#its such a staple though how have you not read it??

[franollie]

my favorite hobby is going into comic book shops and mansplaining my favorite woman-centric comics to the guys in there

[vamptastic]

fucking microeconomics AUUUUUGH. is interesting bc i now better understand why big businesses make the choices they do and how some basic human necessities can still be made widely easily available in a capitalist system (though id argue a natural monopoly heavily regulated by the state is basically just a state owned company minus like, accountability upon failure). like externalities are cool as hell and learned about them completely shifted my perspective on carbon tax and traffic taxes and such and i get why they're a viable option now. but the OTHER half of the class is stuff that is like utterly totally useless unless you're interested in starting a small business, which i very much am not. also deadweight loss still makes zero sense to me. i suppose because i concern myself with silly things like 'maximizing access to a good' and 'saving consumers as much money as possible' and thus have a hard time conceptualizing producer loss. ultimately glad i took the class but lord if any of this makes any sense when i try to talk to someone else about it.

[piggycyberwarrior]

Task Force 141 with a Reader that grew up in a ‚be an independent woman and never rely on a man‘-household >>>>>>

They immediately love you- such a pretty thing, always working hard, beautiful smile on your lips and so so kind.

They have enough money (a reward for putting their life on line) so why not spend it on you? Of course their wallet gets lighter when your gaze lingers on an absurdly priced jewelry. How can't they shower you with gifts, when you deserve this and so much more?

Buying you this, that- things you threaten to kill them over if they buy you a $2000 purse- because thats just so absurd- yeah you liked the design, but thats too much money for a piece of leather.

Their cash is yours now- even though you do not accept that fact. Green paper traded for clothes, accessoires, food, shoes, lingerie- oh how they love to buy you lingerie…

Always paying for your meals- snacks, getting pouty when you give them the glare while pressing your card onto the terminal, a tad faster than them- paying the food.

You were raised like this- to pay for your own things- standing up for yourself, never rely on men and that you don't need any gifts from them. They know that but oh boy- they do not care. In the end- they shower you with money because they love you, not because they want you too love them.

Soap and Gaz are the ones who do it the sly way.

Let me explain.

They shop with you- making you try on all different kids of clothes- because you just look so pretty in them :( ... how can you not say yes to their begs and pleads.

pretty pretty please with sugar on top..?

Seeing how your eyes light up in the mirrow- Soap and Gaz share a glance- an unspoken promise. (One slowly getting up- making his way through the endless option of clothes- softly talking to an employee, pointing at your happy form- and everything you seemed to like is bought in a matter of seconds.)

"Are you serious??" "Aw- do nae be like tha', bonnie" Soap laughed quietly- carrying the shopping bags with such a proud smile. "Yeah, we had to buy you them, you looked so good, sugar" Gaz said- pressing a soft kiss to your cheek before his warm hand on your lower back pushed you foward gently. "But-" you tried to reason, being shut up with a tut from the two men. "Just accept it, baby, yeah?"

You don't even argue when it comes to Simon. He just buys it- and when you try to obliege- one of his intimidating looks is enough and you fold. You tried outsmarting him by not going shopping with him but the gifts just stack to the ceiling in your home so you stopped that aswell..

So when you did go outside with him you had to literally threathen him "Simon, I am going to staple your large intestine to your nose if you even think about buying me that" you growled while looking at some mannequins while strolling through the city.

"but do you like it?"

yes "No, its ugly"

He doesn't buy it then and there but again- he has enough money so why not spend it on you? yada yada yada- in the end you have some strange bag that you do not recognize on your bed- with that ugly pretty dress you saw while walking with Ghost.

Stubborn man

The worst one in the group must be price tho- he never and I mean neverrr lets you pay for anything. The others gift you many things, but this man? When he is around you don't even have to bring your wallet with you of course you do because fuck them (...please)

You‘re struggling to pay rent? Paid. Wanting to relax? Spa Appointment booked. Feeling hungry? Meal's already on the way. Flat not that cozy? Lets go shopping decor, love.

This man can read you so good- its creepy. And he won't accept a 'no'"

He randomly transfers money onto your bank account- "Luv, I have enough" "John.. I cannot accept that! Thats too much"

-

Oh yes you can. They will make you accept it all...

Everything.

!please do reblog!

My mutuallsssss ✨🌷: @stargirlstabber @cricricorner @captain-of-caption @enfppuff @missroro @peachy-aisha @thelrina @gaiagurl05

[sp0o0kylights]

Give meee: an Eddie who went into a small little bookshop on an Indie trip and stumbled across an in person fandom meeting. 

It's mostly Star Trek, and also mostly women, but the stories they have are nothing like Eddie's ever read. 

He's barely a teenager, and already protective of himself and his real identity--but everything he's ever wanted is written down, right here, on a little zine with Kirk and Spock doodled on the cover. 

They’re not--it’s not obvious, that they’re what he is, but the story itself is blatant and Eddie ends up being so obviously close to tears, he accidentally outs himself without ever saying a word. 

(He also ends up on the mailing list, then being sent home with several hand printed copies of all kinds of zines.) 

Eddie would remain on this list well past his third senior year in high school. 

Past bats, and Vecna and Steve fucking Harrington. 

Flash forward to his first apartment.The tiny one he shares with Steve when they followed Nancy and Robin to college. 

Steve knows Eddie’s gay. 

Or rather, Steve has been told, but Eddie's still pretty clammed up about it. He's not yet where Robin is, ready to bemoan her loveless existence while draped over their crappy, thrifted couch.

He makes jokes and he flirts and he absolutely says things he shouldn't, but none of it is real. 

It's flash. Showmanship. 

It's the persona that yes, is him, but Eddie consciously built it. There’s nothing soft or gooey there, nothing anyone can use to hurt him. 

So when he comes home and sees that plain, padded envelope with the neatly printed label on the counter, torn wide open and flat without its contents?

 Eddie panics. 

His heart thunders in his chest, vision tunneling as adrenaline kicks through him. 

He wants to bolt-- should bolt--except ever since he almost died his brain no longer obeys him. 

Not when it comes to running, anyway. 

Instead it fights him to a standstill, freezing his feet right to the living room floor. 

The urge is still there. 

To run, and save face the cowards way. 

Vanish before Steve could get at a part of him that had once kept Eddie out of Wayne’s trailer for two days, until the old man had hunted him down and made him come home, huffing about how he’d love Eddie no matter what but he better never disappear like that again. 

(Which Eddie did anyway, and of everything that happened with Vecna, it’s that he regrets the most. The stories he heard of Wayne putting up posters. Squaring off with angry, too-righteous townies, and--)

A sniffle jerks him out of his thoughts. 

Eddie gasps, entirely unsure of when he stopped breathing. Stumbles back and turns, right in time for Steve to come out of his room and amble down their hallway. 

One hand rubs at his eyes, and the other is--the other has…

Eddie identifies the cheaply printed, stapled zine immediately. It's one he's wanted to read for a while now, solely because it features a story about Kirk and Spock being stuck in a cave together on a planet that has  bat-like, vicious animals on it. 

Kirk gets bitten after something goes wrong with the transporter and, look, it’s carthiatic okay!? Sue a guy for wanting to read a romance about a situation he identifies with! 

Steve looks up from the zine and startles. 

For a second his eyes go dark and flat, the same way Eddies and Robins and Nancy's and everyone's does when caught off guard. 

It's gone in a flash though, Steve visibly relaxing when he clocks that it's just Eddie. 

He keeps the zine pressed to his sweater clad chest,  and huffs out a laugh that's half forced and half pure relief.

“Fuck Eds, you scared me! I didn’t know you could be quiet.” 

“Uh huh.” Eddie manages, voice sounding totally and absolutely normal and not at all ten octaves higher than it usually is. 

They stare at each other for a second. Long enough that Steve's eyebrows crinkle in the middle, which is the first hint that he’s beginning to worry, and Eddie really cannot handle Steve being worried right now.  

“What's--” Eddie’s voice cracks and he coughs to recover. “what's that?” 

Steve frowns at him for a moment, until Eddie gestures at the zine in his hands. 

“Oh!”

Steve holds it up, as if to show it off. 

“It's a little book Robin got in the mail. It has a bunch of stories in it. They're normally boring as fuck but this one's from Star Trek.” 

Hearing the words ‘Star Trek’ out of Steve’s mouth shouldn’t be weird, not anymore, when Eddie and Dustin have been on a two man mission to nerdify Harrington as much as possible, but it still kicks like a mule to hear him say such things without any prompting. 

“You know what Star Trek is?”

“Eddie,” Steve tuts, tongue clicking in his mouth. “everyone knows what Star Trek is. It’s nerd shit, but like, old nerd shit. My grandparents used to watch it when I stayed over. This?” 

 He shakes the zine, so hard Eddie wants to snatch it away from him.

 “This isn't nerd shit. This is excellent.”

Steve gives the zine an appreciative glance and hell, maybe Eddie accidentally walked into another dimension. 

He’s been trying to get Steve to read more, rediscover the joys of books the public school system does its best to destroy, but until now Steve hasn’t really taken to it. 

Enjoys when Eddie reads aloud sometimes, and has started to bug Robin to do it for him too, but otherwise?

Eddie’s nerve seen him with anything that had the written word on it that wasn’t a cooking or car related magazine. 

“Honestly,” Steve’s saying, “I think Robs fucked up, this isn't her style at all. She’s gonna be pissed.” 

He eyes the thing appreciatively, like the gift it is. 

“I'm stealing it the second she figures that out.” He adds decisively. 

“You like it?” Eddie asks. 

“Mmm.” 

��Even though it's--it's got…Kirk…” 

Steve's frowning at him again. “What?” 

“It's queer man. It's really queer.” 

Steve peers at him, the crinkle back in his eyebrows. 

“I know. Wait, how do you--” 

And well. It’s now or never. 

“It's mine.” Eddie says in a rush.

“No it's not.” Steve scoffs, and okay, maybe this is a dream. Eddie pinched himself twice already, but perhaps a third time would wake him up?

(It does not.)

“it was even addressed to Robin. Well,” Steve has one hand on a hip now, his default position when arguing, “Robbie, but she goes by that sometimes.” 

Which Robin does, but not in the fucking mail.

Without a word, Eddie turns and goes for the envelope the zine came in. 

Steve follows, invading Eddie’s space to peer over his shoulder (and that’s Eddie’s fault too, that closeness, but he didn’t think it would be turned on him in a moment like this--) 

There's a sticker on the envelope’s label.

 It’s barely hanging on, half of it curled into the air.  Round and yellow, with little black lines, it becomes immediately obvious that one of Robin's smiley face stickers has migrated again. 

They're all over the apartment. Remnants of a phase she went through after she stole a roll of them from her and Steve’s job at a local toy store.

This one had clearly jumped ship from its original spot (likely on the ceiling somewhere), and was now firmly over the E in Eddie's name. 

‘Ddie’ still isn't exactly ‘Obbie’  but--

Steve leans around, snatching the envelope up and bringing it close to his face. 

Far too close, like he can't read it, eyes squinting as he examines the label--and suddenly Eddie knows exactly what happened. 

He laughs, an explosion of noise that's half hysterical and half disbelief. 

Steve looks at him. 

“What?” 

“Oh my God,” Eddie says, one finger jabbing in the air in the vague direction of Steve’s nose. “I told you you needed glasses!” 

“I do not!” Steve protests immediately, but his eyes are darting around the envelope. 

He’s scrambling to figure out what Eddie’s seeing, trying desperately to find a hole that can prove himself right. 

Eddie decides to help him, by plucking the smiley sticker off the envelope. 

“See?” He jeers, and shit okay, maybe his life isn’t over just yet. “It says Eddie, not Robbie!” 

“You guys have got to start using your government names for this shit.” Steve bitches, but it’s weak.

Eddie feels a grin coming on, and lets it overtake his face. 

“So...Kirk and Spock huh?” 

“They’re cute.” Steve defends instantly, before sighing his defeat and tossing the envelope on the table. 

The zine he keeps in his hands. 

Eddie crosses his arms and leans against their rickety table. “Even though they’re both guys?” 

“I thought we were past this!” Steve whines. “I went to a gay bar with Robin last weekend!” 

Which is news to Eddie. 

“You didn’t invite me?” He gasps, feigning hurt by putting a hand over his heart. 

Truthfully he still hasn’t fully recovered--is play acting himself, almost, but is rapidly coming around to the idea of Steve appreciating queer fanfiction. 

“We did!” Steve rolls his eyes so dramatically his whole head moves. “We absolutely did, You said,” 

Here Steve’s voice pitches into a mockery of Eddie’s  that he will not give him points for, even if it is a little hilarious, “Me? At some loser bar? Fuck no, I’ve got a campaign to write. Starbuck, don’t you have homework?” 

“I didn’t know that was a gay bar!” 

“You did! Robin told you!” 

“Okay well, I wasn’t listening!”  

“Clearly. I keep telling you we need a fucking--system or, I don’t know, a code word or something!”  

“Yeah well, when you wanna make us a safe word for conversations, big boy, you let me know.” 

They’re both laughing a little now, this argument veering into familiar territory, with Eddie not really listening and Steve mocking him for it later. (As well as vice versa, with startling regularity.) 

“You really like it though?”  Eddie says after the laughter winds down, gesturing to the zine still clutched in Steve’s hand. 

“Yeah.” Steve confirms, easy as he’s said anything else. Like this isn’t embarrassing, or almost worse than the time Wayne found Eddie’s porno mags and alphabetized them as a joke. 

“It's part of a mail tree. I’m supposed to send it on to the next person when I’m done with it. I make copies though,” Eddie rushes to add, because Steve is now clutching the little booklet to his chest in horror, as if Eddie was about to rip it out of his hands. “If you like I’ll show you my other ones?” 

Steve eases his grip, giving Eddie the little smile he makes that makes his stomach flip. 

“That’d be cool.” 

(Later, Steve pokes at Eddie’s thigh from where they’re both sprawled on Eddie’s bed, Steve having switched the new zine out for one of Eddie’s copies. “Are you going to laugh at me if I ask you to read some of these aloud?” 

“Only if you don’t laugh when I ask you to take me to that gay bar.” 

“Deal, but on the grounds you’re barred from making fun of my flirting attempts. Robin doing it was bad enough.” 

“Well you deserve it if you’re hitting on women at a gay bar, Stevie.” 

“I wasn't hitting on women you asshole.” Steve says and oh.

Oh.

Eddie feels the floor drop out from under him for the second time that day. 

At least this time it’s not fear that thunders through him, but possibility.) 

[tiamathh]

Walk Walk Fashion Baby

Hi girlies new year new style ykwim anyway this is a pac that i have been wanting to make for a long time but i was like idk how many ppl will like it etc but now idc about all that i want to have fun so here it is!! Have fun and stay hydrated. muah <33 also my paid readings are open there are a few slots (15) if anyone's interested xx ciao <3 like and rb if you like xx

Masterlist / Paid Readings + FB / Tip jar

Pile 1

Hi pile 1! You need to try that classical, timeless, style, i know it can be annoying to look at all the beige and muted tones but its so much more than that like, picture this, a tailored blazer or high-waisted trousers that fit like a dream. tbh I am also getting pearls for some reason so maybe adding neckklaces as accessories can be something you are interested in to incorporate in your style next year. Start with a simple white shirt, a fitted black dress, or a pair of cut jeans. Then you can accesorise with delicate gold bracelet, a black bag, or a string of pearls again with the pearls they are calling for you right nowww.

Moreover, another style you can incorporate is just as sharp, and elegant so like the whole academia aesthetic, regardless of light or dark that doesn’t matter but what I am trying to say is, clothes with shape. Like cinched wastes and just clothes that create shape for you are like something you really should give thought to. It’s about being comfortable but also looking effortlesss while doing it all, I think basics like camis, just plain shirts/tshirts are something you need more of in your closet because theres so many ways to style them other than just for formal wear. Like one style inspo is literally Proncess Diana cannot get more elgant than her istg, enjoy muah <33

Pile 2

Y’all this is my pile you guys are my PEOPLE ok to begin with you need to stop being afraid of colour and looseness like not everything has to be tight and fitted especially just because the microtrend world says so. Experiment with “loud” colours and different textures, things you may have thought are “odd” and don’t look good, because trust me the way it can all be pulled together is crazy and so much fun!! Layer, the most important part, stack rings and bracelets and go for those colours that lowkey hurt your eyes because fashion is about colour and pattern and texture and taking all of it out of fashion just makes it dull imo.

Start with a bright coloured tshirt, maybe something like yellow, then layer on, very “indie kid” aesthetic like the high saturation stuff. Mixed with that I am also getting maximalism to the MAX layer layer layer, stack stack stack you should look like a walking apparell store (kidding) seriously though if you have been feeling like you want to experiment with something like this and oxidised jewellery and mixing different styles mainly because all of your wardrobe is mismatched (me) then go for it because I promise it will come out looking way better than you may have imagined. 

Pile 3: 

Ooo I love this, okay so very romanticised, very coquette but not really, this is also the pile which will look so good in pastels in lighter colours. All I am getting in my head are those pictures of people on picnics in their flowy outfits and dresses looking so pretty and at peace, bows and dellicate bangles, just a very dainty aesthetic im thinking light fabrics and romantic fashion like lace-trimmed dresses, pastel skirts and floral prints, very fairytaile-ish. Ruffles or embroidery too and just magical overall. Also the complete opposite of pile 2 here, minimalist aesthetic may suit you a lot so try it out next year!

I am talking about keeping it simple, not too much with the accessorising and maybe a staple or statement accessory piece that goes with everything and anything you wear. Also for some of you with this simplistic style, you may have to be pushed to try on something more glam too like a bold red lip when it comes to makeup, like be bolder with your makeup experiment with more purples, pinks and reds while keeping the outfits simpler. 

All Rights Reserved tiamathh©® DO NOT PLAGIARISE, REWORD, STEAL!

[bishiedoll]

Western literature & shoujo manga.

If you're, like me, someone whose passion is old shoujo manga, you may have noticed that at least one or more of your favorite mangaka has written manga adaptations of famous American and European novels. But why ?

According to this essay by Kawabata Ariko and Murakami Riko, in the early 20th century, because there was no Internet, people had no choice but to rely on big bookstores to learn more about and to purchase foreign novels. It was therefore not common to read them. The Iena bookstore, located in Ginza, was a rare indie bookstore that sold art-related foreign books and, while unfortunately, the store has closed today, many shoujo mangaka remember going there often to look for reference material amongst foreign works.

This other essay by Oogushi Hisayo states that foreign novels were only broadly introduced in Japan for young girls in the 30s. Famous girls' magazines (which are to be differentiated with shoujo magazines) such as Shoujokai (created in 1902), Shoujo no Sekai (created in 1906) and Shoujo no Tomo (created in 1908) started introducing Western literature in their issues from the 1930s to the 1940s. Works such as "The Little Princess", "Heidi", "Little Women", "Daddy Long Legs" and more were published in these girls' magazines, making them more known to the Japanese audience and resulting in shoujo manga adaptations in the following years.

Little Women illustrated by Nakahara Junichi in the Girls' magazine Shoujo no Sekai.

Three works in particular seem to have gained a lot of popularity in the 40s: "Little Women" by Louisa May Alcott, "Heidi" by Johanna Spyri and "Anne of Green Gables" by Lucy Maud Montgomery. All three are coming of age stories of young girls, and all three have one theme that seems to stand out: family. In the aftermath of WW2, many Japanese lost their families and many young children became orphans. In such times, novels that showcased happy families comforted Japanese readers. The popularity of these three works did not end in the 40s though, since in the 70s and 80s, all three got their 50 episodes anime adaptation in the Calpis Gekijou series (also known as World Masterpiece Theater), which, by the way, I highly recommend watching.

It is to be noted that these three works also became popular because they showcased independent and developed female leads, which has since then become a staple of shoujo manga itself, regardless of genre.

Heidi by Macoto Takahashi, Anne of Green Gables by Sakamoto Midori (1977) and Heidi by Watanabe Masako (1966).

In the 70s, a few mangaka published works that reminded critics of the "Bildungsroman". The Bildungsroman is a literary genre born in the 1800s in Germany, and it is a sub-category of the coming-of-age story. The Bildungsroman stands out from regular coming-of-age stories by focusing on the psychological and moral growth of its protagonist. Examples of that would be Moto Hagio with The Heart of Thomas in 1974 and Takemiya Keiko with Kaze to Ki no Uta in 1976 (though she never intended to write a Bildungsroman). The West was still shown in a more traditional version in these works, as both stories take place in old catholic boarding schools.

Similarly to how Audrey Hepburn, a Hollywood actress, was seen as a fashion leader in Japan (more about that on my other post about her influence on shoujo), Japanese people at the time had an idealized view of the West and anything from the Western world seemed fashionable and trendy. A great example of that is Sanrio. If you look at early Sanrio characters, a lot of them are from the West: Hello Kitty is British, the Little Twin Stars were inspired by Christmas, My Melody by the little red riding hood, Jimmy & Patty are American etc.

This view of the West began to shift in the 80s and the western literature that inspired shoujo mangaka started to change as well. Instead of comforting, idyllic stories about family life in a traditional American or European country side or stories taking place in traditional European catholic schools, manga inspired by more realistic and contemporary works started publishing. For example, Banana Fish by Akimi Yoshida (1985) draws inspiration from "A Perfect Day for Bananafish" by J.D. Salinger and two of Hemingway's works: "The Snows of Kilimanjaro" and "Islands in the Streams". All three of these focus on either modern issues like overconsumption or darker themes like death and loneliness. The change can also be seen in the gender and age of the protagonists. Instead of being about young teen girls that shoujo readers could identify with, Banana Fish is about adult men. The inspiration is also a lot more loose, and instead of an adaptation, there are only references to J.D. Salinger and Hemingway's works throughout the manga.

The Heart of Thomas by Moto Hagio (1974), Banana Fish by Akimi Yoshida (1985) and Alice in Wonderland by Mutsu A-ko (1983).

To conclude my post, I really wanted to include this line from the essay by Oogushi Hisayo: If America (can apply to the West as a whole) was once the backdrop of stories for those who yearned to read about "somewhere that is not here", it has, from the 80s onward, become the backdrop of stories for those who yearned to read about "the now and here".

[traumaticemphaticfantastic]

This is a portrait of a Golem that I finished a little while back in June. I find that out of all the Jewish folklore creatures I’ve read about the Golem is the most prevalent and renowned, most notably because of the famous story “The Golem of Prague” which is basically THE Golem story that most of us are aware of, though, there are others. For instance, did you know that there was a Golem of Chelm? It’s true, you can find it online if you wish. And there was also a Golem of Vilna if you can believe it, you can find a translation of that story in the delightful collection “Yiddish Folktales” published by The Pantheon Fairytale and Folklore Library.

But, as I was saying, the Golem is pretty much the most well-known uniquely Jewish folk legend out there, I decided in this piece to make a shout-out to that legacy by using design motifs from possibly the most well-known Golem retelling, the German expressionist film Der Golem: wie er in die Welt kam, while I don’t particularly like how the story was retold in that film, I must say that the design of the scenery and costumes of the characters are simply delightful, I particularly enjoy the set of the Prague Ghetto and the design of the Golem himself. I do quite love German Expressionism and silent films as a whole and Der Golem is certainly a staple of both!

Another part of this Golem’s design is that its tunic is covered with Hebrew/Yiddish letters, this is a direct reference to the Golem’s more symbolic significance as a creature literally brought to life through the language of the Jewish people: that language is a powerful thing, especially to those communities who have consistently been looking down the barrel of cultural-extinction. For a much better explanation of this concept than I could ever write down here, I would like to point you to the YouTube video “The Golem and The Jewish Superhero” by Jewish video essayist Jacob Geller, a truly phenomenal and tremendously emotional look through the history of the Golem tale.

That will be all for today, may you be well, and Good Shabbos and a Shabbat Shalom to you all.

[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

[laurasimonsdaughter]

Guarding your name from the fae in folklore

The idea of fae stealing names is quite recent (I’m a big fan of new, modern folklore, x, y), but the idea that you have to guard your name so no one could (supernaturally) us it against you, is definitely a widespread folk belief. However, I’ve never encountered an actual folktale that says the fae or fairies in particular could have power over you if they knew your name. I’ve been looking for one for a long time (and if you know one please let me know!) but so far I’ve only come up with one example. So let's take a look:

The power of names

Like I said, the power of names is an old belief that shows up all over the world. Sometimes it’s linked with naming ceremonies like baptism. Sometimes hiding the name from others (witches, djinns, etc.) is what will protect you, sometimes the name itself will protect you (like being named after a saint or in reverence of a deity or spirit). Edward Clodd published a huge essay in 1898 investigating how widespread this name guarding practice is and how it links to folklore. Which, while obvioulsy dated, certainly gives an impression of how deep this belief goes (Tom Tit Tot; an essay on savage philosophy in folk-tale, Clodd, E., 1898).

Not all folk beliefs show up in folktales though and protagonists who refuse to tell their name are not a staple of European folklore, whether it concerns fae or other entities. In “The Soul Cages”, collected by T. Crofton Croker it’s even quite the opposite, as the protagonist and a firendly merrow deliberately call each other by their full names (Jack Dogherty and Coomara). And for ages I wasn't able to find a story that actually incorporated the belief of guarding your name against fae, until I read that huge essay.

Hiding your name from the fairies

In his book, Clodd mentions a single folktale in which it is mentioned that the fae are trying to learn someone’s real name. Sadly he does not tell it in full, but since it is the only real example of this concept I’ve able to find so far, I will give the full quote:

While these sheets are passing through the press, my friend Mr. W. B. Yeats hands me a letter from an Irish correspondent, who tells of a fairyhaunted old woman living in King's County. Her tormentors, whom she calls the "Fairy Band of Shinrone," come from Tipperary. They pelt her with invisible missiles, hurl abuse at her, and rail against her family, both the dead and the living, until she is driven well-nigh mad. And all this spite is manifested because they cannot find out her name, for if they could learn that, she would be in their power. Sometimes sarcasm or chaff is employed, and a nickname is given her to entrap her into telling her real name, — all which she freely talks about, often with fits of laughter. But the fairies trouble her most at night, coming in through the wall over her bed-head, which is no laughing matter; and then, being a good Protestant, she recites chapters and verses from the Bible to charm them away. And although she has been thus plagued for years, she still holds her own against the "band of Shinrone." (Clodd, 1889, p. 83-84).

This story fits the concept of keeping your name away from malicious fairies so you cannot truly fall under their power perfectly. Sadly I haven’t been able to find this story in Yeats’ own folklore collection, but it fulfills my criteria even so.

What I have been able to find many examples of, however, is the reverse trope. Namely that knowing a fairy’s name will give you power over them. I thought this only showed up in Rumplestiltskin-type stories, but it seems a little more widespread than that. Which is very exciting to me, and merits its own post. So stay tuned.

[sun-stricken]

Things that have [probably] happened at a Team Sleepover

so many games. so many.

they cant play monopoly unsupervised until they learn how to be grownups

“fuck communism, im gonna take everything youre worth and then some”

“if someone doesnt bail me out right fucking now consider yourselves on my hit list”

“how the FUCK ARE YOU SO RICH??” “idk what to tell you, i just decided not to be poor” “can we jump someone in this game?” “now hOLD ON—”

charades is also banned because of the screaming matches

They love two truths and a lie tho, they will pull out the most absurd things abt themselves. usually the most mundane one is the lie

“okok, ive been arrested exactly one time, im wanted dead or alive in two countries, and i was the primary suspect in two armed robbery cases.” “okay, first of all—“ “what the fuck” “please tell me we’re playing two lies and one truth”

also uno!

Natsu: Please, Lucy, after everything we’ve been through together. You can’t do this. 
Lucy: I’m sorry Natsu. 
Natsu: I’m begging you. Don’t do it. 
Lucy: It has to be done. 
Natsu: 
Lucy: 
Natsu: 
Lucy: *Places +4* Uno.

Reading wikihow pages in suspenseful tones is a staple activity

it takes them hours to figure out where and what to eat

every time any of them pass the thermostat they have to mess with it

Usually they take place at either Lucy or Grays apartments, and they cause numerous noise complaints

Gray likes to leave like its a one night stand if its not at his place, no note, just up and leaves before anyone wakes up

they went to Natsus once, but they ended up walking to Grays bc they wouldnt stop critiquing everything

something always ends up being broken, be it a door, a vase, a cup, or a window, there will be something

alcohol was supposed to be banned at these sleepovers but somehow it always makes an appearance

Gray, drinking wine while getting a manicure from Lucy: I don’t know, they just don’t seem interested...

Lucy: Did you try talking to them?

Gray:

Gray: Try what?

There’s probably been a couple visits from police bc a neighbor though a domestic dispute was happening, this is the real reason charades was banned

Late night talks but they always end up with someone having an existential crisis

[peachhcs]

can we get some samy and jack time? I feel like their dynamic would be fun!

mini golfing the anger away

hughes!sister x will smith au (samy + will)

jack takes samy out on an adventure to help her get over the breakup

here’s some requested samy & jack dynamic as he helps samy through the breakup in an attempt to lift her spirits. i don’t know how many words this is but it’s around the same as my other fics:)

au masterlist

there was one loud knock on samy’s door before it flung open without a chance for her to ask who it was. jack’s mop of brown hair peaked its way through as the younger girl raised her eyebrow in confusion.

“good you’re up,” the boy hummed.

“what do you want?” samy huffed, a bit annoyed that jack just bursted in without much explanation.

“we’re going for a little adventure because you’ve been stuck inside all day and i think you need fresh air to clear your mind,” jack determined like he had everything planned out already and he did.

“i don’t need fresh air. i’m wallowing in self-pity,” the girl groaned, pulling her blankets further up her body like they’d hide her.

jack shuffled to the bed until he sat down on the edge of it and pulled the blankets back down much to his sister’s dismay. “look, i know you’ve been going through a lot with the breakup and everything. i just wanna brighten your mood a bit and hang out with you because i feel like we haven’t hung out one on one in awhile,” the older boy softened his tone out.

“you and me hanging out results in things we shouldn’t be doing 99% of the time,” samy deadpanned.

“doesn’t that make it more fun though?” jack smirked.

the girl knew her brother wasn’t taking no for an answer, so with a long sigh, she sat up and pushed the blankets down completely.

“okay, fine. can you give me like fifteen minutes and i’ll meet you downstairs?” with that, jack beamed and nodded.

“no later than fifteen!” samy rolled her eyes a bit as her brother quickly disappeared from her room, but the small smile on her lips said otherwise.

—

fifteen minutes later on the dot, samy trailed down the stairs dressed in better outfit that wasn’t a t-shirt and sweatpants. jack was in the kitchen scrolling through his phone when the girl found him.

“okay, i’m ready,” she poked his shoulder.

“ow, that’s my bad shoulder,” the older boy pulled away making samy laugh.

she followed him out of the house and to his car. because jack planned the outing, he let samy have aux.

“are you gonna tell me what we’re doing?” the girl asked as they rolled out of the driveway.

“it wouldn’t be a surprise if i told you,” jack said in a “duh” tone. that made the brunette roll her eyes, but she didn’t say anything else.

the siblings let the soft music fill the car’s silence as jack drove through the familiar roads of ann arbor, michigan. everything they passed reminded samy of a memory with will when they were little which was a bit bittersweet now.

“remember when you and luke got stranded in the lowe’s parking lot?” jack snapped the girl from her thoughts. her gaze bounced to the big department store they flew past and a smile inched its way to her lips.

“god, that felt like a nightmare. we were so scared,” samy laughed.

“mom was freaking out when she realized she left you guys behind. i don’t think i’ve ever seen her that crazy. she swerved around on all of these roads,” jack laughed too.

“i’m pretty sure i cried the entire time until i saw mom,” the younger brunette grinned.

“you were always such a cry baby,” the older boy teased making samy pinch his arm.

“shut up, you were too. quinn’s the worst one out of all of us though,” for being the oldest, quinn sure was a mama’s boy when he was little.

after another ten minutes, jack pulled into a small gravel drive while samy’s eyes lit up a bit when she realized where they were.

“we’re going mini golfing?” the girl wondered as the sign in front of them read “annie’s putt putt and ice cream” — a staple of the hughes’ kids childhood.

“i thought you could use a pick me up, so why not reminisce on how competitive we all got with one another,” the boy smiled widely as he climbed out of the car leaving samy no other choice but to follow him.

jack quickly paid, handing samy her signature pink putter and ball. quinn always took dibs on green, jack got blue, leaving luke stuck with orange. he complained every time.

“i can’t believe we’re doing this. i haven’t done this in years,” samy hummed as she walked towards the first hole.

“this is gonna be fun. a little bonding between us,” jack nudged her arm and samy couldn’t help but agree.

she missed hanging out with jack because he always seemed to have something else going on. plus, this would get her mind off of things for at least an hour.

“whoever wins buys the other ice cream,” the older hughes sibling determined as he set his ball up first.

“i hope you’re ready to pay for my ice cream then,” the girl grinned widely making her brother roll his eyes.

jack took his first swing marking the beginning of the very fierce competition. if there was one thing about the four siblings, it was that they were very competitive with one another. whether it be pool, wakeboarding off the boat, or simply seeing who could chug the most water in a minute, the four were always going at it over the summer. mini golf always got them going which was why the family hardly went with all of them anymore because of how heated it got.

one year, quinn pushed luke over one of the obstacles making the poor kid sprain his ankle. after that, going to mini golf was banned in the hughes household.

by the fourth hole, samy was close behind jack in strokes. the two carefully followed jack’s ball down the path where it landed five inches away from the hole.

“that was rigged!” jack exclaimed in annoyance.

“ha! if i get this in, i’m ahead of you!” samy exclaimed, going into position for her next putt.

jack held his breath as he watched samy’s ball roll right past his directly into the hole. the younger girl cheered while jack stomped away like a little kid.

“i’m winning! you have more strokes than me now!”

“you’re just cheating,” the older boy rolled his eyes.

“i am not! you literally watched that go in!” the younger brunette pushed jack to go take his last putt for the hole.

the two moved through the rest of the holes fairly quickly. by the ninth hole, samy was significantly in the lead and was most definitely gonna win.

“better get your wallet out, jack,” she winked before taking the putt.

her pink ball traveled through the windmills and around the hill as the siblings followed it down the path. it came out the other side of the cave just an inch away from the hole.

“shit! so close to a hole in one,” samy frowned, tapping the ball in.

“do i even need to putt?” jack huffed.

“be a team player,” the girl giggled, pushing her brother back to the start.

jack lined his putt up with the ball, going in for a swing. his blue ball took the same path as samy’s through the windmills, around the hill, and through the cave except his landed directly into the hole for a hole in one.

“holy shit! hole in one!” the boy jumped up and down in excitement.

“hey, good play,” samy clapped for him.

“you know, i’ll take that as the end. i may have not won, but at least i got a hole in one,” jack grinned as the two went back to the counter.

“good game. that was fun,” samy hummed as she set her putter and ball into the basket.

“i’m glad you had fun. that was my goal,” the older boy smiled and made his way to the ice cream stand.

jack got his usual of soft chocolate and vanilla while samy stuck with her strawberry in a dish. the two found a quiet spot at one of the farther tables away from the smaller kids running around.

“are you glad i dragged you out of bed now?” jack wondered.

“you know, yeah, i am. thank you. this was really fun. i felt like i was a kid again,” samy smiled some.

“we hate seeing you sad, so i figured some mini golf wouldn’t hurt. mom only agreed if it was only us though,” that made the two laugh.

“it’d be a shit show if we were all here,” the younger girl giggled.

“exactly. luke wouldn’t have survived again.”

a comfortable silence fell over the siblings. it was rare for samy and jack to be in silence without one another bickering about something stupid and quinn needing to mediate, so they took advantage of it.

“i got broken up with once when i was 16. do you remember that?” jack broke the silence. samy raised her eyebrow and shook her head.

“i guess maybe not. you were..probably 12. anyway, this girl i dated for a bit broke up with me before i started dev program. it actually really hurt,” the older boy’s gaze fell away from his sister’s as he thought about the memory.

“i’m sorry. that sucks,” the girl sympathized.

“yeah, it did suck. breakups suck in general. i’m sorry you’re going through one.”

samy shrugged some, “it’s fine, i guess. he made that choice and..it’s whatever.”

“he’s an asshole,” jack determined making samy snort.

“i think you, quinn, and luke think the same thing. it’s so weird because..i..i wanna be mad at him and i am. i’m really hurt, but also..i’m not if that makes sense? like i don’t think i could ever be mad at will no matter what,” the younger brunette met jack’s gaze again.

“i get it. he was your best friend. it’s hard to..be mad at people like that. i dunno..maybe time will change things? like..you guys just need some time apart?” the older boy shrugged.

“yeah, maybe. i don’t know. like i hate him, but i don’t. i love him, but i don’t. it’s confusing me,” samy sighed.

“give it like a month and see how you feel. the breakup’s still really fresh so the feelings you’re having may be different from the normal ones you have on a normal basis. let it kind of..sit with you and then reassess i’d say.”

“yeah, that makes sense. i just feel weird showing and feeling the emotion because growing up with you guys makes me not wanna do any of that,” the girl laughed a bit.

“hey, we’re always here for you to talk or anything. i mean you say the word and we’ll go knock on his door. i think luke really wants to,” the two shared a laugh.

“thanks, i appreciate it. you guys have been really good to me,” samy grinned.

“it’s what older brothers are for,” jack poked his sister’s arm making her squirm away from him.

the two finished up their ice cream before heading back to the car. samy’s head felt a bit lighter on the way back thanks to jack’s outing. she’d really have to thank her brothers one day for getting her through this because she’d probably be unable to move from her bed if it weren’t for them.

[coriphallus]

DA: The Veilguard Spoiler Review pt3 - Politiks

oh my little void in this world wide web, we are really in it now.

a little PSA before you read this word vomit, i am from westernmost middle east, and that will inform much of what i know about the topics i discuss. i wont know about race politics of america or the intricacies of it beyond what i can see online but as an immigrant i do have some perspective on western experience. so when i talk about heavy topics it will come from a foreign place. i do understand and admit that i cannot ignore that BW is a north american studio and that colours every theme they touch.

so there are two angles to approach this, 1st is to assess DAV on its own and 2nd is to assess it as a part of a whole and continuation of a franchise.

lets get 1st out of the way, its safely uncontroversial beyond taash's story. and eff-plays voiced my feeling verbatim on that subject more succinctly than anything i can possibly write.

2nd is very, very grim.

every DA game that came before had been interlaced with politics of its world so severely that its absence is disorienting. every game you were given the choice to change the political landscape of the countries youre playing in, for better or for worse. even the 2nd game with its vastly smaller scale sees hawke trying to navigate through their life as an immigrant, even at the games climax you are given a choice to drastically alter how this uprising will be remembered and it tells hawke that there are no half measures, they need to pick a side.

"Slavery or no, flesh is always for sale."

in my very first DAV playthrough i picked a shadow dragon elf, i didnt give her any backstory as i though being an elf in minrathous would shape her world view regardless.

first scene i got when organising my room rook pulls out the SHACKLES of a slave shes freed as she reminisces about how much good shes done, and puts them on her bedside. then proceeds to talk to a book and say "everybody looks down on elves but we were here first >:c"

(at this point i rerolled my character so i dont yet know how shadow dragon background plays out.)

at the very beginning of the game we see similar shackles and varric informs us that solas hates slavery, hes been freeing them.

when we make it to minrathous we learn that these people in neves circle have been freeing slaves.

alright so, the heavy handed deliveries aside, what purpose do all these scenes/expositions serve?

well, it makes these people look good. we know theres slavery in this part of thedas and these people are fighting against it not by any elaborate means but dont worry kitten <3.

[i had to look up the english for some of these terms so feel free to correct me if im wrong] patterson describes slavery as "one of the most extreme forms of the relation of domination, approaching the limits of total power from the viewpoint of the master, and of total powerlessness from the viewpoint of the slave". death of the soul, death of what makes one human -and for the purposes of this section- death in the eyes of state. slavery has such a long history that predates early modern colonization of africa by thousands of years. it is a staple of human history and where we have come from shapes what we are now. we can shun it, call it abhorrent but we cant pretend it never happened. theres always been people dead in the eyes of state.

heres the uncomfortable truth, there aint never been enough steel in the world to hold every hittite or mittani slave. to assume slavery is people getting abducted and put to irons is as naïve as human trafficking being a rando ruffying you and hauling you across the sea in a crate. yea, it could happen but 99% of the time its just a waste of time to physically hold someone against their will by force. and this idea makes us think its this far off thing that happened thousands of years ago by bad individuals doing very comically bad things, which is a very deliberate choice, because to depict period accurate slavery would be to portray social and economical classes, and that would be confronting how little we've changed in certain aspects.

people were born into that caste, shaped by it, worn down by it, and abused by it systematically.

in DAI Dorian says something -apparently- very controversial that i dont think this fandom has fully unpacked, and i aint gonna do that here either because im not remotely qualified. he likens the working class of south to slavery of north, theres no way to engage with this argument in any meaningful way, even as an elf, and in general people brush it off as dorians pro-slavery rhetorics.

try as DAV might to disregard, we actually did meet an ex-slave and trafficking victims on three separate occasions, and the games have set a premise already. we got to talk about their unique circumstances, and they were handled with some measure of dept. maybe you liked them, maybe you didnt, but you knew them and that makes a difference. they had agency in their own stories. a far cry from DAVs nameless faceless props for righteous gentiles to circle jerk about.

but, sure, lets tell ourselves showing them would be too gratuitous.

can you imagine how batshit insane it would look if zevran kept the belt her husband used to beat isabela with as a trinket, to display in his tent? that scene with rook disturbed me more than most anything in this entire franchise and coming from an anders supporter, thats saying something.

this is how little the writers were willing to engage with their source material. this is how little they are willing to engage with the world around them.

which makes the next blunder inevitable.

alot has been said about the absurdity of elves feeling responsible for the events of DAV, but maybe this hasnt been said enough; this is a blatant fascist rhetoric.

i will spell it out though, even though i never thought it needed to be said, the social performance of accountability indicates that the party who has done harm has benefited and continues to benefit from that harm, this is why reparations are paid, and thats what "check your priviledge" means. elves in DA have never benefited in any way from the warmongering of evanuris, they were enslaved by them.

to say that these people should feel some sort of responsibility towards what befell dwarves is a fascist rhetoric used irl to offload responsibility and divide and alienate the opposition further from eachother.

i cant tell you if this mouth piece is same everywhere but i know a few people who have clocked it immediately so im gonna assume it was obvious. and truthfully, i wouldnt even be annoyed if i thought it was intentional. genuinely, one of my favourite games is an unapologetic military propaganda whos protagonist would make ayn rand write sonnets about, and the game knows what it is. but no, i fully believe the studio tried to address the criticism they got about their lackluster handling of elves and either completely misunderstood or willfully disregarded the experiences of marginalised peoples that the games drew inspiration from.

the writing is so hollow beyond horrible dialogue that when writing an enby character whos also multicultural they didnt even notice the parallel theyve created. i know this because after an entire plotline about their struggle with binaries their story concludes with a binary decision on their culture. this just confirms to me that any dept this game has is completely accidental.

imma level with yall i dont subscribe to the belief that you need to have some type of experiences to write some type of characters and i find that "ofc a white person wrote it so..." response very tired because yea we should be allowed to expect more from white people. i too had OCs of different cultures that i wasnt very familiar with and handled poorly, but unlike me, a company can afford a consultant.

i played greedfall recently, and sure the maori tattoos were a shit decision, and im disappointed that after all the criticism they still stuck with it, and yes maybe its story was not sensitive enough but you know what? as the person whos recommended it to me said, i rather have a story who boldly engages with its own themes than one whos terrified of them. say what you will about its shortcomings but at least at the end of that game you can have an ending where the colonizers leave for good, and yes their plague is not healed but the narrative doesnt punish the natives for their isolationism. i am glad that the game allows that catharsis to its players.

DAV could have had 300 well thought-out endings and still not please everyone, but the endings they chose to include directly implicates the group theyre trying to appease and its literally just people who either want to punch or kiss solas, thats how fucking deep they think their fanbase it. not the people who wanted to end slavery, or achieve equilibrium with beings no matter how alien they are. or people who wanted to see a culture connect with its roots etc etc.

and maybe they were right, many people have been enjoying this game immensely and i am just, so fucking jealous. i wish i liked this game and enjoyed it and didnt want to tear out my hair every second i spent in treviso. i wish i wasnt seething white knuckling my sink like an insane person when a little kid wrote to crow rook that hes recruiting orphans now. i wish i had any belief in this game to read that as satire.

at least i wish i felt any form of vindication when i immediately realised this game was going to be a soulless cashgrab that unashamedly uses the name of a popular IP to push a sub-par product earlier this year, i just spend 80+ hours watching a company parade the carcass of a franchise i loved and beat it like a pinata as it continuously slapped me on the face with a botched wax figure of it.

i just feel this profound sense of sadness. i wish this game didnt exist. and no i dont feel any kind of brand loyalty, even when i actively enjoyed their work i didnt but i definitely dont now, not after 3 consecutive games that theyve delivered with more or less the same problems. as the company is today, i dont care whether bw survives or not, its been made clear time and again that the bw i liked is long gone and bw today is clearly not interested in making games for me.

even as i write this i dont feel fuelled by my anger for DAV but by the love a have for what came before. i still think the story deserved better, the fans deserved better, the people who contributed into making DA universe what it was before DAV deserved better. and, as rook told harding, our anger is justified.

but, hey. hair looks really good.

[asian-hero]

Welcome Home; I'm Home

Alhaitham/Reader

Being in a relationship is hard. It requires constant work and sharing vulnerabilities you never thought you'd indulge in. Both parties need to constantly choose one another, despite their flaws. It's a good thing that you choose Alhaitham, even when his blunt nature rears its ugly head.

a/n: have a lil alhaitham hurt/comfort, as a treat :)

wc: 1.4k

The silence that filled your home was deafening. 

Though, you supposed that anything would be quieter compared to the explosive argument that broke out between you and Alhaitham.

It started out as an ordinary conversation. You’d been telling Alhaitham about your plans for your day off; all the while you fluttered around the kitchen, preparing breakfast for the both of you. He hadn’t been contributing much to the conversation, but you didn’t think much of it. You weren’t sure exactly what it was that caused him to snap, but as soon as he’d let out a long sigh, you knew something was wrong.

Pausing your ramblings, you turned away from the coffee you were brewing, tilting your head to the side. “Habibi? Are you okay?”

Soft mutterings were the only thing that you could hear, almost as if his sleep-deprived consciousness were attempting to filter his thoughts even after they left his lips. Frowning, you moved closer, gently brushing the silver bangs away from his face. “What was that?”

“Too loud,” He spoke up, an irritated scowl appearing as he swatted away your hand, “Would it be so terrible to have some peace and quiet for once?”

You blinked, letting your hands fall to your sides as you dealt with the sudden surprise. Leveling an unimpressed look at the man before you, you crossed your arms across your chest. “Don’t take that tone with me, Alhaitham.”

Alhaitham mirrored your attitude, leaning back in his chair, “Don’t treat me like a child. I already have to deal with dozens of people droning on about things I don’t care about at the Akademiya, I don’t need to hear about it in my own home.”

Running your tongue against the front of your teeth in annoyance, you spoke up. “Oh, excuse me. I didn’t know that it was so terrible to want to talk to my lover before they leave for work,”

“Picking a fight first thing in the morning?” He questioned, rolling his eyes as he got up from his spot, “Very mature of you, Habibti.”

“I’m picking a fight?” You exclaimed, feeling your voice grow louder as you followed him into your shared bedroom, “You decided to have an attitude with me this morning and suddenly I’m the one who’s picking a fight? Maybe if you were a ‘mature’ enough adult to just say what your problem is I wouldn’t be bothering you!”

Turning sharply, he pointed a finger at you. “You are the problem. I thought I made it clear that I didn’t want to talk, but you just kept going. Do you think I care about what fruits you’re going to pick up at the market? Or how you’ll organize the library?”

You watched in silence as Alhaitham grabbed a seemingly random book from the pile on his nightstand before heading out of the shared space and to the front door.

“You know what? I hope you have back-to-back meetings and no time to read that stupid book of yours!” You yelled out, only to be met with the harsh sound of the front door slamming.

That was several hours ago.

Deciding that you wouldn’t let Alhaitham’s outburst ruin your day, you continued with the rest of your day. In the time after your fight, you had gone to the bazaar to grab some staples and some fresh cherries that caught your eye, had a wonderful lunch by yourself, and you had managed to clean a bit around the house. Since the menial tasks you’d set out to do didn’t completely calm you down, you’d also started rearranging Alhaitham’s library by color, knowing that he’d have to deal with the inefficient organizational system for the next few weeks before he’d inevitably fix it all himself. 

Once you’d finished your petty act of defiance, you found yourself curled up on one of the loveseats, casually flipping through your light novel as you felt the remnants of your earlier agitation fade. Just as you were turning the page, you heard the lock of the front door turning, the creaking of the door a familiar noise in all of the chaotic silence that surrounded you. 

Though, rather than feeling the rush of warmth and contentment fill your chest, you felt nothing but the bitter silence that continued to linger after your argument.

You refused to look up, opting to continue your reading, even when you heard hesitant footsteps drawing closer. Eventually, you felt the cushions beneath you dip, a warm presence at your side. Long fingers moved in your peripheral, hesitating slightly before settling by your waist, tugging lightly at your shirt. 

A silent question, allowing you the opportunity to pull away if you wanted.

Sighing, you closed your book, setting it down on the table in front of you before looking down at the hand grasping at the hem of your shirt. Slowly, you moved to tug his hand off, intertwining your fingers together. There were many things that you’d wanted to say; part of you, the uglier side, wanted to continue your argument, wanting nothing more than to make him feel as bad as you had earlier. After all, it was unfair of him to take his anger out on you.

However, the better part of you, the one who loved the man beside you dearly despite all his faults, despised the hesitance in Alhaitham’s posture, as if you’d leave for good if he weren’t careful enough. 

You wanted to let him know that though you were still hurt, he didn’t need to be scared. 

“Welcome home,” You said instead, running your thumb across his knuckles.

He stared at you momentarily, studying your expression in silent contemplation. In the end, he simply let out a wisp of a laugh, squeezing your hand. “I’m home.”

A tense silence filled the air, both of you wanting to start the conversation, but neither of you knowing how to. Eventually, you settled on the familiar. “You pissed me off today.”

If Alhaitham was shocked at your candidness, he didn’t show it, instead nodding solemnly as he listened. “I know. I’m sorry,”

“If I was annoying you, you should have just told me,”

“You weren’t annoying me,” When he noticed your furrowed brow, he sighed in annoyance, though you knew it was aimed at himself for not being able to express how he was feeling, “I started feeling overwhelmed. One moment I was waking up, and the next I felt my head pounding and my ears aching.”

Looking smaller than you’d seen him before, he looked away, quietly mumbling, “It was too loud.”

For a short while, it was silent between the two of you. Both of you sat still, with the exception of Alhaitham’s fingers twitching against your hand, a nervous tick you’d learned about during your first year of dating. 

Eventually, you huffed affectionately, moving your unoccupied hand to flick his forehead, instantly rubbing your thumb against the reddening skin to soothe it. “Next time just tell me how you’re feeling instead of acting like I can read your mind,” Squeezing his hand, you narrowed your eyes, “I won’t be as kind if you act like this again.”

He nodded his head again, untwining your hands in favor of leaning forward, letting his head come to rest on your chest. Pressing a gentle kiss to your heart, you felt his arms wrap around your waist. “I will. I’m sorry, I didn’t mean to snap.”

You returned his affections, your arms hugging his shoulders, pulling him closer. “I didn’t mean to make you overwhelmed,”

“I know.”

“I got cherries today,” You mumbled in his hair, feeling him hum against your skin in response, “I also rearranged your library by color.”

You felt him laugh, fingers coming to pinch the fat of your hips, “I suppose I deserved that,”

After that, the two of you fell silent, this time merely enjoying each other’s company. You ran your hands along his back soothingly, feeling for the first time today that you could finally breathe in your own home. Your chest felt light, and you could only imagine how the man before you was feeling.

After a short while, Alhaitham propped his head against your chest, peering at you with inquisitive eyes.

“Hm?” You questioned, brushing the bangs away from his face.

A few more seconds went by, the man in front of you deciding on whether or not he should interrupt the peaceful air surrounding the two of you. Eventually, he settled on a question.

“Are we okay?”

You pursed your lips, observing the way Alhaitham’s fingers danced across your back, another nervous tick. Pressing a kiss to his forehead, you smiled.

“We will be,”

i feel like i would have some of the most awful fights with this man, he should be lucky he's pretty and i happen to like pretty things/j

[hollysoda]

Dragon of Time - one of the largest dragons to be seen in the skies. It is said to be the oldest of its brothers, having been reported to exist in many eras, and was therefore named after its timelessness. Though some doubt whether it truly is a good dragon, for the sharp markings on its face and whitened eyes give off the impression of something dangerous

Wolf Dragon - named for its furry wolf-like appearance. It only breaks the cloud barrier at dusk and roams the night, it’s somber howl becoming a folklore for travellers in forests. Legends say that it was once a friend of the Twili, and it circles around the Arbiter’s Grounds every night

Warrior Dragon - named for the metal plating that covers its back, and for how it only seems to appear before soldiers of pure heart/soldiers down on their luck. It is said that seeing the Warrior Dragon will bless the person with strength and courage, and if a feather from one of its blue whiskers were to fall before a captain they would be ensured victory

Winged Dragon - the rarest of the dragons, for it favours staying above the clouds and roaming the islands in the sky. Unlike most other dragons, it is more bird like, being covered in crimson feathers and sprouting large wings. It’s red feathers sometimes fall to the surface, and if spotted by a romantic couple they are blessed with eternal love. Some researchers argue that the Winged Dragon is even older than the Dragon of Time

Fairy Dragon - this dragon is often seen floating above Fairy Fountains, and it is said that new fairies are born from this dragon’s scales. It too has wings, but these ones are shaped like a butterflies. Some ancient texts read that parts of fairy dragon can heal even the most fatal injury or sickness, and a great evil once sort out the dragon in order to revive their leader

Long-Eared Dragon - an unusually pink dragon, adorned with golden horns and claws and most notably long rabbit-like ears. It soars around the entirety of Hyrule, but more sightings of it have been recorded around Eventide Island than anywhere else. If you are lucky enough to get close to this dragon, there is a sense of great calm in the air around it, as if the spirit within once fought many hard battles and now roams the sky in peace

Wind Dragon - a brilliant blue dragon that is a popular legend amongst seafarers and fishermen. It roams the coastlines, and is even said to sometimes dwell under water as there are stories of large draconic shadows being spotted beneath boats. If you ever feel a sharp breeze steering your sail away from your destination, it is most likely the Wind Dragon warning you of danger. However, the Wind Dragon is also often blamed for dangerous storms

Rainbow Dragon - a remarkably smaller and yet colourful dragon with iridescent scales. It is said to harness the powers of wind, fire, water and the earth combined, making it quite difficult to approach. Legends spread amongst blacksmiths say that if one were to meld one of its scales to a weapon the weapon would become unbreakable, and in an age where smithing is becoming a lost art many pray that they’re lucky enough to see the dragon

Dragon of the Wild - perhaps the most commonly reported dragon, for some claim to have known the spirit that resides within. It flies low around the entirety of Hyrule, but will then also return to the skies to fly with the Light Dragon. Over recent years it has become a staple sight in Hyrule and stories of the dragons origins have been passed down from generation to generation. It has become a commonly worshipped symbol for adventurers and soldiers alike

[meownotgood]

let us live, if we must die. / chapter four: scarlet wings

You are a witch, and since the purging of all magic, you've been forced to live a life of solitude and secrecy. Your destiny was always beyond your control — until, by a pure twist of fate, you unknowingly fell for the kingdom's only prince. 

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pairing: prince!aki x witch!reader

word count: 14.6k

tags: fantasy au, royalty au, reader is fem, some very small mentions of violence, aki is getting better at flirting, way too many metaphors, two idiots who don't realize they're obvious being totally obvious

notes: this chapter is my favorite so far... I hope you'll enjoy it... thank you for your kindness and your patience as always! the next chapter may take a bit because I have some other writing plans for october, but I promise to return again soon :)

masterlist read on ao3 join the taglist here!

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soft sky, bleeding sun

I'll cradle your fear until

the clouds make it theirs

—

Growing up in the kingdom taught you to fear the color red.

Red was a staple of the seals worn by the knights and soldiers — the men you needed to be wary of, in order to survive. It symbolizes power, fear, violence. Red served as a reminder of the empire's scarlet, mage-seeking birds, of the crimson blood that would spill after every war, each brutal execution.

The same sort of bird rests in your palms now.

Kneeling, you sit in the center of a clearing, damp dirt and blades of grass tickling your bare knees, the forest's trees whispering in the faint, post-storm breeze. The air is cool and humid; it tickles the back of your neck, making the hair on your arms stand on end. The sky is obscured by a canopy of trees, and by knots of thick, dark clouds. Rain will fall again soon, most likely. You should head home. Yet, you can't seem to move. Your gaze won't tear itself away from the small, red-feathered bird you have held in both your palms.

A scarlet songbird. They're harmless, although quite rare to find in this area. Your books have told you they used to be much more prevalent, native to almost every area with the right weather conditions. Since the kingdom tamed them, they've mostly been captured — sometimes hunted. It's unlikely to find them in a place like this, departed from captivity. To the kingdom, the songbird's affinity for seeking out magical traces is too valuable to let roam free.

A particular book you read on local wildlife noted how the birds like to nab magical items to decorate their nests. They were trained to spot mages for the kingdom's benefit, to follow the traces left by spells and trail them to their source. Normally, they are timid, and try to avoid predators whenever possible. The kingdom turned them into hunters themselves.

Though, in this forest, they are finally free. From danger and captivity, from the kingdom's everlasting grasp. And so are you.

This one has seen better days. The bird's tiny body barely dwarfs one of your palms: a juvenile, most likely. It can't be more than a few months old. Most of its right wing appears to be damaged, with clusters of feathers missing, exposing a deep, fresh injury. Its breathing quickens, causing its body to shake. You brush your thumb over the bird's head, and it coos quietly in response, nuzzling further into your hand.

"What's up? Why are we stopping?"

Aki's voice rouses you from your thoughts, and you glance up to see him curiously peering over your shoulder, leaning down, his hands on his knees.

Aki reminds you of the color blue. Like the sparkle of royal sapphires, with the same sort of gleam reflected in his eyes. Like the colored sketches of the sea you've memorized from your books, and longed to one day see for yourself.

A handful of days ago, he brought you a bundle of bright blue peonies, which he found near the edge of the clearing surrounding your cottage. You placed some into a vase on the dining room table, and took the rest with you to have in your bedroom. Your eyes caught on their vibrant petals each and every time you entered. Since you first met and came to know Aki, you've never noticed so much blue. The blue of the sky, the blue of the river, the blue of butterfly wings and puffy flowers and shimmering stars.

Aki is blue; he's become synonymous with the word. With the blue of veins, instead of the ache that comes with flashes of bright, red blood.

You sigh slightly, glancing away from him, and back to the bird.

"Her wing is busted," You explain simply, clear frustration present in your voice, in the way your brows slightly pinch. "I doubt she'll be able to fly again."

Aki's eyes narrow. "A magehunter bird," He muses, "I didn't know you could find them this far out."

"There's plenty in the forest, they just like to keep themselves hidden," You reply with a shrug, your voice remaining soft and low, to avoid startling the small songbird. "I think they avoid the cottage, mostly. They don't like people."

Your words are a half-truth; before Aki, you'd often spot the birds gathering close to your home. Perching in the trees and sometimes on the roof, singing their little pleasant songs, or pecking at the mushrooms that encircle the clearing, just to flutter away when you got too close. With the addition of your new guest, and with the lack of spells you've been casting lately, they've been reluctant to continue hanging around.

The bird in your palms, however, is completely pliant. She doesn't even attempt to peck at your fingers or flap her injured wing. Her sharp breathing would lead you to believe she's still fearful, but she lacks the energy to fight or run, to do anything but timidly watch you, and hope you aren't a threat to a creature who is already dying.

It makes your heart ache, truly.

Aki examines the sudden strain in your expression. He hums in thought, and he kneels down to sit by your side; the bird shudders, drawing its wings close to its body. Almost as if it's trying to shrink away.

"You're fond of birds, aren't you?" Aki says calmly.

You huff a playful breath, and reply with a lilt of intrigued half-sarcasm, "How could you tell?"

"I kind of guessed, with all those wood sculptures," He answers, taking the question completely seriously. You think back to your living room, to the shelf of wooden birds you've hand-made, and although you're already pre-planning your rebuttal — it was just to pass the time, that's all — Aki seems to see right through you.

"I figured you liked animals, but birds were probably your favorite." He brushes a palm over the back of his neck awkwardly. His hair is up and out of his face, but his bangs still fall in front of his eyes as he tilts his head. "When I saw all those little sculptures, I thought it was… I don't know. Sort of cute."

His compliment makes you freeze up slightly, your face burning with warmth. You should be used to this, considering how open Aki has swiftly become, especially in the past few days. Still, as though it's simply effortless, he always manages to make you feel flustered.

A thin droplet of rain plops onto your arm. You shiver. The air carries the scent of a coming storm; it has your heart feeling heavy, reminding you of the day you first met him. It hasn't stormed like this since then. This time though, you won't have to return to your cottage alone.

Aki glances at you, then to the bird in your palms. "Should we take her with us?"

You know it's unlikely for the bird to survive, even if you brought it home and attempted to nurse it back to health. If it cannot fly, if it can't regain strength and let its wing heal, it'll be doomed.

And what about you? Unless the birds are trained to sniff out mages, they aren't typically a threat, but it could be drawn to the magical items you have hidden in your cabin. Aki must know their purpose better than anyone — he's from the kingdom, after all. It could give you away, if you aren't careful. The logical side of you says you should leave the bird behind, regardless of what your heart might believe.

But since you met Aki, when have you ever done what you should do?

Rising to your feet, you cup one palm over the other to shield the bird from the falling raindrops. Aki follows, standing back up in turn. Your cottage won't take long to return to. The bird's wound will need to be tended to immediately, before you start preparing dinner. It'll be thirsty and hungry. You're sure you can root around and find something to feed it.

It's settled, then.

You're smiling on the way back home, and when Aki asks you why, you tell him it's nothing, instead of admitting the truth — that you find it amusing, to have already picked up another poor thing to nurse back to health. Another him. You can't catch a break, can you?

—

With each passing, precious day, trying not to become too friendly with your new cabin-mate has been steadily becoming more and more difficult. Impossible, even. Honestly, perhaps that plan was always doomed to fail.

Aki is easy to talk to, and conversations between you flow like a river's calm stream — despite your inexperience when it comes to such discussions. Part of you worried things might become awkward after the night he comforted you, but surprisingly, nothing seems to change. Aki doesn't bring it up, nor does he act any differently. It's as though you've been friends for years, not weeks. It's nice, actually.

Your days are spent gathering ingredients and herbs from the forest, leaving early in the morning to avoid crossing paths with any devils. While your nights are spent relaxing, talking, and eating together. He's learned to make plenty of meals with your assistance. Aki swears he'll remember how to prepare them for his next adventures, should he find himself in a forest like this one.

Your greatest hurdle, at first, was getting used to his presence within the magic circle; a constant source of energy, wavering between the sensitive threads of the spell you've learned to constantly maintain.

It felt — he felt — like a persistent coolness on your skin, a knot within you that couldn't be untangled. A rift in your heart, and in your mind. Now, the ripples surging through your spell hardly bother you. They're comforting, even. Aki's presence, formed by the inner shape of his soul's mana, is calm. Deep like the ocean, frozen over like ice.

Aki is tidy, but his corner of the living room quickly begins to flourish with his belongings. His cot is always made neatly, the pillows straightened.

Books are stacked up beside the cot: various stories he's borrowed from your collection, based on your recommendations. His notebook and the jar of ink you prepared for him are set precariously on top of the stack, a bookmark poking out from the pages. Crafted from a thin strip of wood and one of the songbird's stray crimson feathers, you made the bookmark and gifted it to him.

After Aki's wound stopped bothering him — for the most part — he suddenly forgot all of your previous instructions to rest.

He does relax somewhat, when it's at your request. As his health improves, so does his level of energy. He usually stays up reading when he can't sleep — which is often, you've noticed. And as you've come to learn, Aki is a fountain of energy, and he can hardly stand to be cooped up for long.

You blamed it on the elf in him, initially. The points in his ears don't lie.

Truthfully, you haven't interacted with many elves. They were quite a rare sight in the kingdom. They're known to be on the curious side, requiring little amounts of sleep. Either way, they tend to prefer spending as much of their time as they can on their own pursuits. Novels usually paint elves as cold and stern, often taking up leadership positions because of their intelligence and status, but Aki differs from most of those stereotypes. He isn't cold towards you, anyways.

He reminds you more of a playful side, like the nature-loving elves in adventure stories. The sort of person who gets themselves into all sorts of trouble with their unbound knack for adventure.

Recently, Aki has been promising he'll stay still for a while and lie down, but once you return to the cottage, supplies in hand, he's nowhere to be found.

The first time it happened, you panicked. You felt even more anxious when you couldn't find him outside. The darker parts of your mind decided to spin some story where Aki returns with knights to apprehend you, and an army to face you.

Yet each and every time, he'd return alone.

Sometimes covered in dirt, apologizing for his absence as he interrupts your dinner preparations, dropping a palm-full of the songbird's favorite berries on the counter. We were running out, he explains guiltily, glancing away at the sight of your pout. He's already expecting you to scold him. For acting recklessly, for possibly putting himself in danger. It took me a bit to find them. Sorry if I worried you. I won't get lost next time.

In other cases, he'd return much sooner. He's a sweaty mess as he swings open the front door, slightly out of breath. He runs a hand through his hair to push it back. I was exploring, lost track of time, he says, through ragged gasps. I ran home when I realized how late it was. Got some exercise, at least.

You believe him, because why wouldn't you? Aki is kind and polite, perhaps too much so. He has always been honest. About most things, at least. He's charming, in a way. Though, you'd never admit those things to his face. You have a hard enough time admitting them to yourself.

Aki radiates this strong, fiery sense of warmth that perfectly contrasts the sensation of his aura: cool, deep, and still. A glittering sun on the surface, and a somber moon within. It's incredibly, addictively intriguing.

At this point, you've known him longer than anyone, besides your own family. His presence in your cottage has begun to feel natural. And yet, you feel as though you haven't even scratched his surface.

Nevertheless, the days continue to pass — although they definitely feel faster than normal. Your time with your elven, secretly royal guest slips by effortlessly. Most of Aki's depth continues to remain hidden, but your talks together become longer, your moments shared are always treasured.

And between the gaps in your usual routine, you continue caring for the poor scarlet bird.

Turns out, Aki might be more fond of the little thing than you are. It's endearing, to see him frequently check up on her. He helps you out with her care whenever he can.

The two of you prepared a small area for the bird together, creating a makeshift nest near the fireplace with moss, leaves, and the leather scrap that remained of Aki's old bag. You gathered some seeds and berries, and you placed them close, along with a shallow bowl of water. She was lethargic at first, but thankfully, once the sun rose, the bird began to move and eat. Since then, she's been recovering gradually. You've woken up earlier than usual a few times already, roused by the sound of her pleasant chirping.

That's a good sign, at least. Even if she can't fly yet.

Today, you and Aki rarely separated. You spent most of the morning away from the cottage, and most of the afternoon outside, on the outskirts of the clearing. You've been attempting to grow a garden there, and it needs to be tended to. Hopefully, you'll have your own berry bushes once they're in season next year. It'll make gathering them for dishes much simpler. Aki learns the process quickly, and he has no problem helping you pull weeds and treat the soil.

Once the sun finally began to lower, the trees obscuring its fading glow, the sky hued in bright shades of orange, you both headed back inside, and followed the same routine you've built up over the past few days.

You sit near the fireplace, Aki close beside you. The both of you enjoy the fire's steady, flickering warmth. Today was hot, but the night has grown cold. Dinner was simple to prepare, as was the process of cleaning up, especially with Aki's help. You watch the bird take careful breaths as it draws its wings close, settles into its nest, and closes its eyes.

Cross-legged, you rest your elbows on your knees, and your chin in your hands. Aki leans back, getting comfortable; he glances between you and the fire, the same way he does when he obviously has something to say. Firelight frames his face warmly, his handsome features lit in bright hues, his long, dark hair gently brushing his shoulders.

You'll speak first, if he won't.

"How are you liking the book I lent you?" You're inquiring, your head tilting slightly with your question.

Aki raises a brow. He brings his glass to his lips, and takes a sip of the cherry-red homemade wine. It's more like juice, really. The combination of berries make it sweet and refreshing. Considering the limited resources you have in the forest, it's one of your most impressive recipes.

He sets his glass back down on the floor when he's finished, right next to yours.

"It's good," Aki replies simply, his tone completely earnest. "I'm about halfway through."

Recently, he's been reading one of the many books you recommended to him, usually making progress after you've gone to bed, when he can't sleep. You specifically chose something you thought he would like: an adventure book, about a traveler following his father's old treasure map. The story is carefree and whimsical. You'd hoped Aki might sleep if he read a book before bed, but when he gets terribly engrossed, it just seems to keep him up for even longer.

He reminds you of yourself.

"Are you at the part where he gets to the waterfall?" You ask, recalling the last time you read that particular novel. You've read everything in your collection hundreds of times, but it's been a few months.

"With the sirens?" Aki answers, placing his hands in his lap.

"Yeah," You hum, a stupid grin tugging at your cheeks. Your gaze sparkles, and you hardly attempt to keep it at bay. "With the sirens."

You aren't sure what makes you happier. The fact that Aki is genuinely reading and enjoying the book you chose, knowing he's currently reaching one of your favorite parts in the story, or the pleasant spark you get in your chest when you imagine talking about it with him once he's finished, finally being able to share something you love.

All of those feelings are lovely enough to keep, but nothing compares to the warmth you're drowned in as Aki flashes you a quick, gentle smile.

"You better not spoil what happens," He murmurs through a small laugh, "You've gotten me invested."

"I would never, I promise." You raise your hands in the air innocently. Dammit, his smile is so contagious. "We probably shouldn't talk about it until you're done, just in case. You've gotta finish all of it. The ending is the best part, for sure."

"What about your book?" Aki asks; his gaze stays on you, as he watches you take a quick sip of your wine. "Have you finished it yet?"

You swirl the contents of your glass. "The Holy Knight? Yeah, I finished it yesterday."

"Did you like it? Or, I suppose you said you've already read it, right?" Aki corrects. "How does it compare to the last time you read it?"

Thinking to yourself, you breathe a soft hmm, and tap your index finger idly against your cheek.

"It was good. I mean, I enjoy the whole story no matter how many times I've read it. The ending always makes me tear up."

You recall the final chapter, the book's somber ending. At the very end, the knight saves the land, and as the curse is lifted, flowers and trees finally begin to grow. He inherits the kingdom, he is surrounded by wealth and beauty. But even after becoming king and marrying his love, he isn't satisfied with his accomplishments. In one final battle, the knight sacrifices himself to save the princess. He departs from her with an embrace, and then kisses her hand, her cheek, and finally…

Aki's smooth voice breaks you out of your haze. "My brother owned that one. I've read parts of it to him before, countless times. Though I can't remember if we ever wound up finishing it."

"Maybe that's for the best. It's kind of a sad ending."

You shrug, your gaze drifting away from him, and back towards the fireplace, flames flickering and wavering. The small scarlet bird rests in her nest. She appears to be sleeping, her eyes closed and her head tucked close to her patchy wing. You adjust your position, sitting with your knees drawn up, your arms around them. The living room smells like the fireplace's crisp ashes, mixed with the lingering sweet scent of crushed berries and juice.

For some odd reason — or perhaps there isn't one — you change the subject to abruptly state, "The knight in that story. He reminds me of you."

Aki's eyes grow slightly wider. Then, he lets go of an amused huff, he points to himself with his thumb; "Me? Honestly, I haven't read that story in a long time. I think you'll have to explain."

He's glancing at you now, back straightened, pointed ears slightly perked up.

"Uhm, it's like-" You shake your head, trying not to stutter. "It's just with how he is around the princess, you know? You remember the scene where Vincent meets Edith, right? Before she gets captured?"

Aki's brows furrow, as though he's trying to remember. "Vaguely."

"Where Edith says she hates him, and swears they'll never marry, even if the entire kingdom was at stake. But Vincent vows he'll win her heart?"

"Ah. Well-" Reaching for his drink, Aki tilts his head back to take a good long sip. His warm, confident gaze meets yours. "I don't think I've won anything yet."

When you promptly elbow him, he offers you a slight, almost nervous grin. Thankfully, he gives your heart a bit of reprieve, glancing away to carefully set his drink back down.

"Not like that," You're scoffing, shuffling with embarrassment. You drop your knees to place your hands in your lap and fiddle with your thumbs. "It was just… with how he's so nice to her, and then their dialogue changes so much as they grow closer-" You shake your head. "Ugh. Nevermind."

"No, no. I'm listening." Aki peers at you, apologetic. "I'm sorry, I shouldn't tease you. I understand what you mean. We are similar."

Too similar. You're starting to wish you hadn't spoken, or even made the connection, because you can no longer stop yourself from picturing the novel's scenes with you in place of the princess — and of course, with Aki in place of the knight.

You imagine Aki hugging you close, his strong, safe arms around you, before he pulls back to kiss your hand, soft lips delicately brushing your knuckles. You think of Aki sweeping you into his arms to carry you away from danger. Aki reassuring you on late nights spent in one another's bed chambers that he wouldn't leave you, not even if the world deemed it so. Aki offering you his sword, so you can tap it to his shoulder as he says his vows, those pretty blue eyes on yours, his smooth voice echoing through your dizzy thoughts.

Miss Edith, I do swear for as long as I draw breath to never allow my fealty to waver. I do swear to offer my life for yours, and my heart for you to bear. If I am to fall, you will be my final thought, as you are my first and last dream before sleep, my love.

You've memorized so many lines from that damn book, and paired with how vividly you can picture Aki's voice, your mind is practically whirling.

You shake your head firmly, and give your flushed cheeks a couple light slaps. Aki cocks a brow, and casually leans closer as he glances at you, hoping to catch your eyes once more.

"Are you alright?" He murmurs, his soft tone not-so different from the one you were imagining, "Don't force yourself to stay awake if you're getting tired."

"Oh," You blink, and try your best to meet his gaze without looking away. Without picturing one of your favorite scenes from the book, a moment not too different from this one. The knight and the princess are in her quarters, sipping wine from fancy goblets. Suddenly, the princess suggests she's been hiding her true feelings all along, she believes she's fallen for him, and then —

"Yeah, I'm a bit tired," You mutter, clearing your throat. The fireplace is suddenly interesting enough to catch your eyes and keep them there.

Aki waits a moment, before he gathers both of your nearly-empty glasses, and reaches forward to set them on the edge of the fireplace, placing them out of the way.

All of those moments, those scenes, those dreams, often felt as though they'd be impossible. They are just fiction. Books to get drawn into, to take you somewhere far away from here, and nothing more. Because in your heart, you know those stories were never written with you in mind. Magic and mages would often be portrayed as what people thought of them — as the evil force the heroes needed to combat, as the villians that were meant to be vanquished. You accepted them for what they were, and accepted your loneliness. You had no other choice.

Perhaps you should start dreaming again. Perhaps this new dream, the one Aki has begun to lead you into, will pave a path to a warm, blossoming future. As long as you are willing to finally let yourself trust.

"You should get some rest," Aki encourages, his tone kept low. He gestures to the bird with a flicker of his gaze and a tilt of his head. "I'll keep an eye on her."

As if led by his instruction, you promptly stretch your arms up, and struggle to form an answer through a long yawn. "Alright."

Aki awkwardly rolls his shoulders back. He gnaws on his bottom lip, and avoids meeting your eyes as he rubs the tension from his own hands, squeezing his palms, flexing his fingers.

"There was… something I wanted to do," He begins, "But I wasn't sure if I should propose it."

"Huh?" You question, "Why?"

"I thought it might upset you."

Knowing Aki, it surely wouldn't. You don't hesitate, and barely fault your budding curiosity.

"Show me. And if I don't like it, I'll tell you." Your gaze on his is sure, unwavering. You reflect sparks of fierce firelight. "I'm okay with giving anything a chance, as long as it's with you."

Aki looks away, swallowing. He seems nervous, in a certain endearing way, in a way you're sure you haven't seen from him yet; he shifts uncomfortably, his palms already sweaty. Finally, he sighs, and forces himself to not only meet your eyes, but to get the words out.

"Do you remember this one scene from the middle of The Holy Knight? When they're-" He cringes, his teeth gritting. "Riding in the back of a carriage?"

Vincent and Edith had just finished tending to affairs at a fancy dinner party. The chapter leaves out most of the details, but describes them as they traveled back to the castle. They sat together in a fancy horse-drawn carriage, and as Edith's weary eyes began to droop, Vincent guided her to rest against his shoulder.

Oh. You don't answer, but you're sure you've made your realization obvious by the look on your face.

You watch him curiously as Aki takes a deep, motivating breath. He doesn't meet your eyes, but he does begin to shift a bit closer. He ever-so slowly and ever-so tentatively places his arm around you, barely touching. You follow the rest of the way, as he guides you to carefully lean your head against his shoulder.

It's stiff, a bit cumbersome. Your cheek doesn't quite rest perfectly on the bony, hard edge of his shoulder. You have to lean over a bit too much for this to be truly comfortable, and Aki is surely sitting way too straight, clearly still awkward.

But honestly, it's perfect. It's authentic, it's warm — and when you steal a glance up at him, his pretty expression makes it all worth it. Aki is smiling. He's flustered, perhaps more than you. You doubt the light from the fireplace is all that's flushing his skin in shades of red and pink.

You smirk, and nuzzle further into his shoulder, finally closing your eyes.

"Awfully bold of you," You're murmuring in a tired tone, trying your best to mimic the fancy cadence of the princess' line from the novel.

Aki shrugs. "It's probably the wine."

It isn't, it's fruit juice you've been calling wine, but your fuzzy thoughts begin to fade away as the fire warms you, and as Aki's faint touch comforts you — his arm around you, his palm brushing from your shoulder to your back — guiding your mind to drift off into a quiet, gentle slumber.

—

When the night sky meets the trees, the moon illuminating the clearing's whispering blades of grass, and the stars shimmering with their own faint promises, you find your favorite space to be alone.

It's been a few weeks since Aki first began staying with you, and a few days since you first took the bird in. Tonight, the foggy air that settles on your skin is cool and crisp. The forest is calm and quiet, save for the sounds of rustling trees and cooing cicadas. You sit in the clearing just in front of your cottage, cross-legged, gazing up at the brilliant canopy illuminating the surrounding darkness.

This was your usual routine, before Aki. You would spend each night looking up at the stars, when it was far too late for anything to disturb you. The night often gave you peace. It allowed you to think. When it was just you and the crickets and the wind, and the smell of the dirt and the trees, you felt as though you could finally breathe.

Inhaling slowly, and then exhaling carefully, you let the night's cool air fill your lungs. Wind brushes across you ever-so faintly. At first, while Aki was resting, you took every opportunity, slipping away to enjoy this whenever you could. When your mind was racing and you just couldn't sleep, the lonesome silence helped to calm your worries. This time, it isn't helping much.

Your mind has been a mess all day today, and the day before that. Perhaps it has never truly untangled. All the usual worries you've had about Aki and the kingdom and the future have been piling up, filling your head with no way to discard them. Quietness helps you think, but you don't want to think; you've been lost in your thoughts for way too long.

Nothing works. It's a lost cause, clearly. You sigh to yourself.

The best you can do is try to relax out here for a while, underneath the pale moon, and hope your mind eventually tires itself out enough to let you sleep.

Though, the night has other plans for you.

The cottage door opens from behind you with a wooden creak, and you swiftly turn around. Aki carefully closes the door behind him. He gives you a soft, acknowledging smile when your eyes meet, before he walks down the stairs of the front porch, and comes to sit beside you. He matches you, crossing his legs; faint breaths of wind rustle his crisp white tunic and flutter through the long, dark strands of his hair.

"I'm not interrupting, am I?" Aki asks smoothly, and you quickly shake your head.

"No, no. It's fine. You can stay." Your gaze travels back to the glittering stars, as they watch over the both of you with distant admiration. "I'd like it if you stayed, actually."

So, Aki does.

He folds his hands in his lap, and falls into silence alongside you. Once again, you are no longer alone. He stays while you stare absently at the moon and the sky, continuing to think to yourself. He stays when the night seems to grow colder, the breeze nipping at your arms and the back of your neck, your eyes heavy, while your heart keeps thudding in your chest.

Finally, you let go of a small sigh in frustration. It doesn't go unnoticed; Aki's gaze flickers back to you. In the corner of your vision, you can see him eyeing you up and down, carefully considering, calmly examining.

"Are you alright?" He asks, far too gently. "It's pretty late for you to still be awake."

You shake your head. You glance down, focused on your hands and the shadowy blades of grass tickling your knees. "I can't sleep."

"Why's that? Are you cold?" Aki's brow raises as he notes your small shivers. "I can move, if you want to be by the fireplace. I'll sleep on the floor or something."

"I'm not that cold." You rub your goosebump-filled arms with your palms, somewhat contradicting your words. "I've just been thinking. Thinking too much, probably. That's all."

Aki quiets. He runs a hand through his hair to push it from his face, he idly taps his finger against his knee.

Suddenly, thinking becomes so much more difficult. It always is, whenever he's around. Yet, this is a welcome change. The night feels warmer with him near. His presence alone helps your mind find its footing. You can breathe, but you didn't need the night to teach you — you just needed him.

Foolish, isn't it?

A few moments tick by. Your thoughts drift to lighter subjects. Dreams and soft hopes. He waits for you to speak, never pressing, never pulling. And so, you do.

"I've always liked how bright the stars are out here," You murmur, almost talking to yourself, with your gaze still caught on the sparkling array in the sky. "They shine brighter where the forest is darkest. Almost like they know there's someone out there who might need them to light their way home."

On your first night alone, when you escaped from the kingdom, when you ran as deep into the forest as your tired legs could take you, with only some books in your pack and a demon-warding amulet around your neck, the stars were there. They lit your path through the trees and into the clearing. Hundreds upon thousands of steady glowing lights watched over you when you collapsed, and they made sure to look after your rest until morning.

Aki listens intently. He looks only at you. When you're content like this, staring at the sky, your pretty gaze seems to sparkle, too.

"They're gorgeous. It gets harder to see them the closer you get to the city," He says. "In the kingdom, we have this phrase about stars. It's quite famous. I'm pretty sure some poet came up with it a thousand odd years ago, and now people use it in stories and plays and such."

You turn towards him. "And that phrase is?"

"Per aspera ad astra." Aki pronounces each syllable perfectly and purposely, with a certain sense of wonder. "It means, 'through thorns, look to the stars.' But phrases in old tongue can honestly be interpreted in a thousand different ways."

"The stars will never stop watching over us, even through hardships." You give your own interpretation, while admiring those very same stars. "What a beautiful phrase."

He smiles. "Yeah. I thought you would like it."

Those stars and this moon watched over your family ages ago. They foresaw the very first mages, they looked upon their devastating downfall. No matter what future they might hold for you, their presence above your head will never change, they'll never waver.

They've been watching Aki, too. When you were younger, young enough to gaze up at the sky and dream of a brighter future, where was he? Learning to fight the devils you'd soon have to run from, pacing the halls of the castle you dreamt of visiting?

You take another deep, grounding breath, taking in the crisp night air, and you draw your knees up, getting more comfortable. Glancing at Aki, you see him intently looking at the sky, this time. For once, he isn't staring at you.

"Could you tell me another?"

Aki glances towards you with a hint of surprise. "Another phrase?"

You nod. "I didn't know the kingdom still spoke in old tongue. It's interesting."

Aki hums, considering. He holds his chin, his brows pinching as he thinks. Eventually, he continues, allowing you to hear his smooth voice once more — just as you wanted.

"Okay… let's see. Fortis fortuna adiuvat. 'Fortune favors the bold.' All the knights in training have to learn that one." He smirks, his eyes rolling slightly. The kingdom's chivalry must fail to impress him. "Devil hunters prefer morior invictus. Death over defeat."

"I think I've heard the first one." You pause to dwell on his words, before you turn back to him, eagerly questioning, "And what about the kingdom? Could you tell me more about it?"

Aki pauses. He breathes a small laugh. "I'm… not sure what you mean. What did you want to know? Just…" He shrugs. "Anything?"

"Yeah. Can you tell me what it's like?"

For a moment, he hesitates. He takes a deep, thoughtful breath. A soft, clearly excited smile forms on his features. He gazes at you like you're sparkling more than the sky.

"Well, I- I thought you might like the kingdom's gardens," He explains, a bit awkward and stuttery at first. "The castle's garden, especially. The front entrance is surrounded by huge weeping willow trees. Each path is decorated with every bright color of flower you can imagine. They flourish in the spring, and in autumn, the trees turn the richest gold hue. There's rose bushes, daffodils, tulips, orchids. Orchids are your favorite, aren't they?"

When you brought home a bundle of orchids, he watched as you carefully trimmed their stems to place them in a vase on the dining room table, and he listened as you explained how you've always found them beautiful. They're a symbol of elegance and grace, a common motif in your favorite poetry books. You've always admired them. Aki promised he'd remember.

You nod shyly. "That's right."

Aki smiles. He places his hands in his lap, slightly fiddling with his thumbs. The moon and stars form a bright halo above him, glittering down onto both of you. "I'm sure you'd find orchids in every shade. Or if you wanted some for yourself, I could buy them for you. Ah, you'd like walking through the town square, too. There's lots of flower vendors."

"Flower vendors?" You're scoffing, donning a grin of disbelief, "People are spending gold on flowers when there's thousands they could pick without emptying their pockets?"

"Well, they're usually selling flowers you can only get in certain regions. They grow them themselves," Aki explains matter-of-factly. "Besides, it's tradition. You're supposed to buy flowers as gifts. For your loved ones or your family or your partner. Something like that."

You try to ponder the implications, your mind and your heart stuck on his specific choice of words; your partner. Does Aki have a spouse? Perhaps there's someone he's already interested in. He's royalty, surely he has admirers. Or maybe, just maybe, offering to buy flowers for you meant something more — but Aki stands, pushing himself up and rising to his feet, instantly halting your surging train of thought.

"Wait-" You glance up at him swiftly. "You're leaving?"

"Only for a moment," He answers. Your expression softens. The rush of relief that fills you must be palpable.

Aki gestures towards the cottage. "I was going to get a blanket for us. Unless you'd prefer to go back inside?"

"Oh. No," You murmur in response, shaking your head. "No, it's fine."

He isn't gone for long. Aki brings one of the blankets he was using for his makeshift bed: a large, handmade quilt, messily sewn from different patches of fabric. Delightful warmth fills your body as he drapes the blanket around you, but for good measure, he shifts closer. Close enough to let the both of you share the blanket, close enough to have your legs brush and your shoulder press to his.

And as the night stretches on, Aki tells you about the kingdom. He details everything you would want to know, he provides illustrations for all of the fantasies you have wondered and dreamt about — the luxuries you wished you could afford. He makes all of them seem real.

It's late. You need to sleep, you know you'll be exhausted by the time tomorrow comes, and you're sure he knows this too. But you stay as you are. You don't want this moment to end.

For as long as the night allows, you live through what he shares with you, as though this life were different, and you were much more fortunate. Honestly, you are more fortunate than you've ever been to have this, to have him.

Aki describes the kingdom's beauty to you. Cobblestone pathways, ornate churches, bridges that overlook the entire city. The castle is placed upon a hill; you can spot its grandeur from miles away. A river runs through the city, providing canoes you can take, pooling into a beautiful sea with an abundance of fish to catch. The streets are always busy. There's merchants and performers, vendors and dancers. Nightly parties and fancy outings, and a life you could only ever dream of.

If Aki offered to take you, to show you, to give you such a life, you can't quite decide how you'd answer.

At some point, the descriptions he's painting for you blend together. The bustling depictions of the ferry port jumble with his explanation of the town's most famous grand library. Your head slips to his shoulder, and you're fading away. You can't remember the last thing you heard before you fell asleep.

Briefly, you wake up while Aki is carrying you inside, but you drift off once again the moment he places you into your bed, drawing the warm, comfy covers over you, and quietly closing your bedroom door behind him.

—

Days pass. Nights spent looking upon the stars together become more frequent.

After a while in your care, the injured scarlet songbird begins to show some positive signs. She's been leaving her bed on her own to hop around the living room, or to perch on the end of Aki's cot. Although her wing still seems weak, she's been trying to flap it, stretching and waving both wings in the air at every opportunity.

An excited Aki drags you into the cottage a few days later. You were in the clearing, tending to the garden, but you follow along when he begins tugging you by your arm.

The songbird flutters around the room, floating freely from the edge of the fireplace, to the kitchen counter, to the top of a sculpture-filled bookshelf.

Look, Aki says, exuberant. She's flying.

—

The flickering fire in front of you radiates steady, calming warmth. As you carefully tilt the small chunk of wood in your hands, your sleeves rolled up, a blanket in your lap to catch all the shavings, you can no longer feel the chill of the night.

An almost-full moon watches over your technique. Your eyes narrow in focus. Your thumb presses to the blunt side of your blade.

You've been working on this sculpture for a few days now; you have to be careful, you wouldn't want to make a mistake when you're so close to adding the finishing touches. This sculpture has to be perfect. After all, getting the chance to study a scarlet songbird up close is hardly an everyday occurrence.

Slowly and meticulously, you refine the head of the sculpture, smoothing out the bumps in the circular shape. The end of the head is spiked slightly, to form the shape of thin feathers. You've recently learned from your hours of study that songbirds have large, thick beaks, perfect for cracking open the shells of seeds. You curve your knife, and refine the simple shape of the beak into a dull, triangular point.

Aki sits across from you, one leg crossed over the other. The both of you have already finished dinner, and you now rest in the middle of the clearing, in front of the fire, sitting on some large fallen logs you dragged in from the forest. His hair remains the way it was this morning: tied back to keep stray strands out of his face. He leans backward, head tilted up as he gazes silently at the glittering sea of stars.

Normally, you would join him. You'd set your sculpture down to complete later, and you'd come to sit beside him, so the two of you could count the constellations together. But tonight, your mind is elsewhere. You're focused on the pounding of your heart and the movement of your hands, because tonight, Aki finally won.

There's a game the two of you have been playing, ever since the nights have begun to grow warmer.

To your surprise, when you brought up the idea, you learned Aki has never caught fireflies before. He's hardly ever seen them, he explains, outside of a handful of times when he was a kid.

They're useful to light up the kitchen, so you can clean up after taking your time at dinner. Most of the time though, you'll catch them in your palms, you'll place them into jars and admire the performance of their synchronized glow, just to watch them all fill the sky once you set them free. You showed Aki how he could catch them, his own hands mimicking the cupped shape of yours. And now, each night, you've been playfully competing to see who can catch more.

At first, it was to decide who would wash the plates and pans. When a few days went by with no success, Aki decided to raise the stakes. If he wins, he gets to ask you three questions, and you have to promise to answer.

You were confused. Perhaps even the slightest bit shocked. You silently mulled over his proposal as the two of you washed dishes together, a jar filled with ten busy fireflies on your side, and a jar holding just two of them on his side — both fireflies conversing, gently flickering their bulbs.

I won't ask anything too personal, I promise. And if I ever did, you wouldn't have to answer, Aki explained. His expression was soft and reassuring as he glanced up at you, while scrubbing some silverware with a worn-down rag. I feel I don't know much about you, is all. And I'd like to.

You aren't used to someone wanting to learn more about you, nor would you know precisely what you should tell them. What if you wind up saying too much? Or perhaps, you would only be able to tell him far too little?

No matter how foolish, some part of you believes it wants to tell him.

In all honesty, you weren't expecting much to come out of the deal you just agreed to. You believe him; Aki wouldn't ask anything out of the ordinary, he wouldn't press you, or put you in a situation you can't get out of. He also happens to be particularly awful at catching fireflies. He's never caught more than you, and with his lack of experience, you wouldn't expect him to — until tonight, of course.

Once you lit the firewood and a fire began to spark, you both sat down to compare how many you collected. You counted, and as the fireflies fluttered around, you recounted. Aki counted them as well before you set them free, just in case you were mistaken. He met your gaze with a sure, satisfied smile.

He caught one more than you.

Now, here you are. You wouldn't call this feeling worry. As you sit by the fire, busying yourself with your diligent work on your wood carving, your heart comes alive — with warmth that burns the chassis of your chest from the inside. You swear your fear has been swallowed by the flames, because this feeling is more like excitement, unwavering and true.

You have never revealed what lies beneath your surface, not ever before. Not to anyone but the starlight.

Gods, how you have waited for this.

"So," You begin, breaking the silence first. You drag your attention away from your wood carving, glancing up at Aki with an eyebrow raised, "What would you like to know?"

Aki finally looks away from the sky, and you try not to falter when his deep gaze meets yours. He flashes you a small smile. Then, he breathes a soft, obvious hmm, as if he's pretending you'd caught him off guard.

"Your name would be a good place to start."

Ah. After all this time, you still haven't told him. You consider the possibilities, nervously running your thumb over the grooved shape of the sculpture's unfinished wing. Your family name would be dangerous for him to know, of course. In any other circumstance, you'd consider giving him something fake, or possibly your middle name, since it'd be more difficult to trace. But this time, your first name is fine. If it's Aki who knows it, you have nothing to fear.

So, you answer. Aki grins, lacing his delicate, scarred hands together, and resting his elbows on his knees.

One question down, two more to go.

"A very pretty name. It suits you," He muses, in a tone smooth enough to make you shudder. His words feel like thick liquid gold, tingling in your veins and dripping down your back. "You already know mine. But perhaps there's something else you'd like to know about me?"

"I- I mean, maybe," You reply, trying and failing not to stutter. There's plenty of things you've been wanting to know, but nearly all of them you couldn't just say. You can't suddenly blurt out, Are you really royalty? as casually as he just asked for your name. "But I thought you were the one asking the questions. Not me."

"It'd be fair to let you ask some too. Right?"

Your fingers drum idly against the hilt of your knife.

"Okay, uhm…" You glance him up and down, trying to come up with something. Your gaze catches on the pointed ears sticking out from his hair; "You're an elf, aren't you? Is your family from the kingdom? I heard there weren't many elves there."

That was two questions in one, but Aki doesn't seem to mind.

"Half-elf," He corrects. The firelight dances in his eyes, forming fuzzy warmth in the edges of your vision. "My mother was an elf, and my father was human. My brother and I were both born and raised in the kingdom, as was my father. But my mother was considered an outsider. She left her village when she was twenty."

Was. Your eyes widen. Although you already had your hints and suspicions, you can't help but note his specific choice of words. Still, your gaze drifts back down to your sculpture. You glide your knife forwards to thin out the delicate shape of the long tail feathers, and you move along without mentioning it.

"Ah," You reply, nodding, "Sorry. You're a half-elf."

Aki cocks a brow. "You seem surprised."

Half-elves aren't exactly common, considering the tension that can still linger between both parties. Elves have always been known for discovering magic; their magic lineage leads some to distrust them. They're often blamed for past troubles. Humans are the ones revered for stopping them. A half-elf would surely face judgment from both sides.

You know what that feeling is like. Has Aki also felt like an outcast, did part of him gnaw from within, promising he would never find somewhere he truly belonged?

"I thought half-elves were a rarity," You reply quietly, "But I don't know, maybe I'm wrong." You give a heavy shrug of your shoulders. "It's been a while since I left the cottage."

If only he knew.

"That's alright," Aki answers calmly, folding his hands and placing them in his lap. "Half-elves are uncommon, but in recent times, not so much. The, uh," He clears his throat rather abruptly. "The old king and queen set a new precedent, I suppose."

You squint as his gaze meets yours, matching his coyness with curiosity and confusion.

The old king and queen. An elf and a human ruling together was unheard of, at the time.

Unfortunately, your memories of the kingdom are vague. When you were much, much younger, you heard many stories about the famous king and queen, your mother's embellished retellings filling your mind each night before bed. A few weeks before you fled the kingdom, you learned of their passing. The details weren't revealed to the public, you'd imagine. You suppose you were too young to know what was true and what was just a tale.

Before you can ask anything else, Aki is continuing, as he nervously drums a hand against his knee.

"A lot has changed in such a short time. Elves have always been welcome in the kingdom, but it's rare for people to judge them these days. The king and queen were very well remembered."

Then, he breathes a short laugh. He points to his ears, his star-shaped earrings sparkling when they catch the flames of the fire. "In some other places though, these ears have gotten me into an awful lot of trouble."

This, in fact, does not surprise you.

Your eyes roll playfully. Setting down your sculpture and your knife in favor of resting your chin in your hand, you shoot Aki a teasing glance. "Really? What kind of trouble?"

"Mmm, you know. The typical sentiments. Lots and lots of dirty looks. Whispers about magic and mages and the like. Most half-elves have smaller ears, but you can't exactly hide these." Aki taps his pointed ear, making his earring rustle. "I owe you many things- my life, for one. But I'm grateful you've never judged me, even when you saw what I was."

You shake your head and scoff, your jaw tightening, "Come on, you don't owe me anything. You needed help, that's all. So I provided."

You've told those words to yourself at least a thousand times. Oh, but it's so much more than that now, isn't it?

Aki sighs. "Gods, you're sweet, you know that?" He smiles, his gaze sparkling with saccharine sweetness. "You could have turned me away, you could have easily kept me at arm's length. But when I'm with you, I never feel anything less than welcomed."

Your heart stirs, thudding within your chest like a performer's drum, fluttering like the flap of a bird's wings, and warming your face until it feels hotter than the flames of the fire.

"Stop, you're just…" You rub your arm shyly while you glance down at your boots. "You're only saying that."

"I wouldn't say it if I didn't mean it," Aki answers softly. "There's good in you, more than most I've met these days."

Good? When was the last time anyone thought of you as good? Mages have never been regarded with anything but contempt, and you have embodied that fact for so, so long. It's become who you are. You have defined yourself as a witch, you've embodied the terrible things you've heard people say and do. You aren't allowed to be anything more than that. Your life isn't worth anything more.

Aki makes you think differently. He's reminded you of what you thought you couldn't have, he's made you think that you can be you — clipped wings soft, and outstretched.

You glance down once more at the sculpture. You hold it in your palms, and run your thumb over the details: the pointed beak, the smooth body, the small feet. Carefully, you take hold of your knife. Your eyes narrow as you guide the blade, adding faint notches to the bird's thin talons.

You sigh to yourself, your brows knotted in focus. "I'm sure not everyone you've met is terrible."

"You'd be surprised. A lot of towns are still pretty intolerant towards elves. Towards mages, in specific. Even if I explained I was there to help them, to fight devils for them, sometimes they'd simply refuse to listen." Aki huffs in frustration, leaning forwards, rubbing the tension from the joints in his fingers. "I felt lucky whenever they denied me entry. At least then, I wouldn't have to deal with them."

You can definitely sympathize. Quietly, you reply, "That sounds… unfair."

"It was. My mother often tried to rationalize it. 'Those people are afraid, Aki. They don't want to be hurt again.'"

His shoulders slump when he lets go of a weighty, built-up breath. His gaze has found itself drifting, first focused on the fire, and now stuck on his hands. "I understood that. I've known since I was young. It's just… you know." A choked bite finds its way into his tone. "Frustrating."

Frustrating is a light way to put it. You certainly, undoubtedly know. Aki doesn't realize how acquainted you are with that very same feeling of hopelessness.

He pauses, brows furrowed as he thinks, and you set your knife aside. Your fingers return to trace the curves of the nearly-complete sculpture.

When Aki speaks next, he's glancing back up at you. "Could I ask about your family? Or… is that…"

He trails off, but you know precisely where he's headed. It isn't too much, not if he's the one listening. You shake your head, glancing between him and your hands.

"No, it's alright," You reply, your voice weaker than intended. "There just isn't much to say. They've both been gone for… Gods, ages now. I wasn't as close with my father, but my mother was very important to me. Losing her was difficult."

Sadness lingers in your tone, along with something anxious, something uncertain. Aki watches your hands, fiddling uneasily with the small wood carving.

Like a quiet eclipse, there's meaning behind your words, a gentleness you prosper when you give Aki a knowing, pained glance. You know the pain he's felt. You've shared it once, perhaps without realizing.

When he speaks, his voice helps to ground you.

"I'm sorry. I understand. My mother and father are gone. I lost my younger brother with them. It's a terrible feeling."

You breathe deeply, steadying yourself.

No one knows about your family. You rarely even think about what happened, you prefer to move on rather than dig up old wounds; it's what you needed to do to survive. And yet, in the face of Aki's soft expression, his calm gaze meeting yours, the words seem to spill out before you can stop them — your breath catching, your hands clenching the sculpture tight.

"I lost them. And when I did, I… I lost everything," You're murmuring, your shoulders tense as you try not to shrink in on yourself. "I was alone for the longest time. I felt… afraid."

Aki's leg bounces. For a moment, as you glance up at him quickly, before avoiding his eyes to look down again, you think he might stand up. You wouldn't mind if he came to sit next to you. Against your better judgment, you might find yourself pulling him closer, latching onto his arm or dragging him into an embrace just to savor the way your heart would skip. Instead, he forces himself to still, his hands folded and his knuckles locked.

You sigh, and continue before he has a chance to speak. "Sorry. It's difficult to… to put everything into words. I'm not used to this. I haven't really… talked about it before. Not until now."

Aki glances you up and down, noting the discomfort in your posture. He swallows, and he leans back.

"Don't apologize," He says, his tone soft. "You're doing just fine. You don't have to speak if you don't want to."

As your reassured gaze catches on his own, he brushes a palm over the back of his neck, and hurries to fill the air with something other than the crackle of the fire and the chirp of crickets.

"My dad and I- my mother always said we were the same," He begins. The fire's flames wash over his face in faint orange hues. "Stubborn. Fearless. He was an adventurer when he was my age. The kind of man that never wanted to be stuck in one place. But when he married, he finally settled down. He was… a well-respected man. Many people disapproved of him marrying an elf."

You stay frozen in place, your eyes softening at the sound of his voice. He takes a deep breath, laughing a bit.

"You know, when I was young, I was one of those kids that never stopped to think before they spoke. Ardentis is what my mother used to say. It means… filled with fire. Impulsive. When I was ten, I asked my father why he would ever marry my mother, if it made things so difficult. Thank the Gods I said it when we were out on our own, visiting another province. I can't imagine how they would've scolded me if I said it in public."

Filled with fire. Aki always burns bright, but the outline of his soul — floating and flickering within your magic — feels cold, in comparison. Like pressing your palm to the smooth surface of a frozen lake. Like falling through to drown in deep, cool waters.

Aki can't look at you. "My father answered, when you love someone, you'll find a way to bend the world to fit their shape." He pauses. He clears his throat, his shoulders slack; he glances up at you, finally. "It was one of the last things I remember him telling me, so I guess it always stuck."

You listen in silence. Everything converges and stops, your entire world pinpointed on this singular moment. The songbird sculpture rests in your hands, your grip tightening, although your gaze is unable to tear away from his. The fire crackles gently, the wind brushes your skin like a kiss.

Leaning back, Aki crosses one leg over the other. "I'm onto my third question now. Right?"

"Yeah. Right."

And what of the shape of your own soul? Would his fit with yours? Would they press together like the softness of hands interlocked, or like the sting of a knife to your throat?

Aki flashes you a warm smile. "Which do you prefer? Sunrise, or sunset?"

—

Sunset was your answer.

You adore the beautiful hues the sun paints across the sky, dying light shining through the trees in desperate rays, only for everything to fade into the alluring darkness of the night. Sunsets mark new beginnings, before the sunrise returns to embrace them. Both are beautiful — and to be honest, you weren't sure which you preferred.

When Aki asked you that night, you put little thought into your answer. You've always had an appreciation for both, but you've never thought of picking a favorite. You pondered it for a moment, before simply choosing one, like flipping a coin, like relying on a hunch. Sunsets are your favorite.

The night was stretching on for a bit too long, and since the two of you still needed to get some sleep, you left it at that. Aki thanked you. He gave you a simple, you'll see, when you questioned where he might be going with this. You yawned, watching the fire flicker weakly, and decided it'd be best to call the night there.

You slept peacefully and dreamlessly. Busy with the chores of the coming day, you nearly forgot about the conversation and the night you shared — until Aki returned to surprise you.

He'd been out for a while. You had some cleaning to do around the cottage that day, and so he promised to tend to the garden while you finished everything you needed to. You cleaned your bedroom and the living room. You washed all of the blankets and linens, hanging them up on the line out front. When you glanced towards the garden, the sun high in the sky and a crisp breeze at your back, Aki was nowhere to be found.

At last, just before sundown, he returned — along with the scarlet songbird in tow. You set down the dish you were washing as he tossed open the door to greet you in the kitchen.

In just one day, the bird has made immense progress. She's been following me all day, Aki explained earlier this afternoon. The bird flew out of the cottage when he left, and proceeded to follow Aki into the garden, perching on his shoulder whenever she needed to rest.

The bird flutters back inside, settling in her makeshift nest, and Aki holds the front door open, gesturing for you to follow.

A faint pout forms on your lips, your brow raising, arms crossing. "You're letting all the warm air out."

Aki lets go of a half-laugh, half-sigh. His hair is tied up, his sleeves are rolled slightly, but his tunic is otherwise neat. If he'd been working out in the garden, usually he'd return with his shirt and his palms covered in dirt; he's cleaned himself up already, it seems.

"There's something I want to show you," Aki says simply, "It's a surprise."

You shift from foot to foot. "What about dinner?"

"I'll help you make something afterwards. It won't take long, I promise."

You give yourself only a moment more to consider.

Following close behind, you allow Aki to lead you behind the cottage, through the clearing, and into the edges of the forest. With the end of the day fast approaching, the air is cooling down; it nips at your arms and your neck with gentle, icy teeth. Your boots crunch on leaves and fallen branches. Shadows envelop the forest floor, the thick canopy above watching over you. A large hill rests just behind your cottage, and you spot it as the whispering trees start to thin.

"Aki," You murmur, staring at his back, your chilly hands shoved in your pockets. The hill is clearly where he's leading you to, but why? "How far is whatever you wanted to show me?"

"Not far. It's right here," He replies, turning around to face you, offering you a reassuring glance. "We're just heading up this hill. I scouted the area already, pretty sure the devils have no idea this spot exists. We'll be able to run back home if anything happens, okay?"

You come to a stop at the foot of the hill, and you glance down. You watch, as you delicately step over the line that forms your magic mushroom circle. The spell splinters, losing its shape, leaving your veins in a rush. Aki is already halfway up the hill, and you hurry close behind him, following him to the top — where the sky finally comes into full view.

The sight you're met with is brilliant.

From the very top of the hill, you can see the clearing and your cottage. You can feel the breeze rustling your clothing and floating through your hair, almost as if you could fly, if you had wings. You're surrounded by hues of bright orange and pink that color every inch of the sky, vivid shades pooling around the edges of the clouds. If you squint, you can just barely glance at the line where the sun meets the horizon, glowing brightly as it begins to dip into the endless line of trees. A fierce dot of radiant yellow, alighting everything it touches in the very same hue.

The wind tugs at your clothes. You place a palm on your forehead, shielding your eyes to look at the sky clearer. You remember climbing this hill when you first made your cottage, but Gods, you've never seen anything like this.

Aki walks further, guiding you to the furthest edge of the hill — and that's when you spot it. A large log placed for the both of you to sit on, with a few blankets draped across it, and a delicately-picked bundle of flowers placed on top.

"Oh- you-" You're talking without thinking, your breath caught in your throat, your eyes wide as you glance between him and the arrangement. Aki is smiling stupidly. He looks at you and then towards the horizon, as though he's still waiting for you to follow.

"You did all of this?" You sigh. "Aki, you didn't have to-"

"I know," Aki interrupts, soft and assured, far too tender. Of course he didn't have to, but this is what he wanted.

"Come here," He says, gesturing once more for you to follow. Your hands clutch the front of your shirt absently, but you trail close behind with unsteady steps. "Make yourself comfortable. Would you like a blanket?"

"I'm okay," You answer. You sit down on the log, awkwardly resting your hands in your lap. Aki swiftly sits down next to you, a foot or so of distance still kept in between.

You shake your head. "I'm not that cold."

"Alright. If you'd like one, just say the word."

Your heart pounds in your ears to a fervent melody. As you fiddle with your hands, you barely notice Aki reaching for the flowers that were resting on the other side of your homemade seat.

They're bundled delicately, stems secured by a thin piece of twine, tied into a messy attempt at a bow. Orchids. Exquisite white blooms, with petals splattered in shades of purple and pink. Your gaze catches on his, something unreadable but surely shy flashing in his expression. The sun's low light makes him look so warm. Aki's grip tightens on the stems, and he clears his throat quietly.

"I've wanted to show you this for far too long, now. And after you mentioned it yesterday, I thought this would be a good place to watch the sunset," He explains, his tone kept smooth, despite the unsureness to his movements as he sets the flowers in his lap. "Hold on-"

Aki chooses one of the smaller orchids. He pulls at the middle of the stem, breaking it off from the rest. Your gaze follows him, as he shifts closer, closing a few threads of distance between you. He reaches forwards, then up, tucking the flower behind your ear, his fingers brushing your jaw as he does so.

He smiles — a terribly soft, utterly lovesick smile. His fingertips linger on the side of your face for longer than they have to. He admires you, the wind pulling faintly at your hair, the flower's colorful bloom practically glowing in the vibrant light of the fading sun. You feel warm, down to your veins; you can hardly think, can't hear anything besides the pound of your own heart. Aki pulls away, his gaze still caught on you, and you find yourself missing the brush of his touch.

"You're so pretty." Aki breathes a low, calm breath. "Prettier than the sun."

Oh. In your vision, Aki seems to glow brightly, outlined by the blues and pinks of the sky. His unkempt bangs brush his eyes, his earrings twirling in the gentle wind. Your hands shake slightly when you take the bundle of flowers from him, your face feels warm — and he swears, more than the flowers, you seem to blossom. A smile crosses your features, fading into the faintest, most perfect laugh.

"You're ridiculous," You chide playfully, shaking your head. Holding the orchids in your lap, you brush your thumb over the soft petals of one of the blooms. You can feel the flower that rests behind your ear, tickling your face when the wind makes it rustle. "I can't believe you did all of this."

Aki hums, "It's nice though, isn't it? You can see the sky so clearly from here."

He's right. The moon is already visible — a thin crescent that plans to usher in the night to come. Crisp cool air fills your lungs with each breath, and as the sun dips lower, the horizon shimmers in fading shades of red. It's lovely on its own, but knowing Aki thought of you, planned this for you, has your mind in such a mess, you can hardly focus on the view.

Aki is no better. He rests his chin in his hand, his gaze on yours, his smile clumsy and endearing. The fading sun and the trees and the sky could never be as captivating as you.

You steal the smallest glance towards him, and when you see him still staring, your shoulders go slack with your light laughter. "You're not even watching…"

"Oh," Aki turns away, trying his hardest — and utterly failing — to hide his smile. "Yeah. I wasn't."

The sun blends into the distant sea of trees like butter melting on a skillet, and although he promised the opposite, Aki finds himself glancing at the sparkle in your gaze once more.

He rolls his shoulders backward. His voice sounds unsure when he speaks.

"I know this isn't much. But I hoped I could do something nice for you, to… I don't know." Aki sighs, struggling to put his words into place. "To thank you, for all the kindness you've shown me."

You glance towards him again, almost forming a rebuttal, but he promptly interrupts.

"And I know I didn't have to. None of this was necessary, I didn't have to do any of the things I've done. But you-" His hands are tense, and he squeezes his own fingers, trying to alleviate his growing tension. He seems so earnest, like his words are more than words, but shimmering stars simply begging to fall — "You deserve more than words could say. You're important. I thought this might be… something you'd find important, too."

Aki stalls, brushing his thumb over his own knuckles. You want to say so much, even though you're sure you shouldn't. Aki, it's lovely, this is beautiful. And this is so, so perfect. I can't remember the last time I felt so happy, if there was any time at all. But words come as stuck constellations whenever Aki has you like this; your heart skips, and you couldn't possibly pick out everything, you can only manage to utter some of them.

Your breathing wavers. "I'm important to you?"

Aki sighs, his gaze meeting yours. "You are everything to me."

Your heart thrums in your chest, iridescent in your throat, drumming firm against your ribs. You're speechless, for more than a few moments. The rest of the world — the shaking trees, the smoke billowing from your distant cottage, the dying sun — pleasantly fades away. Aki weakens, his expression soft and his voice gentle.

"And it's- it isn't just because you saved my life," He explains, "You are kind and thoughtful, and so, so special. There is so much I could tell you. Gods, every time I talk to you, the words- everything flows effortlessly. I've never felt that before. Not once."

Not once. Not with anyone. You shift, trying to catch your breath — trying not to let those words consume you.

Aki's hand rests at his side, mere inches away. His fingers nervously drum the rough wood.

"It's been a pleasure to share these days with you. To learn more about you, to talk and to just- to just be." He goes quiet, before he laughs, his gaze now focused on the distant view. You swear the lightest trace of pink dusts his face, his pointed ears. "You remember that word I taught you yesterday?"

You nod shallowly. "Ardentis." Your head tilts as you try to catch his wandering gaze again. "You aren't talking too much, though."

"Really?" Aki breathes a soft hum, almost in disbelief. "You did say you enjoyed the sound of my voice, once."

Once, and each time after. Your reply comes in the form of a slow, uneven breath, along with the subtle movement of your hand; until your pinky finger is able to brush his just slightly. Barely tender, nothing more than a faint touch, a silent promise. Still, you steady, savoring the feeling of him close to you, and melting in the heat of the thick, molten warmth inside your chest.

Glancing down, unable to face you, Aki hesitates for a fair stretch of time. You're barely able to catch the conflicted look on his features before he moves his hand away, like it'd been burned. His jaw clenches. Your hand craves more of his touch in his absence.

"That- that was too much, wasn't it?" His brows pinch, he almost sounds pained. "Maybe I should-"

He starts to stand, but you stop him halfway. You grab his hand and squeeze it tight — like the action is natural, like it isn't the first time you've tried this. His skin is soft, his palm is rough, his knuckles are ragged with crosshatches of scars. You refuse to let go, even as Aki follows your gaze, slowly sitting back down beside you.

"Don't go," You murmur simply. "Please."

Aki's expression goes terribly, dangerously soft. If you had planned to let go of him, if you hoped that your judgment could guide you and in the interest of caution, you would keep some distance — all of those ideas are rendered useless when he squeezes your hand back. Gentle yet firm, tight enough to make you think he never truly wanted to leave in the first place.

"Aki… I-" Oh, it's so much harder to talk when he's inches away, and when the only thing your mind and pounding heart can focus on is his hand in yours. His hand. You never want to let go. "There's so much I want to tell you, I just- I can't. I don't know if I ever can."

"You don't have to," Aki returns when you falter. "It's alright."

"I know, but I want to. I guess- I would miss you, if you left. So terribly. And-" You stop, sighing. Your bottom lip quivers, everything failing, converging, all of the feelings you shouldn't hold onto and the lies you've told; "I'm sorry."

Aki shakes his head, and softly coos, "You have nothing to apologize for."

You look away, glancing towards his hand in yours. Each inhale and exhale comes quick and sharp. The wind brushes the back of your neck, complimenting the heat that runs through your veins. Aki shifts. His hand is soft and warm, his palm is large, but his fingers are deft and delicate. When they lace with yours, fingers fitting perfectly between the gaps of your own, hands intertwining together, you can't help but wish they would forge. Like a stone statue. To always stay just like this.

"I would miss you more than you know," Aki admits, offering your hand a gentle squeeze. "The days have gone by so fast. It feels like I've hardly had a chance to savor them."

You nod. "I remember when we met. Like it was yesterday."

"Do you?" He smiles, exhaling with an ever-so slight laugh. It wasn't exactly the best introduction. "I was supposed to return to the kingdom that very same night. Ages ago, I should've been back. At every turn, I would tell myself… just a few more moments with you, and then I would leave. Just one more day. And now look at us."

"Oh," You glance back up at him. "Am I keeping you?"

"Of course not." Aki reaches up, and he doesn't hesitate to brush his free palm over your cheek, cupping it gently; the orchid's white petals tickle his fingertips. It takes everything within you not to lean into him. "It was my choice. Besides, I'm not going anywhere. Not without you."

The silence that begins to stretch between you is long and thick. Glowing in hues of orange through the darkening sky, you're illuminated by the almost-set sun. Aki's thumb caresses your cheek, and you give in; leaning close, you sigh, you press your hand over his to keep it there.

"If we went to the kingdom," You start; your gaze flickers up to meet his, your words trying not to tremor. "What would we do?"

Aki answers, his tone low, "Whatever you want to do."

"I'd like to visit the sea. And the town square. And the grand library."

"Then let me take you there." Aki's voice is full of conviction, laced with an intensity that strongly shudders through you, "I can show you everything you want to see. I won't leave your side, if that's what you want. We'll make things work- I'll do whatever it takes. I promise."

The impossible odds you've let define you seem meaningless when you let your gaze flicker across him, trying to put the pieces he's given you into place. Instead of the orange in the sky, the green in the trees, the red on the horizon and the red that has painted the back of your vision since you learned how to speak, you see in shades of blue. You dream of the ocean — white waves and rocky seas underneath your fingertips, as you lose yourself in the blue of his gaze.

In every romance book you've ever read, the novels you busied yourself with when you summoned them instead of something factual — sometimes on accident, but then, on purpose — this is when the two main leads would tilt closer. This is when the knight would caress the princess' cheek, whispering how fortunate he is to be together once more. His eyes would flutter shut before they kissed, lips desperately crashing together like sinking ships. Like this is the last time they ever would.

You almost grow lost in those daydreams. Almost. Almost is far too risky of a word, when it is the only thing that separates you from dragging Aki close, running your fingertips along his jaw, and forgetting all reason to press your lips to his.

Thankfully, Aki slowly pulls away. He brushes your cheek one last time, before he shifts back, letting go of your hand. Recognizing the both of you might've grown carried away, you don't attempt to reach out again. You place your hands in your lap, and look elsewhere to catch the final glimpses of the sun's vibrant edge.

You feel cold now. It'd be wise to return home soon, before the forest gets too dark to navigate. Aki seems to have the same idea. Yet, even as you glance back to him to watch him stand, you can't seem to convince your own legs to move.

"Come on," He gathers the blankets he'd brought and keeps them under his arm, before he reaches to you, offering you his hand once more. "We should head back."

Like a book snapping closed, fluttery pages pressed back together, the moment lingers, but fades. You take his outstretched hand, and allow him to guide you to your feet. You grab the bundle of orchids, holding them in front of you, staring down at the dainty, delicate petals.

"But-" You look up. "What about…?"

Aki continues once you trail off. "Don't answer. Just think about it, okay?" He drapes one of the blankets over your shoulders, carefully wrapping it around you. His gaze focuses on his hands as he ties the ends together to keep it in place. "About your choice, or about where you'd like to go first. Whichever comes easiest to you."

For now, you can ponder neither of those. When you head down the hill together, leaving the sky behind, all you can think of is how you were definitely, most certainly wrong.

Sunsets must be your favorite.

—

The scarlet songbird takes her leave a few days later.

Her wing has healed, and she's grown strong enough to fly wherever she pleases. After eating her fill of seeds and enjoying the warmth of the fireplace one last time, she patiently waited until morning, before she drifted out the front door and into the forest, her red wings disappearing amongst the trees. She didn't return, even once nightfall came. You're thankful. Her life will continue, as it was always meant to.

Tonight, Aki had promised to collect firewood and start the fire outside, so it'd be ready by the time you were finished with dinner. The cottage is quiet with the absence of his voice and the bird's chirping. The orchids he'd given you rest in a vase on the dining room table. You take your ladle, and continue to stir the warm, nearly complete pot of stew. Then, you reach up and into the cupboard, searching for the seasoning.

You ran out with the last meal you prepared, but you always keep some extra in the very back. Standing on your tiptoes, you fumble blindly, making the various jars clink together as you try to find what you're looking for.

You grab one, unsure if it's the jar you're after. When you set it on the counter, you unfortunately realize it isn't. This was where you were storing your last few shavings of white hazel.

The thin, white leaves have begun to crumble due to age. They're much less potent like this. They should be safer to handle, but a dosage of this size would be much less effective.

Gently, you pop the lid on the jar. A soft, thick scent wafts from the contents, before disappearing almost immediately. The leaves would need to be ingested to serve their purpose. And it would take all of them, most likely. You'd only have one chance.

If you touched them, infusing them with your magic, you could make their effects much stronger. All you would need to do then is dish out the bowls — one for him, and one for you — before dropping all of them into his dish, stirring for a moment until they dissolve. White hazel is tasteless. Besides, Aki never wastes your cooking.

You could make Aki forget all about you. About everything you've told him, and everything that's happened here. He'd forget your cottage, and each moment you shared; they'd all be lost on him. Meeting you, your gentle touches as you brought him back to life. Your late night talks, your days spent growing closer. Everything would be gone, even up to the bird, and that fateful, sunlit, all-too tender evening.

You sigh.

Grabbing the jar, you stroll over to the fireplace. You kneel down to dump all of the leaves into the flames. They crisp up in mere seconds, before they fade away into nothing but dust and ash.

The sea would be nice to visit first. It's the one thing you've always wanted to explore, more than anything else. The sea, and the castle. Briefly, you wonder if visiting the royal castle would actually be a genuine possibility. With the benefit of his royal status, Aki might be able to get you in — perhaps in a few months to a year, depending on when he can get the both of you a party reservation. Oh, but for a royal party, you'd have nothing to wear. Would the shops in town sell dresses?

Maybe you should save your first visit to the sea for a more special occasion. You wouldn't want to go without Aki. Would the harbor look more beautiful at night, with the lighthouses and boats casting glittering lights that rival the stars, or in the morning, when everyone is yet to wake, allowing you to hear nothing but the calm lull of the waves?

Or perhaps, you should see it at sunset.

[basiliomagnus]

This quote made me think, how do you think tastes and styles of cooking differ between the tribes? Each party member has their own style of food, but Eupha and maybe Heismay are the main ones who we could extrapolate things about their culture from.

I think that paripus food definitely uses the most spices. Rhoag food uses the least

oh im so glad at least one person asks me this i've been thinking like. too much about tribe culinary profiles lately

so to start a while ago i tried to group all the principalities into their climates and ecosystems right. aside from the fact roussainte are fuckin everywhere from what we know:

oceana has a healthy fishing business and is mostly woodland, through they have a small stretch of arid land from central euchronia

central euchronia is high in desert and (presumably) arid soils, though for the purpose of sustaining grand trad let's say that south euchronia contains fertile wetland

montario is extremely mountainous and cold BUT it also has that patch of thick forest though a lot of the fauna there are like. venomous and spit fire

virga island

so when i think about the food part of their cultures i tried to keep in mind where a majority of the tribes seem to be located and how that would have impacted their culinary development, assuming that the population has been relatively consistent since the annex war. there's also their individual values to consider (VERY LONG UNDER CUT)

clemar are like, white brits, so i think assuming they have similar food to irl england is a good starting place. thanks to central euchronia having the desert climate it does however i think mostly in oceana do they have fish as part of their meals and in grand trad its mostly a delicacy. a lot of local dishes that are made up of what can be found lying around, nothing too complex, but due to the nature of where grand trad Is i think they lack a lot of real "desserts" that aren't considered a luxury (sugar is expensive)

roussaintes NEED high protein meals to sustain the amount of physical work they do, so i think meat and leafy green vegetables are a staple in most dishes. lentils, tofu (soybeans are actually really protein dense), nuts, the like. roussainte in montario probably have a lot of spice in their meals for cold weather but to also manage their appetite during military work.

rhoag are a tricky case but hear me out: i feel like a lot of their food takes after other tribes due to how long they live. it's probably customary for a rhoag to wander around a lot in all the time they have to live, so a lot of what they cook ends up influenced by all the other tribes in different ways. as for methods i imagine that they focus on recipes that don't require much physical labor (spending most of your long life in your geriatric stage probably isn't great), so a lot of soups, pan fried stuff, grilling, etc. is probably shared around.

ishkia are almost 100% spice fiends, if you're like me and assume they have bird-like traits in a lot of places they probably have much higher spice tolerance than most other tribes, in addition to their climate requiring warmer meals. a lot of farmwork is probably done down in the lush forest area because mountain farming is historically a bitch and a lot of Brain Food can't be grown in the cold. heavy "brain food" presence in casual meals (fatty fish, coffee, collard greens). a lot of roots, mushrooms, and foragables that grow in cold climates (snowpeas, watercress, acorn, etc) at high altitudes are common, though this sounds horrible bc you cant really Get them anywhere else in euchronia.

nidia because of the Everything read to me as having a high dependence on magla-rich food and stuff that grows low to the ground. a lot of root vegetables (carrots, potatoes, turnips) and berries (straw, blue, the likes) that can be infused during the growing process. lot of emphasis on eye health on that note (leafy greens, citrus, probably raise a lot of chickens for eggs in their villages). theyre very fae folk inspired to me so i imagine a lot of their delicacies are an important part of their culture (muffins, candied flowers, tarts, yknow)

paripus probably take a lot after recession foods given their status and wide-spreadedness, a lot of cheap options like rice, beans, grains, fruits and meat dried. however i also see them as having a large amount of "leftovers" or "community" foods yknow? stuff like hunters stew or bread pudding or salads, generally stuff you can make with what's left over after a big meal and you can share with other people. i think they probably have a lot of "loose" recipes with easy replacements or things you can swap out if you don't have them.

eugief society is analogous to japanese culture if you look at the architectural styles of heismay's village and his clothing so they probably have a lot that's taken from there haha. fish, savory foods, big on spices and they probably invented some form of oil frying. i imagine that the area between oceana and euchronia is heavy in rice production due to the hot and humid climate, on that note

mustari are very analogous to southeast asian/pacific islander culture! lot of rice, game, seafood, emphasis on pairing sweet with salty or savory. i imagine a lot of steamed or roasted foods. mustari that came to the capital or montario probably ended up having to mix traditional styles with the ones present there, esp due to the lack of ingredients that were only capable of being found on the archipelago (side note: here's a nice article about this stuff that i found interesting)

as for elda theyre like. they remember shit from the old world. i know this probably just means they understand how to cook meat the best and get how to properly process certain foods with what cooking material but what if will came out and showed people how to make french fries. imagine