#i won't get into how. but it was a whole Trial

[keeps-ache]

sketch pageee :>

[dxxtruction]

can I say something controversial?

[onskepa]

Hi how are you? If you want, could you tell us what your headcanons would be for what the Sully children's relationship would be like with a human/avatar mother who was mated with Jake and Neytiri? Thank you very much, have a great day!

I can see a lot of possible outcomes for this one! So here ya go! Enjoy!

P.S: Reader will not be given a name in this one, instead she will be called "small mama"

Pinnacle protection

-------------------------------

Pinnacle motherhood

Right off the bat, the whole family loves their third mother, second mate. Jake sully couldn't ask for a better family, and better mates. Especially his little human mate. Neytiri will agree with him, while yes she has her children to hug, her little mate is just what she needs. Something small yet full of love just for her. 

Now like any trio, there is a balance between the parents. Jake is the head of the family, the brains with his clever ideas. Neytiri at times can be the brains but most muscle due to her skills in fighting and hunting. And their beloved human is the heart of the family. Keeping everyone together. 

And like any child, the sully kids will have favorites. And their favorite is their amazing human mother. She is the most fun, loving parent any child could ever ask for. Are they not getting their way with Jake or neytiri? To mama it is! And mama will always fold by the simple look of her kids. 

Another thing about their favorite mama, they all believe she has the power to read their minds. How else would it explain she knows their next move? 

Lo’ak and tuk can recall so many instances where they were barely forming an idea only for their mama to say “dont even think about it” or “it is not worth the trouble”. 

For neteyam, as he is the oldest he does try to be a good example for his mischievous siblings, along with holding so many responsibilities, but he can always count on his small mama for anything. Small mama consoles him, talking about anything neteyam has his mind about. 

Unlike Jake or neytiri who neteyam has to put up a strong warrior face, with a small mama he can revert back to being a baby with her. He feels safe and be a kid again with her. And small mama always called him her “little baby boy”. Neteyam won't admit it but he likes it when she calls him that. 

For kiri, she definitely adores her small mama. She is closer to her third parent than she is with neytiri. Not to be mean or anything. But with Jake, Kiri can talk about what odd things happen around her, ask her about her mother and stuff but with her small mama. Well, she can express far more with her, be free to say anything not be judged upon. Kiri can dare say small mama understands her more than anyone in the world.

With tuk, the baby of the family. Why, she loves to be the taller one, it makes her happy. Of course she would never tease her small mama that she is taller, but small mama would call her “tiny tuk”. A name tuk loves and will glady flex it for some reason. 

If tuk can't go somewhere with her older siblings, small mama would personally take her anywhere she wants to go. As long as it is safe. With small mama, everything is fun and never boring. Tuk loves the times where her hair is braided or she braids small mama’s hair. 

Now, if small mama would use her avatar, nothing much would change. Except that now the kids will demand piggy back rides. Tuk or lo’ak would be front of the line for that.  

Hunting would be easier and much more fun with jake and neytiri, running, riding their ikrans, less risk overall. 

Even with her avatar, she is still short compared to her two mates. She is smaller than Neytiri by 9 ½ inches. Not something she is super thrilled about. No matter what body, she is still small mama through and through. 

Small mama is forever grateful to live her best life with her family, loving them and saying her thanks to Eywa for blessing her to be the best of her two worlds. Through hardships, through trials, small mama has a mighty heart and a roar of an ikran. Yes sometimes she might be stressed or frustrated but life is not perfect. Small mama knows that all too well. But there is nothing better than what she has. 

[devondespresso]

Let Me Raise The Bar

T | 3,602 words | Steddie | also on ao3! | Modern AU, Meet Cute, Fluff

This fic is for the @strangerthingswritersguild fic exchange, by @starryeyedjanai and @devondespresso. Thank you to @dreamwatch and @bubblesandink for betaing for me!! <3

dividers by @/thecutestgrotto

edit: oh my god i forgot the keep reading the first time im so sorry guys

This night is going terribly.

He keeps telling himself he’ll delete all his dating apps for good, but the prospect of being alone forever always has him re-downloading them.

Right now, he’s remembering why he hates them so much.

He hates Tinder, specifically—guys on Tinder only want to fuck. And if that was what he was looking for, that’d be fine, great even!

But he wants a relationship and guys on Tinder will say they want one too and then turn around and leave right after they get what they want.

At least guys on Grindr are upfront about it being just a hookup—no one’s getting their hopes up or feelings hurt when it turns out to be just that.

Tinder guys will take you on a date and pretend to be interested in you as a person and then won't fucking text back after they leave your apartment the next morning. It’s annoying and it’s frustrating and it’s a waste of Steve's fucking time at this point.

And this guy tonight isn't even trying to pretend. He tried to get Steve to blow him in his apartment building garage before they even left for the date and he really should have taken that for the red flag that it was.

But Steve looks good, and he did his hair routine that takes entirely too fucking long for no one to appreciate it.

His date drives him to this hole in the wall restaurant that Steve must have passed a million times on the bus ride to his job without ever noticing.

He thought he might be able to turn things around when they got there—it’s a small Italian place, a real family-owned type vibe to it. He knows before he even orders that the food is going to be some of the best he’s tasted since moving here.

He tries asking the typical first date questions to get to know him, but his date keeps giving him short answers. So he switches to talking about himself a little, but then he realizes his date’s been staring at his mouth the whole time he’s been talking and Steve finally snaps that he isn't getting into his pants.

Steve breathes out a deep sigh as his “date” gets up and goes to the bathroom. Some fucking date this is—they haven't even gotten their fucking food yet. What a disaster.

“Hey,” he hears their waiter—Eddie, his nametag reminds Steve when he looks up—say after a minute of his date being gone. “I hate to be the bearer of super bad news, but I just saw your date slip out the back door, and I don't know if he’s planning on coming back.”

There's a lilt of sympathy in his voice and Steve can't help but snort.

“Of course he did,” Steve says. “Why can't guys just be upfront about what they want? It would save everyone so much time.”

He’s not looking for an answer, but Eddie's mouth twists and he says, “Guys are stupid. I mean, they’d have to be to give up the chance to get to know someone as cute as you.”

Steve can't really muster up a smile at the pity, so he says, “Well, whatever the case, he was my ride home, so I think I need to call a Lyft now. Can you box the food up and bring me the check?” At least he’ll have lunch for tomorrow, which doesn't feel like an adequate consolation prize for how shitty he feels right now.

Eddie shakes his head and says, “There’s no way I’m letting you pay for such a shitty date.” Steve opens his mouth to protest, but Eddie continues, “Tell you what, my shift ends in ten minutes. Why don't I show you how I’d treat you if we went on a date.”

Steve's heart thuds in his chest, a flicker of hope in this incredibly dull evening. “Seriously?” he asks.

Eddie nods. “Think of it as a trial run. See if I rank good enough for a real one.” He winks and Steve finds himself nodding dumbly, still shocked at the rapid turn of events.

“Okay,” Steve says, kind of breathless.

Eddie heads back to finish cleaning up his other tables before he ends his shift, and Steve fills Robin in over text about what happened.

He’s still waiting for a response when Eddie shows back up with two plates of food, setting one in front of Steve and the other where his date sat before sliding into the chair across from him.

He’s wearing a different shirt, Steve realizes. It also looks like he attempted to wrangle his curly hair into something more manageable, maybe sprayed some water on it to smooth it down.

The thought that this guy, this random guy who happened to be his waiter on this horrific night, would put in more effort than his previous date makes Steve's cheeks get hot.

Maybe this night really can turn around.

“Alright, names. Hi, I'm Eddie.” Eddie says, sticking his hand out across the table cartoonishly for a handshake. Steve suppresses a laugh and takes Eddie’s hand with a smile.

“Steve.” He says, and Eddie’s eyes brighten before he takes his hand back.

“So, Steve, what do you do for fun?” Eddie says, leaning forward slightly with vibrant confidence, tone feeling more and more noticeably rehearsed as he goes. “Other than light up the room with that smile, of course.”

Steve huffs a laugh, blushing despite himself.

“You practice that one a lot?”

Eddie shrinks back a little, still smiling even as he messes with the hair on the back of his neck, already starting to ruffle what he’d tried to tame.

“Yeah, it’s uh…”

“It’s sweet.” Steve leans in a little closer himself, trying to match the effort Eddie keeps putting in. “Almost as sweet as the smile you're wearing.”

Eddie flushes pink and lets out a little “Thank you” to cover a nervous laugh—and christ, Steve is already hooked.

Steve hums and grabs his fork to start eating and Eddie mirrors him.

“Thank you for this by the way.” Steve continues, “Tonight's been… ugh, you know.”

“A special kind of shitty?”

“Yeah,” Steve sighs, “So all this is… really nice.”

“I'm glad.” Eddie says, voice soft before he shrugs and continues casually “M’hoping I’ll at least do better than the last guy.”

“Yeah, of course, you haven’t even asked me to blow you yet or anything.”

Eddie turns red and busts out a nervous laugh, looking away immediately. God, he’s so fucking cute.

“Yeah, yeah, I'm not–” Eddie looks back at him, nervous still, but sincere anyway, “That's not exactly my style.”

“You a wine and dine kinda guy?”

Eddie shrugs lightly, then he seems to get an idea, leaning in again with a smile “Actually– ideally, I'm a dine and mine kinda guy.”

A smile takes over Steve’s face that he can’t fully tamp down, a little flustered and a lot amused.

Eddie preens, then continues with a shy smile.

“Though, uh, usually it's more dine and…” Eddie pauses, “Pine. Dine and pine. You know, like pining.”

Steve makes his face relax as he nods and leans back. “Oh, yeah, like the tree.”

Eddie stops and looks at Steve, and soon Steve’s smile breaks out again.

“No, I know what you mean.” He says with a little laugh that Eddie quickly mirrors.

Eddie visibly relaxes, slouching overdramatically to the side with a sigh.

“God, I swear I’m usually good at this sort of thing, words and stories and shit,” He groans, gesturing around almost like he’s talking to himself, “But apparently I meet one pretty boy and suddenly I’ve got screws loose. And they’re all falling out, all across the floor, ‘there they go!’, y’know?”

Steve bites back a snicker and hums a quiet agreement. Eddie notices, though, looks up and sees right to Steve’s amusement, so Steve decides to save them both the embarrassment and move on.

“So your job. You like it here?

“Oh yeah, absolutely,” Eddie says, perking up and gesturing as he starts talking, “The owners are really cool, they were our neighbors– Wayne’s—my uncle’s—neighbors when I first moved in with him, way way back, and they were so chill, loved having people over. Then one time in highschool I mentioned saving up ‘cause I’m trying to make it big with my band, and they offered to give me a job here while we get there.”

“That’s awesome. Your band any good?”

“Depends on who you ask.” Eddie laughs, playing with the food on his plate, “Wayne says we’re pretty good, which is probably the equivalent of moms showing up to their toddler’s dance recitals, but it’s something.”

“Where'd you guys play?”

“The Hideout, a couple blocks down…”

Steve nods.

“Yeah, it’s, uh, pretty fun if you ever wanted to stop by.“

“Sounds like a great second date.”

Eddie blushes, playing with his hair again as he smiles and looks away.

“I’ll probably have to wear earplugs– not because of your band or–”

“No, no, no, you’re good–” Eddie says, almost jumping up to reassure him, “It’s metal, that’s normal– good, even.”

“Oh– good.” Steve says, a bit awkwardly, and looks back down to his food.

Eddie leaves barely a moment of silence before he pulls the conversation back together.

“So what about you? You just a professional bad-Tinder-dater?”

Steve huffs and fiddles with his fork.

“Guidance counselor, actually.”

“Oh damn, really?”

“Yeah, Middle school.”

“Oh god,” Eddie groans playfully, “I can't imagine going back there willingly.”

“Yeah, I mean, it can get pretty rough,” Steve shrugs, “It's good though. Kids start thinking about who they are, I get to try and make that a little less shitty.”

“That’s a tall order.” Eddie laughed into his glass. “I respect it though. Hell, just having a queer adult exist around me would’ve made a lot of it easier.”

“God, yeah. I've got practice, at least, for when they need more than just some guy standing around in an office.” he laughed, pulling out sarcastic air quotes for the next part, “ I ‘babysat’ kids in middle school before I graduated. Bunch of little shits but they were good kids– still are good. They're like four years younger than me though, so they're more like siblings than kids.”

“Yeah, bet they don't take well to ‘kids’.”

“Oh, they hate it.” Steve laughed and Eddie followed with him, “Always hated it, but Dustin put his foot down after highschool. Rob and I call them my ‘twenty-somethings’ now.”

“God, wait, how old are you?” Eddie laughed

“Twenty-six.”

Eddie laughed a little louder, a lively and full laugh that looked enchanting on Eddie.

“You'd love them, they're all–

Steve’s phone buzzes.

Both of them look over to it on the table. Steve moves it to the seat next to him, looked up to Eddie with an apologetic smile.

His phone buzzes again.

And again, and soon Eddie’s eyes flick in that direction, eyebrow quirking with barely-restrained curiosity.

Then Steve’s phone starts ringing, the electric guitars of Hammer To Fall creeping up in volume way too fast for comfort.

“Sorry–” Steve cringes, grabbing his phone and answering the call in a furious whisper, “Robin, are you dying?”

“No, but thank you for confirming that you aren’t.”

“I texted you what happened.”

“Yeah and it was vague as hell! I reserve the right to be a worrywart with this shit.”

“Yeah, I know.” Steve sighs, but can’t really argue with her on it. “This was going well, though–”

“Is.” Eddie chimes in, not trying to be loud enough for the phone to pick it up, just for Steve to hear him clearly.

“Is going well.” Steve smiles.

“Oooo okayyy.” Robin hums and Steve can hear her cheeky smile through the phone.

“Goodbye, Robin.” Steve says, failing a half-assed attempt to cover his amusement.

“Oh wait no, tell him if he tries anything I’ll–”

“M’not doing that.”

“I will though, I’ll go after him–”

“Oh woah you’re breaking up, can’t hear you.” Steve deadpans.

“Steve, I know–”

“Love you, bye–”

“Steeeeve–”

“Don’t pull your hair out.” Steve says and hangs up, coming back to the present to Eddie watching him, thankfully looking amused instead of annoyed.

“Sorry about that.” Steve says.

“No, no, it’s fine.” Eddie leans forward again, propping his head up in one hand, “So… friend?”

“Best friend, has to be to get away with shit like that so easily.”

Eddie snorts.

“What was she calling about?”

“I wasn’t clear that this new date thing was gonna be a good thing.”

Eddie nods civilly.

“She worries,” Steve continues, “Fuckin’ tinder dates, y’know?”

“Uh, not really….” Eddie smiles.

“Good for you. They’re all the same asshole in a different haircut.” Steve says, and Eddie smiles, laughing a little with him before continuing with something calmer, a little more earnest.

“Then why keep going to them?”

Steve shrugs.

“Call me an optimist, I guess.”

Eddie hums noncommittally, like he’s thinking more than he’s sharing, and continues the conversation in a lighter direction.

_

The rest of the date is wonderful. A little less chaotic, especially once they start finally eating their food for real, but what it lacks in eventfulness it makes up for in comfort. They’re not exactly quiet, but Eddie’s energy always comes with a sincerity underneath, like he’s bold and fun because he just is, and not because he’s making himself be.

It’s refreshing. And as the night goes on, it becomes intoxicating.

So when Eddie offers to save him the Lyft fee and just drive Steve home, Steve agrees, just to get a little longer in Eddie’s bubble.

Eddie leads him through the restaurant and out the back into a small parking lot with a handful of cars and one big van, decorated with a clearly hand-painted dragon on the side. Which, of course, ends up being Eddie’s.

“Dustin would love this thing.” Steve says as he hops into the passenger’s seat, not really thinking twice about it as he looks at the interior, eyes lingering on the big fuzzy dice with too many sides hanging from the mirrors.

“So Dustin is…?”

“A Twenty-something.” Steve laughs as he spins the fuzzy dice to see all of its sides. “He’s like my little brother. Loves DnD and science and… all the nerd shit.”

“Nerd shit?”

“Yeah, I mean– it's not my thing but it’s cool. I’ve played with Dustin and them a couple times.”

“Oooo, a bit of a nerd, are we?” Eddie hums in a weird, almost witchy voice.

“Casually.”

“Mmm, but you’re already down the path~~”

“Just drive, dude.” Steve says with a fond eye roll.

“As you wish, your majesty.” Eddie hums in his normal voice, giving Steve a glowing glance before shoving the keys in.

“Alright, I'm about to push your nerd-tolerance to its limits.” Eddie says, pulling out his phone with a grin. He connects it to the car and quickly turns it down before drums and guitar erupt from the speakers, and Steve flinches at the volume.

“Sorry, sorry.” Eddie whispers and turns down the music again.

Steve nods, and after a second of the music playing much more quietly, he finds it much more comfortable. Nice, even. The energy is quick and alive like Eddie is, though the aggressive vocals fit his outward aesthetic more than his borderline goofy demeanor.

“It’s not the music, I promise.” Steve says, saying it casually but meaning it sincerely.

“You’re fine, I get it.” Eddie laughs, a little too cynically for Steve’s liking.

“No, I–” Steve reaches for Eddie’s hand between them, intertwining fingers and bringing both hands up between them, “I’m serious, I like it. My head’s a little sensitive, been hit a few too many times, but it’s nice. It’s bold and very energetic… stuff that I already like about you.”

Eddie blushes hard—a sweet cherry pink—as he slouches, bringing their joined hands closer to his face like he’s trying to hide behind them. Eddie rests his forehead against the back of Steve’s hand and huffs a quiet laugh.

“God, you’re quite the charmer, Stevie.” Eddie says, and Steve finds his face warming too.

“And I’m guessing it’s working?” Steve laughs.

Eddie looks up at him, smiling wide.

“Oh, it’s working very well.” Eddie says, and brings their hands closer to him again to plant a soft kiss onto Steve’s hand.

Steve’s face goes warm again, lights him on fire, and Eddie’s smile turns slightly smug before he looks away.

“Alright,” Eddie says, looking back to the front to drive but not letting go of Steve’s hand. He even reaches his left arm over to change the gears, leaning into how silly he looks to make Steve laugh.

It’s sweet, it's genuine, and it's everything to Steve.

Eddie starts driving, hand still firmly holding onto Steve’s, neither of them willing to let go first. Steve looks at it as Eddie drives, splitting most of his attention between their hands, Eddie’s profile lit up by the colorful city lights, and the road ahead as he navigates Eddie to his apartment.

And if they miss a turn or two because Steve’s tired brain doesn’t want to watch the damn road? Eddie doesn’t mention it.

_

“Alright.” Eddie says, putting the car into park with his left hand again, though far less comically now.

He sits there for a second, quiet like something’s on his mind, so Steve waits.

“Okay, uh,” Eddie starts, looking vaguely down as he wanders through what he wants to say, “I had fun, I’m assuming by how the nights gone that you did, too…”

Steve squeezes Eddie's hand, and Eddie laughs.

“I had a really great time. And I want to do this again, if you want to.” Eddie glances up at Steve for a second before his eyes dart away again. “But I want to be sure you’re… you’re not being an optimist with me. That you want want this, y’know, because you're an amazing guy, Stevie. I don’t know how you keep having such shit luck but believe me when I tell you it's not because of you.”

Eddie looks back up at him again and keeps his gaze there, looking more relaxed now.

“So, uh, I would love to take you out again.” Eddie says, “If you want to.”

If he wants to, as if that's not the most romantic thing Steve’s heard in his life.

Steve almost says that. He also debates kissing him or pulling him into an awkward hug over the center console that he’s sure would be put up with no matter how uncomfortable it’d be. But Steve doesn’t, because Eddie continues before Steve can make a decision.

“What do you want?”

Steve resists the urge to say a cheesy ‘You’ and thinks about it, really thinks so he can put together words that make sense, so he can give Eddie a real answer.

“I want a long relationship. A real one, y’know?”

Eddie nods.

“And I want to get married, someday. I want someone who’ll stay that long, who will love and let me love them, all cheesy and clingy and shit.”

Eddie hums, searching Steve’s face.

“And?”

Steve looks down at the joined hands between them.

“And I’d love if it were you. You’re sweet, so sweet, but you’re also… alive. Everything you do, you’re…” Steve thinks hard for a moment, working out how to phrase it. “It’s like the world doesn’t weigh you down. And you’re so genuine and you’ll come and say what you mean like it’s nothing, and I think every one of the people in my life—my favorite people—would love being around you almost as much as I do.”

Steve looks back up to him, face hot with another intense flush, and tries to smile casually.

“Hate to break it to you, dude, but you’re kinda my perfect man.”

Eddie huffs a breathy laugh, face painted with disbelief and wonder.

“Okay, then. Case closed.”

“Yeah,” Steve hums, with as much fondness as possible. Steve leans in across the center console, bringing a hand up slowly, trying to signal that he’s leaning in for a kiss.

It takes Eddie a second, and Steve gets to watch him look down at Steve’s hand and look at Steve leaning in, gets to see the moment it clicked before Eddie lunges to meet him halfway and then some, making the hand that was supposed to cradle Eddie’s face hold onto the seat beneath him to keep their balance.

Eddie kisses him hard at first, bringing a hand up to card through Steve’s hair, excited and alive. Then Eddie seems to come back to his senses, moving back but taking Steve with him until they’re both leaning over the center again.

Their kiss softens, intensity melting out into fondness, gentle but passionate, warm and Steve wants to melt from it.

Still, Steve’s going home tonight, going to go upstairs to Robin and tell her all about it. He’ll get to have a good night's sleep in a bed that doesn’t need cleaning, and he’ll get to wake up to the idea of something new brewing fresh in his mind.

Steve pulls back gently and Eddie does the same, eyes flicking open one after the other, a smile on Steve’s face and another lighting up Eddie’s.

Steve catches his breath, feeling lighter now than he has in ages, and Eddie opens his mouth to say something again.

“Does this mean I can get your number?”

[mellowwillowy]

Posting this dusty boring draft.

Yan! Lawyer Husband: *Holds you by the shoulders* I heard that you have been troubled by someone lately, dear. Care to tell me who?

Spouse Reader: Just... a noisy socialite... she had been getting on my nerves recently, always cornering me...

Yan! Lawyer Husband: ... I heard that she's been fueling the public opinion concerning your involvement in her lover's murder case no?

Spouse Reader: It truly was unfortunate, I was only there as an eye witness but she wouldn't stop herding the public opinion... Hey... I won't be trialed for this right?

Yan! Lawyer Husband: ... (It's hard to say no to that question.) *smiles* even if you are to be trialed for this case, I will be there as your lawyer, do you doubt your husband's capability?

Spouse Reader: Of course not! I know well that you are the best lawyer to ever exist! You've never lost a case no?

Yan! Lawyer Husband: Exactly *pats your head* Now how about you get some rest while I take a look in the files of this case? I think I've gotten a gist of what to do here ^^

Contrary to how he usually deals with things that are related to his spouse, he did not kill the socialite but instead, decided to herd the public opinion just like what the socialite did.

Yulian figured that killing the socialite would do no good and only harm Darling's reputation even more. Alas, he decided to commit strings of fraud that were targeted at the socialite.

While slowly tainting her reputation, Yulian started to fabricate a few pieces of evidence while erasing Darling's record during the day of the crime to minimize the chances of being convicted guilty of this trial.

"Why should the public not suspect you of killing your lover because he knew what you had done?" The woman's face turned red as she clenched her jaw tightly, "What are you trying to say, Adam?"

It didn't take much to flick the domino block down. After all, the months spent on this one case were finally reaching their climax during the third trial. The trial in which the table had turned in favor, was a trial which was won by Yulian.

Upon further investigation, it was revealed that the socialite had been involved in distributing drugs which involved the deceased. The motive of the murder was that the socialite did not want to share the profit with her lover, alas killing him to hold the whole business in her grasp.

"... cliche." You mumbled to yourself as you waited for your husband to finish all the files that had to be submitted. "As expected of a lawyer, serving yet another injustice."

[born-in-neverland03]

So what if they want to convince us that everything was just a game for Rio in the end so that she could get her bodies?

Then I will remind you of this

And the way she played with Agatha's hair to calm her down after the last trial remind her of the loss of their son.

And how she leans into the hug and hide herself in Agatha's hair

And the way she looked after she had to tell Agatha that their son is really dead. When she was forced to hurt her again and when Agatha leaves her.

And the way she looked at the broom Agatha made for her like it's the most precious thing in the whole world (beside Agatha herself obviously)

And her reaction when her mother told Agatha that she should've killed her after she was born because she was born evil. How she was sad for her.

An immortal being who would have to worry no less about inconsequential things like insults felt bad. That's how deep her feelings for Agatha are. Even maybe centuries later she still feel for Agatha. She still would never leave her with her mother, she still wants to protect her.

So I really need another soft moment of them (and not just in a flashback). And a really good reason for Rio to betray her (but NO reason will be good enough bc they're meant to be) and everything else that's going to happen and won't includes the two of them kissing.

[pandorascripts]

Family Reunion

Uhm... hi... guys!!! Yes, I did go MIA for like a whole year, but I got better at writing and my gay ass got extreme motivation from Agatha and Rio soooo I'm here!!! Not sure if this is permanent, but I really wanted to write Agatha as a mother. Feel free to send in requests (platonic or romantic, either works), who knows if I'll get around to them, but they might motivate me!

Summary: Rio and Agatha begin to heal, too absorbed in familiarity to remember just how bad they were for one another. The Road decides to leap out of Rio's control, thrusting their young daughter away from the underworld and back into their lives.

summary shortened: you're pretty much Nick, except the road decides to throw you back onto the mortal plane for an unknown reason. warnings: some grief, mainly fluff, big smooch scene that we deserved, and me using my Spanish-II class for nefarious acts online (making rio and reader speak Spanish). relationships: Agario/plantonic!reader

all spelling errors are mine, and I apologize, but I'm too excited about writing again to care <3. ------------------------------------------------------------------------------

Agatha listens as the other coven members cheerily laugh about past experiences -- each letting the burning weight of the trials slip off their shoulders for a moment. The past centuries of her life have been held as a solo journey for Agatha, coven-less, loveless, family-less, and yet, analyzing the people around her, she can't help but wonder if that had been the wrong choice. How is it that these "failed" witches can form a coven far more accepting than the last one she was in? Agatha's not sure, but that spark of humanity she swore died when her coven betrayed her is fighting against the brutal self-taught lessons of apathy. She finds herself drawn into the conversation with a question directed at her. Far too surprised that she's been included, Agatha doesn't clock who it came from at all. Her weight shifts on the log beneath her, fingers anxiously spinning the flower Rio's been harboring since she darkened the road with her soul. Agatha risks a glance at her, then turns back to the coven. Her elbow buzzes with a reminder of a rather bland battle, the hard knitting tool piercing her skin replaying in her mind again. Rio seemingly knows where she's going with this when Agatha hikes up her shirt, lifting her elbow with a small smile.

"You ever heard of the Daughters of Liberty?" her hoarse voice rings out, a faintly muffled chuckle coming from the woman on her right. Agatha smiles at her for the first time in years.

The group enthusiastically shakes their heads, all curious about where Agatha is directing her story. Well aware, Agatha knows she needs to seemingly open up to these women and keep her animosity for them. Letting them in on her past isn't going to do that, so with a snap of her hand the shirt is back down to her wrist, cocky eyes darting around the circle. "Exactly."

Despite how chilling this should be, the group just smiles and laughs at Agatha's story. Agatha won't look into it because that off-putting "joke" just got her respect points with the coven she may or may not choose to betray. That's a win in her mind that is immediately taken away when her old counterpart speaks up.

"I have a scar."

Her tone is a little dry, her face so blank as usual. Naturally, the coven is a little uneasy at Rio's presence, all still deciding if she's trustworthy or not.

Agatha's jaw is sharply outlined as she glares. With a hard breath her nostrils are inflamed, knowing Rio's antics far too familiarly. "No, you don't."

Rio sends her a glare, as if to tell her to shut up. "Yes, I do."

Agatha knows she cannot interrupt again, the coven would be far too suspicious of just how well they know one another. Who Agatha falls in love with is her business -- her weakness is her business. With a taste of defeat that's absolutely disgusting, Agatha lets Rio speak.

"A long time ago, I loved somebody," she starts softly, if not a little too apathetic for a claim like that. The coven is immediately a little interested -- most thinking that Rio is quite the psychopath. Agatha knows they're wrong.

"I had to do something I didn't want to do, and it hurt them," with these words spilt out, Rio gets a little angry at the next part of her speech. Agatha knows what this is going to, her eyes shooting away to look at the stars instead of the stars in Rio's eyes. "But it was my job."

Agatha glares down at her purple pants, the fire a couple feet ahead casting them brighter than their original color. The avoidance is choking her out, but even when Rio speaks again, Agatha is too pained to look.

"She is my scar."

Rio looks over and up at Agatha, not caring that the coven has certainly understood the depth of the relationship between them. For a moment, weakness allows Agatha to breathe in deep, her head softly turning to glance at Rio. The moment the exchange is made, Agatha's body heating up with utter embarrassment, her head snaps. The crack of her knees is deafening, fingers flexing as she tries to loosen the hold on this flower. This damn flower -- why is it still in her hands? Agatha feels grossed out by the question, but more so by her internal response. Rio's face is still burned into her head, the parted lips, eyes open and unafraid of being known by the coven. Rio's look of pure, unaltered love that Agatha swore never truly existed between them.

"Well, I'm gonna take a walk," she snaps out, sending what's supposed to be a condescending smile to the group. Everyone sees through it, more so when Rio sighs annoyedly and rushes after.

Rio would be lying if she said she wasn't slightly pissed, the only thing easing that being the sway of Agatha's hips as she practically darts away from Rio's penetrating gaze. Her eyes remain narrow, watching Agatha fifteen feet up with no objective other than having her back again. Death is lonely, figuratively and literally. She's not found one person who's soul can ease her lack of besides Agatha. Years have blurred together, broken cries of rejection chipping away at the humanity Rio used to harbor, and everything over the millennia she's existed for has undeniably forced her to adept into stone cold apathy. Agatha healed that. During their fleeting time together, Death felt things other than her frozen over hell, she felt desired, understood, she felt human and she understood why humans hate dying so much. Agatha made Death feel like living. So yes, even after this time apart, she's angry that the one soul she refused to take could end up leaving her.

Agatha stops a couple feet ahead now, Rio's gaze running over her body to fully cement the fact that they're back together now, even if not emotionally. Testing waters which have laid still for so long, Rio's chipped nails faintly feel the back of Agatha's spine. When her fingers make contact again, she remembers every night they rested there too -- during walks along the Norwegian beaches despite how freezing it was, fooling around when Agatha was first dabbling in black magic, to nights when Agatha was falling asleep holding their kid and Rio asking hesitantly to take her instead. It's so much, Rio notes, and she understands that it must be for Agatha too because a sound so hauntingly familiar falls from her aching lips -- a moan rippling those waters untouched for years.

Silence is only exchanged after that, Agatha turning around to relent into Rio's care. Seeing her divine face this close again after so many years of punishment, is like allowing a sinner a breath of heaven for Agatha. Her nails rake along Rio's soft face as she soaks in this moment. Her bones are aching to crawl back into the grave she spent so long being comforted in, they're pleading Agatha to just allow them this reprieve, and so she grants it. Rio knows what's coming, her hands clinging onto Agatha as her face dives into her neck. Both their noses dip into the skin, smelling each other, holding each other, for the first time in years. That comforting smell of flowers, dewy earth, and the beguiling scent of death fills Agatha's nose, tears slipping down her face with familiarity.

Rio feels Agatha's hands gripping her head, her own chest stuttering as she struggles with the fleeting emotions entwined with humanity. It's so overwhelming and it's been so long since she's felt it again. Desperate to capture it, Rio grips Agatha's back, nails digging into her shirt as she feels her soul back where it belongs. Still, silence. There's nothing they need to say to her that isn't being felt -- love, security, a hint of forgiveness that Rio hopes won't be nipped in the bud.

Agatha pulls back, Rio tilting her head to analyze her features. When looking isn't enough, they both hold one another's faces, thumbs memorizing the skin along their paths. Rio can feel her eyelids droop, soulless brown eyes moving to the pair of lips in front of her. Agatha's filled with the same desire, darting forward before she can properly judge what's happening, nose bumping against Rio's. The latter pulls away, a soft hum leaving her lips.

"Agatha..."

There's a subtle nod from the addressed, eyes moving off from her mouth to Rio's eyes. It's there Agatha finds that she wasn't stopped out of hesitance or unwillingness, so she leans in again. Rio lets her, invites her when she tilts too.

Agatha hasn't felt a kiss like Rio's kisses in centuries. The moment she feels it again, she lets out a sweet moan. Rio notes how different it is from the ones she usually pulls out -- whether from pain or pleasure. Agatha's was slow and sweet, as if she had been longing for this all her life. It's comforting and full of love. Rio wants more -- she needs to know that this isn't one sided -- that Agatha has started to forgive her for a pain they share. Her hands move to support Agatha's jaw, pulling her into her furthermore as if she wants to swallow her with a kiss. Agatha's giving everything back, lips in tandem with Rio's as they refuse to part for anything.

They're like that for far too long, only stopping when Agatha rests her forehead against Rio's, trying to stifle her panting. Their eyes remain shut, soaking in the physical feel of being loved again.

"I can't -- I can't accept what happened, but -- but I want you to know, I know it hurt you too," Agatha softly speaks, the vulnerability something she rarely shows. It's been years and years of animosity because of their shared grief.

Rio's completely silent, her eyes opening to see the tears slipping down Agatha's cheeks. It takes her a moment of confusion before she realizes that she's crying too -- something that hasn't happened since she held that lifeless body in her heavy arms, crying as she pretended to be tucking her in her crib like she had so many times over the years. Rio's choked up as well, nodding her head as she desperately moves Agatha's hair behind her ears, needing to busy her hands with something.

"I --" Rio can't get anything out. Her thoughts are wilder than a tornado, each one fleeting and escaping her brain before they can be shoved out her mouth. For someone so witty, she can't speak. Rio nods again, lips pressed thin as she leans back in to feel Agatha's lips. There's no denial from Agatha, just like how there never was any all those centuries ago.

The next couple of minutes are spent exchanging sweet kisses, lips slowly and barely moving away just to reconnect seconds later. Rio's hand slips under Agatha's shirt, feeling the taut fabric against her hands when she pulls it out from the waistband of her purple pants. Malleable flesh against her fingertips makes Rio moan against Agatha, a small smirk on her lips when another moan follows -- but not from her. Rio's nails rake along Agatha's stomach, enjoying the feeling after being denied it for so long.

Lost in familiarity, they don't notice the tree cracking behind them -- not until it drops a couple feet out, a hoarse shriek coming from Agatha. Rio's back is turned to her now, hand on her waist as she keeps Agatha close. There's something under the rubble, her eyes thinning down as she glares at the rustling wood. Eventually, Rio steps away from Agatha and kicks over the wood, an unconscious face all too known in front of her. With a hard smack, Rio's knees are digging into the floor, hands grabbing out the sweet face she swore she wouldn't see ever again.

Agatha's stood behind, eyes slightly wide and confused before a soft, "hija" is echoed out in the cold air. Haunted, Agatha stumbles forward to drop down next to Rio, hands moving out to grab at your face. The moment she thinks she can, her hands shoot back and away, knees popping when she abruptly stands. In a hard panic and a heavy breath, her face is whipping around and looking around the road.

"Is this some sick trial?" she screeches out, her lungs aching as she sobs to whoever is controlling this.

Rio's still sitting, cradling your body as her hands touch your hair. The road bends to Rio's will -- after all, Rio only designed the road to bring her more souls -- but this isn't her. This is something else, something far more evil that's infiltrated her dimension. Rio doesn't understand how this is happening, who's behind it, or what the consequences are going to be, but she needs to just soak in this moment.

Rio hasn't seen your chest move in hundreds of years.

Shaky fingers press along your chest, feeling it rise against her hold, then fall, and repeat.

"Agatha," she calls out, turning her head to look at the panicked woman in front of her.

Bewildered and terrified, Agatha meets your sleeping face and freezes. There's a sick part of Agatha that reminds her she had forgotten certain aspects of your face, the guilt eating at her and choking her out. With a shake of her head, Agatha trips over herself as she tries to get away. The sobs are muffled by her vibrating hand, vision blinded by overwhelmed tears. There's too much happening for Agatha to even try regulating herself, so caught up in the face that has haunted her for centuries being thrusted against her in such a short time.

Rio gently picks up your body, head slack against her hard shoulder. The last time you were like this Rio was tightly holding you away from the Ferryman. Her hands rub your back, shifting to make adjustments for you. Centuries ago when you died, you were no more than six, now it seems as if something changed that -- you look like you're ten now. Rio doesn't understand how you managed to "age" if you hadn't had a beating heart in a long time, but she doesn't care.

"Agatha," she tries again, wanting her to see her daughter even if you'll get tugged back onto that old boat soon.

Whipping around, her hands still pressed against her mouth, she gently meets Rio half way. The tears won't stop, shock and disbelief on her aged face. "Oh God," she mumbles, hand slipping over to brush some brown hair away from your face.

You're still you, if not a little pale and older now, but Agatha can't register that. Her baby is back, in some sick way, her baby is back. Rio holds you tightly, feeling so confused as your body is warm against hers.

"What is this?" Agatha hoarsely questions, eyes darting away from yours to Rio's face.

"I don't know -- I didn't do it -- I swear," she sputters out, stopping only when Agatha presses her tear-soaked lips against Rio's own again.

"I know, I know."

Rio calms down at the belief, her arms heavy as Agatha starts to lift you into her own arms. There's a shift from you, Agatha's eyebrows pressing deeply together as she almost glares at you. Still convinced this isn't real, she's as stiff as a board against you. Up until you press into her shoulder, rubbing your nose twice before halting, Agatha doesn't believe it. That single act performed crushes her reluctance, heart stopping at feeling something you used to do all the time against her.

"Oh, baby," she cries out, nose pressed into the side of your hair as you stir. Rio watches with wide eyes, lips parted as she watches how easily Agatha slips back into her motherly tendencies.

Agatha cries until she can't anymore, eventually finding herself sitting down and just holding you against her. Of course, she doesn't want to wake you up but she also can't stop touching you. Desperately aching for the constant reminder that you're tangible -- that you're here -- Agatha's hands constantly touch your face, your waist, your hips -- gently running over your body as she shakes.

Rio sits down in front, hand resting just under your lower thigh, thumb rubbing against the side of your knee. With all this touch, you wake up slightly annoyed, pushing yourself farther into Agatha. Her tears only increase tenfold, fleeting attempts to stop it doing nothing.

"Momma, stop," you quietly whine as she plays with your messy hair, your nose crinkled up just like hers does. The similar aspect makes Agatha tear up, head nodding as she stills her hand on your waist.

"Sorry, baby."

Rio notes Agatha's cracking voice, and so do you. Tiredly, you look up at them both, confused as to why your parents had been crying.

"Why you guys crying?"

"Just really happy, honey," Agatha sniffles out, rubbing your face again. You don't fight against it, eyes darting down to look at Rio.

"Okay." Your soft tone makes Rio's lip tremble, her hand coming out to move some of your curly hair -- so alike to Agatha's -- out of your face. There's a small shake of your head as you adjust your big glasses -- the ones Rio always adored.

"I don't want you to cry, it makes me sad too," you softly admit, moving your face to rest alongside Agatha's sternum. Habits don't die, as proven when Agatha already moves to take off your glasses for you so they don't get bent by how you're laying. Rio acts on impulse too, taking the glasses from Agatha's hands and setting them on her shirt.

"Nosotras sabemos, hija," Rio speaks out, her eyes trained on your face. For a fleeting moment, Rio wonders if you've forgotten the language she taught you, her heart breaking in her chest before you respond with a nod. Agatha's a little behind before understanding what Rio means.

"We know," Agatha reiterates, letting you know that she understood the conversation and agrees.

"Where are we?" you ask, finally looking around to notice what's happening.

Rio can't think of anything to say, not until Agatha comes up with something. "Road trip, dear."

Trusting your mom, you just confusedly nod your head.

"¿Cuándo planeamos el viaje?" you ask out.

Agatha can't respond right away, but Rio does. "You were sleeping, Mama and I wanted to surprise you."

Turning her head to face the speaker, Agatha is a little confused at the question but goes with it. The answer isn't upsetting you, if not just making you a little confused, so she doesn't really care to figure out what was spoken.

"Can I sleep now?" you ask, yawning just after.

"Yeah, baby, of course."

Rio turns to look at Agatha's expression, her heart lurching at just how well motherhood suits her. Brown eyes watch Agatha's gentle hands -- hands that have slaughtered thousands -- sweetly caress your kind face. With a hum, you lean into your mama's hands, eyes shut as you try to sleep again. Agatha is completely lost in having you back, soothingly tracing along your face and down the slope of your nose, touching something she never thought she would again. Rio is too nervous to touch you again, the last time far too devastating for her liking.

As if a mind reader, Agatha brings up Rio's hand to your stomach, setting it there before looking back down at you.

Complete silence falls over you all, Rio's hand stiff before she hesitantly brings it to flatten against your stomach. Apathy is long gone from her usually conniving features, everything overtaken with terrified love. After a minute or two, Rio manages to calm down her anxiety and let her knuckles run against your shirt, remembering the nights when you'd both be sent into fits of giggles when she'd blow raspberries against your stomach. Much to Agatha's dismay, only because it'd rile you up before bedtime. Truth be told, Agatha let it happen a couple times, observing contently from the bedroom door before she'd break it up so you could sleep.  

You're knocked out again minutes later, a soft chuckle coming from Rio's lips. "God, she always was a hard sleeper."

Agatha silently nods, tears slipping down her face again. Rio brushes them away with her free hand, letting her knuckles trace against Agatha too.

"You know we don't have her back for long, right?" Rio asks quietly. In a hard, choked out response, Agatha nods her head. "I know, I know. I just need her for a bit longer."

Rio's lips are tugged taut before leaning into a frown, her forehead against Agatha's as they sit in silence together.

[asilentsongbird]

Original post

"You have been charged with evading arrest. Do you accept the charges against you?"

You really don't know what to say. Especially since it's Neuvillette asking you.

You had been quietly, secretly dating for a few months. Neither of you were ready to talk with others about your relationship, and Neuvillette was always worried someone might use your relationship to their own advantage.

You shrug at your boyfriend, unsure of what to do. He lets out a sigh, as though this whole thing is an inconvenience. It sort of is.

He knows as well as you do that the charges won't stick. Because out of all the places you were last night, you were in the perfect place for an airtight alibi.

You were in Neuvillette's arms.

"I suppose?" you manage, feeling quite put on the spot.

It can't be helped, really. Though you had been to the Opera House before, you had never been there as a defendant. Most of the time you came here to pick Neuvillette up when he worked too late.

"Then we shall proceed."

Your shoulders slump slightly. Well, at least you'll get to see the Fortress of Meropide.

"Though typically at this time we would go over the charges and discuss evidence, I will have to intervene on this trial. The defendant could not have evaded arrest," Neuvillette said calmly, arms crossed over his chest.

To anyone else, he looks like the picture of ease. It's kind of nice being so close to Neuvillette right now, it allows only you to see the tips of his ears turn pink.

"Oh? And how can you say that?" Furina demands, looking quite upset that she isn't going to get a show.

Somehow, Neuvillette manages to stay composed as he answers, "Because she was with me last night."

Oh, poor Neuvillette looks ready to die from embarrassment. He was never going to live this down.

"I KNEW IT!"

You cover your face with your hands out of embarrassment, though it was a bit funny to see Furina leaning over the balcony of her chair, looking beyond happy that Neuvillette finally said something.

"Yes, well, if that is all, then I will dismiss this case," Neuvillette said, clearly embarrassed.

"IT MOST CERTAINLY IS NOT ALL!"

From the excited look on Furina's face, and the exasperated one on Neuvillette's, you had a feeling that this really was far from over.

Oh well, at least you don't have to keep anything a secret anymore.

[peppermintquartz]

There are times Buck wishes he isn't a jealous person. This is one of those times. Eddie and Tommy are deep in discussion about some military thingamajig, and they both have Opinions, so they are talking at and over each other while helping Buck prep for dinner.

And Buck is trying to work on his jealous streak. He knows he can focus on what they have, or focus on what Buck himself has with Tommy.

He knows Tommy likes him differently than he does Eddie. For one thing, he woke up this morning with Tommy's hand groping his chest and Tommy's lips on his neck, and Eddie definitely doesn't get to have that. That thought settles Buck somewhat. Yeah, Tommy Kinard is my boyfriend. No one can take that from me.

"How many potatoes do you need diced, Buck?" Eddie asks.

Buck frowns and gauges the amount. "Maybe two more."

"Ay, Dios, my hands are cramping."

"What, too soft to work in a kitchen?" Buck teases. "I should tell Bobby to put you on kitchen duty. Toughen you up a little."

Eddie makes a face at Buck. "You'll just bitch about my cooking the whole time."

"I'm your best friend, I have the right to bitch as much as I want to you about anything."

Tommy is still chopping tomatoes. "Have you washed the celery, baby? I'll chop that next."

As Buck hands Tommy the celery, Eddie says, "I don't remember minestrone on the menu at the station."

"He wheedled the recipe out of me last week," Tommy says to Eddie. "Tonight is a trial run before he makes it for Bobby."

Wheedled. Ha. Buck sucked it out of Tommy's dick. Not literally, because that's not humanly possible though Buck did try, but Tommy made it last Tuesday evening and it had been so good that Buck needed to show his appreciation, and after that Tommy told him everything he needed to know. So that's another thing Eddie won't ever have with Tommy.

He frowns to himself as he looks at the recipe he's jotted down, mentally converting the quantities to feed the team.

Is his relationship with Tommy all about the sex? He blinks and shakes his head. No. The connection is different.

Tommy's smile when he looks at Buck is different from how he smiles at Eddie. With the latter, Tommy's cheerful, relaxed, open, convivial. They're good friends. With Buck, Tommy's entire demeanor becomes softer, gentler, as if he wants to keep the younger man in his embrace forever and ever.

And there's the touching. Tommy slings an arm over Eddie's shoulders, gives him high fives, bumps their chests together, hearty slaps on the back and sometimes on their ass (Eddie slaps Tommy's ass more than the other way around, as far as Buck's has observed, and he can't even be mad about that because Tommy has a very slappable ass).

But when Tommy touches Buck in public, he lingers. Hand skimming down his shoulder to his elbow to his hand. Leaning against him in the cinema. Tangling their fingers when they hold hands on their walks. Sometimes Tommy hugs Buck for no reason, too, like when they're at a crosswalk and Buck is talking about how the acidity of soil determines the colors of hydrangeas or something irrelevant and Tommy will pull Buck in by his waist and press him to his side, or when Buck is coming home from a shift and Tommy's heading out to his shift and Tommy will invariably pause and hug him before he goes.

Buck catches himself smiling like a dope and looks up to see the two men watching him. Eddie's expression is one of amused exasperation and Tommy is-

Well, Tommy's glowing. As if he is watching the sun rise after a long and arduous night, as if he's seeing something he has always wanted.

Buck grins. "What?"

"I love you," Tommy says. He shoves Eddie lightly when the latter mutters something about being a third wheel.

Well, also, Tommy doesn't tell Eddie "I love you" in that besotted manner. Chalk another up to Team Buck. Buck walks around the island, smacking Eddie for another snarky comment about the two being completely hopeless saps, and kisses his boyfriend.

With tongue, just because he can.

Eddie throws a piece of potato peel at them both. "Start cooking or I'll stay here all night and won't let you two get it on."

Tommy pulls away from the heated kiss and makes a seductive face at Eddie. "Don't tell me you want in on the action."

"Ack, no!" Another piece of potato peel flies through the air and lands in Tommy's hair. Eddie sticks out his tongue. "But I am getting hungry, and you still owe me a spar."

As he untangles himself from Tommy and removes the peel from his soft curls, Buck glances at the diced potatoes and the rest of the ingredients.

"Alright, go beat the stuffing out of each other. It should be done by the time you are." He shoos them out of the kitchen. But even as Tommy laughingly follows Eddie to the garage, he loiters for another five seconds to kiss Buck sweetly and murmur, "We'll continue that later."

"Later," Buck agrees.

--

edited and expanded on ao3

[shanastoryteller]

Sam seems convinced this is going to work, but Dean’s pretty sure it’s just a load of crap. Bobby’s even more convinced that it’s a whole lot of nothing, although he had admitted that he couldn’t read every symbol that Sam had added to this mess up devil’s trap. That didn’t mean it would work. It just meant that Sam had thrown everything he could think into it.

The real reason that Dean is going along with this, and probably Bobby is too, is because it means that Sam wouldn’t be alone after Dean is dragged to hell. Although standing in the middle of Bobby’s junkyard in a mess of spray paint isn’t exactly how he’d wanted to spend the last hour of his life.

“You really think Lilith is going to show?” he asks. He doesn’t know why she would. She just has to send the hellhounds, who’s howls and yips Dean has been hearing for days. And those things have never been stopped by any sort of devil’s trap.

“Yes,” Sam says, tense, not looking at him.

That’s another thing. For weeks Sam has barely looked at him, barely talked to him. Which sucks, because he’d really wanted to spend the last weeks of his life just looking and talking to and spending time with his brother, but Sam hadn’t been interested in that. At all.

He shares a look with Bobby, who just shrugs, hands tight on his shotgun.

Then the hellhounds come, just like he knew they would, no Lilith in sight. “Sammy,” he says, reaching out for his brother. Not because he thinks he can do anything, but because he wants to touch Sam one last time, one last memory to sustain him through hell.

Sam snaps out his hand and the hellhounds go skittering back, letting out pained yowls.

Dean stares, not understanding. “What did you – wait. You can see them?”

Only he should be able to see them. He’s the one that made the deal.

Sam still won’t look at him, damnit, even as Dean fists his hand in the back of his shirt. Sam's voice is low and pained when he says, “I’m sorry.”

Fear clenches in his gut. But before he do anything, there are demons surrounding the devil’s trap, appearing one by one in Bobby’s junkyard. They’d needed to take down his protections so Lilith could get in, but they hadn’t expected this. Of course she brought a freaking audience.

“Which one of you is Lilith?” he barks out, dragging Sam behind him. He refuses to let the last thing he sees be his brother hurt, or worse.

Dozens of demons stand there, human vessels with pitch black eyes. The hellhounds whimper and slink around them, but don’t seem interested in getting any closer. Dean can’t blame them.

Sam pries his hand off of him, stepping away before Dean can grab onto him again. He leaves the safety of the devil’s trap, which is fucking stupid. Dean’s lunging forward to stop him, but then there’s Bobby’s arm holding him back, face pale with a horror Dean doesn’t understand. He hadn’t looked like that even at Cold Oak, when they’d seen the gates open to hell.

The demons bow.

He blinks, not understanding what he’s seeing.

Sam is standing there in front of them, no protections, and they’re all bowing to him.

Except one.

Ruby is there, stupid red leather jacket and blonde hair and the smirk he hates so much. She walks around the demons up to Sam, who’s face is cold and expressionless. “She’s coming.”

“I know,” he says. “If this doesn’t work, I’m going to kill you.”

“Promise?” she returns. “If this doesn’t work, death will be a mercy.”

Dean tries to push Bobby off of him, to get in between Sam and this bitch, but he doesn’t let go.

Then there’s a little girl in a white dress, head tilted to the side. “Something here belongs to me.”

Ruby flinches, stepping just slightly behind Sam.

“Not you,” she sneers. “You haven’t belonged to me in a long time, I fear. You really think that this boy can save you?”

“Sam,” Ruby says.

He sighs, like this is a trial, and raises his hand.

Lilith’s sneer drops from her face. Her upper body yanks forward, but her legs won't move. “You bastard,” she snarls, raising her hand in return, but nothing happens.

For the first time, fear flickers across her face.

Ruby steps forward, her own terror swallowed up by arrogance, by delight.

Dean tries to move, but finds he’s just as frozen as Lilith, even more so. He can’t twitch a single muscle. Going by Bobby’s unnatural stillness next to him, he assumes he’s in the same boat.

“Samuel is the heir of the light bringer,” Ruby says. “He has taken his birthright. You can’t touch him.”

What’s she talking about? What birthright?

What has Sam done?

“No,” Lilith snarls. “He’s nothing more than one of Azazel’s experiments.”

“A night, a full day, and then morning,” Ruby says. “That’s what he was. Then he rose on the third day.” She shoots a mocking look his way. “If it weren’t for his brother, he would have died nothing more than a failed experiment. But he has risen.”

No. What does that mean? What’s she saying? He had just wanted Sammy back.

Did he do this? Is this his fault?

“Ruby,” Sam says, a note of warning in his voice.

“Right, right,” she sighs. Then, back to gleeful, “Her eyes.”

Sam’s finger twitches and Lilith’s eyes bleed black tears.

She screams, the sound even worse because her vessel is a child.

Ruby lists thing after thing, pulling out her fingernails, peeling her skin. Her blood is black, none of it red, and the injuries shouldn’t really be hurting her but they clearly are. Dean watches helplessly as Sam tortures Lilith at Ruby’s command, enacting one terrible thing against her after another.

Lilith lies there, moaning, limbs broken, body in pieces.

“That’s enough,” Sam says.

“Enough?” Ruby hisses, turning to face him. “You know what she did to me! She – she–”

Sam’s stoic mask breaks, creasing in sympathy. Dean would prefer it wasn’t for a demon, for Ruby, but at least he now recognizes his brother. He raises his free hand to her head, his touch an oddly gentle counterpoint to everything he’s done to Lilith. “I know. But it’s enough.”

Tears glint in her eyes, just for a second, then she swallows and nods, stepping away from Sam’s hand.

He steps forward, crouching in front of Lilith. “You shouldn’t have come after my brother. Now we both have to live with the consequences.” His mouth twists. "So to speak."

Whatever she would have said in response is lost in her screams. Black smoke pours from her, then lights up, like a spark in steel wool, the fire moving through her reminding him almost of the Colt.

Lilith dies. Sam kills her, no Colt, no devil’s trap. Nothing but his own terrifying powers.

“Will you bow to me now?” he asks.

Ruby tears her eyes from Lilith’s corpse and her irritating fucking smirk slides back into place. “Now?” She steps closer, tilting her head back almost like she’s about to kiss him, then falls gracefully to her knees in front of him. It looks more like she’s about to give him a blowjob than a form of subservience, but he thinks that for a moment Sam almost seems amused. “I bowed to you first.”

“So you did,” he says softly. He raises his voice. “Move out. Casey. You know your job.”

“Yes, sire,” says one of the demons, voice almost familiar.

Then Sam’s walking away, Ruby just a step behind him. The other demons follow suit, the hellhounds not even glancing at Dean as they get caught up in the procession.

Sam still won’t look at him. He only sees the back of his brother’s head as he leaves him behind

The only demon left is Casey. He knows her, he recognizes her, the demon he’d been trapped with in that city full of sin, the one that Sam had shot and killed. He’d seen him kill her.

She gets to her feet, offering him a smile as she draws closer. “Hello, Dean. I bet you never thought you’d see me again.”

She steps right into the devil’s trap and presses a hand to him and Bobby each. As soon as she touches them, they’re able to move, darting away from her and leaving her stuck in the devil’s trap.

“What the hell was that?” he asks, wishing his voice wasn’t shaking, but he has more important things to worry about.

She turns to face them. “Samuel does not want you to die. He did what he had to do to ensure you wouldn’t.”

“The fuck you talking about?” Bobby asks gruffly.

“I told you back then I was ready to follow Sam,” she says, stepping out of the devil’s trap like it’s nothing, which she definitely shouldn’t be able to do. Bobby hadn't thought that this thing would be able to contain Lilith, but Casey’s nowhere near Lilith’s level. It should work on her just fine.

Bobby’s hand darts out, throwing holy water over her, but it doesn’t so much as steam.

She just looks amused. “That won’t work on me now. Neither will an exorcism, or any of the usual tricks. I have been purified.” She holds out her hand to Dean and it’s the Colt, the one that they’d lost when Bela sold it. “This is the only thing that will kill me now.”

“And you’re just handing it over?” Dean asks.

“I have my orders,” she says steadily. “Samuel wants you to have it.”

His entire body goes gold.

“What do you mean purified?” Bobby asks, shooting Dean a concerned look. “You’re a demon. Purifying you should kill you.”

“And was Lucifer a demon?” she asks. “I have taken the sacrament.”

Dean doesn’t know what that means, but Bobby’s expression shifts from disgust to shock to a horror filled curiosity. “You drank Sam’s blood?”

She did what?

“I have taken the sacrament,” she repeats, lifting her chin. “Samuel purified me.”

How the hell would Sam’s blood do that? Why had she drank it in the first place? She’s a demon, not a damn vampire. Dean pushes those questions aside and instead asks, “How are you even alive?”

“Samuel resurrected me,” she says. First he can kill demons, and now he can bring them back? “He knows we had a rapport and he thought it would be easier if it was me.”

“What would be easier?” he asks. His head is spinning and his heart hurts and he doesn’t understand anything that just happened. At least being dragged to hell would have been simpler.

She presses the Colt into his hands. “Samuel doesn’t want you to die. He knows this will be difficult for you, that you’ll make poor choices. I have my orders. I am to stay with you and keep you alive. We’re going to get to know each other very well, Dean.”

“Like hell,” he says gruffly, hand tightening as he takes the Colt and raises it to her head. “What’s to stop me from killing you?”

“The same thing that will stop you from killing Samuel,” she says and he flinches. “Nothing.”

He stares at her. He can’t bring himself to speak.

“You’ll have to hunt him down the old fashioned way,” she says casually. “But if you can find him, you can kill him. We’re all under orders not to touch you. Samuel won’t stop you if you want kill him. The same way I won’t stop you if you want to kill me.”

“Why?” he asks.

She shrugs. “It’s always been up to you, Dean. He trusts you. If you decide that he must die, then he’s willing to die.”

Dean sold his soul for him. He’s not going to fucking kill him.

But the Sam he sold his soul for wasn’t capable of doing that to Lilith. He wouldn’t have even wanted to be.

“What about your demon lover?” Dean asks, thinking of the priest that Casey had embraced and kissed, the demon she’d begged to spare Dean’s life before Sam had killed them both. “Sam bring him back too?”

Grief chases across her face before she smooths it away. “He will. If I am good, and obedient, and loyal, then Samuel will bring him back for me.”

Dean’s stomach rolls to hear Sam described like that, like some sort of tyrant or king. Like Dad. “You really believe that?”

Casey meets his gaze steadily as she echoes the words she’d said to him in that basement as she spoke of Lucifer, except now she’s talking about his brother. “I have faith.”

[little-miss-fandom-freak]

This isn't a request or anything I just had a funny thought but like, imagine if the Justice League finally got evidence that Y/N is innocent, and they tried to visit but Phosphorus is just. Booing and throwing trash at the League members. Y/N may join in also. Bonding time 🩷

Okay I know I need to be working on my other asks but I LOVE THIS

Dr. Phosphorus X Former Hero!Reader Pt 2.

Little note: I did want this to end on a happier note and I found it hard to be mad at Superman lol

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

You didn't understand why Superman and Batman were here in Belle Reve. You had assumed it was for some meeting with Waller until one of the guards approached you and your team.

"C'mon," She said as she lifted your shoulder, "you got visitors."

You looked around, completely confused. "Visitors? Who would be visiting me?" The guard didn't respond as she pulled you away from the table and put your hands in cuffs. He tried to shrug them off, determined to stay with you. You gave him a stern look, one that said 'don't do anything that will get you in trouble'. He sighed as he took a step back, letting the guards take you out to the courtyard.

You were shocked to find out that your former teammates were the visitors. You tried to dig your heels into the concrete, causing the gurads to struggle as they dragged you to them. "I have nothing to say to you two!" You yelled from across the courtyard.

They gave each other a look before Superman took a step forward. "Lose the cuffs, guys. She's won't do anything."

The guards looked to Waller for confirmation. She nodded, giving them permission to take the tight handcuffs off. You rubbed your wrist as the two approached you. "Leave me alone, Superman." You said with spite

"Look..." He started, clearly trying to find the right words to say. "I know there's no taking back everything that's happened these past few years, but I hope you understand why we did it."

"You mean how the whole team left me to rot in a cell, not even showing up for my trials!" You yelled.

"We wanted to, but it wasn't a good time. For any of it. You have to believe us." He pleaded.

"Why should I? It's not like you believed a word I said!" You sighed as you pinched the bridge of your nose, trying to calm yourself. "I hope you two didn't come all the way out here just to apologize and think I'll forgive you, cause there's no way in hell-"

"The court has decided to give you bail." Batman said, stopping you mid rant.

You couldn't believe what you were hearing right now. "Give me bail? Why?"

"While you were locked up, things changed. New laws were made, old ones were fixed, and your lawyer found new evidence to support your case. If you choose to go to trail and plead not guilty, there's a chance you'll make bail. And I would be happy to pay it, if you promise to return to the Justice League."

•••••••••••••••••••••••••••••••••••••••••

Back in the rec room, Phosphorus was standing on top of one of the tables that he had pushed against the wall, trying to get a view of what was going on outside. Nina and Bride had joined him; for Nina it was out of concern, for Bride it was simply because she was bored.

"What are they saying?" He mumbled, his grip on the bars tightening as he tried to listen.

"It has to be something about her case." Said Bride. "With how long she's been in here, and not a single visit before, there must've been a change."

Phosphorus didn't know how to take that. Was there more that you didn't tell him? Were more years added to your sentence? Are you getting transferred? Or worse, did they find you innocent?

The Bride side glanced at Phosphorus, a knowing smirk graced her lips. "You know, you're really bad at pretending you're not the "jealous boyfriend" type."

His head whipped around in her direction, his flames rose but she couldn't tell if it was from anger or embarrassment.

"I-I just- you- just-just shut up!"

•••••••••••••••••••••••••••••••••••••••••

You thought for a moment, you weren't quite sure how to respond. "If I come back, I want a few things."

Batman scoffed. "Do you really think you're in the position to be negotiating?"

"I'll have you know, prison life hasn't been all that bad for me." You said with sass as your crossed your arms. "Once I got over the feeling of betrayal, I actually formed relationships with the inmates."

"Really?" Superman cringed at the thought. "But they're murderers-"

"At least they know loyalty."

"Barely." Batman shot back.

You gritted your teeth. "Task Force M has showed more loyalty to me than any if the Justuce League. I'm am perfectly fine with staying in here, you're the ones who want me back. So, do we have a deal?"

Batman glared at you before he made up his mind. "What do you want?"

You tense shoulders relaxed slightly. "My team, I want to be able to see them while I'm out. Not just visitation hours, I want them out of Belle Reve when I see them."

Superman and Batman looked at each other, before Batman looked to Waller. She shrugged. "Task Force M has been more well behaved than usual. If they can keep it up, I'm sure I can arrange something."

You nodded to Waller, silently thanking her for her cooperation. You turned back to the men in front of you. "Looks like I'm back."

A wide smile filled Suoerman's face. He rushed to you a scooped you up into a hug. "You have no idea how hard it was not to visut you, but we were under so much fire at the time. The governmentthought it would be safer if we temporarilydropped connections. "

You embraced the hug, realizing how much you actually missed your old team. Suddenly, you heard muffled yelling coming from across the courtyard. Looking to your left, you saw Phosphorus yelling something you couldn't hear but Superman could.

"Um, why is the glowing skeleton yelling at me to get my hands off of you?" He asked, clearly concerned.

You chuckled. "We have a lot of catching up to do."

Suddenly, several peices of trash came flying your way. Well, not exactly flying. They hit the ground several feet away from the three of you, but the action was enough to make the guards inside tackle your partner.

With a sigh, you removed yourself from the hug. "We should head back in."

As Waller and the guards led you all back inside, Batman came up beside you.

"Phosphorus? Really?"

You smiled slightly as you shrugged. "What can I say, he's got charm."

He rolled his eyes and shook his head. "Yeah, it's called radiation. I don't think he's good for you-"

"Don't go all dad-mode on me Bats, we're still the same age remember?"

He scoffed. "And yet you're the one making juvenile dating choices."

"Uh huh, and how's it going with Selena?" You said with a shit-eating grin. He was quiet for a few moments.

"Fair point." He said, causing you to let out a laugh. As much as you hated them, and how long it will be before eyour relationships are repaired, you couldn't deny that you missed moments like this.

☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

I hope you enjoyed this and if you have anything you would like me to personally respond to, message me or put it in my ask box because as of right now, Tumblr won't let me respond to comments :)

[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

[sully-s]

Okay so I can't stop thinking about a Cloverfield AU where Edgeworth has to save Trudy who's miles across town because she was getting a surprise gift for Phoenix and Edgeworth is the only one who knows where she and the phones are down.

And in this, Trudy doesn't know Edgeworth very well and doesn't like him very much. Put off by how stiff and blunt he can be.

But during the trials of getting back to Phoenix, she sees his other sides, and they bond with Trudy coming to the realization that Edgeworth might actually be the most competent adult in her life. (Like yeah Wright is a great dad because he gives lots of love but he's a bit hopeless sometimes and Trudy often feels like she has the be the gown up)

And like the idea of the conflict and safety that Turdy would have to internally battle with letting Edgeworth just be the adult and make sure she gets home. By the time they find Phoenix (who has a whole journey trying to find her), Trudy basically demands Phoneix marry Edgeworth and won't take any other optional moms or dads.

[rootspiral]

Agatha All Along deep dive: episode 9 part 6

(Wandavision entries: [1][2][3])

(AAA entries: ep1 [1][2][3][4] ep2 [1][2][3][4] ep3 [1][2][3] ep4 [1][2][3][4][5][6][7][+1] ep5 [1][2][3][4][5] ep6 [1][2][3] ep7 [1][2][3][4][5][6] ep8 [1][2][3][4][5][6][7][8][9] ep9 [1][2][3][4][5][6])

billy drives to westview again, I guess flying right now feels weird while he's so conflicted about his own witchy nature. and who boarded up agatha's door? were the neighbors afraid some other unspeakable horror was going to jump out of the house?

we get another good view of agatha's grave, with all the purple flowers and mushrooms rio grew for her

agnes' bike and señor scratchy's cage (I hope that fluffer bunny's okay somewhere)

NOT HELPING, AGATHA. did she just run down to the basement so she could do her 'it's britney bitch' face? (she does look like britney here)

sure, sure, you'll get your brooch back and then you'll be on your merry way doing ghostly shit with no regrets whatsoever. it's not like you've been following billy around like a lost puppy or anything

agatha sees billy drawing the circle and is all posture again, a big slice of "I'm cooler than you and you don't scare me little kid" with a side of "ooooh are we doing magic?? I love magic lemme see lemme see!"

she's truly embarrassing

you're the one with a buttload of black candles in your basement agatha who do you think you're mocking

a pentacle, the symbol of our coven surrounding him. wherever you are, a coven there shall be.

oooh book through the heart! we get it, symbolism.

agatha sees the brooch and gives a deep relieved sigh, immediately followed by more bullshit. JUST TELL HIM THAT'S YOUR SON'S BROOCH AND IT'S IMPORTANT, YOU USELESS DISASTER. JUST OPEN UP FOR ONCE.

the spell is vade (not valia) a lucem, relinque terram, noli esse phantasma. go to the light, leave the earth, don't be a ghost (bit on the nose.)

what's wrong agatha, not feeling so confident all of a sudden?

you know the drill by now, she won't go quietly. so she sneers.

ooh we're appealing to his better nature now? after your many 'never apologize for murder' lessons?

idk man, it's almost as if the people you keep pushing away will eventually get tired of your bullshit. it's almost as if billy here, the kid you supposedly care a lot about, just went through a terrible experience and could really need a wise mentor right now - instead of whatever you're doing.

and now we're begging. better make a decision there agatha, you're starting to fade away!

sure, that will help. great plan agatha, masterful gambit, turning into a ghost and losing even more of your agency

there you go. it only took this poor wretch nine episodes, killing three people, scaring away forever the love of her life, thoroughly traumatizing a kid and somehow losing her entire body to express ONE honest, uncensored feeling.

it's the little steps.

heartwarming: local 350 year old experiences for the first time the mortifying ordeal of being known.

another thing billy and agatha have in common is how good they are at reading people. with billy it's a natural talent (comes with being a mind reader) that he's still learning how to use, he can read people but doesn't know how to interpret what he finds yet, hence the whole trials fiasco.

with agatha, he's been trying to reconcile his instincts with facts and logic. on a surface level he shouldn't trust agatha at all, indeed she's the last person anyone should trust. but since he was that kid who liked hanging out at agnes' house, billy guessed something else in agatha, a vulnerability behind all the darkness that he's been (awkwardly) trying to bring to the surface.

why? I think it's for the same reason agatha has been reaching out to him: because they're so similar. billy wants to reconcile agatha's two natures because he wants to do the same for himself. he is the son of the witch who tortured westview, he has all this scary power. there is a darkness in him that he doesn't know how to deal with, but maybe, if agatha is redeemed, there is hope for himself too.

in other words, these two are kindred spirits (spiritual mother/son, mentor/mentee, whatever you want to call it) who recognize each other and instinctively want to stick to together, even though it's a bad, bad idea.

(I cannot believe it took agatha turning into a ghost to finally get a manicure for her nasty witchy nails)

and this is all it took to win billy over, that's how ready and eager he was to believe agatha has a heart! the moment he realizes that of course agatha loved nicholas! of course she's devastated after losing him! he steps back and dries a tear, moved. for the first time he sees agatha's pain and, the good kid he is, he's earnest to give her sympathy and comfort. he's still too young to fully understand what agatha has been trough, but he doesn't need to. he just needs to care and be there for her, and that's enough, that makes all the difference.

the salemites taught agatha that she cannot trust others, that if she shows who she really is people will hate her and hurt her. when nicky died she tried all she could to exorcise that devastating pain, except asking for help. she never allowed someone to give her even the most basic forms of comfort, no hugs, no crying on someone's shoulder, no 'I'm sorry this happened to you'. no 'I'm here for you, if you need anything'. no 'I know it feels like that, but I promise it wasn't your fault.'

agatha set out to mold and raise billy as another version of herself, but what she got instead is a kid who, just like nicky, is simply glad to love her back. yes, people will leave you if you keep pushing them away, but the opposite is also true: if you stick by and make an effort, no matter how many mistakes you make, most people will recognize what you're doing and respond in kind. it sucks that agatha can do that so rarely and with so much difficulty. but it happens sometimes, even to her.

I've talked about how a "coven two" is never sustainable on the long run, how you cannot just have one person be your whole world. humans, social animals we are, simply need a community. but for now it's a start, it's agatha cautiously letting herself be around another person again. and oh god she's going to be such a bad influence on this poor kid. I'm glad *he* has other people in his life, at least.

she's like, faIR WArNiNG

ookay drama llama. these two gays, I swear. already trying to outdrama each other.

she's all proud!! look at her boy paying homage to the dead and expressing his grief like a champ! meanwhile I'm sitting here like guys, guys, you cannot just write their names on the floor and call it a day, have you CHECKED if you have to break the news to their loved ones?! did sharon have children? did alice have friends or a partner that are looking for her right now?!?!!?!?! please make ONE phone call I beg you! is there an ADULTIER ADULT in the room, you CANNOT LEAVE THESE TWO IN CHARGE

and off they go, merrily causing chaos and mayhem. if I had to guess what happens next, agatha is going to love and help and teach that kid while making soooo many mistakes and causing soooo much emotional damage, and also very much try to manipulate him into giving her a new body, because lbr, this asshole didn't get herself close to the one person on earth who can do that by pure accident. all immaturity and ulterior motives aside, agatha is taking baby steps in the right direction and I'm SEATED for it.

AND WE'RE DONE. I cannot believe I got to the end of this?!!?! thank you from the bottom of my black heart to all the peeps who reached out and encouraged me, thank you for all your likes and reblogs and engagement, and special thanks to @idkbroletssee, @yodladi-yodlada, @aquaaquila, @onceuponalegendbg, @vinspiration-book, @sallysetonagathario, @2-the-moon-and-2-saturn, @yourlocalegotisticalqueerishere, @isagrimorie, @jojobobapalooza, @netellie, @nutella-icecream, @talysalankil, @ragnarockz, @misschanandlerbong25, @westviews-nosiest, @liminal-smith, @kendrysaneela, @whogirl42, @witchtwig, @nerdybeachbum299, @bogcrowe, @the-silence-in-between, @farminglesbian, @lazyreinelle @fantasticvoidnerdshoe, @ofutopia, I'm sure I'm forgetting many but I promise I see you all!

Last but not least, big, grateful thanks to @crybabyheathen for always messaging me and forcing me out of my shell and encouraging much needed human interaction 😉. And lots of love to @april-december, don't tell anyone but I look forward to your comments the most, it truly means the world that you appreciate and engage with my posts like you've been doing.

Happy new year, everybody!

[vidavalor]

The Movie

The most important thing is that he's gone.

If you're feeling sad that it's not the full season and would like some reassurance about the rest of the story being movie-length, though?

Based on where the story is now? They can absolutely do this in 90 minutes. Would it have been more fun if it was the whole season? Of course. But they can do this in 90 minutes-- and do it well. I think there's actually less to go in the plot in the present than we might realize. How so?

I'm pretty sure the next part of the story has never really been plotted to be Supreme Archangel Aziraphale. The end game seems to me to be a bit more they all have to overthrow Heaven to save Aziraphale and that's how they save the world. Meaning, that was Satan with the coffee in The Final 15 and Aziraphale's fall is the plot. The kickoff here in the movie would be the same as it would have been if we had a full S3: the audience gets the hinted at 2.06 twist revealed in full right near the start when they see Aziraphale get to Heaven and be thrown to Hell by The Metatron. The other characters then quickly learn what's happened to Aziraphale. They band together to challenge Heaven--that's the whole Powell & Pressburger's 'A Matter of Life and Death' trial & how it fits into things.

Aziraphale won't accept a verdict that's just for him and not Crowley as well and the process of all of this winds up exposing and overthrowing The Metatron and Hell, freeing the demons. (Gabriel gets his suit back and is their lawyer, you just know it lol.) By coming together to save Aziraphale, the characters fix Heaven/Hell, which then saves Earth and permanently stops the threat of Armageddon. The remainder of the time is wrap up where Crowley & Aziraphale work through what's happened and then head to the South Downs.

All of that stuff in the present that I just said can actually be done inside of an hour, tops. Especially because no one has to set up the characters and story like they would if this were a stand-alone film. They can just dive straight in. That still leaves at least a half-hour--if not a bit more, depending-- for flashing us back to whatever we need to see that supports what's happening in the present (The Vavoom, 1941, probably Jane Austen, likely one or two other things we don't know we need to see yet). More than likely? This is a series of scenes like the S1 cold open more than it is a longer, single-era, flashback minisode. I don't think anyone would complain about another cold open-like sequence? 😊

The movie can work. For perspective? Look at the chart below.

We are at the Big Twist that is The Act II Climax & it's really almost fully done already. All that's left in that Big Twist is to just overtly tell it to the audience because The Final 15 already did all hinting the set up work for it.

As you can see, we're really just moments away from everyone regrouping for the big, final push of the story-- the Act III Climax/overthrowing Heaven-- before we're into the South Downs Cottage ending. This is one of the reasons why I think that S1 showed us Monday-Sunday of The Last Week of the World: Round One with Armageddon being stopped on Saturday but S2 revealed we were watching The Last Week of the World: Round Two... but then stopped the season early on Friday morning. S3, imho, has always been going to pick up within hours of where the 2.06 cliffhanger ended and show us the mirrored Saturday & Sunday of this week that we still have out there.

They won't need to set up at the start of the film where characters are years later because the S2 story we were watching was always written for S3 to pick up basically right where the S2 cliffhanger leaves off. S3 was always going to continue directly the story of S2 rather than come at the story from a place of a dead stop of years having gone by. I think the best way to look at the movie might be as if it is really the S2 finale. Think of it as if S2 actually has 8 episodes but we've only seen 6 of them so far and we're still awaiting the last two.

Each season of the show, in and of itself, follows that above Three Act Structure, even if the overall series of Good Omens is also following it for its overall story as well. Think back on the last two episodes of S1, which would then be similar in some structural elements and in pacing to this movie.

The Act III Climax in S1 is Armageddon being stopped in Tadfield. That will be overthrowing Heaven in the movie. The Obstacle that followed in S1 as a result of stopping Armageddon and which led into the wrap-up conclusion was Heaven & Hell coming after Crowley & Aziraphale/the body swap plot. When Crowley and Aziraphale solved those obstacles-- in short time, as this is part of the wrap-up-- we then left them dining at The Ritz on Sunday afternoon. These episodes were a very clear-cut example of what an Act III in Three Act Structure within a season looks like and it is likely-- structurally-- going to be very similar to what the model for the finale movie will be. The pacing will be a lot alike, just with some flashbacks in the mix.

Think about how little time it actually took to stop Armageddon once everyone was in Tadfield-- and that most of the finale was just getting characters who had already been set up earlier in the story to Tadfield for that to happen. That's about how much time it's going to take them to overthrow Heaven in the movie. We've actually already watched most of the set up in the story to get to that place in S2. Then, think about how the Obstacles part in S1 was the body swap plot... but how that same type of obstacle wouldn't exist in the S3 movie. Why?

Because this movie is going to stop Armageddon permanently by overthrowing Heaven & Hell. Unlike in S1, when Crowley and Aziraphale were still being targeted, they're going to be truly free for the first time ever by this same point in the S3 movie. So, what are the Obstacles then? Their own stuff. This is where we would get the scenes of two of them having the chance to fully talk through The Final 15 of S2 and, in the process, understand where everything went wrong and have the South Downs Cottage then be the happy ending.

There's plenty of space for this in the story because this is where it's all leading and the part about overthrowing Heaven and Hell-- that Act III Climax that sets up this ending? Going into the movie after where S2 left off, we're actually only a heartbeat away from it already.

This is all very do-able within 90 minutes, with plenty of room for things like The Vavoom and 1941. It might not be the full season that we hoped for but the story is in a way better place to wrap this up with a movie than most shows in this position would be.

[spidybaby]

I need more angst with Kylian please ❤️

"Do you like these flowers?" You ask him.

You have different flower books in front of the two of you. You are seating on his legs, trying to pick different things.

He's a little lost. His focus is on the big windows that shows the backyard of his Madrid home.

"I think I want this ones." You point at a very nice, simple but cute bouquet. "What do you think?"

His attention goes back to you, who seem to pass how he's lost.

"I love those." he says, not really knowing what he's saying. "I think they are the best."

You smile, happy that he picks the same thing as you. You two are on the same page on most of the things.

You close the book, sending a text to your wedding planner with the things you two picked.

"Do you want to take a bath with me?" he asks, hugging your waist. "I'll even add that bathbomb you love."

"I still need to pick some other things." You pout. "Wait for me?"

He nods. Trying to not look that disappointed. He feels like he was about to roll his eyes at how tired he is about all these plans and things.

yourusername

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yourusername a little behind the scenes✨

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voguespain something borrowed and something blue can be spotted 👀❤️

kyksxjude this means the wedding is sooner than we expected 😭😭😭

bellaxy/n something blue like what? 🙄

k.mbappe ❤️❤️❤️

laminexfermin bro come to Barcelona

cr7thegoat @lamimexfermin shut up

-

"Miss Lamari, what do you think about this?" You ask her. "My mom says it's cute."

She examined your hair. "I think you look amazing, love." she smiles. "It's all about you."

You smile at her, turning back to the mirror. You give your hairstylist a nod, indicating that the style was the one.

"I thought you were going for your usual Ponytail." Melissa says, looking at you over the mirror.

You turn to her, shaking your head. "I know this is a little out of my comfort zone, but I feel good on this."

"And do you think Kylian would like this?" she asks.

You were about to answer, but Fayza is quicker.

"Of course he's going to like her hair. He loves everything she does and wears." she says, hands on your shoulders.

You thank your future mother in law. You knew that many things were new for you during the process of planning the wedding, but you wanted to look good and to have a nice ceremony.

You want to have the best experience ever. Kylian and you were forever in your eyes. You wanted to seal the whole thing and enjoy the rest of your life with him.

"Do you." You try to formulate the question to Melissa. "Do you think he won't like my hair?"

She sighed, "I think he would like it." she began. She's trying to explain her point. "I just thought you wanted something more traditional to you and to your style."

You understand her point. You did want something more you, but also you wanted a timeless look.

Something your kids and grandkids will look and say < oh, I want this for my own wedding >

You want to be able to look at your photo album and say that you loved the hair, the dress, the makeup, everything.

That's why you were so into Kylian liking every detail, the flowers, the food, the cake, the venue.

It was something that he was supposed to enjoy and to like as much as you. Something to mark the beginning of your life together.

"You have your interview with Vogue for the wedding special. And then you can leave for your Bachelorette Party." your mom says.

Your mom was not that, but she was also your manager. She has been since the beginning of your career at fourteen.

You nod, ready to leave to where the interview will take place. You wanted to be able to finish quickly.

You thank Melissa and Fayza for coming with you to the makeup and hair trial. You feel happy that they were there with you.

Your mom and you drive to the location. Feeling anxious because you needed to go home and get ready for your own party.

"Hey, sweet baby." Anto says.

She's the boss of Vogue Spain. When she heard the news about Kylian and you getting engaged, she immediately asked you to do a Vogue Wedding Special.

It was going to be the first time Vogue in Spain did a wedding special, and they wanted you on it.

The whole city of Paris, the whole city of Madrid and both your fans were excited to get any details of the wedding.

The magazine was supposed to be out the day of the wedding. Making it the first edition that launches the same day as the wedding.

"Okay. I need you to tell me every little detail." she says. "Go crazy." she chuckles, making you chuckle too. "Let's begin with something simple but exciting. The engament, tell me about that day."

"Oh, well." You smile, thinking about that day. You began telling her the details, how you took it, how he planned it, or how he told you he did.

voguespain & yourusername

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voguespain @yourusername joined us in a before the wedding intimate session to share the details of her special day.

The Family of Vogue Spain is honored to open the Wedding Specials with such an icon. Someone who has been on many of our covers.

Thank you to Y/n for opening her heart to us ❤️

-

Kylian reads the Instagram post you were tagged on. Liking the picture but not leaving a comment.

He's frustrated, tired, annoyed even.

It's not that he's second guessing the marriage. It's not that he's second guessing your relationship. It was the whole wedding thing.

He wanted something a little more private, but once your mother got her hands on the idea of a big wedding, it was a lost cause.

Originally, you wanted something like him. Private, and cute. But since then, your mother, his mother, and everybody else thought they have a say that's more important than his own.

He tried to talk to you. Many times where he tried to give you the hint that he's not comfortable with the arrangement of things.

You didn't catch it. You were focused on trying to make everybody happy. As a people pleaser, you wanted to be able to have your own vision and everybody's vision.

He turns to you, sleeping peacefully next to him. He smiles at the sight of you. You are his forever.

Something about the planning of the wedding feels off. He remembers how much you wanted to have a joined Bachelorette party, and now you had your Bachelorette, and he had his own.

The same with the rehearsal dinner. You dreamed since you were a kid to have something small and be able to eat home-cooked food, have some light drinks and enjoy the day before your big moment.

And that day is now a big shit show. He

He feels trapped. Is it really hard to be able to have a nice, small, and intimate ceremony with you?

The wedding was just about to happen. He was nervous because he didn't feel joy. He's stressed about you being stressed and conditioned to fulfill everyone's wishes.

Even if that meant leaving your own wishes out of the picture.

He feels numb, the day goes by, but his mind can't really focus on anything. Is that even a life worth living?

"Why are you so lost?" Ethan asks. "Are you nervous? Cause I'm nervous. " He confess

Kylian chuckles, feeling a little better about his day. Ethan always cheers him up. "I am." He says. "But I think it's normal to be nervous."

"Well, I don't know. I don't even have a girlfriend." Ethan laughed. "Maybe I'm not the right one to say if it's normal or not."

"Very smart answer."

They laugh at other jokes. Kylian feels more relaxed now. His brother was his band-aid. "Let's go out, don't let your bride wait."

He nods, smiling at the way everybody was proud of him for making you his bride. It was all a fever dream since the proposal.

They walked to where everybody is, saying hi to the people on the way to find you. You stood there, talking happy with some family members. Showing them the engagement ring.

He would kill if someone ever tried to take your smile away. The way you tell your family how you said yes. It was magical.

He was about to walk closer to you, but a hand interrupted him. "Kylian, care if I stole you for a moment?" You mother ask.

He nods, smiling at her. Even when your mom isn't his cup of tea, he respects her because she's your mother.

She walks him out of the party, someone quieter. "I want to talk to you before talking with my daughter." She says.

"Is everything okay?" He asks, worried. "Do you need help with something? Are you okay?"

"I'm fine, don't worry about me, kiddo." She stops him. "I wanted to tell you first because I feel like you would be the perfect person to break the news to her."

"Okay?" He says, narrow eyes. "Tell me."

The Cheshire cat smiled she had made him shiver. "I got her to be on a very important runway. Like a life changing one. That means that you might have to delay your honeymoon a few months for preparation." She says.

He blinks a few times. Was he hearing her correctly? "You want me to tell Y/n that we need to delay our honeymoon?" He asks, not believing what she just said. "The honeymoon she always dreamed to have?"

"Oh, she's just a silly girl with dumb dreams." You mother laugh. "That can wait. This business can't."

The way he feels his blood boil is alarming. He wants to say something nasty, but he won't. She was still your mother.

"With all due respect, I don't give a damn about any stupid runway show." He smiles, the same smile she had just a moment ago. "Tomorrow, when our wedding party is over, we are flying to the honeymoon your daughter always wanted. Point blank period."

He walks away from her, fearing he is going to say something he will regret. He tried to find you, but first he needs to calm down.

He walks over to where your father and his are. They were talking about sports so he tried to act like he was joining the conversation.

"Care if I join you?" He smile at them.

They integrate him into the conversation. He feels the relaxation fulfill him, he needed that. They all chatted about different sport conversations. Normal boys talk, his mother would say.

His father excuses himself to answer a phone call. Leaving him alone with yours. "Ready for tomorrow?"

"Too late to regret it." He jokes, making your father laugh. "I'm very excited." He says more seriously. "I love your daughter, and I want to make her happy."

"You will, son." He pats his back. "Now, if you excuse me, I'll try to find my wife before the food is served."

He stays alone at the bar, drinking calmly his liquor. He's not a fan of drinking but tonight he need it.

"Why so alone?" Melissa asks.

"Calming the nerves." He lifts his glass.

Melissa narrowed her eyes. "Why are you nervous?"

"I just want for this showing and partying to be done. I just want to take her home as my wife, that's it."

He can be honest with Melissa, she has been there for him when he thought he was alone.

"Then why are you guys doing all this?" She points at the whole party. "Why not something simple?"

He sighs. "I wonder the same."

Melissa saves her opinion. She knows she's able to be honest when she's with him. But she prefers to just not be a party killer.

They chat for a little bit, just talking about dumb things. She wants to make Kylian feel a little bit less frustrated.

"Hey, there you are." You say, hugging his waist. "I missed you tonight." You joke.

He turns to where you are, grabbing your waist and smiling at you. He goes for a lip kiss and you went for a cheek kiss.

"Sorry, the gloss." You smile at him. You grab a napkin, wiping the gloss of your lips. "Done, come here."

You grab his cheeks, kissing his lips. "Missed you too." He says, separating for a moment and then going back for another kiss.

"Let's sit down." You say, pulling him to the table. "I order your favorite pasta." You smile. "Yours is a little bit more healthy, but as good as always."

He smiles, knowing that even when he's not the most comfortable with this party arrangement. He's happy that you care enough to get his likes above everything else.

The dinner was good, your parents gave some words, his parents did too. It was nice and calmed.

His friends were there, messing with him about life as a married man, how he needs to be home earlier, his phone always in hand. Jokes like that.

"No to shit on your happiness, but I'm just here because you are my friend." One of his childhood friends says.

"What are you even on?" Kylian laugh. "Why?"

"Don't pay attention to me." The friend laughed. "Just, hope you get better luck."

"I'm very lucky. Have you seen my fiance?"

"Dude, be for real." He says, shaking his head. "I'm not talking about her appearance. She's gorgeous. But Melissa mentioned how tired you were and nervous. You aren't supposed to feel nerves."

"Am I supposed to feel what?"

"Joy!" He shouts. "My ex and I. I was a nerve rack. I'm trying to calm myself with Xanax and shit. That didn't work. We didn't work. I let her have her way to the wedding. Her mom, better say. Then it was the kids who had to be as her mother said, the schools her mother approved." He scuffs. "Don't be that one."

"What are you suggesting?"

"Don't get married. If you don't feel the vibe, don't." His friend says, patting his arm, saying a goodbye.

Kylian was left speechless. The insecurities he felt during the past few days were fulfilling his mind. He didn't want your mother or his to dictate your life.

He didn't want to grow a family for him to not even have a voice on it. He wanted for it to be you and him.

"Hey, amour." You say, interrupting his thoughts. "Can I talk to you about something?"

He nods, a little lost.

You grab his hand, bringing him into a corridor, a little far from the others. "What's happening?"

"I want to ask you something." He nods, waiting for you to continue. "So my mom and I were talking." You began.

He wants to roll his eyes, just the line he didn't wanted to hear. "About?"

"She got me to be on this very important fashion show." You say happy. You wanted that show since the beginning of your career. "I know I should be focused on the wedding, but I wanted to tell you about it."

"That's amazing, bébé." He hugs you. "You'll have the best time. And even better, you'll be so relaxed when we are back from our honeymoon."

"About that." You interrupt. "Mom thinks I need to start training and focusing on this project as soon as possible. She thinks it's best if we reschedule our honeymoon." You say, hoping he understood.

He laughs, bitter taste to his mouth. "Not going to happen."

Your smile dropped. "But Kylian, it's only a few weeks, please.'"

He shakes his head. "No. End of story."

"C'mon, we rescheduled the wedding because of the Champions League." You remind him.

"No, we rescheduled the wedding because you had this Balmain campaign. It just worked with me because of the Champions League." He reminds you.

You nod. "I get it." You calmly say. "Just, please. This last time."

He shakes his head. "It took me months to be able to get these things scheduled. The trip, everything." He says he's angry but won't shout at your or anything. "I think it won't kill you to start after our honeymoon."

You nod. "Fine." You say. "I'll let her now. Just so you know, she will be mad." You lift your hands, walking back to the little remaining party.

If only you could hear how he thinks about not giving a single fuck about your mother's opinion on his decisions. You would die.

He's stressed again. Body tensing at how the whole thing is making him uncomfortable. It's okay to feel that way, but not for this long time.

He tried to calm down, moving back to the salon. He finds only a few people left. Your parents and sibling. Your friend who is on the wedding party. His family.

"Hey, Kyks." Ethan calls him. "Come say your goodbyes to Y/n."

He smiles, walking over to where you are. He kisses the side or your head. You hug him tightly.

"See you tomorrow at the end of the altar." You whisper to him. "Bye, husband." You giggle after saying that. Making him smile.

"Bye, love." He whispers back.

voguespain has added to their story

You smile at the pictures in front of the chapel. You feel like in a fairy tale. Loving how everybody looks so happy, so calm.

You smile at your dad, taking some pictures with him and your grandmother. "Let's get inside." You say.

Melissa steps in front of you. Smiling awkwardly. "Don't you want some more pictures with your mother?"

You frown confused. You've been taking pictures with your bridal party, your siblings, your mother, father and even his parents and Ethan.

She grabbed your hand, taking you inside and to the side. Ethan noticed this and decides to get closer too.

"What's wrong?" You ask. "Is it the guests? There's not that many people? That's okay, we can start, I don't mind."

You don't want to stress. Today, there's nothing that can stress you. You feel such happiness that you don't mind anything going wrong with flowers, guests, and arrangements.

"No, sis." Ethan says. "It's Kylian."

You turn your head confused. "Something happened to him? Is he okay?"

"He's." Ethan tries to find the words. "He's not here yet."

Your smile drops, and a frown of confusion is now the expression you have on you. You grab Ethan's arm, looking at the time on his watch. "But we are thirty minutes late." You say. "Have you try calling him?"

Melissa and Ethan look at each other. They, in fact, tried to call Kylian. But he didn't answer any of them.

"Mom!" You call her. "Give me my phone." You order her.

You push your way to her. Grabbing her purse and taking your phone out. You hand her the bouquet of your flowers.

You look around, finding the room where the priest changes. You grab the tail of your dress, walking there.

You close the door behind you, leaving the people calling your name. You grab the phone with shaky hands.

What if something happened to him?

What if he got in a car accident?

You thought he wasn't going to answer the call. "Kylian," you say when you hear his breathing. "Are you okay? Where are you?"

"I'm at my château." He says, shaky voice.

"Oh, God. You are okay." You smile. "Did something happen to your car?"

He can't answer. He feels his heart breaking at what he's doing right now. "My car is fine."

"Then why aren't you here?" You ask, a little louder than you expected. "I don't mind that you are late. I'm always late." You joke, trying to make the situation lighter.

"I can't do it." He says. Dropping the bomb directly. "I love you with all my heart. I just can't do this. This is not the wedding I want."

Your heart sink.

"Are you crazy?" You ask. "Kylian, don't do this to me." You sob. "Is this about the honeymoon? Or the runway show? I don't have to do it. Just come."

"I'm sorry." He says. "I love you, but I can't do this. I hope you forgive me."

The phone call ended.

You stood there, looking over the window. The chapel where the wedding was supposed to happen was also the venue where the party was going to happen.

You look at the tables. The workers finish placing the flowers. The same flowers you two picked.

You take the phone away from your face. The screen is already black. You look at your reflection, eyes full of tears.

You hear the door opening, turning to see who it is and finding Ethan. The look on his face changes as soon as he notices your expression.

"He's not coming." You say.