too messy. Also, characters very closely tied to Junko, like Monokuma, Ryoko, Mukuro, etc. will be analyzed separately at a later date, so those sections may end up feeling incomplete as a result. For the sake of releasing this before 2025, I need to cut corners a little bit and focus primarily on how these relationships affect Junko, and not the other way around.

Part 1- Monokuma

In order to understand Junko, you must first have a basic understanding of Monokuma, mascot of the Danganronpa series and self-declared Headmaster of Hope's Peak Academy. Monokuma introduces himself to the cast as their superior and oversees the killing games, providing motives and passing judgement on the class trials, all while reveling in the Despair of the students. There are multiple iterations of Monokuma, but most of them exist in order to carry out the killing games without issue.

Like Junko, Monokuma remained a staple of the franchise, appearing in every official installment, whether he was being actively piloted by Junko or not. As we see in DR3: Despair Arc, she personally designed him to become the face of her movement of Despair, and thus, he was used to carry out her will at every turn.

1.1- Trigger Happy Havoc

In the first DR game, Monokuma was just a robot piloted by Junko. His mannerisms were a character invented by her to appear as the psychopathic Headmaster, but regardless, her true nature of Despair is directly infused into the character as she acts him out. Through him, she's able to reveal hidden information about each of her classmates and torment them personally, all without them knowing she was once a dear friend to them. As a robot, though, he came with drawbacks- Junko couldn't pilot him and watch the cameras at the same time, and once the charade of his all-seeing Headmaster was seen through by Kyoko, he lost most of his power. Thus, Monokuma's existence was designed to deceive, and could only function through deception. He created the illusion that hope was outside, that escape was solely on his terms, and that the class had no unification- all according to Junko's design.

1.2- Goodbye Despair

When the sequel game arrived, Monokuma was once again a character being played by Junko. Unlike last time, however, the two had blended together, becoming one and the same. This Monokuma was a Despair Virus, created with Chihiro's Alter Ego technology, and implanted into the Neo World Program with the intent of continuing the real Junko's plans for the spread of Despair. This version of Monokuma is extremely similar to the previous in terms of its personality and beliefs, but appears much more powerful within the artificially generated world, now able to apparently power-up, bleed, and transform plushies into duplicates without logical explanation.

Rather than targeting certain themes in an attempt to teach Despair, this Monokuma created directly-targeted motives, attempting to use class 77's personal connections to a whole other level and banking on the fact they were friends, rather than try to cover it up. He also acts as if they're his dear friends and like they're on the same side, directly inverse to his apparent attitude towards class 78. This is intentional, though as to why, we'll get into much later.

1.3- Ultra Despair Girls

Rather than being present as a character, Monokuma exists solely as mascot in this game, as thousands of Monokumas are programmed and piloted to slaughter the majority of adults in Towa City. He exists solely as a tool used by the Warriors of Hope.

In chapter 4 of the game, you get the reveal that all the physical Monokumas that exist were built and sold in Towa Group's factories, and later, that Monaca Towa was directly responsible. This exists to demonstrate how Junko was able to financially and physically afford the amount of power and technology she accrued in her crusade for Despair. More on this later.

1.4- Danganronpa 3- Future Arc

Near the end of the first episode, Monokuma seemingly appears on a monitor in the meeting room of Future Foundation's HQ, announcing his survival and a return of the killing games, starting with the Future Foundation higher-ups. At the beginning of the following episode, an act is put on between this version of the character and "Miaya Gekkogahara", as they fake an argument where Monokuma alters her avatar Usami into Monomi, making it appear as though he's again being piloted by a real person from some remote location.

As the season comes to a close, though, we learn that it was the chairman who set up the killing game, and that Monokuma's appearance, along with the video that would play during every nap, were falsified recordings, aided in part by Monaca Towa pretending to be Miaya. Thus, his likeness was used for a cheap recreation in an attempt to manipulate one person and kill nearly everyone else in charge of the Future Foundation, all set in motion by Junko's own brainwashing videos.

1.5- Killing Harmony

This is the only version of Monokuma that Junko herself doesn't have a hand in recreating, and is the only time he exists solely as a robot personality of his own accord. Created by Team Danganronpa, he's a physical conception of the fictional character Monokuma in-universe, and thus, is a character in his own right. Birthed by a Motherkuma machine for the mastermind's benefit, Monokuma acts once again as Headmaster, but a significant amount of soul is noticably absent from the presentation. This is in part due to the amount of focus on the Monokubs, using their unique characteristics for comic gags with the cast in the way Monokuma used to in the previous games, and his appearance feels like more of a checkbox than an actual return of Monokuma. Simply put, without Junko's influence, Monokuma's character becomes more flat, and starts to fade into the background in a convoluted mess of references and callbacks. All of which is done on purpose- Monokuma is a facet of Junko, and without Junko, Monokuma becomes empty.

Part 2- Character Design

Junko Enoshima is designed as a gyaru, a subgenre of fashion known for its more 'rebellious' style. She's dressed in a modified uniform, with a black jacket with her sleeves rolled up and unbuttoned, allowing her cleavage and bra to show, with a black-and-white tie, a red bow, and a red plaid miniskirt. She also has Monokuma pins holding up her ponytails- one with the white half, and one with the black half. Asymmetricality and the use of exclusively black, white, and red all align her with Monokuma, an asymmetrical black-and-white bear with a red eye. She has styled blonde hair and blue eyes, and has the title of SHSL Gyaru, or Ultimate Fashionista.

2.1- What's A Gyaru?

Gyaru as a fashion style first originated in the 1970s, emerging from Japanese women's nonconformist desire to embrace their own sexuality and rebel against societal standards of the traditional housewife. As time passed and more women latched onto the trend, it became a major point of discussion, initially shaming these women for being too racy or delinquent, before shifting to an increase in streetwear fashion and being recognized as its own genre of fashion, evolving with new subgenres as time continued to pass. It went from a wholly shameful style to an expensive, trendy one as expressly gyaru clothes started to be made and sold in stores. The increase in popularity also led to discussions of placing laws against child prostitution, as younger girls were getting into the expensive fashion and started finding alternative ways to afford this showy clothing.

There are many, many subgenres of gyaru known, but Junko Enoshima is specifically referred to as a kogal or kogyaru, a high-school gyaru. Her school uniform is modified into a showy jacket and miniskirt with big bows, she wears knee-high boots, and her hair is blonde, implied to be dyed based off of the common hair-dying of kogals. In DR 0, we also see her with red hair and eyes as opposed to the blonde and blue, suggesting that red may be her natural hair and eye color. Kogal culture has a lot of stereotypes around it regarding the extracurricular activities of the girls who subscribe to it, but the general idea around it is for the girls that participate in it to break social norms and claim their sexuality for themselves to get what they want, all within a consumerist guise. This type of mentality matches Junko extremely well, as a character bent on breaking the world for her own pleasures by advertising herself as Despair.

Part 3- The Mastermind Reveal (THH)

We don't actually meet Junko Enoshima until the final showdown in THH, though we are well-acquainted with the idea of her before then, as not only do we meet an imposter-Junko in the first chapter, but her magazines are specifically shown to us in the intro of the game, and are scattered throughout the school(laundry room). There are also little hints as to her identity as mastermind sprinkled into the game.

"Whenever I spot a cute girl, I have a tendency to stare. I can't help it- I just gaze with intensity. The other day, I rode my bike to the train station... I was in the bathroom, just looking at myself in the mirror..." -Monokuma Theatre, THH

Despite these hints, the characters don't know who the mastermind is yet, only being able to reason at her motivations for the killing game and why it came to be based off of what clues Monokuma leaves out for them, like how the main track that plays when interacting with Monokuma is called '100 Mile Junk Food Dash'.

"But first, I have a question for you... Who are you? What do you want from us?" "Well, if you really must know... Despair. That's all." -Kyoko Kirigiri & Monokuma, THH

"And for those of us who represent hope to kill each other and sink into Despair... The mastermind wants the world to see that, to try and prove that Despair is better than hope." -Kyoko Kirigiri, THH

We know that whoever this mastermind piloting Monokuma is, they're someone that's engineering this entire killing game expressly to spread Despair. With the knowledge that the killing game is being televised, that Despair isn't just for the students, but is being put on display for the entire world to see. Manufacturing and televising such a sadistic game using public figureheads under governmental protection is a behavior akin to terrorism (Despairism?) and is an act that, by itself, seems nigh impossible for some high-school student to be capable of. Yet, we know it is a high-schooler- Monokuma insists that the only people involved in the killing game are the 16 students of their class.

Through the investigations of chapters 5 and 6, it becomes increasingly more apparent that whoever this SHSL Despair is, Junko has some level of involvement. For example, more observant players will recognize Mukuro's corpse almost immediately as 'Junko's' from chapter 1, as her bright red nails and the same high-heeled, red-laced boots are clearly visible. And while this doesn't immediately incriminate Junko herself, it does at least call into question the identity of the dead SHSL Despair, as the body being Mukuro's isn't ever really contested(save for a 'dumb Hiro' gag insisting it's Kyoko while standing next to Kyoko).

"And don't forget about the Fenrir tattoo. There's absolutely no mistake... Our victim in this case is, without a doubt, Mukuro Ikusaba...!" -Kyoko Kirigiri, THH

Throughout the final investigation, the player's job is to solve 'all the mysteries of the school', AKA their erased memories and the identity of the mastermind. This investigation intentionally doesn't talk about Junko, voiding her involvement to the point that her own face is scrubbed from the evidence. The hints given by Monokuma picture Junko's face covered up in every photo, and the recordings of the students agreeing to live in the school is cut off before it can cycle over to her. It's not her presence that matters, it's the lack of presence, because we haven't actually met her yet, juxtaposed to the repeated mentions of Mukuro, a girl who'd been a part of the group since the very beginning without anyone realizing.

When we do realize this, it comes with the realization that Mukuro's and 'Junko's' body were one and the same, and with Kyoko's old pocketbook revealing that "Despair walks among us, and so we survive... There's a second 'Despair'", we can come to the conclusion that the reason the mastermind was able to pull this off was because there was actually more than one, working in sync, and thus, the reason both bodies were one was because they were the SHSL Despair together.

Part 4- The Despair Sisters: Mutual Abuse (CW: Incest)

Despite the fact Junko was the brains behind the operation, there was never really a time where she was working alone towards Despair. She was actually one of two Ultimate Despair- as she called them, the Despair Sisters. Her twin sister, Mukuro Ikusaba, was Ultimate Despair as well, and assisted her every step of the way.

In her first appearance, we don't actually get to know anything about her, as she spends her time with the class pretending to be Junko. As such, any and all information gathered on Mukuro is given by someone else- official school records state her title and physical attributes, and Junko tells us her role as Ultimate Despair and goes on about her flaws.

"She had what I call the 'three atrocities'- atrociously rank, atrociously filthy, atrociously repulsive. It was atrociously clear just how out of touch she was with the rest of society." -Junko Enoshima, THH

"The older sister, tough and proud, that was Mukuro. The younger sister, smart and cute, that was... Hyaaaahaha! Me! Junko fucking Enoshima! And together, we were the Despair Sisters! AKA, the Ultimate Despair!" -Junko Enoshima, THH

Mukuro reappears as herself in DR 0 and DR3's Despair Arc, as well as the official AU novel DR IF. In these, we get more insight into her feelings, and see her display an overt attraction to her sister at multiple instances.

"Consumed by ecstasy, even Ikusaba-san's breath became ragged. 'Only I am able to understand her. That's why she needs me. She still hasn't realized that but, maybe she's only pretending not to realize. Ufu, that's because she's so shy. Ufufufu.' Seeing this intoxicated Ikusaba-san continue to talk like that repelled me. I knew that she definitely didn't have normal feelings for Junko Enoshima". -"Mukuro Ikusaba" & Ryoko Otonashi, DR 0

This is pretty obviously incestuous in nature. She blushes at her sister's attempts to kill her with an ice pick, has an internal dialogue about how much said attention affects her, and 'goes into ecstasy' talking about her sister's madness. It's intentionally uncomfortable because it's intentionally incestuous*. I've seen arguments for Mukuro's behaviors being out of character and only there for fanservice in the anime, but this behavior being found in DR 0 first pretty clearly contradicts that. I've also seen an argument for Mukuro's behavior being an act meant to make Junko feel Despair and not having any legitimacy. The crux of the argument comes from the assertion in DR IF that Mukuro is able to numb her emotions in battle, so therefore, she could also mimic such an attraction when around her sister. This argument quickly falls apart as well, considering that a) she has both internal and external dialogue directly referencing her attraction where Junko can't actually hear her, and b) going numb in the heat of battle is not at all the same thing as faking sexual desire outright.

*(Mukuro being incestuous is immediately relevant to the way the Despair Sisters interact with each other, and understanding that I'm talking about their relationship under the lens that she is will hopefully prevent questions about why I'm talking about them as I am throughout the analysis, particularly when she pops up in other sections here and there later. Please do not go into the replies or reblogs and explain to me why I'm wrong; you are not going to change my mind. Believe it or not, I don't like Despaircest either, but that doesn't mean Mukuro's behavior in canon is some accident to be shrugged off. These are meant to be OBJECTIVE analyses. I'm going to look at what the games and novels and anime are presenting, whether I actually like all the points or not.)

Junko Enoshima yearns for Despair. Despair is her reason for being, and everything she does, she does with the intent of eventually bringing Despair upon herself. That pain of Despair is the strongest feeling in the world to her. And the way she treats Mukuro directly stems from that desire. Despair stems from grief, and what brings more grief then the people you love most despising you? Mukuro is her twin sister, who stands by her no matter what. Junko even tests this, having her kill an entire class of students to prove her strength and loyalty in manga series Killer Killer(though, admittedly, Killer Killer hasn't been confirmed as canon to my knowledge, it still aligns with what we know for both characters without altering anything about their characterization).

Mukuro is capable- very capable, and definitely has the ability to betray her, or even kill her if she wanted to. So at every turn, she treats Mukuro like garbage, actively trying to kill her with an ice pick when they first reunite and talking down to her at every opportunity. She describes her sister as fat, flat-chested, ugly, stupid, a pervert, any insult she can think of. She critiques her murders, chastising her when she kills the guards in Despair Arc while looking for Izuru for not doing a clean enough kill. But despite all this, Mukuro never strays from Junko's side. She continues to fawn over her, not just taking all the abuse, but displaying an attraction to her Despairing nature, and refuses to leave her side, the exact opposite reaction of what Junko wants to see from her.

"'Yes, she really is ridiculous…to the point of Despair, she's the lowest, worst sister ever but…that's why I can't leave her alone. That's why I have to help her. After all, I'm the only one who can understand her.'" -Mukuro Ikusaba, DR 0

This kind of loyalty isn't Despair-inducing at all; that dedication is exactly what she predicted from her obsession. What Junko actually wanted from her, we get a brief taste of when she speaks in the final trial of THH- "Because naturally, she turned out to be the letdown of the family. Leaving me behind to run off and join some band of mercenaries... Such a disappointment." The Despair of abandonment, of betrayal, was what she wanted. But Mukuro is too loyal for her own good. That's just annoying.

Mukuro is emotionally abusive, or would be if her sister were anyone but Junko, lusting after her own blood sister in a way that's considered taboo and perverse. This lust develops from an obsessive need to stay loyal to her sister, while Junko verbally abuses her right back, talking down to her and keeping her under her heel, mocking her at all available opportunities and treating her in a way that would make anyone else feel like shit. Not so for Mukuro, the person who's been next to her since birth and has stood by her side through all her Despair. They abuse each other, but there's an unspoken bond that allows for their relationship to function regardless, albeit in a twisted way. They're sisters, equally matched, and together, they become two halves of a whole terrorist. Despair is toxic for anybody, and Junko's own affliction leads Mukuro's obsessiveness to chain herself to Junko's side. They're twins who were born together, after all, and who else could even begin to understand Junko's Despair?

4.1- Despaircest & Anime (CW: Still Incest)

We've seen the relationship that Mukuro and Junko have with each other, both as it was alluded to in earlier depictions and how they interact with each other immediately in the anime. And, despite the fact that it wasn't directly shown to us before said anime, there were hints of the intention of a one-sided incest in DR 0, as well as repeated examples of Junko treating her sister poorly on a surface level and how much she actually valued her within THH and DR IF. Going into the anime, this would be the first time we'd actually see Junko and Mukuro interacting directly with each other as themselves. This could have been the time where we get to see just how twisted their relationship actually is, getting to see how, and maybe even why, they began treating each other in this way. We could've gotten more of a glimpse into their backstory, when they separated, and the inherently self-destructive cycle they pull each other into. Here's what we got instead:

Rather than actually explore the real depth of their fucked up relationship, the anime elects to play it up for the sake of fanservice. This is admittedly an ongoing problem in most of DR3, as it throws most of its female characters into very compromising positions and focuses in on their bodies when they're being brutalized in one way or another and not doing the same for the men, but that only makes this lack of tact worse. There's no interest in actually addressing this darker plot point beyond the most basic surface level because to go any deeper would make it more difficult to get your rocks off to it. It's a shame to create such a conceptually fascinating relationship that would've made for a fantastic way to develop Mukuro as a villain more and Junko as a human more, and just use it for cheap servicy gags. I feel like it isn't an unreasonable statement to say that this was lazy. Danganronpa is supposed to be a series that explores dark topics and uses them to create tragedy and develop its characters. In the face of that, this was cheap.

Hell, this very scene says it itself: they're using Despair to create a fucked up pleasure for the viewer! The incest being played up for fanservice instead of acknowledging Mukuro as a character is, from a meta perspective, Despair-inducing. To the writers and to Mukuro, Mukuro doesn't matter outside of Junko. Her suffering is pleasurable to the audience in a way that's outside of social acceptability, in the way she needed to be used for so long just to exist. BUT WE ALREADY KNEW THAT. We didn't need to boil Mukuro down to an extension of Junko; Mukuro already did that to herself. Maybe this is just me complaining because it's not what I wanted to see from this plotline; I'm not ashamed to admit that. I think being able to acknowledge your biases as a consumer is important when critically looking at a piece of media. But I stand by my assertion that the presentation of this point is sloppy and surface-level, and should've been handled with more tact.

Part 5- The Murder of Mukuro Ikusaba

Junko treats her sister like trash, but despite this, we know that she does respect her. In fact, she has to consider Mukuro as an equal, because if she didn't, she wouldn't hold her as equal parts Despair as herself. Yet, when she reveals herself at the end of THH, she affirms that they were equals- both the Despair Sisters, who worked together("We were the Ultimate Despair, ya know?"), and in the same breath, describes her atrocities and mocks her memory as a disappointment. She sees Mukuro as not just a person, but a legitimate danger and a harbringer of Despair that's worth recognizing. Thus, as a sister, it causes her Despair to prevent anyone else from seeing that and paints Mukuro as just another victim of hers("She was nothing more than a bit player, an extra unworthy of lines."). Playing up her betrayal of Mukuro and her supposed disdain for her sister strips her of her agency as Ultimate Despair to their classmates, without letting them see her true self either. She becomes just another faceless victim, and Junko holds the memory of the true Mukuro Ikusaba, merciless killer and all, wholly to herself.

In the au light novel DR IF, Makoto remembers Mukuro, and inadvertently saves her from this fate. This leads the rest of the LN to focus on Mukuro and her relationship with Junko from her perspective as she copes with the reality that her sister betrayed her. It differentiates herself from Despair, and from her POV, we learn how she thought Junko felt vs how she actually did. Junko lives her life hopelessly- she's too smart for her own good, and can predict the moves of society and of the people around her. Mukuro believed she was the only one who fully understood Junko, so she acted perfectly in accordance with her plans, never once rebelling or going against her. She tries to convince herself to crave her sister's Despair so she would feel Despair from that desire, so she can remain close to her. But that wasn't the Despair Junko wanted. All along, what Junko wanted was for Mukuro to betray her because of her love for her. Without Mukuro, her plans would fall apart. She wouldn't be able to break into Hope's Peak as she did, nor would she be able to protect herself when attacked. Mukuro was what allowed her to gather as much power as she did over Hope's Peak, infiltrating and gathering blackmail, kidnapping chairmen, and so on. Mukuro was the brawn to Junko's brain. So the one thing that could destroy her plans, and bring her a Despair greater than any other, would be if her other half abandoned her. In DR IF, she learns this as Junko finally tells her that she loves her to her face. She breaks Mukuro's chains, and sets her free from her Despair to heal without her by rejecting her help, in a roundabout, Junko-esque way. In canon, though, Mukuro doesn't get to have that realization. She doesn't have the emotional intelligence to put those pieces together herself, and tired of waiting, tired of hoping, Junko gives herself an alternate Despair- the Despair of killing her own sister in cold blood.

The identity and death of Mukuro exist to keep the identity of the mastermind shrouded in mystery. Within THH, she's someone who's important from a narrative perspective- not as a person, but as an entity- designed to facilitate the reveal of the real Junko. Her murder is thus a murder of both her literally, and the murder of her personhood, as Mukuro is the one character that never gets to introduce herself. Junko makes it so, and wipes the memories of the class so that Mukuro Ikusaba will no longer exist outside of herself.

We're introduced to Mukuro not as Mukuro, but as Junko, wearing a wig and costume to appear as similar to her well-known sister as possible, and acting out her sister's fashion diva personality as convincingly as possible. It's tropey and typical of a fashionista- she cares about her looks a little too much during a killing game, acts like she's above the killing game and wants out of it, and explains away any imperfections as 'oh you haven't heard of photoshop before?'

There's no reason not to trust her at that point because no one thinks they've met her before. In DR IF, Makoto is able to recognize her through the outfit and charade, but that's only with his memories intact. Those memories have been thoroughly covered up by Junko in reality, and so the Mukuro Ikusaba she knows dies invisibly, betrayed and unrecognized as her classmates and friends mourn her killer instead. Junko gives her sister the worst Despair of all- being truly forgotten. After this, no one would remember who she was ever again, locked away in the mind of the person who'd never show her affection.

Not only that, Junko killing Mukuro and emphasizing how little she cared about that decision served to make the survivors hate her- her old friends now despised even looking at her, and brought her more Despair.

"Which is precisely why I killed her- to meet everyone's expectations." "That... can't be your only reason, can it?" "Well no, of course not. I also did it to avoid becoming bored." -Junko Enoshima & Makoto Naegi, THH

Despite that, being the one to kill Mukuro brings her a Despair like no other, with her describing it as "super super super super super Despair. No, more than that... Super super super super super super super super super super super super super super super Despair... It just feels... so... good..."

Junko did love her sister, and made everyone else she loved believe otherwise so she could feed off the Despair from their hatred.

Part 6- Ultimate Despair and Junko Enoshima

"The Ultimate Despair... A group of people who caused the Tragedy one year ago... Those same people put together this killing game and began broadcasting it around the entire world. The most desperately awful group of people ever... *That* is the mastermind's true identity." -Makoto Naegi, THH

Make no mistake- despite what the surface level of the series would have you believe, Junko Enoshima isn't the Ultimate Despair. There is no the Ultimate Despair because Despair isn't confined to any one person. Rather, Junko Enoshima is afflicted with Ultimate Despair. Despair, by nature, is grief. It's a pain inflicted by the death of hope, whether that be through the loss of a dream, a person, or whatever else. You grieve that loss, and it takes the form of Despair. Ultimate Despair takes that grief and amplifies it, destroying any sense of self and replacing it with the desire for more Despair. This is the type of Despair that Junko Enoshima feels, and thus, uses her own talents to embody it and spread it. It's a bold claim to make, I realize, that she isn't the SHSL Despair she defines herself as, but it's the basis this entire analysis leads to, and as the evidence over the course of the series develops her character more and more, it goes from some theoretical musing to legitimate design, all the way through to the end of V3. Though she immerses herself within Ultimate Despair, she herself is not Despair incarnate like she'd have you believe.

As we see her in THH, Junko is repeatedly hammered in as 'one of two' by the narrative. It's not just Junko that's formed Ultimate Despair; it's also Mukuro, and they're not referred to as 'Ultimate Despair and her sister', they're 'the Despair Sisters'. For all her charisma she displays, she alone isn't responsible for the Tragedy. Everyone is capable of feeling Despair. It's that foothold Despair has within her that creates an 'Ultimate Despair'. And while yes, Junko was definitely the most afflicted with Ultimate Despair, she didn't get as far as she did just by being horny for grief. She has a title, a real one, and it's not SHSL Gyaru. That was her cover, something she could use thanks to her real talent. Her real talent was only ever known by a select few, and to know what that is, you have to dive into the (criminally underrated, may I add) 2-volume novel set, Danganronpa 0.

Part 7- Ryoko Otonashi (DR 0)

(Little disclaimer here: Before I actually talk about the novel, I did want to quickly assert that DR 0 is both a mainline release to the Danganronpa series and 100% canon. Written and released by series creator Kazutaka Kodaka himself in 2011, it was written specifically to fill out Junko's character more. As such, everything contained within them are unquestionably canon to the world and its characters, something critically important to understand when talking about how it pertains to Junko Enoshima. I think just about anyone who's read DR 0 before knows all this already, but for the sake of anyone reading this who hasn't, I wanted to assert that.)

Ryoko Otonashi is the protagonist of DR 0, and is introduced to us as an audience in a 1st-person perspective. While she isn't the only character we follow in this series, she's the only one to speak to the reader straight-up, introducing herself and reacting immediately to the people and events in front of her. This is for good reason, as Ryoko is suffering from some form of amnesia. Not only does she not remember anything about her childhood or her identity, she also forgets things as they're happening. She can't even remember her name, and is only able to recall it by reading the cover of her notebook- 'Ryoko Otonashi's Memory Notebook,' where she's writing down everything in front of her as it happens so she can try to remember later.

Most of the story is told through Ryoko's perspective as she tries to avoid being caught up in some massive conspiracy within the school- all without actually remembering the conspiracy she's avoiding. Junko Enoshima is the one responsible for this, directing her from place to place and slowly forcing her to confront the conspiracy as she starts to figure out who she is and how she fits into it all. She insists over and over again that it has nothing to do with her, that she's innocent and has never met any of these people before and desperately tries to believe it- her memory is gone, therefore she could not be responsible.

But she is responsible, because she's not Ryoko Otonashi. Her real name is Junko Enoshima, and she's the SHSL Analyst, a girl with such a strong logical capacity that given enough information, she can perfectly understand and predict anything. This could be the actions and personality of a person, or it could be upcoming trends in fashion; whatever it may be, Junko is capable of perfectly analyzing and understanding what will happen in any given situation, long before the world does. And that type of intelligence has rotted away her mind.

Simply put, the human brain requires stimulation. Boredom is her opponent, and in a world where she can fully understand and predict anything at any time, Junko has nothing to stimulate her, and almost nothing can bring her any joy, because she fully anticipates it. Everything is normal, predictable, boring- it's left her with a case of intense anhedonia. Therefore, the only way she could find any happiness is in a world where that talent is stripped away from her. As Ryoko Otonashi, a girl with no memory, she can remember nothing and therefore predict nothing. Analysis requires data, and a blank slate offers none. Even her name is in reference to this, as 'Otonashii' translates to English as 'no sound' or 'quiet'. Only without memory can Junko's mind be silent and let her be genuinely happy.

Ryoko Otonashi is essentially a personality created by Junko as a test, not just for the people around her, but also for herself. Throughout the novel, Mukuro and Yasuke interact with her with opposing goals- Mukuro pushes her into the fray of Despair she's created, while Yasuke tries his best to keep her eyes and ears covered. Ryoko is in a unique position between the two- she's starting to remember and understand herself again, but is terrified of what she'll find, and wants to hold onto her peace with Yasuke. The ongoing question of the novel, which only reveals itself on a reread, isn't within Ryoko's identity itself. It asks the question of whether or not Junko could have been saved from Despair. And the answer, sadly, is no. Remembering anything for too long makes her forget her happiness, and she falls back into Despair, killing Ryoko Otonashi, the epitome of her peace, with her own hands.

Mukuro and Yasuke act as opposing forces within the novel, as both feel a loyalty to Junko that makes them act in what they believe to be her benefit, and both fail. Mukuro drags her kicking and screaming back into the depths of Despair to bring back the madness she sees Junko as, while Yasuke wipes her mind of everything that made her Junko to remove what plagued her. For Junko, balance isn't an option, and the people within her orbit fall victim to that same mentality.

7.1- Personality Disorders In Danganronpa

I'm not a psychologist, nor do I have any sort of split personality(DID, OSDD, etc). So my knowledge on the subject isn't that great, and everything said within this section should be taken with a grain of salt. But, to the best that I can tell, Ryoko's existence as an alter is sort of... mixed up. Other characters in the DR series (Toko & Genocider) make it pretty clear that Kodaka doesn't really have a fantastic understanding of people with DID outside of how they're stereotyped in the horror genre. And that background knowledge, combined with the presentation of Ryoko in DR 0, makes me think she was likely intended to be an alter, but as one that Junko had almost absolute control over, as at multiple instances, she was able to knock Ryoko out at will, and fully killed her once she'd outlived her usefulness for the experiment. There are parallels to Jekyll and Hyde in that aspect, though of course Jekyll was aware of also being Hyde- an alternate version of yourself created to rid yourself of everything about yourself that you despise is very reminiscent of Jekyll's motivations, down to the permanent erasure of the "good" side by the very end. It's also worth noting that Jekyll and Hyde weren't intended as an example of DID, but rather, an exploration of how every person is multifaceted with good and bad parts, even if modern day interpretations often read it as another example of the evil DID trope from 1960 and beyond(thanks a lot, Psycho).

There are several interactions between Ryoko and Junko that support them being two personalities within the same body rather than just a case of memory erasure. For example, when Ryoko is nearly killed by one of the SHSL Octuplets, Junko emerges just to make sure she isn’t killed, citing it as a minor nuisance.

“‘Upupu, I wonder if I was a bit too harsh.’ The voice said, it sounded close. ‘... But it can’t be helped. It’d just be embarrassing if you died here. After all, you’re the protagonist in this scene for once!’” -Junko Enoshima, DR 0

When Ryoko wakes up in the underground bunker of the Reserve Course cult forming, she comes across a captured member of the Steering Committee. And because she genuinely doesn't know who he is or where she is, he ends up giving her classified information that Junko needed, and the second he reveals it, she's immediately able to knock Ryoko back out and take over once again, having used the Ryoko personality as a front specifically to gain information.

“'The old school building… Kamukura Izuru’s there.' 'P-Please wait..' I ended the conversation prematurely with an interruption. Quickly, I wrote in ‘Otonashi Ryouko’s Memory Notebook’. .... But then… Huh? I suddenly felt an attack of dizziness, I struggled to stay upright. What’s happening?" -Steering Committee Member & Ryoko Otonashi, DR 0

"'Oy, did you hear me?' I didn’t. The beating in my ears was only growing louder, it completely drowned out all other sound, I couldn’t hear anything anymore. I shouldn’t be able to hear anything anymore, and yet I could hear a single, eerie laugh. '...Upupu.'" -Steering Committee Member & Ryoko Otonashi & Junko Enoshima, DR 0

Ryoko's memory of Yasuke is also contingent on whether or not Junko wants her to recognize him, suggesting that to some degree, her memory issues aren't just forcefully induced, but rather, are a conscious choice on Junko's part for Ryoko, as once Junko's plan is in place, she suddenly can't recognize him and is then forced to kill him in self-defense.

"'Are you…talking to me?' He looked exhausted. A face of someone who lost everything. The face of someone who lost all his thoughts, all his senses, and all his emotions. '…You don’t remember me?'" -Ryoko Otonashi & Yasuke Matsuda, DR 0

It's pretty unclear whether this was an intended conclusion from Ryoko's and Junko's behavior in DR 0, or if these are just remnants of Kodaka not knowing how personality disorders work and simply having Junko be so powerful that she can purposefully create, manipulate, and kill personalities at will, but I think looking at it from a more psychological viewpoint like this certainly puts Junko's actions as a manipulator into more perspective. The intention behind Ryoko suggests that Junko's manipulative abilities extended even into her own psyche, almost to a supernatural degree. Do actual systems in the real world function like this? No, but thanks to Toko/Genocider, we know that the representation of DID isn't gonna be good in this series.

If we wanted to put this into a more realistic lens, we could come to the conclusion that Junko's apparent control over Ryoko and the discrepancies behind her existence is a result of Junko having Munchausen Syndrome. Also called factitious disorder, Munchausen is a subconscious psychological condition in which the patient fakes symptoms of other kinds of conditions, whether mental or physical, without realizing they're mimicking the symptoms. Under this lens, we could say Ryoko was a factitious alter that Junko created after Yasuke wiped her memory, hence why she could have control over her over the course of the novel. This was almost definitely not the intended explanation, but it's the conclusion I came to. So there.

Part 8- Relationships

Due to just how many corners of the franchise Junko's present in, there's no convenient place to dump all the relationship analyses like I normally do. Ergo, I'll be breaking part 8 up, and will talk about the different core relationships Junko forms when they're most relevant.

8.1- Yasuke Matsuda

Yasuke Matsuda is the SHSL Neurologist, and a childhood friend of Junko's introduced in DR 0. Because he's the boy she's in love with, he remains the only tangible thing Ryoko can remember outside of her procedural memory, and is treating her memory loss. He's also the one primarily responsible for wiping her mind and assisting the school in the coverup of the student council massacre that Junko was responsible for, though he takes no pleasure in it.

"The silence continued for a while until Matsuda sighed and muttered, 'You should worry.' His voice was low and depressing. 'What if you’ll always be like this......'" -Yasuke Matsuda, DR 0

Despite his tsundere behaviors towards Ryoko whenever the two are face-to-face, he's very much in love with her, and spends the novel trying to look out for what he believes is in her best interests by methodically attempting to remove the Despair from her mind and covering up the Tragedy she's already set into motion. Throughout the novel, he works in cahoots with the Hope's Peak Academy Steering Committee to find more information about the Incident. He does this specifically to defend Ryoko and keep people from interrogating her further, and to hopefully extricate her from the whole situation permanently.

"'I said shut the fuck up.' Matsuda easily quieted the men by saying that and then he continued in a soft voice. 'People might call her an idiot, but she doesn’t even bother to stick up for herself, thinking she can’t do it. So I don’t think I’d be able to forgive myself if I don’t do it for her.'" -Yasuke Matsuda, DR 0

Though we never see it directly, we realize with the help of Kyoko that he's also the one taking the bodies of the Steering Committee and SHSL Octuplets after Mukuro kills them and disposing of them, in the hopes they won't be discovered and Junko will eventually be absolved of both suspicion and Despair.

“Finally she looked at me. ..... ‘The dead body, the body that was dead. There was a post-death body here before!’ ‘Huh?’ .....  ‘There’s not mistake, I know there was definitely a corpse here before!’” -Ryoko Otonashi & Mukuro Ikusaba, DR 0

“Matsuda-kun’s voice was definitely coming from beneath me. There’s no mistaking he was under the bed. ‘But... what would require so much concentration to be under the bed?’ ‘This situation.’ Somehow, Matsuda-kun’s way of putting it could allure to several different meanings.” -Yasuke Matsuda & Ryoko Otonashi, DR 0

"I stood next to the girl, crouched down and peeked under the bed. At the back I could see a large opening, .... 'It’s not a terribly impressive hidden room… a storage room at best.' '…A storage room?' 'For hiding dead bodies.'” -Ryoko Otonashi & Kyoko Kirigiri, DR 0

But despite his best efforts, Junko's talents of analysis were just too great, and she'd already come up with a plan to send her back into Despair before he ever touched her mind. With the help of Mukuro and the growing underground Reserve Course cult of Despair, Ryoko is forced to face Despair after Despair, and is hunted for her involvement in the student council massacre. Junko confronts him and taunts him for his failure, leaving him to wallow.

"'I get it, you feel sorry for her… even so, you’re troubled. You’re incredibly troubled. That’s what it seems like after what I’ve been hearing…'” -Junko Enoshima, DR 0

“'You know, in this scenario, only you can make the choice, Matsuda-kun. So think carefully, worry about it, and choose the choice you think it best. Hope or despair… the choices are so diverse and yet, surprisingly, intricately connected. Anyway, have a good think about it…'" -Junko Enoshima, DR 0

In one final attempt to see if he can salvage her, he approaches Ryoko outside of his lab, pretending as if he's Izuru Kamukura, and questions her. She doesn't recognize him, and he, too, falls into Despair, finally accepting that despite his feelings, he was a pawn to Junko's game, and tries to kill her, sending Ryoko towards Despair as she realizes who she's speaking to and can't convince him she loves him anymore. Defending herself, she ends up stabbing him, sending herself spiraling as she becomes her lover's killer, and Junko reemerges from her mind, killing her off in front of him and forcing him to die in Despair.

He dies believing Junko never actually loved him. He becomes thoroughly convinced that she was pretending, and that Ryoko was nothing more than a part of the game to send him into Despair. And that perception of Junko combined with her causing his death brings Junko an indescribable Despair. The man she loved died by her hands, hating her existence. Truly, this was Despair!

"'I was right, wasn't I? About you remembering? That's why you can't remember me? You remembered that I wasn’t a particularly important person to you…so that's why you can't remember?' Kamukura then revealed his eyes, their glint was tainted with deadly hatred. '…You're such a bitch.'" -Yasuke Matsuda, DR 0

"'There's no way this would have nothing to do with me…' There was a hint of sadness laid somewhere in that murmuring voice. 'After all…you were the most important person to me of all…' Those were her true feelings. Yasuke Matsuda was an especially important existence for Junko Enoshima." -Junko Enoshima, DR 0

She loved Yasuke intensely. She cared about him moreso than anyone else, save Mukuro. And yet, despite how attached he was to her, Yasuke couldn't realize in his own Despair that there'd be no reason for someone like Junko to bother dragging herself through so much mental torment and manipulation at his expense if she wouldn't get a magnificent Despair out of it. Yes, she causes Despair for others, but she doesn't throw herself directly into the fray unless she gets something out of it. Despite loving her, he never actually understood her. That truth, too, would bring her Despair.

Part 9- How Junko Shaped the Game

Turning back towards THH, Junko's reveal shakes the class. Most of them believed that finding the mastermind and forcing them to show their face would end the game. But that's not the case for Junko Enoshima. She's not through with them yet, and takes the opportunity to rub everything they've lost in their faces.

"Puhuhuhu... Did you really think the story would end once we reached the climax of the case? Wrong! There's still plenty more to go!" -Monokuma, THH

Throughout all of THH, Junko's plan is hinged on Despair, and thus, she takes her class, which had become close friends and confidants over the past two years of their lives, and attacks what would bring them the worst Despairs possible for each. Her talents as SHSL Analyst allowed her to analyze her own classmates and tear at what would've made their 16-to-20 year old selves when they first met snap. And each one of the motives she used was designed specifically for that, something she makes sure to cite when taunting them ("Did you notice that each motive I presented you had a specific theme to it?")

The first motive's theme was 'human connections', and everything surrounding the first chapter reflects this. Sayaka's motive wasn't just about her career. It was about the family she'd found and not letting down the people who loved her. And on a meta perspective, the first chapter was also about relationships, specifically that between Sayaka and Makoto and how that relationship's end motivated Makoto to eventually become SHSL Hope, and to a lesser degree, starting the development of the critical relationship between Hina and Sakura.

The second motive's theme was 'the past', something the 2nd chapter very much reflects. The secrets that Junko uses against the class are extremely personal to each of their histories, and can be used to twist each of them to head towards Despair, whether that be through their own hand or their own poor judgements of the people around them from their lack of memories. Mondo's secret isn't just tragic; Junko purposefully warps it in his letter to affirm his own belief that Daiya's death was murder and not just an accident, and because no one knows its contents, it sends him into a spiral. The same can be said for Chihiro, whose secret implies that their gender presentation is a lie, forcing them into a conformatory decision that leads to tragedy. Her classmates' memories of the past are presented in a warped way to suit Junko's needs. Toko's secret of having DID and a serial killer alter, Genocider Syo, is also revealed and used to develop her more as a character when she's the one most afraid of opening up to the class.

The third motive's theme is 'greed', using the promise of wealth to lure Celeste to murder. Even if you could argue other characters within the class could have fallen victim to the first two motives, this one is undoubtedly meant to target the Yasuhiros on Junko's part, as realistically, no one else in their class has any reason to even consider killing for money by itself, especially not when there's already been two class trials. The Yasuhiros are the only ones who consider themselves to be in any level of financial need. This theme is also meta-reflected by the possessive nature Kiyondo and Hifumi both develop over Alter Ego. Because neither of them can keep themselves away from them, they became easily manipulated, and it became harder for the rest of the class to obtain information and watch out for each other, forming a tunnel vision towards Alter Ego in their minds. This contrasts Celeste and Hiro greatly as well- Celeste is consumed by her own greed, while Hiro doesn't even consider killing for the money, opting instead to try and look out for the class and develop him as a survivor. Hiro's the one that looks out for Taka and calls out Hifumi on his obsession; Hiro's lured into Celeste's trap by promise of a way to save everyone, while Celeste rejects her class in favor of fighting for a selfish dream she didn't even need.

The 4th motive is that of 'betrayal', and this one is where the cracks in Junko's plan finally reveal themselves. Each and every trial before this one ended in tears and Despair, and a sense of hopelessness that wasn't alleviated until they were given new distractions. Sakura's betrayal is meant to mirror Junko's own betrayal of her classmates, and when half the class instantly turns on her, things go exactly as Junko plans. Sakura swears to destroy Junko by any means necessary, and takes her own life in an attempt to take the fun from Junko. With Monokuma's meddling, Hina is instead pushed into attempting a murder-suicide, one she's caught for by Kyoko and Makoto. But once the truth comes out, Sakura and Hina aren't condemned. Those that attacked her end up defending her. Sakura doesn't betray her class; Sakura betrays Junko, and it puts her on the path to failure. Junko even admits to this, though indirectly: "Once I revealed Sakura's betrayal, that led to everything that came afterwards..." Note this is the only time where she doesn't expressly explain to the survivors why her motive was successful, because in this instance, it wasn't. It also fills out Hina as a character and uses her arc of an attempted self-destruction to contrast Junko, as Hina let herself be forgiven by her classmates, something Junko could never let herself do.

Part 10- Self-Destruction (Junko vs Sakura)

Despite the fact that Makoto is the character christened as SHSL Hope at the end of THH, there are a lot more parallels between Junko's self-destructive nature and Sakura's self-sacrifice that often go unnoticed, and these parallels are quintessential to the overarching narrative of THH and why Junko functioned as its villain.

Both Sakura and Junko do the things they do because they love the people around them. Both Sakura and Junko find themselves to fall short of who they'd rather be. Both Sakura and Junko kill themselves. But their goals are fundamentally, diametrically opposed.

Sakura Ogami, as a martial artist, is a woman of honor and principles. She believes in the inherent worth of the people around her because of this, and strives to become the strongest person alive not because it's a desire of her own, but because that's the destination the people who loved her had in mind for her(her father, Kenshiro, etc). And therefore, she's someone who fundamentally wishes to act in the best interests of the people she loves, even when it's at her own detriment.

Junko Enoshima, as a hyperintelligent analyst, is able to predict anything. And because she can predict anything, she can enjoy nothing, because she always knows what will happen before it gets there. Ergo, the only way she can enjoy herself is via the only thing that can make her feel- Despair. Grief and pain still feel like something in a world where she can't be pleasantly surprised by anything. She despises herself for it, and so in order to feel, she decimates anything that brings her joy. Joy is boring; joy is nothing; joy is just part of the default setting because she still sees it coming. And therefore, she's someone who fundamentally acts in the worst interests of those she loves, for the sake of her own detriment.

When Sakura kills herself, and Hina is filled with Despair, Junko wants to revel in the Despair this brings everyone else. Sakura killed herself for people that weren't giving her the time of day, and the one person who gave a crap tried to kill you all! Isn't it so tragic, so Despair-inducing, don't you just want to break down and crumble?! And then they don't. Instead, after hearing the truth of Sakura's actions, the entire rest of the class is uplifted and united by her honor. Even Byakuya is feeling hopeful now! What the actual fuck is happening?! Is this how they'll feel when I die, too? Will my death bring no Despair?

8.2- Class 78-B

We never get to actually see any of her classmates interacting directly with her in their school days, or in any way that was positive. Outside of THH's and SDR2's final trials, we as an audience don't get to see them interact as friends. So we have to draw these conclusions from what little context we were given within her dialogue in these few rare moments in THH and the mentions of her class in DR 0.

"There was a tap inside [Junko's] skull, like someone pressed a switch and slowly her entire brain lit up with a notion. Several faces appeared. Of course, they were faces she knew… they were the faces of her Hope’s Peak Academy classmates." -DR 0

Without any doubt, Junko loved her classmates. They were people she considered in high regard and had unwittingly fallen for their unique charms. While Junko had come to Hope's Peak with the intention of causing Despair, she'd accidentally found people that made her happy. When entering the school, she intended to use the people around her to damage the school of Hope's reputation, but inadvertently became attached: "Once your school life here began, I thought about you constantly. It's only natural that I would... fall in love." This made for a fantastic happy accident for Junko, as finding something beloved made for a much more fantastic Despair for her later.

"Remembering the faces of the people who would bring her such despair, she felt something that was similar to a person in love, and she danced to the rhythm of Despair. 'This is it! This is a fantastic despair!'" -Junko Enoshima, DR 0

We can also reasonably assume Junko was someone her classmates had considered dear to them in turn, as she not only knew how to motivate their past selves into murder, but also their deepest secrets and fears, and was able to attack their relationships when they themselves couldn't even remember them. Could you handwave that level of connection with her SHSL Analyst talent? Actually, no, because as stated previously, analysis requires data. And the only way she could gather enough data to understand them at a depth that let her plan her killing game to perfection was by getting to know them firsthand.

There's also a strange implication within Junko's explanation of how she put the killing game together that I think gets often overlooked. When she prepares to infodump to the remaining survivors, she says this:

"So since I love you guys so much, I'll tell you all about it! All about the idea we came up with as the Ultimate Despair- our plan to bring Despair to all mankind!"

It's an interesting choice of pronoun, to say the least. "We." It implies that the group she's referring to when she speaks is herself and the people she's speaking to at this moment in time. Could she just be switching gears and talking about Mukuro, and later, the RoD, Kamakura, the WoH, etc? Yeah, absolutely. But none of these characters had even been mentioned, whereas she was just speaking on her love for her classmates in the dialogue prior and continues to talk about her classmates after.

In listening to Junko's explanation of how she put the killing game together, it made me come to a pretty disturbing realization. One of the biggest things about Junko is how she's always able to seemingly pull together everything to form this killing game almost entirely by herself. Later installments to the series include some level of explanations- Towa Group becoming a financial and robotic sponsor, a SHSL Mechanic that could've made the executions, etc- but her success within the killing game hinges fully on her knowing how to best bring her classmates to Despair. And she's not just an analyst; Junko is a master manipulator. Throughout her entire explanation of how she created the killing game, she never says she threw them into the killing game against their will. Instead, she very deliberately calls attention to her classmates' choice in the matter, over and over again. They chose to enter the shelter, they chose to lock the doors and cover the windows, they chose to be there with the SHSL Despair, though they didn't know who they were with at the time. Makoto is the one to assert that they did so because they believed in the hope of survivng, and giving the world a fresh start. But it's not just their year's worth of fun school classes missing from their memories. There's also a year of hopelessness within the school erased, too. Combine this with a few well-placed lines from Junko.

"You see, by taking away your memories, I gave you hope."

"You absorbed all that Despair, but then you forgot it all."

"Despair is contagious, you know. It's almost like... a natural phenomenon."

"Once you'd finished building your little shelter, it was time for me and Mukuro to get to work. And thus began the killing game!"

If Junko is making the claim that she was able to give them hope by removing their memories, that meant none of them had any to begin with. She emphasizes how much Despair her classmates absorbed, and even Kyoko herself states that it's impossible for all this to have been put together by just the Despair Sisters. If an additional year of hopelessness waiting around within the school were also erased, and Junko is intentionally avoiding saying she started the killing game herself, is it beyond reason to suggest that at least some of the 78th class had fallen to Despair in that timeframe? Look at the survivors that are left- Byakuya, Toko, Syo, Hina, Hiro. All characters that Do Not Like each other by this point. Most of the meaningful connections between the classmates have been murdered. Their past is scrubbed away. They've basically all betrayed each other at least once by now, and have been pushed to the brink of Despair. If you got a collection of THH characters most likely to fall to Despair, it'd be this group.

Junko even takes a point to emphasize just how Despair-inducing the truth can become, targeting Kyoko directly with this. As Kyoko comes to the realization the Junko purposefully designed the game with the possibility of being caught, she revels in Kyoko's Despair. She taunts her with the fact that their solving the mystery only made things worse. She is purposefully trying to drive the rest of her surviving classmates into SHSL Despair alongside her. She's manipulated the game and her classmates to get what she wants- the people she loves slaughtered, the survivors joining her in Despair, the world reborn by her hands. She quite likely manipulated her classmates into plotting each other's deaths not only inside the game, but in preparation for it as well.

Out of all her classmates, there was only really one you could argue wasn't perfectly analyzed and manipulated. One stood out among the rest as the unknown variable- a concept otherwise foreign to Junko- that was able to act as a wrench in her plans. And this, too, could cause her Despair.

8.3- Makoto Naegi (Hope vs Despair)

Makoto Naegi's SHSL Luck, AKA SHSL Hope, is the one who takes down Junko Enoshima's SHSL Despair. But why and how was this possible, and what does that mean for the relationship that he and Junko had prior to the game? If I wanted to fully delve into their relationship specifically, I'd need to really tear into Makoto's character, and I don't really have the time for that today(again, still hoping to get this out before 2025), so we'll just do the best we can based off the scenes they've had together and what we know about Junko to put the pieces together thematically.

Makoto is an average guy in just about every sense of the word. He likes average things, he looks plain, he's chosen randomly by lottery instead of earning his place in the school, he doesn't have any noticeable traits or beliefs- at least, not at first.

"But you know, if I had any one kind of strong point, so to speak, I'd say I'm a little more gung-ho than other people." -Makoto Naegi, THH prologue

By his own admission, he has a grand total of two character traits- abnormal normalcy, and enthusiasm. He's optimistic, and that's kind of it. By all intents and purposes, he's the SHSL Joe Schmoe, and that should make him another blank canvas on the wall of pawns Junko can knock over whenever she gets a little bored. And yet, SHSL Joe Schmoe is the one directly responsible for Junko's failure, and the one person who, by her own admission, she cannot predict. So why and how exactly is that?

I recall reading a story about a coding competition, where coders were meant to design an AI for a gambling competition. One entry proceeded to make an AI that would go all in every single time it was its turn, and the simplicity of it was so intimidating that it broke every other AI that was in the competition. That mentality is the exact strategy Makoto unintentionally employs. He doesn't have any strong sense of self or moral complexities; he's a dude that exists, and he throws everything he is into everything he does. He's an optimist to the highest possible sense. He leaves his door unlocked even after 4 murder cases and a break-in. He refuses to fathom anything but the best possible outcome, and so he's able to combat Junko's total Despair with pure hope. Makoto's head is so completely simple and empty that it acts as the exact opposite to Junko's highly intelligent, analytical mind. When she tries to force-feed him Despair in the final trial, he hits her with the power of 'nuh-uh,' and it works. It's that emptiness that fascinates Junko, and makes him and his random chance luck unpredictable to her.

Part 11- "Defeating" Despair

When Junko loses, it's not just because she failed to convince the others of Despair, or that Makoto's hope was just naturally the stronger conviction of the two. Rather, Junko's loss can be attributed to her own conscious choice to lose. Even if we're looking solely at THH, this is the case. And the source is found in a single line.

If her conviction to win in this moment was absolute to the point where only one person had to vote for Despair, she just had to include herself in the votes. After all, she is one of the 16 students participating, and by all accounts, she should receive a vote for this trial. But she casually refuses, instead leaving it in the hands of the survivors to make the final call. And that in and of itself is indicative of Junko's desires. When faced with a situation she can easily control, she leaves it to fate to decide, allowing that glimmer of unpredictability to take over and surprise her. She'll always believe in the Despair she's dedicated herself to; it doesn't actually matter who wins here. What matters is that she feels Despair. Either Makoto succeeds in convincing his classmates of hope and kills her, ruining all her plans, or he fails, and she exterminates the one unpredictable person in her life and locks herself out of that rush of adrenaline for the rest of her life. Either ending would fill her with Despair, and in that sense, there is no way for her to lose. She won the killing game, whether the survivors realized it or not, because she succeeded in destroying herself. She built herself a Saw trap, and her loved ones set it off.

Part 12- Execution Analysis

Junko is the only character to walk willingly into her execution, even being the one to hit the red button to start up the punishment rather than having Monokuma do it. You can first attribute this to her no longer being in the control room to pilot Monokuma to do so, which is true, but it's also representative of her desire for self-inflicted Despair. Her eyes are swirling with Despair and she goes on about how good it feels, how everyone should die in such Despair, how this punishment is 'extra special', because it's one she brought on herself. After methodically destroying the most important relationships of her life one by one, she'd now be killed by her friends in a series of recycled contraptions in an 'Ultimate Punishment'.

As she goes through each step of the execution, we see her bearing a wide grin, flying through the machinery that'd killed every one of her executed friends over and over again. She hits every baseball, handles the Cage of Death with ease, calmly survives the firetruck, and bobs her head with the excavator. She doesn't struggle, not once, and this is because in prolonging her Despair, her SHSL Analyst talent is keeping her alive. She's watched every one of these executions, and thus, knows how to survive them all. It's not just a retrospect of every prior execution as a callback for the audience; it means something. With a punishment meant to bring the character's worst ironic death via their most hated parts of themselves, then of course Junko's analytic abilities are keeping her alive through everyone else's Despair.

The execution ends with the return of the After-School Lesson, and this is the one that finally kills her, because it's the only one in which she doesn't know how it ends. Makoto's execution was tampered with by Alter Ego, so there's no way to know if she'll actually die or not. Junko can't know if it still works or not. Junko doesn't know whether she'll live or die, and that's what makes it so exciting. She's driven to the edge of death and left to sit there for a moment too long, long enough for the Despair to be replaced with disappointment- only to kill her right when her Despair abandons her. She stops smiling, looks up at the press, and dies abruptly. In her final moments, she is denied her Despair. Makoto did win, after all.

Part 13- Answering the 'How' (SDR2)

One of the biggest 'what-the-fuck's people tend to have after walking out of their first playthrough or watchthrough of THH is the How of the entire game. The first game is good and all, but it leaves Junko's skills and how she set up and pulled the killing game together pretty vague. This is intentional, as in the first game, she exists as a kind of force of nature, representing Despair as an inherent part of life in the same way Makoto represents hope. But after Spike Chunsoft commissioned a sequel, and Kodaka set to work on DR 0, the question of 'how' had to be answered as the series was expanded upon. This started with the introduction of Yasuke Matsuda's memory erasure technology and the reveal of Junko's SHSL Analyst status in DR 0, but continued to expand well beyond that.

In SDR2, we're introduced to an entirely new cast of characters, all with new and less conventional talents in comparison to the first cast. Whereas THH had plenty of more mentally-oriented talents like programming, writing, and hall monitor to balance out their more eclectic ones, the SDR2 cast is almost entirely physical or social talents like a yakuza, animal breeder, and mechanic. These talents also put them into more social or powerful positions than the 78th class on an overall skill, as you find yourself full of people that could command full armies and people proficient with making weaponry or fighting and potentially killing the people around them. This differentiates the casts, and automatically makes them more threatening in the ways they could attack each other in a killing game. This also makes them Junko's perfect weapons.

8.4- Remnants of Despair

Class 77 is revealed by the end of SDR2 to be the Remnants of Despair, pawns swayed over to SHSL Despair by unknown means. Makoto refers to this conversion as 'brainwashing', though whether this is him literally knowing they were brainwashed or making an inference and later being proven right is unclear. Regardless, the RoD are part of the SHSL Despair movement, and exist to explain a lot of how Junko was able to not only set up the killing game mechanically, but continue to end the world and send it into ongoing war after the initial Incident.

This is something especially apparent with the remaining surviving cast, as they're the most immediately powerful amongst the cast for Junko to use. Sonia and Fuyuhiko are both in direct command of massive amounts of people, with Sonia being the heiress to an entire country and Fuyuhiko being the leader of the largest mafia in Japan. Kazuichi as the SHSL Mechanic explains how and why so many elaborate executions were able to be designed ahead of time for the killing game, and Akane is a wicked fast athlete who's already accustomed to tragedies and will eat anything. On top of all this, there's Hajime, a human experiment worked on by those in league with the values of hope, and that was forcefully imbued with every talent that's ever been documented, including Junko's.

This sums up everything that made the RoD useful, but doesn't explain how any sort of meaningful connection was established between them and Junko. That's because on the overall, there isn't one. With two notable exceptions, the SDR2 class is largely unimportant to Junko emotionally speaking. They're useful, and that's about it. They weren't in the same class; they didn't interact at school or bond in any important way. She just dragged them down with the bare minimum brainwashing video because of their usefulness.

We also know Junko didn't care because of just how differently she speaks to and treats class 77 as opposed to the characters that we know she does love. The series painstakingly makes sure you know that Junko tears up everything she loves- Mukuro, Yasuke, class 78. She gores through them because hurting the ones she loves hurts her right back, and gives her an excellent Despair. But with class 77? Beyond the initial conversion, she doesn't really touch them. She doesn't need to waste her time with people who are virtually strangers. Their pain just is Despair; it's not her Despair. It's good for a laugh, but not much else, so she lets them run rampant on their own.

On an overall scale, Junko didn't give a fuck about these people. They existed solely as tools to her, and she interacted with them as little as possible. Unlike with her classmates, whom she loved, she did the absolute bare minimum required to get them to feel Despair by showing them a video and letting them do their own thing. The RoD were Remnants and not full-fledged SHSL Despair because their Despair was artificial. It was inauthentic, and so they could never ascend to true Despair in the way characters like Mukuro, Junko, or Monaca can.

8.5- Mikan Tsumiki (The Relevance of Junkan)

When we're first introduced to the concept of Junkan, it's portrayed as a one-sided infatuation from Mikan's perspective. She tells her classmates about the one person who forgave her existence and loved her anyway, with the choice of language emphasizing her beloved's need for Despair and asking for forgiveness for hoping suggesting that this beloved is Junko.

"Ahhh, this feeling of freedom where you no longer care about anything! My beloved and I are the only ones within that thin veil, and I'm just looking out through it..." -Mikan Tsumuki, SDR2

Whether intended at the time of SDR2's release or not, this line of dialogue ended up foreshadowing Mikan's heightened importance in comparison with the rest of her class to Junko as an RoD. When everyone else were just tools, remnants formed by brainwashing, Mikan is ultimately differentiated as special, not necessarily craving Despair but happily parroting it for the sake of a twisted love.

"It's like nothing matters! I could just die, that's how little it matters! Who cares about hope or despair! It's love, only love!" -Mikan Tsumiki, SDR2

This 'beloved' being Junko is proved true when AI Junko emerges in the final trial and reveals that class 77 are also the RoD. At this point, though, there's almost no evidence that Junko feels anything back for Mikan besides a vague sense of usefulness shared with the rest of her classmates, as she mimes seeing them as friends because of their actions as Remnants of Despair.

Something that's important to remember, however, is that Junko's need for Despair drives her to destroy everything she loves. We've seen this multiple times, over and over again with Mukuro, Yasuke, and her classmates before now. The reason we know she didn't care about class 77 is because there are no such personal attacks to tear them apart and make them despise her specifically- their pain brings her no Despair. There's no evidence of a personal attachment. Once DR3 comes into focus, though, that changes for one RoD in particular- one Mikan Tsumiki.

DR3 made the decision to bring Chiaki back as a human character, and made her the central figure for class 77's bond. Junko dragging out Chiaki's suffering and forcing her classmates to watch became the titular event that drove the rest of class 77 to Despair. But there was no personal attachment to this act, because she'd only just met Chiaki, and there was no dynamic to speak of between the two of them besides maybe a vague sense of interest based off of their single interaction.

So, if there's no established rivalry or connection to Chiaki, why does Junko single her out and kill her specifically? Easy; Junko doesn't. She sets up the maze, sure, but she is not and never was the one targeting Chiaki specifically. That was Mikan, and the show makes sure the audience sees this more than once.

When Mikan and Junko meet, it's because of a chance interaction. Mikan runs into Mukuro by mistake when going to check on Ryota, and is captured. In this sense, she's literally presented as a gift to Junko. Junko learns she's a nurse, and decides she'll let her hang around while she works on the brainwashing video.

In their next scene together, Junko is having Mikan massage her leg, listening as Mikan presents her classmates and friends to Junko. She's the one who tells Junko of how close her class has become, and how Chiaki is the central figure behind their bond. It's where we get this from Junko:

Though you might not immediately know it, it's swiftly revealed to us that Mikan is now in love with Junko via this and Ryota's mention that something appears 'off' with Mikan. From Ryota's discovery of the prototype video that was used on the Reserve Course students being immediately followed by Mikan's appearance and saying he souldn't have watched the video, it's easy to fall into the assumption that Mikan's fall is purely because of the brainwashing. But that's not necessarily true. Mikan having seen the video prototype is very different from being brainwashed entirely, and considering Junko herself says that the video is insufficient and that she can't brainwash people like Ryota can, there's an inference to be made that while the prototype video may have helped, it didn't rob Mikan of her free will in the way Chiaki's death did for everyone else. Ryota didn't fall into Despair from the video by itself, and neither did Chisa Yukizome. We also know from her FTEs in SDR2 that even before falling to Despair, Mikan was already a little fucked up, as her idea of a good time includes telling you all the ways in which you could die and begging people to treat her like garbage just for a taste of acknowledgement.

We also see what motivated her to nurse not only herself, but others as well- not empathy, but power and control.

"Sick people and injured people... are weaker than me. .... But if I know the proper way to treat them, that means my words are absolute. Which means... They'll need me. They'll depend on me completely." -Mikan Tsumiki, SDR2

Again, all this can be found in her FTEs, in a situation in which she's mentally reverted to the way she was entering the school, before she and Junko were so much as in the same city. By this line of information, it's just as believable that her falling in love with Junko was because Junko and her video actually connected with Mikan, taking Mikan's craving for attention via mistreatment and using it to her advantage. It's also worth noting that the anime makes a point to use 'spiral eyes' to demonstrate when a character has been brainwashed. This is something used with Chisa, with the characters in the Future Arc, and when the RoD are shown Chiaki's murder. But Mikan does not have these spiral eyes in the scene where she nearly assaults Ryota. She's horny, and it's extremely disconcerting, but her eyes are still her own, suggesting that the video didn't take a hold on her the way it did for the Reserve Course students.

Mikan is also one of the most similar characters to Junko in that she craves pain. Not emotional Despair in the way that Junko does, but physical pain, not only from Junko, but from just about anyone. Pain means attention, and that's something she needs more than anything. By this metric, she and Junko are actually quite similar, needing the worst from the people they love, and this makes for a formula that can create an incredibly abusive relationship. Junko can do literally anything to Mikan, and she'll lap it up like a dog. Mikan makes for a perfect punching bag, and suddenly, their relationship is intentionally paralleling the way Junko treats her sister. She kicks her around, calls her a disgusting horny piglet, and Mikan thanks her for it. It becomes a challenge of seeing how far she can push Mikan before she snaps and attacks her back, just like how she tries and fails to do with Mukuro. Simply put, there's no reason for her to treat Mikan in this way if she doesn't care about her as a person, romantic or otherwise.

This connection Junko forms with Mikan also serves to answer that earlier question: why did she bother with a class full of people she's never met? It's because of Mikan. Mikan is the one to present class 77 to her, and with the context that she goes on to set up a murder maze specially for Chiaki, and specifically says that Mikan has 'made a compelling case', that means Mikan was asking her to make them SHSL Despair. And not only does she do so, she does so in a way that forces Mikan to be the one to lead them into the trap. She brings her classmates to the bunker, she separates Chiaki from the group, she's responsible for sending her loved ones to Despair. This isn't a plot that's personal to Junko; it's a plot that's personal to Mikan, and Junko helping drive Mikan's loved ones into Despair saddles Mikan with a Despairing guilt tied to Junko.

Driving class 77 to become RoD is an act of love for Mikan- a twisted, abusive love, but a love nonetheless, and one that's in line with the way she drives her own class to Despair and makes herself the crux. Should her classmates realize what's happened, they'll know that Mikan brought them here. The rest of class 77 are Remnants, but Mikan is a SHSL Despair like Mukuro, valued like Mukuro, and her being the one to regain her memories and turn on all her friends once more, betray them once more, is a remnant of Junko's love.

8.6- Izuru Kamukura

When Junko first approaches Kamukura, she does so with the intention of offing him then and there. He's the artificial SHSL Hope, lab-grown by Hope's Peak Academy, and represents everything their research stands for. To kill him would be to kill their work, and that's what she walks in with the intention of doing.

Naturally, she fails, as Izuru's been imbued with every talent known to man. This wasn't outside to realm of possibility for Junko, though. There were several different ways to kill the SHSL Hope invented by Hope's Peak. Whether or not she killed him literally or metaphorically wasn't the point.

Izuru Kamukura exists as an empty symbol. He's filled with talent and nothing to use it on. Because his existence is an artificial one, he has no passion with which his talents were born, and no drive to use them. If anything, he's not the SHSL Hope, he's the SHSL Talent, but regardless, his creators have labeled him their SHSL Hope so that he can become their puppet-symbol. So to kill the SHSL Hope the trustees have created, all Junko really has to do is get her hands on the puppet first.

The actual convincing of him isn't really what matters to Junko. Similar to the trustees, she also sees Kamukura as a symbol, albeit one to be knocked down instead of bolstering up, so she uses him like a token symbol, too. All she has to do is pique his interest, just enough to get him to follow her, and her job is done. She talks on about her love of Despair, how grief and pain are something that actually makes you feel, and because he's had his emotion removed, that unknown variable is enough to get him to watch, just in case.

Despite his having every known talent, Kamukura is tricked. He's framed by Junko as being responsible for the murders of the student council. And in addition, he sees the power of Despair, as adrenaline from the final survivor pushes him to attack Kamukura even when it should've been physically impossible. When moved by that animalistic need to survive, he manages to cut Kamukura's face even after getting his own sawed in half. Thus the SHSL "Hope" is introduced to the world as creating Despair, and his job is complete.

Junko doesn't really bother with Kamukura after this framing. She lets him hang around, but when he decides to leave, she doesn't make any sort of fuss or try to attack him anymore, because she doesn't really care about him. He was only as important to her as his title was to the school, and once that title was tarnished, any connection between them she pretended to have was dropped. The next time these characters meet, it will no longer be the real Despairing Junko tainting some artificial husk of a person, filled with talent and emptied of heart, but rather, an artificial Despair combatting a survivor's true identity.

Part 14- The Brainwashing

Okay, let's talk about this. Was the brainwashing a good move for the story? Was it actually planned from sdr2? Or was it something half-assed at the last second because Kodaka didn't think that far ahead? Well, imo, it was almost definitely intended from their conception, and is very reflective of Junko's own motivations and goals.

From as early as DR 0, brainwashing tactics are evident within Junko's work. When Ryoko meets the reseve course's underground cult, she finds them watching a single video of mutual killing over and over again, with a fixation on its contents that's unnatural.

"[The cultists] didn‘t even bother to glance at me. Their eyes were still plastered to the monitors in front of them. .... Every monitor was a pitch black, none had a single image projecting on it.

'It‘ll… start again soon… so…' the monobear heads sitting in front of me said in monotone." -DR 0

Brainwashing is again brought up within SDR2, as not only is Hajime expressly a human experiment due to alteration of the brain specifically, but the entire class is referred to by Makoto as 'brainwashed'. At this point in the series, there's no reason for him to actually know this short of Kamukura possibly telling him they were brainwashed, so we can reasonably assume this statement is rooted in Makoto's inability to understand Despair and seeing anyone's craving of it as a mental disease that can be cured(not an unreasonable conclusion to reach, considering the Everything About Junko he was led to witness). Ergo, it's not beyond reason to assume that brainwashing was well within the bounds of possibility for the characters even at that time.

While the idea of brainwashing the class into Despair appears to rob the class of their moral complexities that came from being RoD, the view we as an audience are given by Makoto, Kyoko, and Byakuya within SDR2 is only ever that the RoD were victims of Despair. The survivors are already established as more reliable narrators than AI Junko thanks to the first game, so there's no reason not to trust that what they say is likely true. In addition, Junko never actually directly states that they did it of their own free will, just that they were on the same side and tries to get them not to listen to Makoto, her already-established opposite.

The idea of class 77 being brainwashed went from theory to canon in DR3, and while the method of their brainwashing is controversial(the line 'cutting through their free will like swiss cheese' from the dub is pretty aggravating), it still lines up with Junko's pre-established goals and motivations. She goes to Hope's Peak to tear down Hope and replace it with Despair, and after being shown a class full of Hope united by their love for the same person, she exploits it and is able to use their love against them to create Despair as an outsider. She's introduced to the class, uses them, and then lets them all go do their own Despairing thing because she doesn't actually care what they do. What matters most is her own Despair, and tearing hope to pieces. So her interaction with class 77 remains minimal, a mere experiment for Despair in the same way Hajime was an experiment for hope, and then keeps going about her business, calling on them presumably only if she needs something like the execution contraptions.

14.1- The Despair Videos & Knowing the Difference

There's not just 1 Despair video. Over the course of the anime, we're introduced to three, and each one has different levels of effect on those who watch it. Knowing the difference between these three videos is quintessential when talking about the brainwashing and how each character to watch a video is affected, as well as understanding different characters' roles in the narrative as they pertain to the videos. So let's establish the differences between these 3 videos and their effectiveness before we move forward.

14.1.1- The Student Council Massacre

The first Despair video, aka "the prototype", aka the Mutual Killing Video, is the one created using the footage of the student council's beta mutual killing game. This is the one made solely by Junko's attempted mimicry of Mitarai's animation talents, taking security footage of the mutual killing and sharing it with the Reserve Course and Mikan as a test run. And while it does have some level of effect on them, inspiring 'the parade' and having a hand in Mikan falling for Junko, it doesn't work nearly well enough to actually rewire their brains for Despair or strip them of their hope in the way that Junko would like. Even in the context of a parade, it's still very much a protest in the hopes of change. There's still the demands of a refund, of being let into the main course. Even when shown the Despair of the truth, there is still hope that things can be changed or fixed. And that's not what Junko wants. The only character that we've seen to watch this video to end with the aforementioned 'spiral eye' telltale of true brainwashing is Chisa, who we know was also being actively lobotomized by Mukuro during a repeated viewing to force it to work. This instruction came from some manual Mukuro was left with, presumably written by either Junko or Ryota.

While this video is what starts the parade, what eventually pushes the parade to violence isn't Junko. It's the inaction of Hope's Peak Academy and refusal to acknowledge their mistakes. Instead of coming clean, they bury everything wrong they've done even further and have their security beat the shit out of anyone that tries to find answers for themselves, doing so in the name of 'protecting them' from information. They keep the wrongdoings of their 'real' students under wraps at the expense of their underlings, fully buying into a talent-based hierarchy they created. Those without special talents are sources of finance- nothing more, nothing less. And when that overwhelming majority questions that, and finds evidence that HPA doesn't care, of course they'll retaliate. The video itself isn't a brainwasher, but when combined with the very real negative effects of the classism which the Reserve Course students find themselves hurt by, it makes its influence that much stronger.

14.1.2- Human Chiaki's Death

The second Despair video is Chiaki's execution, and is a live recording shown to her classmates. As far as we've ever seen, this is the only instance in which this is ever shown. This live recording is enough to send class 77 into Despair properly, spiral eyes and all, but there's an underlying implication that the primary reason for this is because of how important Chiaki specifically was to them. Throughout the season, and especially in this episode, Chiaki is established as the glue that holds the class together. Despite not being an extremely sociable person, she connected to her class with her love of games, and her earnest love of it endeared her to them, and their love of her did vice versa. The footage locked them each into place, unable to look away, and once they were at their lowest, at the very end of the video, Junko swoops in to dub them all Remnants and decides for them that they will now cause Despair for her. And because she says this when the live footage has brought them to their lowest, they each fall into this trap, at least to some extent. Whether or not they truly belive in what they're doing, they do it, because that feeling of Despair is their last connection to Chiaki left.

But, similarly to the prototype, it's still ultimately insufficient. Granted, it's much more effective than the prototype, but it isn't a full mindwipe, either. We know this because when we meet Nagito Komaeda in UDG as the Servant, he's still himself. He still has some level of self-control, able to speak and act as an individual even when following the orders of Monaca or the other WoH. He says himself that he despises Junko more than anyone else in the world, and follows through with Despair with the faith that it'll inspire a newer hope to conquer it. He says something similar in that moment of brainwashing as well.

"Nanami is our hope. Look what she did to her. What Despair... What a horrific sight! This is... This is the Despair we must overcome? Ah, Nanami... You understand, right? At this moment, you are becoming a stepping stone to hope!" -Nagito Komaeda, DR3

You could possibly attribute this to Nagito's luck cycle and history with tragedy just making him have a higher resistance to the brainwashing, and honestly, there's no strong way to contradict that, since Nagito and Mikan are the only ones we ever see in Despair outside of a montage, but narratively, I doubt they'd make a point to show one of the RoD hating Junko if it weren't to make the point that they had agency. Nagito was just the fan favorite, so of course it was gonna be him. You saw the fanservice in UDG.

14.1.3- Mitarai's Animation

The third and true Despair video is the inversed Monokuma Theatre, which is used to mentally hack its viewer and drive them into such a strong state of Despair that they kill themselves right then and there. This is objectively the strongest of the Despair videos, and the most effective, with the only character it doesn't immediately convince to kill themselves being the Future Foundation chairman Kazuo Tengan. This is mostly for plot reasons, but I'll address this specific exception to the rule later on and why this was the case.

The Monokuma Theatre video is mass-emailed to the Reserve Course students after they destroy the shiny new building their parents were tricked into paying for. The video hacks their minds when in an already vulnerable state, and each and every one of them jumps out of the building and kills themselves. Just as quickly as they take some control and uproot the system that hurt them so, they fall victim to the games of another who never cared for them in the first place. The purpose of the video was to create a horde of faceless victims to spurn others into action, and it worked like a charm, spiraling the world into a state of Despair. The RoD used their influence to ensure a smooth transition into this state of worldwide chaos as well, having significantly more social power and reach to spur more and more people into the fray.

The Monokuma Theatre video is also what makes the members of the Future Foundation kill themselves in the Future Arc, hacking their minds and then dropping a knife with which to stab themselves with. It works on every character that watches it- Chisa, Gozu, Seiko, Ruruka, and Makoto. Each of these characters are in various mental states when they watch it, yet all of them fall to it, without exception. It doesn't matter who you are or what you believe in. If there's even one thing you regret in your life, the video can and will work on you. It just does. And by that logic, it's the only real 'brainwashing' video, because it can work on anyone who watches it. The one character who seems to withstand it is the one who builds an entire killing game using said video just to force its creator to action, and doesn't even seem so much as affected by it. Really, it calls into question whether or not he was even affected by it.

14.1.4- The Flashback Light (Bonus Brainwashing!)

The Flashback Lights are used solely in V3, and are invented by the mysterious Team DR to reprogram the memories of their victims to play along in their scripted killing game. We see this work on both Kaede and Shuichi, as well as see the aftereffects it has on the rest of the class.

We learn while investigating that Tsumugi is the one responsible for creating the Flashback Lights, and that she's been the mastermind who knew what was happening the entire time. However, this initially opens up a plot hole in that Tsumugi has also been shown the Flashback Lights multiple times. There are 3 viable explanations for this. The first one is that she just closed her eyes, which is extremely boring and kind of a copout. The second is that she didn't know she was the mastermind until near the end, and Kaede's murder plot failing was a ruse by Team DR for the story, but that makes that entire reveal lose a lot of its impact. The third explanation, therefore, makes the most logical and narrative sense, and actually doubles as a reason why Tengan would be the only one to withstand the Monokuma Theatre in DR3: Tsumugi wears glasses.

Yeah, I know, that sounds silly, but let's actually break it down. In NDRV3, two characters are shown to wear glasses, and only two- Tsumugi Shirogane, and Gonta Gokuhara. Gonta, however, has two unique traits that are relevant here. One, he has 20/0.625 vision(strong enough to see the near microscopic Monokuma cameras), and two, he wants nothing more than to appear as a gentleman. I don't think it's a stretch to say he's wearing empty frames to appear more gentlemanly, especially considering they're paired with a full suit.

Tsumugi is the mastermind, and the one who has the most insight into what's happening in the game. She's the one who knew the difference between her actual self and the character Tsumugi that she played(it's implied in the dating sim that Tsumugi isn't her real name), despite having seen the Flashback Lights with the class several times. So isn't it entirely possible that having glasses to reflect the light of those Flashbacks was what let her pass for being affected as well? And, if that's the case, then it would also explain why Tengan, who wears glasses, would be resistant to the effects of the animated video, as everyone else who we know watched the animated version before their death didn't wear glasses. The faceless Reserve Course students don't have glasses, and neither do any of the five characters in Future Arc to watch it. It's completely ridiculous, and simultaneously totally plausible, for the idea of glasses reflecting off light and lessening the effects of such a video to be the explanation for why the videos or lights exclusively didn't work on these masterminds.

8.7- Ryota Mitarai

Junko's connection to Ryota is objectively the weakest part of her story, and admittedly a major part of why the brainwashing of class-77 falls under such scrutiny. Whereas every other part of Junko's plan is pretty well-established within her characterization, the connections she makes having actual sense to their conception and development, and just general consistency within the narrative, her meeting Ryota is not only a stroke of random luck on her part, but emphasized as one, and this just does not make sense for a character within said narrative to have never once been characterized as having any level of luck or fortune prior. This is especially glaring in a world that has established luck mechanics via characters like Makoto, Nagito, and Celeste. Junko just isn't a character meant to have luck like this, and never has any sort of moments or accomplishments stemming from luck before or after this outright.

When Junko and Ryota meet, it's because they walk past each other going in and out of the infirmary, and Junko, for no visible reason, decides to start talking to him right then and there. She starts squealing and hugging him, jumping up and down, and says this upon Mukuro's asking why: "I don't know, but... this is what I'm telling myself: This is yet another... fateful encounter!"

There's no rationale to this. There just isn't. It's not her SHSL Analyst talent having picked up on him over time, or her recognizing him via someone else, or anything of the sort. It's totally unjustified random chance for the convenience of the plot, and that's what makes this introduction so weak.

Really, the issue of Ryota's involvement falls more in their introduction than his actual function in the anime. Considering his characterization and the connections Ryota had prior to this, it would've made infinitely more sense if Junko had met Mikan first while in the infirmary, and buttered her up enough for Mikan to introduce the two of them. Knowing Mikan, it wouldn't have taken much, and would've made more sense for Ryota to be so willing to share a part of his life's work while still incomplete if he was introduced to Junko by someone he already trusted. Regardless, that's not what happened, but I say this mostly because I want to affirm that with Junko and Ryota's connection, it's the introduction that doesn't make sense, not what follows.

That said, once the awkwardness of how they meet is out of the way, what follows is fairly reasonable. She asks about his talent, purposefully mocks his interests to trick him into showing off, and then takes advantage of what she learns about him, which just so happens to be brainwashing techniques that she'd already be somewhat familiar with thanks to Yasuke.

Once they're acquainted, Junko uses her knowledge of the school and what she's stolen from the kidnapped trustees to set up Ryota underground where she can keep him under control, and so he can't mistakenly squeal about what she's setting up. She uses his passion against him to bastardize it into what she needs and manipulates him into walking into his own cell by doing so. It's not her most genius move of all time, and it's not a difficult one to understand either, but it's one that works.

What matters most to understand, though, is that she doesn't seem to develop any sort of affection for him in the way that she did for Mikan. When he finally uncovers what she's doing, Junko gives him a simple sales pitch, and threatens him indirectly with Mikan's friends.

By now, she knows damn well that he's met a grand total of two of his classmates, one of which just tried to sexually assault him mere moments prior, so this doesn't seem like the most effective tactic she could've used. But Ryota is a sensitive person. A victim of bullying growing up, the whole point of his brainwashing animations was to make people more empathetic subliminally. So to force him to help her, Junko is able to target this empathy by targeting Mikan over Ryota himself. Her abuse of Mikan is painful for Ryota to look at, and he wrongfully puts all the blame for the way Mikan acts solely on Junko because he doesn't know any better. And Junko lets him, because it's convenient for her to manipulate.

"As you have inferred, the mutual killing video you watched is the reason Tsumiki ended up this way. However, in order to reach my objective, this is insufficient. My lack of brainwashing ability is the cause." -Junko Enoshima, DR3

As we know, Junko is an unreliable narrator. She can and has lied to people's faces for the sake of manipulating them, telling half-truths and intentionally warping the truth to shift her victims' perspective in a way that she wants. We never see Mikan's fall, only cutting from her first meeting Junko to her already being in love with her, and as we've established, not only was Mikan already pretty fucked up prior to meeting Junko, but she doesn't exhibit the symptoms of a complete brainwashing at this point. She still has her mental faculties about her. So logically, that means she's doing the same here. Yes, Mikan watched the prototype video, and yes, it was insufficient. Hence why we as an audience can understand with our meta-context that Mikan still has her mental faculties intact. Ryota, on the other hand, doesn't have that benefit, so when Junko says this, the implication is that Junko took the meek, shy, kind version of Mikan that Ryota knew and twisted her into an evil, hypnotized slave of Junko's. It's an intentionally warped perception of the truth that Junko uses to her advantage, to the point where she flat-out says she can't brainwash at this point and brainwashing is still commonly attributed as the sole reason for Mikan's behavior in this scene.

Ryota cares about the few friends he does have, taking Mikan's and the SHSL Imposter's requests to take care of himself by resting and going to the infirmary even when he doesn't want to to ease their worries. So of course, when faced with the idea that he could prevent Mikan's loved ones from getting hurt, even though he doesn't know the vast majority of them, he caves regardless. It doesn't have to affect him. The people around him are important enough for this threat to work anyways. They're not his precious classmates, but they are the Imposter's; they are Mikan's. And Ryota is a very weak man. So he complies.

Later, when he escapes, she hunts him down to thank him for his help, and then allows him to run away, letting him believe that he's the reason why class 77 were the ones to be brainwashed.

"The video I had you help me with. The complete version of that. I'll have your whole class watch it now!"

The 'video' that Junko has them watch is a live recording of Chiaki's death maze. Meanwhile, the Despair video that the Reserve Course goes on to watch after the riots, and that Chisa Yukizome is subjected to, are different videos entirely, forcefully reprogramming them and removing their hope outright. Since Ryota's an animator, we can ascertain he's responsible for the one the Reserve Course watches, with an animated Monokuma. In other words, Junko does not, in fact, have his class watch the video he helped her make. She's lying to him to send him further into Despair.

"Imagine it... Because of you, all your classmates will fall into a deep, deep Despair. They'll become people who think of nothing but plunging this world into Despair, the Super High-School Level Despairs!"

It's a bold-faced lie, and one that Ryota has no knowledge with which to contradict it. Because he's a coward, and because Junko's already messed with his head so much, he runs and hides rather than face what he's done. She even leaves him with parting words of responsibility, twisting what happened with sarcasm so he'll always blame himself for her actions.

Ryota is by no means a perfect victim, but that doesn't change the fact that he is one. He was manipulated, and when he found out he was manipulated, he was threatened, albeit indirectly. But Junko was always planning to send Hope's Peak and the world into Despair. His video made it easier for her, but he is not and never was responsible for her actions. And by making him carry the guilt of her choices, she leaves him in a state of pathetic, guilty Despair akin to a genuine 'thank you' from her.

Part 15- AI Junko

AI Junko(or Kaijunko, as I like to refer to her as) appears as the reincarnation of Junko, created by Chihiro's AI technology and forming a Despair virus to infect the Neo World Program. She doesn't allow the Hope Restoration Program to follow through, instead taking Usami's teacher role and manipulating the world to be a Despair Restoration Program. The motives she uses are extremely personal and targeted, hyperfocusing in on specific members of the class each time to ensure a murder happens the way she needs it to.

Something that's important to remember, though, is that Kaijunko IS NOT Junko. She's an artificial recreation of the real Junko intended to continue programming Despair into the world after she'd inevitably passed. And as such, she isn't a 1:1 replica, and there are key differences between the two in the same way Alter Ego is different from Chihiro and Observer Chiaki is different from the human Chiaki.

The reason Junko fell into SHSL Despair was because her intellect combined with human need for stimuli left her with such a deep depression and boredom that pain and suffering were the only ways to make her feel alive. But as an AI program, Kaijunko isn't burdened by that same need. She's programmed to have the same goal of spreading Despair, but she doesn't have a personal, insatiable need for Despair in the way that Junko did. And this leads her to have a different endgoal for the final trial than what the real Junko might have chosen.

Kaijunko observes and learns from Izuru Kamukura and the RoD, as well as the Towa City residents, in the same way Alter Ego learned from class 78. The brainwashing video forcefully reprogrammed them, yes, but ultimately, they still loved each other as friends and classmates, even if Chiaki wasn't there with them, and it's that dedication to each other that Kaijunko learns about. It's why those connections are the ones tested within the SDR2 killing game; Kaijunko, who actually came into contact with the RoD personally and was toted around by Kamukura, would know what to use to create a killing game that would leave the most desperate group of survivors at the end to follow through on Junko's plans to reconstruct them all into her.

However, because Kaijunko isn't constricted to the same need to destroy herself, she can afford to bend the plan around impulsively in the way Junko herself had in the past, but in a way that'd align with the original Junko's goals to harm others around her without needing to harm herself anymore. Thus, in the final trial, she doesn't push those desperate survivors to want to escape. Instead, she uses her knowledge gathered to make them want to stay in the world Makoto provided to them, where none of them have to face the consequences of the RoD's actions, Kaijunko included.

One of the ongoing themes across the board for SDR2 is how artificial everything about it is. The island is artificial. Chiaki is artificial. Hajime is an artificial hope. The RoD are artificial Despairs. Similarly, Kaijunko is an artificial Junko. She goes through those same motions as the original Junko, but she is not, cannot be Junko. She can only mimic, never be, and so she tries to escape altogether by resetting the game to a state where the RoD live an escapist dream, and she's locked in the game with 'her' classmates forever. But despite this, because she's mimicked Despair, she's become part of it, and Hajime and the others do the one thing Junko can't ever succeed in doing: they choose themselves, and she disappears without a chance of hope, just like Ryoko before her. Hajime and class 77 forge a new future, and Kaijunko dies trapped in the shadows of the past.

8.6.1- Hajime Hinata

If the battle between Makoto and Junko in THH is a battle of ideologies- hope and Despair- then the battle between Hajime and Junko is a battle of wills. This is the battle between self-love and self-hatred, and both Hajime and Junko are faced with their opposite, only to reject it in favor of what they want for themselves most.

Hajime's main character arc is one of self-discovery. When we meet him, he's been stripped of everything that's made him himself, having a gap in his memory that has his identity within it. This is a direct parallel to Ryoko Otonashi's lack of memory, having no identity or memories of the past with which to identify herself. She has only the words others tell her. But in the case of Hajime, it's revealed that the supposed gap is virtually nonexistent. He has no special talent or ability that differentiates him from the rest. He's a blank slate- empty, one might say. And this is quite similar to Ryoko. In a similar way, Izuru and Junko are both burdened by the weight of their talents. In the case of Izuru, he was operated on to remove all emotions and thoughts to be a symbol for Hope's Peak, while Junko's Analyst talent left her burdened with the inability to enjoy anything.

There are also similarities to Izuru and Ryoko, having both had their minds operated on to remove all memories of their true identity and become someone new, while Hajime and Junko both feel a heavy burden of who they are and feel as if that makes it impossible for them to enjoy their lives as they are. This parallel is exactly why Hajime's choice to live, and choosing to live in the face of retreating into the NWP, is so impactful, especially when faced with the shadow of Junko Enoshima.

Junko never chose herself. She never could choose herself, and when given the opportunity to, she rejected it entirely, too addicted to the cycle of self-destruction she'd created for herself. She felt as though Despair was the only answer for her, so she could never stop searching for it, even from beyond the grave. That not just she should feel it, but everyone should. Everyone needed to know the way she felt. And she used anything and anyone at her disposal to make sure the world burned, because she wanted to feel, and what was the point of such a world pretending not to feel Despair anyways?

Hajime chose himself. It wasn't for anyone but himself. When looking in the face of what he'd turned himself into for hope, he was able to come to the conclusion inverse to what Junko did- that he didn't need to change for the sake of anyone else. It didn't matter that he wasn't SHSL like the people he admired, so long as he lived for himself. Meanwhile, when Junko reverted back to herself, it was like dragging herself back into a cage, being burdened by the same kind of talent that Hajime never needed. A talent she never asked for was the source of her undoing, while Hajime's lack thereof almost killed him in the pursuit of one.

The dichotomy of the talented vs the talentless is one that can be felt extremely strongly between dr0, sdr2, and dr3, but especially when in regards to the divide between these two characters, as it again circles back to the damage the hierarchy they find themselves in creates. Junko is a heralded SHSL Analyst and Gyaru, dubbed by Japan as superior and handed the influence that makes it so much easier for her to poke holes in the system until it collapses. Even when all the evidence is placed on her, she's the SHSL Analyst, and can convince HPA to keep quiet for her. They cover up her crimes, and when they can't anymore, she's part of the 'chosen' that receive protection from the government while the Reserve Course and their families are never mentioned again. Hajime has nothing, is considered nothing, is even beaten and told to 'take to the leash and collar already' to keep him complacent. His choice to become Kamukura is weighted by the pressures of the system he's trapped within, holding him not only to his desire to be considered important, but to be equal, not to mention the debt he's placed in just for the right to participate in said hierarchy. Those treated like nothing are downtrodden to accept the system and uphold it, and those with power can do whatever they want and the system will protect them.

In a lot of ways, Hajime and Junko are more similar to each other than any other two characters in the franchise, all the way down to the sacrifice of the ones they closest around them sending them on their final path- Junko with Mukuro, and Hajime with Nagito. And in mirroring this, Nagito eventually returns, while Mukuro never can.

Mukuro and Junko are twins, and work to attain the same goal, but they're still very different people. Junko is absolutely fucked up, and Mukuro follows her out of a twisted need to be by her side, even when it leads to her eventual death. Hajime and Nagito are repeatedly called out as similar, both needing the other to get through the trials and survive and being forced to come to an understanding, but still retaining their individuality and separate beliefs. When Mukuro dies, it's directly because of her loyalty to Junko, even at the cost of herself, and Junko's betraying her resulted in both their deaths. Nagito died because of his loyalty to hope, even at the cost of himself, and Hajime's trust in him was what allowed him to survive and eventually bring Nagito back. Where Mukuro was metaphorically absorbed into Junko and forgotten, Nagito's individuality was what became critical to Hajime.

15.1- Shirokuma & Kurokuma

This part will remain brief. Shirokuma and Kurokuma are the AIs found in an all-white and all-black bear in UDG, each positioned on one side of the Towa City genocide and perpetuating the war by manipulating the Towa siblings.

Shirokuma is the 'good' one, and is positioned with the adult survivors. He's the one responsible for creating the underground safe house, and is Haiji's right-hand. Even when making it appear as though he wants peace first and foremost, he goes on to pilot Big Bang Monokuma and stands with Haiji, playing him and Komaru to escalate things.

Kurokuma is the 'bad' one, and is the one who gave Monaca the plan to create a Successor in the first place. He's a chatterbox that's an advisor to the WoH, presumably left behind by Junko or created by Monaca, and pushes the kids into their murder games by standing with Monaca.

Near the end of the game, Kurokuma reveals that Shirokuma is his little brother, and later in the epilogue, we learn that they were actually not distinct AIs, but rather, the same AI Junko as in SDR2 that was working both sides to destroy Towa City. Them taking the form of siblings mirrors that Junko herself was a twin, and isn't truly complete if she doesn't have her sibling still present.

Part 16- Big Sis Junko (UDG)

Following SDR2, UDG returned a master-manipulator Junko to the scene via the Warriors of Hope. Though AI Junko is present and perpetuating the war through her manipulation of the Towas, Junko herself is all but gone, survived only through the kids' memory of her, and what they have to say is extremely telling to the capability Junko really had to push people further towards her Despair.

Her role as 'Big Sis Junko' came when she prevented them from killing themselves, though how she knew to be there at the right time is unknown. We can assume she'd been keeping eyes on Monaca already and, through her Analyst talent, figured out when the right time to be to show up.

From there, they became the Warriors of Hope, not missed by their parents that hated them or worried for by the world, and Junko was free to mold them however she liked. She did this by teaching them to lash out at the people responsible for their suffering- not just their parents and abusers, but any and all adults. She was a teenage girl who'd taken pity on them, as far as most of them saw, and so they trusted her as the first and only person besides each other to show them kindness. They became ideological, lumping all adults within the same box of 'demon' because they were given no other comparison, and they did it for Junko.

"As far as I remember, the first adult we defeated was a random person we didn't even know. .... From there, we leveled ourselves up by killing Demons. Big Sis Junko was so pleased..." -Nagisa Shingetsu, UDG chapter 4

They came to rely on her as their one true savior, and even those of them who knew they were being manipulated didn't care, if only it meant they weren't the ones being beaten anymore.

"At least, at the time I thought it was a miracle. But later I learned it was inevitable. She came into my life just to take advantage of me." -Monaca Towa, UDG chapter 5

"'You guys... were completely deceived by Junko Enoshima.' 'And what's wrong with that? Did I not tell you that we are her possessions? We would rather her take advantage of us than horrible adults.' 'Sounds like it's too late.' 'Say what you like. Big Sis Junko... gave us hope. That's the truth.'" -Toko Fukawa & Nagisa Shingetsu, UDG chapter 4

And when she died, she was martyred, a victim of the cowards who'd believe in the adults and Hope's Peak. By dying, she completed her manipulation of them, ensuring in her absence, they would only remember the kindness she offered them. Anyone who said otherwise must be a demon.

"No matter how much you hate us, no matter how much we're shunned, we're definitely not wrong. That's the real truth, because Big Sis Junko said so. .... Those adults who took her away from us and said that she was the bad one! They're the filthy ones; they're the ugly ones, the disgusting ones!!!" -Jataro Kemuri, UDG chapter 2

This manipulation and creation of the WoH stemmed from a practical source, as we learn in the game. By Monaca's own admission, Junko only ever cared about getting access to Towa City tech for her Monokumas and for spreading Despair wide-scale. Having highly talented and abused kids to carry out her will when she was gone was just a very welcome bonus; having the youth primed to continue spreading Despair when she was gone would create a legacy, and her ghost would continue to haunt those with hope for at least another generation. Enter Monaca Towa.

8.8- Monaca Towa & the WoH (CW: Mentions of Incest & Pedophilia)

Monaca is differentiated from the rest of the Warriors of Hope almost immediately as being more aware of what the fuck is going on than her friends. She's the L'il Ultimate/SESL Homeroom that loves hearing everyone else talk about their thoughts and feelings, she's the one who invented the Captives game, and she has swastikas in her eyes, because Nazi symbolism was the only way we could convey she's a dictator I guess. As the game goes on, we see that her relationship with Junko is different from the rest of the class- a bit more substantial. She has much more knowledge of Junko's desire for Despair and knows the real reason Junko sought them out in the first place. She uses her friends' idolization of her to trick them into helping her make a new generation Junko to carry her memory. She also has a hidden bedroom full of photos of Junko, and one in particular stands out among the rest.

Junko and Monaca, all by themselves, posing for a photo. None of the other WoH are present for this photo. It's also worth noting that Monaca's in her WoH outfit, even though in every other flashback or cutaway to the past before Junko's death, they were all in their Hope's Peak Elementary uniforms. If it weren't already obvious, these two were spending more time together than with the rest of the WoH. This is primarily because of the explanation we've already been given- Junko needed tech, Monaca was the one that had it. Of course extra work was gonna be put into her, and if she felt special in comparison, she'd become more like Junko.

Both Monaca and Junko are a younger sister, and their older siblings are established as pretty creepy in their own ways. Mukuro is incestuous and lusts after Junko whenever they're together, or even just when thinking about her. Haiji, meanwhile, is a pedophile, mentioning he likes girls younger, "as young as I can get 'em." I don't have to explain why the knowledge he has an extremely younger half-sister he expressly doesn't think counts as family is a bloodcurdling realization given this information. While they seem to have very different levels of connection with their siblings, this is a pretty distinct commonality to give both masterminds, especially when one is meant to immediately succeed the other. Both girls are also considered the "genius" of their families, while their older siblings use more brute strength.

Monaca is a character built upon the mimicry of Junko. We know this because we pay attention to the game, but also because if we look at the concept art and beta forms of the Successor, we can see without question that creating a "New Junko" was always going to be a major part of UDG, as not one, but two unused Successor characters were considered before Monaca eventually became who she is today as the mastermind and true Successor.

Monaca throughout UDG undergoes a similar behavior to Junko in the way that she treats the WoH, but it's in a way the fundamentally misunderstands why Junko acts the way she does. Monaca is a child, and idolizes Junko, but that doesn't mean she actually understands her, even if she got much closer than her friends.

Monaca manipulates and discards the other WoH one by one, making herself the center of their movement and letting them believe they have control over what they're doing. She motivates them with a Paradise that'll never exist, similar to how Junko motivated the reserve course to stand up against Hope's Peak, and they take over Towa City. Whenever a WoH disappears, she decides whether or not they're mourned, but it appears as though she doesn't care and never did. She quickly forgets Masaru's name, barely bothers with Jataro, and later in her backstory monologue, proudly claims that when Junko met them, she was planning to let her only friends all kill themselves as a prank and not jump herself. She takes all the steps possible to Not Care about these people, similar to how Junko seemed not to care about the people she loved.

If Monaca spent enough time around Junko to observe and pick up this pattern, it likely means she also saw how little Junko actually cared for herself and her friends. This would explain why she starts acting as though she doesn't care at all for her only friends in the world and discarding them, wanting to emulate Junko, her idol. It also means she knew Junko didn't care about her, but her talents, and just didn't care because it was Junko. Again, this is a mentality not just held by her within the WoH, but because she was given a peek behind the curtain, she filled in the blanks in her head and let herself continue to be manipulated by Kurokuma, all in the hopes that Junko could return and manipulate her again. She needed a Successor, someone to fill that sisterly void again. And in that desperate desire, she inadvertently set herself up to someday become the SESL Despair.

Nagito's intervention is directly stated as the reason why she ends up abandoning this role as SESL Despair and fucking off to space as SESL Apathy instead, shrugging it off as 'not wanting to end up like he did'. This appears to be a deviation from what was originally intended for her, as not only was this wrapped up in a singular episode of an anime not actually about her, but the teaser images for a UDG 2 in UDG's credits ultimately ended up unused, and V3 totes a teaser of a canceled UDG 2.

Part 17- Junko's Apocalyptic Crash Course

"Right now, Hope’s Peak Academy is set up in a pyramid sort of idea that a third world country would use; it’s only really there to concentrate it’s effort on the 'super high school levels', for their benefit, and then below them are the reserve students from the preparatory school. .... The teachers here don’t really think any of the reserve students really belong here." -Yasuke Matsuda, DR 0

As we've seen repeatedly throughout the previous games and DR 0, Junko's strengths don't come from sheer force of will. She didn't take some perfect world of hope and twist it into a world of Despair by flipping some ideological switch. She's charismatic, but still human. Junko's strength comes from her ability to analyze, her high intelligence, and her charisma combining to create a master manipulator. Using the skills and people at her disposal, she was able to amass a cult following, and inspire the downfall of a society that was already flawed by attacking the weak points that were already present. Ergo, Junko's SHSL Analyst talent led her to not only infiltrate the school, but also to find the flaws within it and the lies it covered up by taking advantage of the Kamukura project wearing the school thin.

She may have been the face of the Despair movement, but she wasn't a singularity. She had a small group of people she trusted with a certain amount of information, and who had skills that would become beneficial to her. Mukuro is the obvious right-hand, as previously discussed, and perhaps the only one she legitimately believed to be an equal, but there was also Yasuke, Izuru, Ryota, Mikan, and Monaca, all of whom she attached herself too and all of whom had an extremely useful talent or title that was immediately beneficial to her cause. These people were able to directly carry out her desired acts of Despair and work alongside her, reporting back to her to ensure things were running smoothly. These were people who were needed directly as they were, and who were most useful when they believed she genuinely took interest in them, whether she actually had or not.

In a world already so flawed, with thinly veiled atrocities already taking place by people who believe in a caste system of talent, earning a downtrodden majority's trust is as simple as taking the blindfold off. Manipulating the people she'd attached herself to let her reveal key information at her leisure and drive the school and its inhabitants to Despair without them noticing or knowing to take action until it was too late to stop it. Something manmade, that turned into a disease and spread across the world, infesting it with the Tragedy and burning the oh-so-predictable world to the ground, all while standing as the eye of the storm- that was the power of the SHSL Despair that Junko worshipped, and she became its spokesperson, sending the world into a spiral.

Part 18- Junko's Legacy (Death of the Human, Birth of the God)

Everyone that loves Junko, misunderstands Junko. This is a fact that we see more than once. Mukuro obsesses, not loves. Yasuke romanticizes a childhood he can never return to. Monaca idolizes her. Mikan overtly sexualizes her. Her classmates know nothing of her self-destructive nature. Junko knew this and Despaired every time. But this fundamental misunderstanding of who Junko is didn't just exist in the game. In real life, Junko Enoshima became an iconic villain, the teenage girl that burned the world, the Ultimate Despair. She was insanely popular, and still is. And the more popular a character gets, the more susceptible they become to misinterpretations, fanon, oversimplification, etc.

In becoming such a well-known figure, Junko Enoshima the person got lost in translation. There was now Junko Enoshima, the mascot, the figurehead. This isn't a phenomenon exclusive to Junko, of course, but as the titular villain of the series until this point, how could the series continue without her? To this very day, people can't agree on who Junko was or who she actually cared about or if she ever even cared for anyone at all. And when NDRV3 was made, it took advantage of this to tell its own story, utilizing Junko Enoshima specifically to demonstrate flanderization of characters within its lore.

Junko Enoshima is not a real person. She's a fictional character. All her motivations, her thoughts and feelings, are fabricated stories and vague implications from the writing of real people. And in V3, that 'real person' is Tsumugi Shirogane, one of many cogs in the machine of Team Danganronpa, who dresses up as Junko and uses her face to become 'Junko Enoshima the 53rd'. Junko has been used and reused over and over and over, to the point where the original vision has been muddied beyond belief. What she was at the beginning, way back in THH, no longer exists. She's now a silly mascot, a familiar face that fans can point at and dress as and draw fanart of, and a face that Team DR can profit off of. Tsumugi's portrayal is laughably inaccurate to the original Junko. It's a costume, nothing more, and the dialogue she gives when 'in-character' is simplistic and insignificant. All its weight comes not from the meaning, but from the reference for reference's sake.

Junko's appearance in V3, like many other moving parts of V3, reference real-world fandom culture. It's appealing to both the in-universe fandom and the real one, bringing back character sprites and voice actors and poking fun at its own ridiculousness because none of it is real, none of it ever was. It was because Junko was fiction that she could do everything she ever did. Her Despair has meaning, but that doesn't mean she felt the feelings we're told she did, because she never existed to feel them. And that's the thing that lets her forever remain an enigma; she is Danganronpa's villain, and to become immortalized in Despair, she deconstructed into nothing but the word Despair, a fate that is in and of itself Despairful.

8.9- Tsumugi Shirogane

Tsumugi Shirogane is the mastermind of V3, and believes wholeheartedly in Junko Enoshima as the true villain of Danganronpa. Tsumugi is built as the fandom insert of DR, being immersed in fandom culture in every conceivable way- winking at the camera, making references to other fandoms, the love and joy of making cosplay- but also the less palatable parts of major fandoms, like her purist views of cosplay, her usage of incest as both a serious plot point and as a gag, and even does blackface when cosplaying as the dark-skinned DR characters of dr1 and 2. She's also the in-universe producer of the season. Therefore, Tsumugi also represents content creators, and how even the creator themselves can lose the plot of the character in their attempts to create what they perceive to be a compelling story.

As Tsumugi is explaining her story and why she tied it back into the Hope's Peak era, she pretty openly admits that a) she sees it as a perfect reproduction and b) a necessary writing choice in order to make it interesting. Both are false, as not only is V3's continuity in a separate world from the Hope's Peak era, but her presentation of Junko and the voice lines aren't displayed the same way Junko had acted in previous installations.

"'So... you're just a freak pretending to be Junko Enoshima, huh!?' 'No, a perfect reproduction! Perfect reproductions are exactly the same as the original.'" -Maki Harukawa & Tsumugi Shirogane, V3

She presents Junko as a singularity, the Ultimate Despair, and brazenly parades her face around as the immortal and ever-present true Despair. She's the 53rd Despair simply because her influence wouldn't allow her to fade away. She's become Despair-incarnate, but in making new games, Team DR has forgotten why Junko caused Despair in the first place. She didn't do it just to do it; she threw the world into Despair because it made her feel human to feel Despair. And yet when Tsumugi explains Junko the 53rd's plans, it's nothing but a big show, and that's exactly what a surface-level Junko looks like to the masses- a high-school girl that ended the world for fun.

Junko's games had meaning. Even when she didn't feel particularly connected to a person, like the RoD, she still brought them into Despair for a purpose. She was an analyst, and did the things she did with intention and with care. Attention to detail and careful manipulation with the face of a charismatic gyaru was her forte. But Tsumugi's so-called "perfect reproduction" is a story full of plot holes and contradictions, all caused by some need to deify Junko. In other words, as they refused to let Danganronpa go, they lost the plot, and Junko's humanity went with it in a desire to continue using her image when writing new stories. In becoming a god of Despair, her origins as a human were forgotten.

Part 19- Despair Into Tomorrow (Why We Care)

Junko Enoshima is an enigma. She is Despair incarnate, a pillar of the Danganronpa world created by her own hands, hellbent on burning herself to the ground. She's a character of poetic irony, unknown to all as anything but Despair. She was born with a perfect mind, and in trying to feel human, feel pain, feel Despair, she became permanently deified by all that she loved and all that she met, whether that was as a savior who killed a cruel world or a demon that detested hope.

At every turn, Junko's actiona are filled with malice, and yet so often that malice is directed at herself. Living in a peaceful world pains her because it leaves her bored. Anhedonia is a cruel mistress, and those who claimed to love her could never once comprehend it, because they couldn't feel the way she felt. The only thing she had that connected her in any human way to others or to herself was grief, and her entire story becomes one of self-sabotage. Despite that, though, she's not the only character burdened by anhedonia, and her self-destructive nature outstretching to the people and world around her is designed as a story of caution.

In each and every installation of Danganronpa, Junko and the other masterminds inspired by her fail because of their key difference in connections. When Makoto appeals to his classmates, they're reminded of their own desires to live and their love for each other- Hina's memory of Sakura, Syo's love of Byakuya, Kyoko's and Byakuya's love of Makoto himself. The same can be said of when Hajime chooses himself, to fight for himself, and is inspired to do so by Chiaki. Every other survivor has someone that inspired them to live for themself- Peko, Nakomaru, Gundham, the people around them. When Komaru is saved by Toko, it's because she took the time to connect with her and with Syo, and that love saved her from destruction. When Munakata gave up hunting Makoto, it was because of his love for Chisa. And when Shuichi declared he wouldn't vote, it was so that Maki and Keebo wouldn't be forced into sacrifice of a system that would hurt them over and over again.

Junko had connections. Junko had people she loved. Junko had another half. But she burned them one by one, until there was nothing left but her, and then she burned that too. She's a villain even to herself, and she knows it. She feels Despair upon Despair and even then can't regret it, because she wouldn't let anything else touch her heart besides it. It's an inherently self-fulfilling prophecy to only feel Despair, because in order for that Despair to exist, she must have felt love first. But she doesn't acknowledge her love and her vulnerabilities because she believes those fall under her 'factory settings'. Comfort is boring; safety is boring, and boredom was her enemy, an enemy second only to herself.

Junko's actions stem from a deeply embedded self-hatred. She was too smart and too comfortable, and so her boredom became everything she was. She believed the lie she told herself, that pain and grief and Despair was the only answer. Don't be like Junko. Don't believe the lies you tell yourself. Even in an unjust world, you can try to make things better without making them worse. Feel your Despair and let it go. It is okay to let it go. You are still human, no matter what image the people around you have, and to be seen, you must first be vulnerable.

Afterword

JESUS FUCKING CHRIST IT'S BEEN OVER 5 MONTHS. I made jokes and gags about 'getting this out before 2025' but I didn't think that would actually end up as my deadline. Holy fuck.

Junko's analysis is by far the beefiest I've done so far, and very well could remain the biggest one in this entire series of analyses (I think Kyoko, Makoto, and mayyybe Chiaki or Hajime might get close, but otherwise? Those are def gonna be the big 5 though) But hey, that's what being the mastermind of the franchise gets you. In retrospect, Junko probably should've been the grand finale, not part 5/17 of this series' part 1, but whatever. I'll save that grand finale for Kyoko instead

This will probably be the most controversial analysis I put out, alongside the eventual Mukuro one. I know people are, uh, divided on their relationship, but I did my best to stay objective and look at it from an unbiased viewpoint for what they offer narratively and its effectiveness. And I hope people are able to see that. Just in case, though, I'm gonna have anons off for a bit until whatever circulation this post gets dies down lol

Honestly, my perception of Junko has changed so much over the course of these past several months. It's not like I didn't like her before, but she's morphed into one of my favorite villains in all of media after this. This girl just cannot fucking die, no matter how much she wants to, and I think there's something so deeply compelling about a villain that wants nothing more than to self-destruct and burn the world with them, especially if you've fallen into a depressive state like the one she's in before

Good news, though! The next analysis set is Hifumi's, which means it won't take nearly as long as this whopper of a tumblr post! I'm actually very eager to deconstruct him, so hopefully we can go back to the summer days where I was able to crank out an analysis after 2 weeks. Please, god, can we go back to the summer days where I cranked out an analysis after 2 weeks

Catch ya later! :P

[kaibutsushidousha]

The Hundred Line 1st Impression Session #1

Takumi Sumino

Not much we didn't already know about him before. It's funny how between the original Saihara, Yuma from Rain Code, and Takumi here, Kodaka has repeated what we can "the Saihara archetype" of Kodaka protagonists. I guess that will now be his most utilized protag type, surpassing "the Naegi archetype" (the Naegi siblings and Akamatsu) because Akamatsu only gets one chapter as protagonist. Meanwhile, "the Hinata archetype" (Hinata, Otonashi, and the Death Come True guy) is the most underrepresented due to DR0 and DCT being significantly shorter than his games.

Darumi Amemiya

Another one that was already covered at Tokyo Game Show. Not much new going on aside from the reveal that she's voiced by Farouz Ai (based based based based). She has potential to be great depending on how serious Kodaka wants to be about her manic depression.

One intriguing comment in her gameplay showcase is that Kodaka mentioned her attack animations are based on a Gilgamesh from another series, but he cannot disclose which series this Gilgamesh is from despite both The Hundred Line and the unidentified Gilgamesh's series both being Aniplex productions. Watching the animations, her attack remind me of Boss from Fate/Samurai Remnant, but Boss was never stated to be a Gilgamesh, it's probably not him. I guess it mustn't be from anything I know.

Eito Aotsuki

Komaeda II was also already covered at Tokyo Game Show, but today's display downplayed his Komaedaness and focused more on his pathetic desperation to make friends, and established his place in group dynamics as the one companion no one trusts because he's always making the cheesiest and most fake-sounding friendship speeches. He's also voiced by Sakurai (unbased) which further distances himself from the initial Komaeda impression.

Standout dialogue:

Aotsuki: Right, before discussing that, we need to introduce ourselves to each other. So, what are your hobbies? Any food you don't eat? What's your sign? Favorite manga? What club you're at in school? Do you watch a lot of movies? Play video games? What do your parents work with?

Takumi: Hold on, that's too much to answer at once.

Aotsuki: Huh? Oh... Sorry, good point... I don't really know how to interact with people, as you might have noticed. Sharing self-introductions feels pretty unusual...

Kurara Oosuzuki

Her intro dialogue has her explaining the dumb pun of her name, so I'm already intrigued to see what the localization will do about this one.

The super elite billionaire kid who thinks everyone else is trash is a character type Kodaka already did before with Togami, but they already prove themselves very different in their placement in group dynamics, as Togami is the guy who posed as a killing game player while Oosuzuki is completely invested in supporting the team. Neat stuff.

I hope Kodaka/Komatsuzaki commits to the bit and she never takes off her tomato. Ideally, they never even decided what her canon face looks like.

Ima Tsukumo

I wish authors would stop reinventing Yuri Briar. I already dropped Yomi no Tsugai over this.

CV: Ogata Megumi

Kodaka is trying to bribe me with good voice acting and it won't work.

Ima: Hm, this ketchup & mayo rice soup is banging. The oil levels in the broth rule!

Kako: My rice bowl with chocolate, banana, and chili sauce shrimps is great, too. I can't even tell if it's sweet or spicy.

Kodaka is trying to bribe me with ugly food and it will work. More of this, please. You have a real chance of making me like your creep.

Kako Tsukumo

The other twin. Her special subject is Morality, in contrast with her brother's special subject being Misconduct. We already got the explanation for what Misconduct does in gameplay, so her Morality is the only special subject so far that we know nothing about.

We already have an open statement that her story will be about learning that she can disobey her brother, so that's a plotline with a lot of potential already.

She's also a canonical fan of ugly food and detective fiction, so I can trust completely that if she were real and I hadn't made my Danganronpa V3 ugly food post, she would have done it. Thank you, Kodaka, I feel very personally homaged here.

[jacksmusesdrv3]

Honestly I think people's tendency to do this sort of all or nothing thinking is silly. I've yet to write things down concisely but since finishing the game I like playing around in the sense where I pick one or several flashback lights (or other 'facts' mentioned in the game) to be true and see how that affects the pre and post V3 story. This in turn really gives you more playroom to interpret and understand certain aspects of the story and characters. Sorry, I'm not sure how to word it. Like yeah, what if Makoto really did make a new Academy? What if the world didn't end, but the virus is fact? What if V3 was fictional, but that doesn't mean the 'peaceful outside world' we were presented is real? Not only does that make fandom play more enjoyable, it also makes you really think about things beyond taking things at face value like I've sadly seen many fans do.

To disclaimer a bit that I have no qualm with people taking the 'All-Fiction' reading at its face if they like the pregame concept (I've seen some fun ideas like the meek Kokichi who wanted to become a good liar, that's a favourite I've seen anyway) or like, whatever other reason. It's just- yeah!! It's absolutely not the only possibility for canon nor is it particularly satisfying to those of us who want to play with canon context as opposed to like, imagined character-to-character progression to the canon, even if those can make for great stories on their own

*cue me going off in 3... 2... 1...*

And speaking of affecting pre and post V3, the dire consequences probable for any/all of the pre chapter 5 Flashback Lights being true- the mixed-motive videos involving characters, especially- knowing that dr2 used a distorted past as a motive, is just too juicy to pass up?? Especially if that involves characters who were otherwise trusted acting in untrustworthy ways, and this is gleaned in hindsight? Imagine if there was later content - a novel perhaps - to expand upon the world we dismissed as fiction and little by little we have to reckon with the consequences if we search it out, like how Dr0 told us of how the Tragedy came to be?? And DRV3 will never look the same again?? Especially if all this was gradually steamrollered by an unsuspecting Makoto opening up new hopes peak and that started to go spectacularly awry not least due to the collective tensions against Ultimates and-

-Just. FRICK!! The possibilities enough to drive one crazy

At least the hindsight part is how it's most meaningful for me, imagining the world itself - beyond the dystopian security tech Nanokumas, wwoah geez a lot to unpack - is so much harder to do, and can get extremely messy (probably because I'm at an overload with all the information-misinformation combo buuut also because of conspiracy themes nonsense) so like, a lot of work to do there.

...Oh! This reminds me of how Dr:Togami is apparently layered in this kind of cerebral shit that makes you think outside the box as to what the fresh hell is going on and pick apart false narratives, so all of these potential alternate if-not-x-then-y sorta threads you mentioned here, could be pulled together just like that! (I hope I'm understanding right- I need to actually READ DR:Togami but uh.)

[idiotwhotalkstoomuch]

Explanation on DR3 Brainwashing

I admit it felt a bit cheap at first glance but it suddenly makes so much sense once you look into Junko’s character

This could be considered DR0 spoilers but it’s outright stated in the anime so it’s safe

Something common I see is

“WASTED OPPORTUNITY”

And while I admit it would’ve been cool to see Junko break these people down one by one something to remember is while the idea is cool would Junko even do it?

People tend to see “can” as “did” in Danganronpa which is something that should not be done

While it’s true with Junko’s super analytical abilities she CAN manipulate all of them one by one but did she?

No and here’s why

Junko’s whole character is defined by despair but the question is.... why is she so obsessed with despair?

Despair is a feeling of emotional feel over loss or anything that can cause them grief

Examples are the loss of loved ones and the failure of something you worked hard on

Junko has been born with extreme intelligence and can be talented at anything and see through anything and anyone with no issues and hardly any effort which bored the shit out of her

She likes to use despair as a way to not feel the boredom of knowing everything and to let it consume her by any means necessary

Examples are (okay there are actual DR0 spoilers now so stop looking at this paragraph if you’re sensitive): Killing Mukuro Ikusaba, her beloved twin sister and killing Yasuke Matsuda, her childhood friend and the one she loved most

These actions cure her boredom because she can predict it but the emotional pain she feels of losing these people are wonderful to her.

Now.... WHY THE H E L L would the crazy bitch who literally kills her loved ones waste her time manipulating those 15 fuckers when she can just brainwash them?

I’m not gonna say she was always gonna do brainwashing but her meeting Mitarai is what caused her to decide brainwashing

She can see through anyone’s character immediately due to her powerful analytical talent so she already knows everything about everyone without even speaking to them.

Well maybe not everything but she already has a solid idea.

She even went for people who were kinda transparent in their character like Mikan and Chisa first

Mikan clearly had mental issues and Junko saw it and just took her cause she was easy.

Chisa was clearly devoted to her class, her friends and the children of Hope’s peak which makes it easy to use the student council killing game on her.

People say this devalues her targeting the 77th class since she could’ve brainwashed ANYONE

N o

Just

N o

She chose the 77th class because of their tragic and traumatic pasts would make them mentally weaker than a normal person and make them easier to brainwash

Why do you think she resorted to lobotomy on Chisa?

Chisa had a stronger mental state on them and the reserve course were all insecure and sad blue fucks the despair video did the job

To put it simply, Junko manipulating the 77th class would give her the last thing she wants

Boredom

People say “ohhh but that brings her despair!”

NO IT DOES NOT

Despair and boredom are different. Boredom is numb misery and despair is emotional and mental destruction. Very different

Brainwashing was quick and easy and she could get straight to her despair without the pointless road of talking to 15 people who she already knew what to do and say to make them her bitches

It’s like playing a visual novel already knowing the full plot and the effects of every choice made. There’s no point

Saying that brainwashing devalues Junko is devaluing Junko’s character which is defined by despair and boredom

(This rant just came out because I actually like the brainwashing now and want to see more content of it so here’s outing the reason)

[magioftheseas]

Junko

Junko……. Well.

I think that for dr1, she’s a very suitable villain, both thematically and functionally. In a game that’s about people pushed to their limits and trying to persevere and band together, even when the environment is designed to turn them against each other on all sides, the human embodiment of despair is like…good for that kind of story. You don’t need a complex villain for an effective conflict and message.

Even for sdr2, I’d argue that she’s good as representation of all the casts’ crimes (among just plain bad decisions) and serves that function pretty well in Chapter 6, throwing out some pretty valid points against Naegi and co.

Junko is also still a villain with loads of character potential because she’s very well-written in IF, being someone who loves Mukuro but is frustrated by her sister’s inability to understand her, even shoving Mukuro out and trying to “kill her with kindness” (in the metaphorical sense) in what’s definitely a pretty emotional scene. Junko still has her humanity in patches, but she’s fundamentally twisted and cruel and it’s at least interesting to have her be so insistent on it that she reacts with total offense when others try to offer her compassion and understanding.

There is a bit of a tragic undercurrent to how Junko herself can’t ever be happy with anything short of violence and destruction to the point where the only source of contentment she even finds in canon is when she’s got medically severe amnesia, although Ryouko is her own brand of tragic, too with the situation she finds herself in.

I do admit that I do appreciate that she’s a female villain who isn’t motivated by a male character (in fact the opposite; Matsuda’s more a restraint than anything which also plays with the usual gendered expectations and she kills him so like yyyeah). I also kind of like how it’s a fashionista that throws the world into despair, I feel like there’s like…some kind of social message you could make about that although I don’t…really know what it is.

I think Junko on her own is pretty competently structured, with her playing into gyaru stereotypes (and certainly being bitchy and fickle and definitely, erm, provocative) while also defying them (being…not an idiot). But what does help is that what largely gets focus is the effect she’s had rather than her herself. When you see just how much her personal influence has driven people (for better and worse, mostly the worse), you get much more of a feel of how dangerous she is. I think that in dr0 and drae, that’s pretty well-handled for the most part.

Yeah.

There’s my defense. 

[plateauofmemories]

buanyway as I obsessively play the talent development plan mode (+monokuma’s test) I can’t not think about an au that’s basically that but More because I have a problem. Thoughts so far:

-So like the Talent Development Plan everyone’s just students at HPA, and there’s no despair apocalypse. But everyone’s in the same year (I assume that’s the implication of being able to talk to any of them throughout the whole 3 years).

-HPA is still studying talent but like, they’re less bonkers about it. Like, still maybe a bit ethically questionable at times, but definitely not conducting illegal human experiments in the basement this time. But they will happily teach other people’s former human experiment subjects. Also, rules about ultimate talents are a little more lax - you can have multiple people with the same shsl title. And we’re gonna say there’s one shsl luck per homeroom instead of just per year.

-For our characters’ year there are 4 homerooms, 16 students per homeroom.

-Classroom A is the NDRV3 gang, with the shsl versions of themselves being the real versions of themselves. Some changes to backstories are in order - like Kirumi is still a super maid but she’s probably not the de-facto prime minister of Japan, and like i’m keeping in my order for the same changes to kork’s background that I ranted about before, etc - but they’re personalities are basically the same. Rantaro is the class’s shsl luck since survivor isn’t an applicable position, but he still does a shsl amount of traveling and adventuring. Maki is definitely listed as the shsl child caregiver. Miu is probably actually an augmented human but records on illegal experiments are sketchy at best.

-Classroom A is definitely barely contained chaos at all times, with Kaito and/or Kaede doing most of the containing. “Or” because neither of them are immune to being baited into the fray. Homeroom teacher is Koichi Kizakura, which is no help in controlling the situation.

-Classroom C is the SDR2 crew, -Hajime and +Sato (who is not in the goddamn reserve course goddamnit). Chiaki’s a real person a la DR3. I hated that and them being one homeroom class in DR3 but this plot isn’t going to DR1/SDR2 so it’s fine.

-Chisa is their homeroom teacher. Class C is a lively and dynamic bunch, and they most notably have most serious drama. When someone has a problem with someone else shit gets real really really fast.

-Classroom B is my B-sides, aka hpa students from other DR media that I want in here. Hajime and Izuru are not actually B-sides but they’re in this class. otherwise, current roster includes Yasuke Matsuda, the weird octuplets from dr0 but they only count as one student because they are pretending to be one student as the shsl bodyguard, the student council president from dr0, ryota mitarai, and natsumi kuzuryu (who is also definitely not in the reserve course!! Fuck you!). Also, I don’t actually know anything about what’s canon for santa shikiba, but unless something makes me decide otherwise I’m gonna stick him in here. Also, in naegi makoto’s worst day ever or whatever that was called, there was a female student originally selected to be shsl luck instead of him, and I don’t know if she actually had a name but in any case I’m gonna use that tiny bit of obscure trivia to build a character to be this class’s shsl luck. Which brings me to 9 people, so I’ve still gotta come up with some - probably gonna review the student council to pull some from there, and also see if I can think of anyone else.

-Hajime and Izuru are different people for the sake of having them both available like in the talent development plan. Though i haven’t actually played as either of them, so I don’t know if there’s any sort of explanation given/if they’re ever implied to exist at the same time. Current convoluted story I’ve come up with for my au is they’re identical twins, and they were born conjoined at the head. At some point they were surgically separated and Hajime was fine, but Izuru was not. At which point some sketchy (but incredibly skilled) neuroscientist on the surgery team was like, hey, this is the perfect opportunity. And so maybe he kidnaps Izuru after faking his death or maybe not but in any case he DOES step in to try save Izuru’s brain but also like, make him a superhuman genius talent machine at the same time, because why not. I’m thinking the kidnapping thing because maybe it’s a longer experiment that involves multiple surgeries and raising the kid in a specific way and also changing his name to izuru kamukura before he’s eventually stopped and izuru is returned to his birth family and it’s all very awkward. But anyway, the other point is that Hajime still doesn’t have a shsl talent, but he gets an exception to attend HPA’s main course because this is the more lax HPA and if there’s anything better for research than and augmented genius human, it’s an augmented genius human with a non-augmented identical twin. It’s still maybe a bit too convoluted though. Also I haven’t decided if they wear the normal HPA uniform or if Hajime has to wear the reserve course uniform and so Izuru wears it too, because fuck you (and then in the meta level I get 2 maintain that classic izuru aesthetic).

-Idk who the homeroom teacher is for Class B but former hpa student Miaya Gekkogahara is definitely employed as an assistant teacher for them. It is definitely on purpose that the ex-shsl therapist and the shsl neurologist are in the classroom with Izuru and Hajime. Anyway, other students sometimes find this class intimidating/scary, but that’s just because there are several intense aloof/arrogant assholes in the class and one snake person, or snerson, that seems capable of being in too many places at once.

-Classroom D is just the DR1 gang. I can’t decide if Junko is like herself but not obsessed with despair or if she’s like herself but not determined to cause the apocalypse, just invested in her personal despair. Also mukuro definitely gets to attend class as herself, not disguised as Junko like in the talent development plan that did not want to make her a new set of sprites just for their bonus game.

-Their homeroom teacher is the phys. ed teacher that makes a couple appearances in DR3. Class D notably becomes a very close friend group. The other students mostly don’t notice day-to-day, except if a) you go to talk to someone in their homeroom before class begins and you have this inexplicable feeling like you’re intruding or b) it’s the school festival or some other event that pits homeroom-based teams against each other. Class D gets reeeeaaaaallly intense at these competitions (and works together frighteningly smoothly).

[the-apocryphal-one]

(Part 2 of my Junko question) I think the reason why many people hated that plot point is that it greatly neuters her threat; not being able to make anyone fall to despair without extra help. Also, the fact the she stumbled upon Mitarai, in which 80% of her plan was dependent on, made it look like that she's so incompetent as a villain that she literally only won because, well, plot stuff. The fact that she's just a one-dimensional force-of-nature type doesn't help. How can all these be fixed?

Like I said about making people fall to despair, she’s already shown she can do that without outside help (the endgames, Ryota, Yasuke). She can manipulate people without outside help (Izuru, Warriors of Hope). But I don’t think she could do that to over 2,000 students, much less the greater world, in one year, and I think people overplayed or overhyped her charisma to think she could. So yeah, I think the brainwashing anime was totally necessary for the greater masses.

For the individuals of Class 77, I think she could have manipulated several into unhinged despair by herself (Mikan, Nagito, Hiyoko). The rest, I think she could either make fall into regular despair or would have a hard time doing so (like I said, Nekomaru and Ibuki are pretty well-adjusted), especially once the class becomes united. Which is why I think brainwashing them to become especially unhinged would have been necessary…but after she’d despairified them.

Basically, the anime should have been a tool for Class 77, not a crutch.

^ completely agree about Ryota. I think this could have been done better in a couple of ways:

- She knows she wants brainwashing tech, and is working with Yasuke on it (Ultimate Neurologist would so know about that). While they’re together, Ryota shows up to ask for advice on the brainwashing aspect of his anime, and Junko oh-so-sweetly offers that they all work together. Still coincidental, but she was already creating something of her own, and just adapted his aspects into it.

- She knows she wants brainwashing anime specifically from the start, and seeks out “Ryota” to help her. She’s pretty surprised when all the manipulations she prepared for “Ryota” aren’t working, so after a bit of research discovers his true identity. From there, she manipulates/blackmails him into stealing Ryota’s anime and helping her (since he can copy talents, its reasonable that he could pull off the same thing).

- She knows she wants brainwashing anime specifically from the start, and knows “Ryota” isn’t Ryota. She hunts down the real Ryota and events play out similarly to canon.

The one-dimensional aspect can’t really be helped, because Kodaka says that’s how he wanted to write her–as something so evil, such a “force of nature”, it can’t be reasoned with, pitied, or understood. Like it can be helped, just give her more backstory in a DR0 way, but not while Kodaka was going to write her.

[lore-a-lie]

Chapter 3, Act 6: Our True Selves...

Daily Life  

When Kaede woke up the next morning she noticed a tablet on her table, much like the ones from the second motive. But the frame was different, and not like the standard Monokuma tablets either.

The new motive sitting before her parodied the black and white she was used to with tones of sepia, nearly wood-like shades of brown from a cream to a dark umber. Smooth as piano’s cover, with accents of a bright green wherever Monokuma’s would have a red of the same intensity.

She considered waiting until later to view it, but worries about how badly the motive videos turned out quickly drowned out the idea. So, like Angie had pointed out that dreadful night, Kaede chose to risk seeing it by herself first, to see what she’d be dealing with.

But as soon as she started it up the tablet fell from her hands as the world fell out from under her. She was looking at a face she knew all too well.

“Number 42. My name is %@^#^ @%@^@!$*, and if I’m selected I’ll definitely make for a memorable run no matter what role you put me in!”

Kaede could only stare dumbly at her smiling face giving this introduction, the tablet thankfully saved by landing on her bed rather than the floor. But as she continued to watch she couldn’t help but wish it had broken instead, regardless of any consequences she might have faced for it.

“I’m perfect for a Killing Game, I don’t have any faith in humanity,” the girl in an unfamiliar navy sailor suit went on. “That’s what you’re looking for, aren’t you? I can fake an innocent facade easily, and if you wanted me to play a part like Sayaka or Sonia I’d absolutely nail it.”

Huh? What is she talking about?! I’m not- I wouldn’t ever want to be a part of this! And no, that’s wrong! Right? I mean… Maybe not in humanity as a whole, but I like to think I believe in others well enough. I mean if I didn’t then… Then all of these murders and betrayals wouldn’t have hurt so much, right?

“You’ll make tons from merch of me, even if I’m not the one with the best rack. Which let’s be real, I probably am. You have nooo idea how pumped I was to learn I matched the Junko Enoshima in that department!- Ahem, sorry got a bit off topic I guess.” She continued with a bit of a blush at her overzealousness.

Junko Enoshima, first death of the first file found in Shuichi’s lab. So “Sayaka” should mean “Sayaka Maizono” from that file’s first case and Sonia should be “Sonia Nevermind” from the second file right? Nice girls on the surface, but only because those pretty facades were needed for their Ultimate talents.

“What I mean is, guys claim to “fall” for me all the time, as if any of them could ever really mean it. So I definitely know I have the looks to knock ‘em dead in more ways than one. It makes things waaay easier for me too, all it takes is a pout or smile and they practically start begging me to play them like a violin.”

Real or a lie, the things she was hearing was making Kaede’s blood freeze. She didn’t have any memories that lined up to what her living echo was referring to, but she couldn’t be sure that meant this was fake. Even if it was, seeing herself brag about being such a callous manipulator made her question herself more than she’d like to admit. (Is this part of why I could bond with Kokichi? Why everyone trusts me?)

“Speaking of, I’m pretty good at piano, so a musical talent would be a pretty good match for me. Not like Sayaka, Ibuki, Ami, or Yumi you know, just like a focus on a particular instrument. Could make for a good “conductor” pun too, depending on how I’m used~” She winked at the camera for emphasis.

Well, that doesn’t sound good. And more names from other files. But if this is true then what does this mean about my memories of my family? Is everything I remember a simulation to “get” this talent? … Is my Ultimate Talent even really mine? Where else did it come from? How could this me “choose” it? If you could be given talents why would they still matter so much?! What does any of this mean!?

“I’ll show you I have what it takes to win this. Just you wait.” Her living shadow finished with a grin.

And with that the other Kaede Akamatsu faded from the screen, leaving the real Kaede with only a black mirror and her own thoughts. Thoughts that couldn’t stop racing and refused to make any sense as they rushed after any and all possibilities, regardless of how contrary the theories that came up could be.

Kaede’s head ached in the aftermath, and she hoped she wasn’t the only one to have watched their tablet. She needed to have someone to share what she saw with, anyone who could help her make sense of it.

Even as a motive it didn’t make sense at a glance. If it was true, and it proved even her childhood memories could be flawed or compromised, what reason would she have to leave anymore?

So much of it was about pianos, and how it affected her relationship with her parents, her sister, her friends… If being a “piano freak” wasn’t true then what in her life was? What was there to go home to?

But Kaede couldn’t afford to think like that. She had more than herself to consider now. Her friends had lost too much for her to lose faith in escaping this hell. There were no better options.

So, regardless of if the words were fact or fiction, Kaede resolved to prove her other’s words true.

She’d show whoever the sick bastard yanking them around was that she and her friends would beat them.

They had to be getting close to the truth to get a message like this, so at odds with what they seemed to know. Which meant they’re almost there. So she couldn’t let anyone give up just yet.

Kaito nearly missed the screen sitting in his room as he got ready to head to breakfast. Considering the aftermath of the previous “video” motive, he almost ignored it and headed out anyway.

Alas, his curiosity got the best of him.

He took a seat on his little-used chair and turned on the odd brown framed device, bracing for an emotional impact. But the only feeling he got from the footage was confusion, so that hadn’t helped.

Seeing himself looking so confident and arrogant while standing in some sort of gym, wearing clothing he didn’t recognize from any previous memories, nearly made him lose focus and miss what was said. But only nearly.

“Number 343, #@!^* #*#*^@ here! So let me give you guys the low down, listen up and listen good! I’m not just gonna be IN Dangan Ronpa, I’m gonna kill EVERYBODY and win!”

Oh Jesus fucking Christ, talk about whiplash. I mean, what the fuck is he talking about? “Dangan Ronpa”? Is THAT what this fucking game thing is called?! Who the hell do you think you are?! Are you me???

“Yeah, yeah I can hear ya’ll bitchin’ already. “But #@!^*, what about the other contestants? You can’t just wreck their shit like that, you’ll take all the fun outta it if you don’t go a little easy on ‘em.” right?” The bastard mocked whoever he was expecting to complain with a terrible falsetto.

Oh my God since when was I such an asshole?! I mean if it looks like me, and sounds like me, it’s gotta be… wait. Holy shit do I have an evil twin? Or some sort of clone? I FUCKING KNEW IT WAS POSSIBLE! POP LIED TO ME!

“Already got it covered, don’t worry. Just leave everything to me! Make me the mastermind or not, doesn’t matter. I’ll be the badass Izuru DR0 offered us and DR3 screwed us outta seeing in action. Total party kill, no need for a fucking trial. ‘Cause there won’t be bodies to find when I’m through with ‘em.”

… Ya know what? New plan. After I get to space I’ll volunteer to be the first man to be sent back through time, with the sole purpose of punching this fucker’s lights out on the off chance it is a past me.

“Only exception I’m making is if some pretty lil’ thing gets my ignition going. Don’t matter how scared shitless they are, with the dough we’d be rolling in all thanks to me. And with that fame, it’d be easy enough to trade her out with some other sweet little honey if she gets too scream-y or squeamish when she finds out about the truth behind her “heroic knight”. After all, ironic talents are the fuckin’ best.”

So this is what it feels like to be angry enough to murder somebody. Fuck, I feel sick. God, I hope it’s not my symptoms acting up again, this room would already give anyone with some luminol the wrong idea.

“Don’t worry, I’ll make sure the red shirts have their time to show off a little. And nobody, and I mean nobody, is gonna see me coming. Trust me, this is one star you’ll never regret investing in!”

Boy, there’s a lotta bullshit to unpack here. Assuming any of this is true at all, which it probably isn’t. What am I thinking “probably”, It can’t be! And not just because I don’t WANT to believe it either, no matter what Kokichi or the others would like to tease me about. It just genuinely can’t.

I could never be a rising star. I’m a dying one.

There’s no benefit to giving someone a fatal illness if they were willing to sign up for this. It’s not cost effective, simple as that. Even for the “drama” potential if this was a show it just doesn’t make sense.

Unless it was maybe to spite this guy for being such an asshole? Or someone close to him/me if it’s personal? But still, why sink resources into “natural” ways to kill people for a sick killing game show?

Maybe it could be left over from a previous “kill or be killed” motive. MAYBE. Or just to make the flashback videos feel more “real”? Assuming the audience already knows about my condition. I mean I'm not sure how you could hide it from them, since even our rooms gotta be bugged or somethin.

Kaito furiously scratched his head as he leaned forward in hopes of quelling what was hopefully bile rising in his throat. Even if it might not have done his lungs any favors either, much less his stomach. But goddamn if vomit doesn’t seem more “normal” and appealing than that recurring sick taste of iron.

If it’s to help the “setting’s” verisimilitude then why use this motive at all?! Could be a sign that this “audition” is the only thing here that’s been scripted? Except again, they’d know I’d never buy it!

It can’t give me any “false hope”, my body’s giving out too much. I know I don’t have time left. And if I was sick before auditioning, and that was real, then why wouldn’t “I” have pointed out why I needed the money? Did he worry it would be more a hindrance to getting picked? Is that why he wanted “fame”?

No. Even if that bastard was gunning for a quick game in order to get his blood money in time to save himself this isn’t me. They could have swapped him out, but I’m still here despite being on a time limit.

So let’s just focus on the bright side. People are watching this, hopefully some more normal than this implies. Can’t really hope for “most” folks watching a snuff series to be any better than that, can I?

This sick son of a bitch won’t be the “Kaito Momota” that people remember. I am. Hell, this freak might not even have that much in common with “me”, who knows what name was censored for this stunt. Still!

No matter what this place takes from me I’m always me. I’m the Luminary of the Stars that will live on even after this body of mine dies! Watchers know full well the kind of man I am! Hopefully I’m encouraging at least some of them to be the best they can be. Examples to look up to are important. Ideals are important.

I can die here knowing I did my best to live up to mine. Knowing I tried to help everyone else here live the best they could. It’s a man’s duty to help and encourage those around him. To go as far as he’s able to, and enable others to do the same.

Nothing’s changed for me because of this. Maybe I should count myself lucky for that. I don’t need it.

I can’t say the same for everyone else. I don’t know how much messages like this could help or hurt them. Could really help Ryoma, or destroy someone like Kiyo. Those rooted in their “pasts” are at the highest risk here.

I can still be a constant for anyone who needs one for as long as my health can hold out. And if it’s not as long as I’d like it to be, Kaede’ll be there too. She’s strong, there’s no way this motive could break her.

Not with a sidekick like Kokichi to help support her. Not with how much everyone cares about her.

Kaito smiled to himself as he nodded as a show of resolve to the viewers at home. Not that they’d know what he was thinking, but he’d figure it’d be obvious he made his own peace with his conclusions.

He almost considered taking a page out of Kokichi’s book, to look for a camera and even give a little speech to the empty room and hope to god he doesn’t just come across like an idiot. Again. (God, Maki will give me so much shit for that next time I see her. I can practically hear her sniping at me already.)

Instead, he just decided to head to the cafeteria and hope he wasn’t too much later than normal. It’d be pretty embarrassing to be the last one there over something like this. Shouldn’t make any of them worry, he thought.

Schedules help keep people from panicking, and any amount of normalcy helps endure insanity like this.

Besides, it’s not like there was any other way he’d like to spend the rest of his time than how he has been.

Despite his previous experience, the second Ryoma saw a new tablet before him he wasted no time to turn it on. Though as it played he reconsidered his decision, in case it was trying to trigger him again.

But at least this time the contents seemed promising from the get-go. He was wearing some sort of suit. Possibly a blazer style school uniform based on the crooked red tie and what was unmistakably a gym floor behind him.

And most importantly the version of him looking at the camera had nothing but determination in his eyes. A far cry from the ones he had now. And this Ryoma’s first words only sweetened the deal.

“Number 21. My name is &%*#@ #*$#! and I’m auditioning for this game because I know someone important to me is.”

There it was. “Important to him”. Whoever this was, even if it was only an actor, they suggested there might be something left for Ryoma outside the dome he was trapped in. Something beyond prison.

But still, I can’t let myself get my hopes up. This could just be baiting me so that pulling the rug out from under me again will hit as hard as Monokuma wants it to. The second things could start going downhill I’ll stop. Watching this whole thing could be a deadly mistake if videos can really “rewrite” who we are.

“I’m not expecting that to affect either of our chances of getting in too much, since it’s not like the audience would know about us unless you wanted them to, I just couldn’t stand by knowing she was going into this alone. I’m well aware of all the risks here. Just like I’m aware my odds of getting in, either with her or in her place, are probably a little higher because of my look. Gotta have a joke entry, yeah?”

“Joke entry” huh? So what, could my depression be something whoever’s behind this “game” forced on me in hopes I’d be an early death? All things considered, it nearly worked. If they can rewrite memories other forms of brain manipulation might not be so far fetched. Thank god for the idiots that saved me.

Or heck, I’ll even thank “Atua” if it’ll make Angie have a more natural smile for a change. I’m really lucky I got stuck with all of these clingy weirdos. Even the ones I could do without by this point.

“I know my folks’ll be horrified when they find out about this, but honestly? I don’t give a fuck. ‘Least they won’t need to find out I asked for it. Unless the stuff they say on the net about you “kidnapping” potential players for the sake of plausible deniability is a load of crap I guess. Either way, it’s better than the alternative, and if I die then it’ll be my own damn fault. ‘S not like I was able to talk her out of this.”

And that’s all Ryoma needed to hear to turn the video off. He was almost surprised it worked, since Monokuma seemed like the type who’d rig one of these so that if you tried to stop it it’d continue just to spite you. But he wasn’t going to complain or question it. He was more bothered by how numb he felt.

It didn’t matter if anything this motive said was true or not. It was enough. More than enough.

It was everything he had been hoping for the first time the motive videos were announced.

He did have people who cared about him outside of this hell after all. People he could come home to. Hell, the way this was claiming it was an “audition” and that his connection to… Whatever that girl was to him, could be missed by outside “viewers” like he hadn’t killed anybody before entering this game. Just like Angie said about Korekiyo. (But unlike that bastard if I haven’t before I still haven’t now. Maki’s still all his fault even without Kirumi's blood on his hands.)

Girlfriend, sister, crush, or whatever she was, she could even still be out there waiting for him. (Or she might be stuck in here with me. Could be dead already if she was. There’s no way to know for sure yet.)

He didn’t know if the burning ache in his chest was worry, anxiety, or a twisted sense of relief, he only recognized the hope this gave him. Regardless, it was probably a good sign that stopping where he did was a good call for now. No way to know if any of this was true in here, but false hope was better than none.

But if he really hadn’t killed all of those people, if he hadn’t spent so long rotting in jail, if his life wasn’t worth any less than the innocent victims trapped in this cage with him, he wasn’t sure what to feel now.

Should he be any more comfortable with the idea of someone else dying if he could give everything to save them? Would the people who destroyed his self-worth and years worth of his memories pay for this?

Would he ever be able to be normal or “happy”, or were even those memories of better times a lie?

Would whoever still loved him forgive him for everything he’d done? Was he still who they’d want to see?

Did that mean the years of suffering he remembers really meant nothing? That he can’t at least know that while he did the unforgivable over a hundred times over he didn’t even save future victims from the monsters he put in the ground? And where would that leave Maki and her “true enemy”? Or his own?

For now he tried to ignore these questions the best he could. Like how he’d clear his head before a match, if any of that were ever true. Maybe watching more of his video later would elaborate on that.

But Ryoma didn’t need to do that yet. He just had to bring this with him when he went to get breakfast, same as always. If everyone got messages like this then trading notes could be important, and if Kokichi was still paranoid about motives rewriting personalities then not seeing all of his own could be a benefit.

He doubted Kaede’d ever want to see them all together again, but having someone with him would be nice if he tried to continue this video later. Nice to know, or be able to think, he could be worthy of that. Of having friends without his demons whispering all the ways they were wrong to think he was decent.

He couldn’t afford to think like that too much though. He needed to stay focused on his goals. To get his friends out of this alive. To keep Korekiyo from hurting anyone else ever again. And now, to return to his family.

To his parents. People who wouldn’t be ashamed to share his name. Who wouldn’t be looked down on because they raised a murderer. Ryoma couldn’t even remember the last time he was able to see them.

Finding out about the girl that meant more to him than the world could come later. Would come later.

For now, he’d just need to take things as they came. And that meant being prepared to help his friends should any of their videos had worse implications for them than his did.

After all the support he’d gotten from them, it was the least he could do.

When Gonta saw the tablet when he woke up he hadn’t known what to do at first. Angie had told him the motive videos were bad, and the way they had corrupted Kirumi and Korekiyo before was proof of that.

But Kokichi told him it had been for the best that they watched it together, to make brainwashing them less likely than had they seen them alone. And Kokichi had been right more often than Atua had so far. Atua's rules did nothing to save people, but Kokichi's attempts failing at least had human error to defend it.

He could take this straight to Kokichi, to see if he thought watching it together would be a good idea, but he didn’t want to burden his friend any more than he had to. So much of the Killing Game Busters’ work was already resting on Kokichi’s small shoulders just because Gonta wasn’t smart enough to support him.

Kokichi’d never phrase it like that, Gonta was sure. He and Korekiyo liked to say it was a confidence thing instead, since that would be easier for Gonta to fix. But Gonta knew the truth. It was kind of them to lie.

Still, Gonta chose to try and take this burden for himself for now. If the video seemed dangerous he could always turn it off, and if it wasn’t then he could at least try to offer some ideas of his own when he took this to Kokichi to see what in the motive video could be useful.

“Number 156, @*^^@ @*%^#@$@. Let’s cut to the chase,” yet another Gonta said from the other side of the screen. Unlike Kibo’s Mini-Gonta this one looked a lot more like himself, but something felt far more wrong with this one. While it’s easy for intent to get lost when filmed this person’s angry aura was unmistakable. And as uncomfortable as the young man’s uniform looked on him, done up so tight it looked like it could rip and send buttons flying at any moment, Gonta suspected that wasn’t it.

But still why there so many Gontas now? Gonta should be the only Gonta! Unless new Gonta wants to be police Gonta, it be cool if Gonta had twin like that. Like Kaede has twin Kaede. But if new Gontas don’t stop coming, friends might get me-Gonta confused with a not-friend-Gonta! No one want that!

“This is Dangan Ronpa, you’re gonna need at least one guy built like me.” He flexed a bit for emphasis, tearing at some of the seams of his ill-fitting jacket. “I want in. And I’m no softy, got that?”

Hmm. That no sound right. This is very different Gonta, because Gonta definitely softy. Lots of friends tell him so, soft like the squishy fuzzy larva of the Pyrrharctia isabella!... That kinda got confused when making itself a chrysalis to go from woolybear to tiger moth, making it a bit too scary looking. But Kokichi say that still cool! Like a beary-bear mixed with a teddy-bear, perfect for protecting kids!

… Why did Kokichi keep laughing whenever Gonta call himself a bear anyway?

“Viewers always think the big guys are soft and sweet. This time they’ll be wrong.”

Viewers sound like smart people, that is exactly how real Gonta is! Sorry not-soft-Gonta is misjudged.

“I’ll crush them. Those expectations, those hopes, and these participants. I’ll squash them all like bugs.”

… huh?

Squashing… Bugs?

Hurting people?

HOW?! WHY?!

WHY MONSTER LOOK LIKE GONTA?!

“Speaking of bugs, that’s my talent. Don’t care how, but I want bugs. Spiders, centipedes, scorpions, killer bees, fire ants, dung beetles, cockroaches, every creepiest crawly you got.” Not-Gonta smiled, but the expression looked foreign on his face. Not at all like Gonta’s smiles, there was far too much malice to be seen there and there was little doubt that feeling was genuine. Like a predator toying with its prey. “Nature’s perfect little machines. Optimized for everything. Always knowing their place and keeping things going without any complaints.”

I don’t understand. I-I can’t understand! What’s “Dangan Ronpa”? Who is this person?! He’s a terse talker, but his grasp on this language is leagues better than mine. It can't be someone pretending to be me, can it? It'd have to be another Ultimate or something if he was, and not even Tsumugi could manage this I think.

But... It doesn't feel like someone else.  He sounds like how I feel when I get too riled up, but that... That can't be right. Emotions don't define how people are! How you handle them is, and I always try to keep control of mine. Even when it gets hard. Because that's what a gentleman should do, to BE a gentle man.

How can he claim that he has a bug talent and want bugs to care for when he doesn’t CARE about them?! Even Korekiyo genuinely loves his studies! This is more like… Like he just likes having power over them. That… That can’t be “love”, right?

What is any of this supposed to mean?

“Guess that’s all I gotta say. So see ya.”

Gonta didn’t know how long it was he sat there, trying to dry his eyes and rationalize what he saw.

All he knew was that he just couldn’t do it. Nothing about it made any sense to him, no matter how hard he tried to process it. He wasn’t smart enough to understand what sort of motive this was.

But Kokichi would be. He always is!

So that’s where he headed, as fast as his legs could carry him.

As the video came to life Kokichi wasn’t sure what to make of it. It was a video of him, obviously, but he was wearing some school uniform he’d never seen before in his life and he was talking up at a camera in a gym or something. The him on the screen felt different though. Nervous. Scared.

He had a bit of a false start at his introduction, but after yelling at some kids who started chanting “Do it, do it!” off-screen to shut up he seemed to get his bearings. Well, he got them better at least.

“N-Number 413. H-hello, my name is #*#!@#! *%^ and I’m only doing this because SOMEONE won’t stop bugging me about it! I-I’m not doing it because I love the show or anything, really.”

… Oh my god. LOOK AT THIS THING! WHAT EVEN IS THIS? IT’S LIKE A LIL’ BABBY BIZARRO ME! Is he even like honestly trying to lie right now? He’s soooo pathetic I can’t even.

“But… Um… Since I am auditioning I would still really want to get in ya’know? J-just for the screen time and the money and stuff! I mean just look at this cute face, audiences would love me!”

Okay, confirming what we already know, assuming this has any truth to it. Which it probably does, since those guys off screen were obviously my guys from D.I.C.E., I’d know those voices anywhere. Finding one sound-a-like might be possible, but nine? Not a chance.

“I can toootally play like the adorable funny best friend sidekick character, and if the theme of this season is going to be “truth vs. lies” I’d be great at that! I’ve always loooved the theatrical mysterious liars in previous seasons, like Nagito and Celeste. Though, I’d rather not be a murderer if I can help it.”

… Yeeeeah, hate to break it to you kiddo but I don’t really think that’s me. Except for the no killing, that’s still me so no worries there. Unless Kaede’s our actual protagonist instead of Discount Kamina or Captain Kibble, in which case maaaybe I could come across like that? Oh fuck wait, did I make myself the sassy gay best friend character type?! I DIDN’T SIGN UP FOR THIS! I TAKE IT ALL BACK, I DEMAND RESHOOTS!

“I-I mean… It’d be way too easy to win a killing game like that right? Where’s the fun in that?”

… Not sure I’m okay where this is heading, why’re we going to Joker town? There IS no “fun” in here!

“As far as talents go… Uh… I kinda sorta maybe have kleptomania so Ultimate Thief would be a good fit I think. But I’m practically king of our school’s chess club- God wait, fuck that sounds so fucking nerdy why’d I say that- W-well I mean it’s still true! So Ultimate Chessmaster could also work I guess? Since I’m pretty sure the Ultimate Lucky/Unlucky kids have been waaay overdone. Even if my name would work well for that pun.” He nervously shifted his weight from side to side as if trying to think about how to say what he was really after as a part of this “role”.

Nuh-uh, not being taken in by how adorably dorky you are, you can’t make me fall for my own act kid. You showed your hand, so what’s the fucking catch?

...Ayyy, wait a sec. Mister editor might've missed something here."Kokichi" can be a luck pun, and with my height being a "little lucky" would fit like a dream. So much for censoring "my" name, unless they only kept the reference here because the one I have now still worked for it.

Still, food for thought. They might have scrambled the audition names just to make us extra paranoid.

“Buuuut Ultimate Chessmaster might be a bit too on the nose though if I’m allowed to try for our season’s mastermind spot or anything though, you know? Er, only if that’s okay to ask for at all!”

what

“I-I mean wouldn’t that be a fun twist?! And being a victim would still be totes okay too, or I could fake my death like Junko did after really pulling at the audience's heartstrings by being so lovable all the time.”

This isn’t funny anymore fucko

“I mean I get it if that spot has certain limits applied to it, like duh they’re THE big bad, but I think I could pull it off! But I’d definitely wanna be a REAL mastermind, not some wannabe with amnesia like Hajime was. Well Izuru, same thing. The sort that’s hidden in plain sight that reeeeally makes you wanna rewatch it all again to see what sorta crafty bastard they’ve really been this whole time you know?!”

No. No no no no no. Non. Nein. Nada. Niet. Nope. This isn’t fucking funny you sick fucks!

But it’s also not a lie. He was completely and utterly honest about his intentions. Unless somehow that person could hide what a great liar he is as a fake out or he really isn’t me on some level.

That’s really unlikely though. It’s hard to fake tells without being too obvious, even I have trouble with it. And he definitely had my tremors whenever he starts getting nervous. This has to be real. It’s gotta be.

Kokichi clasped his hands in front of his face as he tried to control his breathing. He tried to process what this motive was trying to tell him as the “audition” ended. God he’s lucky they didn’t watch these things as a group like the first batch of motive videos, he’d be sooo dead. Unless he’s not the only one.

On the plus side this did give some clues about things, assuming any of it can be true. Which… It probably was. Or more of this setting was faker than he thought, since he knew those voices. But it COULDN’T be faker than he thought, Kiyo and his weird deal with his sister proved that already! Unless there’s some way to fake a guy magically growing and losing boobs on a dime that he doesn’t know about yet. (If it does exist I’m not sure if I want to slap the person responsible for being gross or shake their hand for it having both practical and hilarious potential. Maybe I’d just high five them while wearing a joy buzzer.)

This is some sort of show or game. People know about it and like it enough to willingly sign up for this shit. They might not know how real this is though, they might think it’s like reality TV or something. Hopefully that’s what they think it is, and they’re not talking like deep web red room shit or anything like that.

Masterminds change for each game, or this “season” with how he mentioned rewatching it like that, or at least this one needed to have someone new take the reigns. Some previous masterminds are people named “Junko” and “Izuru”, though the latter played in his or her game as “Hajime”. Deaths in this game can be faked, or they could in previous seasons. Memory alteration has also appeared in past games.

Wait. Hajime? As in Hajime Hinata? From the second of the 52 case files. Are these things acting as the motives now just because Shuichi’s lab already touched on some of this information? Interesting. There might have been a Junko in the first too, but if she was a mastermind that data was expunged. Izuru definitely didn’t come up in the second or sidenotes, so that could be standard procedure. Moving on.

“Talents” are a part of this game, so the Ultimate Hunt stuff was probably just this season’s “backstory”. This likely tied into how the flashback lights work. But flashback lights can’t completely change who you are, even if they can mess with most of you. This Kokichi talks like he does, but doesn’t think like him.

How much of these auditions reflect the actual people they used to be is unclear. This Kokichi’s a terrible liar to be certain, and not just in a Holden Caulfield slang sorta way, but these are still just auditions. Everyone has to be prepared to show off some sort of persona if they want to be picked for these things.

… But what can he do with any of this information? He can’t risk showing anyone this video, obviously. Not even Kaede or Gonta. He’s not that stupid. Not unless maybe he can watch theirs first. If everyone “wants” to be the mastermind in these it won’t be so bad. As unlikely as that case may be if they’re real.

If these were faked then of course they’d all claim they wanted to be the bad guy, the star of the show. But in reality, they’d only need so many people gunning to fill a particular niche in the game’s formula. Killers, victims, leads, rivals, survivors, and all the smaller audience grabbing archetypes in between.

At least Kokichi knew what his desired role was. And he knows that’s not who he is anymore. He doesn’t know who the person he was used to be, but they’re “dead” now. Kokichi Oma isn’t, and that person’s not coming back on his watch. He’s not planning on going out without putting on one hell of a show.

One bad enough that this whole goddamn genre would crash and burn.

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[munasak]

So I’ve been talking a bit about my post-dr0 madarai au and I thought maybe I’d share it here just because I really like it tbh?

this is terribly written btw I’m just like unloading what I have in my head I might actually write something later but I’m too lazy rn honestly

First of all this takes place w/ my personal headcanon (if you can call it that I guess) that he was in love with Murasame but that comes into play later

So before dr0 even starts, Isshiki Madarai is captured and taken underground to Enoshima’s secret hideout and basically forced to watch the student council killing game live, and then a bunch of times after while he’s used as a guinea pig for the version of it that brainwashes and sends people into despair.  He ends up narrowly (and I mean...narrowly) evading brainwashing by convincing Enoshima and her followers that he’s dead before the video is edited to the point where it works instantly

He gets out though and ends up joining the Future Foundation eventually in the sixth branch, Sakakura doesn’t really mind him since he keeps to himself and genuinely does care about eradicating despair even if he never shows just how deep that grudge is 

When he’s in the ff he’s like.  really, really heavily grieving and has not been able to actually work through or process it until Sakakura sends him to Jabberwock Island  to personally oversee the containment of the reformed remnants.  And once that happens he’s actually out of survival mode long enough to think about what happened to his family and the student council and he kind of almost starts to lose it

He cuts his hair to like...right at his shoulders because he can’t stand looking in the mirror and seeing someone who looks exactly like his dead brothers and reminds him of them :/

Anyway he goes into this with a secret plan to kill Hinata because of his involvement with the student council killing as Izuru, but at the last second he can’t bring himself to do it because Izuru let Murasame live 

He still hates Hinata so fucking much and doesn’t even want anything to do with him until eventually he totally breaks down and they end up talking and he asks Hinata if he remembers what happened, if he remembers Murasame specifically

After that they kind of begrudgingly (on his end anyway) get closer and after like.  A long, long time they start to fall for each other and start seeing each other in secret 

Also Madarai has always liked the sound of the piano but couldn’t really learn it because learning something his brothers didn’t know could break their unity but like...Hinata’s talented ass teaches him and it’s cute 

this was badly written but anyway

[murasaki-murasame]

Danganronpa V3 Liveblog: Part 1 [Prologue]

So now that my several week-long adventure in trying to secure the necessary equipment to legally play this game has come to an end, I’ve finally gotten a hold of it and have begun playing it, so I’m going to start my liveblog!

For the sake of keeping my followers as spoiler-free as possible, I’m going to try and heavily tag these posts, and put about 99% of each post under a readmore. I’m also going to keep the labeling pretty vague for each post. My basic plan is to play each section of the game in one sitting [if we imagine each chapter being split into three sections of daily life, investigation, and trial] and then make one post for each of them. For now I’m going to label them with what part I played, for convenience, but I can’t help but be a little afraid about the possibility of there being some shift in structure later that might be spoiled via my labeling. We’ll see how it goes. If people want to completely avoid spoilers I guess they can just blacklist the tags and stuff, but I’m still going to try my best to avoid major spoilers, so the majority of these posts will be under read-mores.

This is going to be a pretty interesting experience for me, since even though I’m a huge fan of this series and have been following it for a few years now, I’ve only ever watched LPs of the game, so this is my first time actually playing one for myself.

Anyway I’m just gonna put my thoughts on the prologue under the cut since this is already getting long. [Fake edit: this got super long but mostly because half of it was me posting my initial reactions to characters and stuff, so with that out the way, maybe the rest of these posts will be shorter. We’ll see]

I don’t really wanna waste time talking too much about my history with this franchise and whatnot, so I’ll just get right into things and say that I have no goddamn clue what to expect from this game. I’ve almost completely managed to avoid spoilers on it, beyond what was shown in pre-release material. Well, mostly. There’s a few vague, context-less things I’m aware of, but I won’t say what those things are in case anyone is reading these posts without having played the entire game. [Though as a warning, I’m not gonna hold back on openly talking about every other part of the franchise that came before this]

I’ve heard that this game’s ending is ‘divisive and controversial’, but I have no idea how, and honestly that’s kinda been the trend with this series for better or worse, so it’s not really a surprise.

Thankfully I’ve also heard that this is maybe possibly the best game in the series so that’s cool! It’s not like I’m expecting greatness from it.

I’m really glad that I haven’t seen any LPs or anything besides the demo, because wow did things start off in a way that I wasn’t quite expecting. The whole beginning part was . . . bizarre. I got so thrown off by how everyone was wearing normal school uniforms. In general the whole way that things play out but then, like . . . loop back on themselves??? was really weird and unexpected. I feel like the game is already throwing out major hints about late-game twists, to the point where it all feels so ‘obvious’ that it’s probably some kind of misdirection. The whole shot we got of Kaede wearing some kind of science experiment helmet thing in particular felt like a ‘peeking behind the simulation’ moment, but DR2 already had a simulation twist, so the fact that they seem to be hinting at a similar thing feels like misdirection.

On the one hand I feel like I shouldn’t think too hard about it in case I guess the twist in advance, but on the other hand all of this signalling is so blatant and in your face that I feel like I may as well talk about it.

Even beyond the weird time-looping thing, there’s also a pretty heavy focus on the idea of amnesia and deja-vu [amnesia is pretty common for the series but the deja-vu element is interesting], and there’s some really interesting hints given out about the outside world, with references to stuff like the Ultimate Hunt, I think they called it, and how that apparently ties in with how everyone had forgotten their talents in the ‘first loop’, if I should call it that.

I don’t think it’s a spoiler to say that this game is set in the Hope’s Peak Saga universe, since the first opening movie literally spells out that this game is a continuation of it, so it’s hard not to work with what the previous games set up story-wise to try and guess where the hell we’re at in this game.

I’ve always wondered how the whole concept of Ultimates would have been handled post-DR3, and how Hope’s Peak would function. It definitely seems like we’re hinting at the idea that something went pretty wrong down the line. It almost sounds like maybe the concept of being an Ultimate is, like, treated as a crime now, but it also feels like it might be another DR2-esque thing with how that game’s cast were all the Remnants of Despair who were in the simulation for rehab purposes. I don’t think it’ll be exactly the same sort of thing, though at the same time it’s also hard to believe that the whole Despair thing completely died out after DR3 so who knows.

It’s interesting to compare this with DR2, in how that game really started out as a legit rehab program of sorts that tried to hide the truth from everyone, while this game is upfront about the idea that this game’s cast are criminals who are being punished for something. So it’s kinda easy to guess that maybe they really are all criminals who’ve just been made to forget their crimes.

[Fake edit: I was just about to finish this post but I just realized that I forgot to point out how incredibly suspicious it is that the prologue is literally called ‘Ultimate Revival’, when we already had the weird time loop thing happen]

I’ll try not to think too much about the overarching plot until it becomes more relevant, but yeah to put it simply I’m already getting huge DR2 vibes from this set-up.

Anyway, enough talking about serious Speculation [tm] and Theorycrafting [tm], let’s talk about the stuff we’re all here for! AKA the characters and the flashy visuals and whatnot.

Just to get it out the way, I’m stuck with shitty dialogue audio quality because I had to import the US Vita version of the game because 1: I don’t own a Windows computer [and for some reason the Steam version is only on Windows even though the first two games are also on Mac], 2: I don’t own a PS4, and 3: I have an NZ PSN account but I literally cannot obtain an NZ Vita copy of the game because no online or retail distributors have it available, and because for some godawful reason the NZ PSN store only has the voice patches for it, and not, y’know, the game itself. So I’m stuck with the US version of the game since it was the only one available, and because the voice patch is treated as DLC, and DLC is region-locked, I can’t get the high-quality dialogue audio even if I wanted it. Which I do. It’s not THAT terrible, but it’s noticeably bad. Especially for certain characters, like Shuichi and Kaito. But I literally cannot do anything about it, so I’m stuck with it.

On the topic of voices, I still do like most of the voices, even if the audio quality isn’t great. A lot of the voices sound a lot more . . . plain, I guess, than I was expecting. I dunno how to explain it. I kinda like it. It makes them sound more like real people, though some of them sound like, well, middle-aged people trying to voice-act teenagers while barely bothering to try and sound like teenagers.

The music is still high-quality and sounds great. I still love this franchise’s music style. Most of the tracks in the prologue sound either similar to or the same as stuff from previous games, which is fine, but the Monokids track is . . . certainly something. Definitely in a similar vein as how weird Monomi’s track was in DR2, but this one’s less cute. Still good, though.

The game’s visuals are still on-point, though the image quality isn’t great at times. The colours are really vibrant, but things often seem really pixel-y when they’re even slightly far away. I think that’s just how the series looks in general though, and it’s just easier to forget since I’ve only ever watched LPs of them. I do really like the more dark and earthy sort of atmosphere and colour palete this game has compared to the other ones, though. The other games look great, but I like that they did something a bit different. I get what they meant by calling this game ‘psycho-cool’.

Getting to the characters, I like them already, though I obviously haven’t seen them in action much yet. Visually, I honestly think they’re one of my favourite casts in the entire series. It definitely feels like they had a bit more restraint in designing a lot of these characters, compared to earlier games, while still keeping the same DR character design charm. I don’t know how the hell this series’ character designer is still managing to churn out unique and interesting designs after so many franchise entries, but here we are.

Since there’s so many characters I think I’ll just address them one by one.

Kaede: First of all, it still makes me happy that we got a female protagonist for this game. It’s a nice detail. Secondly, I’m just gonna lay it out and say that I’m expecting some major plot twist relating to her identity. It’s not a difficult thing to assume after how DR2 [and DR0 I guess] had big plot twists relating to their protagonist’s identities, in different ways, but still, the writing’s kinda on the wall for this one. I don’t know if Kaede will end up having anything uniquely shocking about her compared to the rest of the cast, but still. The way the beginning scene played out, with the focus on her not knowing who she was, immediately made me suspect that she might not actually be ‘Kaede’, somehow. We’ll see. I honestly would not be surprised if she’s a ‘decoy protagonist’ and someone else is the real protagonist. Especially considering the fact that the first characters shown off were Maki, Kaito, and K1-B0, nearly a year before we saw Kaede, which makes me suspicious on many levels. Anyway, I really like her design. It’s been a favourite of mine since we first saw her. The yellow/white/pink-purple colour palette is really nice. And on a related note, the goddamn magical girl transformation she had when she got put into her main uniform was amazing and glorious and exactly the sort of bizarre thing I wanted to see out of this game. There’s not much to say about her personality thus far, but I like her. And I also like that she’s a pianist. It’s refreshing to get a DR protagonist who’s talent is something other than ‘hope’ or ‘literally nothing’. I guess you could count Ryouko and Chisa as DR protagonists with actual talents, though. But you get what I mean.

Shuichi: It really surprised me that he was immediately presented as being the secondary protagonist. Or, at least, the ‘helper’ character. I like how, in contrast to people like Kirigiri and Komaeda, he isn’t really doing this out of his own volition, and was literally just stuck in the same room as Kaede. Which is still kinda suspicious in and of itself, really. He’s really great, though. I was so worried that he’d be a complete copy of Kirigiri, but he’s really not, thus far. He’s honestly really adorable, with how humble and easily-flustered he is. I also really like his design, and how simple it is. I wonder how his role in the game will be, going forward. He’s definitely the helper/assistant/etc right now, but who knows if that’ll change. I hope he has a different role overall compared to Kirigiri, at least, to shake things up a bit. Oh, and before I forget, I’m already guessing in advance that he might actually be a girl, although that’s almost entirely based on him being voiced by Megumi Hayashibara in Japanese [and on that note, boy am I annoyed that on top of not being able to get the high-quality dialogue audio, I also can’t get the JP voice pack for the same reason :/]. He definitely sounds much more like a boy in English, so I’m inclined to think that maybe they weren’t trying to hint at anything by giving him a really feminine voice in Japanese.

Rantarou: I already adore this dude and I plan to immediately do all of his free-time events. OK fine I’ll do other people’s ones as well, but he’s the one I’m most interested in talking to. Partly because I’m really inclined to think that he might die relatively early on so I want to get to know him immediately. He at least comes across like the sort of character who might get killed off early as a big plot twist, to contrast with how mysterious and plot-important he seems right now. I don’t really know what to expect from his role in the story, but it’s hard not to get Komaeda vibes off of him, especially in the parts where he gets vaguely sinister. Thankfully his personality is already pretty notably different. He definitely seems like the character who’s probably most ‘plot-important’ other than Kaede and maybe K1-B0. It makes me wonder what his deal is, especially since he doesn’t remember his talent. I hope the inevitable reveal isn’t lame or anything. I also can’t help but wonder if maybe he’ll become some sort of love interest for Kaede, but I guess Shuichi would probably fit the mark better at this point. Who knows. I imagine that Kaede will have a love interest of some kind, since the other DR protagonists did. Anyway, I like his design as well. His outfit honestly seems like the sort of thing I could imagine a normal person wearing without it being weird at all. It’s neat. His hair looks mostly cool, like 90% of it does, but I can’t get over how weird those two upward-poking wavy bits at the top look. They’re so weird. Also, I’m still slightly thrown off by how deep and mellow his voice is, but it more or less fits his personality. I guess that in general his personality is a bit different than what I expected. I expected something a bit more fun and light-hearted.

K1-B0: OK first of all I might eventually just start calling him Keebo because it feels more natural than typing a name that has numbers and stuff in it. I still love his name, though. It never stops being the silliest thing ever to me, that his name is literally just a robot-y version of the Japanese word for hope. It’s great. I’m still kinda surprised that he didn’t end up being the game’s protagonist, given that he was front and center on the game’s first poster. He’s even the only character shown on the limited edition box design for the game. So who knows what’s up with him. Either way it’s hard not to see him as being potentially plot-important, with how immediately different he is to everyone else. We’ll see. His design is still kinda amazing and I love it. There’s a lot of places where V3′s character designs show restraint and realism, but hahaha not with this dude. In terms of his personality, I’m still really surprised that he’s mostly kinda nervous and defensive and high-strung, while also being pretty desperate to appear normal while being really unaware of normal things. Which is a fine way to write a robot character, and I prefer his ‘over-emotional’ portrayal over the more typical ‘emotionless robot’ characters we usually get. My main concern is that the game seems to be framing him as some sort of joke about “““SJWs”““, and it’s just bizarre and out of place. I also don’t know how the heck we’re even meant to view it thus far, since his whole ‘I’ll take you to court for your robophobic comments!’ attitude seems like it’s meant to be a joke, but at the same time his whole intro scene involves Kokichi literally questioning and denying his identity because he’s a robot, and being really inappropriate and invasive in general, so it’s kinda hard to view his defensiveness towards ‘robophobia’ as some sort of a joke we’re meant to laugh at. I guess we’ll see how it gets handled in the long run. Also let me just say that I’m REALLY happy they didn’t attempt to put some sort of obnoxious voice filter on him to make him seem more like a robot.

Maki: As I said above, I’m still suspicious about her prominent placing on that first poster we got. It’s even the reversible cover of the game, which is why I got reminded of it. I’m really curious to see what her deal is. I’m not entirely sure how I feel about her yet, since she’s mostly quiet and cold to people, which isn’t really a personality type I like seeing. I could see her potentially being a prominent part of trials, though, since she seems like she’d probably be calm and logical and whatnot. Also just to be blunt I kinda want her to be Kaede’s love interest, or at least one of them. I’ve kinda low-key shipped them since I first saw them. But do I really trust Kodaka to give me a healthy and mutually-alive same-sex ship after how DR3 ended? Not really, lol. I really like her design, though, even if her personality is a bit meh thus far. The red and black looks really nice, and it contrasts well with the brighter colours of Kaede’s design. Although there’s something weird about how her mouth is drawn. It looks a little wonky.

Kaito: I’m even more confused about what the hell this dude was doing on that promo poster, especially after seeing him in person. He basically seems like the Soda of this game, but thankfully way less weird and creepy. He seems like a really great dude all around, even if he’d be a bit too, uh, intense for me to enjoy being around in real life. I’m also still kinda amazed that he’s an astronaut, of all damn things. I remember that one coming out of nowhere. His whole conversation about how he illegally cheated to become an astronaut and when he got caught they just decided to keep him on board anyway was amazing. It’s a pretty hilarious way to address and basically gloss over the question of how a high-schooler could possibly be an astronaut. Also, his design is kinda hilarious. The simple white/purple theme works really well, but jesus christ his goddamn hair is amazing. I love it. It’s so silly. It’s like someone took a normal hairstyle and then messed with it in Photoshop. I wonder what it’d look like if they ever try and make figures of him. But I unironically love that the inner part of his jacket has a space design on it. That’s a nice detail, even if it’s hard to see normally. I can also tell that some of his expressions are going to be hilarious.

Kokichi: I can already tell that this dude’s gonna be a major player in this game, especially in trials. To the point where I’d be amazed if he doesn’t survive for at least four chapters or so. I feel like he’s going to be such a central part of the trial experience that cutting him out would leave a bit of a void. He’s obviously going to be sorta Komaeda-y in how he messes with people but he never actually kills anyone or anything. I’m just guessing, though. I’m also basing this on the demo I watched someone play, where that’s exactly how it went. [Though on the topic of trials, it’s still interesting to me that Rantarou and K1-B0 were specifically excluded from the demo trial]. I don’t know if I’m a huge fan of his overall personality, though. He just seems a bit annoying for the most part, even if he’ll probably be pretty compelling overall, partly in a ‘love to hate them’ sort of way. And obviously I disliked how incredibly shitty he was toward K1-B0. That was unpleasant. His design’s cool, though. I like how he seems to be wearing some sort of a loose straitjacket. His huge checker-print scarf is also pretty neat. Not sure how I feel about his hair-style. It’s a bit odd. I’m also curious to learn more about his talent, since it’s hard to imagine him genuinely being what he says he is. I wouldn’t be too surprised if he’s actually lying about his talent.

Gonta: I love him so much but he’s so obviously going to die because the baras always die. That’s not a spoiler though. I don’t actually know if he’ll die or not. I’m just assuming that he will because every character of his vague ‘type’ have died previously. He’s great, though. I love how much of a gentle giant he is. He just wants to be a gentleman and everyone’s just immediately intimidated by him instead. But then again he does get genuinely scary whenever someone insinuates that they dislike bugs. So that’s a thing. The fact that his whole talent is about how much he likes bugs is strangely endearing to me. It feels like such a gentle, delicate, and studious sort of field that it clashes with his design in a fun way. Also he has Harry Potter-y glasses and that’s adorable.

Miu: She’s kinda already turning into a problematic fave of mine. I totally get why she’d be too much for most people, and I’d hate her in real life, but as a character she’s really fun to watch, and adds a lot to the group dynamic. I’m not really expecting much from her in the long run though, since she’s obviously meant to be this game’s fanservice-y and kinda dumb character. I can’t help but wonder if she has some sort of connection to K1-B0 though, or if they might develop one, since her talent as an inventor who knows her way with machines seems sorta fishy in a game with a literal robot character in it. Her design’s also pretty nice, though the weird BDSM-y equipment she has is kinda hilarious and bizarre to look at. I love her aviator goggles, though.

Kirumi: I already like her a lot, though it’s sorta hard to pin down why. I think it’s mostly to do with me really liking her whole aesthetic. The spiderweb/broken glass pattern on her dress in particular is really cool. The only weird part is that it’s kinda weird how her eyelashes are drawn visibly through her hair. It just looks strange. There’s not much to say about her personality, though her whole ‘I’ll do what people tell me to do’ attitude is very worrying given, you know, the situation they’re all in. I don’t exactly expect her to survive. Also I’m still a bit confused what the difference in talent is between her being a maid and Chisa from DR3 being a housekeeper.

Tsumugi: She’s unexpectedly funny but I feel like she won’t last long, so that kinda sucks. Her overall design is still by far the plainest in the game, but I like how it’s an intentional choice that’s contrasted by her personality. I appreciate that she’s not, like, super wacky or anything, but she’s still pretty hilarious. Especially her realistically surprised reactions to stuff other characters say. It’s also a really neat detail how when she gets excited about something and clearly starts forgetting things like social boundaries, her sprite gets bigger and bigger like she’s entering your personal space. It’s also an interesting concept to have a cosplayer character who’s just wearing a really plain and boring school uniform, and cares mostly about the actual production of the costumes. I can’t help but wonder if her talent will end up leading to her being able to disguise herself as someone else. That’d be a really interesting thing to use in a murder case. Also I seriously hope there’s a scene in the game where she’s just cosplaying as Junko for no real reason, and you’re tricked into thinking for a moment that Junko’s genuinely back in this game. That’d be amazing.

Korekiyo: I have no idea what to make of this dude thus far. He didn’t really get many lines outside of his intro scene. He definitely seems like the most ‘creepy’ character. I kinda like him, though. The way that he talks about the beauty of humanity makes me really curious to see how he reacts to the killings as they happen. It’d be a bit amusing if he lives for the entire game and just keeps being really fucking weird about the whole thing while everyone just averts their eyes. His entire design is incredibly weird to me, and it’s kinda hard to tell what they’re going for beyond ‘this dude’s incredibly super chuuni’. It doesn’t seem to fit his actual personality much. You’d think he’d be way more, well, chuuni, I guess. It also kinda surprised me when I looked at his profile and saw that, at least relative to average Japanese heights, he’s actually really tall. It’s kinda difficult to tell people’s relative heights in VN-esque games like this. Also, I actually think it’s really cool that he’s an anthropologist. It’s cool to see an actual academic field like this in the franchise. There’s not too many characters with talents like that. I hope he gives out lots of random trivia about anthropology-related things.

Himiko: She’s not exactly my sort of character, but I like her. I mostly like the little ways in which she’s handled differently than how you’d expect her to be. Like how the only fanciful part of her design is her witch hat, which isn’t very fancy itself, and how she’s really chill and mellow but also a little childish. Even when she’s trying to be bombastic, it’s pretty chill. Also her whole ‘magic is real’ thing reminds me so much of Beatrice from Umineko, and that just makes me immediately like her, even if they’re [presumably] very different characters.

Angie: I keep mentally grouping her and Himiko into the ‘short, cute girl’ category for some reason, even though they’re very different. She’s definitely very . . . unique, that’s for sure. I’m still thrown off by her accent. I get what they’re going for, but for some reason it just sounds sorta French to me, so it feels like they told her VA ‘put on a foreign accent’ without telling her WHICH accent to put on. I don’t know if her accent is necessarily inaccurate for the part of the world she’s from, but ‘French’ is my first thought upon hearing it, so it feels odd. I like it, though. It’s a unique voice. Her design as a whole is definitely really cool. I love how bright and cheerful it is, colour-wise. I like her bright and bubbly personality a lot, though she can be a little creepy at times, like in the whole ‘blood sacrifice for Atua’ scene.

Ryoma: Thus far he’s immediately my favourite ‘cartoon-y and unrealistic-looking’ character, compared to ones like Hifumi and Teruteru. For one thing, he’s not a perverted creep, so that immediately puts him about fifty levels above those two. I also genuinely adore the way that he acts and talks like he came out of some kinda detective noir film, and has a Dark Backstory [tm] involving him murdering mafia members with a goddamn steel tennis ball. It’s so melodramatic and angsty but so incredibly hilarious because he’s like a three-foot tall teenage tennis player dramatically talking about how he used his tennis-playing talent to kill, and that he’s now just an empty shell of who he once was. I love him already. If he gets killed off, that’d be a real shame. But his character type also never survives, sadly. I don’t have much else to say about his design itself, but I think he has a chain around his ankle like a stereotypical ball and chain put on prisoners and that’s just the icing on the cake of how amazingly emo his design is.

Tenko: Not gonna lie, I almost forgot she existed and had to look at the cover of the game to figure out who I was missing. She’s probably my least favourite character thus far simply due to me liking everyone else more, and also due to me just not being a huge fan of her design. It’s mostly just the way that her uniform looks like it’s five sizes too small, but her giant green hair ribbons are also a bit weird, and so is the weird DNA helix-y way her hair is braided. It’s a bit of a bizarre design all around. But I absolutely adore her facial expressions so much. They’re fantastic. I love how unrepentantly weird and gross some of them are. That fucking smile-smirk-grimace-thing she does when she first talks about ‘degenerate males’ is one of the funniest things in this game thus far. Although on that note, her whole man-hating thing is already a little grating. It’s not terrible, but still. Although it looks like the game might do some funny things with it, like how in the demo she couldn’t say which guy walked into the cafeteria because she just hates men so goddamn much that she basically blocked him out of her vision and then couldn’t remember who it was later. That sorta thing is amusing.

Monokids: I almost forgot to comment on these guys, but I may as well, since they’re a noteworthy new aspect of the game. They’re definitely very fitting for the franchise, but it’s almost overwhelming having so many variations of Monokuma running around. It was also really weird how it felt like half of the script in the prologue was just them talking, and the actual main characters just responding to them sometimes. I hope they don’t hog the screen-time that much for the rest of the game. I’m pretty interested to see what the hell their deal is, though, since presumably someone is controlling them, but they seem to be operating independently from Monokuma. I guess they might just be actual autonomous robots though. But still.

I don’t think there’s really any point to me saying anything about Monokuma, since he’s not exactly a new character. But I can’t help but wonder who’s controlling him this time, if he’s not also an autonomous robot. Presumably it’d be an all-new character this time around, unless they somehow bring back an old character. But if it’s a new mastermind, will it be one of the main characters of this game? If so, how? If it’s not, then who would it be? I doubt that the mastermind would end up being a completely, entirely new character. I guess we’ll see.

Anyway that got really really long but oh well. I have a lot to say about this game already, lol. I’m really excited to finally be sitting down to play one of these games on my own terms, rather than just seeing someone else play it on Youtube. Even if it’s been a bit of a nightmare trying to get the necessary equipment to legally play it.

I’m very curious to see where my opinion falls in the long run, since this seems to be a very ‘love it or hate it’ kinda game. I don’t really have super high expectations though, at least after I disliked DR2′s ending, and I thought UDG was kinda weird, and I thought DR3 was a bit of a trainwreck. I love this franchise a lot, but it can also be kinda terrible at times, so I’m keeping my hopes in check for this one.

[kristielynnhiggins]

Looking for a book like the Dragonriders of Pern? Fly on wings of dragons.

"Read fantasy chapter sample below" - Download free dragon book dark fantasy fairy tale "AabiLynn's Dragon Rite #0 Dragon's Brood" http://www.kristielynnhiggins.com/DR0.html Chapter One: The sun peeked over a grass-covered hill and brought morning to Thatchman's farm.  There was a bit of a chill in the air as spring forced winter out.  Thatchman harnessed his horse and prepared to continue plowing his field to make it ready for seed.  He still had two days of work before he could sow.  Thatchman finished buckling the last strap on the harness when he noticed dust rising in the distance.  A group of riders approached his land, and he had expected they would come.  He went over to his hut that housed himself, his third wife, and his four children; three were by his first wife who suddenly disappeared and the other child was by his second wife who passed on about five years prior in childbirth.  Thatchman grabbed his spear and returned to his horse.His third wife, Hellen-Mary, attended to the pigs along with his youngest and only daughter, Cara-AabiLynn.  By tradition, women of the Northern Grass Plains Tribe carried their mother's name as their second name to honor the one who bore them, so Mary was the mother of Hellen and so on."Girl, bring the bucket of slop the rest of the way for me," Hellen ordered as she set the bucket down and leaned against the fence to rest her weary and very pregnant body.Cara hobbled her nearly five-year-old body toward the only mother she ever knew.  Cara had been born early which caused her left arm and leg to be stunted.  Her leg, inches shorter than her other, caused her to limp but since she was born this way, she knew no different.  Her arm bore the brunt of the deformity.  It was about half the size of the other and appeared to others to be of little use.  Cara hurried over to Hellen, grabbed the bucket handle with her strong hand, and lifted it into her arms with the help of her other hand.  For a child her size, the bucket of yesterday's unwanted food was huge.  Its water slushed about the bucket as she walked the last ten feet to the gate.  Part of the slop splashed her brown dress which was already stained by a week's wearing.  Hellen waddled over, holding her back and opened the gate to the pigpen.  Cara entered and walked across the cool muddy ground to the trough, and then she lifted the bucket as high as she could and poured most of the slop into the trough while some of it spilled onto her bare feet.  She started back with the bucket and fell as her shorter leg sunk too far into the mud.  Cara didn't cry, but she got back to her feet and made her way to Hellen.  Dark mud covered her face and along with nearly every inch of her front.  Cara thought it would be fun to play in the mud, but she knew Hellen would disapprove."Look at you!" Hellen complained as she took her apron and wiped her dirt-stained face.  Hellen questioned once she finished, "What am I going to do with you?  You are nearly as useless as the old sow in there."She motioned to the large female pig in the pen, and Cara turned and stared at the creature that was three times her size and what her father called infertile.  She didn't understand why they considered the pig useless or what the word really meant."I am sorry, Hellen," Cara stated as she bowed her little head.  "I am sorry I am useless."The riders neared the farm, and the horses' hooves thundered across the dirt road.  Hellen noticed the riders and straightened her dress and hair somewhat as Cara hid behind her.  The lead rider halted his horse, and the four others with him also did so in turn until they stopped behind their leader.  The five men with swords approached Thatchman on foot.  All the riders were clad in leather from the band around their head, to the vest that covered their bare chests, and to their pants and boots.  Thatchman kept his spear at his side with the blunt end resting on the ground ready to use if the men decided to draw their swords."Bork," Thatchman cautiously spoke as if he greeted a wolf he'd surprised in the woods who may be hungry.Bork was the leader of the Northern Grass Plains Tribe which Thatchman and his family belonged to.  Most of the tribesmen raised horses, yaks, and/or sheep.  Thatchman was one of a few farmers who tilled the land."Thatchman, you know why I am here?" Bork questioned.He nodded, and then he replied, "You have come to collect."Bork looked at Hellen and noticed the small child hiding behind her, and then he turned back to Thatchman and asked him, "Do you have the silver?""I do not," he replied."That is a problem," Bork stated.  "I cannot give you any more time."  He scanned the area around the hut, pen, and field but saw no one else there.  Bork said, "I shall have to take from you something of equal value."  He looked at the distant hill and then to the roads winding behind the farm, and then he questioned, "What of your sons?  Where are they?  They usually work the farm with you," Bork spoke, and then he stated, "I could take one of them as a soldier for a year.""They are not here," Thatchman said, and then he added, "They are visiting my brother.""Convenient, I would say," Bork muttered, and then he stated, "Your crop is a season away."  He looked at the pen, and then he questioned, "What of your pigs?"Thatchman replied, "I have four young ones and one large one."The day before, Thatchman sent the piglets' mother with his sons as they headed for his brother's farm a couple of valleys away.  He wouldn't give up a fertile sow, not for a gambling debt.Bork walked over, looked over the feeding beasts, and then he said, thinking the sow was the piglets' mother, "I shall take the large one for payment.""One moment, my lord," Hellen spoke as she walked over to her husband and whispered into his ear.Thatchman's eyes lit up as if he had never even thought of such an ingenious idea, and then he said, "Bork, why not take my daughter, Cara.""Your daughter?" Bork uttered as he turned and looked at the young girl.  "Would you not prefer to give me your pig?"Cara ran over to Hellen and hid behind her again.Bork looked her over a second time before she hid herself, and then he stated, "She is too young to give to one of my older sons or soldiers.""Take her as a slave," Thatchman said.  "She is a hard worker.""And deformed," one of the other riders exclaimed."He is right," Bork stated.  "She shall be limited to what she can do and unsightly to give as a wife even to one of my slaves.""You could always make her a breeder when she comes of age," Hellen spoke, then turned, and positioned herself so that Cara stood in front of her."Breeder?" Bork questioned, and then he asked, "She is the fair AabiLynn's daughter, is she not?""Yes," Thatchman replied.  "She is my beloved's child."Hellen glared at her husband when he mentioned the wife before her, and then she squeezed Cara's shoulders, taking out her jealousy of a dead woman on the child.Bork peered at the girl, not as she was but as she would be.  In the Northern Grass Plains Tribe's tradition, male owners slept with their breeders to create slaves with no inherent rights.  Bork had wanted Thatchman's wife AabiLynn when she first appeared in their territory, but she married Thatchman instead.  It created much strife between the two men until AabiLynn died."AabiLynn's child," Bork muttered to himself, and then he thought maybe Cara might turn out to be as beautiful as her mother.  "Are you sure you want to give up AabiLynn's child?  She is your daughter."Thatchman glanced at his wife, and then he answered, "I am sure."Bork turned to one of his riders and told him, "Grab the child, and let us take her back to the plains."The rider nodded, then he went over, and scooped up the child as she attempted to flee from him, limping as fast as her little legs would allow her.  She kicked and beat at him with her arms and legs, and then she turned to her father and Hellen and screamed for them."Hellen!  Hellen, help me!" Cara cried out.  "Help me, Hellen!  Hellen!"  She managed to free herself of the rider, drop down to the ground, and ran to her shouting, "Hellen!  Hellen!"Cara fell down as she overstepped her stride but quickly got back up and continued for the woman as she cried, "Hellen!  Hellen!"The woman turned from her and headed for the hut, allowing the child's plead to fall on indifferent ears.Cara cried all the more, "Hellen!  Don't go, Hellen!"  She fell again and this time Cara didn't get up as she shrieked, "Mamma!  Mamma!"Hellen paused in her tracks as the maternal words left the child's lips and rattled her very core.  Never once had Cara called her mother.  Hellen had never taught her that name but insisted that Cara call her Hellen.  It allowed her to place some distance between herself and the other woman's child.  Thatchman's sons were old enough that they easily called her Hellen.  Cara must have picked up the word from the nearby farmer's children as she watched them play.  Hellen started to turn toward the child, but then she realized Thatchman had already given her to Bork.  Whatever feelings might have been sparked by the child's utterance was now too late.  There was nothing she could do about the debt or the payment; it had been completed.  She placed a hand on her belly.  She might just be too emotional because of her own coming baby.  Hellen continued walking to the hut as a tear streaked down her cheek.  She wiped it away as she wiped the memory and the name of the child from her mind.  Hellen placed a hand on her belly again.  She would soon have a baby of her own to replace any emptiness caused by the forgotten one's departure.When Hellen ignored her pleads, Cara turned to Thatchman and called out to him, "Daddy!  Daddy!""Quiet, child!" Thatchman scolded her.  "You are no longer mine."  He turned from her and walked away as he mumbled, "You were never mine."As both of her parents abandoned her to her fate, Cara lifted her tiny hands and wept into them.  The rider easily picked up the child and carried her to his horse, and then he, Bork, and the other riders headed back toward the plains.  Cara cried herself asleep and slept the whole way back to Bork's abode.Chapter TwoJourney To FiredrakeSeven years later...Darkness covered the land like a blanket of nighttime fancy, and the smell of horses and leather permeated the air as Cara held onto the back of her adopted father's waist.  She leaned the side of her head against Bork's strong back as they rode on his horse.  He was warm and comforting against the cool air.  Cara was still sleepy as they had rose hours before she normally did so they could take this important trek.  Sleep and dreams lingered with her as night and a young girl's fantasy remained a few moments more.They left the plains with three other riders, heading for a great destination.  All was grand in Cara's world.  She had people who cared for her and a special place she belonged.  She couldn't ask for anything more.Bork steered his horse up a hill, and she held on tightly so not to fall off on the incline.  The moon had long since gone, and the land waited for the sun to make its appearance.  Cara glanced back at the three riders following them.  One of the boys was Bork's son, Turk, the brother she never had.  Thatchman's sons had mostly ignored her existence, but not Turk.  He always noticed her, always knew where she was.  Here with Bork and his family, she had found a place to belong, a place where she was needed and cared for.Twilight broke at their backs as a red-orange light burned across the grasslands.  A horse neighed, and a few flying birds greeted the morning, and all was grand in Cara's world.  She had people who cared for her and a special place she belonged.She squeezed Bork's waist as if giving him a hug and then turned her head so she could view the lands on their right side as they sped by.  She overheard Bork speaking to the boys before they left his hut.  He told them of the place they were going, that it was important, and they had to do well or was it, it was important that they do well at the place they were going?A golden wren flew overhead, and Cara turned her head to follow the beautiful bird in its flight as it sparkled in sunlight.  She thought when it came time for her to select a totem animal, as those in Bork's family had, she might pick the golden wren.  It was free to go where it willed, but the females still had a family they returned to and cared for.  The time of naming a totem animal was also the time she was given new clothes like the leather the riders wore.  She was ready to burn her dingy tunic in a fire.  She had seen other children use the fire to burn their old clothes when they came of age.  At that time, she could...Cara caught a glimpse of Turk eyeing her, and she sleepily and bashfully hid her face in Bork's back.  She smiled, knowing Turk was with them too, and it warmed her heart to know Turk was thinking about her.  Cara adored him as an older brother.She turned her head and looked again to the left side as they rode on.  The plains were so different than the lands around the farm she once called home.  An incidental tear trickled down her cheek as day started to break up the dreams night allowed, and she quickly wiped it away before anyone saw.  She was to never speak unless spoken to, and she was never to cry.  Those were the rules ingrained in her since arriving at Bork's hut, and Bork's wife was the one who fiercely taught her these simple rules.  The rising sun finished burning the sky, and the blueness of the day appeared over them and with night gone, so were dreams and a young girl's fantasy.  Cara would have to face reality until the sunset again and she was able to close her eyes.All was grand in Cara's world, but it all vanished back into her mind.  She had people who cared for her and a special place she belonged, but those ideas and sentiments were only in her head.  She, after all, was only a slave, someone they would sometimes refer to as a breeder.  Cara was more alone with Bork and his son than she had ever been with her father, her brothers, and Hellen.  She had no rights as a human, no one she could emotionally depend on and though she had a place she belonged, she wasn't loved.The riders moved on as did the morning, and the harsh reality of her existence smacked her again like one of the slaps Bork's wife would frequently give her.  This was the world Cara lived in but not the one she wanted to linger in.  The time she spent in her perfect world was far too short.She was barefoot and wore a sackcloth tunic, and no totem animal decorated any part of her clothing.  Cara was an object to own and order about and nothing more.  She thought of Bork as her adopted father, but the only thing he adopted was a harsh tone and leering eyes that seemed to want something from her.  Turk was still the brother she never had for he was neither a brother to her nor a friend only her constant tormentor.  This was the reality of Cara's life, a reality she wished was a nightmare and the imaginary world she envisioned was the real one.  There had to be more in this world than pain and hardship.  Those would be bearable if she had joy and love but without joy and love, pain and hardship were becoming more intolerable with each grim day. End sample

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Download the free ebook "AabiLynn’s Dragon Rite #0 Dragon’s Brood" by going to my website and clicking the link to either Amazon Kindle, Apple Books iTunes iBooks, Barnes and Noble Nook, Google Play Google Books, Kobo Walmart Ebooks, & others or click below to read the entire short story online at my website and continue the story of AabiLynn’s Dragon Rite #0 Dragon’s Brood. http://www.kristielynnhiggins.com/ReadOnline.html

[oumakokichi]

I'm of the belief that the ndrv3 students' talents are based on interests or hobbies they had prior to being brainwashed. Kaede even says that she has something she likes to "pour her heart into" in the first part of the prologue. The Remembering Light and the placebo effect probably filled in the gaps.

I definitely agree with this! Ithink to every “lie” or “fiction” that Tsumugi created for the killing game,there was at least some element of truth to it which was then exaggerated orembellished for the sake of making it “more entertaining.”

Each character’s likes anddislikes interest me quite a bit, actually, because they seem to confirm asmuch, while also suggesting which parts were embellishment. Kaede, for example,has “keyboard” listed as her likes. Since she’s a classical pianist fromeverything we see about her talent in-game, it would make sense if most of herexposure to piano music was actually via the keyboard pre-game, in my opinion.

Much more realistic than herbeing an actual naturally-gifted SHSL Pianist is the idea that she probablyowned a keyboard back home and that it was something she “poured her heart andsoul into” while she practiced. This love for the keyboard and for classicalmusic was what probably influenced either her request or Tsumugi’s decision tomake her into a pianist in-game—but it’s still notable that her likes justinclude the keyboard, rather than any kind of grand piano.

Tenko is similar. I’ve pointedit out a few times, but her likes include “nunchakus,” which interestinglyenough have nothing to do withaikido. There are a very few close-combat weapons occasionally used in aikidotraining, but nunchakus aren’t one of them, and it’s hardly surprisingtherefore that we see no nunchakus in Tenko’s lab or in the scenes where she “trains”with Himiko or Saihara. Still, “nunchakus” are listed as her likes on herofficial profile.

This suggests to me thatpre-game Tenko was very much interested in martial arts in the general sense,but that she perhaps didn’t know much about the subject. Either she likedvarious kinds of martial arts and close-combat weaponry, or she simply watchedmartial arts films without knowing much about them, but clearly she was noexpert.

The glimpse we get of Tenko inthe prologue suggests that her personality is every bit as energetic andoutgoing as her in-game counterpart, but it’s true that she seems to have noidea how to fight in self-defense. So clearly her aikido talent and expertisein-game was something based on a personal interest, but something Tsumugiherself also embellished a little bit and added her own touches to.

There are actually a fewtheories floating around that even Ouma’s love for games/chess might besomething similar. A few Japanese fanartists seem to headcanon or theorize thatpre-game Ouma was something of a hikkikomori gamer who entered the killing gamein order to put a stop to it (meaning that whatever games he might have played,he definitely wasn’t a fan of Danganronpa, haha).

While the small glimpse we getof him in the prologue certainly suggests that he was more timid/scared thanhis in-game counterpart, it might not be a stretch to theorize that his in-gamepersona is much more based on how Ouma actually played within games/chessmatches rather than when he was simply scared or socially awkward around people.Not only that, but if he was given atalent anywhere close to SHSL Analysis as I’ve speculated about, then thatwould also account for quite a lot of the difference in his pre-game andin-game behavior. There’s a notable difference between Ryouko and Junko’sbehavior in dr0, after all.

So I definitely think it’s truethat each character’s talents and backstories were probably based on some kindof personal interest they each had. Tsumugi is an otaku, so it makes sense thatshe would want to stretch these things to their limits or exaggerate them forentertainment value. This is what allows for possible headcanons like pre-gameAngie having been openly religious but not a fanatic, or Korekiyo havingperhaps had a sister in real life (the mask he wears in the prologue suggestshe might have been taking care of someone) but wasn’t involved in any grossrelationship with her.

It’s fun to speculate sincethere’s so much that’s been left open-ended, but I really love seeing the bitsand pieces of solid information we do get, such as the character likes anddislikes, and the line you mentioned about Kaede putting all her heart intopracticing the piano. Tsumugi herself claims in Chapter 6 that remember lightscan’t exactly make you into an “entirely different person”—they just supplementwhat’s already there, and they’re only at their most effective if you have noidea how they actually work.

This was a lot of fun to writeabout, thank you so much for asking!

[magioftheseas]

Heart Over Head Over Heels

Summary: Two times Matsuda Yasuke gets forced into developing and furthering his bonds; one time he wasn't. Island Mode AU where Matsuda Yasuke survives the events of dr0 and goes onto be placed within the NWP with the rest of the remnants of despair.

Rating: T

Warnings: Mild medicinal drug use. Also Matsuda’s filthy fucking mouth. Some mentions of illness. Also this fic is like, ~10.7K.

Notes: Few things are more indulgent than this, lbr. I just...got nothing. Please read dr0. Do it for him. Also MatsuKamu is the most criminally underrated pair. MatsuKoma and MatsuHina are pretty good, too. I honestly would not be opposed to writing Matsuda interact with the other sdr2 kids, but I’m really not sure if literally anyone except myself would give a shit about that.

**Alternative Ao3 Link**

Commission? Donate?

This whole thing was bullshit. Absolute bullshit. Everything about this was bullshit.

Jabberwock was a nonsensical bullshit island befitting its nonsensical bullshit name, and he wanted no fucking part of it. He barely had time for idiots in middle school, why did he have to have nothing but time for idiots now?

Lovey-Dovey Heart-Throbbing Island Adventure. God. What was his life now, a shitty harem game? Ew.

He supposed with Usami here, it could be like the third movie of Heretic Angel ☆ Mochi Mochi Princess Buko—but Usami was too sugary saccharine even for Buko. She’d be at-place in a knock-off wannabe brand of S@nR*o, but nothing actually refined or respectable. He wouldn’t mind her too much—

“Matsuda-kun, uuu... You really should be making friends...”

If not for her insisting on this bullshit.

“That’s no good, Matsuda-kun! Friendship is very important and leads to a long, hopeful life!”

“Unless you’re dying of a brain disease,” Matsuda said bluntly. “Then friendship don’t do shit.”

“Awawawa!!!”

The sun was shining through the windows. The beds in the hospital were comfortable if anything else, and the hospital itself was very conveniently the quietest place here. And this idiot rabbit was flailing at him in distress. What a comical sight. Not as comical as his manga, mind you, and he really was extra pissy that the volume he’d be waiting for wasn’t in the library. Still, this hospital bed wasn’t half-bad to just lay on and the ceiling wasn’t half-bad to stare at.

If only his cabin could be this comfortable and quiet. But after being waken up the third morning in a row by a screaming punk rocker, he didn’t much care for it, so he made himself home at the hospital building instead. Read up on the texts there. Studied. Played with the scalpels. Threw them at Usami when she showed up.

“Matsuda-KUN!!!” He stared past her at the punctured holes in the wall that could be connected to create the tacky outline of a tacky rabbit thing. Needed more holes though. “Enough is enough! You NEED to go out and make friends!”

“I’m working to be a competent doctor, not a well-adjusted person,” he said. “So why don’t you take your tacky saccharine sweetness and spread it on some cupcakes instead of bother me?”

“H-Harsh! So harsh!” Usami whined. “Uuu, my darling student...so harsh...! You’re only seventeen, Matsuda-kun, you needn’t be so harsh...”

Matsuda’s brow quirked, and he pushed himself up.

“I do my chores,” he said. “And I study. You really shouldn’t expect more.”

“B-Bu...” Usami sniffled. “Matsuda-kun... You mustn’t be so...hopeless... Please won’t you make friends? If you collect enough hope fragments—they become stars that grant your wishes!!”

“Wow, sounds like bullshit.”

“Matsuda-kuuuun!”

“But you’re just going to keep on bothering me until I go out,” he said, running his fingers through his hair with a sigh. He slipped off the bed and slipped his feet into the hospital slippers. “Well, I have been getting tired of seeing your face, so... Maybe a new face to get sick of wouldn’t be so bad.”

“Yes!” Usami cried tears of hurt and relief. “Go out and make friends, Matsuda-kun! Love, love!”

“Yeah, yeah.”

--

...make friends, huh...?

He wasn’t sure where to start. Everyone here was a nutjob to varying degrees and in varying ways so how was he supposed to choose?

With the sun beating down on his nape, his irritation festered just a bit more.

Friends... Friends.. Friends...

For some reason, it just annoyed him more and more to the point of giving him a migraine, of all things.

“Urgh...” Matsuda rubbed at his temples, biting his tongue with a hiss. “Ah, geez, what even the hell?”

First thing’s first, he should go to the market and grab some extra medicine for his headaches. He had been popping pills more often for—some reason, and he had a feeling he’d really need it for the moments to come.

He made his way there in long, swift strides, glare narrowing and scowl deepening.

All this is temporary anyway. I don’t have to waste that much time, it’ll be fine, it’ll be fine—

The doors opened as he stepped through. There was a low buzz in the air from the air conditioner, and Matsuda made a beeline for the pharmacy aisle.

Someone else was there and this would either be majorly convenient or majorly aggravating. Perhaps both. But, aah, well...

“Ah...!”

Fluffy white curls swept through the air as Komaeda turned on his heel, blinking those wide, gray-green eyes back at his dull stare. Matsuda’s frown deepened just as a smile spread across Komaeda’s thin lips—and why was he looking so hard at this guy’s face again?

“Matsuda-kun! Good morning! Fancy meeting you here!”

“Yo,” he said, raising a hand alongside his brow.  “I guess even headaches can get headaches.”

Komaeda laughed, backing away from the shelf.

“Aha! Sorry, sorry, was I in the way? I don’t...mean to cause you trouble, Matsuda-kun, of course not...!”

“You’re not in the way, you’re just there,” he said, stepping forward and plucking a bottle of the shelf. He pocketed it without a second thought.

“You’re right!” Komaeda explained. “Someone like me could only ever take up space with my worthless self! Ahaha, I’m so sorry, Matsuda-kun!”

...Urgh...

For some inexplicable reason, this just irritated him further.

...But, that said...

“Do you have any plans?” Komaeda flinched, almost cowering back in the sparkling presence of the shockingly pink ticket Matsuda held up. “If not, we’re hanging out.”

“M-Matsuda-kun...!”

Matsuda barely batted an eyelash. “We don’t have each other’s hope fragments, right?”

Never mind that I don’t have any hope fragments at all...

“A-Ah, well...” Komaeda’s cheeks enflamed. Gross. “If... If someone as amazing as Matsuda-kun is asking, then... I can’t refuse...!”

“Kay,” he said, placing the ticket in Komaeda’s hand. Immediately, it dissolved in a flurry of sparkles. It was as if he signed a devil’s contract. “Kay. Let’s get going. Hurry up or I’m going to leave you behind.”

“Y-Yes, Matsuda-kun! Right away, Matsuda-kun!”

With how long Komaeda’s legs were, it was almost irritatingly easy for him to keep up with Matsuda’s stride. There was almost a really weird sense of nostalgia to having someone follow him like a lost puppy—but thinking about it gave him a headache so he popped a pill and proceeded to just stop thinking about anything at all.

“So,” Komaeda chirped, fluttering every bit like a nervous bird. “Where are we going?”

“Dunno. Just started walking.”

But from the look of things, this was the direction of...the fourth island, right?

Ah, there’s an amusement park, there.

Well, that was a typical venue for dates, right? Better than sitting on his ass for hours while staring at a screen while picking at popcorn stuck in his gums. If he had to get up and “make friends”, he might as well be active. Or something.

At least the hospital slippers were comfortable for walking around.

“...um...” Komaeda’s smile twitched as he fiddled with his fingers. “So, we’re...going to the fourth island, right?”

“Sure looks like it,” he said and they crossed the bridge. Waves rolled underneath their feet. “How do you feel about amusement parks anyway?”

“I haven’t been to any since I was a kid,” Komaeda mumbled. “Um, Mioda-san wanted to go with a large group, but... She also wanted to ride the roller coasters and that’s...absolutely...not an option...for someone like me.”

“Someone like you,” Matsuda mimicked. “Well, I’m not one for being jerked around either. So it’s whatever.”

Komaeda laughed lightly.

“It’s...really more than just that,” he said. “It’s far too dangerous.” His breath caught and then his eyes began to swirl. “So many people can die in roller coaster-related accidents! For someone like me, someone like me...! It’s just...not an option...!”

Matsuda glanced at him as he wheezed, voice cracking, pitching, and distorting.

Without thinking, he reaches out and takes his cold, clammy hand, making Komaeda nearly choke.

“M-Matsu...?!”

“No roller coasters,” he said. “Got it. Like I said, I don’t really care. I’m not one for being jerked around.”

Komaeda swallowed back saliva as though his throat ran dry.

“I... Um...” He blushed and hurriedly nodded. “Okay...”

With that, Matsuda tugged him along.

--

“Riding...on the mouse...is a must...!!”

“A must, huh...?”

“A must!!”

“Kay.”

Matsuda did not ride on the mouse but instead lounged on the unmoving carousel. He watched Komaeda straddle the mouse however and grip the pole as it rose and fell. For that brief moment, Komaeda looked utterly delighted and like a real little kid.

...ah, huh...

The music played on an on in a looping, saccharine melody. Komaeda giggled with glee. Matsuda was this close to falling asleep. In fact, his eyelids grew heavy and with time, slowly, but surely, they fell.

“Mm...”

“Matsuda-kun!”

Matsuda perked up, blinking blearily a few times. The merry-go-round wasn’t moving, and the music was no longer playing. Komaeda, however, was smiling brightly down at him, fingers clasped behind his back.

“I know I’m not the most terribly interesting company,” he said. “But, sleeping like this is bad for your neck, Matsuda-kun!”

Matsuda’s joints popped and scraped against one another in agreement.

“Not the worst position I slept in,” he yawned. He took Komaeda’s offered hand and helped himself up. “Did you enjoy yourself, at least?”

“O-Of course!” Komaeda stammered out. “How could I not?!”

“...I could think of a few ways,” he said but didn’t elaborate further on the topic. He stretched. “So, what else are we doing?”

“Eh...” Komaeda blinked at him dumbly. “What else...?”

“Yeah, what else,” Matsuda repeated, unimpressed. “Just going on one ride would be too half-assed even for someone like me.”

“But...!” Komaeda gasped. “Someone like me... Just one ride is more than I could ever ask for from someone like you, Matsuda-kun!”

Matsuda scowled.

“Are you saying you don’t want to go anywhere else?”

“It’s not about what I want...!”

“Then shut up,” he snapped and Komaeda’s mouth did indeed snap shut. “If you keep overthinking, you’ll overheat and that worthless brain of yours will end up melting. You’re already stupid enough so let’s not add further brain damage to the mix, Komaeda.”

Komaeda blinked up at him and then swallowed, nodding in return.

“Come on,” Matsuda said, gesturing him to follow with his shoulder. “I wanna try the Ferris Wheel next.”

“The... Ferris Wheel...?”

Matsuda stopped, spinning around on his heel.

“Yeah,” he said. “Do you have any problems with that?”

Komaeda’s smile twitched.

“I... A few... Like if it breaks...or stops...” Once again, his eyes swirl. “Or stops, breaks, and then rolls away.”

“What kind of shitty action movies have you been watching? You should be watching more worthwhile flicks—like Home Alone or something.”

Komaeda blinked up at him, eyes bright and shimmering.

“...I don’t watch action movies. They’re loud and uncomfortable. And voyeuristic. Not to mention I’ve been in those situations before...” he trailed off.

“I get it,” Matsuda said, huffing. “We can go on something else. There’s a train ride around here, right...?”

A train...

“Oh, no!” Komaeda gasped out. “No, no! If you want to go on the Ferris Wheel, then you can, Matsuda-kun! But...” He fiddled with his fingers. “It’d be such despair if something happened to you because a lowly worm like me was there, so...”

Like a merry-go-round, this conversation is going in irritating circles.

“Are we going or not?” he asked. “Yes or no?”

“W-Well, I...”

“Yes,” Matsuda repeated, stressing out the word between his teeth in a hiss. “Or no?”

Komaeda flinched, hesitated, and then shakily he nodded.

“Um, um... Y... Yes. Yes, we’re going. Sorry, Matsuda-kun.”

“Don’t worry about it,” he said coolly, turning back so they could resume going on their way. “Like I said, you just shouldn’t think further on the matter at all. Idiot.”

Komaeda shivered but soon enough skipped up after him with a giggle.

“Matsuda-kun, you’re sharper than a scalpel! Hahaha!”

Matsuda hmphed at that.

--

Komaeda looked up at the Ferris Wheel with the strangest expression, at each passenger car rising to meet the sky before descending, each pausing at the ground to potentially welcome someone inside.

Matsuda shrugged off his thoughts and the two of them stepped inside and settled on the cold plastic seats as the doors creaked shut.

“...it’s very different,” Komaeda murmured, looking out dazedly, shifting the slightest bit. “I never rode the Ferris Wheel before...” He smiled faintly. “I was too scared of it rolling away, but... It really isn’t so bad...”

“Yeah?” he droned. “I rode it once because...”

He stopped.

Ah... Huh...?

“Because...?” Komaeda frowned. “Matsuda-kun...?”

Matsuda rubbed his temples as they began throbbing again, this time more fiercely like there was a violent recoil inside his head.

“U-Urgh...!” He quickly fished out that bottle of pills, and swallowed another one dry. He groaned, rubbing as the pain dissipated. “Fuck... Christ... Do I have a fucking tumor or something?”

“A-A tumor?!” Komaeda paled with a look of utter horror. Irritably, Matsuda waved his hand with a sigh.

“No, it’s nothing, it’s nothing.” The words almost felt planted on his tongue. He couldn’t really explain it and—he felt the compulsion to just ignore it entirely. “Honestly with how ridiculous the whole situation is... Chronic headaches developing suddenly isn’t that weird.”

Even though deep down I know there’s more to it—

I feel pressured to just ignore it.

“Ah...” Komaeda faltered like a wilting flower. “Matsuda-kun... Please take good care of yourself...”

“Geez,” he grumbled. “I shouldn’t have you of all people telling me that.”

Komaeda smiled sadly and Matsuda averted his eyes from that sight to the one of the amusement park as well as the rest of the island spreading out before them. Matsuda straightened his posture as he stared out further, to the endless blue of the ocean and sky.

“...when the sun sets,” Komaeda spoke up suddenly. “This is sure to be quite the stunning sight, don’t you think, Matsuda-kun?”

“I guess,” he replied. Komaeda laughed.

“With how vibrant orange complements blue, it’ll really be radiant to see, I’m sure,” he said. “But... As it is now... This is...nostalgic to look at... I was worried but... This...really isn’t so bad... It’s calming, I think.”

Matsuda turned and Komaeda had a gentle, serene smile that seemed different from the rest of the calm, vapid smiles he’d toss around so carelessly.

...This is nostalgic for me, too, he thought. But... It’s still really different.

Their car creaked as it continued to rise. Komaeda suddenly shivered.

“A-Aha...” He wrapped his arms around himself. “Ah, ah, um, sorry... Sorry... I don’t know why, I really was fine but then—!”

“Oi,” Matsuda said, voice lower. Slowly, he began to move. “Komaeda, are you...?”

Komaeda shook his head furiously.

“I-It’s just! We’re so high up! So high, so high! If we got stuck here—or if we fell with no way of protecting ourselves—that would just be the worst, wouldn’t it?!”

His breath hitched.

“That makes this really dangerous, doesn’t it, doesn’t it, doesn’t it—!”

And then suddenly, the wheel stopped and Matsuda toppled forward. Komaeda yelped.

And then, Matsuda’s hand smacked against the other end of the car, his knee hitting the seat and making him shudder, all while Komaeda’s nose was crushed against his chest.

“...Ow,” Matsuda cursed colorfully, wincing as he pushed himself away. Komaeda’s eyes were wide like dinner plates, and Matsuda plopped back down on his seat. Both his hand and knee seriously ached right now.

“M... Matsuda-kun...” Komaeda looked around, and then wheezed out a laugh. “I-It stopped! It completely...utterly...stopped!”

“I noticed,” he said, frown deepening. “Well that’s just fan-fucking-tastic.”

Komaeda burst out laughing.

“I-I knew it! I just—I just knew it!” he gasped, giggling manically as his fingers tangled into his hair and pulled. “I knew this would happen and now we’re stuck here—someone like me got someone as wonderful and amazing as the Matsuda Yasuke-kun in this despairingly unlucky situation! I really am the worst! Just—the worst! The lowliest, most disgusting, most deplorable—!”

Matsuda’s hand smacked over his mouth, silencing him.

“Komaeda,” he said lowly and sternly. “Shut the hell up. None of that is even accurate. I was the one who said I wanted to be here, right?”

Komaeda quivered, his breath hot against his hand. Irritably, Matsuda shoved his hand against his mouth harder to utterly muffle any possible sound.

“I’m taking complete responsibility for this one and you’re not to fucking take that from me,” he said firmly. “This whole thing is the result of my dumbass decision making. Got that?”

He pulled his hand away to run his fingers through his hair with a sigh.

“...That fucking rabbit bitch better get our asses down soon,” he grumbled. He noticed Komaeda was staring at him with sparkling eyes and glared. “What the hell’s with that stupid look?”

“Matsuda-kun, you’re...even more tsun than Hinata-kun!” Komaeda gasped. “It’s incredible! Amazing! There’s no way Hinata-kun’s talent can be Ultimate Tsuntsun Hair when you exist!”

“...well you’re back to a level of acceptably stupid.” Matsuda sighed. “Geez, you... So what’s wrong with you anyway?”

“So many things!” Komaeda exclaimed cheerfully. “I’m wrong just by being here!”

“You know that’s not what I meant,” Matsuda snapped. “The way you talk, the things you say, the way you act—it’s all creepily familiar to someone I knew.”

It hurt, a bit, both in his head and in his chest.

Komaeda’s face fell, and he laughed softly.

“...Matsuda-kun’s the Ultimate Neurologist,” he said. “I kind of figured...you’d just know.”

“So you’re tight-lipped now, huh?” Matsuda rolled his eyes and folded his arms. “Well... It doesn’t matter... If I’m right, then I’m right.”

“Right,” Komaeda agreed, smile twitching at the seams.

“And if I’m right,” Matsuda went on. “I’ll be...seeing a lot more of you after all this is over. That said, I’m still keeping a close eye on you. You’re my responsibility now, too, Komaeda Nagito.”

Komaeda’s smile widened.

“Matsuda-kun.”

Matsuda perked up, and then he was almost blindsided by how bright Komaeda’s smile seemed in that moment.

“Please take good care of me.”

--

“M-Matsuda-kuuuuun! Sensei is... Sensei is so sorryyyyyy~!”

“Yeah, you better be.”

Usami wailed to his annoyance. At the very least, Komaeda was in a good mood afterwards, laughing without any worries whatsoever.

“Well, this thing should be working properly from now on,” Souda said. “Probably... It looks like it should.”

“Do you really think that?” Hinata asked. “A Ferris Wheel is...much more complicated than anything that can be worked on in a shed, right?”

“Hinata-kun, you’re talking to the Ultimate Mechanic!” Komaeda scolded. “If anyone knows, it’s Souda-kun!”

“Yeah, what he said!”

“Didn’t you just say probably?!”

Usami sniffled.

“S-Students... Please... Please don’t fight... We should all be happy that Matsuda-kun and Komaeda-kun are okay...”

“And it’s all thanks to Souda-kun!” Komaeda gushed, making Souda preen even more.

Oh, for fuck’s sake.

“Hey, uh... Matsuda...?”

Matsuda perked up, Hinata shrinking back a bit under his unimpressed stare. Averting his gaze, Hinata rubbed at the nape of his neck.

“Are you, uh...feeling alright...? Komaeda seems fine, so...”

“I’m fine,” he said. “That wasn’t the worst thing that could happen to me. Compared to being kidnapped without warning by a freaky rabbit to some freaky island in the middle of fucking nowhere... The Ferris Wheel getting stuck is hardly a misfortune worth writing home about.”

Usami and Hinata both flinched.

“I...see... Well, I’m glad both of you are doing alright...?”

“Yeah,” Matsuda said. “Yeah...”

He idly dug his hand through his pocket. His fingers grazed through something warm and smooth. Polished like a gem. He paused, and he glanced towards Komaeda, laughing and smiling and perking up at his stare and brightening in response.

Matsuda’s hand closed around the hope fragment and squeezed until it dissipated.

“Matsuda-kun, I really did have a lot of fun!” Komaeda chirped. “Next time, let’s go someplace like the beach! Hopefully my luck won’t bring a tidal wave raining down on us!”

Matsuda just gave a thumbs-up in response.

“Souda-kun, come to think of it, we were supposed to gather materials!” Komaeda exclaimed, making Souda perk.

“Oh yeah, now that ya mention it...”

“We should get going!!” Komaeda ushered him without further discussion on the matter. “Go, go, go! If Sonia-san hears you’ve been slacking off, she’ll be very disappointed, Souda-kun!”

Souda didn’t need much ushering after that, and with one last wave from Komaeda, the two of them ran off.

“How diligent!” Usami cooed.

Matsuda blinked a few times, unimpressed.

“...well, I should probably...”

He was only half-prepared to head back, honestly, so he shouldn’t have been surprised.

“...wait. Uh, Matsuda...?”

He stopped, and he wasn’t oblivious to Usami practically twinkling with delight. For now, he ignored her and focused on that hideous pink ticket that Hinata was holding out. Hinata himself looked awfully flustered.

“It’s...still early enough in the day,” he mumbled. “And we haven’t really...hung out at all since we got here.”

Matsuda just blinked.

“If you can make Komaeda that happy, then you must not be so bad, right?” Hinata asked with a wince. Come to think of it, Matsuda’s knee was probably going to make one ugly bruise. “So, uh...what do you say?”

Usami’s sparkly, expectant gaze was burning holes into his back.

Matsuda sighed.

“...Sure thing.”

What the hell.

“Love, love!” Usami chirped oh so happily. “Then I’ll leave you two be!”

Matsuda took the ticket and both it and Usami dissolved into another flurry of sparkles. The devil’s contract claimed more of his soul.

--

They went back to the hospital on the third island so that he could grab some ointment for his knee. It throbbed as he walked which was a literal pain, so the ointment helped a lot. And that was a good time for Hinata to just...look around his makeshift bedroom in slight awe.

“You, uh...really, uh...” He swallowed, glancing at the haphazard stacks of manga and textbooks on the table and a few neat stacks of various snack boxes. “You really made yourself at home...in this patient room...some of this is from your cottage, isn’t it...?”

“A couple of the books from the bookshelf, others from the library,” Matsuda said, and rummaged through one of the boxes for a few packages of rice crackers. “I wasn’t allowed to take the television and Usami most certainly whined at me, but y’know I don’t...give a shit...so it’s whatever.”

“It’s pretty quiet out here,” Hinata mused, looking out the window. “Even though the music venue’s on this island too, you can’t hear it at all from here. This hospital is...actually pretty isolated.”

“Yep,” he said. “Hence why it’s my preferred place of stay.”

Hinata nodded along. Matsuda tossed him a rice cracker and he caught it with a jump.

“Er... Thanks...” He pocketed the snack, swallowing as he did. “So you... Do you actually talk to anyone? Besides Komaeda, obviously, uh... What about Tsumiki?”

“That bitch?”

“Urk...” Matsuda looked so incredulous then that Hinata couldn’t help but falter, the corner of his lips twitching. “Well, she’s not like...an actual licensed doctor like you apparently are, but... She’s the Ultimate Health Committee Member and that...counts for something, right?”

“Hardly,” Matsuda huffed, affronted. “That’s like putting a hall monitor on the same level as a police officer. Oi, I may have skipped ahead a few years, but I did not suffer through grueling medical school to hear this level of bullshit.”

“...ah, sorry...” Wincing, Hinata ducked his head in apology. “I didn’t...mean anything by it.”

Matsuda waved him off with a sigh.

“It’s fine,” he grumbled. “Ms. Bitchtits Health Committee Member actually is more qualified than the typical idiot with a first aid kit. Sometimes she stops by, but... Well...”

He trailed off, thinking of crying and wailing that left his ears ringing for hours.

“...we’re not exactly amicable.”

That said, Tsumiki Mikan was someone who seriously, personally bothered him so much so that he tended to steer clear of her, metaphorical allergy to her sniveling aside.

“Yeah,” Hinata said, giving him an unimpressed look. “I’m not surprised to hear that. Tsumiki is...” A pause. “She’s...fragile. And you’re kind of a complete asshole.”

Oh, honey.

“Fragile and disturbed,” he quipped. “And you know it.”

Hinata flinched, and then his frown deepened.

“...Asshole,” he huffed back.

Yeah, that’s what I thought.

Hinata Hajime...really was an unremarkable oddity. Painfully average but still among the talented and still one of the talented—urgh, his headache was starting up again like there was something intimately wrong with those words—then again, being typical in an atypical crowd technically flipped things around, right?

Though not knowing your own talent—that was just plain weird.

Then again... I feel like my memory’s not the best either. A lot of things are...a blur...and a headache.

He might need to take another pill soon.

“...Um... So...”

Ah, Hinata was talking again. And Matsuda remembered.

“Right,” he said. “Our date. Alright, let’s get going. I think I can walk.”

Hinata, eying him ever warily, nodded in response.

“I... Yeah...”

“Yep.”

Once again, the two of them were off.

--

He shouldn’t be surprised; thus, he shouldn’t be disappointed, but... Still...

“We...were on the third island anyway,” Hinata muttered lamely as Matsuda’s eyes narrowed. “A-And hey, the movies here actually aren’t too bad.”

Well, he told himself. It’s not like I’m with Hinata because I sought him out or anything.

“You take all the boys here, huh?” he asked. “Wow, you really are a manwhore.”

“Shut the hell up!” Hinata screeched. “You didn’t have to come!”

“Yes I did,” he retorted. “That’s the point of this trip, right? Collecting hope fragments. It’s okay. I’m used to being used. Let’s just make this quick and painless.”

Hinata flushed so red-hot that steam poured from his ears. Ever nonchalant, Matsuda shrugged it off.

“Y-You...” Hinata shook his head furiously. “You just...say whatever the hell you want, don’t you?”

“Yep.” He wouldn’t deny something that obvious. “This trait is hardly exclusive to me though so if you’ve been whoring yourself out as much as I know you have, you should be used to this kind of shit now, right?”

“I haven’t been...!” Hinata choked on air before he could even taste the word. “You... God, you’re beyond insufferable. I don’t have any idea how Komaeda could stand you.”

“Komaeda could also stand sucking my dick and it's a mystery to me too,” Matsuda said without thinking.

Hinata’s mouth fell open, eyes going blank. He did not speak. He did not even breathe.

“...joking,” Matsuda said, and Hinata wheezed.

“O-Oh my god, just fucking go!” he hissed and shoved Matsuda further. “G-Go... Go pick out a seat or...fucking something...!”

He very nearly shoved Matsuda into the glass door and...

He...definitely deserved that.

Honestly.

--

The inside of the theater smelled like salt, butter, and mistakes. He did rather like the font they used for the neon signs reading Ticket and Screen. Fucking brilliant. A real arthouse.

Already, rather eerily, there were snacks for selection and no one at the table. Usually this kind of situation would go horribly badly, but—this whole trip started with a talking magical stuffed rabbit thing. He’s probably not going to be poisoned or cursed if he eats the popcorn.

Not that he even wants any popcorn or anything.

“Popcorn’s a must, right?” Hinata asked as if he read his mind. Gross.

“I think... I’m good with my own snacks.” Aah, but... “I’ll grab a drink. I’m fucking thirsty.”

He grabbed the large cup and went straight to the soda machine. Thankfully, they had the good brands like Dr. Hopper. Actually pretty pleased with that, Matsuda filled his cup.

“Right,” he said and sipped his straw. “So, Hinata, what movie were you thinking of taking me to?”

Hinata froze, hand hovering over the hotdog he was prepared to grab. Seeming to think better of it—thank fucking god—Hinata dropped his hand.

“I don’t really know,” he admitted. “I didn’t actually think you’d go with me.”

“Ooh boy,” Matsuda sighed and took another sip.

“B-But there are all kinds of selections!” Hinata exclaimed hurriedly. “Like, uh... Horror?”

“Pass. I hate gore.”

“I, oh, but aren’t you—never mind that.” Hinata shook his head. “Uh, what about an action flick?”

“Action...” He paused, thinking about it. “Ehhhh, no. I’m not crazy about that either. Those can get pretty violent, too.”

Hinata gave him a withering look.

“Um... M... Mystery...?”

Poor thing looked completely lost. He really should spare some mercy.

Nah.

“Most mysteries about solving a murder case, right?” he asked. “Again. Not a fan of gore. Even if it’s only a little bit.”

“Then what do you want to see?!” Hinata demanded, sputtering.

Matsuda gave another pause and popped his lips before taking yet another sip.

“Mm...”

What I want, huh...?

He thought about it.

Well, if I was going to sit on my ass for two hours and stare at a screen, what I’d want to be playing on the screen would probably be...

“Anime.”

Hinata blinked once, twice, and seemed to have aged ten years in ten milliseconds.

“...anime,” he repeated.

“Anime,” Matsuda said. “Preferably one of the Ponpon movies. The fourth one is objectively the best but the seventh one is my personal favorite.”

“I’m not familiar with that series,” Hinata replied blankly.

“Aw, really? That’s a shame.” He sipped. “It’s a mainstream classic, y’know.”

Hinata once again just blinked at him. At least this time, he inhaled, exhaled.

“Anything...stand-alone?”

Matsuda hummed.

“...The Tale of Princess Kaguya.”

Hinata straightened up at that, perking.

“...Kaguya...?”

“Don’t tell me you don’t know who Princess Kaguya is,” Matsuda sneered in disgust. Hinata quickly waved his hands.

“No, no! I do...! I just... That’s...” He bit his tongue. “Never mind. Let’s go see if they have it. Maybe they will? I... Hopefully they will, yeah...”

Hinata hurriedly scampered off to find the film reels. Matsuda went with him since he might as well, but he didn’t really need to be there. Hinata found the film reel he wanted, and the two of them could just go into the theater and take a seat without any problems.

Matsuda refilled his cup when he had the opportunity. He would have just taken a seat without any problems... But, Hinata, of course, made him go to the bathroom before they sat down.

Jerk.

--

Well... That went as expected.

Hinata seemed rather dazed as they walked out. Satisfied, Matsuda tossed his empty cup.

They hadn’t really spoken during the movie. If anything, they were almost obscenely quiet to the point where even when Hinata nibbled on his rice cracker, the sounds were as soft as crunching could be. And then, Hinata cried. And he tried in vain to hide it by rubbing his eyes until they swelled up more. Matsuda just watched the credits as Hinata shifted and squirmed.

Then they went to the bathroom, and Matsuda headed out of that quickly so Hinata could “discreetly” wash his face in peace. And now they were both here, standing in the lobby and not really looking at each other.

“...that was really good,” Hinata said finally, tugging at his tie. “It was...uh...really good. Really...pretty...”

“What can I say?” Matsuda asked. “I may half-ass a lot of things, but my taste is as refined as can be.”

“Uh...huh...” Hinata swallowed. “But, yeah, I actually really enjoyed that. Thanks.”

“This movie date was your idea,” he pointed out. “So, shouldn’t I be thanking you?”

“...uh.”

“What is that shit over there.”

“H-Hey, wait!”

Too late, Matsuda had already made a beeline for the table in the corner.

“What...is this?” Matsuda squinted as he picked up the tote bag, and he grimaced at the sight of a cutesy pick outline of Usami’s face in the corner. “Are they prizes or something...?”

“Oh, yeah, they are,” Hinata said, rubbing at the nape of his neck. “You’re supposed to get a free tote bag after your first movie, so uh... Guess Usami left one here for you.”

“Free shit that I’ll never need. Amazing.” A pause. “Well... Actually, a tote bag has a lot of use. I guess...this isn’t so bad, then...”

Hinata snorted. “Yeah, it’s not.”

“...These stickers, though...” There was a neat little stack of them, and Matsuda could almost feel Hinata grimace with how quickly the mood dropped at the mention of them. “Gross... Aren’t these of that creepy bear thing?”

“Urgh, yeah. Just...ignore those. Everyone else does.”

Matsuda wanted to, but he couldn’t help but see the text.

I’m sorry, I was born stupid.

“Wow. Charming.” Not that he didn’t have any room to talk and—urgh looking at the damn thing was giving him a major headache. How much of an eyesore could one tacky sticker be? “Mmgh...”

“Are you alright?” Hinata asked, suddenly worried. “You got...really pale for a moment there, Matsuda...”

“Did it...?” He winced as he rubbed at his temples. “Urgh...”

What even the hell is this?

“We should, uh, probably go back, right?” Hinata asked and for some reason, Matsuda felt his headache worsen, his vision blurring, Hinata’s very

figure

flickering.

What?

“O-Oi, Matsuda?!” Hinata seized his arm, and his focus snapped to attention with a recoil that left him stinging. Matsuda very nearly shuddered, and Hinata squeezed his wrist. “H-Hey... Can you hear me? Are... Are you alright, Matsuda...?”

Matsuda’s eyelids fluttered and he shook his head furiously.

“I...”

“Come on,” Hinata pulled at him. “You’re really not looking so good—I can go get Tsumiki...”

“No.”

Matsuda stood his ground, resisting the pull for now. Scratching irritably at his neck, he shrugged.

“I think... I just need to lie down for a bit.”

“I... Are you sure?” Hinata frowned. “If something’s really wrong...”

Hasn’t something been really wrong from the start?

He shoved that thought away.

What the hell ever.

“It’s whatever,” he said. “Just take me back to my room. Specifically, my room at the hospital, but saying take me to the hospital doesn’t exactly inspire a lot of confidence that I’m fine or whatever, huh?”

“Not really,” Hinata agreed and sighed. “I... Alright... Come on, Matsuda. L... Let’s go back.”

“Yeah, yeah...”

--

It was starting to set and—it really was as radiant as Komaeda said it would be, with everything awash in a vibrant orange and pink.

Matsuda popped in one of his pills and took a swing from one of the water bottles he had stocked up.

“...long day,” he said, cracking his shoulders. “It seemed to go by so quickly.”

“That usually happens when you spend time with people,” Hinata said before pausing and adding, “I...think so anyway. I guess it depends on the person you’re spending time with.”

Well, he couldn’t disagree with that.

“...hey, Matsuda...?”

Matsuda perked up. Hinata seemed sheepish, almost tense as he averted Matsuda’s cool blue gaze.

“How are you feeling?”

Huh?

“You’re still worried about me?”

Hinata reddened considerably, scowling.

“Of course I am,” he snapped. “You acted really weird all of a sudden. It’s normal to still be a little concerned about that...”

Huh...

“Well, I’m fine,” Matsuda said. “So you don’t need to worry, yeah?”

“I see...” Hinata exhaled as if in relief. “Well, that’s good. Just be careful alright? Take it easy, or at least...try to...”

It’s almost like you actually care about me or something.

“Mm...” Matsuda set his water bottle aside to grab and toss Hinata another bag of snacks. Hinata once again caught it. “Here. Why don’t you take something for the road?”

Matsuda could see the gleam of a hope fragment with the snacks in Hinata’s grasp. With a squeeze, Hinata pocketed them both.

“...Thanks,” he said, still not looking at him. “For agreeing to go with me, and... That movie was nice. So...thanks for that, too.”

“You’re welcome,” Matsuda replied. “Thanks for taking me in the first place. You’re not so bad to hang out with... I guess...”

Hinata smiled wanly, the edge of it twisting.

“That’s something,” he said, laughing just a little. “Then... I’ll be seeing you later?”

“Yeah,” Matsuda said, raising his hand. “See ya.”

Hinata waved back, heading out, shutting the door with a soft click.

Matsuda plopped onto his bed.

...geez...

Well, that was something.

What even was that, anyway—

“Matsuda-kuuuun, you did so well, love, love!”

Whoosh, thwack.

“H-Huuuuuuueh?!”

Despite that initial freak-out, Usami’s ears drooped with resignation as she turned to see the familiar scalpel stuck in the wall. Another dot for the connect-the-dots outline. “U... Uuuu... Matsuda-kun... Why do you always throw knives at me?!”

“Shut up,” he chided. “Don’t show up without warning at a weird fucking hour. That’s rude. At least knock on the fucking door like a regular person.”

“I-I’m...!”

“Right,” he recalled. “Not a person.”

“I may not be human but I have the heart of a maiden!” Usami whined. “P-Please don’t think badly of your teacher... Uuu...”

“You’re too pitiful to think badly of,” he said. “So if you’re worried about that, you shouldn’t be. You’re just weird in a lot of ways—such as weird in that you’re afraid of a little tiny scalpel.”

“Yaaaaay!” Usami cheered, and Matsuda could only turn away and stare into the void.

...this is my bullshit life now.

“I am really proud of you, that said!” Usami went on with a chirp. “Are you feeling more hopeful now, Matsuda-kun?”

“That is one of the stupidest, most inane things you could have asked me.”

“U-Urk!” Usami flinched but admirably, kept on trying with that sugary, pleading smile. “Then... How do you feel now that you’ve deepened your bonds with a couple of your classmates, Matsuda-kun?”

She tilted her head. Matsuda pushed himself up, brushed past her, and reached out to pull out the scalpel from the wall. He observed the sheen of the blade, his reflection.

“...nostalgic,” he said. “Haunting.”

“H-Haunting?!” Usami squeaked. “Matsuda-kun, that’s such a worrying word to use! W-What’s wrong?! How can teacher help?!”

“You can leave,” he said. “Your squealing is making my headache worsen.”

“U-Uuuu!” Usami shrank in on herself. “Matsuda-kun... I really do just want to help...”

...I can believe that much. It’s just the method that I can’t help but question.

Something really does feel...incredibly wrong about this.

Urgh, and he kept getting headaches. It really was irritating.

“...it wasn’t bad,” he said, sighing. “Hanging out with people like that...wasn’t so bad.”

Usami lit up.

“Yay!” She positively beamed. “Just keep at it, Matsuda-kun! Strong bonds lead to a stronger heart!”

Not always.

Aah, that really hurt for some reason.

He looked towards the window, at that setting sun, at wine-dark ocean waves rolling underneath.

It really was nostalgic...and haunting.

But...not so bad, he supposed.

“Love, love!” Usami chirped. “A bright and shining hopeful future awaits on this lovey-dovey heart-throbbing island trip!”

“...if you say so.”

--

The birthplace of hopeful and shining futures—Hope’s Peak Academy. Revered and admired by the world at large, cradling the world itself at its fingertips. Yep, Hope’s Peak Academy was one hell of a place.

Nothing like a paradise built on the backs of the disenfranchised.

Matsuda couldn’t care less for this damned place at this point—by all accounts he should care even less for what was to become the Ultimate Hope Marionette in a sea of puppets where HPA cheerily pulled the strings.

And, yet.

He finds himself in the madman’s basement, scowling at the fucking cryptid in the middle of the room, atop the neatly made bed, staring at nothing with the creepiest pair of blood-red eyes.

“God, what are you—a fucking lamp? Or a houseplant?”

The cryptid perks up, red eyes gleaming in a way that totally wasn’t creepy or just plain fucking weird at all. Yeah, right. Seriously why the hell did they do that?

“Matsuda Yasuke-kun,” he acknowledges, cool and smooth. “Hello.”

Gross.

“Yo,” Matsuda said, raising his hand and shoving the cart forward. It only rolled ahead two feet. “Three guesses as to who the fucking idiot in charge of your daily examination is today and the first two don’t count.”

“It is you.”

“It’s me,” Matsuda replied, waving his hand. “Good, you’re still able to pick up on basic context clues. You need to exercise your brain to prevent atrophy just like with any of the other muscles in the body.”

“False.”

“Wow, do you hear that? It’s the sound of an input I didn’t fucking ask for. I’m taking off marks for that shit, no flower circle for you today. Nor a gold star, if that’s what you prefer.”

Blink. Blink.

“How boring.”

“I can’t believe the fucking lamp has the audacity to say that to me. That’s it—you fail the course. Try again next semester, you little shit.”

“You seem to be in a worse mood than usual,” he simply observed, shifting the way he sat ever so slightly. “Things have been harsher on you as of late, haven’t they?”

“Ew, did you just ask a question out of concern? Fucking stop that.” Matsuda pushed the cart a little more. “If you really want to know, Kamukura, it’s because I really don’t want to fucking be here right now.”

“You may leave, then,” Kamukura said. “You know as well as I do that this procedure is unnecessary.”

“It’s protocol you fucking idiot savant, necessity isn’t the issue here.” Somehow, he managed to push the cart enough that it was in the necessary vicinity. “Even if I did just leave to tell them there were no issues, I’d still have other shit on my plate I’d have to put up with. What I need is a break from fucking everything.”

Sighing, he started with the examinations, taking Kamukura’s temperature and checking his heartbeat.

“...Actually,” Matsuda found himself saying and almost couldn’t believe it himself. “A break sounds great. How about we go out for a bit?”

Blink. Blink. At least he didn’t have to worry about those creepy fucking eyes shriveling up anytime soon.

“We?”

“Look,” Matsuda sighed, pulling away. “Hinata used to have this healthy tan. You’re pallid like a goddamn corpse. It’s beyond creepy. For the sake of my sanity, you need to get out of this shitty lab every now and then and do fucking something.”

“...how dull...”

“It can’t be worse than sitting in a dark, empty room all day, right?” he snapped, pointing at him accusingly. “Well, whatever. I can’t actually make you do anything. Tch.”

He resumed the examination.

“After I finish with this,” Matsuda said. “I’m gonna postpone all other plans and leave campus for a bit. I’ll be waiting at the front gates for five minutes exactly. If you want to go, there’s your one and only window of opportunity. Got it?”

No response. Kamukura didn’t even seem to be looking at him.

With a scowl, Matsuda knocked him with the back of his fist. Even for a normal person it barely would’ve hurt, so, of course, Kamukura didn’t so much twitch. But, he did glance at him.

“Goooot it?” he droned. “Do you understaaaaaaand?”

“...Yes.” Kamukura nodded blankly. “Of course I do.”

“Good,” Matsuda huffed. “Geez, you’re so fucking obnoxious.”

--

The examination went as expected. He did his reports as expected, not so much as batting an eyelash at the leering and sneering from a bunch of gross older men whose faces blurred into a series of wrinkles. The same shit as always. What was he supposed to do at this point besides dish the usual salt and spite?

In the end, he was still under their thumb.

Theirs and hers.

For a place called Hope’s Peak, I’m being crushed, aren’t I? Ha. Ha.

Aah, what even was the point of it all?

He could ask himself that endlessly, but regardless of what answer he came up with, it’s not like he would live any other way.

Which is why a break wouldn’t just necessary, it was downright optimal. If he continued down this path without taking any breaks, he might end up snapping and trying to strangle the fucking Class Rep or something.

Yeah, that’d be...bad.

So no hard feelings about just fucking off today. None whatsoever.

The sun was as merrily bright as ever, the sky a sickeningly vibrant blue, and Matsuda had never been happier to just fucking leave this hellhole.

But he told himself he was going to stick around for five minutes, and he actually set a timer on his phone to make extra sure.

That asshole wouldn’t even appreciate this level of dedication. Then again, his brain didn’t even have room for appreciation with all that supposed talent stuffed in.

Why am I even doing this, then?

The situation was the same with the last question.

“Gross,” he grumbled. “Am I a fucking softie deep down after all?”

Were those reserve girls right about me? Ew. Ew.

“Urgh, I need to stop thinking about it...”

He checked his timer, and then...before he really realized it, he was watching it count down.

He might not even show up.

He might not even bother.

So why should I?

Why should I—

Beep, beep, beep.

“Matsuda Yasuke-kun.”

Matsuda perked up, and, sure enough, there Kamukura stood, broody nonchalance as expected, right on the dot.

“...Could have showed up earlier, asshole.”

Unsurprisingly, Kamukura ignored that remark.

“Where did you plan on going?”

“Out,” he said. “Of here and this place. At least for a bit.”

“That is vague,” Kamukura replied. His expression didn’t change but Matsuda could just tell the guy was unimpressed.

“You’ll figure it out,” Matsuda scoffed and held out his hand. “Now, come on. Let’s hurry so that we don’t miss the train. We’re holding hands so that I don’t have to risk you wandering off, i-di-ot.”

Kamukura reached out and took his offered hand. He squeezed it once and then went limp like any doll would. Still, he followed Matsuda’s stride when Matsuda tugged him along.

And, really, wasn’t that the only thing that mattered?

I should just stop bothering with the whole thinking thing altogether.

--

He bought them both tickets, and he really shouldn’t have been surprised that with all the empty spaces on the train, Kamukura deemed appropriate to sit right next to him.

“You could have at least tied your fucking hair back.”

“Boring.”

“Urgh, you’re worthless at conversing.”

“False. One of my talents is Ultimate Conversationalist. I simply have no interest in exercising it.”

“...you’re worthless in general.”

No response to that. Kamukura just sat and stared at nothing as he always did.

Matsuda only sighed.

“This is your first time leaving the nest,” he said. “The least you could fucking do is fidget or something.”

“Boring.”

“Yeah that’s what I figured.” Another sigh. “Then just keep lookout, alright? I don’t want anyone who knows me to see us together. Can you do that?”

“I can.”

“...will you?”

“Boring.”

Matsuda’s eye twitched.

“...Taking that as a yes, you braindead talent gorilla. Consider yourself lucky.”

“Correct. I have Ultimate Luck as well.”

Matsuda stared into the void.

I might just be a masochist after all.

“False. You are more likely a mere sadist.”

“What the actual FUCK did I tell you about reading minds, you fucking fuckwit?!”

“Not to do it.”

“THEN DON’T DO IT?!”

“Boring.”

At this rate Matsuda was going to strangle him. And that would just go badly for everyone involved, he just knew it. Especially if it turned out he did have a sadistic streak, like Kamukura suggested.

Urgh. And Kamukura’s fucking hair was in his face. Urgh.

--

In the end, one of the first things he did after reaching their destination was buy a hair tie. He had to pull Kamukura’s hair back himself, and, unfortunately, he had enough experience with this kind of bullshit to actually pull it back into a pretty neat ponytail.

Gross.

“Wow, now you actually look like a human and not that fucking creepy-ass ghost bitch that apparently enters via TV,” he said, pulling away. “Too bad you’re never going to feel human. Despairing.”

Matsuda’s face twisted a bit at the taste of that last word, but, of course, Kamukura didn’t comment on it.

“...Right. Let’s keep walking.”

The city was bustling as ever, several people just walking about and minding their own business. Flashing billboards and traffic lights, cars rushing by, skyscrapers that really matched the name... It was noisy and obnoxious and he felt better already.

Kamukura stuck by closer than he had to, but Matsuda overlooked that for now.

“Let’s see,” he hummed. “What to do, what to do... Hey, Kamukura, one of your talents is Ultimate Tourist, right?”

“Yes. That said, I do not care.”

“Man,” Matsuda whistled. “You really are such a waste of science and space that it seriously pisses me off sometimes.”

But, at this point, I’m just resigned to it like I’m resigned to all the other shitty stuff in my life.

“Let’s just go around and do whatever meets my fancy,” he said. “Since you’re worthless, I’ll have to pull both our weights. I won’t hear any complaints.”

Kamukura said nothing to that. Good.

The talent gorilla could listen after all.

--

True to this word, they just did whatever he felt like.

The walked around for a bit to observe different buildings, and he did some shopping for new slippers and sandals. Kamukura followed him around like a dutiful dog, but remained rather quiet and largely disinterested even when Matsuda wandered around a museum to stare at various sculptures and paintings. Or when Matsuda dragged him to a rather high-end restaurant. Kamukura only seemed interested in nibbling on bread. But, when Matsuda ordered him a soup, he was more focused on ‘fixing’ it with spices than actually eating it.

It really, really was to be expected. But, at least Kamukura did eat it all. No reaction, though. At least, on his face.

“The food at Hope’s Peak is vastly superior to this. So why eat here? Is it just for the experience?”

“Of course it’s for the experience, you dumbass.”

They still got ice cream at one of the stands afterwards.

“I’m getting strawberry, and you’re getting...?”

“I don’t care.”

“Vanilla, then. Got it.”

Kamukura finished his ice cream as swiftly as the soup. Again, no reaction, and this time, not even so much as any additional commentary afterwards.

And so it went.

“There are various shows at the theatre,” Kamukura said after they passed the theatre in question. “Do you have no interest in that?”

“Do you?”

“...No, I do not.”

And went.

“This city doesn’t have much, but even here there are binoculars,” Matsuda muttered as they waited in the glass elevator, watching the city go lower and lower as they got higher and higher. “I wonder if that’s a must-have for any big city... Or something like that?”

“How boring,” Kamukura replied. “So boring.”

Matsuda snorted.

“At this rate, you might upgrade from lamp to animatronic. I guess that’s impressive in a despairing way.”

And isn’t that what the researchers want? Ultimate Hope Puppet.

Either way, Kamukura gave no further verbal comment. Matsuda sneezed.

“Urgh.”

They arrived at the highest floor. People were more scattered and there was a lot more space to walk without having to avoid brushes of accidental contact. Matsuda made a beeline for the binoculars mounted on the stalk. Kamukura followed, ever dutiful, and for a moment, Matsuda paused to look out the wide windows showcasing endless blue. There were barely any clouds in sight.

“Alright, let’s see what fuckers are jaywalking.”

“You would really waste money and time on such a worthless activity?” Kamukura asked.

Matsuda merely flashed the yen coin before slotting it in.

“Of fucking course.”

He had plenty of coins and plenty of time to kill even now, so why the hell not, right?

“Hey,” he said after a few attempts. “Try this. I want to know how many you get. My record’s fourteen.”

“How boring.”

“Fucking do it, Kamukura.”

Kamukura rolled his eyes but he did step forward, poised and ready. Matsuda entered the coin and sucked in his breath.

Kamukura only moved as fast as the binoculars would allow him but it was still pretty fast. People were even staring. This might’ve been a bad idea.

Aah, to hell with it, Matsuda decided, rubbing at his neck. It’s only for what, two minutes and a half?

“Seventy-seven.”

“Wow. What the fuck.”

“I could sense hundreds more,” Kamukura said. “But with these binoculars I could only explicitly observe seventy-seven.”

Matsuda nodded, unsurprised yet mildly impressed. Not that he’d ever show it.

“Do you think you could observe more if I slot in another coin?”

Kamukura’s eyes narrowed.

“That would be a waste of time and money.”

“I’m doing it.”

Matsuda didn’t even skip a beat and slotted in another coin.

--

Before he knew it, the sun was setting, and they’d definitely need to get going. Well, shit.

“Time really flies,” Matsuda sighs. “I guess it’s a matter of what you’re doing and who you’re spending your time with. Or something.”

“Time passes as it always does,” Kamukura said. “It is merely your awareness of it that shifts.”

Matsuda gave a harder, heavier sigh.

“We really should hurry back,” he said. “It’s risky for you to be gone for this long although, I’m sure you can circumvent any issues that arise.”

“I can.”

“It must be nice,” Matsuda went on. “Having no worries and no feelings whatsoever.”

Suddenly, Kamukura stopped in his tracks. Matsuda paused as well. Others continued to bustle about, the world continued turning. Matsuda, however, did not turn back.

“You got something to say?” he simply asked.

“I...” Kamukura paused. “It is not nice. It is merely nothing at all. It is boring.”

“Is that it?” Matsuda asked, turning to him with a raised brow. “You’re really disappointed about us not having time for the theatre after all, huh? It’s your fault. You took so long to eat your damn food.”

Kamukura said nothing, his lips drawn in an impassive line.

“Maybe next time,” Matsuda said. “With any luck—which I know you have—there’ll actually be something decent playing. Or something. We could also try an amusement park or something. They might have a Ferris Wheel, which would probably be better for jaywalker-spotting. That might be something.”

One of the first rides I ever went on was the Ferris Wheel because that bitch dragged me onto it.

Still, no response.

“C’mon,” Matsuda said, gesturing with his shoulder. “We got a train to catch, remember?”

He walked back and took Kamukura’s hand to pull him along.

“God, you really are so fucking hopeless.”

--

There wasn’t anyone else in the train car with them on the ride back. This time, at least, Kamukura sat across instead of right next to him. With the orange, dulling light, Matsuda felt his eyelids flutter. He yawned and began to slump.

“Mm... Wake me up when we’re nearing our stop... Mmgh...”

“Matsuda Yasuke-kun.”

Matsuda perked up blearily, squinting with confusion and irritation.

“...what is it?”

“Tell me,” Kamukura said. “What was your true motive for all of this? Leaving campus, insisting I go with you, dragging me along to all these mundane locations, subjecting me to unremarkable experiences... Would you truly have done all that if you were alone?”

“Aah, what’s this? The supposed savant of everything actually asking a question he doesn’t know the answer to?”

“It is not like that,” Kamukura replied, almost snappily. “I merely wish to hear your answer in your own words.”

“...does that matter to you?”

No initial response.

“Answer my initial question,” Kamukura demanded coldly.

If he were anyone else, he most certainly would have been intimidated. But, he was himself, so he didn’t really care. With a sigh, Matsuda leaned his head back and sighed.

“...seeing you sitting despondently in that empty lab, all day, every day, really seriously pissed me off. I wanted to drag you out of there if only for a little bit. But, as you know, I can’t exactly force you to do anything...”

“Why?” Kamukura asked when he started to trail off. “Do you have a personal reason as to why you had such a desire?”

...a personal reason...

Matsuda’s gaze narrowed sharply.

So that’s what this is about.

“...back when I was a kid, my mom died from sickness,” he found himself saying. “Her condition had been so bad that my dad, the fucker, had packed his bags and fucked off somewhere. When she finally died—unsurprisingly, I didn’t take it well.”

But I wonder if you already figured all that. It’s on my file.

Did Kamukura care enough to read that?

It didn’t matter.

“I didn’t leave my house for over a week. I barely left my room if I could help it. I mostly ate snacks, pissed in some bottles, spent most of my time sleeping or...lying around reading manga...” Matsuda laughed softly and dismally. “It got so despairing that even that stupid, dumb cheap bitch got worried.”

How long ago was that...? What day was it? What was even the season?

He didn’t remember. He knows that the sky must have been the same, at least.

“If that idiotic childhood friend of mine didn’t take matters into her own hands... If she hadn’t dragged me out then...and again...and again...when I otherwise would have been content to just wasting away like any other corpse...” Matsuda shook his head. “Well, even now I’m a dead man walking...all thanks to that girl. So I guess...seeing you like that... I couldn’t help but interfere.”

And Kamukura merely sighed.

“...I see,” he said. “So you had an underlying compassion after all. How boring. I predicted this.”

“Now don’t get the wrong idea,” Matsuda said, just as coolly. “It’s definitely not like I’m a good person for doing all this, y’know?”

With the harshness of the orange, the shadows looked so much darker. The world looked all the duller under such vibrancy.

“A good person wouldn’t have helped make you.”

Without even a pause.

“...I know this.”

“Good,” Matsuda huffed. “It’s best not to forget something like that. After all, my childhood friend—she is, without question, the worst person to ever live.”

“...you’ve told me as much before,” Kamukura said, quieter than usual.

With that, Matsuda let his eyes fall shut.

--

It was starting to get dark when they returned to the gates of Hope’s Peak Academy.

“Aah... Wow, it’s...late.”

“Yes.”

Matsuda scratched at his scalp, grumbling.

“Wow, I seriously wasted a day like that... Pretty impressive for a waste of space.” A pause. “Sorry. Two wastes of space.”

“You seem proud of yourself.”

“I’m a pretty proud waste of space,” Matsuda said. “That’s all there is to it.”

Kamukura hummed noncommittally.

“Before you go and become one with the fucking night like I’m sure you’ve always wanted to do,” he went on. “Remember what I said, alright? Don’t stay in that dinky empty lab all the damn time if you can help it. Even if I’m not there to take you somewhere, it wouldn’t hurt to just...go for a walk by yourself.”

There was a rustle from the cold late breeze. It really was quiet, save for the hooting of some owl he’s sure tamed by the creepy wannabe goth freak from the class opposite of his.

“You never know what you’ll find, even if you just stick to here,” he found himself saying. “There are all kinds of colorful characters at Hope’s Peak Academy.”

“How boring.” Kamukura’s look seemed to darken—or maybe that was just the shadows. “I could not care less for the lesser talented individuals frolicking about.”

“I figured you wouldn’t,” Matsuda sighed. “But I think it’s best to not limit the faces you see to the ugly mugs of the researchers and mine. That’ll definitely make your brain molder.” He waved his finger. “And if nothing else, blue skies and green grass are more stimulating than gray floors, gray walls, and that gray as fuck ceiling I’m sure you memorized by now.”

“I have,” Kamukura said.

Matsuda snorted. “Of course you have; so you see my point.”

“Yes,” he replied. “But I could offer an easy counter.”

“Well, don’t,” Matsuda scowled. “Instead just listen to what I have to say. Let the words fucking soak into that overstuffed brain of yours.”

Kamukura stared back, and in this increasing dark, those crimson eyes were the only source of light save for the scattered stars above.

Fucking. Creepy.

“I’m done talking,” Matsuda said. “So go...disappear off into the fucking night like a goddamn ghost. I won’t keep you waiting.”

And yet, Kamukura waited a little while longer.

“...today was not unpleasant,” he said. “When do you predict we will be able to do this again?”

Matsuda blinked.

“...Aah, what’s this?” he asked. “The supposed savant of everything actually asking a question he doesn’t know the answer to?”

“...I am not omniscient, Matsuda-kun,” Kamukura said. “You know that. You know me better than anyone or anything.”

...do I...?

Another rustling breeze.

Do I really?

...

When you put it like that, it’s almost like we’re friends or something.

Disgusting.

“...Kamukura, I...” He stopped himself, ducking his head. No... “I don’t know. Hopefully sooner rather than later, but I wouldn’t hold my breath. Good night.”

Kamukura reached up and pulled out his hair tie, shaking his head and letting his hair fall freely. He returned it quietly, and Matsuda took it back.

Of course. The researchers would question if he suddenly had a hair tie on him.

Matsuda squeezed it, and by then, Kamukura was already long gone.

It would be a cold, lonely trip back to his dorm. But it was alright.

Tomorrow would be another bright and shining day at Hope’s Peak Academy—and it would be hell as it always is.

--

Bright. Shining. Hopeful.

“This is an announcement from Hope’s Peak Academy’s School Trip Executive Committee! Good mooooorning, everyone, love, love! It’s another hopeful, shining, tropical day! Everyone, do your best and give it your all! Love, love!”

Hell.

“Urgh... Too early for this shit...”

Matsuda threw an arm over his eyes with a heavy sigh.

I’m in charge of collecting materials today, right? Troublesome.

Considering he tended to get partnered up with one of the aggressive athlete meatheads, he’d risk the door keeping knocked off the hinges if he took too long to show up. And then he’d have to ask that simpering neon shark-face mechanic to fix the damn thing.

For fuck’s sake... I don’t want to do that.

And so, Matsuda pushed himself up.

...But I need to keep collecting hope fragments, huh...?

“Mmm...”

I need to keep a closer eye on Komaeda out of principle... And Hinata... Well, he’s...

...also someone I feel the need to be close to...for whatever reason...

Ugh. It was way too early for a headache.

Matsuda scowled as he popped in some pills and swallowed.

“...making friends...” He sighed. “Geez, I’ve never had friends before in my life. What makes that rabbit bitch think I could possibly make friends?”

After mom died... No, even before that... I’ve never been close to anyone before...

...right?

“Ugh...” His head really was throbbing, but the medicine would kick in soon enough, and he would, rather blissfully, just stop thinking. “Doesn’t matter, doesn’t matter.”

He slid his legs off the bed and stood, going straight to the window, showcasing what really was, for all intents and purposes, an island paradise.

“Another vacation day in hell,” he muttered sardonically, and yanked the curtains closed.

[oumakokichi]

Don't have much space sorry if this doesn't come out as well. I would like to offer a counter point to what you previously mentioned in one of your metas, the one about how Ouma was set up to be an Ultimate Dispair and mastermind from the beginning, I disagree. The fact that Ouma was given that title was an act of retaliation through the mastermind after he took the "game board." If a remembering light would have ever shown him that I doubt he would have accepted it, given how his true intention

(part 2) given how his true intentions were never malicious. Personally I think Shirogane got a little starry-eyed when making talents and didn’t consider exactly how much of a problem Ouma could actually be, but whenever she saw her mistake she was quick to correct it.

These are all goodpoints! However, I’m still pretty sure Tsumugi pretty clearly intended a verynegative role for Ouma right from the start, and that it was only a matter oftime before she pulled (or at least attempted to pull) a similar stunt as theHope’s Peak remember light in Chapter 5. She actually implies as much when she’sactually caught in the trial: she basically says that she “had wanted to save [theHope’s Peak remember light] for a little bit later on” but that the currentsituation in Chapter 5 had gotten so bad that it “forced her hand.”

This suggests to me that for the killing game show, settingup a definite “bad guy” or “antagonistic” figure separate from the realringleader was nothing strange or new. In the same way that Tsumugi wasperfectly fine with framing Kaede for a murder she never committed all the wayback in Chapter 1, I think she had no qualms whatsoever with the idea offraming Ouma or anyone else (“Kaede’s twin sister,” haha) to be the “SHSLDespair” figure. It’s even quite possible she tried this tactic and got awaywith it in other killing games, though we have no way of knowing for sure.

The thing is, everything about Ouma suggests a very clearrole intentionally set up for him by Tsumugi and the producers, even from wellbefore Chapter 5. His SHSL Supreme Leader talent is fake—all the evidence wehave in-game and in bonus mode content suggests that any actual “evil secretorganization” never existed in the first place. Yet even this “fake talent”portrays a considerably more negative image than any of the talents the othercharacters have. Even characters with confirmed multiple talents, such asRyouma or Amami, don’t have anything that quite screams “hello yes I’m the badguy” as much as an “evil Supreme Leader” talent.

Even Ouma’s design seems to suggest he was meant to be setup to look ominous and imposing. His in-game clothes, like all the characters’,were very likely designed for him as part of his “role,” and were probablydesigned by Tsumugi herself. This means that everything from the hat and capemeant to make him look like a villain, to the tattered, almost ratty-lookingstate of his shirt and scarf upon closer inspection, was part of a carefullyplanned character design. The chain on the left side of his shirt and thestraps on his sleeves and pants legs serve the same purpose.

If we take into account the fact that each and every character’sdesign was meant to convey a certain trope or genre or role to not only theplayer but the ndrv3 audience as well, then what we can theorize is this:Tsumugi and the DR producers pretty clearly intended for Ouma to give off anegative and villainous vibe right from the start.

Even his research lab is considerably different and otheredfrom the rest of the group’s. While everyone else’s labs are located on one ofthe school floors and accessible by normal means every time a new floor orlocation opens up after each trial, only Ouma’s is distant and hidden away fromplain sight. The fact that it’s underground and very removed from the rest of the labs, plus the fact that itresembles something like a “super-villain lair” as Saihara remarks, suggeststhat even this was something planned and meant to make Ouma look very ominousand sketchy compared to the rest of the characters.

I think you are absolutely correct, however, in that even ifTsumugi had been able to use a remember light on Ouma to try to make him think he was the leader of theRemnants of Despair or “Junko’s successor” or anything of the sort, it wouldn’thave worked. Remember lights lose their effectiveness the moment the person inquestion either suspects or knows for a fact that they’re fake. And Ouma wasperceptive enough pretty much from the beginning to doubt and suspect all the remember lights, meaning therewas no way to convince him to really believe those memories were his own.

But the thing is, I think Ouma’s real talent, provided tohim by Tsumugi and the producers, is actually the reason they thought all ofthis would work.  We have no confirmationon this, but I’ve theorized in other meta posts that I believe Ouma’s realtalent is something along the lines of “SHSL Chessmaster.” Given everythingthat we know about Ouma and his incredibleability for predicting situations and responses from others, I don’t think it’sa far cry away to say that he was probably given something very, very close toJunko and Kamukura’s SHSL Analysis.

He analyzed and predicted so much of the actual events ofthe game. For pretty much every trial excepting Chapter 1, he knew who theculprit was in every single case before the trial even started. He suspectedand theorized about the virus that accompanied the meteor showers in Chapter 3,well before it was “revealed” in the Hope’s Peak remember light in Chapter 5.He predicted that the killing show was a game and that there was an audiencewatching, and he knew that their memories were by and large fake anduntrustworthy. And, of course, there’s the script from Chapter 5, where hewrote about 300-or-so pages that predicted multi-branching routes for nearly every possible response in the Chapter 5trial so that Momota could respond and act accordingly.

If these things don’t suggest that Ouma either had SHSLAnalysis or something very close to it (I theorize “Chessmaster” because Oumadeals much more with hypotheticals than Junko, and because of his determinationto treat everything as a game), I don’t know what does. If this is true, thenit’s worth noting that this specific SHSL talent is particularly associated with what it means to “despair.

In the DR universe, beingsuper-intelligent is often associated with finding absolutely nothing fun orinteresting around you, is the worst-case scenario imaginable. Boredom meansknowing everything around you—and it’shorrible. The reason Junko and Kamukura both turn to “despair” as a solution isbecause despair promises what seems like the only excitement in a world inwhich you know everything (and this is all very Umineko once again). Dr0 is aperfect display of how analysis and prediction of everything inevitably leadsto the worst kind of despair, as we gradually see Ryouko descend into becomingJunko once again because, despite Matsuda’s best efforts to ensure otherwise,she’s simply too smart for her own good.

My main point is, analysis is equated with despair again andagain in the DR series. There is, of course, a lot that could go wrong withgiving someone such an incredibly useful ability—but I think that Tsumugi andthe DR producers believed that it was a talent so undeniably tied to the ideaof “despair” and that it would cause even the best person to want to despair.In other words, the fact that they very likely gave Ouma an ability sointentionally similar to Junko’s and Kamukura’s suggests to me that this wastheir “trump card” for making sure Ouma would play the villain role later on.

Of course, we come back to the fact that if this is true, it’sprecisely the reason why Ouma became so much of a pain in Tsumugi’s ass lateron. His predictive and analytical abilities are precisely the reason why he wasable to snatch the gameboard away and throw so many wrenches into her plans, aswell as the reason why he was able to do all of this largely under the radaruntil unveiling his true intentions in Chapter 5. Because she and the DRproducers believed Ouma was such a perfect villain character and pawn to theirplans, they failed to notice the ways in which Ouma was actually planning andmoving behind the scenes—and that became their undoing.

These things were always a possible risk from the start, butI don’t think either Tsumugi or Team DR really thought that it would come downto this. After all, in most cases, and even with Junko and Kamukura both, acharacter having SHSL Analysis was definitely enough to make them become fed upwith everything around them. Despair is the preferred choice for characterswith this sort of talent.

What was unexpected was that Ouma would take his “despair”and his boredom, and refuse to take it out on others. The only ones he wantedto make “despair,” as he himself says in a flashback during the Chapter 5 post-trial,were the ringleader and the audience themselves. Even without having beensubjected to a single remember light about Hope’s Peak, I find it interestingand worth noting that Ouma doesmention words like “despair” and “hope” on several occasions in both Chapters 4and 5. Even though he wasn’t actually the villain and was trying to strike backat the real ringleader the whole time, he clearly understood himself that hewas meant to play the villain, embraced that role, and strove to instead turnit against the real ringleader.

I think because of how hard Ouma struck back at her and howdesperately he tried to force the entire game to a halt, Tsumugi had to reviseand adjust her plans drastically in Chapter 5. And I do agree that she stroveto set Ouma up even more maliciously and thoroughly than before because she wasdefinitely pissed off at him for having nearly brought the whole killing gameto an end.

But considering her own remarks in Chapter 6 about havingalready planned the Hope’s Peak twist even from the beginning, and about havingwanted to save it for later on, I think it’s fair to say that this was never afar cry away from her original intentions. Ouma’s design, talent, lab,everything about him, all of it was very deliberately different from thetreatment the rest of the characters received.

If Kiibo was clearly supposed to be a Naegi-type figure andeventually come to embody “SHSL Hope” the way that Tsumugi wanted him to fromthe start, then I don’t doubt at all that Ouma was her intended “SHSL Despair”target long before she actually used the Hope’s Peak remember light in Chapter5. It would even explain why Kiibo and Ouma’s promotional artwork was featuredtogether, and why they were both very likely next to each other in the samelocker when they woke up in Chapter 1—the promotional materials, after all,were intended just as much for the ndrv3 audience as they were for us, theplayers. Even the actual game opening is shown in the middle of the Chapter 6trial to emphasize this.

Anyway, these are just my thoughts on it. As per usual,quite a lot of this is theorizing and speculation. It’s entirely possible that myguess is wrong! I don’t mind if that’s the case either, because theorizing tothis degree and picking apart all these clues. And on the off-chance this sortof thing ever does get confirmed by Kodaka at one point or another, I’llprobably just cry. Thank you for stopping by, these were very fun points to discuss!

[murasaki-murasame]

Danganronpa V3 Liveblog Part 13 [Chapter 4 - Deadly Life]

I think it took me nearly half of this entire post to actually start talking about the investigation and the murder case as a whole because I got deep into Retrospective Mode [tm], lol. The latter part of this might seem disjointed and confusing because I kept rewriting parts of it, and in general I’ve been writing this post on and off for hours now while doing other stuff so I wasn’t perfectly keeping track of the flow of it.

Thoughts under the cut.

Before I talk about this part, I kinda forgot to actually talk about the plot-related hints we got in the last part. There was so much other stuff to talk about that I kinda forgot to get around to that part.

So now we have a whole collection of assorted vague hints about what happened before the killing game and what the state of the outside world is, and the question is how they interconnect. I might be forgetting some stuff, but to list it out a bit, we have the hints about Rantarou being a survivor from a previous killing game who actively wanted to participate in this one. We have the references to the Ultimate Hunt that was seemingly about hunting down and possibly killing Ultimates, which seemed to lead to everyone voluntarily undergoing amnesia in order to forget their talents and become ‘normal people’ who won’t be hunted anymore. We have the weird flashback to what seemed to be a joint funeral for the main cast, which is strange for a variety of reasons, including the question of why they’d be grouped together if they were all from different schools. We have the memories of meteorites falling to Earth and threatening some sort of apocalyptic scenario. We have the memories of a cult or some such that popped up at the time, preaching that mankind deserved damnation. We have references to a plan called the Gofer Project that was apparently designed to stop the meteorties but somehow failed. And now we have the whole scenario of everyone stuck in this walled-in academy playing a killing game. Which is obviously normal enough for this franchise, but the really weird thing is that Monokuma’s been very consistent in saying that ‘nothing exists outside of the End Wall’, and that because of that point, he’s not doing this out of a desire to broadcast the killing game to the outside world. Which throws a lot of things into question, since the goal of the killing games has basically always been to instill despair in the population by having it be publicly broadcasted.

It’s also worth remembering that the game started with what seemed to be some kind of time loop where, originally, everyone woke up in regular uniforms and no memories of even their talents, but then when they met Monokuma and the Monokubs, things got ‘reset’ somehow, and things started over in the exact same way, but with everyone wearing their more unique and personalized uniforms, and with memories of their talents. Kaede and Shuichi also woke up in classroom closets that were placed right next to each other, which still feels a bit fishy to me. Oh, and I imagine that sometime after this, Rantarou probably found and watched the video that his past self seemingly left for him, and that was probably how he knew about the Ultimate Hunt at the start of the game. I forget if he knew that in the ‘original loop’, though. And on the note of him, we still don’t know what his talent is.

There’s also been all sorts of fairly wild theories thrown about in-story about what might be going on, mostly involving the idea that maybe everyone really did die, and they’re currently in some kind of afterlife, which would at least explain certain fantastical things that have happened.

We also have a mysterious tile in the courtyard with writing on it that fills in more and more each chapter. Not sure what to make of that yet, but it seems to be saying something about the state of the world.

And in terms of various references made to the state of the outside world, it might be important to remember that Kirumi’s whole motive in chapter two involved her remembering that the prime minister of Japan had decided to make her the de facto prime minister in order to have her assist in saving the country. Which, in hindsight, sounds like it might have related to her being called into the Gofer Project, somehow. The question then is what happened to her after that, and how things lead to her being involved in the joint funeral everyone remembers, and her being part of this killing game just like everyone else.

I think that’s a good enough run-down of all the clues we have. There’s certain other mysteries and plots twists in the making that I can already guess about, like Kokichi probably actually being the Ultimate Prisoner, but I don’t know how much that sort of thing relates to the ‘overall story’.

Obviously it’s pretty difficult to piece these clues and hints together coherently, but the thing that keeps sticking out to me the most is that this is apparently intended to be a proper continuation/conclusion to the Hope’s Peak Saga, and not a reboot of some kind. So the question then is, how exactly did the events of the Hope’s Peak Saga set up this game’s story? It’s really hard to tell, especially since things seemed to be on a more or less good path after the DR3 anime, with Naegi becoming the new headmaster of Hope’s Peak, the whole DR2 crew being alive, Junko presumably being entirely destroyed, etc. I’m not entirely sure how that situation could have devolved enough to get us to what sounds like a literally apocalyptic scenario that also involved some kind of mass murdering/capturing of Ultimates. I mean the meteorites could have just been a really unfortunate natural disaster, but the Ultimate Hunt is what really sticks out to me. It kinda sounds like what happened around the time period of DR0 and Despair Arc, with the untalented people lashing out against Hope’s Peak academy.

I can’t really figure out where this is going. There’s way too many seemingly unconnected and wildly different sorts of plot threads to consider. Like, on the one hand you have some kind of literal apocalypse going on, and then you have some kind of revolt against the Ultimates, and then you have the implication that the V3 cast died and are in the afterlife, and then you have the references to some kind of prior killing game we haven’t heard about before, and it’s just really difficult to tell how the heck these things relate to each other. It’s also, as said, difficult to guess what Monokuma’s motive is intended to be this time. I also can’t help but wonder who’s going to be the Mastermind this time. In the last two games it was Junko, but I highly doubt it’s gonna be her. I guess it could technically be Monaca [or however you spell her name], since she’s still kinda a hanging thread, but I prefer the idea of her sticking to being a space NEET.

I should say that even if there’s still one or two spoilers I have relating to character deaths, I genuinely have no idea where the actual story is going to go, beyond the fact that it’s apparently really controversial and polarizing. That’s what everyone seems to be saying, at least. Which still feels weird to me, especially since I’ve seen people say that it’s even more divisive than DR2′s ending, which I thought was already incredibly love or hate because of how it involved plot points like virtual reality simulations and Junko being the villain for a second time. I wonder how this game could top that one. Thankfully it sounds like most people still like the ending even if they acknowledge that it’s somehow divisive, but it all sounds so make-or-break that I can’t help but be afraid that it might retroactively ruin my opinion on the game as a whole.

And on that note, I do really like the game thus far. It’s not perfect, but for the most part it’s really good. It’s really refreshing to finally be playing one of these games for myself instead of just watching LPs of them.

There’s a whole lot of things already that are pretty divisive, especially Kaede’s death, and I can’t blame anyone for being put off by points like that. But I just can’t help but like the game a lot. I think a big part of it is that I really love this game’s cast, especially the main trio [if you want to call them that] of Shuichi, Kaito, and Maki. I’ve talked about them before, but I really truly love them as characters. I get why a lot of people are probably bored by Shuichi as a protagonist, especially after the Kaede bait-and-switch, but I love him. I find his development and his emotional struggles to be really compelling. I’ve liked him as a character from the start, but I also can’t deny that him clearly being gay as fuck also makes me love him even more. It’s just a really nice feeling to be able to play a game with a protagonist who I actually feel like I can identify with on this specific level. But I promised myself I wouldn’t go on another big discussion rant thing so I’ll just cut myself off right here, lol.

I’m not entirely sure how I’d compare this game’s cast to DR2′s, but I think I definitely prefer them to DR1′s cast. I don’t really have any interest in pitting them against each other, but it’s hard not to make the comparison when your feelings toward each game’s casts hugely dictates how you feel about each game as a whole. DR2 definitely had more of a focus on being more fun and light-hearted and friendly than DR1, which I think helped make that game’s cast feel more likeable, but V3 is going for something in the middle. At least by this point I like most of the cast members in V3. I think the only characters who I actively dislike are Kiyo and Kokichi. I wouldn’t really like Miu or Angie as people in real life, but they’re at least fun and interesting enough for me to like them as characters. Kiyo was basically just outright unpleasant from start to finish, though, and his whole presence in the story was capped off with a bizarre and disturbing backstory about incest and ritualistic serial killings. And I just kinda . . . hate Kokichi. A lot. He’s slightly endearing sometimes but oh man especially with how this chapter’s going I just kinda despise him. Thankfully I’m clearly meant to hate him.

Other than that, I think the only characters I feel ambivalent about are Tsumugi, Keebo, and to a lesser extent Gonta and Himiko. But Himiko’s definitely getting up there with her recent development, and I have a soft spot for Gonta even though he really is kinda pointless as a character. So it’s mostly Tsumugi and Keebo who I just don’t feel much of anything for.

I actively like everyone else to anyone degree or another.

Anyway I should finally start talking about the actual specific part I just played, lol.

But before I do that, I wanna say that I decided to get the skill that lets me focus on one conversation at a time in mass panic debates. I still feel a bit hesitant about it, since I haven’t really had trouble with any of those parts yet, and I’m a bit worried that with this skill I might just get hyper-focused on one conversation at a time, and it might take longer to figure out the answer. We’ll see. I might take it off after this trial if I dislike it. I was debating between it and the one about revealing the first keyword in each scrum debate. That would have been really helpful earlier in the game, but as the game goes on those parts get a lot easier since the number of participants decreases. So unless they add in multiple rounds of it, I feel like that skill is just getting progressively less useful.

Either way, let’s just get to actually talking about this investigation segment.

I figured that this case was going to get a lot more complicated in this segment, and that it’d involve the implication that Miu died inside the virtual world and not outside of it, and lo and behold, that’s what happened.

There’s a lot to unpack here about how this case is set up, so I’ll just cut right to the main point and say that I think a major plot twist is going to be that the virtual world is actually arranged so that the big wall is in the middle of it, and the ‘world loading screen’ is actually more of a set-up to do with the edges of the map being connected like a portal. Basically if you just take Miu’s map and swap the two sections then you get what’s clearly meant to be the actual layout. So we actually have a scenario where the chapel and the mansion are relatively close to each other, with a wall between them. This explains why Shuichi and Tsumugi heard Keebo’s voice, because it wasn’t actually being interrupted by the world loading screen since they were well away from it. I guess we just have to assume that sound can somehow pass easily through the wall.

This also explains what happened with the signboard. I think I commented on it seeming a bit odd, but I didn’t think about it too much. But I probably should have guessed what was happening based on the flow of the river, and the fact that the signboard was stuck on the left side of the rock in the river, and not the right side. So instead of the signboard going down the river and then traveling left, it actually traveled right, looped around via the world loading screen at the edge of the map, and continued traveling right along the river until it hit the left side of the rock. I think they also established that objects, though not humans, can travel through the wall, so the signboard wouldn’t have been obstructed by that.

And obviously it also explains how Miu could have been seen near the mansion. With what we learned about the modifications she made to herself, she clearly just moved through the wall and thus immediately ended up near the mansion, where she got seen. Then everyone heard the crash of something hitting the chapel, and her presumably being killed.

One of the major points I noticed with all the evidence we got in this part is that it’s incredibly obvious Miu set this up as an opportunity for her to murder somebody, and that somebody was probably Kokichi. She obviously rewrote and lied about the game’s set-up in order to make it easy for her to navigate the map without anyone else being able to, and the rule about Kokichi freezing if she touches him was probably so that she could stop him from running away or resisting her. It’s also why she knocked away the signboard, to make sure everyone was as isolated as possible.

So I guess the big question is what exactly went wrong with her plan. And that answer probably also lies in Kokichi, who obviously knew what she was planning, and probably used his key card thing, and/or whatever he got from it, to mess with her plans and get her killed instead. I’m not entirely sure how, though. I’m also not even entirely sure if Kokichi is the one that killed her. He just seems too obvious, and as I’ve said before, I doubt he’ll die this [relatively] early. He seems too pivotal to the group dynamic to not stick around longer.

The way Miu’s body ended up makes me feel like she basically slid down the mansion roof on the lattice thing, and she flew through the wall and smashed into the chapel wall. I might be under-estimating the distance between the two buildings, but signs point to her having been up on the roof, and the layout of where her body ended up makes it seem like she crashed into the chapel wall at high speeds while holding the cell-phone and hammer and riding the lattice, and everything ended up flung about at the base of the chapel wall. Which I guess raises the question of how that happened. I feel like either she did it in an attempt to escape that back-fired and lead to her dying upon hitting the chapel, or she was somehow pushed off the roof by the killer. In which case she could have either been alive or dead by that time. It’d seem more difficult to set up that scenario if she was alive, so maybe she got killed on the roof, and then the killer pushed her off the roof using the lattice to make it look like she’d been killed near the chapel.

I guess the obvious conclusion to draw then is that she went up to the roof, met Kokichi, and then got killed by him, and since he probably knew about all the tricks with the virtual world, he set up her body to make it look like she’d been killed by the chapel, which would have seemingly removed him from suspicion.

I at least think that he’s going out of his way to implicate Kaito, and I wouldn’t be surprised if he remotely logged Kaito out in order to make him suspicious. It’s at least obvious that someone used the phone to log Kaito out, and I wouldn’t be surprised if Kokichi did it, and then planted the phone on Miu to make it seem like another thing that he couldn’t have possibly done. He might have needed to steal the phone off her, but that wouldn’t be too hard I guess. Though the whole ‘he freezes if she touches her’ rule might make that pretty difficult. I’m not sure.

It definitely seems like a big part of this case will boil down to whether we believe Kokichi’s or Kaito’s testimonies, but I can’t help but trust Kaito more. Especially since, if we take the log-in/log-out report and the stated time of death at face value, then he logged out over an hour before Miu died. And anyway, she clearly died IN the game, and not long before everyone found her body, so if Kaito really had logged out way before then and hadn’t logged in, I don’t really think he could have killed her. But part of me can’t help but worry that maybe Kokichi set up some sort of plan so that Kaito would somehow end up killing Miu without intending to. Possibly something to do with the ‘avatar error’. Maybe Kokichi tampered with Kaito’s avatar before the program started, or something.

I’m not sure what to make of the detail with the roof door lock, but clearly Miu got up there somehow, and Kaito got logged off early enough that he might have just not seen anyone come up after he left.

The worrying thing here is that, even if Kaito doesn’t seem like he actually did it, I also find it hard to suspect Kokichi, but I can’t really imagine anyone else having done it. Knowing the gist of the trick, I think that Maki, Keebo, and Himiko are free of suspicion since 1: they all seemed genuinely unaware of the trick, and 2: even if they were aware of it, as far as we know at the moment none of them could have moved through the wall of crossed the river, so if Miu really did die on the mansion roof, or get pushed off the mansion roof and die upon hitting the chapel wall, then the killer must have one way or another been stationed in the mansion part of the map. So, ignoring the possibility of someone in the chapel group knowing more than they’re letting on, we can probably write those three off the list, and focus on the five people stationed in the mansion.

We can presumably immediately cross Shuichi off the list, and I feel really hesitant to suspect Tsumugi or Gonta when they seem so innocent and motive-less, which just . . . gets us right back to Kokichi and Kaito. And honestly I’d be willing to expect that the game would prefer to keep Kokichi around so that he can continue being an antagonist, while killing Kaito off in this chapter just to make us all feel miserable. So even if I doubt that Kaito willingly murdered Miu, I wouldn’t be surprised if even via some sort of manipulation or technicality he ends up being the killer. It’d be lame if it was the character who immediately got suspected, though, even if it might play out differently than what we might expect. It’d also feel more than a bit lame for the game to kill off yet another person who Shuichi believes in. It’d just feel a bit too much like a repeat of the Kaede thing, but far less clever and unexpected. And considering how Kaede’s death was emotionally difficult to deal with when she just had like one and a half chapter’s worth of screen-time and interaction with Shuichi, Kaito’s been by his side for the entire game since her death, so it’d hurt a lot more, but in a way that’d feel sorta . . . unnecessarily tragic. Especially if it really is to do with Kokichi manipulating things to basically force Kaito to be a culprit without his knowledge. That’d feel a whole lot more shallow than Kaede intentionally murdering Rantarou in a sincere attempt to save everyone. It’d just seem like a kinda lame repeat of that whole thing with much less of the substance.

I mean, as I said, it’d definitely hurt more because there’s been more set-up and development between them, but it’d just make me more annoyed at the game if that’s where this is going, rather than sad but on board with what the game was doing, like how I felt with Kaede’s death. It’s kinda difficult to explain, but I guess it’s just the difference between something feeling natural and something feeling forced.

I know that in my last post I had my whole discussion-rant-ramble-thing about the prospect of Shuichi being gay, and that I said I didn’t really wanna talk about that sort of thing much since it’s the type of thing I’ve talked about a lot over the last year or so in relation to other fandoms, but on a sort of related note to all that, this whole chapter really feels like it’s heading in the direction of being one big complicated gay love triangle. In the sense of Shuichi being into Kaito, and Kokichi being violently jealous of Kaito because he wants Shuichi for himself. The moment at the end of the daily life part that I mentioned in my last post seems to be pretty bluntly pointing at him more or less being a yandere who’s obsessed with Shuichi, and in this section he got even more aggressive about pinning all the suspicion on Kaito and getting him away from Shuichi so he could replace him as Shuichi’s investigation partner. It’s at least pretty clear that he has an issue with Kaito specifically, which is why he decided to pin all this on him and not someone else.

[Fake edit: I ended up talking about Gay Stuff [tm] again for like three or four paragraphs so if I wind up being completely wrong and all of this is completely pointless to even discuss or speculate about, you can skip past it.]

If that’s basically Kokichi’s motive in setting all this up, then it makes me wonder if/how it might come up during the trial. And, as an extension of that, it’d make me wonder if the game might explicitly acknowledge Shuichi’s crush on Kaito for what it is. It’d be hard not to, if it’s a major part of what made Kokichi want to take Kaito out like this, if that’s what he’s doing. Mostly I just hope that it doesn’t get handled in a way like ‘Shuichi’s feelings for Kaito are ~pure and platonic~, but Kokichi? The crazy evil antagonist who has misogyny issues and probably has a criminal record? Yeah he’s gay’. That’d just be incredibly groan-worthy. It’d at least work better if the game acknowledged that both of them are gay, so the framing of it is less ‘Kokichi is gay and evil while Shuichi is straight and good’ and more ‘Kokichi is just, as an individual, a bad person’. That’d work better. It’d still be all sorts of painful if this chapter really does end with us finding out that Kokichi really was able to set Kaito up for being executed simply because he saw him as a romantic rival, but still. Not that I’m sitting here holding my breath in the hopes that maybe this will finally be the video game that has a gay male protagonist, or anything. I don’t even expect the game to acknowledge him as potentially being bi. In general I’m bracing myself for the worst, if only because it feels like this’ll end with Kaito dying, and that would be fundamentally horrible to sit through.

Even though I can’t help but worry about potential issues with framing and presentation and blahblahblah if Kokichi does end up basically being a gay yandere, it’d be interesting if it ends up showing off a more . . . petty and selfish and child-like side to himself, to crack that facade of him being some sort of cool and calculated manipulator who’s always above everyone else. It’d be messy, but I kinda like the idea of us seeing a more messy and unstable side to his personality, especially in a trial setting.

I didn’t really want to go on another whole spiel about this sorta thing immediately after what I said in my last post, but I guess this is technically about a different character so whatever. And for the most part, if I end up somehow being right about this, even though I almost don’t want to be, then it’s probably for the best that I get my thoughts down before the trial happens so that I can say that I called it in advance. And if I’m wrong then it just preserves my wrongness for posterity, like my glorious fuck-up in Chapter 2 which I still feel embarrassed about.

ANYWAY, that whole topic aside, I may as well wrap this up because this post has been going on for far too long. I’m not really sure I have a solid grasp on HOW the murder happened, exactly, beyond the idea of Miu maybe getting killed on the roof and then getting pushed off the roof and into the chapel wall, but I’m still sticking to the idea that the only real suspects I can think of are Kokichi and Kaito, and specifically I can’t help but imagine that Kokichi somehow things up so that Kaito would kill Miu without even intending to. Somehow. Maybe I’m just being paranoid and bracing myself for the most depressing option. Though I guess the most depressing option would be if Kaito turns out to be, like, genuinely evil or something and is lying about everything. I guess that’d technically be a lot more depressing. But considering how I’m completely clueless about certain pieces of evidence like the toilet paper, the roof door lock, the unique attribute of Kokichi’s avatar, and the set-up with the visors, I’m probably going to wind up confused and overwhelmed by a majority of this trial and it’s explanation of how this murder happened. Oh well.