#jesus on the mainline

[rastronomicals]

8:01 PM EDT October 30, 2024:

Mississippi Fred McDowell - "Jesus On The Mainline" From the album Live at the Gaslight (October 24, 2000)

Last song scrobbled from iTunes at Last.fm

Recorded November 5, 1971 at the Gaslight Cafe in Greenwich Village, and originally simulcast over the Columbia University radio station, WKCR. Then released as a mono LP in 1972 as Live in New York, and retitled with extra tracks--including this one--in 2000.

[jt1674]

[slowtumbling]

Jesus Is on the Mainline

A Monday Monday Song I continue to master and upload songs from the live recording at the Nite Lite Community Meal October 2024. This is one of my favorites, a traditional gospel blues song that emphasizes the power of prayer and the constant presence of Jesus.

[eltristanexplicitcontent]

Krbi's Guitar - Mississippi Fred McDowell Jesus On The Mainline- bottlen...

[feastingonchrist]

Gosh i love learning about theology and Christian history/denominations sooo much! Redeemed Zoomer is not my favorite person to learn from...other than the very bare minimum about different denominations within Christianity, but his videos are fun to watch as a curious introduction into Christian churches, their theology and how they each do things differently. Whether some are in closer unity with one another Catholic, Orthodox, the mainline protestant churches or really not even at all, (other protestants), we are all united in Christ and believe the core doctrines of Christianity. I will also say that watching Zoomer's videos made me want to go back to church again!!! I joined my church on a curious whim just by stepping out in faith and it's so awesome to see how God has been working in that area of my life and faith journey! *btw this isn't a post about theology, i just wanted to say that cause i was watching/studying theology for most of the day. It has been fascinating me for the past year now. But this is a post on my experience at some Baptist churches vs my Methodist church.*

For the longest time, i didn't want to attend church because the only types of churches i had been to were Baptist (with a contemporary worship style) and i cannot connect to God during that worship style. I didn't even feel like i was apart of the congregation, either. The atmosphere felt very cold, though the people weren't rude. it's just not been a very inviting experience. It feels almost "corporate". I feel too distracted in that type of worship setting. The music is just too loud, the lights/projector screens are too bright/flashy, and i don't like contemporary worship music in church...something about it makes me want to claw my eyes out!!!!!!!! It's so whiny and goes on for way too long. I actually don't mind some contemporary songs if they have good lyrics and music. I just don't enjoy it for a Sunday morning church service, it's not bad for a casual Wednesday night or Sunday night service. It's too overstimulating on top of the loud instruments playing over the songs on the loud speakers. I do prefer a traditional worship service, but that is just me. It's much more grounded and God-centered. The congregation feels more united, too. I like how we say the Creed & Lord's Prayer together. Something about the worship style/environment is so simple, yet profound and pure (it's hard to put my thoughts and feelings into words here.) There's no distractions on stage or any loud instruments that are so unbearable to where i want to leave the sanctuary and never come back to the church because i am legitimately overstimulated and exhausted for the rest of the day...I feel refreshed spiritually, socially, and physically after church on Sundays. That is a HUGE BLESSING. I also like how my church isn't massive and everyone knows each other, it has a genuinely friendly and warm environment that i have never been apart of before. That's the church environment i prefer to be in and what i had been praying for for so long. Now that i am here, i long to attend church on Sundays and i didn't know how much i was lacking spiritually (me taking steps of faith and seeing God show up for me) and even socially (forming new relationships with other believers!) My church isn't even THAT traditional/liturgical, it's kinda in the middle, though it's lower church compared to other UMC/mainline protestant churches, yet still higher than non mainline prot churches. Especially since my UMC church split and joined the GMC and some theology nerds are mad about that and yeah i guess technically we aren't considered mainline anymore, but i don't really care. Maybe one day we can unite again... btw, our church checks still say united methodist on them LOL. I do, however, want to visit a truly high UMC service one day to see what that is like. I'm sure it's wonderful :)

Anyways, this is where i'm drawing the line on this conversation. I didn't write any of this to bash other forms of worship or to brag about mine. trust me, i have been apart of these types of conversations before, i see it all the time. Especially the Catholic/Orthodox vs protestant arguments. They make me sad and seeing that constantly is beyond frustrating! But i just wanted to write this based off of my own experiences in these two different types of church settings. Let me know your thoughts if you have gotten this far! I am not at all an expert on theology/church history. I know next to nothing about it cause i never knew there was this much richness and infighting within The Church or all this history in how the denominations formed and why, etc. It's so cool, though! A huge interest for me now, too. I decided not to do too much format editing cause i wasn't sure where to break anything up into paragraphs, nor did i want to make this post longer so i do apologize for that. I kinda didn't feel like it, either. Normally, i do though. So i'm soory fot those on mobile, lol!

[liferetainsitssparkle]

i like catholic horror obviously but it's hard to tell at a glance what's like, expatriate catholic horror and what's through-god-all-things-are-possible . and in a lot of ways this doesn't matter. and in others the nun 2

[infamousbrad]

I warned you.

About 15 years ago, I had a minor moment of Internet fame when I wrote a lengthy essay series on LiveJournal called "Christians in the Hand of an Angry God." In it, I argued that right-wing evangelical "Christianity" was literally Satanic by scriptural standards, was literally the cult of anti-Christ that Jesus prophesied in Matthew 25:31-46, that they were literally worshiping a made-up guy with the same name to justify cruelty, just like Jesus predicted they would the week before the crucifixion.

And at least half of the people who read it and praised it called it excellent satire. They saw my point, thought I was onto something, but couldn't take seriously that I literally meant what I literally said.

"Do not commit the sin of empathy."

Jesus' prophesy that these people were coming was not especially miraculous, in hindsight. No philosophy or theological movement becomes a large organized church, let alone a majority faith of a nation, without needing rich people's money, and/or government funding, to pay for it all.

And rich people in general, and right-wing governments in general, get to be the way they are by believing that the poor and the down-trodden can never be shown anything but cruelty, should never be rewarded, or else they'll lose all motivation to obey, to work hard, to be good. (By contrast, they believe that the same thing would happen to rich, powerful, popular people if they were ever punished in any way, if they were ever anything but rewarded.)

And rich people and governments are not going to subsidize your church foundation funds, your church repair funds, et cetera if you tell them that they're evil. But someone definitely will come along and offer to take that money. The people who take that money and conform won't even all be lying psychopaths; if you truly believe that your organization matters, is doing irreplaceable good in the world, you'll sacrifice any principle of your faith to keep the bills paid, you'll look away from or excuse any sin. It's that or see it all shrink and crumble into irrelevance.

I've come to the conclusion that it may not actually be possible to be a good person while practicing the majority faith of the land you live in. Or, if it is possible, well, like the man said, "straight is the gate and narrow is the way, and few there be that find it."

The Episcopal Church has its own legacy of sin, they've long overlooked a laundry list of crimes to pay their own bills, so don't rush to congratulate a mainline bishop for preaching mainline Christianity or take too much pleasure from Trump and his fascist followers being surprised that that happened. But do remember this:

From the mid-1970s to the present, right-wing billionaires have poured a LOT of money into church expansion and maintenance conditional on them distorting the Bible's teachings to make it appear that Jesus was pro-fascist. "To deceive, if it were possible, the very elect." So when honest theologians tell you that this is literally anti-Christ, literally checks every box in the Bible's description of the future cult of anti-Christ, you need to hear us.

The modern book and movie image of "the Antichrist" was a well-funded propaganda campaign to distract you from the plain language of the scriptures. The biblical anti-Christ is not some socialist liberal peacenik. The biblical anti-Christ is everyone who tells you that Jesus wants you to be cruel to "the least of these, my brethren" so that they'll straighten up and fly right.

[loganhaters]

one thing is we will be back if he (logan) is unbearable in the finale when it comes out in 2025 . and he will be so we will be back then

[comradeocean]

"I have found myself talking out loud to you, hoping you can hear me" is a bonkers way for a celebrity to begin a public memorial statement less than 24 hrs after the death happened by someone who has possibly not personally spoken to the dead person in question for almost ten years. I cannot stop thinking about it.

In 2013, Channel 4 did a documentary called Crazy About One Direction that featured a number of high octane waaaay out there fans. I think the band was asked about it during an interview; Louis and the others basically disavowed it, saying it was an unfair representation of girls who like One Direction and the fanbase in general. He wasn't being totally selfless in sticking up for the fans, because some of those girls were profoundly sad and lonely, maybe unwell. And if your mission is to be marketed as a fun-loving carefree boyband, the last thing you'd want to be associated with are young, maladjusted, friendless girls.

Anyway, at one point, one of the girls interviewed says:

Twitter is like a prayer place. When you go to a prayer place, you feel like you’re connected to God. So when you’re on twitter, you feel like you’re connected to 1D. You just have hope. [audio description alt-text: an image of Louis as Jesus Christ]

Zayn is also the only one of the boys to have crossposted his message to twitter.

The thing about One Direction being an accident, sure, a manufactured accident, but an accident nonetheless, is that they were guileless going in, and it showed. I've been mainlining old videos this week, trying to compare those early xfactor days with their contemporaries who were trying to break out around the same time. With everyone else, it was always a band full of Liams: intensely driven little freaks. Sorry, freak is maybe too mean a word to describe that particular mix of hunger and desperation to be accomplished, to be famous, and at the bottom of it all: to be liked. There's been a conscious shaping of the persona in service of those goals: they've learned to dance, to perform, to give pitches, soundbites, hit camera marks on cue. Most of them were also older, in their early to mid twenties. It's not inconceivable to imagine such a trajectory for the most diehard theatre kid you knew from school who decided after uni or whatever ~ to follow their dreams ~. That was the more typical boyband background. (not Liam though. lad was fourteen. he was closer to another subspecies of the genus: the child star)

And 1D in contrast were unpracticed, unstudied, as Zayn put it in that slightly off-kilter way of his (which I always imagine to be indicative of a disjunction between the vocabulary one encounters in school and what everyone around them is used to speaking), "novice children."

Like, truly, they did not give a fuck cos it hadn't yet occurred to them they were supposed to. Liam aside, industry norms were a complete mystery to them, and for many years, they managed to inhabit that sweet spot of flippancy without contempt, whether it was about the project, themselves, or their audience. Liam tells the story about being the go-between for xfactor stylists and the boys and getting into so much trouble on their behalf for wearing human-sized babygrows during a video diary. "Because Westlife would never wear those." [The punchline he then delivers is that Westlife members were pictured wearing onesies soon after. (quite possibly due to how viral anything 1D-related got)]

The boys were so immature. The whole boyband thing had fallen into their laps. They were just happy to be there! This thing that they didn't even know they wanted, they somehow got, and it took the shape of four other boys in exactly the same situation. It comes across very strongly how taken they were with themselves and each other. Find yourself a guy who looks at you the way blah Larry Stylinson blah blah Ziam blah blah blah. Never mind that cos they were all actually so hyped with each other. Any time any of them says anything remotely clever, or funny, or notable, the rest of them lose their shit like they're in on the same hilarious joke. Even if there was no actual joke. Their entire existence at that point was the joke bc how on earth had they landed from where they'd been — small deadend towns hollowing out from deindustrialization — to where they ended up — the xfactor house headed for the very top about to win it all, in the way they did — saved from bootcamp elimination at the last minute, with who they did — four other working class boys they would have never been friends with in another life. It must have been a high like a kind of limerence, like finding long lost family members on the exact same wavelength, like love.

And that was the other key thing about the stratospheric rise of One Direction. We didn't love One Direction only because we loved this or that member. We loved them because they loved each other, because they loved themselves, because they loved us. And they used the internet to show it.

In 2010, mass social media platforms were in their nascence, which is to say, the exploration of how to be a person, with other people, online, at a broad level not limited to specific subcultures, was in its nascence. For many years now, given the levels of extreme over-exposure, the dominant mood has become the mortifying ordeal of being perceived and so on. We've somehow all adopted mini-celebrity mindsets of our own, weary of being exposed to the maw of an unseen public. To be known is to be surveilled.

But the boys individually and at the collective level invited surveillance back then. Because the inverse — to be surveilled is to be known — seemed more relevant for that moment, at the beginning. They made a point of living their newfound lives at least partially online.

They were constantly on twitter, they livestreamed with a dedication that rivaled x-factor video producers, and none more so than Liam. It was already reality tv, this was just the next bleeding edge of "real": the unfiltered, unedited, direct sharing of yourself and what you loved in the last days of the old free-as-in-freedom internet.

When they said, over and over again, that it was all about the fans, it was meant in a very literal sense. Social media and the reality it created produced a feedback loop between the love they had for each other and the band, and the love we had for them, until it was inseparable: their relationships, our relationships, the process itself. Parasociality as it is currently manifested might have found its first mass expression through One Direction.

In separate interviews from This is Us (2013) deleted scenes, Liam and Louis say that Zayn wears his heart on his sleeve. Yet within the best-friends-slash-brothers-for-life schema cultivated as the One Direction vibe, he did not seem necessarily exceptional in his frequent declarations of love and fellow-feeling for various band mates. What he did ultimately end up doing was pulling the trigger on the contractual form their relationships were bound within, such that the I-love-you's inevitably passed from unpracticed to rote to a mandatory matter of their livelihoods. Someone had to be the first to explicitly and consciously decide that this "love" was no longer something they could continue participating in.

From the same set of deleted interview, in a somewhat fitting twist of symmetry, Louis and Zayn go on and on (much longer than Niall or Harry) about how Liam had been the serious and sensible one, but they've managed to corrupt him a little. It makes sense to assume that Zayn is referring to the band in general, but one can also read it to mean the two of them specifically, being the eldest, and their meta-cognition of the terms and conditions imposed by One Direction as a phenomenon.

The love the members of One Direction had for each other and the band and the fans was undeniably "real." The making of that "realness" was conditioned by the x factor throwing together four boys who had very little reference for what the fuck they had gotten themselves into, and Liam. Liam was the intermediary. He was already a creature twisted up and contorting, trying his level best to wedge himself into whatever spaces there could be found in the juggernaut of the entertainment industry. His neuroses and anxieties made the rest of One Direction possible, made One Direction "real" and "not like the other boybands" because that DNA, that what-not-to-do instruction manual could just be crammed into him, and the rest of them could be let loose into the world, unburdened by expectation, free to not give a fuck.

Louis and Zayn's raw, unpolished, typo-ridden letters were the most direct and irrefutable way they knew to swear fidelity to the boy they knew, the band they built, and the lives they lived together. The unfathomable ether of the internet, of the fans, of the massed publics seen and unseen made them, it destroyed their senses of self in ways they could weather until they couldn't, and it's into this ether they send their words, their grief, something real of themselves. Because in the universe of One Direction, this is the orthopraxis by which one proclaims one's faith and one's hopes. This is the prayer place that transcends distance, time, even death. This is how their brother could somehow, some way, still feel their love.

[rastronomicals]

9:02 AM EDT August 23, 2024:

Mississippi Fred McDowell - "Jesus On The Mainline" From the album Live at the Gaslight (October 24, 2000)

Last song scrobbled from iTunes at Last.fm

Recorded November 5, 1971 at the Gaslight Cafe in Greenwich Village, and originally simulcast over the Columbia University radio station, WKCR. Then released as a mono LP in 1972 as Live in New York, and retitled with extra tracks--including this one--in 2000.

[violent138]

Personally, I think it would be hilarious if due to universe hopping shenanigans or some kind of device the mainline DCU Bruce got a look at Injustice and got both grimly satisfied that he's in the right for his contingencies and very depressed about what he saw. He also gets pretty bent about preventing it or changing it.

Bruce: "Clark, are you and Lois planning on having kids?"

Clark, sighing deeply: "You sound like my mother. I don't know if it's even possible Bruce."

Bruce: "It's possible. Well?"

Clark: "I don't know how you know that but I don't know, we talk about it I guess-- why are you asking me?"

Bruce: "If you guys do conceive I'd love to offer the Batcave as a place you can stay until the baby is--"

Clark, choking on his drink:

Or

Bruce: "We need to stop the Joker from ever breaking out of Arkham again."

Stephanie, beating Cass in battleships: "Oh that's what we've been doing wrong. Silly me, I thought we wanted him out and about."

Jason: "I have a way--"

Bruce: "Something other than that. C14, Cass." *ignoring Stephanie's outrage* "Focus."

Jason: "Okay so new plan, we hire Deathstroke to kill Joker--"

Bruce: "No."

Dick: "We Cask of Amontillado him." *high fives Jason*

Bruce: "He'd escape somehow and we'd never know about it."

Tim, holding an icepack to his jaw post wisdom teeth removal: "We put the Joker in a medically induced coma."

Stephanie: "Jesus, okay Tim."

Cass: "We assign one of us to permanently dedicate their entire lives to only watching Joker."

Bruce, frowning as he realizes all the kids have a finger on their nose: "No."

Duke, finger still there: "You're just a sore loser. We could try and cure the guy."

Batfam:

Duke: "You guys are just lazy, I'll crack it."

Damian: "We could ask Grandfather for advice."

Babs: "I can guess what it's going to be."

Bruce:

Bruce: "I'm moving Clark and Lois in here."

Dick: "Say what now?"

Bruce: "It's for the best."

Dick: *texting Clark a warning*

[slowtumbling]

NEW Song Release - Jesus Is on the Mainline (traditional)

A Monday Monday Song At the most recent Thirsty? coffeehouse 4.25.24, 2orMore performed a number 9f traditional gospel and folk songs. This is a recording of  Jesus is on the Mainline. Vocals and harmonies by Rachel Miller. Guitar, vocals, and blues harp by KMLS. Listen to Jesus Is On The Mainline by KMLS on #SoundCloudhttps://on.soundcloud.com/1T8NV

[campbyler]

are we ever going to get a little bit of silly (very silly!! the silliest!!!!! nothing problematic or toxic or anything like that!!!! jesus) jealous mike perhaps? hehehehe🤭🫣🤭🫣🤭🫣 this is just me being curious by the way, if thats not happening or if this is spoilery in any way, then its fine to say no or to not answer, just trying my luck (if i have any) here!! hope y'all are doing great and thanks for all the hard work ❤️❤️

i would say you are probably not going to see any jealous mike within the mainline acswy fic, buuuuuuut. you might see him grace a local ao3 near you very soon 😌

[unbidden-yidden-deactivated20240]

Okay I'm curious: I've seen a lot of Christians use/refer to the phrase "hosanna in the highest!" which is used in the New Testament and I've frequently heard it pronounced "hoh-ZAHN-ah". However, it's a much older liturgical phrase in Hebrew and definitely not pronounced like that. I want to know: (1) were you taught the actual meaning of this word by your community/do you know what it actually means without googling it, (2) what variety of Christian are you, and (3) if, after googling it, were you correct?

Sorry fellow yidden and other non-Christians; this poll is specific to people who identify as Christian and/or who were raised as such. (Edit: gerim who were raised Christian can vote, but you have to base it off of what you were taught as a Christian, not what you know now.)

Christians who answer: if you googled this after voting yes and were taught wrong about it, please let me know in the notes.

(If you're wondering if you "count" as Christian or having been raised as such, for these purposes I would say interpret it broadly to include anyone who views Jesus as the messiah and grew up reading the New Testament as part of your bible.)

[liedownquisition]

"WFA is a bad way to get into comics"

WFA is easily accessible and free to read (for the most part) and doesn't require decades of comics history to understand.

YES IT FLATTENS THE CHARACTERS. YES IT'S GIGGLY HOO-HAH FOR THE FUNNIES. YES IT'S A BAD PRIMARY SOURCE TO BASE EVERYONE'S PERSONALITIES OFF OF IN THE LONG RUN. BUT ALSO: ANY WAY THAT GETS YOU INTO COMICS IS A GOOD WAY TO GET INTO COMICS.

Jesus fucking christ you people sound like gamer elitists. "Phone games aren't real games" "minecraft, stardew, animal crossing, and other sim games aren't real gaming" or like those gatekeeping music fans "people who only listen to this band's one album aren't REAL fans."

Look, if reading the silly little webcomic makes you interested in the characters and you decide to read more and delve in, then it's a GREAT way to start to "get into" comics, even if it's not remotely canon! Just like the cartoons are a great way to start even when they're non canon or flatten characters or remove certain iterations from continuity entirely (gestures at the older DCAU that mashed Tim & Jason together also Barry & Wally)

You should also consider that the ages of the target audience as to why characters are portrayed a certain way. WFA is rated Teen

Besides, it's a DC-licensed product. Whether you like it or not it is OFFICIAL content, even if it's not mainline canon.

[danganronpasurvivoraskblog]

Dangancember 2024 - Danganronpa Top 24 Class Trials: Number 23 Danganronpa V3 Case 6

//Oh Jesus...

//Now, let me just make one thing clear with this one. I actually don't dislike V3's ending with a burning passion. I definitely don't LIKE like it, but after sitting on it for a while, some of the twists and events of the trial are...pretty good actually, and really show what Danganronpa V3 is all about.

//So I don't tend to agree with the lavish hate that this trial gets.

//HOWEVER, with all that being said, I DO agree that this is by far the worst ending in the entire franchise. And yes, that includes both the Another games, Ultra Despair Girls, AND DR3.

//Which...Actually, to their credit, despite having a very iffy runtime for me, all of those examples had actually pretty killer endings that I really enjoyed.

//But yeah, I mean...V3's final trial and the whole thing that happens in it is just so fucking infamous. And for all very valid reasons. So...without further ado, let's talk about it for the umpteenth time.

//In case I already didn't make it clear, describing Danganronpa V3's final trial and ending as "controversial" among its audience...honestly doesn't do the full scope of the situation justice.

//It's very hard to come by someone who has played V3 and is a fan of Danganronpa who probably doesn't have more mixed feelings about a single segment of a video game.

//And honestly, I'm not sure if I should talk about the good things, or the bad things first; because again, divisive implies that it kind of balances out.

//I think I'll focus on the stuff I don't like, because that's the main crux of the argument that explains this trial's placement.

//Something I've always noticed is that when you look at the ending trials for all three mainline Danganronpa games, you notice that all three of them suffer from very similar issues. Those issues being the ridiculousness of the events, the sheer length, and the fact that they are just incredibly blatant plot dumps that try to scramble every bit of the established lore together in one uncomfortable package. And the reason why DRV3 is the worst of the endings is because it does all three of these at MAXIMAM VELOCIPY.

//(I spelt that wrong on purpose by the way.)

//In the Danganronpa series, it has become widely recognized that the trials progressively increase in length with each installment. I kinda see this as a good thing, as it contributes to the franchise’s appeal, because longer trials mean more intricate mysteries, additional plot points, and unexpected twists.

//The final trial in Danganronpa V3, however, takes this idea to the extreme, likely in recognition of its status as the series' concluding chapter. It goes all out, lasting, at minimum, 4 to 5 hours.

//And unlike the ending trials of 1 and 2, that ridiculous length of time is filled up by basically random bullshit. Some sections are highly innovative, like the segments where players must intentionally fail certain minigames to progress as a means of rejecting hope in confrontations with Tsumugi. However, other parts can be frustrating, and just...packed with pointless dialogue.

//For example, the whole segment where they kind of bring up the fact that Kaede had a twin sister as a red herring? Pointless.

//I mean, I take advantage of that fact later, but generally why was this even a plot point to begin with? It's so weird, and nothing comes of it.

//There's also the strangely unfomfortable spike in difficulty, and the fact that fluctuates VERY often.

//The trial features a mix of straightforward puzzles and extremely challenging minigames, some of which rival the difficulty of Danganronpa 2’s notoriously tough (and ridiculously fucking stupid) "Improved Hangman’s Gambit." These difficulty spikes, combined with long stretches of dialogue between minigames,don't do anything for this trial other than cause a pacing imbalance.

//How about the actual culprits though? Well, they are equally as divisive.

//This is, unfortunately, the only moment in Danganronpa V3 where Monokuma gets to show himself off to be the same bad bitch bear he was in the original game, and the Monokubs don't stick around long enough to be an issue to him. And unlike the first two games, he sticks around for the entire trial.

//But then he's coupled...with Tsumugi...

//And all my homies HATE...TSUMUGI...

//Okay, to be fair, Tsumugi is one of the most fun characters to write for Survivor, but I feel the need to point out that a large part of her character arc is that it involves her desperately trying to take up the mantle of the Ultimate Despair, and be on the same level as a criminal and terrorist Mastermind as Junko.

//And the reason I even have leeway for this type of character building for her is because there isn't just room for character development and improvement with her. There's FAR TOO MUCH of it.

//Tsumugi isn't just the least compelling masterminds in the series, but one of the least compelling characters IN GENERAL. And even after she IS revealed to be the big bad, she somehow remains the incredibly blank and boring character that she was for most of V3's run time.

//Junko, Monaca, and even Nagito as something of a pseudo-Mastermind were all batshit crazy and demonic to the core, but it's important to point out that they all have REASONS driving their evil acts, as psychopathic and evil some of them were. But Tsumugi lacks any sort of personal motive, and relies on her role as an avatar for the audience’s desires. The general passivity compared to other masterminds makes her insanely underwhelming.

//Speaking of which, if I may be allowed to go on a bit of a tangent here; the way that Tsumugi is outed as the Mastermind is kind of controversial in and of itself for me.

//By which I mean it's discovered that what actually happened at the beginning of the game is that Kaede's trap to kill the mastermind failed to kill Rantaro. But because of the first blood perk that meant the students would all die if no one was murdered, it meant that time was running short, and in the heat of the moment, Tsumugi got a second shotput ball, killed Rantaro with it, and used her authority as the Mastermind to frame Kaede for the crime anyway.

//Which all feels like unnecessary bullshit if I'm being honest.

//Case 1 and the twist that Kaede was the actual killer was great; and her subsequent execution is one of the most emotionally impactful moments in V3, because it it sends her off as a tragic, morally gray protagonist who was willing to kill for the greater good. Hence the reason why she's my favourite character in the series.

//However, the revelation here retroactively strips her of agency, making her a victim of Tsumugi's manipulation rather than someone who took a flawed, bold step to save her friends.

//This twist also diminishes Kaede's character arc. Her determination and selflessness, even if her actions were misguided, is largely the reason why she manages to be such a spectacular character despite her short runtime. By revealing that she was framed, the story shifts her role from an active participant to a passive victim, which feels like a betrayal of her established personality and the unique premise of her narrative.

//Additionally, the reveal is poorly foreshadowed, and feels like a contrived attempt to shock the audience, and a desperate attempt to redeem Kaede, rather than a natural development. The explanation relies heavily on Tsumugi’s ability to perfectly execute a plan without leaving meaningful clues for the detectives, which feels inconsistent with the game's emphasis on logical deduction, and inconsistent with her being an absolute dumbass every other time, even AFTER her Mastermind reveal. As a result, the twist feels less like a clever subversion and more like an unfair rewrite of the story's emotional stakes.

//All in all, Tsumugi's character feels less developed than those who came before her, and it feels like the emphasis on her being a "cosplayer of fiction" was little more than a bad excuse to avoid giving her any type of depth or a unique personality.

//She's just plain. And she stays plain even when she's revealed to be the main villain.

//Also, this is a comment that's gonna get me smited by everybody, but fuck it, I refuse to hide how I truly feel: Keebo is equally as dogshit.

//Keebo is such a NOTHING character, and I don't understand why he has such a massive fanbase. This is supposed to be him at his best, and his whole point is that he's the one who has to stick it to Tsumugi, but he fails to do even that.

//There's a tiny segment of this trial where we get to play as Himiko and Maki, and a large segment where we get to play as Keebo, and BOTH are UTTERLY POINTLESS, even though they are kind of cool.

//Keebo's actions during this trial when you play as him are a clear homage and cliche to the series' origins, where he is constantly encouraging everyone that they should never give up since the game isn't over yet. But this is effortlessly shut down when Tsumugi abruptly informs him that she WROTE his character that way, and it's exactly what she wanted him to say, as well as the fact that he unknowingly served as the audiences eyes and ears for the game. Thus Keebo's one single moment to shine in this entire game is ultimately futile.

//What was the fucking point of even that?

//So between the dogshit gameplay, and the dogshit Mastermind behind everything, this case is already bad enough. But sad as it is to say, we have to talk about the elephant in the room. Something that I believe is always a make-or-break for the final trials, and that's the Ultimate plot twist that it entails. Usually a big reveal of some sort.

Game 1: The world outside the academy has been basically destroyed.

Game 2: Jabberwock Island is a virtual simulation, and the students in Class 77 are the brainwashed Ultimate Despair terrorists who aided Junko in the Tragedy. Hajime is also Izuru Kamukura, a talentless boy who was experimented on by Hope's Peak Academy against his knowledge.

Another 1: Similar to Game 2. Yuki is revealed to be the true Mastermind behind the Killing Game, and his real identity is Utsuro, the boy with the power of Divine Luck that reshapes reality in his favor.

Another 2: Sora isn't real, is actually an AI based on Akane Taira, is the one who really has the Divine Luck Mikado seeks, and she is left behind as the virtual world is erased.

//I'm not gonna dance about it any longer than I have to, we all know the twist of V3, and we all know it's kind of bullshit.

//The case reveals that the events of Danganronpa V3 are part of a fictional reality show within the game’s universe. The students' lives and personalities were fabricated, their memories manipulated, and the killing game broadcasted for entertainment.

//V3 is actually the 53rd entry of the Danganronpa franchise, with the V in V3 actually being the roman numeral for 5. And Tsumugi directly references the previous Danganronpa games, framing them as part of the same fictional reality show franchise.

//This retroactively positions Danganronpa V3 as a reboot rather than a continuation, suggesting that the events of earlier games may not matter either.

//And the final trial frequently breaks the fourth wall, addressing the player directly and critiquing their role as consumers of violent, despair-filled entertainment. Tsumugi frames the killing game as something the audience demands, effectively blaming players for perpetuating the cycle.

//So yeah...

//EVERYTHING here just SUCKS!

//In the Meta sense, I will say that the twist is interesting, kind of humerous to an extent, and shouldn't be taken seriously in any sort of degree. Not to mention, to a certain extent, it's innovative and quite thought-provoking, as it rightfully critiques fan obsession with sensationalized entertainment.

//But it's done in a way that, in the attempt to portray their games audience, makes me wonder if Danganronpa understands its audience at all.

//The way it's handled here is a betrayal of the narrative, dismissing the emotional weight of the characters' struggles and reducing them to fictional constructs.

//If you're someone, like me, who is/was deeply invested in the original cast and continuity, this just feels insulting. It's like the series we love has been seemingly reduced to a meaningless cycle of fabricated tragedies. Some even see it as an attempt to erase the legacy of Danganronpa's 1 and 2, and it generally makes V3 feel disconnected from the rest of the series.

//I think what upsets me the most is that Tsumugi's claim that the game is made "for the fans, by the fans," is done as a way to make the player complicit in the killing game, suggesting that their desire for entertainment is what perpetuates the franchise’s cycles of despair.

//In other words, this game is basically telling you that you are a terrible person for playing and enjoying it. And I don't vibe with that AT ALL.

//This meta-narrative comes across as kind of self-indulgent and dismissive, overshadowing the characters and plot in favor of philosophical commentary. And not even the good kind.

//But this is why I specifically use words like "controversial" and "divisive" to describe this twist. The events of V3 single-handedly created a divide in the fanbase, with some appreciating the meta-commentary and others feeling disrespected.

//But besides the twist itself, what makes me personally lean towards the latter side of the argument is that all these twists, turns, and concepts are brought up, and despite the trial almost physically forcing the ideas into your throat, what baffles me is how strangely and concerningly ambiguous everything remains by the end of it.

//When you think about it, there are no grounds upon which Tsumugi makes her claims, so everything she says and states in this trial is questionable at best, and a blatant lie at worst. Shuichi even makes note of this at the very end of the game.

//It’s unclear whether the events of Danganronpa V3 were "real" in the context of the game world or entirely fictional within its universe, which many at this point in time have accepted as its own alternate timeline; hence why I make it so in Danganronpa Survivor. This ambiguity extends to whether the surviving characters have truly escaped the cycle of the killing game or are trapped in another layer of fiction.

//The surviving characters (Shuichi, Maki, and Himiko) are left in an uncertain state. Their escape from the game is metaphorical rather than literal, and their identities, forged through fabricated memories, remain unresolved.

//It's up for debate whether this can be called clever storytelling or unnecessarily confusing bullshit. For some, it feels like a cop-out that avoids resolving the story definitively, while others appreciate the open-ended nature, which allows for personal interpretation.

//The lack of clear rules or boundaries for what is real made the ending feel nonsensical or overly convoluted, and it's hard to get invested in a story that defies traditional narrative logic in this way. Even for something like Danganronpa.

//The ambiguity about the trio's futures and identities felt hollow, and that's why a lot of people want more closure.

//Speaking of which, yet another huge issue with this trial is something that V3 shares with 3. Despite the fact that the purpose of the game is to tie the knot on the franchise, there is SUCH a lack of CLOSURE, for FUCKS SAKE!

//Ultimately, it doesn't matter at all whether we can say that V3 was truly real, or fictional. It doesn't matter, because either way, people still want a satisfying conclusion for the characters they’ve followed, but V3 provides NONE of that. The ending’s open-ended nature, while probably done with good intent, makes it difficult to discern any definitive meaning or takeaway from the story.

//So god tell me, what did I just waste four hours of my life on!?

//Trial 6 of V3 is the worst ending in the series because it is generally a waste of time, spends so long trying to meticulously explain a very stupidly handled twist, and ultimately has NO CONCLUSION.

//Which is why it's so low, and yet, it still manages to avoid not only the honorable mentions, but the bottom spot (although it's really fucking close, trust me.)

//My opinion of this trial is overly negative, and it's not one I enjoy revisiting in any sense, but there are things about it I like.

//For starters, the characterization. I kind of already rambled on about this before when I went on that tangent about Tsumugi being a stupid as fuck villain.

//But while Tsumugi is incredibly poor...SHUICHI is BRILLIANT!

//I like all the Danganronpa protagonists about the same, and though I generally prefer Kaede, I ADORE Shuichi too, and THIS is why. He is EASILY the best-developed protagonist in the main series, and the way that growth that happens throughout all of V3 culminates here is near FLAWLESS.

//He's been through so much pain for this whole game, and it crushes him tenfold when he finds out what little enjoyment and fulfillment he DID have wasn't even reality, and just part of a fictional series. That, and the fact that people will never empathize with him, because in their eyes, he's just a character behind a screen.

//But he goes on to assert himself as a protagonist and chooses to challenge the killing game’s rules. His defiance is a moment of growth festered in him by the emotionally REAL relationships he had with Kaede and Kaito, showing that he can stand up for his beliefs, even in the face of overwhelming odds. His journey from self-doubt to confidence is deeply satisfying, well-handled, and emotional for fans who connected with his struggles. His choice to reject both hope and despair in favor of forging his own path is empowering, just as much, if not more, than even Hajime's from Game 2.

//There were a few characters, namely Kaede, Kaito, and Kokichi, who did massive gambits in an attempt to break the killing game and ruin it, but they all failed. It feels good to know that Shuichi was the one who succeeded.

//Despite its kind of unholy subversion, the trial also acts as a tribute to the Danganronpa series and how far it's come, incorporating callbacks, references, and homages to earlier games; most notably when Tsumugi transforms herself into characters from the series before this.

//It's not quite closure, but it's the closest we get.

//As far as the twist goes, while I generally think it was handled poorly, the idea behind it comes from a very important place. The meta-narrative of this trial turns the game into a commentary on the nature of fiction and the role of creators, characters, and audiences. It’s a fresh and daring approach that sets this game apart from its predecessors, making it memorable and thought-provoking in regards to people's relationship with the series and the medium of storytelling as a whole.

//And while I generally dislike the open-ended conclusion, it does invite the idea of interpretation, allowing players to draw their own meanings and decide what is real within the story.

//I mean, I did that. You're reading that very blog now.

//The worst part about this trial for me is the fact that it feels like the twist is designed to attack the hardcore fans; something that I can't really forgive. But the way the trial critiques fandom culture, exploring the implications of endlessly consuming horrible concepts for entertainment, is kind of a valid statement to make at the current state of the world. It asks the audience to consider their role in perpetuating the killing games and questions the morality of reveling in such dark content.

//I just wish it had done so more kindly.

//But yeah, overall while I do appreciate V3's final trial for its boldness and willingness to subvert expectations, I generally dislike it for its perceived disrespect to the series' characters, themes, and fanbase. Case 6 is somehow both a brilliant deconstruction of the series’ tropes and a reflection on the nature of storytelling, fandom, and media consumption, as well as a betrayal of the series’ core themes. The ending’s ambiguity, meta-commentary, and radical deconstruction of the franchise leave it as one of the most polarizing conclusions in gaming history, and I doubt there are many that come close.