#monotheatre

[rewoundcircuit]

Monotheatre 5 | The Wheel of Fortune’s Last Laugh

( tw: knives, stabbing )

The time in between executions never got any easier, but knowing that yet again, an innocent party would be killed, it definitely felt worse than all the times before. It was a shame, going from quite the win streak to being wrong twice in a row…

Luckily, there wasn’t much more time to dwell on it, as Takaku is suddenly dragged away. Just like those before them, they were being sent to death because of your decision in this twisted game. 

As the monitor turns on, the first thing that catches your eye is Takaku, their bright and colourful appearance clashing with what seemed to be a wheel behind them. They seem to be strapped in by their arms and legs, unable to move anything but their neck. As for the wheel, it seems like something out of a circus act, without any sort of symbols or words that hold any meaning. 

And then, without any sort of warning, the wheel begins to spin, as if an unseen force were pushing it. The wheel spins at a dizzying pace, moving faster and faster until Takaku is nothing more than a blur. 

When the first knife hits the wheel, it narrowly misses its target, but whoever is throwing them doesn’t seem to want to give up as another dagger follows behind it. Soon, there are dozens of knives littering the wheel, and you can’t seem to tell if any of them have hit their mark or not. 

And then it all comes to a stop. 

The wheel finally halts, revealing that your suspicions were correct and that they had remained untouched. Knives and daggers surround their form, inches away from causing any physical harm. However, despite the fact that the projectiles have since ceased, the jester remained in their restraints without any sign of being able to escape. 

Moments pass by without any change, and you wonder for a moment if something unexpected will happen, just as it had in the past. Anticipation fills you, in a way, though it comes in the form of something at the bottom of your stomach. Everything is building up, staring at the jester as you wait...and wait...and--

Your only warning was the look of horror on Takaku’s face before all you could hear was the wet sound of piercing flesh, dozens more knives flying directly at their still body. 

As usual, the feed cuts during the impact shot, but when it returns, you are left with the image of the floor with Takaku’s feet dangling lifelessly, blood pooling beneath them.

Takaku Kurukuru, the Super High-School Level Jester, has been executed.

[silenthillmutual]

what Classic Film(TM) you should watch based on who your fave Danganronpa 1/2 character is

disclaimer - obviously as a film dude i’m gonna say you should watch all of these. but maybe watch the one correlating to your fave first!

Makoto: 12 Angry Men (1957, dir. Sidney Lumet) - strong themes of justice, it’s about a jury trying to determine a man’s guilt. it’s basically what Makoto does for the entire game. you’ll also like it if you’re a fan of Phoenix Wright.

Sayaka: A Star is Born (1954, dir. George Cukor) - it’s all about a girl’s rise to fame and how her relationships change with that. there’s three versions of this film, most recently with Lady Gaga. 

Mukuro: Vertigo (1958, dir. Alfred Hitchcock) - themes of murder and hiding your identity, losing yourself to a cause.

Leon: Animal House (1978, dir. John Landis) - a comedy about a fraternity. it’s THE college frat movie and i think Leon would enjoy it a lot.

Chihiro: WarGames (1983, dir. John Badham) - two teenagers might have accidentally started a world war during the cold war by trying to play computer games...fitting for the series, no?

Mondo: On the Waterfront (1954, dir. Elia Kazan) - struggling to do the right thing and being sort of frustrated about your circumstances as they pertain to class and missed opportunities. being dragged into bad situations by family. also Marlon Brando is a bicon and very hot in this movie.

Taka: Rebel Without a Cause (1955, dir. Nicholas Ray) - a lot of turbulent shit happens to three teenagers over the course of 24 hours. one of - if not the first canonically gay teenager on film. i think we all know by now that James Dean was mlm, but so were the director and Sal Mineo. big bi polyam vibes; if you like chishimondo as a ship you’ll probably like this film too.

Hifumi: Akira (1988, dir. Katsuhiro Otomo) - had a hard time figuring out what to put for Hifumi, but overall i think if nothing else he’d appreciate how impressive the animation was (and honestly, still is) along with the fact that the mangaka was also the director. so although there’s a lot cut out (the manga had not finished before the film came out), it’s still roughly the same plot as the manga.

Celes: Dracula (1931, dir. Tod Browning) - probably the most iconic iteration of Bram Stoker’s novel, this is the one staring Bela Lugosi. not terribly true to the novel from what i remember, but it’s peak aesthetic and exactly the kind of thing she’d enjoy.

Sakura: Rashomon (1950, dir. Akira Kurosawa) - finally getting onto films i haven’t actually seen but that are on my list. sakura’s another person i had a hard time deciding on a film for, but the “several characters telling different accounts of the same plot” reminded me a bit of her case in the game. 

Hina: West Side Story (1961, dir. Robert Wise & Jerome Robbins) - admittedly i had a different film in mind for her to start with, but Maria’s final monologue fits with Hina’s motivations during Sakura’s case.

Toko: Gone With the Wind (1939, dir. Victor Fleming) - another one i haven’t actually watched yet, but it’s based on a famous novel, described as “epic historical romance.” i think that vibes with Toko pretty well.

Byakuya: Citizen Kane (1941, dir. Orson Welles) - if you’re really interested in film, you’re gonna be made to watch this sooner or later. famous for being the “best film ever made”, it’s more or less about newspaper moguls like William Randolph Hearst - who is also the main reason why this film is famous at all. it’s not exactly a flattering depiction of those kinds of people and boy, did that ever piss Hearst off. if he hadn’t made such a big deal trying to keep Citizen Kane from seeing the light of day, something much better might have made it to the top spot. 

Hiro: The Music Man (1962, dir. Morton DaCosta) - based on the Broadway musical of the same name, a “travelling salesman” (read: con artist) starts to work his latest con on a gullible small town, but actually starts liking the people in it.

Kyoko: The Man Who Knew Too Much (1956, dir. Alfred Hitchcock) - not to be confused with the other Hitchcock film from the 30s also titled The Man Who Knew Too Much. this is the one with James Stewart and Doris Day. it’s a highly suspenseful film that gave us the song “Que Sera, Sera (Whatever Will Be, Will Be)”.

Junko: Gaslight (1944, dir. George Cukor) - ever heard the term “gaslighting”? this is where it comes from! based on a play in which a woman’s husband psychologically tortures her into believing she is going insane.

Monokuma: Duck Soup (1933, dir. Leo McCarey) - all Marx Brothers films are as utterly silly (and sometimes as incomprehensible) as one of Monokuma’s MonoTheatres. i watched about half of Duck Soup and had to stop because it was finals week and i was supposed to be doing something other than losing my shit.

Hajime: It’s a Wonderful Life (1946, dir. Frank Capra) - you probably already know this film. if you’re Christian you know it as That Film Your Parents Watch Every Year On Dec 24th Around Midnight. if you have seasonal depression, don’t watch it then; warning for suicidal ideation. it’s supposed to be uplifting. your mileage may vary on that one. 

Impostor: To Kill a Mockingbird (1962, dir. Robert Mulligan) - i don’t have a good reason to pair these two up other than gut feeling. as far as film adaptations of books go, it’s pretty damn good, and Atticus Finch is the original DILF. themes of childhood innocence and racism. 

Teruteru: Breakfast at Tiffany’s (1961, dir. Blake Edwards) - apparently much different from the novella on which it is based, but i think Teruteru would really dig the aesthetic and romantic vibes of the film. Holly Golightly is probably the original Manic Pixie Dream Girl.

Mahiru: Rear Window (1954, dir. Alfred Hitchcock) - like It’s a Wonderful Life, chances are good you know this film - or at least, you’ve seen its plot recycled a hell of a lot. a professional photographer recovering from a broken leg thinks he witnesses a murder take place and is determined to get to the truth.

Peko: Seven Samurai (1954, dir. Akira Kurosawa) - another one on my to-watch list, but it’s oft referenced and remade in film. a village hires seven ronin to protect them from bandits who will return to steal their crops. 

Hiyoko: East of Eden (1955, dir. Elia Kazan) - i’ll be honest here, i didn’t really know what to put for Hiyoko because i’m not sure i understand much about her, but i seem to remember her family playing a pretty big role in her being Like That and for “shitty family” the first two things to come to mind were this and Giant. and unless you like 3-hour long movies about the state of Texas, i’m not about to recommend you watch Giant.

Ibuki: A Night at the Opera (1935, dir. Sam Wood) - another Marx Bros film in which they help a girl both to be with her lover and to achieve her dreams of stardom as an opera singer. the kind of silly, manic thing i think Ibuki would like.

Mikan: The Shining (1980, dir. Stanley Kubrick) - i hate hate hate putting this on here, but since this is for film and not books i couldn’t exactly state to read the book. the book is about the cycle of abuse. the movie is more about... a trapped man going crazy in a spooky hotel. 

Nekomaru: It’s a Mad, Mad, Mad, Mad World (1963, dir. Stanley Kramer) - comedy about five groups of people racing to get to a large sum of money buried by a recently escaped convict they stopped to help out after his car crash. it’s a comedy, and just kinda seemed like Nekomaru’s thing.

Gundham: The Seventh Seal (1957, dir. Ingmar Bergman) - i watched this in like 10th grade and all i really remember is a man playing chess with Death and if that doesn’t say Gundham Tanaka to you, i don’t know what does.

Nagito: North by Northwest (1959, dir. Alfred Hitchcock) - i don’t really have a reason for this one either but it’s a spy film and i think komaeda could get behind that kind of intrigue. 

Chiaki: Metropolis (1927, dir. Fritz Lang) - not to be confused with the anime, this is a 1927 German expressionist film that seems to be about socialism and unionization. it’s also famous for its (purposeful) use of the Male Gaze and being one of the first sci-fi films ever made. be warned: it is a silent film.

Sonia: Strangers on a Train (1951, dir. Alfred Hitchcock) - another one of those films you’ll get told to watch if you’re interested in the queer history of film, i was gonna put something else but honestly the character of Barbara kinda reminded me of Sonia. a famous tennis player meets a man on a train who attempts to plan a double-murder with him.

Akane: My Fair Lady (1964, dir. George Cukor) - i was trying so hard not to double up on the post about musicals, but Akane really does have Eliza Doolittle vibes. they’re both feral and nothing would be able to really domesticate them. for whatever it’s worth, this film and the musical on which it is based is itself based on the play Pygmalion, in which your typical rich cishet white dude bets he can turn any street urchin into a real lady because he’s just that good. you might know the plot better as Pretty Woman.

Kazuichi: A Streetcar Named Desire (1951, dir. Elia Kazan) - i don’t really have a good excuse for this one, either; i haven’t even watched it yet (although i have read the play on which it is based). all i’m gonna say is i want Souda to have his gay awakening via Marlon Brando, as we all do.

Fuyuhiko: Casablanca (1942, dir. Michael Curtiz) - despite his love and adoration for Ingrid Bergman, Humphrey Bogart decides fighting Nazis is more important. i think Fuyuhiko would like the aesthetic, and the film. don’t let him know but i think he’d probably cry watching it.

Usami: To Sir, With Love (1967, dir. James Clavell) - issues of race and class intersecting in a film about a teacher working with inner city students. i was going to put Singin’ in the Rain here, because it’s what Usami would want people to watch...but i think this better fits the effect she wants to have as a being. 

[nightmare-circus]

monotheatre 1 | drift

Drift hugs his arms around himself, watching Rem's shadow theatre play out in front of him. He frowns, waiting for the second figure to appear- there! That must be him!

He sees the shadowy facsimile of himself eat a snack, stare into the bonfire, mind his own business. There's the other figure, who he's sure is Torque. The shadow Drift gives Torque a little wave, moves its mouth in silent speech. A friendly, innocent greeting

and then there's motion. A knife. Drift watches himself twist, reflexes sharp but not sharp enough. A second faster, and maybe he could've fought back. A second slower, and it wouldn't be Rem's corpse in the ferris wheel.

Drift shudders. It had been so close. And then, in a kneejerk reaction, the shadow Drift disappears. Fight or flight turns out to be just... flight. He's almost disappointed in himself. But he doesn't blame himself either.

He sits back on his stool, arms still crossed, and looks up at Torque once the pageantry is over.

He was just in the wrong place at the wrong time. Did Torque just decide to go for the first person he saw? Or was there something about Drift that spurred the man into action? He wants to ask, but the words dry up in his throat.

He doesn't remember the scuffle at the bonfire. It's still a haze, a gap in his memory. But he understands what happened all the same. It disturbs him. 

He's tougher than this. He's been through so much in the last few years, and almost had it pulled away from him for something as empty-hearted as missed payments.

Debts. Almost dying for debts feels terribly ironic.

He exhales and pulls himself closer. The next person who comes at him with a knife, he resolves, isn't going to be so lucky. He can't afford to lose.

[starlightshowtimeproductions]

Allowed to feel relief for one second, then comes the next wave of anguish! | SHIMURA | Chapter 1 | Monotheatre | RE: Execution Reaction

[CW: Emetophobia] 

Truth be told, SHIMURA didn’t think that anything could penetrate his dazed state right now. His relief that Tomomi was alive was so immense that paying attention to anything else seemed impossible. His brain was only capable of repeating that same, good news over and over again, like a broken record.

However, when Saru uttered the word ‘execution’, SHIMURA stopped in his tracks. Eyes growing wide, he remained still as a statue for a few more moments, before slowly - but surely - lifting up his head. His hand got dragged down to his chin and his eyes were on Saru first. What… What did he just say? He couldn’t have heard that right… right?

(Deep down, he always feared the meaning of being ‘cut out’ of the movie.)

The ethical hacker blinked, now looking at the screens that showed Mimzy and… what happened to her.

How she bumped into that large plushie with scissors in its hands. How she ran away from all of these toys that were chasing after her. How they were stained with blood. How Mimzy desperately banged against the glass door, hoping to escape whatever all of this was about. How it seemed like as if her niece was there to save her, only for her to not be who she seemed to be - who Mimzy hoped it would be. How the small girl laughed in such a bizarre way. How Mimzy was paralyzed with fear. How–

Just in time, SHIMURA forced himself to close his eyes and look down, hastily trying to cover his ears - but that noise couldn’t be unheard. It was so sickening, so gut-wrenching–

“Hrk–!”

SHIMURA wheezed, his stomach revolting as he put a hand over his mouth. God, he felt so incredibly nauseous just hearing that noise. His head was filled with images that he didn’t want to see, which were probably partly responsible for how sick he felt.

In order to not hear any more, his other hand was on his ear without the earbud - willing himself to only listen to what was being played in his other ear. It… This was the best course of action he could make. If he didn’t, then–

(No. Don’t think. Just listen.)

Trying his best to regulate his breath, SHIMURA stayed like this for a minute or two, before he dared to remove his hand from his ear, before his eyes were opening up as well. He didn’t hear those disgusting noises anymore, but he did hear everyone’s elses reactions. Their fear, their anger, their sadness, their shock, their despair…

(It was almost too much.)

In a sense, he was glad that Saru interrupted them. SHIMURA stared blankly at the ground, but once he grew aware how others started to go back to the elevator, he… somehow managed to pick himself up and maneveur to where the others were.

Honestly, everything was a blur again - he didn’t realize that he’d been on the move again until he sat down in his own trailer, his back against its inner walls. Huh. Hasn’t he been in the trial room just a minute ago? Why was he suddenly here?

As these questions swirled in his mind, SHIMURA decided to let go of them. He was too tired to think. To look for answers.

Right now, he just wanted to close his eyes and sink into the abyss.

[i-dyllick-blog]

hi, i’m posting here ( by the way this post is queued as opposed to live ) cause, as you might have noticed, i’m not in the server. if you never see this post then lmao valid

i’m taking a break from the server because my irl situation is stressful and my time is kinda limited. i’ll be back soon, but not rn. whether i’m back before my vacation or not is another matter. i’m not providing the details of my irl situation to you all cause i don’t think you as players necessarily need to be bogged down with the intricacies of my life, but know it’s been a combination of school factors, slow mental health decline over the past few months, and physical health decline. if i’m going to be a good moderator to you guys, i need the break to sort out some stuff.

yes, this is why monotheatre / chapter end took a while and why it may seem unfinished to you guys still considering the lack of a visual map for the new area. i’ll add that sometime this week.

if you’re interested in threading with haruto this chapter, i’m down for it ( DM me i guess ), but know that i’ll be slower because of everything i’ve alluded to already. for the record, if your only aim in the thread is to punch my oc, i’m not interested. i’m fine with your character disliking mine, sure, but i’m not here to rp your punching bag.

don’t feel obligated to rp with me nor feel obligated to DM me well wishes. as your moderator, i ask you enjoy your extended days and go easy on the mods please! mod kiki will be taking up a bigger role while i’m sorting out irl stuff and i’m very grateful for this fact.

i might be slower to reply to DMs because my depressive moods make it so i prefer to avoid contact outside a select few people. please avoid DMing me over mod matters until i’m back in the server. 

thanks. 

                                                                    - n

[bounnostra]

monotheatre | maverick

He knew that answer would be wrong, but not... that kind of wrong. The revelation that Anastasia has been in contact with the Don elicits a flash of anger, but luckily he doesn't act on it reflexively, and the woman herself explains. And tells Pip to fuck off. Maverick likes that part. Nice to see the rest of them cluing in to what kind of person Pip really is.

So there will only be one more trial. One more death. And a final, winner-take-all stab at identifying the Don. Will the rest of them finally walk free after that? Assuming they're correct, anyway. He only has to endure this place for- what? A week or two. And then it'll be over, one way or another.

He thinks about his sister, about seeing her again. He thinks about going home - and all the things he wants to say to his parents now that he's had time to put his entire existence into perspective. He's been making plans. Loose plans, but plans nonetheless. Plans to finally do something with his presence here on earth. After a life of drifting aimlessly, it feels good to have plans. Just a little while longer, and then...

And then... he thinks about Runa, and Valerio, and Masaki. And then? All this time he's been so sure, so sure that they'll be able to leave too, but suddenly that surety is shaking. What if they don't? What will happen to them? It feels... wrong to be thinking this, so wrong, but a little part of him isn't ready to leave yet.

Can the three of them feel him, even here? Can they feel his mind calling out to them? A desperate, knee-jerk, don't-leave-me-yet reach for them.

He shakes his head.

"Everything is being carefully monitored," he says. "Do you know why I have not said my sister's name aloud here? Because those little owls that follow us around are recording every word we say. I haven't said her name because I want them to know as little information as possible about her. Every whisper is recorded. How do you think Gambit knows the fine details of each murder case, down to personal motivations? He would know - and by extension, the Don would know - if Anastasia had breathed a word of this."

So much for the nickname. "I am not happy either that she has been in touch with them. I'm not happy about any of this. I can't tell if we've fucked up completely, or by complete, stupid luck stumbled onto the next-best outcome after identifying the Don. At least Anastasia hasn't tried to fuck up our investigations - quite the opposite, actually; she's been sharing the rest of the information freely. That counts for something."

He still doesn't entirely sound like he's on Anastasia's side here, but he's not trying to tear her a new one at least?

"It sounds like we've scared Gambit," he says, "And the Don. That's good. I just hope it was worth it."

[hadeanic]

Monotheatre | Pop Goes the Weasel

Teary goodbyes are all well and good, but the point of a goodbye is that after that it’s over, the end. And so it happens to be for Noel, the same light that had up and vanished Namiko taking her as well as thirty minutes passes you by. 

( tw: decapitation )

The screen shows darkness at first, impenetrable and deep and every other cliche you’ve read in a “twas a dark and stormy night” storybook. It stays like this for so long, in fact, that a part of you wonders if the entire execution is simply supposed to be composed in darkness, the bit that had only taken a moment in Namiko’s execution swallowing up the entire procedure in Noel’s instead.

But it doesn’t, a small fwoomp rushing over the speakers before a light appears on screen, a light turned purple by a lantern’s glass panes doing a surprisingly good job of illuminating Noel’s face. Said lantern holds itself onto the edge of a stick that she grasps, firm and every bit the cliche that her tarot card is.

There’s silence, the darkness blurring everything away more than a foot to her side, and she swallows before stuttering out an all-too-expected, “H-hello?” as she herself backs away tentatively.

She’s stopped, however, by a tall, thick wooden door pressing up against her back, and suddenly the light swells and reveals more of the space around her. Walls stretch in the darkness on either side of her, the door the only way out of this room, no longer empty but now full of present boxes of various sizes.

It becomes apparent to both you and Noel upon a bit of squinting that there’s something written on the door frame, and after leaning back and having the camera pan over the words are simple and clear: “Open the presents, find the key.”

That’s fairly straightforward. Noel pokes the large keyhole found deep-seated in the door before trying the doorknob on top of it, sighing as no reaction is procured. There’s no choice but to open the boxes, then, and who knows if any sort of a time limit exists.

She tentatively props her lantern against her shoulder as she reaches down and taps the box nearest to her foot. There’s no immediate reaction, even as she jerks back, and so she begins to gently pull it open before frowning and trying to pry away at it. Nonetheless, the box remains shut, and so she tilts it and prods before setting it down and trying a new box besides it. It procures the same result, and her brow begins to furrow in concern.

The lantern against her shoulder slips and though Noel is able to catch it before it crashes onto the floor, it falls onto one of the boxes. She grasps at her lantern in frozen fear before confirming that nothing terrible has happened; in fact, the box seems to have popped itself right open.

After picking the box up to make sure there was no key inside, Noel gently takes her lantern and pokes at another box. In the same manner as the first, it pops itself open to reveal nothing.

Noel is not discouraged, however. She begins to frantically taps away at boxes in attempts to find the key. Within a minute, she’s practically smacking her lantern against them in desperation, sweat pouring down her brow. There are hundreds of presents visible just from the light of the lantern, and she can’t even beyond that. Who knew how long she might be here for?

One of the boxes pops open, and the sound of something metallic hitting the floor rings out. Noel gives pause and leans over once more, not daring to hope.

In the process, her lantern ends up hitting one of the other presents in her carelessness. A familiar tune begins to ring out, carried by Monomi’s lilting voice.

“Half a pound of tuppenny rice,” Monomi sings, and that’s enough for Noel to look up in fear. She grabs her lantern and reaches for the box she had originally opened and, lo and behold, a shiny gold key with Monokumi’s faced engraved on it smiles back up at her. “Half a pound of treacle.”

Noel stands up and begins to shove boxes to the side, tripping over herself in her attempts to make it over to the door. “That's the way the money goes,” Monomi sings, and Noel stumbles.

No time is wasted, and with a spring, a pale colored Monobear head pops out of the box. In an instant, Noel is hanging several feet off the ground, everything from the neck up now firmly inside the Monobear head’s mouth.

Her key and lantern fall out of her limp hands, clattering to the floor. The light in the lantern goes out.

“Pop goes the weasel.”

NOEL YUUKI, THE SUPER HIGH-SCHOOL LEVEL TOYMAKER, HAS BEEN EXECUTED.

[mahouproject-one]

Schedule || Chapter 1

HIYA. So, we have some news about the game schedule. This will make the game rather lengthy, but we opted to have a three week schedule. With how much we’ve planned, we’d rather not rush players to get things done in time, nor do we want to burn ourselves out in the process by having everything fit into a two week period.

Our plans are [and they can be subject to change if things aren’t working out]:

- Chapter 1 Start - Friday

- Motive Drop - Saturday [6PM PST] - Body Drop - Monday [Investigation Start / 6PM PST] - Trial Start - Thursday [6 PM PST] - Trial End - Sunday [Please have votes in by today. 7/8PM PST (It depends on player preference.)]

- Monotheatre - Monday - Wednesday [We know this is a long waiting period, but please consider this bit of time to cool down since we know trials can get very heated. We’d also like to give artists time to draw and not rush them.] - Execution/New Chapter Start - Wednesday [6PM PST]

- Free Time - Wednesday - NEXT Wednesday [We also know it’ll be quite a while for free time with one week, but we’d rather give everyone more time than like… two/three days. Occassionally we may have events inbetween. There’s also plenty to explore too and what not.]

- Motive Drop - Thursday……. [Rinse and Repeat]

[boun-nostra]

monotheatre 1.1 | DUCK | my mom warned me about you

"Remember, [DUCK], we are very mighty.  Extremely so!  But the second you see one of those wizarding individuals?  You cross the street.  You turn the other way.  They are not to be trifled with under any circumstance, do you understand me?"

It's a bitter pill to swallow that she... Well, she'd like to rewrite history and say that she 'gave him a chance' or something.  But she was really just too afraid to engage with him on that.  Never did she believe that her seemingly-bookish (perhaps that had been a stupid judgement based on stereotypes: wizards stay up late to like read spellbooks right?) next door neighbor who may be inclined to feed her every so often would....

She should've known.  His cologne reeks.

Her head's resting on the table weakly, but she moves her body weakly to avoid being touched by the confetti that Cassino spews out.  

She has so many questions that she needs answered; the majority of the questions could probably be best expressed just by why, and are probably best left that way for Duck in her current state.  Words hurt.  Moving hurts.  She mostly wants a big breakfast and a bigger blanket, but...

...she thinks of the first person who'd offer either of those items to hers, and even exhausted, she pictures Nickel again.  Discreetly, she pulls the sunglasses on her head over her eyes.  Why did he have to--

Her simple repetitive thoughts are interrupted by Candy's... apparent departure.  Slower than she should've, she realizes that this... must have been what she'd been working on throughout the week.  She's lost a dear friend to this awful situation, and for that Duck pities her, but she's glad she's free.  Just under her breath, someone might be able to make out a:

"So cool...."

And then, to Time.

"He could but then he'd be lying."

[rewoundcircuit]

Monotheatre 5 | Trigger Happy Havoc

( tw: blood )

When things register again, you can smell the strong scent of fresh blood in the air.

“Please-- don’t...don’t hurt them…”

Monomi doesn’t manage to stay standing for very long, lurching and losing her balance as she collapses onto the ground. She glances back to the theme park actress, now clearly shoved from the spot where she would have been shot, and all of you, a smile on her face; it’s hard to tell whether she’s forcing it or if it’s truly genuine, but it’s a morbid contrast with the bright red stain blooming against the space beneath her collarbones.

“Minami! Minami…!!”

The male chaperone cries, all signs of vibrant life coming back into him as the impact of the last few seconds hits him. He’s on his feet in a flash, moving faster than he ever has in front of you. He reaches his companion’s side, falling down to his knees, the fear visibly gripping him as he trembles before her body.

“Don’t look so sad… I liked seeing that grin of yours...”

Turning to look at Monokuma, the same smile on her face, she manages to pull herself up and weakly move a hand to caress his cheek. Though she normally spoke in a lifeless monotone, her still quiet voice holds a mixture of emotions-- it was hard to make out just how she was feeling.

“Then again...you always were a crybaby…”

“Minami… Nnn… No… You can’t… We’re not supposed to… hic… n-not yet...”

Despite her earlier show, Monomi’s strength is drained of her at last and she falls forward against Monokuma.

Heedless of everything else, Monokuma collects the still breathing body of Monomi, pulling her into a bridal carry. The sweetness or fantasy of such a move is long dead when one sees the utter desperation in the male’s face, how horrified his wide eyes look staring at her, and he’s dashing towards the elevator with her. He’s jabbing the elevator button impatiently to open up as if it’ll make it open faster, though in all honesty it’s barely a second of waiting time.

His impatience is even worse when he’s in the elevator, kicking up his foot against whatever button it looks like their destination is to be. He turns his head up towards a corner of the lift, yelling at the top of his lungs as the doors begin to close in on him.

“Suwabe-kun! You… Y-You better-- Pl-Please wake up Toujo-san!! Pl--!!!”

With that, your view of the two is cut off completely, and you all are left to yourselves in the aftermath.

[beyonddespairsboundsone-blog]

Well, ow.||Takumi||Chapter 5 end+ Chapter 6 start||Monotheater

Well... Takumi has shown to be bored this whole time as the execution was going on, watching Chinatsu be forcefully dragged, until she was shoved in the fridge and then-

Yikes.

That was... Painful. The jeweler cringed at the sight but then soon went back to his neutral expression, Chinatsu was dead. What need is there to comment? It was just the same as ever. Each murder repeated. Each execution repeated as well. Would this keep up until everyone was dead...?

He silently left the trial room without a word, pondering if there’re answers to be found... And... Well, it was the same as usual, new maps and all that jazz. The jeweler studied the map while heading to the kitchen to prepare a meal for himself... 

[nightmare-circus]

monotheatre 1 | drift

Drift barely has any time for this information to register, for his brain to sort out exactly what it should be feeling. He settles on two things. Anger, at the split vote and the failure to mete out any kind of retribution for Cameron's death; and fear.

And he's too focussed on processing the implications of what's about to come next that he doesn't see the flash that kills Paradox. But he hears it, and looks up just in time to see her begin to fall. Her expression has hardly changed. It's clear she didn't know what hit her - death so sudden there was no time for the brain to even register that it was dying.

And she falls. And she's gone. And at least it was quick.

But he doesn't like the sound of that word. Erased. Not even dead. Dead and gone. Maybe there's some kind of philosophical or metaphysical discussion to be had here. Drift's brain stalls there for a moment, what the implication was here about death versus erasure. Sato was still around despite his own death, right? So was he truly-

Harley. Interrupted again. Drift raises a hand to his mouth, looking toward Harley with wide, surprised eyes. Two. One escape meant two punishments. It's a cold feeling deep in his bones, a hot feeling crackling across his skin.

He doesn't say anything. He doesn't know what he'd say. Especially because the only thing he's thinking is something, he's sure, she wouldn't want to hear.

Thank God it wasn't me.

[ifaisteio-blog]

Monobear Theatre

I feel quite out of place here.

But don’t we all feel out of the loop right now? Upupupu... after all, who knows what’s what here anymore?

Past or present? Rabbit or bear? Monomi or Monokuma? Live or die? Ice or sea?

...Perhaps that last one isn’t relevant to our current game session.

But who would be concerned over that? Aaa... my heart’s pounding just thinking of all the changes we’ll be seeing here!

Perhaps it might be your living status that’s the next change?

[projectinnocence-blog]

Watson | Monotheater | Attn- Artie | Long time no see

trigger warning - decapitation/neck trauma

The headless spirit wandered, searching for his head. Eventually, he found it, and caught sight of Artie.

Him.

That stupid brat.

"Artie… stupid… dead…"

Only a few words were intelligible, but it was pretty clear it was most likely another threat. He looked angry. Really angry.

"Maybe… kill… heheh…"

He looks like he’s out of his mind, having a wild smirk on his face and hands on his temples - though, his hands on his temples is mostly to keep his head on. 

Don’t lose your head, Watson.

[bounnostra]

monotheatre | maverick

He could laugh. He was so far off base that if they had all listened to him, Boots wouldn’t be lying on the chopping block right now. Cowboy, Bams, Duck – they had so desperately tried to refute Maverick and had staggered right into the trap. He could laugh.

He watches the results, the smile gone. He’s stone-faced, hard to read, but his mind is churning. It was all a mistake, was it? Mistakes, defenses, mercies, mistakes. It’s always the same story. Three times now, and it’s always the same story. I didn’t mean to do it, I had to do it, I didn’t want to do it. Mistakes. How nice. Saying it was a mistake doesn’t make Masaki Miyamoto any less dead. (Doesn’t make Runa Kusuhara any less dead, either.) A dangerous shapeshifter and a woman playing at things she clearly did not understand. And someone is dead. Someone Maverick really liked, for that matter. How can apologies and forgiveness even be options now?

He’d told Ivey he was sorry, and he’d meant it. But this is something else entirely. He wants to feel pity, but the only thing that comes to mind is a corpse in the snow. A plan that was doomed to fail. Mistakes. Bah.

He knows he should feel bad about this. Boots is about to die. And Maverick clearly wanted her to die. He doesn’t envy her, having to look oblivion in the face. He knows he should feel guilty, apologetic, upset. He wants to feel bad; he wishes he felt bad. But when he looks inside himself…

He feels nothing. Nothing at all.

It scares the shit out of him.

She had said, years ago, that he was different now, that it had changed him. She’d thought it was just the shock, but he’d worried it was something deeper than that. And now he has blood on him. Human blood. Human? Blood. And the eyes of everyone around the table feel like hands reaching from the shadows and clutching at him, pulling him down, suffocating him. And he doesn’t feel a goddamn thing.

She was right. He’s changed. But he knew it all along; he’d only just tried to pretend otherwise. No sense in that now.

He says nothing. Anything he says, anything at all, would only make a bad situation worse. He has enough tact to know that, at least. Instead he intends to sit rigid and silent, and he thinks about how, maybe, everything would be better if, well, if things had played out the way they should have all those years ago.

[hadeanic]

Monotheatre | The Tale of the Toymaker

( tw: bombing ) 

Drawing from the same deck, the improper card reading continues. This time, however, the speaker is not Monomi but rather her companion Monokuma. He goes through the same motions, raising a card and letting it levitate above his hand, a faint, red, ephemeral glow encasing it as he spoke in an oddly respectful tone:

There once was a girl in an orphanage.

That’s really all The Hermit was, when it comes down to it.

There’s only so much that can be done there. 

No family to call one’s own, save for the other parentless children bored out of their minds.

So The Hermit spends most of her time not among them, but rather among piles upon stacks of books.

She drowns herself in knowledge not for any scholarly pursuits but rather with the intent of entertaining the other children around her.

Stuffed bears. Dinosaurs. Dolls. 

Then stepping up a notch, wanting to impress more children, producing robots that could walk and dance and sing.

They love it. 

And so then she escalates.

She makes them an anthropomorphic ninja mecha shark. It’s every bit a dream as it sounds.

And it’s real.

Someone else notices. Two someones, rather, two someones who hold her hand.

The Hermit’s older than the rest of the children yet it is these two that ask her to live with her.

She puffs her chest out with pride and lives out the best three years of her life. 

Her newfound parents are busy with their research, but she doesn’t mind.

With her free time and resources, she’s making more and more toys with more and more advanced programming. The media loves her.

The Hermit’s a prodigy, and she knows it.

But more importantly, her parents know it.

It’s by chance that she finds the video, a grainy image sort of thing. 

It depicts a new experimental warfare drone that throws down bombs that kill. They devastate far more than human hands.

But that’s not the only notable thing. 

Its actions are familiar, chillingly so, and so The Hermit digs deeper.

These sins might not be hers, but they still need to be paid for.

The arcana is the means by which all is revealed…

Retreat into introspection. Think things over and you are sure to find the undying light within you necessary to forge your own path.