#and thus i am WAY out of my depth

[unclefungusthegoat]

.

[obsessivevoidkitten]

The Yeti's Cave

Yandere Male Yeti x Gender Neutral Reader CW: Noncon, pleasurable sex, oil like precum, size difference, rut, language barrier, kidnapping, general yandere behavior Word Count: 1.1k (Took a tiny break from comms to give you guys a winter fic that I hope you will all enjoy. Not my best work, but I hope it will feed you. I am sorry I have been writing so slow lately.)

It was winter in the town of Whelm. Not too unpleasant. Rather cozy, to be perfectly honest. Curled up by the fire. But Whelm was in the valley. Winter in the northern mountains was a frigid hell that few would venture into.

But you had to. A week before cold weather had hit there was a messenger from the village on the other side of the treacherous mountains. A sickness had taken hold, they had urgent need of medicines that could only be crafted from ingredients found around the valley. But it took time to gather and collect such supplies when they were needed at such scale.

You were the apprentice to the wizened old apothecary. A seemingly ancient man who had taught you as much as he could about collecting medicinal herbs, preparing them, and administering them. Seeing as he was so old, only you could make the trip and treat the villagers past the mountain.

You managed to make it there in time. But while you were on your way back home winter kissed the region.

Caught in a flurry of stinging wind and violent snow you barely managed to make it into the relative safety of an odd smelling cave. You wrapped your coat tightly around you. Was this how you were going to go out? Trapped in a cave with limited supplies? Slowly fading into the cold in a weird smelling cave?

As it happened, no.

There was a loud rumbling growl from deep within the cave. Your eyes widened, but you told yourself it was just the wind entering the deeper reaches of your makeshift shelter and making weird noises. But then you heard it again, louder this time.

From the depths emerged a fearsome beast the likes of which you had only heard rumors of. A hulking form, rippling muscles apparent even under thick white fur, a human-like face with sharp teeth and icy blue eyes, and two curled horns atop a shaggy mane of long white hair.

Despite the cold, that got your blood flowing and your heart flowing, you were out and in the snow immediately. A possible death in the cold mountains was better than a certain death by that man-like beast.

Ikkan, the yeti who you had run from, was worried. You were an odd thing that he had never encountered before. But you clearly had no proper fur except what was on your head, and your artificial covering didn���t seem all that effective. You’d freeze out there!

And thus he made it his mission to go and retrieve you.

And he succeeded. Expeditiously.

He dragged you back, kicking and screaming, into his cave. Deeper into it. He held you down on his fur-lined bed with the hope it would warm you up. He also cuddled close, though you still struggled despite his good intentions.

Ikkan decided he would take care of you and you could be his tiny mate. He was lonely, in rut, and you’d definitely die without him to care for you during this harsh time of year. Besides, some part of you clearly wanted him to be your husband. You had entered his den that very clearly smelled of him, after all.

In an effort to calm you down he tried to communicate with you, but each harsh guttural word sounded like a threat to your ears. You were convinced he had saved you to eat you later.

He moved on to offering you food and water but you wouldn’t give up your resistance.

Maybe you were having trouble understanding that he wasn’t intending to hurt you? That he just wanted to be the best he could be for his small mate. How could he get his intent through to you? The answer was clear! He just had to give you some high quality sex! Yeti cum would keep you cozy and you’d know exactly what he wanted to do with you.

You kicked and squirmed as the large furry thing held you down and removed your clothing. His huge cock had come out of its sheath, making his plan for you exceedingly clear. You tried to kick him away but he held you still and patiently applied precum to your hole and massaged it in to lubricate your tight entrance.

Since you were so much smaller than he was he knew you’d need some special attention before slipping into you.

He added his thick saliva to the mix and eventually got to the point where he could easily slip in several fingers into your twitching little hole, making you gasp when he wiggled them around inside of you.

Ikkan knew his little human was ready. He sat on his large bed of furs and pulled you close, planting you firmly on his cock while nestling your shivering body into his warm chest. It really felt amazing. Inside and out. He was surprisingly soft and his touch warmed you quickly.

At the same time, his cock continuously exuded warm oily precum that heated you up from the inside out. He fucked away your resolve in record time. It was clear to you now that he was in no way trying to injure you. Unless you counted having your senses fucked out of you. You wrapped your arms around him and nuzzled into his cozy chest. You even began bouncing on his big cock, desperately trying to get it deeper inside you despite your earlier protests.

The yeti smirked, he knew you’d love his dick.

Ikkan was overjoyed to give his human what they wanted. He quickened the pace and went a bit harder, holding your sides as he began really fucking into you. Blush crept across your face as the two of you came together. The pair of you shivered not from cold, but from pure pleasure.

He cuddled you as you leaned on him with his slowly softening cock still in you before eventually pulling out and laying you on his bed of furs. Strangely, your body seemed to have somehow absorbed the cum and it kept you well heated without the need for your clothing.

For the moment, your brain was overstimulated and you had not fully processed what had happened. But that didn’t matter much to Ikkan, he would take the opportunity to get some food and water in you and if he noticed you becoming bratty again he would just give you some more top tier yeti cock.

You didn’t know when spring would usher in better weather. And it didn’t really matter, because no matter what happened, you would never be leaving.

[shsl-analyzer-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

[blues824]

Siren!Reader x Ignihyde

Gender-neutral reader. Also, I low-key forgot about this series. Also also, this just includes Idia.

ColorMyTree is open! Feel free to leave a message on my Christmas tree. It’s free, so no money required. I also set it so that you don’t have to log in.

Idia Shroud

He found out that his partner had turned into a siren through Ortho, who told him about what happened during Potionology. He also was informed by another one of his dorm-members via text that Octavinelle had you so that your scales wouldn’t dry out.

Well… he found himself conflicted. He really didn’t want to go out… but you were his partner. He needed to make you were alright. Thus, he made the journey over to Octavinelle, where Azul led him to the pool you were staying in.

To say you were happy about seeing your boyfriend would be an understatement. If it weren’t for Azul pulling him back away from the water, the poor boy would have been smooched to oblivion. Not only that, but the Housewarden of Octavinelle was not sure if he wanted to see what happened to Idia’s hair if he went into the water.

Anyway, after making sure that you were okay, Idia went back to Ignihyde. Azul told him that the spell would wear off in seven days, so he just decided to spend his time gaming. However… even in the deep depths of Ignihyde… your voice managed to come through. Even through his headphones.

Now, since it was no longer NNN, and he had nothing to prove to anyone, he was more than happy to take his happy ass right over to you. With how I worded this, I can see that some will think I am joking… but if you think this man has any ounce of self-restraint when it comes to his partner… that’s on you.

He made his way to the pool, where you were singing to him, and when you saw him, you smiled seductively and pulled him into the pool. It is unfortunate that Azul wasn’t there to see what happened with Idia’s hair: it ended up just heating up the water. However, it wasn’t the only thing that was heated that night.

Moving on, he visited you nearly every night, returning to Ignihyde soaking wet since you always pulled him in to the pool… and he had hickies and love-bites all over his neck while a dopey smile adorns his face. Azul noticed that you were swimming a little wonky, but he brushed it off.

When the spell wore off, you were a bit embarrassed but thanked Azul and Octavinelle for their help before heading back to Ignihyde. Idia showed you the marks you left on his skin, and you were even more embarrassed and threw a pillow at him, which made him snicker.

[songofapollon]

Homeric Hymn III. TO APOLLO

Translated by H. G. Evelyn-White

TO DELIAN APOLLO

[1] I will remember and not be unmindful of Apollo who shoots afar. As he goes through the house of Zeus, the gods tremble before him and all spring up from their seats when he draws near, as he bends his bright bow. But Leto alone stays by the side of Zeus who delights in thunder; and then she unstrings his bow, and closes his quiver, and takes his archery from his strong shoulders in her hands and hangs them on a golden peg against a pillar of his father's house. Then she leads him to a seat and makes him sit: and the Father gives him nectar in a golden cup welcoming his dear son, while the other gods make him sit down there, and queenly Leto rejoices because she bare a mighty son and an archer. Rejoice, blessed Leto, for you bare glorious children, the lord Apollo and Artemis who delights in arrows; her in Ortygia, and him in rocky Delos, as you rested against the great mass of the Cynthian hill hard by a palm-tree by the streams of Inopus.

[19] How, then, shall I sing of you who in all ways are a worthy theme of song? For everywhere, O Phoebus, the whole range of song is fallen to you, both over the mainland that rears heifers and over the isles. All mountain-peaks and high headlands of lofty hills and rivers flowing out to the deep and beaches sloping seawards and havens of the sea are your delight. Shall I sing how at the first Leto bare you to be the joy of men, as she rested against Mount Cynthus in that rocky isle, in sea-girt Delos -- while on either hand a dark wave rolled on landwards driven by shrill winds -- whence arising you rule over all mortal men?

[30] Among those who are in Crete, and in the township of Athens, and in the isle of Aegina and Euboea, famous for ships, in Aegae and Eiresiae and Peparethus near the sea, in Thracian Athos and Pelion's towering heights and Thracian Samos and the shady hills of Ida, in Scyros and Phocaea and the high hill of Autocane and fair-lying Imbros and smouldering Lemnos and rich Lesbos, home of Macar, the son of Aeolus, and Chios, brightest of all the isles that lie in the sea, and craggy Mimas and the heights of Corycus and gleaming Claros and the sheer hill of Aesagea and watered Samos and the steep heights of Mycale, in Miletus and Cos, the city of Meropian men, and steep Cnidos and windy Carpathos, in Naxos and Paros and rocky Rhenaea -- so far roamed Leto in travail with the god who shoots afar, to see if any land would be willing to make a dwelling for her son. But they greatly trembled and feared, and none, not even the richest of them, dared receive Phoebus, until queenly Leto set foot on Delos and uttered winged words and asked her:

[51] "Delos, if you would be willing to be the abode of my son "Phoebus Apollo and make him a rich temple --; for no other will touch you, as you will find: and I think you will never be rich in oxen and sheep, nor bear vintage nor yet produce plants abundantly. But if you have the temple of far-shooting Apollo, all men will bring you hecatombs and gather here, and incessant savour of rich sacrifice will always arise, and you will feed those who dwell in you from the hand of strangers; for truly your own soil is not rich."

[62] So spake Leto. And Delos rejoiced and answered and said: "Leto, most glorious daughter of great Coeus, joyfully would I receive your child the far-shooting lord; for it is all too true that I am ill-spoken of among men, whereas thus I should become very greatly honoured. But this saying I fear, and I will not hide it from you, Leto. They say that Apollo will be one that is very haughty and will greatly lord it among gods and men all over the fruitful earth. Therefore, I greatly fear in heart and spirit that as soon as he sets the light of the sun, he will scorn this island -- for truly I have but a hard, rocky soil -- and overturn me and thrust me down with his feet in the depths of the sea; then will the great ocean wash deep above my head for ever, and he will go to another land such as will please him, there to make his temple and wooded groves. So, many-footed creatures of the sea will make their lairs in me and black seals their dwellings undisturbed, because I lack people. Yet if you will but dare to sware a great oath, goddess, that here first he will build a glorious temple to be an oracle for men, then let him afterwards make temples and wooded groves amongst all men; for surely he will be greatly renowned."

[83] So said Delos. And Leto sware the great oath of the gods: "Now hear this, Earth and wide Heaven above, and dropping water of Styx (this is the strongest and most awful oath for the blessed gods), surely Phoebus shall have here his fragrant altar and precinct, and you he shall honour above all."

[89] Now when Leto had sworn and ended her oath, Delos was very glad at the birth of the far-shooting lord. But Leto was racked nine days and nine nights with pangs beyond wont. And there were with her all the chiefest of the goddesses, Dione and Rhea and Ichnaea and Themis and loud-moaning Amphitrite and the other deathless goddesses save white-armed Hera, who sat in the halls of cloud-gathering Zeus. Only Eilithyia, goddess of sore travail, had not heard of Leto's trouble, for she sat on the top of Olympus beneath golden clouds by white-armed Hera's contriving, who kept her close through envy, because Leto with the lovely tresses was soon to bear a son faultless and strong.

[102] But the goddesses sent out Iris from the well-set isle to bring Eilithyia, promising her a great necklace strung with golden threads, nine cubits long. And they bade Iris call her aside from white-armed Hera, lest she might afterwards turn her from coming with her words. When swift Iris, fleet of foot as the wind, had heard all this, she set to run; and quickly finishing all the distance she came to the home of the gods, sheer Olympus, and forthwith called Eilithyia out from the hall to the door and spoke winged words to her, telling her all as the goddesses who dwell on Olympus had bidden her. So she moved the heart of Eilithyia in her dear breast; and they went their way, like shy wild-doves in their going.

[115] And as soon as Eilithyia the goddess of sore travail set foot on Delos, the pains of birth seized Leto, and she longed to bring forth; so she cast her arms about a palm tree and kneeled on the soft meadow while the earth laughed for joy beneath. Then the child leaped forth to the light, and all the goddesses washed you purely and cleanly with sweet water, and swathed you in a white garment of fine texture, new-woven, and fastened a golden band about you.

[123] Now Leto did not give Apollo, bearer of the golden blade, her breast; but Themis duly poured nectar and ambrosia with her divine hands: and Leto was glad because she had borne a strong son and an archer. But as soon as you had tasted that divine heavenly food, O Phoebus, you could no longer then be held by golden cords nor confined with bands, but all their ends were undone. Forthwith Phoebus Apollo spoke out among the deathless goddesses: "The lyre and the curved bow shall ever be dear to me, and I will declare to men the unfailing will of Zeus."

[133] So said Phoebus, the long-haired god who shoots afar and began to walk upon the wide-pathed earth; and all goddesses were amazed at him. Then with gold all Delos was laden, beholding the child of Zeus and Leto, for joy because the god chose her above the islands and shore to make his dwelling in her: and she loved him yet more in her heart, and blossomed as does a mountain-top with woodland flowers.

[140] And you, O lord Apollo, god of the silver bow, shooting afar, now walked on craggy Cynthus, and now kept wandering about the island and the people in them. Many are your temples and wooded groves, and all peaks and towering bluffs of lofty mountains and rivers flowing to the sea are dear to you, Phoebus, yet in Delos do you most delight your heart; for there the long robed Ionians gather in your honour with their children and shy wives: mindful, they delight you with boxing and dancing and song, so often as they hold their gathering. A man would say that they were deathless and unageing if he should then come upon the Ionians so met together. For he would see the graces of them all, and would be pleased in heart gazing at the men and well-girded women with their swift ships and great wealth. And there is this great wonder besides -- and its renown shall never perish -- the girls of Delos, hand-maidens of the Far-shooter; for when they have praised Apollo first, and also Leto and Artemis who delights in arrows, they sing a strain-telling of men and women of past days, and charm the tribes of men. Also they can imitate the tongues of all men and their clattering speech: each would say that he himself were singing, so close to truth is their sweet song.

[165] And now may Apollo be favourable and Artemis; and farewell all you maidens. Remember me in after time whenever any one of men on earth, a stranger who has seen and suffered much, comes here and asks of you: "Whom think ye, girls, is the sweetest singer that comes here, and in whom do you most delight?" Then answer, each and all, with one voice: "He is a blind man, and dwells in rocky Chios: his lays are evermore supreme." As for me, I will carry your renown as far as I roam over the earth to the well-placed this thing is true. And I will never cease to praise far-shooting Apollo, god of the silver bow, whom rich-haired Leto bare.

TO PYTHIAN APOLLO

[179] O Lord, Lycia is yours and lovely Maeonia and Miletus, charming city by the sea, but over wave-girt Delos you greatly reign your own self.

[182] Leto's all-glorious son goes to rocky Pytho, playing upon his hollow lyre, clad in divine, perfumed garments; and at the touch of the golden key his lyre sings sweet. Thence, swift as thought, he speeds from earth to Olympus, to the house of Zeus, to join the gathering of the other gods: then straightway the undying gods think only of the lyre and song, and all the Muses together, voice sweetly answering voice, hymn the unending gifts the gods enjoy and the sufferings of men, all that they endure at the hands of the deathless gods, and how they live witless and helpless and cannot find healing for death or defence against old age. Meanwhile the rich-tressed Graces and cheerful Seasons dance with Harmonia and Hebe and Aphrodite, daughter of Zeus, holding each other by the wrist. And among them sings one, not mean nor puny, but tall to look upon and enviable in mien, Artemis who delights in arrows, sister of Apollo. Among them sport Ares and the keen-eyed Slayer of Argus, while Apollo plays his lyre stepping high and featly and a radiance shines around him, the gleaming of his feet and close-woven vest. And they, even gold-tressed Leto and wise Zeus, rejoice in their great hearts as they watch their dear son playing among the undying gods.

[207] How then shall I sing of you -- though in all ways you are a worthy theme for song? Shall I sing of you as wooer and in the fields of love, how you went wooing the daughter of Azan along with god-like Ischys the son of well-horsed Elatius, or with Phorbas sprung from Triops, or with Ereutheus, or with Leucippus and the wife of Leucippus ((lacuna)) . . . you on foot, he with his chariot, yet he fell not short of Triops. Or shall I sing how at the first you went about the earth seeking a place of oracle for men, O far-shooting Apollo? To Pieria first you went down from Olympus and passed by sandy Lectus and Enienae and through the land of the Perrhaebi. Soon you came to Iolcus and set foot on Cenaeum in Euboea, famed for ships: you stood in the Lelantine plain, but it pleased not your heart to make a temple there and wooded groves. From there you crossed the Euripus, far-shooting Apollo, and went up the green, holy hills, going on to Mycalessus and grassy-bedded Teumessus, and so came to the wood-clad abode of Thebe; for as yet no man lived in holy Thebe, nor were there tracks or ways about Thebe's wheat-bearing plain as yet.

[229] And further still you went, O far-shooting Apollo, and came to Onchestus, Poseidon's bright grove: there the new-broken cold distressed with drawing the trim chariot gets spirit again, and the skilled driver springs from his car and goes on his way. Then the horses for a while rattle the empty car, being rid of guidance; and if they break the chariot in the woody grove, men look after the horses, but tilt the chariot and leave it there; for this was the rite from the very first. And the drivers pray to the lord of the shrine; but the chariot falls to the lot of the god.

[239] Further yet you went, O far-shooting Apollo, and reached next Cephissus' sweet stream which pours forth its sweet- flowing water from Lilaea, and crossing over it, O worker from afar, you passed many-towered Ocalea and reached grassy Haliartus.

[244] Then you went towards Telphusa: and there the pleasant place seemed fit for making a temple and wooded grove. You came very near and spoke to her: "Telphusa, here I am minded to make a glorious temple, an oracle for men, and hither they will always bring perfect hecatombs, both those who live in rich Peloponnesus and those of Europe and all the wave-washed isles, coming to seek oracles. And I will deliver to them all counsel that cannot fail, giving answer in my rich temple."

[254] So said Phoebus Apollo, and laid out all the foundations throughout, wide and very long. But when Telphusa saw this, she was angry in heart and spoke, saying: "Lord Phoebus, worker from afar, I will speak a word of counsel to your heart, since you are minded to make here a glorious temple to be an oracle for men who will always bring hither perfect hecatombs for you; yet I will speak out, and do you lay up my words in your heart. The trampling of swift horses and the sound of mules watering at my sacred springs will always irk you, and men will like better to gaze at the well-made chariots and stamping, swift-footed horses than at your great temple and the many treasures that are within. But if you will be moved by me -- for you, lord, are stronger and mightier than I, and your strength is very great -- build at Crisa below the glades of Parnassus: there no bright chariot will clash, and there will be no noise of swift-footed horses near your well-built altar. But so the glorious tribes of men will bring gifts to you as Iepaeon (`Hail-Healer'), and you will receive with delight rich sacrifices from the people dwelling round about." So said Telphusa, that she alone, and not the Far-Shooter, should have renown there; and she persuaded the Far-Shooter.

[277] Further yet you went, far-shooting Apollo, until you came to the town of the presumptuous Phlegyae who dwell on this earth in a lovely glade near the Cephisian lake, caring not for Zeus. And thence you went speeding swiftly to the mountain ridge, and came to Crisa beneath snowy Parnassus, a foothill turned towards the west: a cliff hangs over if from above, and a hollow, rugged glade runs under. There the lord Phoebus Apollo resolved to make his lovely temple, and thus he said: "In this place I am minded to build a glorious temple to be an oracle for men, and here they will always bring perfect hecatombs, both they who dwell in rich Peloponnesus and the men of Europe and from all the wave-washed isles, coming to question me. And I will deliver to them all counsel that cannot fail, answering them in my rich temple."

[294] When he had said this, Phoebus Apollo laid out all the foundations throughout, wide and very long; and upon these the sons of Erginus, Trophonius and Agamedes, dear to the deathless gods, laid a footing of stone. And the countless tribes of men built the whole temple of wrought stones, to be sung of for ever.

[300] But near by was a sweet flowing spring, and there with his strong bow the lord, the son of Zeus, killed the bloated, great she-dragon, a fierce monster wont to do great mischief to men upon earth, to men themselves and to their thin- shanked sheep; for she was a very bloody plague. She it was who once received from gold-throned Hera and brought up fell, cruel Typhaon to be a plague to men. Once on a time Hera bare him because she was angry with father Zeus, when the Son of Cronos bare all-glorious Athena in his head. Thereupon queenly Hera was angry and spoke thus among the assembled gods:

[311] "Hear from me, all gods and goddesses, how cloud-gathering Zeus begins to dishonour me wantonly, when he has made me his true-hearted wife. See now, apart from me he has given birth to bright-eyed Athena who is foremost among all the blessed gods. But my son Hephaestus whom I bare was weakly among all the blessed gods and shrivelled of foot, a shame and disgrace to me in heaven, whom I myself took in my hands and cast out so that he fell in the great sea. But silver-shod Thetis the daughter of Nereus took and cared for him with her sisters: would that she had done other service to the blessed gods! O wicked one and crafty! What else will you now devise? How dared you by yourself give birth to bright-eyed Athena? Would not I have borne you a child -- I, who was at least called your wife among the undying gods who hold wide heaven. Beware now lest I devise some evil thing for you hereafter: yes, now I will contrive that a son be born me to be foremost among the undying gods -- and that without casting shame on the holy bond of wedlock between you and me. And I will not come to your bed, but will consort with the blessed gods far off from you."

[331] When she had so spoken, she went apart from the gods, being very angry. Then straightway large-eyed queenly Hera prayed, striking the ground flatwise with her hand, and speaking thus: "Hear now, I pray, Earth and wide Heaven above, and you Titan gods who dwell beneath the earth about great Tartarus, and from whom are sprung both gods and men! Harken you now to me, one and all, and grant that I may bear a child apart from Zeus, no wit lesser than him in strength -- nay, let him be as much stronger than Zeus as all-seeing Zeus than Cronos."

[340] Thus she cried and lashed the earth with her strong hand. Then the life-giving earth was moved: and when Hera saw it she was glad in heart, for she thought her prayer would be fulfilled. And thereafter she never came to the bed of wise Zeus for a full year, not to sit in her carved chair as aforetime to plan wise counsel for him, but stayed in her temples where many pray, and delighted in her offerings, large-eyed queenly Hera. But when the months and days were fulfilled and the seasons duly came on as the earth moved round, she bare one neither like the gods nor mortal men, fell, cruel Typhaon, to be a plague to men. Straightway large-eyed queenly Hera took him and bringing one evil thing to another such, gave him to the dragoness; and she received him. And this Typhaon used to work great mischief among the famous tribes of men. Whosoever met the dragoness, the day of doom would sweep him away, until the lord Apollo, who deals death from afar, shot a strong arrow at her. Then she, rent with bitter pangs, lay drawing great gasps for breath and rolling about that place. An awful noise swelled up unspeakable as she writhed continually this way and that amid the wood: and so she left her life, breathing it forth in blood.

[362] Then Phoebus Apollo boasted over her: "Now rot here upon the soil that feeds man! You at least shall live no more to be a fell bane to men who eat the fruit of the all-nourishing earth, and who will bring hither perfect hecatombs. Against cruel death neither Typhoeus shall avail you nor ill-famed Chimera, but here shall the Earth and shining Hyperion make you rot."

[370] Thus said Phoebus, exulting over her: and darkness covered her eyes. And the holy strength of Helios made her rot away there; wherefore the place is now called Pytho, and men call the lord Apollo by another name, Pythian; because on that spot the power of piercing Helios made the monster rot away.

[375] Then Phoebus Apollo saw that the sweet-flowing spring had beguiled him, and he started out in anger against Telphusa; and soon coming to her, he stood close by and spoke to her: "Telphusa, you were not, after all, to keep to yourself this lovely place by deceiving my mind, and pour forth your clear flowing water: here my renown shall also be and not yours alone?"

[382] Thus spoke the lord, far-working Apollo, and pushed over upon her a crag with a shower of rocks, hiding her streams: and he made himself an altar in a wooded grove very near the clear-flowing stream. In that place all men pray to the great one by the name Telphusian, because he humbled the stream of holy Telphusa.

[388] Then Phoebus Apollo pondered in his heart what men he should bring in to be his ministers in sacrifice and to serve him in rocky Pytho. And while he considered this, he became aware of a swift ship upon the wine-like sea in which were many men and goodly, Cretans from Cnossos,10 the city of Minos, they who do sacrifice to the prince and announce his decrees, whatsoever Phoebus Apollo, bearer of the golden blade, speaks in answer from his laurel tree below the dells of Parnassus. These men were sailing in their black ship for traffic and for profit to sandy Pylos and to the men of Pylos. But Phoebus Apollo met them: in the open sea he sprang upon their swift ship, like a dolphin in shape, and lay there, a great and awesome monster, and none of them gave heed so as to understand11; but they sought to cast the dolphin overboard. But he kept shaking the black ship every way and make the timbers quiver. So they sat silent in their craft for fear, and did not loose the sheets throughout the black, hollow ship, nor lowered the sail of their dark-prowed vessel, but as they had set it first of all with oxhide ropes, so they kept sailing on; for a rushing south wind hurried on the swift ship from behind. First they passed by Malea, and then along the Laconian coast they came to Taenarum, sea-garlanded town and country of Helios who gladdens men, where the thick- fleeced sheep of the lord Helios feed continually and occupy a glad-some country. There they wished to put their ship to shore, and land and comprehend the great marvel and see with their eyes whether the monster would remain upon the deck of the hollow ship, or spring back into the briny deep where fishes shoal. But the well-built ship would not obey the helm, but went on its way all along Peloponnesus: and the lord, far-working Apollo, guided it easily with the breath of the breeze. So the ship ran on its course and came to Arena and lovely Argyphea and Thryon, the ford of Alpheus, and well-placed Aepy and sandy Pylos and the men of Pylos; past Cruni it went and Chalcis and past Dyme and fair Elis, where the Epei rule. And at the time when she was making for Pherae, exulting in the breeze from Zeus, there appeared to them below the clouds the steep mountain of Ithaca, and Dulichium and Same and wooded Zacynthus. But when they were passed by all the coast of Peloponnesus, then, towards Crisa, that vast gulf began to heave in sight which through all its length cuts off the rich isle of Pelops. There came on them a strong, clear west-wind by ordinance of Zeus and blew from heaven vehemently, that with all speed the ship might finish coursing over the briny water of the sea. So they began again to voyage back towards the dawn and the sun: and the lord Apollo, son of Zeus, led them on until they reached far-seen Crisa, land of vines, and into haven: there the sea-coursing ship grounded on the sands.

[440] Then, like a star at noonday, the lord, far-working Apollo, leaped from the ship: flashes of fire flew from him thick and their brightness reached to heaven. He entered into his shrine between priceless tripods, and there made a flame to flare up bright, showing forth the splendour of his shafts, so that their radiance filled all Crisa, and the wives and well-girded daughters of the Crisaeans raised a cry at that outburst of Phoebus; for he cast great fear upon them all. From his shrine he sprang forth again, swift as a thought, to speed again to the ship, bearing the form of a man, brisk and sturdy, in the prime of his youth, while his broad shoulders were covered with his hair: and he spoke to the Cretans, uttering winged words:

[452] "Strangers, who are you? Whence come you sailing along the paths of the sea? Are you for traffic, or do you wander at random over the sea as pirates do who put their own lives to hazard and bring mischief to men of foreign parts as they roam? Why rest you so and are afraid, and do not go ashore nor stow the gear of your black ship? For that is the custom of men who live by bread, whenever they come to land in their dark ships from the main, spent with toil; at once desire for sweet food catches them about the heart."

[462] So speaking, he put courage in their hearts, and the master of the Cretans answered him and said: "Stranger -- though you are nothing like mortal men in shape or stature, but are as the deathless gods -- hail and all happiness to you, and may the gods give you good. Now tell me truly that I may surely know it: what country is this, and what land, and what men live herein? As for us, with thoughts set otherwards, we were sailing over the great sea to Pylos from Crete (for from there we declare that we are sprung), but now are come on shipboard to this place by no means willingly -- another way and other paths -- and gladly would we return. But one of the deathless gods brought us here against our will."

[474] Then far-working Apollo answered then and said: "Strangers who once dwelt about wooded Cnossos but now shall return no more each to his loved city and fair house and dear wife; here shall you keep my rich temple that is honoured by many men. I am the son of Zeus; Apollo is my name: but you I brought here over the wide gulf of the sea, meaning you no hurt; nay, here you shall keep my rich temple that is greatly honoured among men, and you shall know the plans of the deathless gods, and by their will you shall be honoured continually for all time. And now come, make haste and do as I say. First loose the sheets and lower the sail, and then draw the swift ship up upon the land. Take out your goods and the gear of the straight ship, and make an altar upon the beach of the sea: light fire upon it and make an offering of white meal. Next, stand side by side around the altar and pray: and in as much as at the first on the hazy sea I sprang upon the swift ship in the form of a dolphin, pray to me as Apollo Delphinius; also the altar itself shall be called Delphinius and overlooking12 for ever. Afterwards, sup beside your dark ship and pour an offering to the blessed gods who dwell on Olympus. But when you have put away craving for sweet food, come with me singing the hymn Ie Paean (Hail, Healer!), until you come to the place where you shall keep my rich temple."

[502] So said Apollo. And they readily harkened to him and obeyed him. First they unfastened the sheets and let down the sail and lowered the mast by the forestays upon the mast-rest. Then, landing upon the beach of the sea, they hauled up the ship from the water to dry land and fixed long stays under it. Also they made an altar upon the beach of the sea, and when they had lit a fire, made an offering of white meal, and prayed standing around the altar as Apollo had bidden them. Then they took their meal by the swift, black ship, and poured an offering to the blessed gods who dwell on Olympus. And when they had put away craving for drink and food, they started out with the lord Apollo, the son of Zeus, to lead them, holding a lyre in his hands, and playing sweetly as he stepped high and featly. So the Cretans followed him to Pytho, marching in time as they chanted the Ie Paean after the manner of the Cretan paean-singers and of those in whose hearts the heavenly Muse has put sweet-voiced song. With tireless feet they approached the ridge and straightway came to Parnassus and the lovely place where they were to dwell honoured by many men. There Apollo brought them and showed them his most holy sanctuary and rich temple.

[524] But their spirit was stirred in their dear breasts, and the master of the Cretans asked him, saying: "Lord, since you have brought us here far from our dear ones and our fatherland, -- for so it seemed good to your heart, -- tell us now how we shall live. That we would know of you. This land is not to be desired either for vineyards or for pastures so that we can live well thereon and also minister to men."

[531] Then Apollo, the son of Zeus, smiled upon them and said: "Foolish mortals and poor drudges are you, that you seek cares and hard toils and straits! Easily will I tell you a word and set it in your hearts. Though each one of you with knife in hand should slaughter sheep continually, yet would you always have abundant store, even all that the glorious tribes of men bring here for me. But guard you my temple and receive the tribes of men that gather to this place, and especially show mortal men my will, and do you keep righteousness in your heart. But if any shall be disobedient and pay no heed to my warning, of if there shall be any idle word or deed and outrage as is common among mortal men, then other men shall be your masters and with a strong hand shall make you subject for ever. All has been told you: do you keep it in your heart."

[545] And so, farewell, son of Zeus and Leto; but I will remember you and another hymn also.

[thisblogisaboutabook]

Neon Moon

Azriel x Reader/Rhysand’s Sister - Angst

Rhysand’s sister grapples with a one-sided mating bond that has yet to snap for the Shadowsinger. When a drunken night brings the two closer together than ever, Azriel is made aware of a circumstance that could change the course of her life.

This is a one-shot that is able to be read as a stand-alone fic.

This is also a prequel to Wicked Felina and elements of this prequel will be involved in the remainder of the series. Wicked Felina Part 5

Warnings: Sexual content, alcohol, language, age difference concerns

Y/N - 19 Years Old

When the sun goes down on my side of town, that lonsesome feeling comes to my door.

Pretty moans echo through the walls of the House of Wind only broken by an ocasional deep groan.

I roll over with an aggravated sigh, pulling an overstuffed pillow across the back of my head, covering my ears. Not that it will do any good. Curse being High Fae and the exceptional hearing that comes with it.

I lay awake, taking deep breaths, trying to sink into the starry depths of my mind but Azriel’s hook-up of the week lets out a particularly loud cry of pleasure before her moans are muffled by what I assume is a gloved hand and a low reprimand.

I roll my eyes. He may as well chide her with a warning of “Shh, don’t wake the baby.” by the way he treats me.

Never mind the fact that I am an adult now. I have tits for cauldron’s sake, nice ones at that. I wouldn’t be wearing this oversized, ridiculously soft knit sweater if I didn’t.

And yet he still views me as a child.

It’s cruel to think that on my eighteenth name day, a golden thread snapped. Tethering my soul to him… and yet, he has no clue. That, or he does, and has no intention of acting on it, refusing to view me as anything other than the little sister of his best friend.

I’ve got a table for two, way in the back where I sit alone and I think of losing you.

So I grin and bear it. And if I happen to wear clothing a bit too cheeky when he is around and other males inevitably gawk at my exposed skin, thus prompting the overprotective bat to shuck his sweater off and toss it to me, and then I spend the rest of the night drinking him under the table? Well, that will have to do for now. So, I wait for the day his soul is ready to seek mine.

Y/N - 21 years old

He’s watching her again. He always does. She dances through the room like petals on a breeze, enamoring the crowd with vivacious conversation as she skirts throughout those gathered in the room. How will I ever compare to the radiant and lovely enigma that is THE Morrigan? I shouldn’t feel bitterness toward my cousin and yet I do. I get why people flock to her, she’s kind and lovely, strong, somehow both approachable and unobtainable. She’s a total pain in my ass busybody cousin-acting-as-older-sister I never wanted.

I requested that the band play Azriel’s favorite song tonight. The one time he’ll loosen up and let himself enjoy a moment. It has become a routine, our dance. The one time that he holds me a little closer. The one time I can pretend he sees me as the mature female that I am and not the child I was.

But tonight, the song plays, and it’s Morrigan in his arms, not me. It’s not the first time he’s chosen her over me. When she’s here, I don’t exist.

I can’t stand it anymore. I can’t watch this.

I spend most every night beneath the light of a Neon Moon.

I turn to leave, exiting the hall, winding through the crowd of pompous nobility from all courts. The garden. I’ll find solace in the garden, beneath the glittering stars, among the fragrant blooms. Sneaking down a quiet corridor and out a shadowed alcove, a guard opens the door for me and the warm, lavender scented breeze greets me like a friend. My steps fall swiftly, distancing myself from the evening revelry. As I wind down a path of blooming roses, a loose stone causes my sole to slip, bracing myself for the fall and the sting of rock to my palms. Instead, I am shocked to feel warm, strong arms catching me. Looking up at my savior, a few long golden locks of hair fall over the concerned, emerald green eyes staring down at me.

Y/N - four months later

“Shit, Shadowsinger. You look like you could use this more than me.”

The start of a grin tilts the left corner of his lips upward as an incredulous laugh slips from his throat. Reaching a scarred hand toward the bottle of my brother’s finer wine and swiping it from me.

Azriel’s hazel eyes assess the bottle, giving a raise of his brow. “Looks like you’ve done a number on this one already.”

“I never do things halfway.” I tease. Giving a nod toward the wine that was indeed half-empty. His dark brows rise again as I unveil a second bottle before he could remark on it. “Some Spymaster you are. You should’ve know I’d come prepared with the best selections from Rhys’ secret-” The playful jest is interrupted by the tickle of a shadow trailing up my arm and spiriting the second bottle right out of my hand, eliciting a pout of my lower lip.

“Hey, now that’s just greedy.”

The handsome planes of Azriel’s face illuminate in the twilight, causing my heart to stir. Perhaps it’s the way the night shrouds him in ominous twilight, or the way his shadows sit strewn across his shoulders but I know tonight was hard for him.

Mor had shown up to dinner as radiant as ever, a red dress clinging to her delicious curves, some male she’d picked up at Rita’s on her arm.

Now if you lose your one and only, there's always room here for the lonely

I should leave him alone but I can feel it in my chest. Stoic and broody? Yes. A lonely soul? Also yes.

And damn, do I know I deserve better than to be the female that will never be chosen first? Yes. And yet, he’s my mate and more importantly, my friend.

“Scooch over,” my arm waives in a correlating gesture. “This grass is dewy and cold and this dress is far too thin. Your leathers can handle the chill, I’m stealing your warmth.”

With a small shake of the head, a lock of raven hair falls over his forehead, Azriel scoots, exposing the vacated patch of grass for me to sit on. “Gods, it’s still chilly.” I complain as I swipe one of the bottles back from the Shadowsinger.

“Nobody asked you to come out here.”

“And yet here I am.”

Azriel eyes meet mine, a small flicker of emotion passing behind them. “Yes.” He whispers fondly. “Here you are.”

I ignore the blush threatening to redden my cheeks and fire back at him. “Your breath smells like a vineyard. You’d already gotten started on the drinking without me?”

Recognizing the rhetorical question for what it is, Azriel presses his lips to the bottle, tilting his head back as he takes a long swig of the bittersweet wine. My breath catches as a harsh swallow bobs his adam’s apple. Heat pools through me and I quickly turn away, searching for something, anything to distract from the effect he has on me.

To watch your broken dreams, dance in and out of the beams of a neon moon

Shadows dance around us, like figures on the wind, weaving in and out of the moon’s luminescent rays.

“Y/N…” I turn to face him as a scarred hand reaches for me before seemingly thinking better of it and pulling back. “I didn’t dance with you at the ball.”

It’s my turn to laugh incredulously. “That was months ago Azriel, why bring it up now?”

That peculiar flicker of emotion crosses his eyes again.

“I’m sorry.”

I pause, taken back by the apology. Had he known how much it hurt to see him dancing with her? Thinking on it, I can’t seem to grasp whether it is better or worse that way.

I freeze, grappling with emotion as he ruffles his hair with a scarred hand, dragging his palm over his face. “Y/N. The conflict that wars within me, it’s… .”

Confusion conveys on my features and I resist the urge to dive into his mind and read exactly what he’s thinking. “What?” I ask as his sentence trails into a void of lost words.

He shakes his head as if he’s already pushed whatever he was about to confess aside. Hurt washes through me and I begin to turn away. A broad, calloused palm grasps my wrist. “You’re beautiful, Y/N.” He leans closer, his wine addled breath mingling with my own, only centimeters separate his lips from mine.

I think of two young lovers running wild and free. I close my eyes and sometimes see you in the shadows.

I’m certain he can hear my heartbeat as it roars through my ears. My eyes flutter looking into his heavy-lidded hazel and onyx eyes. His head tilts, low voice barely more than a rumble.

“You’re everything.”

Azriel inhales, his gaze searching mine in a silent ask of permission, preparing to close the hairs-breadth of distance between our lips. Suddenly those lust-addled eyes go wide, nostrils flaring, and he abruptly pulls away, swiping my bottle of wine as he withdraws his hand. “You don’t need any more of this, Y/N. Go to bed.”

My mouth gapes slightly, processing what just happened. “What?”

“It’s late and I have to leave for a mission for your father in the morning.”

He stands straight, stretching out his tall body and those glorious, broad wings, stiff from sitting on the ground.

My heart is crushed, once again. The words that could change it all sitting on the tip of my tongue.

You’re my mate. You’re my mate. You’re my mate.

But his feelings for my cousin still run strong and we have centuries ahead of us. I refuse to be in second place.

Azriel extends a tanned arm to me, eyes now softened, a slight crease between his brows as he takes me in. “Come on, Y/N. Let’s get inside.”

Taking his extended arm, we walk in silence through the grand entryway of the House of Wind, winding down the corridors within, stopping at my room, I murmur a rushed “goodnight.” before escaping behind the shield of my door, to the quiet lonesome solace of my room.

I sense Azriel’s presence outside my latched door for several moments before his steps pad down the hall opening the door one down from mine, into his room.

No telling how many tears I've sat here and cried, or how many lies that I've lied telling my poor heart he’ll come back someday.

Azriel

Azriel couldn’t take it. The way the walls closed in around him. Sleep was always just out of reach but tonight, he felt the weight on his chest in a crushing embrace.

If you lose your one and only, there's always room here for the lonely.

He’d spent the past few years dicking around, ignoring the shift he’d felt toward Y/N. For fuck’s sake, she was Rhysand’s little sister, barely an adult. She’d always gravitated toward him in her childhood. Looked up to him. And he cared so deeply for her, like a little sister. And then soon after her eighteenth birthday something began to shift in his chest. Something that he felt so incredibly wrong for feeling - and yet something he’d buried deep within begged him to accept that it was right.

He was a bastard for it and latched onto his feelings for Mor even harder, despite the fact that they’d simmered down in previous years. And then Y/N had changed her demeanor toward him and he knew- gods, he knew she wanted him but he couldn’t do it. Rhys would kill him for it if her father didn’t first. It was so wrong.

And it had gotten harder and harder recently. He’d brought females home, spent more time around Mor when she’d visit, anything to push her away without actually owning up to what his feelings were.

And then Mor had shown up on a whim tonight with some male that she’d picked up gods knows where, he couldn’t even fall back on clinging to her, leaving him forced to face how strongly he felt toward Y/N, so he’d indulged in booze and snuck out to sit beneath the moonlight and drown in his own pool of self-pity.

To watch your broken dreams dance in and out of the beams of a neon moon.

When she’d found him, any semblance of willpower was gone. Y/N was a goddess beneath the moonlight. Kind, strong, intelligent, and so damned beautiful and, out here, it was just the two of them. So, he’d finally given in. One kiss, one kiss would help him see how wrong this was. And yet as he leaned in, all he could feel was how right it seemed to be.

Until he’d inhaled, taking that final breath of courage to close the distance. That’s when he smelled it, the shift in her scent. Her scent was there but there was something somewhat familiar and earthen intertwined a scent so light and sweet, almost like roses. A scent that was not her own, not of her.

She was pregnant. He had no idea by whom but the realization sobered him up entirely. He swiped her wine and panicked. Did she know? Should he say something? Instead, like the older brother figure he’d once viewed himself as to her, he escorted her into the house and told her to go to bed, ensuring to keep the alcohol out of her reach.

Gods, he didn’t know what to do from here

He spent the rest of the night flying, taking in the stars and the moon as they shone brightly above, ethereal just like her.

He’d go on his mission this week, and Y/N and her mother would travel to the war camp that her father was at to visit him, and when she came back he’d talk it all out with her.

Yes, he’d support her and love her however she needed to be, whether it be as a friend, as chosen family, or as something more. It would all work out. It had to.

Come watch your broken dreams dance in and out of the beams of a neon moon.

————————————

Although this is a one-shot, it is also the prequel to Wicked Felina, you can read Part 1 here.

Tags

ACOTAR general: @lilah-asteria @thecollegecowgirl @mochibabycakes @nickishadow139

Wicked Felina tags: @glittervame @julesofvolterra @saltedcoffeescotch @candyjaypoppins @st4r-girl-official @nocasdatsgay @gxdsmonsters @honk4emoboyz

[eowynstwin]

There has been more than enough drama about this whole situation so I will be as direct and concise as I can. This will be my last post about the matter regarding Myka/codslut. This will likely be my last post on this blog period.

This fandom community has crucified me over a story that has fallen apart over what I can only describe as the lightest scrutiny. FOIA requests, when expedited, have a ten day window to be granted, not a twelve hour window, and normally take months to even years to grant. Americans do not call small towns villages. Crisis workers do not have unfettered, immediate access to clients' personal information, let alone that of complete strangers on the internet.

I am not exaggerating when I say I have feared for my safety for the past week. The three people who have lead the charge against me have slandered, harassed, and outright stalked me—keeping track of posts I've made and deleted, changes I've made to my directory, and even the time between posts I have made. I have genuinely feared that the next step these people were going to take would be to search both of my blogs (because I have not, in the past, been very concerned about hiding my main) for my personal information in order to dox me.

I believe this campaign has been racist ("gaz erasure my ass") and ableist in nature. I believe my being autistic—and my trouble communicating in a way that could satisfy the aforementioned people this entire week—has played a part in the way this fandom has victimized me.

I believe in particular that sheheal has a personal vendetta against me, although I do not know why. I believe that their claim that they must leave their blog up as "evidence" is false—I believe they are keeping it active in order that it should always be digitally connected to me, and thus risk my safety and peace in whatever online space I choose to be in next. I am entertaining the belief that she even intends for it to follow me in real life, although that may be more paranoia than possibility.

I am aware of the mistakes I have made. I regret them. I am sorry for them. If what has happened to me is representative of what happened to Myka, I have nothing but empathy for her. Even before this happened, I would not wish this on anyone. I do not believe that dogpiling is justice, and have fought against it when I have seen it happening in this fandom in the past. I did not and do not want this to happen to anyone, ever, no matter their sins.

I want to extend a gratitude I find difficult to express the depth of to everyone who reached out to check on me. I especially want to thank Early for being the first person to stick their neck out for me, and for everything after. I hope to be friends with you all for a long time. You mean more to me than you know. You have made a lonely and difficult week feel less lonely and difficult.

I do not want to be a part of this fandom anymore. I have poured over a year and a half of work and creative energy into this community and it has meant nothing. I have loved this community and it has meant nothing. I have fought for this community and it has meant nothing.

If fandom was ever a safe space, it is not anymore. It is not safe for those affected by racism and it is not safe for those affected by disability. It is not safe for anyone who makes mistakes. It is not safe for me, and reader, it is not safe for you. I did not think this would happen to me. Do not make the mistake of thinking this won't happen to you.

[morganas-pendragons]

grief | elrond peredhel

a short little thing about helping Elrond through his grief over Elros. Think I may release one more drabble tonight as I am really trying to clear my drafts out. This is an actual drabble this time!!! It's less then 1K LOL

"I not only live each day in endless grief, but live each day thinking about living each day in grief." - CS Lewis, A Grief Observed

For someone who has believed until this point that you knew Elrond Peredhel well, this may be the only time you can confidently note that you cannot find him in any of his usual hiding places.

That is what causes you to go seeking Galadriel and The High King. To you, it is a normal day. A normal day in Lindon among comrades and friends in which you spend weeks preparing for the next event featuring the court of musicians that Gil-Galad employs for such an occasion. Your free time is spent with Elrond, lingering amid the trees within each other's embrace and whispering poetry among the rays of sunshine and flowers that scatter along Lindon's fields.

You do not find him there today. Not there, not at the waterfall, not in the garden. He is nowhere to be found. The thought of something having happened to him concerns you, and that is what leads you to GIl-Galad's courts where you find him and Galadriel conversing with one another. Their conversation is hardly perceptible enough for you to hear. It does not matter. You stride towards them with haste, intent on finding Elrond before the sun reaches its peak of the afternoon.

Gil-Galad seems to have been waiting for your arrival. He does not look surprised that his violinist has come to meet with him.

"High King," You begin, bowing lowly to him and Galadriel. “Forgive me for the intrusion.”

“It is not an intrusion, dear friend,” Galadriel’s calm voice responds. She is always, to you at least, the perfect picture of composure. You envy that ability. “What ails you?”

“I cannot find Elrond.”

You know something is wrong by the way that Gil-Galad and Galadriel look at each other. Your gut has been telling you all morning that Elrond’s sudden disappearance has a purpose, and it seems you are right.

“This is one day of the year that Elrond does not wish to be found,” Galadriel murmurs, sadness tinging her tone as her eyes fall to the floor. Her fingers skate across where she used to keep Finrod’s dagger at her hip. “We are never able to locate him.”

“Why? What is important about today?” You ask. Dread bubbles in your stomach as you fidget with your fingers. The King will not meet your eyes.

Elrond has been forthcoming about most of his upbringing to you thus far. Being the son of Eärendil The Mariner and Elwing, the Silmarils, Maglor and Maedrhos... All of it.

The one thing he has told you little about is Elros.

For the first time in the time you'd known her, sympathy flickers across Galadriel's face as she crosses the gap between you to take your hands into her own. You are dearest to Elrond. Due to that, she feels a deep obligation to look after you when he can't.

"This is the anniversary of Elrond's twin's death," Gil-Galad interjects before Galadriel can reply. Your fearful aspects crumples into something akin to sadness and a familiarity of grief that makes your heart ache. "I often do not call upon Elrond on this day. I never have found where he hides, but he sits in his solitude to ruminate over the loss of his brother on this day every year."

You square your jaw and squeeze Galadriel's hands before stepping away.

"If you will grant me leave, High King," You remark. "I wish to find my beloved before nightfall."

Of all the people Gil-Galad would expect to successfully find Elrond, you may be the only one on that list who could offer him comfort and bring him home before he caught ill in the chill that lingered in the air. Gil-Galad knows the depths of which Elrond loves you. It is a depth that far surpasses the weight of his upbringing, which he has endured.

He nods.

You are bounding up Lindon's staircases and out into its golden forests before you can hear their farewell, keen Elvish eyes peeled for the familiar form of your lover as you seek him out in all of your secret hiding places.

The lake, the waterfall, the garden, the library. All are empty.

"Where is it that you go to grieve, love?"

"Where the song is heard the quietest, where all the world comes to a halt, and where the heart falls somber."

You find him at the edge of Lindon where a single statue stands amid a small graveyard. You've seen it while coming and going from the city, mostly to Eregion to meet with other musicians and artists. No one would pay attention to it if they were not looking.

You have never truly taken the time to recognize it for what it is.

Elros Tar-Minyatur.

You don't say anything as you approach. Elrond is knelt at the feet of the statue, hands wound in the fabric of his cloak as he weeps. Not a sound escape his lips. This must be what grief feels like. Silent suffering over a face, a name, a heart that the rest of the world will never come to know again because you are what remains of their memory.

You hum softly to acknowledge your presence and rest your hand on his shoulder. He leans into it, seeking out the touch of your comfort, while his hands move upward to hide his face and the tears that stain his cheeks.

You do not shush him. You simply kneel in the dirt and take Elrond into your arms, kissing a head of damp curls as he slides into the part of your legs and clutches at you so hard that you're sure his fingerprints will leave bruises. His grief will slip into your bloodstream, and you too will feel the aching hole that comes with the loss of one so dear to him.

You do little but hold Elrond there. Press a kiss to his temple, to his hair, to his forehead.

There, wrapped in the warmth of the embrace of one who loves him still and will continue to do so, Elrond allows you to see the heart of him that bleeds over a twin who chose mortality, who chose men.

You wonder if Elros would choose him, were he allowed to live again.

You stare up at the statue as if Elros will speak to you.

I will live to love him for you. I promise.

[rainbowolfe]

Chaos

*cracks knuckles* finally, some fucking lore.

Here's the song for those who haven't heard it yet.

All of my time spent scouring for and trying to interpret symbols... trying to interpret the tarot cards... a conspiracy board of connected dots. It all pays off now, with this album. MY TIME HAS COME.

Before I get into analyzing the lyrics, I wanted to call attention to the tarot cards that appear in the music video.

True Sight, Strength From Within, Diseased Heart, Death's Door, Divine Curse, Hands of Rage, Gift From Below, Ambrosia, Weeping Moon, and two cards that haven't appeared in the game (yet).

I will make an in-depth analysis of what I think these cards mean for Leshy's fate in another post, cause it's gonna be huge. I also wanna see what cards the other Bishops get, as many of the tarot card's reference each other and have meanings that depend on the context from other cards.

But some quick surface level observations based on the notes I already have about the cards:

-whatever "it" is, it starts with the Blood Moon Ritual.

-Either Leshy or his demon were wounded, metaphorically or otherwise, putting him on a path towards corruption.

-Leshy has large reserves of Fervour. His demon receives strength/power from the Sun.

-He almost dies. A deal is struck to exchange something (or someone) for a boon.

-He was eating Gods for his immortality. A specific type. More on that some other time.

-Leshy is the receiver of a gift (of extra life)from TOWW.

The two remaining cards that are still unknown may relate to Leshy's eventual fall.

ON TO THE SONG.

Enough interpreting vague pictures and cryptic lore text. It's time what I've been hungry for. DESPERATE for. Very plain and straightforward text about what a character's been up to.

So there are four entities singing in this. There's the demon who starts the song off, the Green Crown, Leshy, and a fourth being related to the Green Crown.

The demon is marked by a specific, deeper (almost whispery? Dare I say... hissy) voice. We don't hear it again after it says it's peace.

I am the demon growing inside of you. I feed off all your fears and lies. It's so true. I can't wait to hunt you down, capture, and do the horrid things I must do to survive this.

This could very well be the creature that is literally inside of Leshy, visible only in his Eldritch form. But it could also be Leshy's heart. At the core of all the Bishop's actions was fear, and something had to be feeding that fear. Resulting in hearts cast in vile, impermeable, unrelenting terror.

Or it's Shamura.

It also plays off of what Leshy says to the Lamb. "I hear your lies and I smell your fear."

We then transition into what seems to be Leshy finding his Crown (while burrowing) and emerging from the dirt.

I claw my way out, My feet on the ground This horn atop my head... ...is my Crown.

We can know this part is Leshy's because the summoning circle that appears in this section is the one found in Darkwood. Thus, based on the summoning circle in the next section being the same one used by the Red Crown Snake, these lyrics are the Green Crown speaking. ((I would even posit. It's the Crown's original, intended owner. Someone had to put it in the dirt, and it surely wasn't on accident.))

I won't stay in line (I won't stay in line) I'm destined to die (I'm destined to die) The thunder rages on (The thunder rages on) (as night forever falls) As night forever falls

While it's Leshy's voice, they aren't his words. These words belong to the second voice echoing him which slowly reveals that it isn't repeating after Leshy. Leshy is repeating after it. As the 'secondary' voice gets ahead of the 'primary' voice.

The night falling means both an eternal nighttime and the literal "Night" falling. As in, dying. If the Light is the Sun, then the Dark is the Moon. And the decorations in the Heretic's pack would greatly suggest that the moon is dead (if not, then heavily injured).

The eternal night is a reference to the Old Faith, more on that later.

Next section!

True Name vs True Moniker. Moniker does technically mean name, but it's more in the sense of your "brand". Here I'm sure it's being used as a "nickname".

We know him as Leshy, he's representative of chaos (his ""brand"" lmao) and thus is known by that title. But he's not Chaos itself. Something I've pointed out before is that he's "he of havoc" and not "he of chaos". Havoc is not synonymous with chaos.

No, no. Chaos is the one on the other end of the Crown. Because the Crowns are just conductors of devotion. We even see with Narinder's Crown that there's something we make sacrifices to that gives us/the Crown power in exchange. And unless Narinder's hiding tentacles under those robes, it's not him. There's someone/thing higher.

The Old God. Maelstrom. Or Turua, they're both red-coded.

Know him as Leshy, the vessel of chaos. But the second voice (the one influencing Leshy without him realizing it) demands you worship him as Chaos. And only Chaos.

And the "me" here is strange but maybe it'll make sense after hearing the other Bishop's songs?

An important side tangent though. As this is "The Goat" album, there is of course going to be a slight difference in what's being described in this song and what actually happened in Lamb's reality. And that difference lies in the names of the songs.

It's Chaos, and not Leshy. I suspect it's a lot like how Narinder stopped being Narinder, and became The One Who Waits. A being his siblings regard as something indistinguishable from the Red Crown. Maybe even something more severe, as he eventually gets to go back to being Narinder it seems.

Daylight will come undone; as we eclipse the Sun

What I assume is going to be Kallamar's song was previewed in the Goat trailer/teaser, and that too makes an explicit mention to killing a representation of the sun. (or someone adjacent to it)

I said before that the Old Faith represents an eclipse. That's why those specific, but incomplete moon phases appear on all their stuff. They are the omen. They are the punishment for someone's misdeeds towards a higher power.

Destruction wastes at noonday.

[http-tokki]

you promised.- satoru gojo

~ satoru gojo x reader ~ tags/cw: break up, angst, satoru is an asshole ~ wc: 935

"You promised..." You feel your lips pulling further into a frown as you stare at Satoru sitting across from you. "You pinky swore that we were gonna try harder this time."

Satoru doesn't move an inch from his stoic position as tears roll down your cheeks. He does not attempt to reach forward and brush them from your cheeks or run his hand along your forearm the way he used to, there is no attempt at comfort; not anymore. You ache for his touch, for some semblance of warmth that once radiated off him, the heat that kept the embers within your heart glowing throughout the years-long separation between the two of you.

"I don't think it's fair to bring that up." He counters, the vacant expression still plastered across his face.

"I don't think it's fair that you said all these things and made me think it was going to be different this time only for us to end up the same." there is anger building within you, bubbling and roiling in the depths of your soul but you know you can never truly be angry with him.

Gojo sighs and drags his hands down his hands in frustration, the only emotion he has shown thus far. "I didn't know that I wasn't going to be ready for this, I thought-" another sigh. "I thought I was ready but I'm not and it's unfair for you."

"You don't get to decide what's fair for me, that's my decision." your jaw clenches, throat tightening as sobs claw their way up. "All you've talked about was how much I've grown and how you admire me making decisions for myself so here I am, making a decision for myself." you take a deep breath, calming the shaking in your voice as you declare. "I chose you. Always have and always will."

"You're willing to give up your entire life and be my second, third, maybe fourth priority, without a chance at a normal life? Am I that important to you?"

"Yes."

There is a beat of silence and for a moment, you think he will reach across the console, grab your face, kiss you, and seal your combined fate. He will feel the sincerity of your words, your unwavering love and devotion to him and the life that could be, and return your feelings. Finally, you were going to get the moment of your dreams with the man you had been yearning for for far too long.

"God, that's pathetic." Satoru huffs, rubbing at his jaw. "Is your self-worth that low?"

"Excuse me?" His verbal attack is just as sharp as if he were to slap you across the cheek.

"How are you so pathetic that you're willing to give up being your own person for someone else? For me? Do you have no self-respect?"

The words slice at your skin, flaying you open with each sneer. Bile rises in your throat, stomach aching at the devastating blow that he had just delivered to your psyche. Maybe he was right.

"It's like looking at a stray dog just begging me to take them home." Saturo sighs, pinching the bridge of his nose.

Bile rises in your throat, stomach clenching at the devastation he had just released upon you. You feel your heart break. A cracking that only you can hear fills your head, and blood sounds in your ears as your hands start to shake. Breathing becomes manual and the air is a little too thin, vision blurring at the edges and you don't know if it's the lack of oxygen flowing through you or the tears beginning to cloud your waterline. You inhale once, jagged but full, your head clearing slightly at the sudden rush of air and you know what to do. You've done this before. Been dumped by the great Gojo Saturo and you've lived through it, you can do it again but why did it hurt so much more now? There is no time to sit and think about that. You need to leave now, get out of the car so you can break down in the sanctity of your own company.

"Okay," you start, taking another breath and lifting your head to face the sorcerer. "Thank you for letting me know."

Satoru's face remains unchanged, staring at you unblinkingly as you clench your jaw to stop the quivering of your lips.

"We’re done. This is it.” your voice cracks despite your best efforts. “There won’t be any friendship; nothing. Ever again.” 

Gojo’s lip twitches, a slight downward tug at the corner of his lip before schooling his face into neutrality. 

“Anything else to add?” tone detached despite whatever emotion had slipped through his mask a millisecond ago. 

You think for a moment and debate whether or not to admit defeat. Confess that he had won the weird heartbreak competition there was between the two of you, that he had finally taken his prize of your whole heart but what would that achieve? So you take a deep breath and open the door. Cool winter air rushes in, replacing the familiar warmth that always seemed the fill Satoru’s car. Not another word is spoken between the two of you as you climb out, close the door and walk back towards your apartment. You freeze as you reach the door, hand frozen on the keypad to the lobby and you turn, a habit you had developed over the years together, expecting to see him waiting for you to walk into the building knowing you are safe but when you turn, the space is empty.

a/n: lmao inspired by an actual break up conversation with the same guy who broke me like 2 years ago (yeah, that's right I went back like an idiot)

[evilminji]

I... am haunted? By my Midi-chlorian theory?

Cause they are PROBABLY? Some sort of Symbiotic Bacteria?

Which was my theory. Cause "micro-organisms" is vague af? And doesn't exactly tell us what KIND? But it's probably not a mammal or some sort of fish? So like... helpful blood bacteria. Got it! No different then a good gut biome. Makes perfect sense!

Yeah, THIS one has? For some reason? A hyper sensitivity to fundamental forces of reality? But I mean? Monkeys with type writers, right? Something, somewhere, was bound to get it. Some organisms get better smell to survive, some get sensitive whiskers. The blood bacteria got jacked in to Reality's newsreel. Some low ranking admin privileges.

Still? Needs a HOST to survive though. Doesn't, itself, even really HAVE a brain.

Cause it's a Bacteria.

A Bacteria and... and Bacteria can be multiplied. Grown. Obviously? Midi-chlorians refuse to do so outside of a living body. Or the Sith and various other researchers, bother ethical and UNETHICAL, would have figured out how to crack Midi-chlorian development.

They ALSO? We can only assume? DO NOT mix. As in? Any Midi-chlorian's? Removed from the Original Host™ die off pretty promptly. (In time with the blood rotting or new body assimilating the fresh, donated, blood.) So you presumably, couldn't take from, say, Skywalker and give to an average farmer, and have that farmer become mildly force sensitive.

Even THOUGH? The BLOOD? Is where his Midi-chlorians are! So PRESUMABLY? So long as he and the farmer had compatible blood types? That SHOULD happen! Because Anikin his a SHIT TON of Midi-chlorian bacteria in his blood and the farmer would be receiving some of that High Production Strain.

Not saying the farmer would ever become a powerhouse. But? There should? Be a difference? Even if it was only temporarily.

Yet? It seems? Like Midi-chlorian strains? Just don't MIX. They split off, during development of a child, begin cultivation of their own unique colony, and never again! Shall the stains blend. I'd go so far? As to say? They probably ATTACK other Midi-chlorians in THEIR space.

Like part of the immune system. Disease, poison, parasites, and of course? Those filthy, FILTHY Other Midi-chlorian Colonies trying to encroach upon THEIR resources. Get! GET!

Which is where? All past attempts have FAILED. Because they? Had an END GOAL first, and they worked their way backwards. Approached it all with either preconceived notions or complete derision of the subject matter. Ignoring countless culture's collective MILLENNIUMS of knowledge on the subject. The observations. The notes. The folk remedies and early sciences.

Arrogant. Forgetting or outright dismissing. Because THEY were better. THEY were SMARTER. Surely, THEY would crack the code! Unlock the SECRETS of this MYSTICAL building block of the Force!

Achieve... POWER.

But? The thing IS? Primitive? Does not and HAS not? Ever meant stupid. It means young. New. Doctors and scientists, doing the best they could, with what they had. To help as many as they could. The Force? It was a mysterious thing. They knew the shape of it. The edges, but not it's depths. They could observe.

If they did X... Y occurred. Medicine A? Brought about B and C side effects, avoid it going forward. Use Medicine D. So forth and so on. Building upon the knowledge of the past.

But OH, THEY? Didn't have fancy modern medical technology! Didn't know the modern terms! So obviously they were superstitious idiots!

Thus, attempt after attempt. Failed. Usually with innocent people, paying the price. Because Power. Because Fame. Because they could rule the galaxy and go down in history books... if only these simple little bacteria would COOPERATE. But.... they don't. Do they?

Because you lack understanding.

You. Can Not. Remove Them. From The. HOST.

They DIE.

They can exsist in exactly ONE(1) environment. Their NATIVE environment. Where you found them? That's where they need to STAY. If you found them in a tree? The need to stay in THAT specific tree. Dirt? Well then! Dirt from THAT specific region of THAT specific PLANET. No moving! Cease! Desist!

Are the Midi-chlorians in a baby? The start up strains were donated! Congrats! THEY LIVE THERE NOW. They are now NATIVE to the BABY. Can not exsist OUTSIDE the baby! In fact, will immediately begin to die! Outside that baby!

This is WHY Sith Alchemy is so fucked up. Lots of live experimentation and forcing Midi-chlorians into statis. Body horror everywhere. No mas! It DOES NOT SPARK JOY.

Which?! That leads me to my point! The part of all this THAT FUCKING HAUNTS ME!!!

Bacteria can be multiplied if you give it the right food. Fuck, it WANTS to multiple. WANTS to go gangbusters. Just? Absolutely apeshit. Thick enough in the blood to turn it all into PASTE. It doesn't have a brain. It can't look around and think to itself "hey, maybe we should slow down, we're straining the environment".

It's bacteria. Ultimately, in the end, JUST Bacteria.

Yes, it may be the medium by which we connect to The Force... but IT itself? Has no intelligence to negotiate with. Just like the cells in your body. And JUST like the cells in your body? It can be a cancer. Could kill you, if something went wrong.

If SOMEONE, deliberately, made things go wrong.

All in the name of "Science".

Yes, once again, I consider the SI-OC, even as I consider Midi-chlorians themselves. What "feeds" such a bacteria? A healthy body, presumably. Connection to the Force? Kyber, most likely. Force powerful items. We know they "call" to those who are Sensitive. But! As we know? The part of your body that can actually FEEL that call? Is the Midi-chlorians in your blood, which then transfers the information to it's host.

It is the Midi-chlorians that want that specific Force object. In all likelihood, because it benefits them. That it benefits you? Is a lovely side effect. That is can be used for things? Neat! Good on you for figuring that out! It would still call you to collect pretty, shining, rocks, even if you couldn't use Kyber for SHIT. You would be COMPELLED.

NEED it.

It makes the Midi-chlorians inside you go Brrrrr. Mmm, yes, happy chemicals. Positive reinforcement! You should continue to do OTHER things that help the Midi-chlorians! Like meditation, eating well, and being around others! Go on! Hug that baby! Yeeeeeah, good energy makes LOTS of Midi-chlorian food! (Bad energy too. We are not picky. But that Does Not Feel Nice. So like.... why tho?)

So! Consider!

You have yourself an UNETHICAL AF scientist. The Board does NOT UNDERSTAND THEIR GENIUS etc etc. They have completely lost their shit. Unfortunately, they have money. And Slavery and desperation abound. There are ugly, UGLY pockets of darkness in this galaxy.

They? Have An Idea™! (It is a terrible, horrifying idea)

This scientist? Is going to crack the Secrets of The Midi-chlorian! Become Famous! It is a plot heard many times before, sadly. Just as sadly? SI-OC's parents, who were on their way to the temple, never make it there. Make no mistake! Good people. Upset, of course, that they will be losing their daughter. But? As all good parents do?

They made the decision they thought was best for their baby girl. A lifetime of being understood. Supported. Of stable food and safe beds. A good, quality education they would never be able to afford. Being able to help people someday. They love their daughter. Weep for losing her. But sometimes? Loving your child? Means letting them go.

Not forgotten. NEVER forgotten. But somewhere better then they could ever give her. Safe from those who would see their child in chains.

They do not make it.

But they do not go quietly. When those bastards come for their little girl. They make it cost dearly. Not dearly enough. Never, ever, enough. But one of the other passengers is able to get off the emergency beacon. So the Jedi will know. They will come.

It... it has to be... enough...

And it is.

And they do.

But it is not just a pirate attack. Not JUST slavers. No... no this is far more horrifying. Far worse indeed. The Shadow sent to rescue the child? Stumbles into a festering shitshow. The sort that takes a TEAM to unravel. The not-pirates are mercenaries, are closing in fast. He send his data in full, in one big lump as an emergency download.

Capture likely eminent. They're experimenting on Force Sensitives. Need Back Up.

Help.

The Doctor is, of course, DELIGHTED! An adult specimen AND a child! Comparisons and contrasts! They ramble on, unhinged, to the horror of the Shadow. Who's eyes are locked on the Crecheling in a cage. He knows help will come... but will it come fast enough?

No. Not really.

But what keeps HIM from falling? Is the Crecheling that needs to be taught. Ironic, in a way, that the very thing their capture demands and demands? Is what helps them escape, however temporarily, their cages. Meditate. They are told. Or else.

Surrounded by stolen artifacts of Light.

Meditate.

Meditate.

Imagine, if you will, a dialysis machine. It filters the blood, yes? Pumps it outside the body? A terrible process. Trial and error. How far is too far? At what distance, do the midi-chlorians begin to die? The doctor kills... so, SO many innocent. Not their prize specimens. Jedi are hard to get! But slaves? Easy enough.

The Shadow can not Fall, he reminds himself. Can not give in to his grief or rage. His horror, his sorrow. It... it is so hard. To remember the Light. In this dark place. But the Crechling helps. The kyber, the artifacts. When... not... Not IF! But WHEN he gets out of here? He thinks... he thinks he should retire. Being a Creche Master sounds lovely, to be honest.

Bright. Peaceful.

The doctor completes their horror machine. He can not stop them from putting on SI-OC. After all... HE is done growing. It filters the blood, you see. Nice and close to the body. Through and around Force rich materials, in medical grade tubing. Exposing the Midi-chlorians directly to the energy they feed off of. Filter in a mineral solution to use as building blocks.

It WORKS.

The midi-chlorians in SI-OC blood start multiplying far faster and too far greater concentration then ever before. Slowly but surely boosting their Force Sensitivity as they go. What a rousing success.

If it weren't slowly killing SI-OC.

Ever imagine? What would happen if someone reached over and slowly started turning up the sensitivity on your eyesight? Your hearing? Your taste, touch, the FEELING OF YOUR BONES? If every breath was sandpaper, and every thought an adrenaline rush?

Could you imagine? FEELING the galaxy BREATHE? Knowing for a fact that your body had been specially designed for a certain level of sensitivity? And you had been broken? Because someone wanted to see if you could handle HIGHER?

Power without the support structure? Burns everything down.

Just because something CAN be done? Doesn't mean it will work the way you fantasize it will. Reality is not a story book. Where Power comes in pretty little packages, to be bought or sold or stolen. Midi-chlorians were always Bacteria. And trying to fuck with your own micro-biomes for more power? Was always destined to end in death and disease.

For you. For someone else. For every innocent you dragged into it.

They scoffed at the "primitive" scholars who warned not to fuck with it, yet still treat it like its a mystical power to be seized.

The Shadows that finally track down the lab? BURN it wil a VENGEANCE. It is a place of horrors. And initiate SI-OC is very, VERY sick. They aren't even sure they can risk taking her to Coruscant. Too many people. Jedha? Probably safer. Luckily their library has something that...? MIGHT? Be able to help treat this?

SI-OC probably never stops Tasting Time™ and seeing the Pretty Colors™ but? At least she becomes? Largely functional? Probably needs a disability animal. One that's mildly force sensitive, so it knows when she's ~~drifting~~ again. Keep her from walking into traffic or off a landing platform.

The random bouts of prophecy and mind reading are a bit disconcerting, but like? Lay off! It's not SI-OC fault! Be nice! She can't help it! Don't be rude! D:< she basicly has tiny Force Nexus in HER BLOOD. So WHAT if she occasionally stops to admire a sunrise that hasn't existed for thousands of years? It's probably pretty!

The younglings? Very understanding. Adults are a bit creeped out. But like? Eh. Just EXTRA Jedi-y Jedi... they guess? (No, no not really. This one had a serious Force Incident. But like FUCK we're breaking rank to tell outsiders that sooooo..... Sure? Yeah. Let's go with that!)

Ironically? I bet? Anikin gets along great with her? They're team "WHY YES, THE FORCE IS VERY LOUD. WHY ARE WE SHOUTING? SO YOU CAN HEAR US! OVER THE FORCE! WHAT DO YOU MEAN IT'S NOT THAT LOU-?". He got it naturally, she got it by getting fucked over. But? They can both go?

"Hey, you feel that thingy in the-?" *vague hand motion* and get a "oh YEAH! Wonder what's THAT'S about?". Does anyone else feel it? No. Is it obvious to THEM? Yes.

Will Anikin punch your lights out, if you mock his disabled friend? *boss music starts playing* R U N. Padme would help. Tag team, fuckeeeeer! *from the highbar with a steel chair*

Community is EVERYTHING. And sometimes? It's you, your secret wife, your brother-mentor-dad, the Clone army you adopted, and the perpetually Force High/Vaguely Brain Damaged jedi you call your best friend! And the droids. And your secret wife's body gaurd squad. And the younglings your friend-... actually? You know what? Your family's kinda big.

Awesome :)

@legitimatesatanspawn @babbling-babull @spidori @hdgnj @hypewinter @leftnotright @the-witchhunter @lolottes @mayfay

[jamiepaige]

Constant Companions Closeup #2: NOT QUITE THERE

(also on spotify!)

b-b-back once again

Round two of the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! Yesterday was track one, Dyad - today is track two, Not Quite There, featuring the incomparable telebasher!

This one's a bit of a dark horse relative to the rest of the album, but it may very well be my personal favorite song on the entire thing so dammit let's Yap

---

For the uninitiated, this song pulls heavily from a song off my previous album called Gummyworm, both in vibe and by very directly quoting its synth motif.

Both of these songs deal with two sides of the same emotional coin. I actually don't want to go into too much detail about it - I feel like the lyrics spell things out clearly enough - but I will say this:

When it's all you know, it's easy to believe that a love that isolates you, a love that doesn't respect you, a love that hurts is better than no love at all.

You deserve better. There are always people who genuinely want what's best for you, who want you to feel truly loved. It certainly isn't always easy - it's genuinely good if your interpersonal relationships have a little friction sometimes - but love should make your life brighter.

You deserve a love that's fair.

---

The original version of this song was actually intended to be on Bittersweet alongside Gummyworm. The original concept for that album had a whole heady concept involving duality, songs reflecting each other, the two halves basically being reprisals of each other... Ultimately, I'm glad I scrapped that idea, because it was waaaaaay too much for me to manage after a couple years of barely making music. Maybe I'll revisit it someday though?

The drums on this song are sampled from an Instagram post by Louis Cole, where he's doing this crazy one-handed hi-hat blast by holding a drumstick sideways. I'm a drummer and that shit genuinely scares me a little like i dont know how he does half the things he does its fucked BUT. I bring this up because he's one of my biggest inspirations as a musician! I'm really big on jazz in general, in case my love for spicy chords wasn't enough of an indication, but his specific brand of freaky hyperactive bullshit just does it for me.

Seriously, go watch his band KNOWER play their song Overtime. Absolutely insane performances across the board. also Clown Core

This whole song is really just my attempt at matching some of that hectic jazzy energy with my own style of music, so I figured it only made sense to make it another collab with another musician making delightfully frantic jazz bullshit - the legend herself, telebasher! I really am such a massive fan of her work, and I struggle to think of anyone who plays guitar quite like she does. We previously worked together on another Bittersweet track, Asemic Speech, and her guitar work is a major reason why that song is still one of my favorite I've ever released!! She's just built different like listen to this oh my god!!!!

Lastly, since this song was one of the first written for this entire project... it is admittedly a case of me shoehorning the album's leitmotif in after the fact. It's a little forced when it shows up in the backing vocals! But, the choir of vocal synths during the guitar solo served an additional purpose - my own voice doesn't show up on the album again for another four entire songs, and this would've otherwise been the only song on the entire album that didn't feature any vocal synths. Thus did I attempt to bridge the gap, as it were. Hopefully it makes the final product feel more natural!!

Either way, that's all for today's post.... i think.... which means that tomorrow.... we're gonna rot.... for clout

[queenshelby]

The Price for Fame (Part One)

Pairing: Dark!Cillian Murphy x Innocent!Reader

Warning: Manipulation, Infidelity, Smut, Dub-Con, Age-Gap, Cillian is being a bully in this one. It's pure filth.

Just last month, you turned eighteen and moved to Los Angeles to pursue your acting career.

With the help of your friend, Florence Pugh, you scored a role in a new movie which was produced by several big names in the industry, including 48-year-old Oscar winner Cillian Murphy.

Bold enough to believe that life as an acclaimed actress could be yours, you traded the innocence of a rural and religious upbringing for this glitzy haven where fame and glamour wove a pernicious network but it did not take long for things to fall out of place when you screwed up big time on set.

The embarrassment settled in like a slow, tormenting burn as you messed up your lines during a critical emotional scene as much as ten times, causing the shoot to be cut off momentarily. The director, Damien Chazelle, tried to hold his composure but the frustration simmered below the surface. You knew already that he had it out for you, wanting another actress to take your space, and your failure to perform this scene was simply the last straw for him and possibly the end of your career. 

Thus, a quick huddle of the film's top players led to Cillian pulling you aside.

"Let's have a chat," he said coolly, those famous blue eyes impaling you with a steely glare. It was more of a command than an invitation.

"Sure, Cillian. I am so sorry about what happened on set," you stammered, knowing what this was going to be about. 

He was one of the producers of the movie and it was his investment at stake, so you cut right to the chase, "I know you're disappointed but I swear it won't happen again. Anything you want me to do, I just want another chance."

Cillian studied your face for a beat, his blue eyes so piercing you thought he could see right down into the depths of your very soul.

"Let's talk in my trailer, Y/N," he finally said, and began striding off and you followed close behind, unsure of what to expect once you entered his inner sanctum. 

"Listen, I'm getting some heat thanks to you," he began as he sat down and leaned forward, his elbows resting on his bent knees. "Damien wants  you out and I'm getting slammed on all sides for not firing you."

"Listen, I'm getting some heat thanks to you," he began as he sat down and leaned forward, his elbows resting on his bent knees. "Damien wants  you out and I'm getting slammed on all sides for not firing you."

Your heart dropped into your stomach, the implications clear as day. You had to somehow atone for the massive screw-up on set and convince Cillian that you were still a valuable part of this project.

"Please, just tell me what to do and I'll do it," you said, looking him straight in the eye. "I can't afford to lose this opportunity. I'll do whatever it takes."

The words hung heavy in the air and Cillian seemed to consider them before finally responding.

"Whatever it takes, huh?" Cillian repeated, as if mulling over your words. His gaze never left yours, and the intensity of it made you squirm in your seat. "Well, you are a young and attractive woman, Y/N and we could, potentially, come to some kind of arrangement that would keep you employed on this film."

The implications of his words sent a shock through your system. Was he suggesting what you thought he was suggesting?

"What... what kind of arrangement?" you stammered, hating how weak you sounded but unable to control it.

Cillian leaned back in his seat now, a hint of a smile playing at the corners of his mouth. "Oh, I think you know."

You shook your head in confusion. You didn't though, not really.

But the way Cillian was looking at you, like you were some sort of puzzle to be figured out, made you feel exposed and vulnerable.

"You need to be more specific," you said, trying to keep your voice steady.

Cillian leaned forward again; his gaze unwavering. "Alright then. Let me be clear. I want to have you in my bed, every night, sometimes even during the day, until we are done filming," Cillian said, his gaze intense.

"What?" you exclaimed, your voice barely above a whisper. "You want me to, uhm, like have sex with you?" you asked and Cillian nodded almost bluntly.

Your mind raced as you tried to process his words. Was this some kind of joke? It had to be, right? Except Cillian's expression was completely serious.

"I don't understand," you said finally, your voice shaking. "Why would you want that? You are married and I am much younger than you," you protested, still reeling from his outlandish request.

Cillian sighed and rubbed his temples before looking back at you. "I am married but my wife is not here, and I do have needs, so this seems like an easy solution for me. Plus, I won't deny that I find you attractive," he told you and you swallowed hard, your heart pounding in your chest. This was not what you had expected when you agreed to come to his trailer. Your mind raced as you tried to come up with a response that wouldn't ruin your career completely.

"I am flattered but I have a boyfriend and we were waiting until marriage, so I have never been intimate with anyone," you told Cillian, hoping that would put an end to this conversation. But instead of appearing taken aback, Cillian seemed almost pleased by this revelation.

"Really?" he said, with a cunning smile before carrying on. "Well, I can be gentle and, as I see it, no one needs to know about this arrangement. Not your boyfriend, not my wife, and especially not anyone on set," Cillian leaned in, whispering conspiratorially.  His piercing blue eyes bore into you, softening just slightly.

"I don't know. I don't think I can do this," you said, your voice barely above a whisper. Your heart was still racing, and your mind was swirling with indecision. On one hand, you couldn't afford to lose this opportunity, and on the other, you couldn't imagine betraying your boyfriend like this.

Cillian leaned back in his seat, studying you for a moment before speaking. "Look, Y/N, I understand your hesitation, but this is purely a business arrangement," Cillian said, his voice low and soothing as he tried to persuade you.

A silence fell between the two of you as you contemplated his words. The dilemma wrestling within you was palpable, the weight of the decision threatening to crush you.

His voice broke through the silence once more, "Think about it, Y/N. You need this role, and I need... well, I need something else."

Cillian's words lingered in the air, making you uncomfortable, and the thought of betraying your boyfriend's trust made your stomach churn.

"Okay, but you have to wear a condom and no kissing," you finally agreed, trying to put in some boundaries.

Cillian's face lit up with excitement as if he had just won a jackpot, but he quickly hid it with a mask of composure. "Of course, Y/N. Whatever makes you comfortable."

You felt violated by the sudden power shift, but you couldn't deny that Cillian was offering you a lifeline, an opportunity to save yourself from drowning in the cutthroat industry of Hollywood. You had come too far to throw it all away for principles that seemed so trivial now.

"Tonight, 8 o'clock at my house, wear something nice," Cillian instructed, before dismissing you with a wave.

The audacity of it all left you breathless. In no universe did you imagine that your innocence would be the currency for maintaining employment in this industry. Yet, here you were, walking away from his trailer, carrying the burden of a secret agreement that clashed heavily with your very soul.

***

Eight o'clock came around soon enough, and after hours of overthinking, you stood by Cillian's front door, wearing an elegant red dress and high heels. You swallowed the lump in your throat as you hesitated for a moment, hesitant to knock.

Cillian answered the door with a seductive smirk on his face. "Right on time," he drawled. His gaze raked over you, leaving a trail of discomfort in its wake. You murmured a soft greeting and stepped inside.

The terrace he was staying it for the duration of filming was nice, tastefully decorated and obviously very expensive.

Cillian led you to the living room where he handed you a glass of wine and whilst you did not usually drink alcohol, you decided tonight was different. You needed to calm your nerves and calm down your inhibitions. 

As you sipped on the red liquid, he gave you a tour of his house and, without losing too much time, he led you to his bedroom.

"Let's get this over with," you gasped quietly, trying to sound confident but your trembling voice betrayed your true emotions.

"Eager are we?" Cillian chuckled as you put down your half-finished wine and sat down on the edge of the mattress, noticing a packet of condoms and a bottle of lubricant on the nightstand.

"No, like I said, I just want to get this over with," you reiterated, biting your lower lip nervously. "I don't want this, but you do, and I want to keep my job, so let's just make this quick," you added, your voice barely above a whisper.

"Alright then," Cillian chuckled, that smug grin still on his face as he moved closer to you. Without losing any time, he pulled his t-shirt over his head before slowly undoing his belt. 

"Why don't you get down on to your knees and get me hard , hmm?" Cillian suggested, the lascivious look in his eyes causing you to shudder.

You hesitated for a moment, feeling repulsed at the idea of going down on him but before you could protest, he grabbed your chin and forced you to look up at him. "Don't pretend you don't want this," he growled, his hot breath on your face making you cringe.

"Okay," you nodded reluctantly, your voice barely above a whisper.

You sunk down to your knees on the plush carpet, feeling completely degraded and humiliated. You could feel the bile rising in your throat as you looked up at him, his crotch directly in front of your face.

Cillian's face was smug as he unzipped his jeans, tugging them down along with his boxers. His cock sprang free, already semi-hard and pointing directly at your face.

"Go on then," he commanded gruffly, unaware that you had never done this before either. 

But you knew you couldn't refuse him. Not if you wanted to keep your job and avoid any negative consequences.

So with shaking hands, you reached up and wrapped your fingers around his thick shaft.

Cillian let out a low moan as you began to stroke him, your grip tight as you moved your hand up and down his length.  Your heart was pounding in your chest, and every movement made your stomach churn.

But you knew this was the price of maintaining your career, so you forced yourself to continue. 

Pre-cum glistened on the tip of his cock, an indication of his growing arousal and, even though you did not know what it was, you pulled away slightly.

"Now be a good girl for me and open your mouth ," Cillian demanded.

You hesitated again, feeling even more repulsed by the request. But you knew there was no room for hesitation or resistance, not if you wanted to keep your job and avoid any negative consequences. So, with trembling lips, you parted your mouth as wide as you could, trying to suppress the sick feeling rising up in your stomach.

"Now stick out your tongue," he ordered.

You did as you were told, sticking out your tongue and closing your eyes which is when Cillian collected some of his pre-cum with his index finger and smeared it on to your tongue.

You opened your eyes , still trembling as you stared up at him, hating every moment of this degradation. Cillian just smiled down at you before nodding for you to continue.

You reluctantly wrapped your lips around the tip of his cock, wincing as the taste of salt and bitter muskiness filled your mouth. 

Cillian then grabbed a fistful of your hair, using it to guide his cock deep into your mouth. He pushed it in farther than you expected, causing you to gag.

"You're going to have to relax and take it all in," he said, his tone cruel and condescending. "Otherwise we're never going to get anywhere."

You swallowed hard, fighting the urge to vomit as you felt his cock hit the back of your throat.

"Sshh , deep breaths," Cillian cooed softly, tugging on your hair as he pulled his hips back and thrust forward again.

You kept your breathing steady and shallow, trying to prevent yourself from gagging on his length. Tears streamed down your cheeks as Cillian's rhythm grew quicker. He groaned with pleasure, his grip on your hair tightening.

Suddenly he pulled out of you, and the sudden emptiness caused relief to flood through you.

"I want you on all fours now, baby," Cillian growled, his voice husky with lust. "That way, I can see how your virgin hole stretches around my cock when I stick it in there."

You swallowed hard, feeling scared but still you complied. You reluctantly positioned yourself on all fours, your heart pounding in your chest as Cillian reached for the condom packet and lubrication.

Cillian tore open the condom packet with his teeth, rolling it down his hard shaft before squeezing out a generous amount of lubrication onto his fingers. He traced them teasingly over your dry folds, causing you to flinch at the unfamiliar touch.

"Please, just get it over with," you whimpered, your voice trembling as you braced yourself for the excruciating pain of losing your virginity.

Cillian chuckled at your eagerness, but you could hear the sarcasm behind it. "So eager to give up that sweet little cherry of yours, huh?" he asked as he positioned himself behind you, the head of his cock brushed up against your entrance.

"This might hurt a little, but I want you to relax and let me in," he said as he began to push himself inside of you.

You couldn't help but let out a loud gasp as the burning sensation of pain spread throughout your entire body. You couldn't believe that you were actually doing this, allowing yourself to be used like this, for nothing but your career.

"Just breathe," Cillian whispered in your ear as he continued to push deeper inside of you.

You felt him bottom out inside of you, and the feeling of fullness was almost too much to bear.

But before you could say anything, he began to thrust in and out of your tight hole, the friction causing a burning sensation to radiate throughout your body.

"Fuck, you're so tight," Cillian groaned, his hips snapping against your ass with each powerful thrust. You couldn't help but let out a loud gasp every time he entered you, feeling every inch of him as he stretched you open.

Sweat dripped down Cillian's forehead, his breath coming out in harsh pants as he continued to pound into you.

"And you are going to have that cock of mine inside you every day now," Cillian grunted, his voice hoarse as he continued to pump in and out of you.  His words made you feel dirty and cheap, but there was nothing you could do to stop him. You were trapped in this situation, trapped in this twisted arrangement between a successful actor and a desperate young actress trying to make it in Hollywood.

Cillian reached between your legs, his fingers finding your clit as he began to circle and rub, causing you to moan involuntarily. The mix of pain and pleasure was overwhelming, making it hard for you to catch your breath.

You came, fast, and then you were in a state of shock, unable to fully comprehend what was happening to you. The man behind you, Cillian, continued to thrust into you with no mercy, his balls slapping against your clit with each pump. His fingers were still manipulating your delicate button, and the combined sensations were building up deep within your core.

Cillian grunted, his pace increasing. You could feel his cock swell inside of you as he approached his own climax.

He then groaned loudly, his fingers digging into your hips as he slammed into you with a final thrust. You could feel him pulsating inside of you, the condom filling with his hot seed.

Soon after that, Cillian withdrew from you, and your body ached with the emptiness. He tossed the used condom to the side before collapsing onto the bed next to you.

"You impressed me tonight," Cillian said breathlessly as he wrapped an arm around your waist, pulling you close.

His body was slick with sweat, and his cock was still semi-hard against your thigh.

"I had to," you muttered, pulling away from his embrace. You couldn't bear the thought of being close to him after what just transpired between you.

Cillian chuckled softly, his breath hot against your neck. "I know, and I'm grateful," he whispered, pressing a soft kiss on the curve of your shoulder.

"I want you to go on the pill," he said, his voice firm. "I can't be bothered with condoms all the time, and I want to feel you bare. Can you do that for me?"

His request caught you off guard, but you didn't protest. You were already in too deep, and a part of you wanted to give him what he wanted.

"Okay," you murmured softly.

Cillian smiled at your response, his fingers tracing lazy patterns on your bare thigh.

"Good girl," he whispered approvingly, before pulling you close for another bruising kiss before leaving you to clean yourself up and head back home.

Tags:

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[celaenaeiln]

Okay but you can’t just say “I'm not going to get into their brother relationship because that involves how Alfred treats Dick as a son rather than a grandson and is opening a whole new mansion of stuff so I'm going to wrap this up here” and not follow up with another post because that’s just cruel 😔😞 (aka this is me saying I really like & enjoy reading your interpretations and I need more of them HEHE)

😂😂😂😂😂😂

Thank you!!!! <3333

I love thinking about how Alfred treats Dick more of a son than a grandson because their relationship is different from Alfred's relationship with the other kids. Furthermore, it also explains a bunch of his actions.

First of, I know when everyone saw that Alfred had left Dick his entire inheritance they went "What the fuck." There were a bunch of jokes and questioning about why Alfred would do that and a lot of people have wrote it off as Tom Taylor's writing. But here's the thing. Tom Taylor has done a lot of stupid stuff in terms of characterization but he's done quite a few things right and one of them was adequately explaining Dick and Alfred's relationship.

I don't know how many people can read cursive but it says, "I invested much of this wisely and ethically...In fact, I planned to come to you for advice. Like Bruce, your mind is astonishing. You are a problem-solver and the world is full of problems." (There's actually panel during one of Dick and Slade's fight I have saved so lemme know if you or anyone is interested in Dick's innovativeness and how it makes his a terrifying opponent.)

Let me pause right there. This is Alfred's life savings. It's every piece of penny he's saved and every minute of his life is in that money. On top of what he says about Dick's intellect-and I agree and can prove it-he must've loved and trusted Dick an extraordinary amount to do this.

Alfred goes on to say, "I couldn't think of better hands to leave this fortune in. I believe you will see this, not as a personal gain, but as an opportunity. Because I believe in Dick Grayson."

He continues praising him and- HERE IT IS- "I am so very proud to call you my son."

DICK IS ALFRED'S SON.

This is the cleanest, clearest panel where he explicitly says it.

Hold on-this is the cleanest panel that says it? Wait a minute, let me retract that:

"Master Bruce was my son for a while. And then there was you."

THIS MOMENT HAS BEEN BUILDING UP ON US FOR YEARS. Tom Taylor wasn't doing lip service, he was just writing the inevitable!

I swear there's a panel where Dick refers to Alfred as his dad...

*Record scratch* WHAT DID ALFRED CALL DICK? WHAT DID DICK CALL ALFRED?

THIS IS WHY I LOVE THEM!!! THEY ARE GLORIOUS, BRILLIANT, UNDERRATED, AND NO ONE UNDERSTANDS THE FULL EXTENT OF EITHER OF THEIR ABILITIES, LOVE, OR DEPTH OF EMOTIONS.

THEIR RELATIONSHIP IS ON A DIFFERENT LEVEL.

Take the Ric Grayson arc for another example.

Background context: Dick-Ric-was sleeping on the counter and all of a sudden he was startled out of a nightmare thus accidentally ending up bumping into the guy next to him who was drinking. Of course the guy doesn't mind only because it's Dick but anyways, here Alfred makes his entrance. Another thing I love about about this interaction is this is one of the few times Alfred has ever admitted to being in the military. The only other time I can think of him openly saying that is when he's slapping Bruce around.

The worry in the man's eyes for his wayward son...when Bea is snarking with Dick about his tab Alfred decides to pay for him instead.

LOOK AT HIS EYES AS HE SAYS GOOD NIGHT! THE AMOUNT OF EMOTION HE HAS IN THEM IS PURE PERFECTION. THE MAN JUST WANTS HIS SON TO COME BACK.

Not to mention, Alfred adores Dick in a way he didn't even with Bruce.

"For a long time I would dread coming down to this dark hellhole. But the advent of young Grayson has forced an alteration in my attitude. The masters have made much progress in these few short months. I was opposed initially to the recruitment of the lad in Master Bruce's self-appointed 'War on Crime.' But I am prepared to admit my error. Master Richard has mad a difference for the better to our lives."

This is HUGE. Coming from Alfred, this is massive because Alfred LOATHES Bruce's "War on Crime." How much?

So much that he slapped Bruce bloody for it.

The pseudo-father and son beat each other to pieces over it. So after years of Alfred hating Bruce for what he's done, for him to say he only accepts it because of Dick-because of Dick's personality-is enormous praise and accomplishment.

Alfred loves Dick in a way he doesn't love anyone else. And before I get flamed by people for suggesting Alfred loves Dick more than Bruce, I want to say he loves Dick as much as Bruce but in a different manner. He doesn't see Dick as a grandchild who needs to be coddled and softened, he sees Dick as a son he can spoil and cherish.

Him paying off the tab was not only an act of kindness, but it mimicks the way a rich father gives everything to his youngest son. Bruce was the first born he raised but Dick was the baby of their family. This also ties in with how Bruce doesn't see Dick as just him son like he does with the others. To Bruce, they are just as much brothers as anything else.

When Bruce fires Dick from Robin after two-face, Alfred couldn't take it lightly. Dick wasn't just the light of Bruce's life, he was the fucking sun to Alfred's.

I started crying when I read this because the emotions and the pain he's feeling is so visceral. A man who has been MI5 and SAS (Special Airforce Service), who has fought wars, who has fought his son, lost his best friends, is breaking down alone at the top of the stairs over not having Dick as Robin.

You might think that's not all that sad. Worse things have happened. You're overreacting.

Tears are literally streaming down my face as I'm writing this review. Rudolph nose and ugly bloodstained eyes complete with it.

Can you ever imagine loving someone so much?

Crying in silence with a steady voice to never let them know your sorrow?

But sure, sure, he's cried when others were killed like this so I'll go into other special things.

Some of his best moments are with Dick:

The pure adoration in his eyes as he watches his young son go 'flap' 'flap' 'flap' with his older brother's too big cloathes.

He's laughing! Do you know the only times he laughs or grins like that?

That's right-with Bruce! With his other son.

With Dick, he laughs, gets angry, and actually shows interest in things not related to people's health. Dick humanizes Alfred.

Who is the only other person Alfred has gotten mad at? Oh yeah. Bruce.

There's another panel where Alfred just sits by his bedside holding his hand.

It's the little things that matter is a lie. When it comes to Dick, Alfred does things in fighter jet air shows level of affection which he learned just for this during his SAS days.

Their shared interests & mutual understanding

People always think Dick and Alfred have nothing in common between them. Dick is excitable, bouncy, and some other adjective while Alfred is calming, stoic, and butler-y. They actually forget that Dick and Alfred canonically bond of plays. Dick, as I said before, is a massive theater nerd. He loves plays. He really wanted to see that shakespeare play and Alfred said he would take him because he knows people there and then went on to complain about how his brother didn't even drop by to see him. I love their interactions because Dick brings out a different side to Alfred.

Das Rheingold was a German musical drama that was performed as a single opera at the National Theatre Munich. This is the link if you're interested in reading a short synopsis of this complicated play by the Metropolitan Opera. It's like a mix of "The Lord of the Rings" and "The Rings of Power."

Also the fact that Alfred is tying his tie like a father would tie his son's.

I know they make a crack out of it by using Bugs Bunny (Bugs Bunny is a fantastic cartoon! I grew up on it!) but Alfred knows that Dick loves opera and theater and is only asking if this particular play will suit his interests. Okay, great, we know Dick likes theater. You've said that and posted about it before. But how do we know Alfred likes it too and not just because he's British and posh and whatnot?

He has preformed at the London Theater, and this is another way he connects to Dick emotionally. When Dick complains about being Batman, Alfred is the one that tells him:

This is something Alfred understands about Dick that absolutely no one in the family does.

The two of them are show people. They know how to play the role they were given, and they know how to play it well. No one suspects Alfred the Butler of ruthlessly using firearms and no one suspects Dick the Light of the Universe to ruthlessly to manipulate allies.

Dick knows this about Alfred too and never presses for any answers. When Alfred's pulling out a bullet from Dick and performing high level medical techniques he should know nothing about, Dick asks him, "Where did you learn all this, Alfred." To which Alfred responds, "You would be amazed at what you can pick up by watching the Discovery Channel." Dick just gives a pained laugh retorts about his wonderful bedside manners.

They know.

What Alfred sees in Dick is a pure goodness that can't be emulated. He loves his son for how absolutely good he is and is devastated when Dick can't be with him. Of everyone, Dick is the one Alfred is closest to. Other members have their moments with him but no one continually seeks out his presence just for the fact they like him aside from Dick. The rest treat him as an important side character, not a parent. And Alfred responds to that devotion with overwhelming love of his own.

Alfred and Bruce's optimism comes bundled up in the form of Dick. It's stunning how it's always Alfred of all people who admits this. Alfred who isn't supposed to show favoritism or bias is the one that consistently acknowledges how important Dick is to the family and him. This solidifies the fact that Dick is Alfred's favorite.

Other moments that differentiate Dick and Alfred's relationship:

We're pretty familiar with this and many of us have laughed it off when Alfred scolded Dick (also Dick looks hot af here). But can you imagine even anyone else playfully mocking Alfred? THIS. BOY. IS. SPECIAL. Alfred doesn't even blink twice at the address, indicating how typical it is for Dick to act that way with him. You only do that to people you're best friends with.

Casual comfort, the two of them.

Dick and Bruce were brothers and how that ties into Alfred:

Adding to my "Light of Bruce's life" Robin Dick canon, Alfred told Dick that Bruce "would have self-distructed if he hadn't met me and learned responsibility. I made him laugh, and he was like the greatest big brother you could ever imagine...it was our town."

Bruce and Dick are so damn codependent.

Bruce would not have survived without Dick. That's all there is to it.

Robin Dick was the light shining through rain clouds, the glitter in the air, the angel with golden wings, the giggling sweetheart to Alfred and Bruce. He was sunshine, love, and joy and the men both adored, thrived, and cherished him for it.

And if Dick and Bruce were brothers then Alfred was Dick's father and he was Alfred's son.

[authorforrosie]

Book: Her

Pairing: Rosé x female reader

Warning: fluffiness and mention of hard career

Words:867

Quote: „I would not wish any companion in the world but you." William Shakespeare.

In the overfilled city of Los Angeles, nestled amidst rolling hills, loud noises, many crowds across the streets, a lot of architecture and blooming meadows, there resided two souls destined by the stars to meet and entwine their fates. You who has the name Y/N, a gifted photographer who was hired by the vogue with an eye that saw the world's beauty in every shadow and light, and Rosé Park, a K-Pop singer whose voice could summon tears from even the hardest hearts. A member of one of the most famous girl groups called blackpink.

The future of the blonde dyed woman unknown since she recently just debuted with her first solo album, many tears shed which reminded of water filled oceans. The amount of love like no other written in every lyric, heartbreaking lyrics that broke hearts with each beautiful vocals.

A weight of having to be perfect still weighted on Rosé's shoulders. Since she had a reputation of the perfect singer in the k-pop industry as a blackpink member. It left her more vulnerable as a solo artists with an unknown music journey in the future. Each blackpink member is trying to break out of the "perfect" reputation. Jennie even released a rap about the management holding them back from achieving big things in the music industry in a ad.

The tale begins one fateful award event on a certain night, when the event was alive with the sounds of the loud conversation of celebrities. Lights glowed like stars fallen to earth, and the scent of perfumes and blooming adrenaline filled the air. You, ever the observer of life's fleeting moments, wandered through the crowd with your camera, capturing the joyous faces and tender celebrities as only humans being scenes that unfolded before your eyes

As night descended, the event reached its crescendo with the arrival of Rosé, the golden voice loved by many on stage with a baby pink mic in her hand. Her voice, rich with emotions while sweet like honey, filled the air with melodies that spoke of love, being lost, and longing. You, drawn by the haunting beauty of her song, found yourself standing at the edge of the crowd, your heart thrumming in time with the music. You could feel the emotions she poured in her song's through your veins.

Your eyes met across the sea of faces, and in that moment, a spark ignited. Rosé's voice faltered as he gazed upon you, a vision of grace and elegance, your camera poised like an artist's brush while she continued to sing, but her heart now sang for you alone.

After Rosé's performance, she sought out the mysterious photographer. Rosé found you siting next at another celebrity. You looked absolutely breathtaking in her opinions which made her not wanting to lose an opportunity to have a conversation with you.

"Hi pretty, you look lonely. You caught my eyes while I was performing. A beautiful camera by the way." said Rosé while her australian accent could be heard, " your presence has inspire my soul. I am but a humble singer, yet I feel compelled to capture the essence of the beauty in song, as thou dost capture the world in thine art."

Your cheeks flushed with the warmth of her words, replied, "Good darling, your voice has moved me like no other. I am Y/N, a seeker of truth and beauty through the lens of my camera. Might I have the honor of capturing the likeness, that I may remember this night forever?"

Rosé was grateful that she had some self-control otherwise she would've flushed red cheeks by your reply. Your words took her breath literally away.

Thus began your journey of love, each discovering the depths of the other's soul through your shared passion for art. Both of you spent countless hours together, exploring the event later even a little bit of LA and surrounding crowds, capturing the world's wonders in photograph and song.

Rosé would sing as you photographed, her melodies weaving through the air like golden threads, binding your hearts ever closer. You, in turn, would find new inspiration in Rosé's music, your photographs revealing the hidden beauty that her voice evoked.

Your love for each other blossomed, unfettered by the trials and tribulations that life often brings. Both of you were kindred spirits, united by your art and your love for one another. Your bond with Rosé grew ever stronger, a testament to the power of love to transcend the boundaries of time and space.

Years passed, your love story became legendary in the music industry. The music industry was forever changed by both of your presence, and the memory of both of yours love endured, passed down through generations of singers as a symbol of the enduring power of art and the human spirit.

And so, in the twilight of your lives, you and Rosé, your hearts still entwined, looked back upon your journey together with gratitude and joy. For you both had found in each other a love that transcended the ordinary, a love that was truly extraordinary.

[candy-fae]

Not to rant on a side blog but I just found out in mufasa they retconned scar and mufasa to NOT be brothers and like. That was my first hyperfixation so I am upset about this for a few reasons!!! Incoming rant.

I'm gonna call it the princess Luna effect. Scar is getting princess Luna'd and let me explain how.

Disney would never make a villain kill someone now. Maybe in the background have it be implied. Maybe IMPLY some degree of violence. But they would never put on a production of hamlet in a different font, because killing people is bad, and Disney doesn't WANT parents to be mad and not give them money. We already know this, and yes, it severely limits them giving their villains credible weight, thus struggling to make us engage in a conflict that isn't environmental. But aside from the fact that this is an OBVIOUS crab for cash and their copywrite, they've managed to try and make scar more palatable.

Hmm. Let's see. I want to be a king. I was born the spare, to my stronger, prouder older brother. I now have to wait for him to die to rule. But I can't fight him. He's too good. Oh! He has a son. GREAT. now I'll never be king. Unless the little hairball dies. Hmm. And he'd do anything for his son. I know! I'm going to kill my son by putting my nephew in danger, then when he's dead, just for SHITS AND GIGGLES- I'm gonna tell him it was his fault. I plan to kill him anyway. But I'm just such a devious asshole and don't wanna get my hands dirty, it would be easier to send him the wrong way, then send my guys on him.

And so he does. And was it jealousy, horrible and churning an corrupting that did it? Absolutely. And is it mufasas fault? Not at all. People hate you because you are loved by others and that a shitty of them. Scar is a murderer, and responsible for one of the greatest betrayals of animation.

What I'm having the issue with is- there's old canon that I'm pretty positive straight up gives them canon parents. They are blood related and surprise!! Siblings look different sometimes. Hamlet was a stage play and animation is like a mask. They drew the fucker like a snake because he is one.

And secondly- I get the feeling they did it so we could empathize with him. But he doesn't need empathizing!!! He has one purpose in the story and that IS to be horrific!! It's FUN to think about "what if the bad guy...... WASN'T the bad guy!!!"

But he is. And attempting to add more depth by retconning and making it so mufasa STOLE the throne in someway- just weakens his original betrayal. We are suppose to be horrified. We are suppose to cry when mufasa dies. I saw some people saying it's to set up love and Kiara but- kovu is stated in the lion King 2 to NOT be scars son. So the only thing I can think here is "oh. They want to make scar palatable. That's stupid."

What do you think?

"You are my blood brother I've known since I was born. But I will kill you and my nephew if it means I get what you have."

Or

"This thing was SUPPOSE to be mine and you STOLE it from me. I'm taking it back!"

Scar is no suppose to be justified. He's just suppose to be cruel. Let your bad guys be bad. I'm so sick of watering down evil. Makes the story much less about overcoming it.