#milgram guide
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For anybody looking to catch up on Milgram before the third trial starts, I made a guide of all content up until the end of the second. It also includes some less-known content like translations of the novels, interviews and collabs, so give it a peek if you're interested in side content!
#Promoting this because Tumblr hides posts with external links#and this thing is like 99% external links by volume#milgram#milgram guide#<-This is my tag for the master list if you'd rather click there
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milgram analysis: the orekoto (オレ) of Neoplasm is not the orekoto (俺) of John Doe
analysing both orekotos and then some, how mikoto's dissociation misdirects us, and how mikoto's DID operates to help him function, to express what he needs but cannot tolerate, and to cope with shame.
will be referring both to milgram-en's (John Doe, Neoplasm) and Maristelina's (timeline) translations. thank you for your work!
note on names: for the purposes of this post:
mikoto refers to the person/system, all parts included
'mikoto' refers to any normative mikoto, ie. not either ore. i'm not going to assume the normative mikoto from John Doe is the same alter as the normative mikoto in Neoplasm, because i don't think they are, but that's for another time. for now, I am grouping them together, because, functionally, mikoto's normal parts serve the same purpose and role for this discussion.
ore (俺) and mikoto (俺) refer to the mikoto that appears in the John Doe (Trial 1) voice drama and attacks es.
ore (オレ) and mikoto (オレ) refer to the mikoto that appears in the Neoplasm (Trial 2) voice drama and claims to be the alter who commit murder.
if you can't read japanese, just remember that any name with one japanese character (俺) refers to the ore of trial 1, and any name with two characters (オレ) refers to the ore of trial 2. these are how both ores' personal pronouns are spelled according to the official scriptbooks, respectively.
i also use the word 'unacceptable' 'intolerable' etc. a lot in this analysis. please note i don't use this word in a judgemental way. i will always mean it in the sense that whatever i am referring to 'cannot be accepted/tolerated by mikoto/the world he comes from'.
i'm working with translations and mikoto is a complicated character, so please forgive any slip ups!
thank you for reading.

introduction: there's two orekotos?
mikoto's case, as i've criticised in my last major essay, is often reduced to a conflict between how one votes a system of one 'innocent' personality and one 'guilty'.
as part of the reducing of his character to a split personality trope, it is popular and easy to assume that mikoto only has two major alters: 'mikoto' (who appears normative, uses the boku personal pronoun, and has a confused, sociable demeanour) and 'the other one' (who appears more aggressive, uses the ore personal pronoun, and noticeably switches in at some point during both VDs).
i'm also guilty of this assumption. despite having a sense that things were not that simple, i have assumed, for convenience, that both ores were the same alter, mostly because the ore (オレ) of Neoplasm expresses familiarity with ore's (俺) actions in John Doe (in that he references the event immediately after switching in, amongst other things), and i had no major reason to question that continuity.
at the end of the day, mikoto is mikoto, and since i had (and still have) no interest in attributing guilt to any specific alter, i didn't have a major reason to deduce which alter 'did what'.
(it's also more important to me to dissect what alters think they did and identify with than literally did, because its in how alters psychologically divide up their life and actions once they've happened that their purposes for existing and dissociative functions shine. my last essay was also almost entirely focused on Neoplasm in isolation, so i stand by most of what i said — just replace any assumptions that ore (オレ) is ore (俺) with their new relationship that i'm about to identify.)
all this said, despite surface-level similarities (seeming to use the same personal pronoun, both speaking roughly, existing as a protective force, and identifying as/presenting themselves as the archetypal 'monster'), the way these two alters — ore (俺) and ore (オレ) — function and think are also very distinct from one another. despite the intentional misdirection that would have you assume they are the same part, both ores display very different approaches to responding to and coping with mikoto's life and traumas, and we have seen them emerge respectively based on mikoto's different, changing circumstances within Milgram and the triggers he encounters.
after the extent of this fully dawned on me the other day, it also occured to me that distinguishing them could be very clarifying for how mikoto has grown to function and cope with his life and actions, and also, maybe, finally shatter the illusory binary that surface-level fanon is so attached to.
so. enjoy.
main body 1: psychoanalysing the ore (俺) of John Doe



the ore (俺) that appears in John Doe switches in after mikoto begins to have a panic attack at es' ceaseless prodding.
we can analyse what seems to have triggered mikoto (俺) forward as a starting point for deducing this part's purpose and understanding where mikoto's headspace was at to contextualise his behaviour, so let's assess the situation.
normative 'mikoto', who is present for the majority of John Doe, presumably exists as an alter to allow mikoto to function and engage with people. he seems to do this by having no awareness (or at least, identification) with anything shameful and intolerable, including his murders, and identity as a killer.
therefore, es' insistence to 'mikoto' that he has killed pushes mikoto into a situation that this normative alter is fundamentally unable to handle. es' suggestion of dissociative amnesia also directly attacks the plausible deniability and dissociation normative 'mikoto' clings to to cope. in order to protect himself and preserve his dissociative defense mechanisms, mikoto finds himself required to switch into an alter more suited to this situation, and disengage normative 'mikoto' from this psychological attack.
it is also worth pointing out that es is an authority, and an abusive one at that; considering that mikoto has suffered workplace abuse (as seen in the relentless texts from his chief outside of work hours in Double) it is almost certain that mikoto has been belittled, scapegoated, and pushed to his limits by higher-ups at work before. this situation that es is subjecting mikoto to is not only psychologically overwhelming to his normative alter, but also emulates a source of trauma for mikoto, and thus will absolutely trigger his fight/flight/etc.
lingo: fight/flight/freeze/fawn are words used for different areas of common stress and trauma responses. the principle is, when faced with an overwhelming threat, you may become aggressive and combative (fight), may become restless and want to escape (flight), may shut down (freeze), or may try to appease the threat (fawn).
mikoto is currently in an interrogation room, within Milgram: he cannot run. simply shutting down will not stop es from provoking him. and he has tried to appease es, to be friendly, and seem pathetic, and es has not wavered. the only real option left for mikoto's completely fried nervous system is to remove normative mikoto from the scene, and then force/intimidate/beat the threat into submission.

whew, what an adrenaline rush.


mikoto's (俺) initial demeanour is mostly an expression of his fight response that has been triggered and rage at this situation that 'mikoto' could not handle. mikoto (俺) lashes out at es, yells, curses, and loudly expresses that es' prodding has been far too much for him. he's pissed, and honestly, i don't think he's overreacting. he's far from the first prisoner to attempt to attack es, and he only does it when pushed to his absolute emotional limit, on multiple accounts.

as the scene progresses, mikoto's (俺) rhetoric becomes reminiscent of abusive people of power. a friend i have has pointed out that these lines in particular sound a lot like what a shitty, ageist boss would yell at a young new recruit to verbally abuse them into submission and impose their authority. it's likely ore (俺) is emulating the kinds of things people have said to mikoto, that have forced him into submission, to protect himself, in the hopes that he can turn the tables on es and reap the benefits of becoming the abuser, so to speak. he refuses to engage with whatever es is saying, and focuses on establishing his power through force and verbal abuse.
this bit is speculation, but i do think the fact that es is on the smaller side definitely helps mikoto, triggered into fight response, feel like he should be able to hold power over him. mikoto may see himself in es and feel incredibly angry that es, while small, is in a position of power that he himself never had, with mikoto therefore wanting to put them in their place.


ore (俺) also projects a demeanour of being somewhat sadistic, likely because of just how fucking angry he is at this moment, and especially because es is not easily slipping into the fawning role that mikoto would in his position. he also may be enjoying the high of not being the victim for once, and now that he's in this position, wants to make the most of it, and really prove his point.
essentially, mikoto's (俺) demeanour communicates, don't mess with me, i'm bigger than you. i won't lie down and take this shit, and you have no business hurting or challenging me.

i know this is from neoplasm and is ore (オレ) speaking. i'm using it to illustrate what 'mikoto' does not not do (ie. not cry himself to sleep, not suffer in silence, fight back).
when applying ore (俺)'s demeanour back to how mikoto typically presents and conceptualises himself, it becomes very obvious that everything about mikoto (俺) is intolerable and unacceptable to mikoto as a whole.
being angry, to mikoto, is not acceptable. expressing anger and fighting back against injustice is not acceptable. challenging your place in the social hierarchy and acting outside of socially acceptable behaviour is not acceptable, because all of these are expressions that would lead to dire consequences in his life and within his culture, despite being natural human emotions and expressions.
if these rudimentary and necessary human emotions and rights are unacceptable to mikoto, it can help, psychologically, for the part that handles/contains/expresses them to present themselves as a different sort of person. by wholly dissociating himself from this side of himself — such as this episode, or any other instances of standing up for himself or feeling unacceptable feelings — mikoto can protect himself, and have these unacceptable parts, without compromising his self image; 'mikoto' remains unchanged, unrelated, untainted, because it was absolutely 'not mikoto' that did or felt those things.
what a lovely dissociative contradiction.
the further mikoto (俺) is from how mikoto typically presents, the easier it may be for mikoto to reassure himself that anything they do was 'not him' or 'not real' and entirely cut himself off from identifying with or processing that memory or act. therefore, appearing sadistic when expressing his anger at injustice is not only practical for successfully intimidating es, but may also be part of ore's (俺) (and many of mikoto's parts') presentation as the archetypal 'monster', and clearly 'not mikoto', that helps to reassure mikoto of their estrangement.
this estrangement also helps ore (俺) to protect himself from everything 'mikoto' is associated with (namely, having to be friendly and conscious of his social position, and being a person who tolerates abuse). while the change in accent, personal pronoun, sense of status, the abusive rhetoric he regurgitates, and overall departure from mikoto's typical presenting personality all add to the prior point and to 'mikoto's benefit, it also helps ore (俺) feel like a different person, who is not constrained by having to tolerate things and acting according to his social position. this helps ore (俺) emotionally remove himself from the fact 'mikoto' was trapped and overwhelmed, and allows him to express the intolerable things he does.

unfortunately, emulating the tactics of his abusers and portraying himself as a rough-speaking tough guy who is sadistic and cruel did not go over well with the audience. you might say that this mask was a little too convincing.
we can be almost certain ore (俺) did not fully grasp the position he was in, and the extent of the scrutiny that would go into his behaviour. we can also be certain ore (俺) had no idea he would be unique in being able to attack es, and the ramifications of such.
despite not being uniquely violent as a prisoner, because mikoto was successful in the attack due to the alters loophole, mikoto seems more violent than the others. it also doesn't help mikoto was put under severe psychological pressure, by es being incredibly careless with his dissociative barriers, leading to a sudden and extreme trauma-triggered switch.
it also doesn't help that there is a lot of social stigma in the real world around the mentally ill being unpredictable, violent, and senselessly volatile, and mikoto seemed to align with that, and thus the audience came to conclusions about what this outburst 'meant' about mikoto and the circumstances of his crime.
the audience at large did not like his vibe, and mikoto was deemed unforgiven.
in summary, John Doe ore (俺):
emerges when mikoto is overwhelmed and has his fight response triggered, exhausted of all other options to combatting an overwhelming psychological attack.
presents himself as the archetypal 'monster' (using rough speak, threats, and becoming violent) to intimidate es, stop their prodding at his dissociative barriers that keep him functional and stable, and hopefully prevent further abuse.
main body 2: defining the ore (オレ) of Neoplasm (quick section)
before i dig into Neoplasm, ore (オレ), and ore's (オレ) relationship to ore (俺), i have actually already written an essay and a half analysing ore's (オレ) presentation and motivations in Neoplasm here.
i'm not going to repeat all of my analysis, but i'll summarise the relevant bits, so we are on the same page going forward:
essentially, in Neoplasm, ore (オレ):
emerges coming into trial 2 to be interrogated by es, makes a point to identify 'himself' and only 'himself' as the killer, and spends almost all of his time negotiating mikoto's innocence accordingly.
claims his purpose is to "take it all - bear it all (...) [and] be rid of it."
presents himself as the archetypal 'monster' (using rough speak, threats, dehumanising himself, and making no effort to provide motive or explanation for his murders) to make himself appear unsympathetic and mikoto, in contrast, purely a victim.
you'll see already that the way the two ores function are pretty distinct. despite both having rough demeanours, functioning to protect himself, and evoking the archetypal 'monster', the circumstances in which they come forward and their specific goals in the moment and with their presentations are very different.
despite this distinction, ore (オレ) does intentionally seem to imply that he and ore (俺) are the same, and definitely does not correct this assumption on es' part. so what gives?
main body 3: psychoanalysing the ore (オレ) of Neoplasm
well, let's analyse the circumstances of ore's (オレ) appearance and callbacks, consider ore's (オレ) self-proclaimed purpose and role, and deduce the practical advantages of misleading es and the audience in this specific way.
very importantly, coming into trial 2 and the opening of Neoplasm, the situation for mikoto has changed, a lot.
firstly, mikoto has been voted guilty once. that is to say, whatever mikoto did in John Doe, did not work in his favour. he's also familiarised himself with Milgram by now, and is more aware of his position. so, he's not going to try what he did in John Doe again.

secondly, despite his 'odd case' meaning he has been free to roam the prison, he is chained and restrained for the events of Neoplasm. this also essentially eliminates the chance of any fight or flight response should he be triggered again, doubly.


differently to what brings ore (俺) out, the ore (オレ) of Neoplasm switches in with little fanfare, after a short period of a very dissociated mikoto expressing that he doesn't understand what's going on.
the specific note that he switches in on is on the note of being accused of things — mid sentence, he goes from passively laughing about his hopeless situation, to expressing irritation at it. before the switch, this 'mikoto' expresses that laughing things off comes naturally to him; it's likely this 'mikoto' is unable to feel or identify with frustration as 'himself', hence, the switch.
i also think, due to ore's (オレ) role (as the scapegoat alter who identifies with acts, takes blame and singular responsibility, and may already be planing to lean into his disconnect from 'mikoto' to absolve him), it was very necessary for him to come forward and negotiate with es at some point. hence, the situation of being interrogated by es (and specifically, the topic of blame) brings ore (オレ) forward.

after es immediately verbally takes note of the switch, ore (オレ) makes himself known; he does not pretend nothing has happened or continue with his train of thought. he immediately calls back to ore's (俺) actions in John Doe, implying that this is the same alter that perpetrated them, and generally associates himself with these parts of mikoto that are typically intolerable to him.
(note that while in the original text no specific personal pronoun is used, the obvious implication of bringing up the attack on es immediately after switching in is to create a connection between 'that' ore and 'this' ore. also, assuming the audience has a rudimentary understanding of DID, this alter not having amnesia for the event would also imply that it must be the same alter that perpetrated it.)
in my opinion, and the reason i was typically reluctant to interrogate which of mikoto's alters 'did what', the only reason for calling back to an alter's continuity like this is to establish blame. this goes double when the continuity involves associating yourself with typically intolerable (and socially unacceptable) acts, and triple when, as we have seen as Neoplasm progresses, this alter is generally entirely concerned with taking blame for 'mikoto' to relieve him of culpability and negotiate his physical and psychological freedom.
assuming ore (オレ) is associating and aligning himself with ore's (俺) actions as a way to take the blame for them, there are a few ways we can make sense of this decision.
1: in light of what we know about ore (オレ) as a scapegoat alter who clearly hates himself, who has taken responsibility for their murders to protect 'mikoto's self-image, one likely answer as to why he takes responsibility for ore's (俺) outburst is because he is an alter that handles shame.

even towards the beginning of Neoplasm, ore (オレ) expresses a desire to be dehumanised, and implies that typically, he is not considered human, likely because that would make matters of shame simpler: he is irredeemable, he is a monster, he is everything wrong, this is simply who he is.
this makes it likely to me that whenever mikoto expresses intolerable things or feels shame/is shamed for acting inappropriately, it would be the job of this alter to internalise the emotional fallout, reinforcing this self-image, all slightly away from normative 'mikoto', to protect 'mikoto's self esteem and ability to function. this existence would require ore (オレ) to be aware of any shameful things mikoto has done, including any standing up for himself as mikoto (俺).
mikoto essentially disowns and vilifies anything he does or expresses he considers socially unacceptable through having mikoto (オレ), who sees himself as a 'monster', take responsibility for all his shameful acts. ore (オレ) also handles and makes sense of the overwhelming shame mikoto feels for these acts, expressions, and abuse he has suffered through this way of seeing himself.
this implied long-term vilification of and 'inherent badness' to ore (オレ) could also tie in to a possibility of ore (オレ) existing before the events of milgram, as a part of mikoto that handled shame in his daily life and due to his everyday traumas.

it is also very common for other alters to reinforce introjected abusive rhetoric and lash out at parts that contain and handle shame.
when the person, as a whole, has been made shameful, but most alters cannot handle that level of shame, a typical response is for most alters to dissociate from it, and instead emulate the abuse they have suffered and inner critic they have developed onto only a part of them. this dissociative scapegoating protects the majority of the system from the feeling and experience of being shamed and belittled by themselves, and contains the overwhelming shame in one extreme, but often repressed part.
the fact the majority of mikoto's alters' seem psychologically unable to handle being or acting shamefully, instead blaming and verbally abusing a part who takes responsibility and is scapegoated for everything, and feels shame for everything, is textbook.
i find it likely that to protect himself from abuse at work, mikoto subconsciously separated himself from the 'him' that felt shame, and this alter grew to develop the belief that he must be, and may deserve to be made, responsible for everything.
2: in light of what we know about ore (オレ) as a scapegoat alter who intends to sacrifice himself while bearing all mikoto's sins, one likely answer as to why he takes responsibility for ore's (俺) outburst is also because mikoto's (俺) acts have put him into deep trouble.

towards the beginning of Neoplasm, ore (オレ) comments that one reason he feels he has been out a lot, as opposed to normative 'mikoto', is because of their guilty verdict. i find this makes sense. because 'mikoto' was labelled as culpable for his actions and the audience did not buy the alter excuse, mikoto has been forced from normalcy and forced to reside in a shame part more suited to this reality, where 'mikoto' is unforgiven, socially unacceptable, and labelled as 'dangerous' and otherwise ostracised.

mikoto, in general, does not seem very happy about this. after all, it's in his best interest to remain normative and functional and socially accepted. therefore, mikoto needs to work out how to be forgiven, and overcome the social predicament he has found himself in (both in terms of being a murderer, and being considered a 'volatile' mentally ill man due to his outburst).

the strategy mikoto lands on in Neoplasm comes in the form of ore (オレ) scapegoating himself for the murders, claiming to es that he perpetrated them without mikoto's consent or control, yada yada, as explored in my last essay.
considering the predicament mikoto is in is not only about being a murderer however, and ore (オレ) considers his role to "take it all - bear it all (…) [and] be rid of it," it would also make sense that for his attempted crucifixion, ore (オレ) would take on the responsibility of everything that has rubbed the audience the wrong way, before promising to vanish.

this includes his murders, but it also includes mikoto's (俺) intolerable and socially unacceptable outburst in John Doe, and mikoto's general being considered 'a man with alters, that make him dangerous'.
ore (オレ) wants the audience (and also, probably, himself) to think that after he has 'disappeared', everything unacceptable about mikoto will be gone; the 'alter that murdered', is ore (オレ), and will be gone, the 'alter that lashed out in John Doe', is ore (オレ), and will be gone, and perhaps even 'mikoto's alters in their entirety, that frighten people', are only ore (オレ), and will be gone.
hence, ore (オレ) takes responsibility for everything, before promising to vanquish it, accumulating every symbol and act and demeanour that may have made mikoto unforgiven, and promising to be rid of it, in the desperate attempt to return normalcy and forgiveness to themselves.
(in fact, he even may have implied he and ore (俺) are one and the same, and thus leaned into the presumption that there are only two alters, to make his (オレ) decision to vanish seem like a 'cure' for mikoto's DID (in leaving only the 'normative alter' in existence), and therefore free mikoto from the socially unacceptable status of being an 'othered' mentally ill man with alters, a status that has become apparent as Milgram has progressed and mikoto has been scrutinised. i hope i don't have to explain that you don't 'cure' DID by lobotomising yourself, and mikoto is currently learning this the hard way, based on his T3 lines, but as long as the audience is swayed to this way of thinking, and it is possible ore (オレ) genuinely believed removing all trace of mikoto's mental illness in 'vanishing' 'his alter, who is responsible for everything unacceptable' could help, is all that matters.)
this, actually, brings me into the third element, that i'm going to make a nice little title for, despite being a continuation of the ore (オレ) psychoanalysis, and another possible reason for why he gives us the impression he and ore (俺) are the same.
main body 4: mikoto's convenient false binary
as i said when i opened this essay, mikoto's case is often reduced to a conflict between how one votes a system of one 'innocent' personality and one 'guilty'.
when it comes to approaching and attempting to understand mikoto's crime, many people abstract him, and reduce him to a stock, hollywood, split-personality stereotype. this model, while simplistic and reductive, is easy for a lot of people to understand.
compared to real DID, in which a person is so conflicted on themselves and their actions that it sometimes feels as if they are possessed, and may not understand what they do or who they are, with a lot of muddy middle ground between self-states, identity and memory discontinuation, and blurring, split personality trope provides clearly defined boundaries.
clearly defined boundaries are an illusion in DID. they are also something a person with DID may attempt to reinforce when something a part of them handles or represents is intolerable to them. drawing a firm boundary in their mind helps them feel that they are separate from this part of themselves, and may help to explain the feeling of separatedness: 'if i feel it, it must be true'.
often, it is easiest for a person with DID to make sense of themselves to see themselves as multiple distinct entities, reflecting the different parts of self they have and the barriers between them. and yet, even so, most people with DID struggle with blurriness and existing beyond the confines they've drawn in the sand to make sense of themselves. at the end of the day, a model for understanding one's self is only a model.
that is to say, DID is messy, contradictory, and muddy.
mikoto, with no real coping mechanisms to overcome his symptoms, at the end of his psychological rope, and on the chopping block in Milgram, with already one guilty verdict under his belt, is not in a position to be messy, contradictory, and muddy.
he needs to be easy to understand. he needs to have clearly defined boundaries.
not only is it personally important for ore (オレ) to take the blame alone for all of his shameful actions, and then disappear, but if ore (オレ) can sell to the audience that there are only two alters, clearly defined, one innocent and one guilty, and play along with how the audience stereotypes and abstracts him into a conventional split-personality trope, ore (オレ) can sway the vote to his favour, and attain a forgiven vote, providing (relative) normalcy and social acceptance within Milgram for 'mikoto'.

by leaning into the false binary, creating false continuation between different normative mikotos and between different scapegoated and unacceptable mikotos, and make it seem as if there is no middle ground between them, mikoto creates a 'good' and an 'evil', a 'guilty' and an 'innocent'. he can compartmentalise everything in him that he feels has caused him abuse, blame all his outbursts and crimes on it, and then promise to vanquish it.
and if, 'without' his unacceptable, parts (who are clearly 'monsters', killers, and act out without reason) he is only his normative selves, who have 'done nothing wrong' and were 'helpless to their other side', and will never cause any issues again, the question of what Milgram's audience should do with mikoto becomes simple.

you vote to forgive mikoto.
and wow, it really worked. well done, mikoto. well done, ore (オレ). well done leaning into your own complex dissociation, the illusion of defined boundaries, and the audience's own pop-culture understanding of DID.
conclusion / tl;dr:
the ore (俺) that appears in John Doe and ore (オレ) that appears in Neoplasm are two separate alters. despite appearing on a surface level to have similar demeanours, and both portraying themselves as 'different kinds of people' to mikoto to help mikoto reassure himself they are 'not him, their triggers, actions, reasons, and motivations are distinct.
while ore's (俺) demeanour, aggression, and rhetoric serves to intimidate and challenge an overwhelming threat and escape from the confines of 'mikoto's identity to allow him to protect himself, ore (オレ) emulates a similar demeanour to portray himself as a shameful 'monster' who does not conform to socially acceptable behaviour and represents everything unacceptable about mikoto, to serve as a scapegoat.
despite the fact they are different, ore (オレ) intentionally leads the audience to believe that he is responsible for mikoto's outburst in John Doe, likely due to his role as an alter who handles mikoto's shame and takes the blame for everything mikoto deems unacceptable about himself, as well this claim being convenient for his ultimate plan to be crucified while bearing every unacceptable part of mikoto, in the pursuit of mikoto's forgiveness.
ore (オレ)'s misdirection also ties into the illusion of alter separatedness and mikoto's false binary, that he both utilises to cope, and to navigate the Milgram audience's expectations, as a strategy for securing his forgiveness, as well.
epilogue / reflection
i accidentally strayed into another essay i'm working on towards the end there. i am fascinated by how mikoto responds to the label of DID and conforms to the audience's stigmas and models they apply to him. a full essay on that train of thought is in the works. hang in there. that end bit was just a taste, i guess.
as always, please let me know if any of this is incomprehensible. i can be wordy, and i may accidentally use inaccessible DID jargon. if i have, please let me know and i will correct it. it is very important to me that my analysis can be understood and discussed (and even challenged!) by a wide audience.
anyway, pat yourself on the back, because, even not including text in images, you've officially read 5k words of nonstop mikoto analysis. this is longer than my 'john didn't do it' essay. holy fuck.
i hope you enjoyed. & thank you for sticking with me

no funny meme this time. go mikoto dance.
#kostik speaks#milgram#milgram analysis#milgram theory#mikoto kayano#john milgram#if youre wondering why i changed the names i used#i was writing a different mikoto essay and it just dawned on me that calling him 09 was kind of dehumanising#so i probably wont do that going forward#instead i will be using scare quotes to mark the difference between mikoto (normative alter) and mikoto (whole)#i hope all the different names arent to confusing lol..... theres a reason i give a guide at the start.... its intuitive to me at least....#btw please feel free to agree or disagree or pick apart where ive fallen flat. please dont see 5k and be too scared to argue lol#im just fucking verbose. ive 100% missed things. and im 100% not a perfect unbiased analyser. so feel free to chip in#(please talk to me about mikoto please please please please)#anyway. go my true
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I did a thing
#milgram#milgram project#es milgram#milgram es#kotoko milgram#yuzuriha kotoko#milgram kotoko#kotoko yuzuriha#milgram harrow#i saw someone do it like half an hour ago#well curse my procrastination#i love alight motion because it has many visial guides for text placing and many overall useful functions#but at the same time#this video has like 150 layers summed up one line each and its a pain to navigate in#anyways#enjoy
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i know most people have talked about fuuta and amane having locks on their doors already but its so interesting to me that rumerie's signature points at the keyhole on fuuta's
it leaves me wondering if we missed anything in backdraft except for the graffiti and the end part or if that was all there was to see
(more on my rb)
#milgram#fuuta kajiyama#at first i thought like. maybe he is the key (badumthss) to solving fuuta's sin. or he plays an important part in the sin if ykwim#Woah..! He Is Guiding Us! On How To Open The Door! The Door That Opens Up To Fuuta's Crime! How Considerate Of Him! (shoots him 17 times#also the fact that its the only white sign on the door... Think about it in the white(innocent) and black (guilty and also the color cheroy#and fuuta gets sprayed) aspect... Ouh.......
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Jackalope Daily Day 378
I am simping SO hard over him I actually need help. I'm winning the olsimpics, I have a degree in simpology. Specifically for Jackalope.
#milgram jackalope#jackalope#milgram project#jackalopedaily#milgram#jackalope milgram#silly#milgram fanart#human jackalope#IM FUCKING SIMPING SO HARD DAWG#ZAMN!!! 😍😍😍😍😍😍 HE FINE AF!!!!#thats my husband yall look at him id put a ring on that finger!!!#FAWKING love him#🙏🙏🙏🙏🙏🙏#just one chance jackalope#ill take the bunny form even#LISTEN. PERSONALITY MATTERS. AND THAT'S WHAT I FELL FOR. NOT MY FANMADE HUMAN ONE. JACKALOPE HIMSELF.#im so loyal and accepting of my malewife#he is the best malewife#HE CAN COOK ANY CUISINE LET ME SPEAK IT ALOUD ONCE AGAIN#HE CAN COOOOOKKKKKKK#HE CAN CLEAAAAANNNNNN#HE CAN ACCEPT YOU DESPITE YOUR SINS OR WRONGDOINGSSSSSS#HE HAS PEAK HUMOUR AND COMEDY!!!#HE HAS A HANDSOME HOT FREAKING VOICE WE LOVE JUN FUKUYAMA#HE IS A GENIUS!!! HE BREAKS THE FOURTH WALL!!!#HE REASSURES YOU THAT EVERYTHING IS OK 🥺#HE WILL TAKE CARE OF YOU AND GUIDE YOU!!!#freaking awesome i could go on and in but i wont because tags have limits#todays recommendation is Divine CEO by LuLuYam its a banger and i used too many tags to yap about jackalope so im putting it one tag SEE YA
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Moooreee OLD aaaarrrrrttttt
#MarshMeliaArt#OC Art#YES ITS STILL OC ART#THIS TIME ITS MILGRAM OCS!!!#Milgram OC#I started a fan milgram project but at this point with the amount of free time i have im not sure if i can put as much focus on it#Its called STARGRAM though!#Ena is the prison guard Mochi is the prison guide#The blonde hair girl is Vivianne! thats an unfinished WIP so do mind it... i never got around to finishing it...#THE FIRST ONE IS SORA YUUKI!! Im thinking of changing up his lore though but hes my first decent Milgram OC!#The tiny girl with the bows in her head who is yawning#THATS LAYLA MIYAMURA AS A CHILDDD I love layla shes my favourite milgram oc#maybe one day ill do STARGRAM trial 1#artists on tumblr#ocgram
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here$ your double 3koto confirmation come on
#$la$h Half $illy ?#milgram spoilers#double spoilers#milgram#kayano mikoto#mikoto kayano#i did tunnelvi$ion on that $hot when the preview came out ye$terday . green carefully guiding miko through life until well . john . i mean#ohn . i mean joh
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Cat Cafes, Collars, and Cream

Milgram ❤︎ Haruka Sakurai x Reader
Synopsis: You take your boyfriend Sakurai Haruka to a cat cafe for a date but didn’t think he’d get this jealous of the attention you give to the cats… he wishes you’d treat him like that… maybe he’ll need to show you that’s how he wants to be treated…
On The Menu: delicious smut, leash pulling on people ;), collars, ambiguous consent, Haruka being really cute and needy, yandere Haruka(but he’s literally jealous of cats getting your attention), also i believe Haruka lies about it his age because he doesn’t want to admit he’s way older so he is an adult here!
Guide: smut starts only after the pink hearts ❤︎ ❤︎ to skip smut you can stop reading there!~
A/N: also this takes place in an AU where Milgram didn’t happen/happen yet/already ended. But there are mentions of some of Haruka’s crimes!~
Taking Haruka to a cat café seemed like a sweet idea at first. Your adorable boyfriend and adorable cats in the same room? What could be cuter? Watching him interact with the fluffy little creatures sounded like the perfect way to spend a date!
But the second you stepped inside, Haruka tensed, his grip tightening on your sleeve.
“Y-Y/N…” Haruka whined softly, his voice barely above a whisper. His eyes darted around anxiously, scanning the room like he was looking for threats. Enemies. That’s what they were. His competition.
And then, his worst fear came true.
The moment you saw a round, fluffy cat lounging by the window, your eyes lit up. “Oh my gosh, Haru-kun, look at this one! It’s so cute!”
You crouched down to pet it, completely entranced.
Haruka’s stomach twisted. His hands curled into fists at his sides. That should be him. You were supposed to be running your fingers through his hair, calling him cute, cooing over him. Not some filthy animal!
His breath hitched as his mind wandered, his thoughts spiraling into dangerous territory. You should be patting his head, cuddling him, whispering sweet things to him—not wasting your affection on some stupid cat. If only he just… if he maybe just—
No. No, he had to be good. Had to be patient. You loved him. You just needed a reminder.
“Awwww who’s a good boy!” You said to the cute cat taking all of your pets.
Good boy Haruka thought… that is what you call him…
“C-Can’t we—c-can’t we just go home?” His voice came out shaky, desperate. “Y/N, p-please?”
You glanced up at him, oblivious to the storm raging inside his mind. “Just a little longer, okay? Here, this one is super fluffy come pet it!~”
You reached out, grabbing his trembling hand and guiding it toward the cat’s soft fur. His breath hitched at the contact—not with the cat, with you. Your touch sent warmth spreading through him, and for a moment, he could almost forget the suffocating jealousy clawing at his chest like cat scratches.
His fingers barely brushed against the cat before he pulled back, his lip trembling. “It’s… i-it’s soft…” he admitted in a mumble.
You giggled. “See? Not so bad, right?”
His stomach twisted again. He didn’t want to see you smile at them. He wanted you to smile at him. Only him.
The second you got home after the cat cafe date and stepped through the front door, Haruka was on you.
You barely had time to take off your shoes before he pressed you against the wall, his arms locking around your waist, a knee between your legs, his entire body trembling against yours. His head buried itself in your chest, his breath hot and shaky against your skin. His fingers laced through yours, pinning them above your head so you couldn’t move.
“W-Why d-do you— why d-do you do this to me, Y/N?” His voice was muffled against you, his grip tightening. “I-It’s not fair… You’re s-supposed to be m-mine… mine…!”
You sighed, in disbelief your boyfriend really got jealous of some fluffy cats you knew he was a bit childish and were used to his tantrums… but this one was different... “Haru—”
“No— N-No, d-don’t t-talk back—!” His voice cracked, desperate. “Y-You spent all d-day p-petting th-those— those things! A-And I was just— I was just s-sitting there—suffering at the cafe table!”
His breath hitched as he buried his face deeper into your chest as tears form in his eyes, inhaling your scent like it was the only thing keeping him grounded. “Y-You’re s-so cruel… y-you’re so cruel… b-but it’s okay… i-it’s okay…” His voice grew softer, a smirk forming on his lips brushing against your neck. “B-Because I know y-you love Haruka the most… right?”
You felt his hands tremble as they trailed down your arms, his lips pressing soft, shaky kisses along your neck. “S-Say it… Say you l-love me… s-say you b-belong to me…”
Your heart pounded nervous if you didn’t comply… he might go back to those cats at the cafe and do something extreme... “I love you, Haru,” you whispered. “More than anything.”
He shuddered.
“I-I love you too, Y/N” His voice cracked, his eyes glistening with tears. “I-I love you s-so much, i-it hurts… I-I w-want— I w-want to give you m-more love— s-so much more—”
His large, shaky hands grabbed yours as he pressed himself closer, his lips brushing against your ear.
“…L-Let’s go to bed, Y/N. L-Let Haruka s-show you how much he l-loves you.”
His smile was soft, sweet, and yet… something about it was utterly terrifying. You felt like you had no choice but to comply to your boyfriend… out of fear he might do what he did to the previous small animals he admitted he did things to when you first started dating… afraid he might see you as a small animal to dispose of next…
❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎
Once you two made it to your shared bedroom, Haruka shoved you on the bed, as you fell on it Haruka’s plush rabbit slouched to the side… as if embarrassed to watch.
Haruka's shaking hands reached up to grasp a collar that lay on the bedside table, a red leather band with a heart-shaped charm dangling from it reading “If Lost, Return To Y/N”. You initially got it as a gag gift to tease him for how possessive he was with you… but he was way more into the idea of wearing it than you expected… His face was red and bashful as he held it out towards you.
"P-Put it on me, Y/N... please, put the collar on Haruka..." he whimpered, his voice trembling with need and desperation. "I want to b-be your good boy, your obedient pet... I want to show you how much I love you, h-how much I need you to care for me..."
You were hesitant at first but afraid he might do something extreme if you didn’t comply… So you took the collar from his outstretched hand, Haruka turned his back to you, presenting the nape of his slender neck. He shivered as he felt the cool leather brush against his flesh, a soft gasp escaping his lips.
With trembling fingers from fear, you fastened the collar around his neck, the click of the buckle seeming to echo loudly in the atmosphere of the bedroom. Haruka let out a shuddering sigh, his eyes fluttering closed as he savored the feeling of being claimed, of being yours, having all of your attention on himself… instead of those fluffy creatures from earlier.
Once the collar was secure he turned around and he took a step closer to you, backing you up against your shared bed until your legs hit the mattress.
His hands reached for the hem of his shirt, yanking it over his head in one swift motion. He tossed it carelessly to the floor, revealing his slender torso, the pale skin marred by the bandages and scars of his troubled past. A blush stained his cheeks as he stood before you, his chest heaving with each ragged breath. Only pants and wearing his necklace he always wore around his neck.
He then pulled down your bottoms, throwing the outer garment off to the side and placing your panties on the nearby bedside table… to take care of later…
Then, Haruka's fingers then went to the waistband of his pants, unbuttoning them with shaking hands. He shimmied out of his pants and underwear in one go, kicking them off to the side. Now completely bare, he stood before you, his slim, pale body on full display. His most intimate parts were exposed - his dick, already hard and throbbing with desperate need, jutted out in front of you. It was a testament to his overwhelming desire for you and your attention.
He pushed you down onto the bed, crawling over you with a hunger in his eyes. His hands roamed your body, touching you everywhere, claiming every inch of your skin as his own. He couldn't keep his hands off you, his touch almost frantic in its intensity.
Haruka settled himself between your legs, his hips pressing against yours. He could feel the heat radiating off your core, drawing him in like a magnet. With a low, needy whimper, he reached down and guided his hard, aching cock to your entrance. He rubbed the tip teasingly along your slit, coating himself in your slick arousal.
"Y/N... I n-need to be inside you... I need to f-feel you around me, squeezing me, drenching me in your love..." he panted, his voice strained with desire.
With a sharp thrust of his hips, he pushed forward, the head of his cock popping inside your tight, wet heat. He let out a strangled moan at the sensation, his eyes rolling back slightly. And slowly, inch by inch, he pushed more of himself inside you, stretching you around his thick, throbbing length.
Once he was fully sheathed inside you, he paused, his body trembling with the effort of holding back. He looked down at you, his gaze intense and possessive, obsessive in its love. "Y-You feel... you feel so good, Y/N... so perfect, like you were m-made just for me...”
He began to move, withdrawing until just the tip remained inside you, before slamming back in, burying himself to the hilt. He set a relentless, almost punishing pace, driven by his all-consuming need to remind you he needed your attention most, more than anyone or anything else ever could…
Haruka leaned down to capture your lips in a messy, desperate kiss, his tongue delving into your mouth to tangle with yours. All the while, he never stopped moving his hips, driving into you with force.
As you began to tighten and clench around Haruka's throbbing cock, he let out a guttural moan, his eyes squeezing shut from the exquisite sensation. He could feel your velvet walls fluttering around his sensitive flesh, gripping him like a vice.
"Ah! Y/N, are you... are you close? Are you going to come for me?" Haruka gasped out, his voice strained with exertion and emotion. When you nodded, he slowed his frantic thrusts to a stop, leaving just the tip of his erection nestled inside you.
Haruka reached for a leash you hadn’t noticed on the bedside table. He held it out to you, his eyes filled with a desperate, pleading look.
"P-Please Y/N... attach the leash to my collar..." he begged, his lower lip trembling. "I want to feel you holding me, guiding me, keeping me by your side... I want to be your loyal pet, your good boy who always stays close to you..."
He rolled his hips slightly, grinding his pelvis against yours, his half-hard cock twitching inside your heat. "I need you to pull it, Y/N... pull the leash and show me that you need me too... that I'm yours and I have to obey your every command..."
His other hand reached up to cup your cheek, his thumb brushing over your lower lip. His touch was soft, but there was an undercurrent of possessiveness, of desperation. "Please... please show me that I'm important to you... that I'm the only one you want to be with... forever and ever..."
Haruka's voice broke on the last word, tears welling up in his eyes. He needed this, needed you to reaffirm your claim on him, to prove that he belonged to you completely.
Your cheeks flushed a deep, embarrassed red as you reached out to take the leash from Haruka's shaking hand.
With a shy, nervous smile, you attached the leach to his collar and gave it a gentle tug, just as Haruka had asked. The moment the leather tightened around his neck, a shockwave of ecstasy ripped through his slender body. He let out a choked, desperate moan, his eyes rolling back and his mouth falling open in a silent scream of pleasure.
"Ahhh! Y/N! Yes, yes... I'm your loyal pet, your good boy..." Haruka blurted out, his words slurring together as he lost himself in the overwhelming sensation of finally feeling owned, claimed, loved.
Spurred on by the tug of the leash, Haruka began to move again, his hips snapping forward with renewed vigor. He thrust into you with a frenzied, almost animalistic desperation, the bed creaking beneath the force of his thrusts. The room filled with the obscene sound of skin slapping against skin, punctuated by Haruka's high, breathy moans and whimpers.
As his thrusts grew faster and harder, Haruka's hand found yours on the leash, clasping it tightly. "W-When you come... pull my collar, Y/N... pull it hard and I'll come with you, I promise..." he gasped out, his voice strained and desperate. "I want to f-feel you come first... I want to make you feel good... I want us to come together...!"
He was panting now, sweat dripping down his neck, his hair sticking to his forehead. His eyes were glazed over, staring at you with a fevered intensity as he chased your shared release. He needed it, craved it, like he needed air to breathe. He needed all of your attention.
As you felt your climax approaching, you tightened your grip on the leash and pulled it sharply, just as Haruka had begged you to. The leather dug into the soft skin of his neck as you came undone, your inner walls clenching and fluttering wildly around his pistoning cock.
"H-Haruka! I... I'm coming!" you cried out, your voice echoing off the walls of the bedroom. The sensation of your release triggered his own, and with a final, erratic thrust, Haruka buried himself as deep inside you as possible.
"Y/N! I'm coming too! I'm coming with you!" he shouted, his voice cracking. His hot, thick seed spilled into you, painting your insides with his release. He shuddered and jerked above you, wave after wave of intense pleasure crashing over his body.
In the aftermath of your shared climax, Haruka collapsed against your breasts, his chest heaving and slick with sweat. He nuzzled into your soft mounds, seeking comfort and affection like a needy kitten. His hands roamed over your curves, still desperate to touch and caress every inch of you.
"W-Was I good, Y/N? Was I a good boy for you?" Haruka asked, his voice small and hopeful. He gazed up at you with wide, vulnerable eyes, craving your validation and approval. "Tell me... tell me you like me more than those stupid, annoying fluffy cats at the cafe... Please..."
He sounded so earnest, so desperate for your assurance. His lower lip trembled slightly, and he pressed himself closer to you, if that was even possible. The collar was still tight around his neck, a symbol of your claim on him, your attention all for him.
You wrapped your arms around his shaking form, holding him close and protective, like a precious baby kitten. "Yes, Haruka... you were an incredibly good boy," you murmured, petting his hair soothingly like an owner and their cat. "I like you so much more than those silly cats... I promise, I'll never take you to that place again. You're mine, and I'll keep you safe and by my side, always..."
Haruka let out a shuddering sigh of relief and happiness at your words, his body relaxing completely. He nestled even further into your breasts, his eyes fluttering closed.
He let out a soft, satisfied yawn, his breath evening out as he allowed himself to be cradled in your embrace. His arms wrapped around your waist, clinging to you like a lifeline, like he was afraid you would disappear if he let go.
Within minutes, Haruka's body went limp and heavy in your arms as he drifted off into a deep, dreamless sleep. A small, smile played on his lips, and he looked utterly at peace, like a beautiful, little kitten finally at rest.
You held him close, your fingers combing tenderly through his soft, blue hair. All of your attention devoted to him.
A/N: Hiii~! (´。• ᵕ •。`) ♡ I’m totally obsessed with subby yandere boys who are super neeeeedy and whiny but still have that little dominant side when they’re pushed to their limit~! Haruka from Milgram is literally perrrrrrfect for that, but no one really writes for him (or anyone from Milgram… sobs). Alsooo, I 1000% believe he’s lying about his age and is actually way older but too embarrassed to admit it, so in my eyes, he’s an adult! (*≧ω≦)ゞ Also firrrrrst fic! I write a looooooot but always keep it for myself but Milgram lacks smut so herrrre. Next fic will have Mikoto Kayano, Orekoto, and Haruka together.
#IchigoP Milgram#IchigoP Haruka Sakurai#milgram#milgram smut#haruka sakurai x reader#sakurai haruka x reader#haruka sakurai smut#milgram haruka#haruka sakurai#sakurai haruka#milgram haruka sakurai#milgram x reader#haruka smut#subby boys#sub yandere#subby male#yandere smut#yandere x reader
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Writing Notes: Tactics of Persuasion
Phantom dreams
Story-telling
Tailored pitches
Source credibility and authority
Social consensus and social identity
Scarcity
Information control
Self-generated persuasion
Commitment
The rationalization trap
Phantom Alternative
An option that looks real, is typically superior to other choices, but is unavailable (Pratkanis & Farquhar, 1992).
The key to selling a flimflam (i.e., the selling of pseudoscience, fringe science, and other questionable claims) is to sell the phantom as real and possible and something that can be obtained with the right belief, effort, and, of course, money, but, in reality, it is a false dream.
The sale of a phantom begins by creating ostensible solutions to satisfy our most basic needs and desires.
As such, phantoms often purport to provide things such as:
Health (quack cures, diets, “healing” rituals, mental health pseudoscience, psychic surgery, faith healing).
Wealth (get-rich-quick schemes, lucky lottery numbers, investment fraud).
Social popularity (weight loss regimes, love potions, dating and romance fraud, becoming an “expert” with “secret” knowledge about UFOs, the Loch Ness Monster, and the moon landing).
Fear of death and the end of our existence (séances, life-after death claims).
Reduction in the anxiety of life’s uncertainties (advice given by horoscopes, astrology, psychic mediums, and other means, phrenology, psychic detectives, conspiracy theories that “make sense” of the world and the desires and feelings of those who spread them).
It is relatively easy to create a phantom since it does not actually need to solve these needs, but just appear to do so.
Compounding the problem, it’s often difficult to spot the real from the fake course of action without the needed knowledge, expertise, and critical thinking skills.
Although a phantom dream is imaginary, its impact on our behavior is quite real.
Story-Telling: The Invented Ruse
To allay our concerns, the seller of flimflam invents a ruse or story to make the fake look real (Bell & Whaley, 1991; Clark & Mitchell, 2019)
A good narrative:
helps to guide our thoughts (e.g., the cure is natural and traditional),
determines the credibility of information (e.g., as a natural cure, this makes sense), and
ultimately directs evaluation and choice (e.g., it works for Native Americans and Quakers, why not me?).
As such, stories cement information in our mind and tend to persist even in the face of strong, discrediting information (Anderson et al., 1980; see Pratkanis (2007) for the use of stories in influence).
Tailored Pitches
Fake healers can use the technique of pre-show to gather needed information.
For example: Before the healing event, attendees can fill out prayer cards with their healing requests and other information.
During the service, the fake healer can call out names and appear, by purported divine intervention, to know the person’s illness and personal life story.
Typically, the fake healer will “cure” shills (plants who fake illnesses) and those with painful health problems for which the pain can be overlooked in the excitement of the moment. The prayer cards (along with Googling and social media) provide the needed information.
Source Credibility and Authority
Two of the most robust research findings in social psychology are as follows: (a) we tend to listen to those who are credible (expert and trustworthy) sources (Hovland et al., 1953); (b) we tend to obey authorities (Milgram, 1974).
The merchant of flimflam leverages these 2 basic human tendencies by creating a persona as a credible authority and then using that persona to hawk a phantom.
Social Consensus and Social Identity
Flimflam merchants will use our social relationships to sell their phantoms by employing the influence tactics of social consensus and social identity.
When we see other people doing something, we are more likely to do the same through the conformity created by social consensus – if everyone is doing it, it must be the right thing to do.
Social consensus engages 2 psychological processes that promote conformity (Deutsch & Gerard, 1955):
information or social proof (“if other people are doing it, it must be correct”; Cialdini, 1984) and
normative influences or social pressure to agree or go along with the group (“I don’t want to be different from the group”; Asch, 1951).
The seller of flimflam will manufacture a false consensus (or take advantage of an apparent one). Quack remedies, astrological readings, unproven Covid treatments, get-rich schemes often feature testimonials of people who speak to the “value” of the product.
Once we become engaged with a flimflam, it can provide us with a desired social identity or a sense of who we are based on our reference group memberships, whether they be real or aspirational (Abrams et al., 1990; Kelley & Volkart, 1952; Tajfel, 1981).
Scarcity
Another social influence tactic to make a flimflam look desirable is to make it look scarce (Cialdini, 1984).
Given that phantoms are generally rare, this is rather easily accomplished.
As an effective social influence tactic, scarcity:
plays on a rule in our head, “if it is rare, it must be valuable”;
creates a sense of urgency and panic that we need to act now and feeling of frustration (reactance) when we do not obtain the phantom; and
inflates our feelings of uniqueness and self-worth when we obtain something that is rare (Pratkanis, 2007).
Information Control: False Accusations, Projection, and Doubt Campaigns
The sellers of flimflam often encounter scientists, journalists, magicians, lawyers, informed citizens, and other “do-gooders and crusaders” who use evidence and reason to point out false claims made in selling the phantom.
If left to stand, these criticisms can cut into sales and deflate the entire scheme. As such, the flimflam merchant needs to control the information environment and can do so using at least 3 techniques:
First, the peddler of a flimflam can falsely accuse the critics. Such attacks can be effective because it can result in a negative impression of the target of attack, undermining their reputation (Wegner et al., 1981). In addition, such allegations set up a chilling, coercive effect as others may become fearful of speaking out.
A second information control tool for the flimflam merchant is a variant of the false accusation known as the projection tactic – accusing others of the misdeed you are doing (Rucker & Pratkanis, 2001). In research, we find that a projection attack: (a) focused attention on the accused and away from the person making the accusation, (b) increased the blame placed on the target of projection, and (c) decreased the culpability of the accuser, making the accuser look good and moral for raising such issues. The effects of projection persisted despite attempts to raise suspicions about the motives of the accuser and providing evidence that the accuser was indeed guilty of the deeds.
A third approach to controlling the information environment is through a doubt campaign (Michaels, 2008; Oreskes & Conway, 2010). The purpose of a doubt campaign is not to convince someone of something (say, the value of the flimflam) but instead to raise doubts and confusion about the facts with the goals of (a) making it difficult to know the truth, (b) creating the impression that there is a controversy (when there is little or none), and (c) forestalling any action until the “controversy” is resolved. The doubt campaign was pioneered in the 1950s and 1960s by tobacco companies seeking to dissuade consumers that their products were harmful, but now is used to create doubt and confusion on such issues as climate change, the efficacy of vaccines such as those preventing childhood illnesses and COVID-19, the value of masks for limiting the spread of COVID-19, and evidence against various conspiracy theories.
Self-Generated Persuasion
One of the most effective means of influence is to have the target generate arguments in support of a position and thereby persuade her- or himself (Boninger et al., 1990; Lewin, 1947).
Self-generated persuasion is effective because in essence it asks the target to think up good reasons for a proposition and to refute any counter argument.
This self-generated message comes from a source that is considered credible, trustworthy, respected, and liked – ourselves.
Commitment
In order to establish continued advocacy and use of a flimflam, the seller needs to secure a commitment, especially a public one, from the target.
With a public commitment, a person is linked to a behavior or course of action – in this case, advocating for and using a flimflam.
Breaking this binding produces a negative tension of not living up to one’s promises and a concern that one will look inconsistent and untrustworthy (e.g., a need to save face). As such, securing a commitment increases the likelihood that the target will comply and perform that behavior (Brockner & Rubin, 1985; Salancik, 1977; Staw, 1976).
Commitments are strongest when the behavior is public/visible, irreversible, and perceived to be freely chosen.
One method for securing a commitment is through the use of the foot-in-the-door tactic (Freedman & Fraser, 1966).
Flimflam is rampant on social media, and we can easily see why.
Social media, with its emphasis on engagement (liking, reposting, posting, commenting, posing, arguing) provides many opportunities to make public, irreversible, and freely chosen commitments (as well as to allow those commitments to be used to create the appearance of social consensus as to the value of the flimflam).
While making a commitment increases compliance, it also results in perhaps the most important ingredient in selling a flimflam: setting a rationalization trap.
The Rationalization Trap
Once a person is sold on a flimflam, and especially when he or she comes to purchase and publically advocate for the phantom option, it changes the way a person processes information.
No longer is the goal “to find things out” but instead to defend and justify the beliefs and actions in what can be called a rationalization trap (Festinger, 1957; Pratkanis & Shadel, 2005; Tavris & Aronson, 2007).
When a person holds 2 discrepant thoughts, what social psychologists call cognitive dissonance, it results in an aversive tension state with painful implications for the self.
In such a state, we are highly motivated to reduce the dissonance.
Of course, one way to reduce the dissonance is to admit a mistake – I was wrong about the cure – and to take responsibility for one’s actions by alerting others and rejecting or, at least scrutinizing more carefully, the source of the disinformation about the quack COVID-19 treatment.
While a mature response and what science requires (Feynman, 1985), it is often difficult to take this route to dissonance reduction, especially when we have made public commitments, self-generated arguments, and linked our social identities to the flimflam, in this case, the quack cure.
Admitting a mistake often is taken to mean – to ourselves and to others – that we are not a good and capable person.
After all, we were unable to see through the deception and then told others to do something that might damage their health.
Unfortunately, an all-too-often course of action is to dig in our heels further and to rationalize and justify our behavior.
Some common ways to do this include:
deny the evidence (“the data showing the ineffectiveness of the cure is made-up”),
take some irrelevant aspect of the disagreeable research and pretend that it is damning (“the study was only done in New York”),
derogate the source (“that’s from the biased media and the doctors’ union”),
derogate others who expose the quackery (“nurses and doctors don’t care about people”),
perform a selective information search (search out and spread any study or claim no matter how unreliable that supports one’s position),
keep repeating discredit research as if it is true, bolster one’s own self and one’s intuition as a way of knowing (“I can see through the media; I did my research unlike those duped by big pharma”),
derogate other forms of knowing, particularly science and reason (“science is a limited way of knowing unlike my intuition”),
use whataboutism (“what about the time Fauci might have said something wrong”),
seek external justification (“a cure that might work is better than having to wear a mask”), and, perhaps worst of all,
self-censorship of putting ourselves in an information bubble where we only hear agreeable information and anything disagreeable is either not heard or ridiculed.
Obviously, a rationalization trap is a very effective means of selling a flimflam.
Once we are in the trap, we will continue to buy the flimflam and advocate for the phantom option in an attempt to justify ourselves in the face of failing evidence.
A key component of being an active truth-finder is to have a plan for evaluating and making decisions about claims.
When we do make a mistake, the honorable thing to do is to admit the error and take responsibility for our actions.
Source ⚜ Reading Scientific Articles ⚜ False Claims ⚜ Writing Resources PDFs
#persuasion#psychology#writeblr#writing reference#literature#writers on tumblr#spilled ink#dark academia#writing prompt#creative writing#science#communication#writing inspiration#writing resources
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THE COMPLETE GUIDE TO WATCHING MILGRAM (as of the end of the 2nd trial)
Part 1 | Part 2 | Part 3
INTRO
What's Milgram? Milgram is a multimedia project whose central concept revolves around the audience judging the character's crimes. All of them stand accused of murder after being brought to the mysterious prison of Milgram, but were their actions truly wrong? Only the audience, through the medium of the amnesiac guard Es, can decide that. Vote them GUILTY or INNOCENT according to your ethics or your whims over the course of three trials , and watch how their lives change in response.
You can read a list of trigger warnings here. Who's working on it? The musical and visual components are led by the vocaloid producer Deco*27 and his employees at OTOIRO, with him working on the lyrics and composing half the songs, while the other half is handled by Rockwell. Teddyloid often works in the songs' arrangement as well. Yamanaka Takuya is in charge of all writing in the MILGRAM project, except for the novels and their manga adaptation which were done by Nami Tsumi. His works tend to revolve around trauma and people's inner darkness, and are often music-related multimedia franchises such as the Caligula Effect series, Utagoe wa Mille-Feuille and Boisterous Six. (Fun fact: the last one was prompted by the thought that if he made a collab with the Takuya Yamanaka who's part of The Oral Cigarettes, maybe people would stop confusing them. It did not work.)
For more details, check the wiki's Staff page.
How do I vote? You'll need an account for either Twitter or LINE (Japanese texting app). Then go to the JUDGE page in the official website and click on the icon of a character that's not grayed out. (If they all are, then you need to wait until the new trial starts). You'll be asked to give the site permission to use your Twitter/LINE account. The website should remember your credentials afterwards. You can vote once a day every day for as long as the poll is open. The general rhythm of the project is that a song releases, then another releases next month and the next one takes two months to come out. Since each poll lasts for three months, this means that there should always be two characters available for voting, unless there are delays or you're at the very end or start of a trial.
How does this guide work? / Usage notes Due to Tumblr's restriction on the amount of links per post, this guide will have three parts. They're organized content according to platform/format, but I also paid mind to original release date and overall importance to the plot.
I recommend watching all the first trial content before starting with the second trial. So, begin with the 1st set of voicelines, then the videos and timelines, then double back onto the second set. Everything from the Illustrations and Previews section onwards isn't part of the main game and can be ignored if desired.
I've added some supplementary notes and explanations when I thought it was relevant. Sometimes the information is part of a larger theory post, but please don't take the link as endorsement of any particular theory.
There will be links to the MILGRAM wiki, which is not spoiler-free. If you navigate to the character's main pages, you will immediately see images that spoil developments in the latest trial. This also applies to the official website's character pages. There will also be Youtube links. Since the suggestions can also contain spoilers, you can copypaste the link into Polsy to avoid them. You'll still get videos thumbnails when you pause or when the video ends, but from what I can see they're limited to the videos found on the uploader's channel.
TRANSLATIONS
Official Website
Character Profiles milgrammer (Click "profile" for each prisoner)
Voicelines First trial: milgrammer (Same as above) Second trial: Rochisama (Section: Voice lines)
A different set of translations can be found in the Milgram wiki. It is also the easiest way to access the audio, as old lines get retired from the official website and Wayback Machine is inconsistent in saving them. The quotes can be found in their own subpage, such as https://milgram.fandom.com/wiki/Momose_Amane/Quotes . Substitute character names accordingly, and keep in mind that Muu and Fuuta's names are spelled with two u's.
According to the writer's tweets, the prompts for the first trial's voicelines are: 1) Introduce yourself. 2) You're a murderer, aren't you? 3) Is there something you'd like to tell the guard (me)? 4) and 5) What do you think about Milgram?
And for the second trial: 1) To the awakened guard 2) Regarding the first trial's results 3) Regarding changes in the second trial 4) Comments on the first trial 5) What do you think about Milgram?
Loading Screen During the first trial, the loading icon for the website displayed the message "Sing your sins." When the second trial started, the icon was changed. Now it looks the same as the first one for a second, then morphs into "Doubt your punishment." You can see a gif of it here.
Youtube Channel
Teasers These are brief videos which feature the characters speaking sentences out of context. So far we've seen some, but not all of them pop up in the series itself. Some seem to take place in the past, so it's likely not all of them will show up. Note that these videos contain flashing lights, chaotic visuals and screaming. Translations can be found in comments. - First season teaser - Second season teaser
Voice Trailers These trailers have normal and glitchy lines. The normal parts are taken from the website voice lines, while the glitchy lines aren't featured anywhere else. Translations for the static-filled lines can be found in the comment section, and Rochisama also translated the second-trial lines in their website. - First season voice trailer - Second season voice trailer
PV Technically our first real intro to the series, but given the unstranslated onscreen text and the dodgy subtitles, it can be skipped. There's some concept art not shown elsewhere; A cleaned up version can be viewed here and here. The website features a lower shot of the same art shown in the last link.
Song trailers These feature short snippets of upcoming content: songs and one sentence per prisoner. You can skip this if you've already watched the songs and voice dramas in question; the only difference is that sometimes the translation is slightly different. - First trial - Second trial
Main Songs, Jackalope Videos and Voice Dramas In-universe, the voice dramas take place before the songs. However, up until midway through the second trial the songs were uploaded first and the albums (containing the dramas) would be released 1-2 weeks later, so it seems the intended viewing order is the other way around. The tracklist order also supports this, so I'll be using the song->voice drama order. ES and Undercover are special cases. Undercover doesn't seem to exist in-universe, with the timeline for this one being A Milgram Anybody Can Understand->ES->Website voicelines. For the sake of consistency, I still used the song->VD ordering, with A Milgram being placed afterwards due to being released later.
Lastly, some of the official English titles are different from the Japanese ones. I wrote down both the official translation, marked (EN), and a translation from Japanese marked (JP)
First trial Official song playlist
Undercover (Instrumental) Notes: Milgram's theme song and its first release. The official subtitles were changed during the second trial to reference the song titles, at the cost of being less accurate to the original Japanese: you can see the original lyrics here. The lamp that shows up at 2:11 says 御霊燈, "spirit lantern." This kind of lantern is placed at the house of the deceased for 49 days after death. It serves to both announce that the family is in mourning and a guide for the spirit of the deceased; fire being a way for ghosts to find their way from and to the afterlife is a common motif in Japanese folklore. The kanji above the scratched-out text reads "deceased." Text on the sticky notes on Mikoto's screen. ES (Text)
A Milgram Anybody Can Understand
Weakness (EN) / The Weak are Meat, Eat your Fellows (JP) (Instrumental) Notes: A theory post analysing the title and word choices used. Writhing of the Weak (Text)
Umbilical (Instrumental) Relative Zero (Text)
Bring It On (Instrumental) Notes: Onscreen text translation. Cultural context on lyrics. Braze you!! (Text)
After Pain (Instrumental) Notes: Onscreen text translation. Crying B (Text)
Throw Down (Instrumental) Notes: Onscreen text translation Moloch (Text)
This Is How to Be in Love With You (EN) / It's Love! (JP) (Instrumental) Notes: Onscreen text translation Love is Mine (Text)
half (Instrumental) Gouging In The Night (EN) / Night of Exposure (JP) (Text)
magic (Instrumental) Notes: Onscreen text translation. (Some corrections: "Happily supporting" is more like "Happiness-supporting" and "Weird Monk" would be "Mysterious Monk.") Apostle and Death (EN) / Apostle and Death and (JP) (Text) Notes: The odd extra "and" in the Japanese title is to make the title sound more repetitive. It's pronounced Shito to Shi to.
MeMe (Instrumental) Notes: The yellow sign at 1:28 reads "WARNING. This is private property! It's not a public dumpster! Don't just throw your trash wherever you like. Anyone caught fly-tipping will be reported immediately. WARNING." The tarot cards (probably) say "MIKOTO TAROT CARD" at the bottom. John Doe (Text) Notes: "Remember your murder" should be "I'll remember that, you murderer!"
Harrow (Instrumental) Notes: Summarized onscreen text translation (highlighted comment). Alternate full translation. TASK (Text) Notes: "Heh, I should be the one thanking you" / "Heh, you’ve gotten the order of expressing gratitude wrong." should be "That's not the kind of face you should be making when thanking somebody"
First trial closing video
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Now the the qualifying round is over, It’s time for the official announcement!
Introducing…
The Most in Need of a Hug Bracket!!








This is by FAR the biggest bracket I’ve ever run
The first round will likely be posted on Friday, May 9, although it is finals week, so that is subject to change. If May 9 looks impossible I’ll let you know in advance.
Anyway, the full lineup is below the cut!
Most in in Need of a Hug Bracket
Cloud Strife (Final Fantasy VII) vs Coco (Witch Hat Atelier)
Mono (Little Nightmares II) vs Milo Thatch (Atlantis: The Lost Empire)
Hunter (The Owl House) vs Arthur Lester (Malevolent)
Jason Todd (DC Comics) vs Aoyama Mitsuo (Atarashii Joushi wa Do Tennen)
Bamora (Dandadan) vs Zelda (The Legend of Zelda: Breath of the Wild/Tears of the Kingdom)
Big Man (Splatoon 3) vs Dante Sparta (Devil May Cry)
Stanley (Spiritfarer) vs Sora (Kingdom Hearts)
Mizu (Blue Eye Samurai) vs Wheelbarrow (Monopoly)
Susie (Deltarune) vs Sunny (OMORI)
Kyle Milton (The WereCleaner) vs Klemper (Danny Phantom)
Misfortune Ramirez Hernandez (Little Misfortune) vs Sam Winchester (Supernatural)
Kissy Missy (Poppy Playtime) vs Haymitch Abernathy (The Hunger Games)
Frankensteins Monster (Frankenstein) vs Mizi (Alien Stage)
Yellow Guy (Don’t Hug Me I’m Scared) vs Taranza (Kirby)
Carlos De Vil (Descendants) vs Denji (Chainsaw Man)
Rocket Raccoon (MCU) vs Soren (Fire Emblem: Path of Radiance/Radiant Dawn)
Sigma (Bungo Stray Dogs) vs Shane (Stardew Valley)
Evan Kelmp (Misfits and Magic) vs Heinz Doofenshmirtz (Phineas and Ferb)
Alan Wake (Alan Wake) vs Sayori (Doki Doki Literature Club)
Peril (Wings of Fire) vs Kermit the Frog (Muppets)
Boy (Hunter: The Parenting) vs Kurode (Fragaria Memories)
Siffrin (In Stars and Time) vs Maia Drazhar (The Goblin Emperor)
James “Jim” Lake Jr (Tales of Arcadia) vs Emily Pope (Control)
Alluka Zoldyck & Nanika (Hunter x Hunter) vs Kiyotaka Ishimaru (Danganronpa: Trigger Happy Havoc)
Sanji (One Piece) vs Tom (Paralympic Mascot)
Erik (The Phantom of the Opera) vs Dys (I was a Teenage Exocolonist)
Ray (The Princess and the Frog) vs Bumble (Warriors)
Neeko (League of Legends) vs Ruffian the Blue (A Hero’s Guide)
Starscream (Transformers) vs Gideon Nav (Gideon the Ninth)
Merlin (Merlin) vs Wylan van Eck (Six of Crows)
Count Bleck (Super Paper Mario) vs Varian (Tangled)
Nagasaki Soyo (BanG Dream!) vs Eustace Winner (Ace Attorney Investigations: Prosecutors Gambit)
Asahina Mafuyu (Project SEKAI: Colorful Stage) vs Silver the Hedgehog (Sonic the Hedgehog)
Molly Blyndeff (Epithet Erased) vs Jennifer (Rule of Rose)
Sakura Matou (Fate/stay Night) vs Towa (Slow Damage)
Jonathon Sims (The Magnus Archives) vs Hershel Layton (Professor Layton)
Thorfinn Karlsefni (Vinland Saga) vs Veronica Sawyer (Heathers the Musical)
The Princess (Slay the Princess) vs Crutchie Morris (Newsies)
Golden Cheese Cookie (Cookie Run Kingdom) vs John Thomas Ward (FAITH: The Unholy Trinity)
Deena (Nexomon) vs Serizawa Katsuya (Mob Psycho 100)
Nicky Little (Pepper Ann) vs Torbek (Once Upon a Witchlight)
Bryce Hanson (Hfj0NE) vs Zena (Dragalia Lost)
Kaladin Stormblessed (The Stormlight Archive) vs Mark Heathcliff (The Mandela Catalogue)
Beatriz (“Autistic? Me?”) vs Adrien Agreste (Miraculous: Tales of Ladybug and Chat Noir)
Shang Qinghua (The Scum Villain’s Self-serving System) vs Arven (Pokémon Scarlet and Violet)
Nina Tucker (Fullmetal Alchemist) vs Violet Baudelaire (A Series of Unfortunate Events)
Hatake Kakashi (Naruto) vs Shoko Nishiyama (Koe no Katachi)
Kang Tae-jun (Akatsuki no Yona) vs Angela Orosco (Silent Hill 2)
Ruby Rose (RWBY) vs Venom Snake (Metal Gear Solid V)
Yassen Gregorvitch (Alex Rider) vs Ceroba Ketsukane (Undertale Yellow)
Gordon Freeman (Half-life) vs Jay Halstead (Chicago PD)
Amane Momose (MILGRAM) vs Senshi (Dungeon Meshi)
Glisten (Dandy’s World) vs Homura Akemi (Puella Magi: Madoka Magica)
Serial Designation J (Murder Drones) vs Lestat de Lioncourt (Interview with a Vampire)
Israel “Izzy” Hands (Our Flag Means Death) vs Falco Grice (Attack on Titan)
Vinicius (Olympic Mascot) vs Stanford Pines (Gravity Falls)
The Doctor (Doctor Who) vs Medkit (Phighting)
Isaac (The Binding of Isaac) vs Rob (The Amazing World of Gumball)
Monroe (Grimm) vs Jane Doe (Ride the Cyclone)
Alex Fierro (Magnus Chase) vs Lucas (Mother 3)
Flowey (Undertale) vs Frodo Baggins (Lord of the Rings)
Evan “Buck” Buckley (9-1-1) vs Nanami Kento (Jujutsu Kaisen)
Harrier du Bois (Disco Elysium) vs Zuko (Avatar: The Last Airbender)
Romano (Hetalia) vs Michitaka Sakai (Kono Oto Tomare!)
#tumblr bracket#bracket#anime bracket#video game bracket#most in need of a hug#final fantasy vii#witch hat atelier#splatoon 3#devil may cry#poppy playtime#the hunger games#bungo stray dogs#stardew valley#hunter x hunter#danganronpa trigger happy havoc#super paper mario#tangled#the magnus archives#professor layton#the stormlight archive#the mandela catalogue#akatsuki no yona#silent hill 2#undertale#the lord of the rings
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The Jackalope Guide [spoilers for both novels]
I skimmed through the first manga, second novel, side S/W and my memories so hopefully I've not forgotten anything important [text version under cut]
Jackalopes of MILGRAM:
Novel 1
Female/described as having a "woman's voice"
Uses atashi/アタシ pronoun (pretty bog standard feminine pronoun)
Goes by "Jacka"
Requests Es call her a jackalope and not a rabbit [note: there is a Jp equivalent of the phrase "flying pig" 亀毛兎角 kimoutokaku "turtles with fur, rabbits with horns" referring to something impossible, this phrase may be linked to jackalopes]
Newer at her job (compared to other Jackalopes in the series)
Works from a branch office of MILGRAM HQ (reports back to her boss remotely via big TV)
Sadist who enjoys human bloodshed (at one point even giving a stressed out Nervous a box cutter to self harm with, just like the kind she used to use, so Sumi could see who )
Likes organising MILGRAMs with "aesthetic" (IE all of Sumi's prisoners being involved in her death)
In order to prevent information being spoiled too early uses powers to stop the prisoners breathing until they stop trying to talk
Accidentally allows Twoside to give away information too early, spoiling her own MILGRAM
Her and her MILGRAM considered failures (punishable by purging)
Her 'vessel' is chained up by another jackalope (probably youtube jackalope) at the end of the novel then purged but the person was able to escape (because she was in the Branch Office)
Current location/situation unknown (but said to be alive)
Novel 2
Male/described as having a "young man's voice"
Uses jibun/自分 pronoun (slightly unusual as a main pronoun feels kind of soldier-like)
Also goes by "Jacka"
Has run many successful MILGRAMs in the past (allowed to take risks like Torch being the Es of Novel 2)
Works at MILGRAM HQ
Takes smoke breaks after trials
Talks to boss during smoke breaks
Boss is probably Youtube Jackalope
Hates bloodshed and doesn't care about the aesthetics or drama of a MILGRAM
When Tatsumi tried to kill Torch, Jacka retaliates by using his powers to take control of Tatsumi's body and make him strangle himself
He stops when Tatsumi passes out/Torch says he doesn't want Tatsumi to die, but if not for Torch, Jacka would've killed him
Hates his job/boss
Relieved to hear that Jacka1 escaped purging
Despite working at milgram for many years, did not know there was a branch office
At the end of the novel he defects from MILGRAM, forming a collaboration with Torch and showing/taking him through the secret exit
Asks Torch how he'd feel if someone he loved was judged guilty by MILGRAM (possibly implied to be something that happened to him?)
Youtube
Male/"Speaks arrogantly"
Uses Ore-sama/オレ様 (comically self important)
Internal monologue in Side W/S uses watashi/私 (significantly less arrogant)
Only goes by Jackalope
Insulted if you call him a rabbit
Appears at the end of the first novel to punish Jacka/judge Sumi
Appears during second novel's post-trial smoke breaks (human form in milgram HQ)
Was the one to approve Torch being a guard even though he didn't think it was a good idea
Hates smoking and asks Jacka2 to not do it
Highly values the aesthetic/elegance of a MILGRAM
Wants a "pure" milgram with the fewest possible distractions in the judgement of sin
Used the same kind of memory erasure on Es that Jacka1 used on everyone
Believes Es needs to trust him for MILGRAM to work
Probably responsible for Es' barrier (the 'hypnosis' lines up with other jackalope's mind/body controlling)
Views end of 2nd novel as the worst event in milgram history
Cooks the food for the prisoners (sheds lots of fur)
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Trial 1 - TASK Voice Drama (Side-by-Side English Translation)
Google Docs version of this translation. If using/reuploading/reposting this translation, do not remove the translator's notes and do not change the translations. Credit and link if using. Any additional Translator's Notes will be found in the replies. Check the original post before reblogging as TLs are occasionally revisited and edited.
ミルグラム監獄内尋問室 MILGRAM PRISON INTERROGATION ROOM 薄暗い尋問室。 尋問室でコトコが椅子に座っている。足を組み、堂々とした様子。 A dimly lit interrogation room. Inside, Kotoko is sitting in a chair. She crosses her legs, looking regal. コトコ 「……」 KOTOKO: … ギィっとドアが開く。 The door creaks open. コトコ 「随分遅かったね。待ちくたびれたわ」 KOTOKO: You’re awfully late. I’m tired of waiting. [T/N: Right from the start, KOTOKO establishes her femininity through her manner of speaking and the usage of the わ (wa) particle.] エス 「……囚人番号10番、コトコ。尋問を始める」 ES: …Prisoner Number 10, KOTOKO. I’m going to begin the interrogation. コトコ 「どうしたの?仏頂面をして」 KOTOKO: What’s the matter? You look so glum. エス 「……その節はどうも」 ES: …Thank you for your time. コトコ 「ふっ、お礼を言う顔じゃないわよ」 KOTOKO: Hm, that face doesn’t seem so thankful. 早足でコトコの向かいの椅子に近づき、座るエス。 ES quickly walks to the chair opposite of KOTOKO and sits down. エス 「お前には山程訊きたいことがあるからな。ひとまず名前と年齢」 ES: There’s a lot of things I want to ask you. First, your name and age.
ゆずりはことこ Yuzuriha, Kotoko [T/N: KOTOKO is the only prisoner in the Trial 1 script book whose full name furigana (reading guide for kanji) is spelled in hiragana instead of katakana.] コトコ 「紅琴子。20歳。大学生で、自主休学中。あとは、そうね。現段階でこれ以上は自分のことについて話す気はないわ」 KOTOKO: Kotoko Yuzuriha. 20 years-old. University student currently on a voluntary leave of absence. Other than that, well- At this stage [of the conversation], I don’t feel like talking any more about myself. エス 「何?」 ES: What? コトコ 「そちらの手の内がわからない間はね」 KOTOKO: Not until I know what your intentions are. コトコのまったく怖気づかない態度に、エスは眉をひそめる。 ES frowns at KOTOKO’s fearless* attitude. [T/N: まったく怖気づかない (mattaku kowa kidzukanai) means “completely feeling without fear”. There’s a slight emphasis on the feeling of fear (or lack thereof) rather than just an adjective-descriptor.] エス 「ああ?一体どういうことだ」 ES: Huh? What the hell does that mean? コトコ 「その前に、最終確認。ミルグラム……ここにいる全員がヒトゴロシというのは確かなの?」 KOTOKO: Before we get to that, let’s confirm something; MILGRAM… Are you certain everyone here is a “murderer”? [T/N: ヒトゴロシ (hitogoroshi) was translated into “ “murderer” ” (enclosed in quotation marks) rather than “murderer” as the katakana spelling creates an emphasis, an ostranenie, especially within the context of what KOTOKO is saying.] エス 「あぁ、ミルグラムはお前たち10人をヒトゴロシだと言っている。ミルグラムの前提ルールだ。揺るがない」 ES: Yeah, MILGRAM says that all ten of you are murderers. That is MILGRAM’s ruled assumption. It is absolute. コトコ 「……ふぅん」 KOTOKO: …I see. エス 「それがどうかしたか?」 ES: What about it? コトコ 「看守であるあなたも、これをさせている存在の意思をはっきりとは知らないのね」 KOTOKO: Even you, the Warden, don’t know the intentions of the entity making you do this. エス 「何が言いたい……」 ES: What are you trying to say…? コトコ 「ミルグラムが言っている――看守さん、嘘がつけないタイプね……もしくは迷いがあるのか。ま、誠実で好ましいと思うよ」 KOTOKO: MILGRAM says that the Warden-san type cannot lie… or maybe you’re just unsure of yourself. Well, either way I think that’s rather likeable. エス 「……何様だ、貴様」 ES: …Who do you think you are? コトコ 「命の恩人様かな」 KOTOKO: Maybe the savior of your life? エス 「くっ……」 ES: Tch… 得意げなコトコ。 KOTOKO looks proud. エス 「そもそもお前、何故あのとき尋問室にいた。助けられたのは事実だが。勝手な行動を許した覚えはないぞ」 ES: Why were you even in the interrogation room in the first place? Yes, you may have saved me but I don’t recall ever giving you permission to act at your own convenience. コトコ 「そうかしら。ミルグラムはそういう風にデザインされているように見えるけど?」 KOTOKO: Is that so? Doesn’t it seem as if MILGRAM was designed in that manner? [T/N: そうかしら (soukashira) “Is that so?” is a phrasing used more often by women.] エス 「デザイン……。囚人の、勝手な行動を赦すように……」 ES: Designed… To permit prisoners to act freely… コトコ 「看守さんがしているんでしょう?鍵だってかかっていなかったわよ」 KOTOKO: Isn’t that what you’ve been doing, Warden-san? The door wasn’t even locked, you know. エス 「……僕が……?」 ES: …I…did that…? コトコ 「私がカヤノミコトの行動を疑い、注意深く動向を追うような人間であることも、許容したのはあなたでしょ」 KOTOKO: You were the one who permitted me to be suspicious of Mikoto Kayano’s activities and to monitor him carefully, weren’t you? [T/N: KOTOKO pronounces 私 as “atashi” which is a feminine way of identifying and referring to oneself, a first-person pronoun.] エス 「……人間性の観察……赦す・赦さないが確定するまで……」 ES: …Observation of human behavior…until judgement is decided to forgive or not forgive… コトコ 「そういうことでしょ?」 KOTOKO: Exactly, right?
コトコの言葉に上の空のエス。耳鳴り。いつもと雰囲気が違う。 ES is distracted by KOTOKO’s words, a ringing in their ears. The vibes feel different from usual. エス 「なぜ……そんなことを……彼らが喋っているところを見たいから.....、彼らのことをもっと、知りたいから……?」 ES: Why…are you doing this…? Because you want to see them chatter…? Because you want to understand them more…? コトコ 「看守さん?」 KOTOKO: Warden-san? エス 「看守……?僕は……、(わ)たしは……」 ES: Warden…? I’m… Am I… [T/N: Alternatively translated as: “Warden…? I’m… I’m a…” ES switches between the first-person pronoun of 僕 (boku)—typically associated with young masculinities—and the neutral pronoun わたし (watashi).] ダンと床を踏み鳴らすコトコ。 KOTOKO stomps her foot down loudly. エス 「……っ」 ES: …! コトコ 「ぼーっとしないでくれる?尋問の途中でしょ」 KOTOKO: Could you please refrain from spacing out? We’re in the middle of an interrogation, aren’t we? エス 「……あ、あぁ」 ES: …Ah, yeah. コトコ 「ま、終わりなら終わりでいいわ。私からも話があるし」 KOTOKO: Well, if you want to end the interrogation here, that’s fine. I have some things to say as well. エス 「……?」 ES: …? 意識が戻ってきたものの、まだ朧としているエス。 その顔を見たコトコがニヤリと笑う。 ES is slowly returning to their senses, though still in a haze. KOTOKO smirks upon seeing ES’ face. コトコ 「看守さん……いや、エス。私と協力しない?私達は良いパートナーになれるはずよ」 KOTOKO: Warden-san… No- Es. Why don’t we cooperate? We could make great partners. エス 「……協力……だと?」 ES: …us…cooperate? コトコ 「あなたは看守の立場から尋問によって得た情報を、私は囚人の立場から普段の監獄生活で得た情報を、互いに共有しあう。どうかしら?」 KOTOKO: You’ll share the information you gather through interrogations as a Warden and I’ll share what I learn from everyday prison life as a Prisoner. Does that sound good to you? エス 「……ふざけるな」 ES: …Don’t be ridiculous. コトコ 「どうして?悪い話じゃないはずだけど。ほら、カヤノミコトの件は、そのお試しサービスだと思って」 KOTOKO: Why not? It’s not a bad deal. Look- Think of the Mikoto Kayano case as a free trial service. エス 「うるさい、黙れ。クーリングオフだ」 ES: Shut up. That’s enough. The cooling-off period’s over.
おどけるコトコに、取り合わないエス。 ES refuses to play along with KOTOKO’s banter. エス 「僕は看守で、お前は囚人。以上だ」 ES: I’m the Warden, you’re the Prisoner. That is all. コトコ 「ふうん……見た目通り、頭が固いな」 KOTOKO: Hm… You’re just as stubborn as you look. エス 「なんだと?」 ES: What did you just say? 怒りをあらわにするエスに取り合わないコトコ。 ゆっくりと話し始める。 KOTOKO doesn’t pay any heed to ES’ visibly growing anger. She begins to speak slowly. コトコ 「……サクライハルカは、行動に積極性が増している。幼稚で偏執的だが、周囲とのコミュニケーションに興味を持ち始めたようだ」 KOTOKO: …Haruka Sakurai is becoming more proactive. He remains childish and paranoid-like, however he has begun to show an interest in communicating with others. エス 「……?」 ES: …? コトコ 「カシキユノは表面上の変化は少ないが、相手に同調するコミュニケーションが減ったように思える。本来のカシキユノが表出しはじめていると言うべきか」 KOTOKO: Yuno Kashiki hasn’t changed much on the surface, but it appears that her tendency to conform to someone else’s desires in acts of communication has declined. Should we say that Yuno Kashiki’s true self is starting to emerge? [T/N: 相手に同調する (aite ni douchou suru) means “to conform; to be in tune with someone”.] エス 「……おい、何の話だ」 ES: …Oi, what are you talking about? コトコ 「カジヤマフータは明確に変わった。他人への攻撃的な言動が減少傾向にあり、自己正当化、防衛をする言動が増えてー」 KOTOKO: Fuuta Kajiyama has clearly changed. His aggressive speech towards others is decreasing whereas his tendencies to justify and defend himself are increasing— エス 「コトコ!」 ES: KOTOKO! コトコ 「……エスとの尋問を終えた囚人の行動の傾向が、徐々に変化していることに気づいている?」 KOTOKO: …Es, have you noticed the gradual change in the behaviors of the prisoners who have completed an interrogation with you? エス 「……知らん」 ES: …I didn’t. コトコ 「監獄の中から見える景色もある。私はあなた同様、囚人を監視しているから」 KOTOKO: There’s all sorts of things you can see from within the prison. Because I observe the Prisoners just as I observe you. エス 「……お前が何故そんなことをする必要がある!」 ES: …Why would you even have the need to do that?!
コトコの語調がひときわ優しくなる。 懐柔しようとする雰囲気。 KOTOKO’s tone becomes particularly gentle. An air of persuasion coats her words. コトコ 「……協力しましょう、エス。私たちの利害は一致している」 KOTOKO: …Let’s work together, Es. Our interests are aligned. エス 「利害の一致だと。看守の僕と、囚人のお前が……?」 ES: “Our interests are aligned”? Yours, a prisoner, and mine, a Warden? コトコ 「そう……ここに収監されてから、私なりにミルグラムを観察し、考察した」 KOTOKO: That’s right… Ever since I was imprisoned here, I’ve been surveilling and analyzing MILGRAM in my own way. エス 「それが囚人のやることか……」 ES: Is that something a prisoner should be doing…? コトコ 「結果、私の中で出た仮説。ここはシンの善悪を定義する場所。ちなみに、ここでいうシンとは新しいという意味でもあり、まことという意味でもある」 KOTOKO: As a result of doing so, this is the hypothesis I’ve arrived at: This is a place meant to define neo-moralities- to define realities of goods and evils. By “shin”, I mean as in both the meanings of “neo-” and “reality”. [T/N: 善悪 (zenaku) means “good and evil”. シン (shin) was chosen to be translated into “reality” rather than “actuality” because “Actuality refers to the "world verified only in the ego's immediate immersion in action." Reality is the world of "phenomenal experience perceived with a minimum of idiosyncratic distortion and with a maximum of joint validation; while actuality is the world of participation, shared with a minimum of defensive maneuvers and a maximum of mutual activation" (Erikson 1962). シン (shin) was also chosen to be translated into “neo-” instead of “new” as neo- can also include the meanings of “revise; remade; modified” and, based on the context of KOTOKO’s speech, “neo-” is more appropriate to the conversation topic and her intentions.] エス 「シンの善悪……」 ES: A neo reality of moralities. コトコ 「既に世界には法律という罪の基準が存在するにも関わらず、何故ヒトゴロシを集めて有罪無罪を改めて問う必要があるのか?囚人といいながら拘束すらせずに自由に行動させ、その者の人間性を観察しているのか?人の心を覗き、判断する必要があるのか?」 KOTOKO: Although laws already exist in the world as a basis to define sin, why does MILGRAM find it necessary to gather Murderers and re-examine what their culpabilities and innocences are? You call them “prisoners” yet they are allowed to act freely and unrestrained, so is it to observe humanity? Is there any need in peering into someone’s heart to cast judgement? [T/N: ヒトゴロシ (hitogoroshi) was translated into “Murderer” rather than “murderer” as the katakana spelling creates an emphasis, an ostranenie; a value capture that simplifies and quantifies especially within the context of what KOTOKO is saying.] エス 「……」 ES: … コトコ 「こんなことをしようとするのは、今の善悪の定義が不完全だと思っている人間の仕業としか思えない」 KOTOKO: I can’t help but think that only people dissatisfied with the current definitions of “good” and “evil” would attempt something like this. エス 「……たしかにミルグラムは法律を基準としていない……僕もそうだ……、新たな基準を、探している……」 ES: …That’s true, MILGRAM certainly doesn’t use the law as its standard for judgement… nor do I… I’ve been searching for a new basis… [T/N: “basis” (a foundation; a starting point that can be built upon) vs “standard” (falling within an accepted range often recognized and affirmed by authority).]
うつろながら、こぼれたエスの言葉にコトコは微笑む。 KOTOKO smiles at the words ES mutters, lost in thought. コトコ 「気が合うね」 KOTOKO: We get along well, don’t we? エス 「……ミルグラム自体へ、ここまで理解を示そうとする人間は初めてだ」 ES: …You’re the first person to show this much willingness to understand MILGRAM’s system itself. コトコ 「たしかにじがたい非現実な場所よね。でも私にとっては悪くない。手間が省けるというもの」 KOTOKO: It’s certainly a surreal place, but I don’t mind. It saves me a lot of trouble. エス 「……コトコ、貴様は一体何を考えている」 ES: …KOTOKO, you bastard. What the hell are you thinking about? コトコ 「あなたと、同じだと思いたいけどね。……私は悪が赦せない」 KOTOKO: You and I, I’d like to think that we’re the same. …I can’t forgive evil. エス 「悪が赦せない、だと」 ES: You can’t forgive evil? コトコ 「そう。私は悪を憎んでいるーー罪なきものを傷つける暴力、略奪、殺人、悪業のすべてを憎んでいる」 KOTOKO: That’s right. I detest evil— Violence, plunder, murder, and evil deeds that hurt the innocent. [T/N: The word “detest” (to dislike intensely or loathe, with nuances of denouncing or condemning) was used instead of “despise” (to regard with contempt or scorn, with nuances of disregarding or ignoring) due to KOTOKO instrumentalizing herself and acting against- condemning evil rather than making herself to be the savior through the mental act of disregarding through scorn.] コトコの握る拳がわずかに震え、怒りを静かに押し殺している。 KOTOKO clenches her fist, trembling with suppressed fury. コトコ 「この世には法で裁けない悪が多すぎる。 法の隙間を縫い、弱者を虐げておきながら、今ものうのうと暮らしている悪人がたくさんいる。この世界を変えたいと思いながらも、私一人の力では限界がある……」 KOTOKO: There are far too many evils in this world that are not subject to justice. There are too many evil persons who exploit crevices between justices to oppress the vulnerable, still living freely. I want to be able to change this current world, but there’s a limit to what a single person can do alone… [T/N: 弱者 (jakusha) can mean “vulnerable person” but it has a nuance that that person is disadvantaged. It is sometimes translated into “the weak/weak person” but the concept of “weak” in this phrase is closer to “weaker position” or “to be in a lower, unstable position” regarding tangible hierarchies of status/resource instead of calling a person’s nature/disposition “not strong”.] エス 「……コトコ」 ES: …KOTOKO コトコ 「あなたたちの真意は知らないわ。同じ思想を持つ同志というのも、もしかしたら私の妄想に過ぎないかもしれない。だとしても、善悪を再度多角的な観点で炙り出す……ミルグラムの性質自体に私は魅力を感じているのよ」 KOTOKO: I’m not aware of what all of you Wardens’* true intentions are. Perhaps thinking of us as allies who share the same ideals is nothing more than my own delusional fantasy. Even so, I find that exposing goods and evils from multifaceted perspectives…the very nature of MILGRAM itself deeply compelling. [T/N: KOTOKO says あなたたち (you all) which was translated as “all of you Wardens’”.] エス 「……」 ES: … コトコ 「どう?私のことを理解してもらえた?」 KOTOKO: So, do you understand me now?
プレゼンを終えたあとのように、得意げなコトコ。 思案顔のエス。 KOTOKO smiles like she has just finished a presentation. ES looks deep in thought. エス 「……ひとついいか」 ES: …Can I ask one thing? コトコ 「何?」 KOTOKO: What is it? エス 「……コトコ、お前はヒトゴロシだ」 ES: …KOTOKO, you are a murderer. コトコ 「……」 KOTOKO: … エス 「お前もミルグラムの囚人だ。れっきとしたヒトゴロシだ。お前も、お前自身が憎む悪だ。裁かれる立場だということを忘れるな」 ES: You are also a prisoner of MILGRAM. A Murderer, without a doubt. You are also the very same evil you claim to detest. Don’t forget that you are the one being judged. コトコ 「……はあ」 KOTOKO: …Haa. コトコが心底、拍子抜けした表情を見せる。 KOTOKO, from the bottom of her heart, looks completely and thoroughly disappointed. コトコ 「ヒトゴロシ、ねえ。あなたもそのレベルの人間?がっかりさせないで。まぁどうでもいいけどさ」 KOTOKO: A “murderer”, huh. Are you really that type of human?* Don’t disappoint me. Well, it’s not as if it matters. [T/N: レベルの人間 (reberu no ningen) transliterates into “level of human” but it means “stratae of humanity” or “stratae of human”; strata(e) as in “a level or class to which people are assigned according to their social status, education, or income” which includes how a person thinks or derives understandings.] エス 「なんだと?」 ES: What was that? コトコ 「確かに私は人を殺した。だからこそミルグラムの力を信じることができた。でも、それは虐げられていた弱者を守るため。相手は極悪人。弱者の盾となり、牙となった結果。今のエスのように非難する人間がいたとしても、私は自分の行いに後悔はない」 KOTOKO: It’s true that I did kill someone. That’s why I was able to believe in MILGRAM’s power. However, I did it to protect someone who was suffering. The person that I killed was undeniably, utter evil. I became a shield for the vulnerable, I became their fangs. Even if there are people like you, Es, who condemn me, I have no regrets about my actions. エス 「――殺人、その行為自体に善悪が備わっているわけではないと?」 ES: Are you saying that the act of murder itself isn’t inherently good or evil? コトコ 「極端にいうとね。弱者を守るためなら致し方ないときもある。それに私が行ったのは……」 KOTOKO: To put it in extreme terms, there are times when it’s unavoidable if it’s to protect the vulnerable. Besides, what I did was… [T/N: 弱者 (jakusha) can mean “vulnerable person” but it has a nuance that that person is disadvantaged. It is sometimes translated into “the weak/weak person” but the concept of “weak” in this phrase is closer to “weaker position” or “to be in a lower, unstable position” regarding tangible hierarchies of status/resource instead of calling a person’s nature/disposition “not strong”.]
思案顔のエスに、コトコが得意げに笑う。 KOTOKO smiles proudly at ES who is deep in thought. コトコ 「『急迫不正の侵害に対して、自己または他人の権利を防衛するため、やむをえずした行為」よ。意味がわかる?」 KOTOKO: It was “an act a person was compelled to take to protect the rights of oneself or any other person against imminent and unlawful infringement.” Do you understand what that means? エス 「……刑法36条1項、正当防衛」 ES: …Article 36, Paragraph 1 of the Penal Code: Legitimate self-defense. [T/N: You can read up on Article 36 of the Penal code here.] コトコ 「よく勉強してるわね。事実、私はその件では司法においても、正当防衛と判断されている」 KOTOKO: You’ve studied well. In reality, the subject of the matters which I have done was ruled as an act of legitimate self-defense by the court. エス 「……それは日本の司法の判断であり、僕が、ミルグラムが救す救さないは関係がない」 ES: …That was the decision of the Japanese court. Whether MILGRAM or I forgive you or not is another matter entirely. コトコ 「そうね、理解している。それにすら懐疑的なミルグラムのルールに乗っ取るし、支持する。でも私は自分が正しいと確信しているし、エスにもそれが伝わると思っているわ」 KOTOKO: I see, I understand. Even so, I choose to [follow/seize] and support MILGRAM’s rules, even if it’s skeptical. However, I’m confident that what I did was right and I believe that that will come across to you too, Es. [T/N: There is really good wordplay here. What KOTOKO is saying can mean two different things. Verbally, the “nottoru” in それにすら懐疑的なミルグラムのルールに乗っ取るし、支持する (sore ni sura kaigiteki na MILGRAM no rūru ni nottoru shi, shiji suru) sounds like 則る (nottoru) which means “to follow (a rule)” especially in the context of the sentence. So it’s likely that the Warden(s)—ES/you guys—initially heard/believed that KOTOKO was saying “Even so, I choose to follow and support MILGRAM’s rules, even if it’s skeptical.” But what KOTOKO means, a meaning privy to her in which she’s possibly using the vagueness of homophones so the listener can choose what they want to hear, is “Even so, I choose to seize and support MILGRAM’s rules, even if it’s skeptical.”] エス 「……まったく、たいした自信だ」 ES: …You’re awfully self-confident. コトコ 「だってエス。あなたは私の心に触れるんでしょ。歌と映像によって」 KOTOKO: Because, Es, you’ll touch my heart, right? Through songs and visuals. エス 「……そのとおりだ」 ES: …That’s correct. コトコ 「じゃあ大丈夫。わかる人にはわかるから」 KOTOKO: Then it’ll be fine. Those who understand will understand. エス 「そこまでいうなら、見せてもらおう。お前の心を」 ES: If you say as much, then show me. Show me your heart, show me your soul.
コトコが立ち上がり、エスに近づく。 KOTOKO stands up and approaches ES. コトコ 「私の罪に触れて、赦せないと思うなら赦さなければいい。赦すならば……そのときは……」 KOTOKO: If you come to face my sins and feel that you can’t forgive it, then it’s alright if you don’t. If you do forgive it… then… 手を差し伸べるコトコ。握手を求める。 KOTOKO extends her hand, asking for a handshake. エス 「何だ、その手は?」 ES: What’s that hand for? コトコ 「握手。私たちは仲間よ」 KOTOKO: A handshake. We’re partners. コトコ���「そのときはエス、私はあなたの牙になろう」 KOTOKO: When the time comes, Es, I will become your fangs. エス 「……何を言って……」 ES: …What are you talking about… 突如部屋にある時計から鐘の音が鳴り、尋問室の部屋の構造が変化していく。 Suddenly, a clock within the room chimes and the interrogation room begins to transform. エス 「……っ」 ES: …! コトコ 「もう時間?まぁ、いいわ。話したいことは話したし」 KOTOKO: Is it time already? Oh well. I’ve said what I wanted to say. エス 「何が仲間だ……、僕は……お前たちヒトゴロシの罪を、裁くための……っ。看守だ!お前と手を結ぶ必要などない!」 ES: The fuck do you mean “partners”…? I… I’m here to judge all of you murderers…! I’m a Warden! There’s no need for me to join hands with you! コトコ 「エス。あなたは自分のことを処刑人とでも思っているの?」 KOTOKO: Es. Do you think of yourself as an executioner? エス 「……?」 ES: … コトコ 「法で裁かれない悪人がいるといったでしょ?逆もしかり、不完全な法で裁かれようとしている善人もいる。……あなたはそれを教す立場でもある訳でしょう」 KOTOKO: I told you that there are evil people who go unpunished by the law, right? Well, the opposite is also true; there are good people who are about to be judged by an imperfect system. …You’re in a position to guide that judgement, yes? エス 「……!」 ES: …! コトコ 「あなたは悪を裁く処刑人ではない。赦されるべき殺人者を救うのもあなたなのよ」 KOTOKO: You are not an executioner who judges evil. You are also the one who saves murderers who deserve to be forgiven. エス 「あ……ああ……ああっ」 ES: Ah…aah…aah- コトコ 「さあ、エス。私の罪を聴くがいい」 KOTOKO: Come now, ES. Listen to and think upon my sins. エス 「……囚人番号10番、コトコ。お前の罪を……歌えっ……!」 ES: …Prisoner Number 10, KOTOKO. Sing… your sins-...! 薄れゆく意識の中、 As consciousness fades, コトコ 「……ハッ」 KOTOKO: …Ha- 怪しく笑うコトコ。 KOTOKO laughs mysteriously.
#MILGRAM#Kotoko Yuzuriha#MILGRAM 10#MILGRAM Kotoko#MILGRAM Project#MILGRAM Translation#MILGRAM Trial 1
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𝗦𝗜𝗠𝗣𝗟𝗘 𝗦𝗘𝗖𝗧𝗜𝗢𝗡
Hello ! Another google doc after a long time. Anyway, sorry for the low quality image... Keep in mind before using this doc that you should copylock your docs before sharing them. Another thing to remember is that some elements of this doc are inspired by Anzu's Domains google doc, 'MORONIC IRONY'. Please go support Anzu! This is a one paged doc, and is a multi-muse. The formatting will really mess up if you try to add on another page, so keep that in mind before adding another page. REMINDER , you can add another page but you will have to do all the editing to format the page on your own. Note that this doc is entirely made out of drawings. I also took a different turn and used JJK instead of Milgram this time ! [ COPYLOCK GUIDE ]
𝗖𝘂𝘀𝘁𝗼𝗺𝗶𝘇𝗮𝘁𝗶𝗼𝗻 !
( ♦ ) All images and drawings are text. ( ♦ ) You may add a 'penned by user' if you'd like. ( ♦ ) Keep in mind this doc is entirely made out of drawings, so you'll have to go into the drawing and edit the text / image.
𝗨𝘀𝗮𝗴𝗲 !
( ♦ ) Do NOT remove credits. ( ♦ ) This time around, I was a bit lazy so the credits are not ˙◠˙ but are just 'BY SCHIXOPHRENIC ON TUMBLR'. This may change in the future depending on my name. ( ♦ ) If you'd like to share your own doc, copylock and make sure to also add credits (alongside my own) for Anzu!
( ✒ ) reblogs and likes are appreciated.
( ✒ ) if you see any changes as necessary, please tell me.
( ! ) All images were found on pinterest. [ IF YOU KNOW THE ORIGINAL OWNERS OF EACH IMAGE, PLEASE TELL ME ! ] Images in order:
Choso [ PFP AND CHARACTER #1 ]
Yuji [ CHARACTER #2 ]
Gojo [ CHARACTER #3 ]
[ REMINDER | I AM NOT THE OWNER OF THE ART OR CHARACTERS ! ]
( ! ) A couple of the drawings are inspired by Anzu. Please go check him out!
#jjk#jujutsu kaisen#google docs#google doc template#google doc template free#choso kamo#yuji itadori#gojo satoru#multimuse
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Jackalope Daily Day 362

#milgram jackalope#jackalope#jackalopedaily#milgram#milgram project#jackalope milgram#silly#IM DONE WITH THE NEW YEARS ART BUT IM PUTTING IT OFF UNTIL I ALSO REACH 1 YEAR OF JACKALOPE DAILY#FUN FAACTTT ONLY OGS WILL GET THE JACKALOPE REF HERE!?!#its from the Jackalope Daily 200 Days art#That i made with teen jackalope#insane ref ik esp when im more than halfway towards day 400 AND A FEW DAYS FROM#ONEEE WHOLE MOTHA FOCKEN YEARRRR OF JACKADAILY CHAT!!!#among these wardens and guides#i alone am the jackaloped one.#todays reccommendation#Miss Miseryguts by RIP#NOT RECOMMENDED TO THE WEAK MINDED THERES SENSITIVE TOPICS AND ITS VERY DISTURBING!!!#but thats part of why i actually love it so if you do fw that go ahead mate
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Any toxic hcs for the milgram prisoners + es? pain bc we gotta know toxic things our favs do or say….
LMAO this made me laugh so much – we love when our faves suck ass 👏👏👏 I feel we’ve gotten a clear picture of how the prisoners react to people they don’t like and their reactions to negative emotions, so I tried to find toxic things they’d do when interacting with/arguing with people they actually do like lol. Some are based on specific canon details and some I’ll admit are just hcs/vibes I’ve always had about them >:3
When making friends, Haruka messes with their personal belongings. It’s never anything huge, but he’ll enter cells in secret to pocket possessions, hide things, and occasionally ruin things. He likes that the owner has to come find him to get it back, find it, or is forced to spend more time with him now that their other activity can’t be used. Even if he’s scolded for it, he takes that as a win and it doesn’t stop him from doing it again.
Yuno likes things her way, and is willing to go behind people’s backs to get it. She always gets what she wants at the end of the day. She’ll communicate well the first time, but if the answer isn’t satisfactory then she sneaks around to change the situation in secret. She employs bribery and blackmail, always giggling and saying it’s not that big of a deal so it’s difficult to accuse her seriously.
(One definition of toxic behavior is something that “creates an environment of stress, discomfort, and emotional turmoil” and that’s basically every confrontation that comes out of Fuuta’s mouth LMAO. So aside from the obvious,) he always assumes the worst of people no matter what a kind gesture it may be. He believes every compliment and favor is just an attempt at manipulating someone. He takes even the most well-intentioned statements as hidden attacks and insults, and reacts accordingly without telling the other.
Muu is very touchy, and doesn’t listen when people shy away from her. She’s constantly trying to fix people’s outfits and their hair by grabbing things, or guiding their hand to showing them the correct way to do something, or taking things she thinks people are offering to her right from their grasp. She gets really offended when people do the same to her, and explains it’s different because she knew what she was doing when she helped, and they don’t.
Shidou always assumes he’s the smartest in the room. Though he’s not openly arrogant about it, he’ll politely ignore advice from others and steamroll conversations because he’s just so sure of his own plan. Even when apologizing or admitting to be wrong, it’s clear he thinks there was a very intelligent reason for being wrong rather than it being a messy emotional mistake. Whenever he argues, he stays calm and has this patronizing look, as if he’s talking to someone much younger and dumber than himself.
Mahiru is a busybody. She thinks she’s capable of solving other people’s problems that they 1. Don’t need her to fix, 2. Don’t want her to fix, 3. There isn’t actually a problem, she just misunderstood. She hears one person venting about another and she immediately goes to the other party to tell them and try to work things out. She believes people have unrequited feelings and goes to wild lengths to set them up together. She announces things that were confided to her in secret, thinking it will help to get it off people’s chest.
Kazui can get into bouts of “learned helplessness” with his imagined age. He’ll assume he’s too old to get the joke/reference; it’s too much to explain to him, don’t trouble yourself; he can’t relate to your pain; you wouldn’t get his joke/reference/pain because it’s from a different time, etc. He acts like he’s doing a favor and saving people the trouble of talking to him, but it’s clear he’s just not putting in the work to relate to others and offer them a simple kind word.
(I don’t know if a 12yo can be “toxic” per se, but) Amane is perfectly attuned to what others will respond to when she tries to argue. She may seem like she’s preaching in vain to people who won’t listen, but she definitely knows the right words/tone/framing to use to get the reaction she’s looking for while coming out of the situation looking innocent and well-behaved. Sometimes she says things knowing full well they won’t work, but if she stays calm and “oblivious” while the adult gets worked up, it’s difficult for people to blame her for any outburst.
Mikoto assumes others feel the same as him, and will charge ahead with uncomfortable plans and conversations. He doesn’t see personal questions as invasive or pushy because he assumes everyone else has a perfectly scripted normal-life response like him. He thinks everyone will eventually get used to being thrown into the social spotlight because he gets nervous sometimes but then enjoys it. He offers unsolicited advice, as well as unsolicited criticism, because he can’t imagine anyone wanting an “unstable” life like they’re living now.
Kotoko feels above certain conversations and arguments, and will simply walk out instead of talking things out. Even when stuck in a tight room, she’ll just shut down and stay silent rather than have a tough conversation. She claims she won’t dignify the other with an answer, but it’s clear she just doesn’t want to face the discomfort of the topic.
Es refuses to talk, in general – even neutral or good information is difficult for them to communicate. Sometimes they assume everyone else is observing the situation as closely as them (so they’re all on the same page), and sometimes they just think it’s not the others’ business (so it’s okay the other is left in the dark). They don’t talk to the prisoners about each other – even when serious issues are revealed in interrogations, Es doesn’t pass it along to get any help. They don’t speak a word when they’re making plans, so others end up doing things and making their own plans that conflict and make Es angry at their disruption. They don’t speak up about interpersonal situations – good or bad – and leave it up to the other party to bring up topics.
#milgram#es#haruka sakurai#yuno kashiki#fuuta kajiyama#muu kusunoki#shidou kirisaki#mahiru shiina#kazui mukuhara#amane momose#mikoto kayano#kotoko yuzuhira#thank you for the ask! this was very fun 😂#let it be known theyre all terrible communicators in their own special way 🙏 asdfasdf#but there were some ways that were more specific than others that i wanted to list in these#i feel like kids are still like. learning about the world and socialization so i dont know if 01020408 can really be called toxic#but still very fun thinking about their terrible reactions to things LMAO#mikoto was actually the hardest because hed be such a people pleaser#hed turn himself inside out before creating an environment of stress discomfort and emotional turmoil for someone else 💀#but i wondered if pouring all his attention into this dream of the perfect life and spending so much time around other workaholics#would affect his view of others#i love hearing how confused the prisoners are about the milgram process and realizing#none of them knew about each others’ dangerous plans and realizing ‘oh so es didnt tell them Anything anything’#😭😂#headcanon time milgram
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