#real analysis final is DEFINITELY gonna kill me

[femslashspuffy]

Finals are so fucked ive shown you I know the calculus before can you just trust me 🥺 trust me please it's a lot better than what I can do in 2.5 hours after a week of sleep deprivation

[shsl-analyzer-guy]

In-Depth Character Analysis On All The DR Characters Because What, Are You Gonna Try And Stop Me? Who Are You, My Mom? Yeah, I Didn't Think So- Part 5: Junko Enoshima

Oh boy, this is gonna be a big one. In fact, I wouldn't be surprised at all if this turns out to be the longest analysis in this entire series of ~100 characters. Why did I not save her for last. Why is this part 5. Why do I do this to myself-

Jokes aside, I am so so so excited to make this; Junko has become the face of this franchise for a reason, and the depth of her character and role in the series as a whole is massive. I won't be surprised if this takes over a month to complete. In fact, just for fun, let's track it. I'm starting the analysis on 7/5/24. When will we finish? Nobody knows!

(Final edit Crane here. It has been more than 5 months. Christ.)

This analysis uses only official material for the sake of analyzing the character, primarily sourcing official English localizations. It'll be um, lengthy, to say the least, so if you aren't that interested, just keep scrolling. Also, if there's even one canon installation of Danganronpa that you haven't played/watched/read yet (THH, DR0, SDR2, UDG, DR3, and/or V3) don't read this; the ripple effect of Junko in every corner of the franchise will be discussed and thus, there will be spoilers aplenty.

Also, a disclaimer that though I try to remain as objective as possible with these analyses, it will be at its core, an interpretation. Not everything will match up with how you interpret it, and that's okay! I don't claim to be perfect, and this isn't an infallible source of canon, only my interpretation of the source. Let's get into it!

Foreword

Real quick, before we get too far in: readers of my previous analyses know that I normally try to move in chronological order of release and events in-game to keep the analyses easier to follow. Due to the nature of Junko's characterization and the fact that she's present throughout the entire series, that isn't really possible here, as to talk about any one aspect of her, I may need to pull from multiple installations. I'll be sure to cite where I'm pulling from and provide evidence where necessary, but it definitely won't be perfectly in order by release or timeline. So hopefully it won't be too messy. Also, characters very closely tied to Junko, like Monokuma, Ryoko, Mukuro, etc. will be analyzed separately at a later date, so those sections may end up feeling incomplete as a result. For the sake of releasing this before 2025, I need to cut corners a little bit and focus primarily on how these relationships affect Junko, and not the other way around.

Part 1- Monokuma

In order to understand Junko, you must first have a basic understanding of Monokuma, mascot of the Danganronpa series and self-declared Headmaster of Hope's Peak Academy. Monokuma introduces himself to the cast as their superior and oversees the killing games, providing motives and passing judgement on the class trials, all while reveling in the Despair of the students. There are multiple iterations of Monokuma, but most of them exist in order to carry out the killing games without issue.

Like Junko, Monokuma remained a staple of the franchise, appearing in every official installment, whether he was being actively piloted by Junko or not. As we see in DR3: Despair Arc, she personally designed him to become the face of her movement of Despair, and thus, he was used to carry out her will at every turn.

1.1- Trigger Happy Havoc

In the first DR game, Monokuma was just a robot piloted by Junko. His mannerisms were a character invented by her to appear as the psychopathic Headmaster, but regardless, her true nature of Despair is directly infused into the character as she acts him out. Through him, she's able to reveal hidden information about each of her classmates and torment them personally, all without them knowing she was once a dear friend to them. As a robot, though, he came with drawbacks- Junko couldn't pilot him and watch the cameras at the same time, and once the charade of his all-seeing Headmaster was seen through by Kyoko, he lost most of his power. Thus, Monokuma's existence was designed to deceive, and could only function through deception. He created the illusion that hope was outside, that escape was solely on his terms, and that the class had no unification- all according to Junko's design.

1.2- Goodbye Despair

When the sequel game arrived, Monokuma was once again a character being played by Junko. Unlike last time, however, the two had blended together, becoming one and the same. This Monokuma was a Despair Virus, created with Chihiro's Alter Ego technology, and implanted into the Neo World Program with the intent of continuing the real Junko's plans for the spread of Despair. This version of Monokuma is extremely similar to the previous in terms of its personality and beliefs, but appears much more powerful within the artificially generated world, now able to apparently power-up, bleed, and transform plushies into duplicates without logical explanation.

Rather than targeting certain themes in an attempt to teach Despair, this Monokuma created directly-targeted motives, attempting to use class 77's personal connections to a whole other level and banking on the fact they were friends, rather than try to cover it up. He also acts as if they're his dear friends and like they're on the same side, directly inverse to his apparent attitude towards class 78. This is intentional, though as to why, we'll get into much later.

1.3- Ultra Despair Girls

Rather than being present as a character, Monokuma exists solely as mascot in this game, as thousands of Monokumas are programmed and piloted to slaughter the majority of adults in Towa City. He exists solely as a tool used by the Warriors of Hope.

In chapter 4 of the game, you get the reveal that all the physical Monokumas that exist were built and sold in Towa Group's factories, and later, that Monaca Towa was directly responsible. This exists to demonstrate how Junko was able to financially and physically afford the amount of power and technology she accrued in her crusade for Despair. More on this later.

1.4- Danganronpa 3- Future Arc

Near the end of the first episode, Monokuma seemingly appears on a monitor in the meeting room of Future Foundation's HQ, announcing his survival and a return of the killing games, starting with the Future Foundation higher-ups. At the beginning of the following episode, an act is put on between this version of the character and "Miaya Gekkogahara", as they fake an argument where Monokuma alters her avatar Usami into Monomi, making it appear as though he's again being piloted by a real person from some remote location.

As the season comes to a close, though, we learn that it was the chairman who set up the killing game, and that Monokuma's appearance, along with the video that would play during every nap, were falsified recordings, aided in part by Monaca Towa pretending to be Miaya. Thus, his likeness was used for a cheap recreation in an attempt to manipulate one person and kill nearly everyone else in charge of the Future Foundation, all set in motion by Junko's own brainwashing videos.

1.5- Killing Harmony

This is the only version of Monokuma that Junko herself doesn't have a hand in recreating, and is the only time he exists solely as a robot personality of his own accord. Created by Team Danganronpa, he's a physical conception of the fictional character Monokuma in-universe, and thus, is a character in his own right. Birthed by a Motherkuma machine for the mastermind's benefit, Monokuma acts once again as Headmaster, but a significant amount of soul is noticably absent from the presentation. This is in part due to the amount of focus on the Monokubs, using their unique characteristics for comic gags with the cast in the way Monokuma used to in the previous games, and his appearance feels like more of a checkbox than an actual return of Monokuma. Simply put, without Junko's influence, Monokuma's character becomes more flat, and starts to fade into the background in a convoluted mess of references and callbacks. All of which is done on purpose- Monokuma is a facet of Junko, and without Junko, Monokuma becomes empty.

Part 2- Character Design

Junko Enoshima is designed as a gyaru, a subgenre of fashion known for its more 'rebellious' style. She's dressed in a modified uniform, with a black jacket with her sleeves rolled up and unbuttoned, allowing her cleavage and bra to show, with a black-and-white tie, a red bow, and a red plaid miniskirt. She also has Monokuma pins holding up her ponytails- one with the white half, and one with the black half. Asymmetricality and the use of exclusively black, white, and red all align her with Monokuma, an asymmetrical black-and-white bear with a red eye. She has styled blonde hair and blue eyes, and has the title of SHSL Gyaru, or Ultimate Fashionista.

2.1- What's A Gyaru?

Gyaru as a fashion style first originated in the 1970s, emerging from Japanese women's nonconformist desire to embrace their own sexuality and rebel against societal standards of the traditional housewife. As time passed and more women latched onto the trend, it became a major point of discussion, initially shaming these women for being too racy or delinquent, before shifting to an increase in streetwear fashion and being recognized as its own genre of fashion, evolving with new subgenres as time continued to pass. It went from a wholly shameful style to an expensive, trendy one as expressly gyaru clothes started to be made and sold in stores. The increase in popularity also led to discussions of placing laws against child prostitution, as younger girls were getting into the expensive fashion and started finding alternative ways to afford this showy clothing.

There are many, many subgenres of gyaru known, but Junko Enoshima is specifically referred to as a kogal or kogyaru, a high-school gyaru. Her school uniform is modified into a showy jacket and miniskirt with big bows, she wears knee-high boots, and her hair is blonde, implied to be dyed based off of the common hair-dying of kogals. In DR 0, we also see her with red hair and eyes as opposed to the blonde and blue, suggesting that red may be her natural hair and eye color. Kogal culture has a lot of stereotypes around it regarding the extracurricular activities of the girls who subscribe to it, but the general idea around it is for the girls that participate in it to break social norms and claim their sexuality for themselves to get what they want, all within a consumerist guise. This type of mentality matches Junko extremely well, as a character bent on breaking the world for her own pleasures by advertising herself as Despair.

Part 3- The Mastermind Reveal (THH)

We don't actually meet Junko Enoshima until the final showdown in THH, though we are well-acquainted with the idea of her before then, as not only do we meet an imposter-Junko in the first chapter, but her magazines are specifically shown to us in the intro of the game, and are scattered throughout the school(laundry room). There are also little hints as to her identity as mastermind sprinkled into the game.

"Whenever I spot a cute girl, I have a tendency to stare. I can't help it- I just gaze with intensity. The other day, I rode my bike to the train station... I was in the bathroom, just looking at myself in the mirror..." -Monokuma Theatre, THH

Despite these hints, the characters don't know who the mastermind is yet, only being able to reason at her motivations for the killing game and why it came to be based off of what clues Monokuma leaves out for them, like how the main track that plays when interacting with Monokuma is called '100 Mile Junk Food Dash'.

"But first, I have a question for you... Who are you? What do you want from us?" "Well, if you really must know... Despair. That's all." -Kyoko Kirigiri & Monokuma, THH

"And for those of us who represent hope to kill each other and sink into Despair... The mastermind wants the world to see that, to try and prove that Despair is better than hope." -Kyoko Kirigiri, THH

We know that whoever this mastermind piloting Monokuma is, they're someone that's engineering this entire killing game expressly to spread Despair. With the knowledge that the killing game is being televised, that Despair isn't just for the students, but is being put on display for the entire world to see. Manufacturing and televising such a sadistic game using public figureheads under governmental protection is a behavior akin to terrorism (Despairism?) and is an act that, by itself, seems nigh impossible for some high-school student to be capable of. Yet, we know it is a high-schooler- Monokuma insists that the only people involved in the killing game are the 16 students of their class.

Through the investigations of chapters 5 and 6, it becomes increasingly more apparent that whoever this SHSL Despair is, Junko has some level of involvement. For example, more observant players will recognize Mukuro's corpse almost immediately as 'Junko's' from chapter 1, as her bright red nails and the same high-heeled, red-laced boots are clearly visible. And while this doesn't immediately incriminate Junko herself, it does at least call into question the identity of the dead SHSL Despair, as the body being Mukuro's isn't ever really contested(save for a 'dumb Hiro' gag insisting it's Kyoko while standing next to Kyoko).

"And don't forget about the Fenrir tattoo. There's absolutely no mistake... Our victim in this case is, without a doubt, Mukuro Ikusaba...!" -Kyoko Kirigiri, THH

Throughout the final investigation, the player's job is to solve 'all the mysteries of the school', AKA their erased memories and the identity of the mastermind. This investigation intentionally doesn't talk about Junko, voiding her involvement to the point that her own face is scrubbed from the evidence. The hints given by Monokuma picture Junko's face covered up in every photo, and the recordings of the students agreeing to live in the school is cut off before it can cycle over to her. It's not her presence that matters, it's the lack of presence, because we haven't actually met her yet, juxtaposed to the repeated mentions of Mukuro, a girl who'd been a part of the group since the very beginning without anyone realizing.

When we do realize this, it comes with the realization that Mukuro's and 'Junko's' body were one and the same, and with Kyoko's old pocketbook revealing that "Despair walks among us, and so we survive... There's a second 'Despair'", we can come to the conclusion that the reason the mastermind was able to pull this off was because there was actually more than one, working in sync, and thus, the reason both bodies were one was because they were the SHSL Despair together.

Part 4- The Despair Sisters: Mutual Abuse (CW: Incest)

Despite the fact Junko was the brains behind the operation, there was never really a time where she was working alone towards Despair. She was actually one of two Ultimate Despair- as she called them, the Despair Sisters. Her twin sister, Mukuro Ikusaba, was Ultimate Despair as well, and assisted her every step of the way.

In her first appearance, we don't actually get to know anything about her, as she spends her time with the class pretending to be Junko. As such, any and all information gathered on Mukuro is given by someone else- official school records state her title and physical attributes, and Junko tells us her role as Ultimate Despair and goes on about her flaws.

"She had what I call the 'three atrocities'- atrociously rank, atrociously filthy, atrociously repulsive. It was atrociously clear just how out of touch she was with the rest of society." -Junko Enoshima, THH

"The older sister, tough and proud, that was Mukuro. The younger sister, smart and cute, that was... Hyaaaahaha! Me! Junko fucking Enoshima! And together, we were the Despair Sisters! AKA, the Ultimate Despair!" -Junko Enoshima, THH

Mukuro reappears as herself in DR 0 and DR3's Despair Arc, as well as the official AU novel DR IF. In these, we get more insight into her feelings, and see her display an overt attraction to her sister at multiple instances.

"Consumed by ecstasy, even Ikusaba-san's breath became ragged. 'Only I am able to understand her. That's why she needs me. She still hasn't realized that but, maybe she's only pretending not to realize. Ufu, that's because she's so shy. Ufufufu.' Seeing this intoxicated Ikusaba-san continue to talk like that repelled me. I knew that she definitely didn't have normal feelings for Junko Enoshima". -"Mukuro Ikusaba" & Ryoko Otonashi, DR 0

This is pretty obviously incestuous in nature. She blushes at her sister's attempts to kill her with an ice pick, has an internal dialogue about how much said attention affects her, and 'goes into ecstasy' talking about her sister's madness. It's intentionally uncomfortable because it's intentionally incestuous*. I've seen arguments for Mukuro's behaviors being out of character and only there for fanservice in the anime, but this behavior being found in DR 0 first pretty clearly contradicts that. I've also seen an argument for Mukuro's behavior being an act meant to make Junko feel Despair and not having any legitimacy. The crux of the argument comes from the assertion in DR IF that Mukuro is able to numb her emotions in battle, so therefore, she could also mimic such an attraction when around her sister. This argument quickly falls apart as well, considering that a) she has both internal and external dialogue directly referencing her attraction where Junko can't actually hear her, and b) going numb in the heat of battle is not at all the same thing as faking sexual desire outright.

*(Mukuro being incestuous is immediately relevant to the way the Despair Sisters interact with each other, and understanding that I'm talking about their relationship under the lens that she is will hopefully prevent questions about why I'm talking about them as I am throughout the analysis, particularly when she pops up in other sections here and there later. Please do not go into the replies or reblogs and explain to me why I'm wrong; you are not going to change my mind. Believe it or not, I don't like Despaircest either, but that doesn't mean Mukuro's behavior in canon is some accident to be shrugged off. These are meant to be OBJECTIVE analyses. I'm going to look at what the games and novels and anime are presenting, whether I actually like all the points or not.)

Junko Enoshima yearns for Despair. Despair is her reason for being, and everything she does, she does with the intent of eventually bringing Despair upon herself. That pain of Despair is the strongest feeling in the world to her. And the way she treats Mukuro directly stems from that desire. Despair stems from grief, and what brings more grief then the people you love most despising you? Mukuro is her twin sister, who stands by her no matter what. Junko even tests this, having her kill an entire class of students to prove her strength and loyalty in manga series Killer Killer(though, admittedly, Killer Killer hasn't been confirmed as canon to my knowledge, it still aligns with what we know for both characters without altering anything about their characterization).

Mukuro is capable- very capable, and definitely has the ability to betray her, or even kill her if she wanted to. So at every turn, she treats Mukuro like garbage, actively trying to kill her with an ice pick when they first reunite and talking down to her at every opportunity. She describes her sister as fat, flat-chested, ugly, stupid, a pervert, any insult she can think of. She critiques her murders, chastising her when she kills the guards in Despair Arc while looking for Izuru for not doing a clean enough kill. But despite all this, Mukuro never strays from Junko's side. She continues to fawn over her, not just taking all the abuse, but displaying an attraction to her Despairing nature, and refuses to leave her side, the exact opposite reaction of what Junko wants to see from her.

"'Yes, she really is ridiculous…to the point of Despair, she's the lowest, worst sister ever but…that's why I can't leave her alone. That's why I have to help her. After all, I'm the only one who can understand her.'" -Mukuro Ikusaba, DR 0

This kind of loyalty isn't Despair-inducing at all; that dedication is exactly what she predicted from her obsession. What Junko actually wanted from her, we get a brief taste of when she speaks in the final trial of THH- "Because naturally, she turned out to be the letdown of the family. Leaving me behind to run off and join some band of mercenaries... Such a disappointment." The Despair of abandonment, of betrayal, was what she wanted. But Mukuro is too loyal for her own good. That's just annoying.

Mukuro is emotionally abusive, or would be if her sister were anyone but Junko, lusting after her own blood sister in a way that's considered taboo and perverse. This lust develops from an obsessive need to stay loyal to her sister, while Junko verbally abuses her right back, talking down to her and keeping her under her heel, mocking her at all available opportunities and treating her in a way that would make anyone else feel like shit. Not so for Mukuro, the person who's been next to her since birth and has stood by her side through all her Despair. They abuse each other, but there's an unspoken bond that allows for their relationship to function regardless, albeit in a twisted way. They're sisters, equally matched, and together, they become two halves of a whole terrorist. Despair is toxic for anybody, and Junko's own affliction leads Mukuro's obsessiveness to chain herself to Junko's side. They're twins who were born together, after all, and who else could even begin to understand Junko's Despair?

4.1- Despaircest & Anime (CW: Still Incest)

We've seen the relationship that Mukuro and Junko have with each other, both as it was alluded to in earlier depictions and how they interact with each other immediately in the anime. And, despite the fact that it wasn't directly shown to us before said anime, there were hints of the intention of a one-sided incest in DR 0, as well as repeated examples of Junko treating her sister poorly on a surface level and how much she actually valued her within THH and DR IF. Going into the anime, this would be the first time we'd actually see Junko and Mukuro interacting directly with each other as themselves. This could have been the time where we get to see just how twisted their relationship actually is, getting to see how, and maybe even why, they began treating each other in this way. We could've gotten more of a glimpse into their backstory, when they separated, and the inherently self-destructive cycle they pull each other into. Here's what we got instead:

Rather than actually explore the real depth of their fucked up relationship, the anime elects to play it up for the sake of fanservice. This is admittedly an ongoing problem in most of DR3, as it throws most of its female characters into very compromising positions and focuses in on their bodies when they're being brutalized in one way or another and not doing the same for the men, but that only makes this lack of tact worse. There's no interest in actually addressing this darker plot point beyond the most basic surface level because to go any deeper would make it more difficult to get your rocks off to it. It's a shame to create such a conceptually fascinating relationship that would've made for a fantastic way to develop Mukuro as a villain more and Junko as a human more, and just use it for cheap servicy gags. I feel like it isn't an unreasonable statement to say that this was lazy. Danganronpa is supposed to be a series that explores dark topics and uses them to create tragedy and develop its characters. In the face of that, this was cheap.

Hell, this very scene says it itself: they're using Despair to create a fucked up pleasure for the viewer! The incest being played up for fanservice instead of acknowledging Mukuro as a character is, from a meta perspective, Despair-inducing. To the writers and to Mukuro, Mukuro doesn't matter outside of Junko. Her suffering is pleasurable to the audience in a way that's outside of social acceptability, in the way she needed to be used for so long just to exist. BUT WE ALREADY KNEW THAT. We didn't need to boil Mukuro down to an extension of Junko; Mukuro already did that to herself. Maybe this is just me complaining because it's not what I wanted to see from this plotline; I'm not ashamed to admit that. I think being able to acknowledge your biases as a consumer is important when critically looking at a piece of media. But I stand by my assertion that the presentation of this point is sloppy and surface-level, and should've been handled with more tact.

Part 5- The Murder of Mukuro Ikusaba

Junko treats her sister like trash, but despite this, we know that she does respect her. In fact, she has to consider Mukuro as an equal, because if she didn't, she wouldn't hold her as equal parts Despair as herself. Yet, when she reveals herself at the end of THH, she affirms that they were equals- both the Despair Sisters, who worked together("We were the Ultimate Despair, ya know?"), and in the same breath, describes her atrocities and mocks her memory as a disappointment. She sees Mukuro as not just a person, but a legitimate danger and a harbringer of Despair that's worth recognizing. Thus, as a sister, it causes her Despair to prevent anyone else from seeing that and paints Mukuro as just another victim of hers("She was nothing more than a bit player, an extra unworthy of lines."). Playing up her betrayal of Mukuro and her supposed disdain for her sister strips her of her agency as Ultimate Despair to their classmates, without letting them see her true self either. She becomes just another faceless victim, and Junko holds the memory of the true Mukuro Ikusaba, merciless killer and all, wholly to herself.

In the au light novel DR IF, Makoto remembers Mukuro, and inadvertently saves her from this fate. This leads the rest of the LN to focus on Mukuro and her relationship with Junko from her perspective as she copes with the reality that her sister betrayed her. It differentiates herself from Despair, and from her POV, we learn how she thought Junko felt vs how she actually did. Junko lives her life hopelessly- she's too smart for her own good, and can predict the moves of society and of the people around her. Mukuro believed she was the only one who fully understood Junko, so she acted perfectly in accordance with her plans, never once rebelling or going against her. She tries to convince herself to crave her sister's Despair so she would feel Despair from that desire, so she can remain close to her. But that wasn't the Despair Junko wanted. All along, what Junko wanted was for Mukuro to betray her because of her love for her. Without Mukuro, her plans would fall apart. She wouldn't be able to break into Hope's Peak as she did, nor would she be able to protect herself when attacked. Mukuro was what allowed her to gather as much power as she did over Hope's Peak, infiltrating and gathering blackmail, kidnapping chairmen, and so on. Mukuro was the brawn to Junko's brain. So the one thing that could destroy her plans, and bring her a Despair greater than any other, would be if her other half abandoned her. In DR IF, she learns this as Junko finally tells her that she loves her to her face. She breaks Mukuro's chains, and sets her free from her Despair to heal without her by rejecting her help, in a roundabout, Junko-esque way. In canon, though, Mukuro doesn't get to have that realization. She doesn't have the emotional intelligence to put those pieces together herself, and tired of waiting, tired of hoping, Junko gives herself an alternate Despair- the Despair of killing her own sister in cold blood.

The identity and death of Mukuro exist to keep the identity of the mastermind shrouded in mystery. Within THH, she's someone who's important from a narrative perspective- not as a person, but as an entity- designed to facilitate the reveal of the real Junko. Her murder is thus a murder of both her literally, and the murder of her personhood, as Mukuro is the one character that never gets to introduce herself. Junko makes it so, and wipes the memories of the class so that Mukuro Ikusaba will no longer exist outside of herself.

We're introduced to Mukuro not as Mukuro, but as Junko, wearing a wig and costume to appear as similar to her well-known sister as possible, and acting out her sister's fashion diva personality as convincingly as possible. It's tropey and typical of a fashionista- she cares about her looks a little too much during a killing game, acts like she's above the killing game and wants out of it, and explains away any imperfections as 'oh you haven't heard of photoshop before?'

There's no reason not to trust her at that point because no one thinks they've met her before. In DR IF, Makoto is able to recognize her through the outfit and charade, but that's only with his memories intact. Those memories have been thoroughly covered up by Junko in reality, and so the Mukuro Ikusaba she knows dies invisibly, betrayed and unrecognized as her classmates and friends mourn her killer instead. Junko gives her sister the worst Despair of all- being truly forgotten. After this, no one would remember who she was ever again, locked away in the mind of the person who'd never show her affection.

Not only that, Junko killing Mukuro and emphasizing how little she cared about that decision served to make the survivors hate her- her old friends now despised even looking at her, and brought her more Despair.

"Which is precisely why I killed her- to meet everyone's expectations." "That... can't be your only reason, can it?" "Well no, of course not. I also did it to avoid becoming bored." -Junko Enoshima & Makoto Naegi, THH

Despite that, being the one to kill Mukuro brings her a Despair like no other, with her describing it as "super super super super super Despair. No, more than that... Super super super super super super super super super super super super super super super Despair... It just feels... so... good..."

Junko did love her sister, and made everyone else she loved believe otherwise so she could feed off the Despair from their hatred.

Part 6- Ultimate Despair and Junko Enoshima

"The Ultimate Despair... A group of people who caused the Tragedy one year ago... Those same people put together this killing game and began broadcasting it around the entire world. The most desperately awful group of people ever... *That* is the mastermind's true identity." -Makoto Naegi, THH

Make no mistake- despite what the surface level of the series would have you believe, Junko Enoshima isn't the Ultimate Despair. There is no the Ultimate Despair because Despair isn't confined to any one person. Rather, Junko Enoshima is afflicted with Ultimate Despair. Despair, by nature, is grief. It's a pain inflicted by the death of hope, whether that be through the loss of a dream, a person, or whatever else. You grieve that loss, and it takes the form of Despair. Ultimate Despair takes that grief and amplifies it, destroying any sense of self and replacing it with the desire for more Despair. This is the type of Despair that Junko Enoshima feels, and thus, uses her own talents to embody it and spread it. It's a bold claim to make, I realize, that she isn't the SHSL Despair she defines herself as, but it's the basis this entire analysis leads to, and as the evidence over the course of the series develops her character more and more, it goes from some theoretical musing to legitimate design, all the way through to the end of V3. Though she immerses herself within Ultimate Despair, she herself is not Despair incarnate like she'd have you believe.

As we see her in THH, Junko is repeatedly hammered in as 'one of two' by the narrative. It's not just Junko that's formed Ultimate Despair; it's also Mukuro, and they're not referred to as 'Ultimate Despair and her sister', they're 'the Despair Sisters'. For all her charisma she displays, she alone isn't responsible for the Tragedy. Everyone is capable of feeling Despair. It's that foothold Despair has within her that creates an 'Ultimate Despair'. And while yes, Junko was definitely the most afflicted with Ultimate Despair, she didn't get as far as she did just by being horny for grief. She has a title, a real one, and it's not SHSL Gyaru. That was her cover, something she could use thanks to her real talent. Her real talent was only ever known by a select few, and to know what that is, you have to dive into the (criminally underrated, may I add) 2-volume novel set, Danganronpa 0.

Part 7- Ryoko Otonashi (DR 0)

(Little disclaimer here: Before I actually talk about the novel, I did want to quickly assert that DR 0 is both a mainline release to the Danganronpa series and 100% canon. Written and released by series creator Kazutaka Kodaka himself in 2011, it was written specifically to fill out Junko's character more. As such, everything contained within them are unquestionably canon to the world and its characters, something critically important to understand when talking about how it pertains to Junko Enoshima. I think just about anyone who's read DR 0 before knows all this already, but for the sake of anyone reading this who hasn't, I wanted to assert that.)

Ryoko Otonashi is the protagonist of DR 0, and is introduced to us as an audience in a 1st-person perspective. While she isn't the only character we follow in this series, she's the only one to speak to the reader straight-up, introducing herself and reacting immediately to the people and events in front of her. This is for good reason, as Ryoko is suffering from some form of amnesia. Not only does she not remember anything about her childhood or her identity, she also forgets things as they're happening. She can't even remember her name, and is only able to recall it by reading the cover of her notebook- 'Ryoko Otonashi's Memory Notebook,' where she's writing down everything in front of her as it happens so she can try to remember later.

Most of the story is told through Ryoko's perspective as she tries to avoid being caught up in some massive conspiracy within the school- all without actually remembering the conspiracy she's avoiding. Junko Enoshima is the one responsible for this, directing her from place to place and slowly forcing her to confront the conspiracy as she starts to figure out who she is and how she fits into it all. She insists over and over again that it has nothing to do with her, that she's innocent and has never met any of these people before and desperately tries to believe it- her memory is gone, therefore she could not be responsible.

But she is responsible, because she's not Ryoko Otonashi. Her real name is Junko Enoshima, and she's the SHSL Analyst, a girl with such a strong logical capacity that given enough information, she can perfectly understand and predict anything. This could be the actions and personality of a person, or it could be upcoming trends in fashion; whatever it may be, Junko is capable of perfectly analyzing and understanding what will happen in any given situation, long before the world does. And that type of intelligence has rotted away her mind.

Simply put, the human brain requires stimulation. Boredom is her opponent, and in a world where she can fully understand and predict anything at any time, Junko has nothing to stimulate her, and almost nothing can bring her any joy, because she fully anticipates it. Everything is normal, predictable, boring- it's left her with a case of intense anhedonia. Therefore, the only way she could find any happiness is in a world where that talent is stripped away from her. As Ryoko Otonashi, a girl with no memory, she can remember nothing and therefore predict nothing. Analysis requires data, and a blank slate offers none. Even her name is in reference to this, as 'Otonashii' translates to English as 'no sound' or 'quiet'. Only without memory can Junko's mind be silent and let her be genuinely happy.

Ryoko Otonashi is essentially a personality created by Junko as a test, not just for the people around her, but also for herself. Throughout the novel, Mukuro and Yasuke interact with her with opposing goals- Mukuro pushes her into the fray of Despair she's created, while Yasuke tries his best to keep her eyes and ears covered. Ryoko is in a unique position between the two- she's starting to remember and understand herself again, but is terrified of what she'll find, and wants to hold onto her peace with Yasuke. The ongoing question of the novel, which only reveals itself on a reread, isn't within Ryoko's identity itself. It asks the question of whether or not Junko could have been saved from Despair. And the answer, sadly, is no. Remembering anything for too long makes her forget her happiness, and she falls back into Despair, killing Ryoko Otonashi, the epitome of her peace, with her own hands.

Mukuro and Yasuke act as opposing forces within the novel, as both feel a loyalty to Junko that makes them act in what they believe to be her benefit, and both fail. Mukuro drags her kicking and screaming back into the depths of Despair to bring back the madness she sees Junko as, while Yasuke wipes her mind of everything that made her Junko to remove what plagued her. For Junko, balance isn't an option, and the people within her orbit fall victim to that same mentality.

7.1- Personality Disorders In Danganronpa

I'm not a psychologist, nor do I have any sort of split personality(DID, OSDD, etc). So my knowledge on the subject isn't that great, and everything said within this section should be taken with a grain of salt. But, to the best that I can tell, Ryoko's existence as an alter is sort of... mixed up. Other characters in the DR series (Toko & Genocider) make it pretty clear that Kodaka doesn't really have a fantastic understanding of people with DID outside of how they're stereotyped in the horror genre. And that background knowledge, combined with the presentation of Ryoko in DR 0, makes me think she was likely intended to be an alter, but as one that Junko had almost absolute control over, as at multiple instances, she was able to knock Ryoko out at will, and fully killed her once she'd outlived her usefulness for the experiment. There are parallels to Jekyll and Hyde in that aspect, though of course Jekyll was aware of also being Hyde- an alternate version of yourself created to rid yourself of everything about yourself that you despise is very reminiscent of Jekyll's motivations, down to the permanent erasure of the "good" side by the very end. It's also worth noting that Jekyll and Hyde weren't intended as an example of DID, but rather, an exploration of how every person is multifaceted with good and bad parts, even if modern day interpretations often read it as another example of the evil DID trope from 1960 and beyond(thanks a lot, Psycho).

There are several interactions between Ryoko and Junko that support them being two personalities within the same body rather than just a case of memory erasure. For example, when Ryoko is nearly killed by one of the SHSL Octuplets, Junko emerges just to make sure she isn’t killed, citing it as a minor nuisance.

“‘Upupu, I wonder if I was a bit too harsh.’ The voice said, it sounded close. ‘... But it can’t be helped. It’d just be embarrassing if you died here. After all, you’re the protagonist in this scene for once!’” -Junko Enoshima, DR 0

When Ryoko wakes up in the underground bunker of the Reserve Course cult forming, she comes across a captured member of the Steering Committee. And because she genuinely doesn't know who he is or where she is, he ends up giving her classified information that Junko needed, and the second he reveals it, she's immediately able to knock Ryoko back out and take over once again, having used the Ryoko personality as a front specifically to gain information.

“'The old school building… Kamukura Izuru’s there.' 'P-Please wait..' I ended the conversation prematurely with an interruption. Quickly, I wrote in ‘Otonashi Ryouko’s Memory Notebook’. .... But then… Huh? I suddenly felt an attack of dizziness, I struggled to stay upright. What’s happening?" -Steering Committee Member & Ryoko Otonashi, DR 0

"'Oy, did you hear me?' I didn’t. The beating in my ears was only growing louder, it completely drowned out all other sound, I couldn’t hear anything anymore. I shouldn’t be able to hear anything anymore, and yet I could hear a single, eerie laugh. '...Upupu.'" -Steering Committee Member & Ryoko Otonashi & Junko Enoshima, DR 0

Ryoko's memory of Yasuke is also contingent on whether or not Junko wants her to recognize him, suggesting that to some degree, her memory issues aren't just forcefully induced, but rather, are a conscious choice on Junko's part for Ryoko, as once Junko's plan is in place, she suddenly can't recognize him and is then forced to kill him in self-defense.

"'Are you…talking to me?' He looked exhausted. A face of someone who lost everything. The face of someone who lost all his thoughts, all his senses, and all his emotions. '…You don’t remember me?'" -Ryoko Otonashi & Yasuke Matsuda, DR 0

It's pretty unclear whether this was an intended conclusion from Ryoko's and Junko's behavior in DR 0, or if these are just remnants of Kodaka not knowing how personality disorders work and simply having Junko be so powerful that she can purposefully create, manipulate, and kill personalities at will, but I think looking at it from a more psychological viewpoint like this certainly puts Junko's actions as a manipulator into more perspective. The intention behind Ryoko suggests that Junko's manipulative abilities extended even into her own psyche, almost to a supernatural degree. Do actual systems in the real world function like this? No, but thanks to Toko/Genocider, we know that the representation of DID isn't gonna be good in this series.

If we wanted to put this into a more realistic lens, we could come to the conclusion that Junko's apparent control over Ryoko and the discrepancies behind her existence is a result of Junko having Munchausen Syndrome. Also called factitious disorder, Munchausen is a subconscious psychological condition in which the patient fakes symptoms of other kinds of conditions, whether mental or physical, without realizing they're mimicking the symptoms. Under this lens, we could say Ryoko was a factitious alter that Junko created after Yasuke wiped her memory, hence why she could have control over her over the course of the novel. This was almost definitely not the intended explanation, but it's the conclusion I came to. So there.

Part 8- Relationships

Due to just how many corners of the franchise Junko's present in, there's no convenient place to dump all the relationship analyses like I normally do. Ergo, I'll be breaking part 8 up, and will talk about the different core relationships Junko forms when they're most relevant.

8.1- Yasuke Matsuda

Yasuke Matsuda is the SHSL Neurologist, and a childhood friend of Junko's introduced in DR 0. Because he's the boy she's in love with, he remains the only tangible thing Ryoko can remember outside of her procedural memory, and is treating her memory loss. He's also the one primarily responsible for wiping her mind and assisting the school in the coverup of the student council massacre that Junko was responsible for, though he takes no pleasure in it.

"The silence continued for a while until Matsuda sighed and muttered, 'You should worry.' His voice was low and depressing. 'What if you’ll always be like this......'" -Yasuke Matsuda, DR 0

Despite his tsundere behaviors towards Ryoko whenever the two are face-to-face, he's very much in love with her, and spends the novel trying to look out for what he believes is in her best interests by methodically attempting to remove the Despair from her mind and covering up the Tragedy she's already set into motion. Throughout the novel, he works in cahoots with the Hope's Peak Academy Steering Committee to find more information about the Incident. He does this specifically to defend Ryoko and keep people from interrogating her further, and to hopefully extricate her from the whole situation permanently.

"'I said shut the fuck up.' Matsuda easily quieted the men by saying that and then he continued in a soft voice. 'People might call her an idiot, but she doesn’t even bother to stick up for herself, thinking she can’t do it. So I don’t think I’d be able to forgive myself if I don’t do it for her.'" -Yasuke Matsuda, DR 0

Though we never see it directly, we realize with the help of Kyoko that he's also the one taking the bodies of the Steering Committee and SHSL Octuplets after Mukuro kills them and disposing of them, in the hopes they won't be discovered and Junko will eventually be absolved of both suspicion and Despair.

“Finally she looked at me. ..... ‘The dead body, the body that was dead. There was a post-death body here before!’ ‘Huh?’ .....  ‘There’s not mistake, I know there was definitely a corpse here before!’” -Ryoko Otonashi & Mukuro Ikusaba, DR 0

“Matsuda-kun’s voice was definitely coming from beneath me. There’s no mistaking he was under the bed. ‘But... what would require so much concentration to be under the bed?’ ‘This situation.’ Somehow, Matsuda-kun’s way of putting it could allure to several different meanings.” -Yasuke Matsuda & Ryoko Otonashi, DR 0

"I stood next to the girl, crouched down and peeked under the bed. At the back I could see a large opening, .... 'It’s not a terribly impressive hidden room… a storage room at best.' '…A storage room?' 'For hiding dead bodies.'” -Ryoko Otonashi & Kyoko Kirigiri, DR 0

But despite his best efforts, Junko's talents of analysis were just too great, and she'd already come up with a plan to send her back into Despair before he ever touched her mind. With the help of Mukuro and the growing underground Reserve Course cult of Despair, Ryoko is forced to face Despair after Despair, and is hunted for her involvement in the student council massacre. Junko confronts him and taunts him for his failure, leaving him to wallow.

"'I get it, you feel sorry for her… even so, you’re troubled. You’re incredibly troubled. That’s what it seems like after what I’ve been hearing…'” -Junko Enoshima, DR 0

“'You know, in this scenario, only you can make the choice, Matsuda-kun. So think carefully, worry about it, and choose the choice you think it best. Hope or despair… the choices are so diverse and yet, surprisingly, intricately connected. Anyway, have a good think about it…'" -Junko Enoshima, DR 0

In one final attempt to see if he can salvage her, he approaches Ryoko outside of his lab, pretending as if he's Izuru Kamukura, and questions her. She doesn't recognize him, and he, too, falls into Despair, finally accepting that despite his feelings, he was a pawn to Junko's game, and tries to kill her, sending Ryoko towards Despair as she realizes who she's speaking to and can't convince him she loves him anymore. Defending herself, she ends up stabbing him, sending herself spiraling as she becomes her lover's killer, and Junko reemerges from her mind, killing her off in front of him and forcing him to die in Despair.

He dies believing Junko never actually loved him. He becomes thoroughly convinced that she was pretending, and that Ryoko was nothing more than a part of the game to send him into Despair. And that perception of Junko combined with her causing his death brings Junko an indescribable Despair. The man she loved died by her hands, hating her existence. Truly, this was Despair!

"'I was right, wasn't I? About you remembering? That's why you can't remember me? You remembered that I wasn’t a particularly important person to you…so that's why you can't remember?' Kamukura then revealed his eyes, their glint was tainted with deadly hatred. '…You're such a bitch.'" -Yasuke Matsuda, DR 0

"'There's no way this would have nothing to do with me…' There was a hint of sadness laid somewhere in that murmuring voice. 'After all…you were the most important person to me of all…' Those were her true feelings. Yasuke Matsuda was an especially important existence for Junko Enoshima." -Junko Enoshima, DR 0

She loved Yasuke intensely. She cared about him moreso than anyone else, save Mukuro. And yet, despite how attached he was to her, Yasuke couldn't realize in his own Despair that there'd be no reason for someone like Junko to bother dragging herself through so much mental torment and manipulation at his expense if she wouldn't get a magnificent Despair out of it. Yes, she causes Despair for others, but she doesn't throw herself directly into the fray unless she gets something out of it. Despite loving her, he never actually understood her. That truth, too, would bring her Despair.

Part 9- How Junko Shaped the Game

Turning back towards THH, Junko's reveal shakes the class. Most of them believed that finding the mastermind and forcing them to show their face would end the game. But that's not the case for Junko Enoshima. She's not through with them yet, and takes the opportunity to rub everything they've lost in their faces.

"Puhuhuhu... Did you really think the story would end once we reached the climax of the case? Wrong! There's still plenty more to go!" -Monokuma, THH

Throughout all of THH, Junko's plan is hinged on Despair, and thus, she takes her class, which had become close friends and confidants over the past two years of their lives, and attacks what would bring them the worst Despairs possible for each. Her talents as SHSL Analyst allowed her to analyze her own classmates and tear at what would've made their 16-to-20 year old selves when they first met snap. And each one of the motives she used was designed specifically for that, something she makes sure to cite when taunting them ("Did you notice that each motive I presented you had a specific theme to it?")

The first motive's theme was 'human connections', and everything surrounding the first chapter reflects this. Sayaka's motive wasn't just about her career. It was about the family she'd found and not letting down the people who loved her. And on a meta perspective, the first chapter was also about relationships, specifically that between Sayaka and Makoto and how that relationship's end motivated Makoto to eventually become SHSL Hope, and to a lesser degree, starting the development of the critical relationship between Hina and Sakura.

The second motive's theme was 'the past', something the 2nd chapter very much reflects. The secrets that Junko uses against the class are extremely personal to each of their histories, and can be used to twist each of them to head towards Despair, whether that be through their own hand or their own poor judgements of the people around them from their lack of memories. Mondo's secret isn't just tragic; Junko purposefully warps it in his letter to affirm his own belief that Daiya's death was murder and not just an accident, and because no one knows its contents, it sends him into a spiral. The same can be said for Chihiro, whose secret implies that their gender presentation is a lie, forcing them into a conformatory decision that leads to tragedy. Her classmates' memories of the past are presented in a warped way to suit Junko's needs. Toko's secret of having DID and a serial killer alter, Genocider Syo, is also revealed and used to develop her more as a character when she's the one most afraid of opening up to the class.

The third motive's theme is 'greed', using the promise of wealth to lure Celeste to murder. Even if you could argue other characters within the class could have fallen victim to the first two motives, this one is undoubtedly meant to target the Yasuhiros on Junko's part, as realistically, no one else in their class has any reason to even consider killing for money by itself, especially not when there's already been two class trials. The Yasuhiros are the only ones who consider themselves to be in any level of financial need. This theme is also meta-reflected by the possessive nature Kiyondo and Hifumi both develop over Alter Ego. Because neither of them can keep themselves away from them, they became easily manipulated, and it became harder for the rest of the class to obtain information and watch out for each other, forming a tunnel vision towards Alter Ego in their minds. This contrasts Celeste and Hiro greatly as well- Celeste is consumed by her own greed, while Hiro doesn't even consider killing for the money, opting instead to try and look out for the class and develop him as a survivor. Hiro's the one that looks out for Taka and calls out Hifumi on his obsession; Hiro's lured into Celeste's trap by promise of a way to save everyone, while Celeste rejects her class in favor of fighting for a selfish dream she didn't even need.

The 4th motive is that of 'betrayal', and this one is where the cracks in Junko's plan finally reveal themselves. Each and every trial before this one ended in tears and Despair, and a sense of hopelessness that wasn't alleviated until they were given new distractions. Sakura's betrayal is meant to mirror Junko's own betrayal of her classmates, and when half the class instantly turns on her, things go exactly as Junko plans. Sakura swears to destroy Junko by any means necessary, and takes her own life in an attempt to take the fun from Junko. With Monokuma's meddling, Hina is instead pushed into attempting a murder-suicide, one she's caught for by Kyoko and Makoto. But once the truth comes out, Sakura and Hina aren't condemned. Those that attacked her end up defending her. Sakura doesn't betray her class; Sakura betrays Junko, and it puts her on the path to failure. Junko even admits to this, though indirectly: "Once I revealed Sakura's betrayal, that led to everything that came afterwards..." Note this is the only time where she doesn't expressly explain to the survivors why her motive was successful, because in this instance, it wasn't. It also fills out Hina as a character and uses her arc of an attempted self-destruction to contrast Junko, as Hina let herself be forgiven by her classmates, something Junko could never let herself do.

Part 10- Self-Destruction (Junko vs Sakura)

Despite the fact that Makoto is the character christened as SHSL Hope at the end of THH, there are a lot more parallels between Junko's self-destructive nature and Sakura's self-sacrifice that often go unnoticed, and these parallels are quintessential to the overarching narrative of THH and why Junko functioned as its villain.

Both Sakura and Junko do the things they do because they love the people around them. Both Sakura and Junko find themselves to fall short of who they'd rather be. Both Sakura and Junko kill themselves. But their goals are fundamentally, diametrically opposed.

Sakura Ogami, as a martial artist, is a woman of honor and principles. She believes in the inherent worth of the people around her because of this, and strives to become the strongest person alive not because it's a desire of her own, but because that's the destination the people who loved her had in mind for her(her father, Kenshiro, etc). And therefore, she's someone who fundamentally wishes to act in the best interests of the people she loves, even when it's at her own detriment.

Junko Enoshima, as a hyperintelligent analyst, is able to predict anything. And because she can predict anything, she can enjoy nothing, because she always knows what will happen before it gets there. Ergo, the only way she can enjoy herself is via the only thing that can make her feel- Despair. Grief and pain still feel like something in a world where she can't be pleasantly surprised by anything. She despises herself for it, and so in order to feel, she decimates anything that brings her joy. Joy is boring; joy is nothing; joy is just part of the default setting because she still sees it coming. And therefore, she's someone who fundamentally acts in the worst interests of those she loves, for the sake of her own detriment.

When Sakura kills herself, and Hina is filled with Despair, Junko wants to revel in the Despair this brings everyone else. Sakura killed herself for people that weren't giving her the time of day, and the one person who gave a crap tried to kill you all! Isn't it so tragic, so Despair-inducing, don't you just want to break down and crumble?! And then they don't. Instead, after hearing the truth of Sakura's actions, the entire rest of the class is uplifted and united by her honor. Even Byakuya is feeling hopeful now! What the actual fuck is happening?! Is this how they'll feel when I die, too? Will my death bring no Despair?

8.2- Class 78-B

We never get to actually see any of her classmates interacting directly with her in their school days, or in any way that was positive. Outside of THH's and SDR2's final trials, we as an audience don't get to see them interact as friends. So we have to draw these conclusions from what little context we were given within her dialogue in these few rare moments in THH and the mentions of her class in DR 0.

"There was a tap inside [Junko's] skull, like someone pressed a switch and slowly her entire brain lit up with a notion. Several faces appeared. Of course, they were faces she knew… they were the faces of her Hope’s Peak Academy classmates." -DR 0

Without any doubt, Junko loved her classmates. They were people she considered in high regard and had unwittingly fallen for their unique charms. While Junko had come to Hope's Peak with the intention of causing Despair, she'd accidentally found people that made her happy. When entering the school, she intended to use the people around her to damage the school of Hope's reputation, but inadvertently became attached: "Once your school life here began, I thought about you constantly. It's only natural that I would... fall in love." This made for a fantastic happy accident for Junko, as finding something beloved made for a much more fantastic Despair for her later.

"Remembering the faces of the people who would bring her such despair, she felt something that was similar to a person in love, and she danced to the rhythm of Despair. 'This is it! This is a fantastic despair!'" -Junko Enoshima, DR 0

We can also reasonably assume Junko was someone her classmates had considered dear to them in turn, as she not only knew how to motivate their past selves into murder, but also their deepest secrets and fears, and was able to attack their relationships when they themselves couldn't even remember them. Could you handwave that level of connection with her SHSL Analyst talent? Actually, no, because as stated previously, analysis requires data. And the only way she could gather enough data to understand them at a depth that let her plan her killing game to perfection was by getting to know them firsthand.

There's also a strange implication within Junko's explanation of how she put the killing game together that I think gets often overlooked. When she prepares to infodump to the remaining survivors, she says this:

"So since I love you guys so much, I'll tell you all about it! All about the idea we came up with as the Ultimate Despair- our plan to bring Despair to all mankind!"

It's an interesting choice of pronoun, to say the least. "We." It implies that the group she's referring to when she speaks is herself and the people she's speaking to at this moment in time. Could she just be switching gears and talking about Mukuro, and later, the RoD, Kamakura, the WoH, etc? Yeah, absolutely. But none of these characters had even been mentioned, whereas she was just speaking on her love for her classmates in the dialogue prior and continues to talk about her classmates after.

In listening to Junko's explanation of how she put the killing game together, it made me come to a pretty disturbing realization. One of the biggest things about Junko is how she's always able to seemingly pull together everything to form this killing game almost entirely by herself. Later installments to the series include some level of explanations- Towa Group becoming a financial and robotic sponsor, a SHSL Mechanic that could've made the executions, etc- but her success within the killing game hinges fully on her knowing how to best bring her classmates to Despair. And she's not just an analyst; Junko is a master manipulator. Throughout her entire explanation of how she created the killing game, she never says she threw them into the killing game against their will. Instead, she very deliberately calls attention to her classmates' choice in the matter, over and over again. They chose to enter the shelter, they chose to lock the doors and cover the windows, they chose to be there with the SHSL Despair, though they didn't know who they were with at the time. Makoto is the one to assert that they did so because they believed in the hope of survivng, and giving the world a fresh start. But it's not just their year's worth of fun school classes missing from their memories. There's also a year of hopelessness within the school erased, too. Combine this with a few well-placed lines from Junko.

"You see, by taking away your memories, I gave you hope."

"You absorbed all that Despair, but then you forgot it all."

"Despair is contagious, you know. It's almost like... a natural phenomenon."

"Once you'd finished building your little shelter, it was time for me and Mukuro to get to work. And thus began the killing game!"

If Junko is making the claim that she was able to give them hope by removing their memories, that meant none of them had any to begin with. She emphasizes how much Despair her classmates absorbed, and even Kyoko herself states that it's impossible for all this to have been put together by just the Despair Sisters. If an additional year of hopelessness waiting around within the school were also erased, and Junko is intentionally avoiding saying she started the killing game herself, is it beyond reason to suggest that at least some of the 78th class had fallen to Despair in that timeframe? Look at the survivors that are left- Byakuya, Toko, Syo, Hina, Hiro. All characters that Do Not Like each other by this point. Most of the meaningful connections between the classmates have been murdered. Their past is scrubbed away. They've basically all betrayed each other at least once by now, and have been pushed to the brink of Despair. If you got a collection of THH characters most likely to fall to Despair, it'd be this group.

Junko even takes a point to emphasize just how Despair-inducing the truth can become, targeting Kyoko directly with this. As Kyoko comes to the realization the Junko purposefully designed the game with the possibility of being caught, she revels in Kyoko's Despair. She taunts her with the fact that their solving the mystery only made things worse. She is purposefully trying to drive the rest of her surviving classmates into SHSL Despair alongside her. She's manipulated the game and her classmates to get what she wants- the people she loves slaughtered, the survivors joining her in Despair, the world reborn by her hands. She quite likely manipulated her classmates into plotting each other's deaths not only inside the game, but in preparation for it as well.

Out of all her classmates, there was only really one you could argue wasn't perfectly analyzed and manipulated. One stood out among the rest as the unknown variable- a concept otherwise foreign to Junko- that was able to act as a wrench in her plans. And this, too, could cause her Despair.

8.3- Makoto Naegi (Hope vs Despair)

Makoto Naegi's SHSL Luck, AKA SHSL Hope, is the one who takes down Junko Enoshima's SHSL Despair. But why and how was this possible, and what does that mean for the relationship that he and Junko had prior to the game? If I wanted to fully delve into their relationship specifically, I'd need to really tear into Makoto's character, and I don't really have the time for that today(again, still hoping to get this out before 2025), so we'll just do the best we can based off the scenes they've had together and what we know about Junko to put the pieces together thematically.

Makoto is an average guy in just about every sense of the word. He likes average things, he looks plain, he's chosen randomly by lottery instead of earning his place in the school, he doesn't have any noticeable traits or beliefs- at least, not at first.

"But you know, if I had any one kind of strong point, so to speak, I'd say I'm a little more gung-ho than other people." -Makoto Naegi, THH prologue

By his own admission, he has a grand total of two character traits- abnormal normalcy, and enthusiasm. He's optimistic, and that's kind of it. By all intents and purposes, he's the SHSL Joe Schmoe, and that should make him another blank canvas on the wall of pawns Junko can knock over whenever she gets a little bored. And yet, SHSL Joe Schmoe is the one directly responsible for Junko's failure, and the one person who, by her own admission, she cannot predict. So why and how exactly is that?

I recall reading a story about a coding competition, where coders were meant to design an AI for a gambling competition. One entry proceeded to make an AI that would go all in every single time it was its turn, and the simplicity of it was so intimidating that it broke every other AI that was in the competition. That mentality is the exact strategy Makoto unintentionally employs. He doesn't have any strong sense of self or moral complexities; he's a dude that exists, and he throws everything he is into everything he does. He's an optimist to the highest possible sense. He leaves his door unlocked even after 4 murder cases and a break-in. He refuses to fathom anything but the best possible outcome, and so he's able to combat Junko's total Despair with pure hope. Makoto's head is so completely simple and empty that it acts as the exact opposite to Junko's highly intelligent, analytical mind. When she tries to force-feed him Despair in the final trial, he hits her with the power of 'nuh-uh,' and it works. It's that emptiness that fascinates Junko, and makes him and his random chance luck unpredictable to her.

Part 11- "Defeating" Despair

When Junko loses, it's not just because she failed to convince the others of Despair, or that Makoto's hope was just naturally the stronger conviction of the two. Rather, Junko's loss can be attributed to her own conscious choice to lose. Even if we're looking solely at THH, this is the case. And the source is found in a single line.

If her conviction to win in this moment was absolute to the point where only one person had to vote for Despair, she just had to include herself in the votes. After all, she is one of the 16 students participating, and by all accounts, she should receive a vote for this trial. But she casually refuses, instead leaving it in the hands of the survivors to make the final call. And that in and of itself is indicative of Junko's desires. When faced with a situation she can easily control, she leaves it to fate to decide, allowing that glimmer of unpredictability to take over and surprise her. She'll always believe in the Despair she's dedicated herself to; it doesn't actually matter who wins here. What matters is that she feels Despair. Either Makoto succeeds in convincing his classmates of hope and kills her, ruining all her plans, or he fails, and she exterminates the one unpredictable person in her life and locks herself out of that rush of adrenaline for the rest of her life. Either ending would fill her with Despair, and in that sense, there is no way for her to lose. She won the killing game, whether the survivors realized it or not, because she succeeded in destroying herself. She built herself a Saw trap, and her loved ones set it off.

Part 12- Execution Analysis

Junko is the only character to walk willingly into her execution, even being the one to hit the red button to start up the punishment rather than having Monokuma do it. You can first attribute this to her no longer being in the control room to pilot Monokuma to do so, which is true, but it's also representative of her desire for self-inflicted Despair. Her eyes are swirling with Despair and she goes on about how good it feels, how everyone should die in such Despair, how this punishment is 'extra special', because it's one she brought on herself. After methodically destroying the most important relationships of her life one by one, she'd now be killed by her friends in a series of recycled contraptions in an 'Ultimate Punishment'.

As she goes through each step of the execution, we see her bearing a wide grin, flying through the machinery that'd killed every one of her executed friends over and over again. She hits every baseball, handles the Cage of Death with ease, calmly survives the firetruck, and bobs her head with the excavator. She doesn't struggle, not once, and this is because in prolonging her Despair, her SHSL Analyst talent is keeping her alive. She's watched every one of these executions, and thus, knows how to survive them all. It's not just a retrospect of every prior execution as a callback for the audience; it means something. With a punishment meant to bring the character's worst ironic death via their most hated parts of themselves, then of course Junko's analytic abilities are keeping her alive through everyone else's Despair.

The execution ends with the return of the After-School Lesson, and this is the one that finally kills her, because it's the only one in which she doesn't know how it ends. Makoto's execution was tampered with by Alter Ego, so there's no way to know if she'll actually die or not. Junko can't know if it still works or not. Junko doesn't know whether she'll live or die, and that's what makes it so exciting. She's driven to the edge of death and left to sit there for a moment too long, long enough for the Despair to be replaced with disappointment- only to kill her right when her Despair abandons her. She stops smiling, looks up at the press, and dies abruptly. In her final moments, she is denied her Despair. Makoto did win, after all.

Part 13- Answering the 'How' (SDR2)

One of the biggest 'what-the-fuck's people tend to have after walking out of their first playthrough or watchthrough of THH is the How of the entire game. The first game is good and all, but it leaves Junko's skills and how she set up and pulled the killing game together pretty vague. This is intentional, as in the first game, she exists as a kind of force of nature, representing Despair as an inherent part of life in the same way Makoto represents hope. But after Spike Chunsoft commissioned a sequel, and Kodaka set to work on DR 0, the question of 'how' had to be answered as the series was expanded upon. This started with the introduction of Yasuke Matsuda's memory erasure technology and the reveal of Junko's SHSL Analyst status in DR 0, but continued to expand well beyond that.

In SDR2, we're introduced to an entirely new cast of characters, all with new and less conventional talents in comparison to the first cast. Whereas THH had plenty of more mentally-oriented talents like programming, writing, and hall monitor to balance out their more eclectic ones, the SDR2 cast is almost entirely physical or social talents like a yakuza, animal breeder, and mechanic. These talents also put them into more social or powerful positions than the 78th class on an overall skill, as you find yourself full of people that could command full armies and people proficient with making weaponry or fighting and potentially killing the people around them. This differentiates the casts, and automatically makes them more threatening in the ways they could attack each other in a killing game. This also makes them Junko's perfect weapons.

8.4- Remnants of Despair

Class 77 is revealed by the end of SDR2 to be the Remnants of Despair, pawns swayed over to SHSL Despair by unknown means. Makoto refers to this conversion as 'brainwashing', though whether this is him literally knowing they were brainwashed or making an inference and later being proven right is unclear. Regardless, the RoD are part of the SHSL Despair movement, and exist to explain a lot of how Junko was able to not only set up the killing game mechanically, but continue to end the world and send it into ongoing war after the initial Incident.

This is something especially apparent with the remaining surviving cast, as they're the most immediately powerful amongst the cast for Junko to use. Sonia and Fuyuhiko are both in direct command of massive amounts of people, with Sonia being the heiress to an entire country and Fuyuhiko being the leader of the largest mafia in Japan. Kazuichi as the SHSL Mechanic explains how and why so many elaborate executions were able to be designed ahead of time for the killing game, and Akane is a wicked fast athlete who's already accustomed to tragedies and will eat anything. On top of all this, there's Hajime, a human experiment worked on by those in league with the values of hope, and that was forcefully imbued with every talent that's ever been documented, including Junko's.

This sums up everything that made the RoD useful, but doesn't explain how any sort of meaningful connection was established between them and Junko. That's because on the overall, there isn't one. With two notable exceptions, the SDR2 class is largely unimportant to Junko emotionally speaking. They're useful, and that's about it. They weren't in the same class; they didn't interact at school or bond in any important way. She just dragged them down with the bare minimum brainwashing video because of their usefulness.

We also know Junko didn't care because of just how differently she speaks to and treats class 77 as opposed to the characters that we know she does love. The series painstakingly makes sure you know that Junko tears up everything she loves- Mukuro, Yasuke, class 78. She gores through them because hurting the ones she loves hurts her right back, and gives her an excellent Despair. But with class 77? Beyond the initial conversion, she doesn't really touch them. She doesn't need to waste her time with people who are virtually strangers. Their pain just is Despair; it's not her Despair. It's good for a laugh, but not much else, so she lets them run rampant on their own.

On an overall scale, Junko didn't give a fuck about these people. They existed solely as tools to her, and she interacted with them as little as possible. Unlike with her classmates, whom she loved, she did the absolute bare minimum required to get them to feel Despair by showing them a video and letting them do their own thing. The RoD were Remnants and not full-fledged SHSL Despair because their Despair was artificial. It was inauthentic, and so they could never ascend to true Despair in the way characters like Mukuro, Junko, or Monaca can.

8.5- Mikan Tsumiki (The Relevance of Junkan)

When we're first introduced to the concept of Junkan, it's portrayed as a one-sided infatuation from Mikan's perspective. She tells her classmates about the one person who forgave her existence and loved her anyway, with the choice of language emphasizing her beloved's need for Despair and asking for forgiveness for hoping suggesting that this beloved is Junko.

"Ahhh, this feeling of freedom where you no longer care about anything! My beloved and I are the only ones within that thin veil, and I'm just looking out through it..." -Mikan Tsumuki, SDR2

Whether intended at the time of SDR2's release or not, this line of dialogue ended up foreshadowing Mikan's heightened importance in comparison with the rest of her class to Junko as an RoD. When everyone else were just tools, remnants formed by brainwashing, Mikan is ultimately differentiated as special, not necessarily craving Despair but happily parroting it for the sake of a twisted love.

"It's like nothing matters! I could just die, that's how little it matters! Who cares about hope or despair! It's love, only love!" -Mikan Tsumiki, SDR2

This 'beloved' being Junko is proved true when AI Junko emerges in the final trial and reveals that class 77 are also the RoD. At this point, though, there's almost no evidence that Junko feels anything back for Mikan besides a vague sense of usefulness shared with the rest of her classmates, as she mimes seeing them as friends because of their actions as Remnants of Despair.

Something that's important to remember, however, is that Junko's need for Despair drives her to destroy everything she loves. We've seen this multiple times, over and over again with Mukuro, Yasuke, and her classmates before now. The reason we know she didn't care about class 77 is because there are no such personal attacks to tear them apart and make them despise her specifically- their pain brings her no Despair. There's no evidence of a personal attachment. Once DR3 comes into focus, though, that changes for one RoD in particular- one Mikan Tsumiki.

DR3 made the decision to bring Chiaki back as a human character, and made her the central figure for class 77's bond. Junko dragging out Chiaki's suffering and forcing her classmates to watch became the titular event that drove the rest of class 77 to Despair. But there was no personal attachment to this act, because she'd only just met Chiaki, and there was no dynamic to speak of between the two of them besides maybe a vague sense of interest based off of their single interaction.

So, if there's no established rivalry or connection to Chiaki, why does Junko single her out and kill her specifically? Easy; Junko doesn't. She sets up the maze, sure, but she is not and never was the one targeting Chiaki specifically. That was Mikan, and the show makes sure the audience sees this more than once.

When Mikan and Junko meet, it's because of a chance interaction. Mikan runs into Mukuro by mistake when going to check on Ryota, and is captured. In this sense, she's literally presented as a gift to Junko. Junko learns she's a nurse, and decides she'll let her hang around while she works on the brainwashing video.

In their next scene together, Junko is having Mikan massage her leg, listening as Mikan presents her classmates and friends to Junko. She's the one who tells Junko of how close her class has become, and how Chiaki is the central figure behind their bond. It's where we get this from Junko:

Though you might not immediately know it, it's swiftly revealed to us that Mikan is now in love with Junko via this and Ryota's mention that something appears 'off' with Mikan. From Ryota's discovery of the prototype video that was used on the Reserve Course students being immediately followed by Mikan's appearance and saying he souldn't have watched the video, it's easy to fall into the assumption that Mikan's fall is purely because of the brainwashing. But that's not necessarily true. Mikan having seen the video prototype is very different from being brainwashed entirely, and considering Junko herself says that the video is insufficient and that she can't brainwash people like Ryota can, there's an inference to be made that while the prototype video may have helped, it didn't rob Mikan of her free will in the way Chiaki's death did for everyone else. Ryota didn't fall into Despair from the video by itself, and neither did Chisa Yukizome. We also know from her FTEs in SDR2 that even before falling to Despair, Mikan was already a little fucked up, as her idea of a good time includes telling you all the ways in which you could die and begging people to treat her like garbage just for a taste of acknowledgement.

We also see what motivated her to nurse not only herself, but others as well- not empathy, but power and control.

"Sick people and injured people... are weaker than me. .... But if I know the proper way to treat them, that means my words are absolute. Which means... They'll need me. They'll depend on me completely." -Mikan Tsumiki, SDR2

Again, all this can be found in her FTEs, in a situation in which she's mentally reverted to the way she was entering the school, before she and Junko were so much as in the same city. By this line of information, it's just as believable that her falling in love with Junko was because Junko and her video actually connected with Mikan, taking Mikan's craving for attention via mistreatment and using it to her advantage. It's also worth noting that the anime makes a point to use 'spiral eyes' to demonstrate when a character has been brainwashed. This is something used with Chisa, with the characters in the Future Arc, and when the RoD are shown Chiaki's murder. But Mikan does not have these spiral eyes in the scene where she nearly assaults Ryota. She's horny, and it's extremely disconcerting, but her eyes are still her own, suggesting that the video didn't take a hold on her the way it did for the Reserve Course students.

Mikan is also one of the most similar characters to Junko in that she craves pain. Not emotional Despair in the way that Junko does, but physical pain, not only from Junko, but from just about anyone. Pain means attention, and that's something she needs more than anything. By this metric, she and Junko are actually quite similar, needing the worst from the people they love, and this makes for a formula that can create an incredibly abusive relationship. Junko can do literally anything to Mikan, and she'll lap it up like a dog. Mikan makes for a perfect punching bag, and suddenly, their relationship is intentionally paralleling the way Junko treats her sister. She kicks her around, calls her a disgusting horny piglet, and Mikan thanks her for it. It becomes a challenge of seeing how far she can push Mikan before she snaps and attacks her back, just like how she tries and fails to do with Mukuro. Simply put, there's no reason for her to treat Mikan in this way if she doesn't care about her as a person, romantic or otherwise.

This connection Junko forms with Mikan also serves to answer that earlier question: why did she bother with a class full of people she's never met? It's because of Mikan. Mikan is the one to present class 77 to her, and with the context that she goes on to set up a murder maze specially for Chiaki, and specifically says that Mikan has 'made a compelling case', that means Mikan was asking her to make them SHSL Despair. And not only does she do so, she does so in a way that forces Mikan to be the one to lead them into the trap. She brings her classmates to the bunker, she separates Chiaki from the group, she's responsible for sending her loved ones to Despair. This isn't a plot that's personal to Junko; it's a plot that's personal to Mikan, and Junko helping drive Mikan's loved ones into Despair saddles Mikan with a Despairing guilt tied to Junko.

Driving class 77 to become RoD is an act of love for Mikan- a twisted, abusive love, but a love nonetheless, and one that's in line with the way she drives her own class to Despair and makes herself the crux. Should her classmates realize what's happened, they'll know that Mikan brought them here. The rest of class 77 are Remnants, but Mikan is a SHSL Despair like Mukuro, valued like Mukuro, and her being the one to regain her memories and turn on all her friends once more, betray them once more, is a remnant of Junko's love.

8.6- Izuru Kamukura

When Junko first approaches Kamukura, she does so with the intention of offing him then and there. He's the artificial SHSL Hope, lab-grown by Hope's Peak Academy, and represents everything their research stands for. To kill him would be to kill their work, and that's what she walks in with the intention of doing.

Naturally, she fails, as Izuru's been imbued with every talent known to man. This wasn't outside to realm of possibility for Junko, though. There were several different ways to kill the SHSL Hope invented by Hope's Peak. Whether or not she killed him literally or metaphorically wasn't the point.

Izuru Kamukura exists as an empty symbol. He's filled with talent and nothing to use it on. Because his existence is an artificial one, he has no passion with which his talents were born, and no drive to use them. If anything, he's not the SHSL Hope, he's the SHSL Talent, but regardless, his creators have labeled him their SHSL Hope so that he can become their puppet-symbol. So to kill the SHSL Hope the trustees have created, all Junko really has to do is get her hands on the puppet first.

The actual convincing of him isn't really what matters to Junko. Similar to the trustees, she also sees Kamukura as a symbol, albeit one to be knocked down instead of bolstering up, so she uses him like a token symbol, too. All she has to do is pique his interest, just enough to get him to follow her, and her job is done. She talks on about her love of Despair, how grief and pain are something that actually makes you feel, and because he's had his emotion removed, that unknown variable is enough to get him to watch, just in case.

Despite his having every known talent, Kamukura is tricked. He's framed by Junko as being responsible for the murders of the student council. And in addition, he sees the power of Despair, as adrenaline from the final survivor pushes him to attack Kamukura even when it should've been physically impossible. When moved by that animalistic need to survive, he manages to cut Kamukura's face even after getting his own sawed in half. Thus the SHSL "Hope" is introduced to the world as creating Despair, and his job is complete.

Junko doesn't really bother with Kamukura after this framing. She lets him hang around, but when he decides to leave, she doesn't make any sort of fuss or try to attack him anymore, because she doesn't really care about him. He was only as important to her as his title was to the school, and once that title was tarnished, any connection between them she pretended to have was dropped. The next time these characters meet, it will no longer be the real Despairing Junko tainting some artificial husk of a person, filled with talent and emptied of heart, but rather, an artificial Despair combatting a survivor's true identity.

Part 14- The Brainwashing

Okay, let's talk about this. Was the brainwashing a good move for the story? Was it actually planned from sdr2? Or was it something half-assed at the last second because Kodaka didn't think that far ahead? Well, imo, it was almost definitely intended from their conception, and is very reflective of Junko's own motivations and goals.

From as early as DR 0, brainwashing tactics are evident within Junko's work. When Ryoko meets the reseve course's underground cult, she finds them watching a single video of mutual killing over and over again, with a fixation on its contents that's unnatural.

"[The cultists] didn‘t even bother to glance at me. Their eyes were still plastered to the monitors in front of them. .... Every monitor was a pitch black, none had a single image projecting on it.

'It‘ll… start again soon… so…' the monobear heads sitting in front of me said in monotone." -DR 0

Brainwashing is again brought up within SDR2, as not only is Hajime expressly a human experiment due to alteration of the brain specifically, but the entire class is referred to by Makoto as 'brainwashed'. At this point in the series, there's no reason for him to actually know this short of Kamukura possibly telling him they were brainwashed, so we can reasonably assume this statement is rooted in Makoto's inability to understand Despair and seeing anyone's craving of it as a mental disease that can be cured(not an unreasonable conclusion to reach, considering the Everything About Junko he was led to witness). Ergo, it's not beyond reason to assume that brainwashing was well within the bounds of possibility for the characters even at that time.

While the idea of brainwashing the class into Despair appears to rob the class of their moral complexities that came from being RoD, the view we as an audience are given by Makoto, Kyoko, and Byakuya within SDR2 is only ever that the RoD were victims of Despair. The survivors are already established as more reliable narrators than AI Junko thanks to the first game, so there's no reason not to trust that what they say is likely true. In addition, Junko never actually directly states that they did it of their own free will, just that they were on the same side and tries to get them not to listen to Makoto, her already-established opposite.

The idea of class 77 being brainwashed went from theory to canon in DR3, and while the method of their brainwashing is controversial(the line 'cutting through their free will like swiss cheese' from the dub is pretty aggravating), it still lines up with Junko's pre-established goals and motivations. She goes to Hope's Peak to tear down Hope and replace it with Despair, and after being shown a class full of Hope united by their love for the same person, she exploits it and is able to use their love against them to create Despair as an outsider. She's introduced to the class, uses them, and then lets them all go do their own Despairing thing because she doesn't actually care what they do. What matters most is her own Despair, and tearing hope to pieces. So her interaction with class 77 remains minimal, a mere experiment for Despair in the same way Hajime was an experiment for hope, and then keeps going about her business, calling on them presumably only if she needs something like the execution contraptions.

14.1- The Despair Videos & Knowing the Difference

There's not just 1 Despair video. Over the course of the anime, we're introduced to three, and each one has different levels of effect on those who watch it. Knowing the difference between these three videos is quintessential when talking about the brainwashing and how each character to watch a video is affected, as well as understanding different characters' roles in the narrative as they pertain to the videos. So let's establish the differences between these 3 videos and their effectiveness before we move forward.

14.1.1- The Student Council Massacre

The first Despair video, aka "the prototype", aka the Mutual Killing Video, is the one created using the footage of the student council's beta mutual killing game. This is the one made solely by Junko's attempted mimicry of Mitarai's animation talents, taking security footage of the mutual killing and sharing it with the Reserve Course and Mikan as a test run. And while it does have some level of effect on them, inspiring 'the parade' and having a hand in Mikan falling for Junko, it doesn't work nearly well enough to actually rewire their brains for Despair or strip them of their hope in the way that Junko would like. Even in the context of a parade, it's still very much a protest in the hopes of change. There's still the demands of a refund, of being let into the main course. Even when shown the Despair of the truth, there is still hope that things can be changed or fixed. And that's not what Junko wants. The only character that we've seen to watch this video to end with the aforementioned 'spiral eye' telltale of true brainwashing is Chisa, who we know was also being actively lobotomized by Mukuro during a repeated viewing to force it to work. This instruction came from some manual Mukuro was left with, presumably written by either Junko or Ryota.

While this video is what starts the parade, what eventually pushes the parade to violence isn't Junko. It's the inaction of Hope's Peak Academy and refusal to acknowledge their mistakes. Instead of coming clean, they bury everything wrong they've done even further and have their security beat the shit out of anyone that tries to find answers for themselves, doing so in the name of 'protecting them' from information. They keep the wrongdoings of their 'real' students under wraps at the expense of their underlings, fully buying into a talent-based hierarchy they created. Those without special talents are sources of finance- nothing more, nothing less. And when that overwhelming majority questions that, and finds evidence that HPA doesn't care, of course they'll retaliate. The video itself isn't a brainwasher, but when combined with the very real negative effects of the classism which the Reserve Course students find themselves hurt by, it makes its influence that much stronger.

14.1.2- Human Chiaki's Death

The second Despair video is Chiaki's execution, and is a live recording shown to her classmates. As far as we've ever seen, this is the only instance in which this is ever shown. This live recording is enough to send class 77 into Despair properly, spiral eyes and all, but there's an underlying implication that the primary reason for this is because of how important Chiaki specifically was to them. Throughout the season, and especially in this episode, Chiaki is established as the glue that holds the class together. Despite not being an extremely sociable person, she connected to her class with her love of games, and her earnest love of it endeared her to them, and their love of her did vice versa. The footage locked them each into place, unable to look away, and once they were at their lowest, at the very end of the video, Junko swoops in to dub them all Remnants and decides for them that they will now cause Despair for her. And because she says this when the live footage has brought them to their lowest, they each fall into this trap, at least to some extent. Whether or not they truly belive in what they're doing, they do it, because that feeling of Despair is their last connection to Chiaki left.

But, similarly to the prototype, it's still ultimately insufficient. Granted, it's much more effective than the prototype, but it isn't a full mindwipe, either. We know this because when we meet Nagito Komaeda in UDG as the Servant, he's still himself. He still has some level of self-control, able to speak and act as an individual even when following the orders of Monaca or the other WoH. He says himself that he despises Junko more than anyone else in the world, and follows through with Despair with the faith that it'll inspire a newer hope to conquer it. He says something similar in that moment of brainwashing as well.

"Nanami is our hope. Look what she did to her. What Despair... What a horrific sight! This is... This is the Despair we must overcome? Ah, Nanami... You understand, right? At this moment, you are becoming a stepping stone to hope!" -Nagito Komaeda, DR3

You could possibly attribute this to Nagito's luck cycle and history with tragedy just making him have a higher resistance to the brainwashing, and honestly, there's no strong way to contradict that, since Nagito and Mikan are the only ones we ever see in Despair outside of a montage, but narratively, I doubt they'd make a point to show one of the RoD hating Junko if it weren't to make the point that they had agency. Nagito was just the fan favorite, so of course it was gonna be him. You saw the fanservice in UDG.

14.1.3- Mitarai's Animation

The third and true Despair video is the inversed Monokuma Theatre, which is used to mentally hack its viewer and drive them into such a strong state of Despair that they kill themselves right then and there. This is objectively the strongest of the Despair videos, and the most effective, with the only character it doesn't immediately convince to kill themselves being the Future Foundation chairman Kazuo Tengan. This is mostly for plot reasons, but I'll address this specific exception to the rule later on and why this was the case.

The Monokuma Theatre video is mass-emailed to the Reserve Course students after they destroy the shiny new building their parents were tricked into paying for. The video hacks their minds when in an already vulnerable state, and each and every one of them jumps out of the building and kills themselves. Just as quickly as they take some control and uproot the system that hurt them so, they fall victim to the games of another who never cared for them in the first place. The purpose of the video was to create a horde of faceless victims to spurn others into action, and it worked like a charm, spiraling the world into a state of Despair. The RoD used their influence to ensure a smooth transition into this state of worldwide chaos as well, having significantly more social power and reach to spur more and more people into the fray.

The Monokuma Theatre video is also what makes the members of the Future Foundation kill themselves in the Future Arc, hacking their minds and then dropping a knife with which to stab themselves with. It works on every character that watches it- Chisa, Gozu, Seiko, Ruruka, and Makoto. Each of these characters are in various mental states when they watch it, yet all of them fall to it, without exception. It doesn't matter who you are or what you believe in. If there's even one thing you regret in your life, the video can and will work on you. It just does. And by that logic, it's the only real 'brainwashing' video, because it can work on anyone who watches it. The one character who seems to withstand it is the one who builds an entire killing game using said video just to force its creator to action, and doesn't even seem so much as affected by it. Really, it calls into question whether or not he was even affected by it.

14.1.4- The Flashback Light (Bonus Brainwashing!)

The Flashback Lights are used solely in V3, and are invented by the mysterious Team DR to reprogram the memories of their victims to play along in their scripted killing game. We see this work on both Kaede and Shuichi, as well as see the aftereffects it has on the rest of the class.

We learn while investigating that Tsumugi is the one responsible for creating the Flashback Lights, and that she's been the mastermind who knew what was happening the entire time. However, this initially opens up a plot hole in that Tsumugi has also been shown the Flashback Lights multiple times. There are 3 viable explanations for this. The first one is that she just closed her eyes, which is extremely boring and kind of a copout. The second is that she didn't know she was the mastermind until near the end, and Kaede's murder plot failing was a ruse by Team DR for the story, but that makes that entire reveal lose a lot of its impact. The third explanation, therefore, makes the most logical and narrative sense, and actually doubles as a reason why Tengan would be the only one to withstand the Monokuma Theatre in DR3: Tsumugi wears glasses.

Yeah, I know, that sounds silly, but let's actually break it down. In NDRV3, two characters are shown to wear glasses, and only two- Tsumugi Shirogane, and Gonta Gokuhara. Gonta, however, has two unique traits that are relevant here. One, he has 20/0.625 vision(strong enough to see the near microscopic Monokuma cameras), and two, he wants nothing more than to appear as a gentleman. I don't think it's a stretch to say he's wearing empty frames to appear more gentlemanly, especially considering they're paired with a full suit.

Tsumugi is the mastermind, and the one who has the most insight into what's happening in the game. She's the one who knew the difference between her actual self and the character Tsumugi that she played(it's implied in the dating sim that Tsumugi isn't her real name), despite having seen the Flashback Lights with the class several times. So isn't it entirely possible that having glasses to reflect the light of those Flashbacks was what let her pass for being affected as well? And, if that's the case, then it would also explain why Tengan, who wears glasses, would be resistant to the effects of the animated video, as everyone else who we know watched the animated version before their death didn't wear glasses. The faceless Reserve Course students don't have glasses, and neither do any of the five characters in Future Arc to watch it. It's completely ridiculous, and simultaneously totally plausible, for the idea of glasses reflecting off light and lessening the effects of such a video to be the explanation for why the videos or lights exclusively didn't work on these masterminds.

8.7- Ryota Mitarai

Junko's connection to Ryota is objectively the weakest part of her story, and admittedly a major part of why the brainwashing of class-77 falls under such scrutiny. Whereas every other part of Junko's plan is pretty well-established within her characterization, the connections she makes having actual sense to their conception and development, and just general consistency within the narrative, her meeting Ryota is not only a stroke of random luck on her part, but emphasized as one, and this just does not make sense for a character within said narrative to have never once been characterized as having any level of luck or fortune prior. This is especially glaring in a world that has established luck mechanics via characters like Makoto, Nagito, and Celeste. Junko just isn't a character meant to have luck like this, and never has any sort of moments or accomplishments stemming from luck before or after this outright.

When Junko and Ryota meet, it's because they walk past each other going in and out of the infirmary, and Junko, for no visible reason, decides to start talking to him right then and there. She starts squealing and hugging him, jumping up and down, and says this upon Mukuro's asking why: "I don't know, but... this is what I'm telling myself: This is yet another... fateful encounter!"

There's no rationale to this. There just isn't. It's not her SHSL Analyst talent having picked up on him over time, or her recognizing him via someone else, or anything of the sort. It's totally unjustified random chance for the convenience of the plot, and that's what makes this introduction so weak.

Really, the issue of Ryota's involvement falls more in their introduction than his actual function in the anime. Considering his characterization and the connections Ryota had prior to this, it would've made infinitely more sense if Junko had met Mikan first while in the infirmary, and buttered her up enough for Mikan to introduce the two of them. Knowing Mikan, it wouldn't have taken much, and would've made more sense for Ryota to be so willing to share a part of his life's work while still incomplete if he was introduced to Junko by someone he already trusted. Regardless, that's not what happened, but I say this mostly because I want to affirm that with Junko and Ryota's connection, it's the introduction that doesn't make sense, not what follows.

That said, once the awkwardness of how they meet is out of the way, what follows is fairly reasonable. She asks about his talent, purposefully mocks his interests to trick him into showing off, and then takes advantage of what she learns about him, which just so happens to be brainwashing techniques that she'd already be somewhat familiar with thanks to Yasuke.

Once they're acquainted, Junko uses her knowledge of the school and what she's stolen from the kidnapped trustees to set up Ryota underground where she can keep him under control, and so he can't mistakenly squeal about what she's setting up. She uses his passion against him to bastardize it into what she needs and manipulates him into walking into his own cell by doing so. It's not her most genius move of all time, and it's not a difficult one to understand either, but it's one that works.

What matters most to understand, though, is that she doesn't seem to develop any sort of affection for him in the way that she did for Mikan. When he finally uncovers what she's doing, Junko gives him a simple sales pitch, and threatens him indirectly with Mikan's friends.

By now, she knows damn well that he's met a grand total of two of his classmates, one of which just tried to sexually assault him mere moments prior, so this doesn't seem like the most effective tactic she could've used. But Ryota is a sensitive person. A victim of bullying growing up, the whole point of his brainwashing animations was to make people more empathetic subliminally. So to force him to help her, Junko is able to target this empathy by targeting Mikan over Ryota himself. Her abuse of Mikan is painful for Ryota to look at, and he wrongfully puts all the blame for the way Mikan acts solely on Junko because he doesn't know any better. And Junko lets him, because it's convenient for her to manipulate.

"As you have inferred, the mutual killing video you watched is the reason Tsumiki ended up this way. However, in order to reach my objective, this is insufficient. My lack of brainwashing ability is the cause." -Junko Enoshima, DR3

As we know, Junko is an unreliable narrator. She can and has lied to people's faces for the sake of manipulating them, telling half-truths and intentionally warping the truth to shift her victims' perspective in a way that she wants. We never see Mikan's fall, only cutting from her first meeting Junko to her already being in love with her, and as we've established, not only was Mikan already pretty fucked up prior to meeting Junko, but she doesn't exhibit the symptoms of a complete brainwashing at this point. She still has her mental faculties about her. So logically, that means she's doing the same here. Yes, Mikan watched the prototype video, and yes, it was insufficient. Hence why we as an audience can understand with our meta-context that Mikan still has her mental faculties intact. Ryota, on the other hand, doesn't have that benefit, so when Junko says this, the implication is that Junko took the meek, shy, kind version of Mikan that Ryota knew and twisted her into an evil, hypnotized slave of Junko's. It's an intentionally warped perception of the truth that Junko uses to her advantage, to the point where she flat-out says she can't brainwash at this point and brainwashing is still commonly attributed as the sole reason for Mikan's behavior in this scene.

Ryota cares about the few friends he does have, taking Mikan's and the SHSL Imposter's requests to take care of himself by resting and going to the infirmary even when he doesn't want to to ease their worries. So of course, when faced with the idea that he could prevent Mikan's loved ones from getting hurt, even though he doesn't know the vast majority of them, he caves regardless. It doesn't have to affect him. The people around him are important enough for this threat to work anyways. They're not his precious classmates, but they are the Imposter's; they are Mikan's. And Ryota is a very weak man. So he complies.

Later, when he escapes, she hunts him down to thank him for his help, and then allows him to run away, letting him believe that he's the reason why class 77 were the ones to be brainwashed.

"The video I had you help me with. The complete version of that. I'll have your whole class watch it now!"

The 'video' that Junko has them watch is a live recording of Chiaki's death maze. Meanwhile, the Despair video that the Reserve Course goes on to watch after the riots, and that Chisa Yukizome is subjected to, are different videos entirely, forcefully reprogramming them and removing their hope outright. Since Ryota's an animator, we can ascertain he's responsible for the one the Reserve Course watches, with an animated Monokuma. In other words, Junko does not, in fact, have his class watch the video he helped her make. She's lying to him to send him further into Despair.

"Imagine it... Because of you, all your classmates will fall into a deep, deep Despair. They'll become people who think of nothing but plunging this world into Despair, the Super High-School Level Despairs!"

It's a bold-faced lie, and one that Ryota has no knowledge with which to contradict it. Because he's a coward, and because Junko's already messed with his head so much, he runs and hides rather than face what he's done. She even leaves him with parting words of responsibility, twisting what happened with sarcasm so he'll always blame himself for her actions.

Ryota is by no means a perfect victim, but that doesn't change the fact that he is one. He was manipulated, and when he found out he was manipulated, he was threatened, albeit indirectly. But Junko was always planning to send Hope's Peak and the world into Despair. His video made it easier for her, but he is not and never was responsible for her actions. And by making him carry the guilt of her choices, she leaves him in a state of pathetic, guilty Despair akin to a genuine 'thank you' from her.

Part 15- AI Junko

AI Junko(or Kaijunko, as I like to refer to her as) appears as the reincarnation of Junko, created by Chihiro's AI technology and forming a Despair virus to infect the Neo World Program. She doesn't allow the Hope Restoration Program to follow through, instead taking Usami's teacher role and manipulating the world to be a Despair Restoration Program. The motives she uses are extremely personal and targeted, hyperfocusing in on specific members of the class each time to ensure a murder happens the way she needs it to.

Something that's important to remember, though, is that Kaijunko IS NOT Junko. She's an artificial recreation of the real Junko intended to continue programming Despair into the world after she'd inevitably passed. And as such, she isn't a 1:1 replica, and there are key differences between the two in the same way Alter Ego is different from Chihiro and Observer Chiaki is different from the human Chiaki.

The reason Junko fell into SHSL Despair was because her intellect combined with human need for stimuli left her with such a deep depression and boredom that pain and suffering were the only ways to make her feel alive. But as an AI program, Kaijunko isn't burdened by that same need. She's programmed to have the same goal of spreading Despair, but she doesn't have a personal, insatiable need for Despair in the way that Junko did. And this leads her to have a different endgoal for the final trial than what the real Junko might have chosen.

Kaijunko observes and learns from Izuru Kamukura and the RoD, as well as the Towa City residents, in the same way Alter Ego learned from class 78. The brainwashing video forcefully reprogrammed them, yes, but ultimately, they still loved each other as friends and classmates, even if Chiaki wasn't there with them, and it's that dedication to each other that Kaijunko learns about. It's why those connections are the ones tested within the SDR2 killing game; Kaijunko, who actually came into contact with the RoD personally and was toted around by Kamukura, would know what to use to create a killing game that would leave the most desperate group of survivors at the end to follow through on Junko's plans to reconstruct them all into her.

However, because Kaijunko isn't constricted to the same need to destroy herself, she can afford to bend the plan around impulsively in the way Junko herself had in the past, but in a way that'd align with the original Junko's goals to harm others around her without needing to harm herself anymore. Thus, in the final trial, she doesn't push those desperate survivors to want to escape. Instead, she uses her knowledge gathered to make them want to stay in the world Makoto provided to them, where none of them have to face the consequences of the RoD's actions, Kaijunko included.

One of the ongoing themes across the board for SDR2 is how artificial everything about it is. The island is artificial. Chiaki is artificial. Hajime is an artificial hope. The RoD are artificial Despairs. Similarly, Kaijunko is an artificial Junko. She goes through those same motions as the original Junko, but she is not, cannot be Junko. She can only mimic, never be, and so she tries to escape altogether by resetting the game to a state where the RoD live an escapist dream, and she's locked in the game with 'her' classmates forever. But despite this, because she's mimicked Despair, she's become part of it, and Hajime and the others do the one thing Junko can't ever succeed in doing: they choose themselves, and she disappears without a chance of hope, just like Ryoko before her. Hajime and class 77 forge a new future, and Kaijunko dies trapped in the shadows of the past.

8.6.1- Hajime Hinata

If the battle between Makoto and Junko in THH is a battle of ideologies- hope and Despair- then the battle between Hajime and Junko is a battle of wills. This is the battle between self-love and self-hatred, and both Hajime and Junko are faced with their opposite, only to reject it in favor of what they want for themselves most.

Hajime's main character arc is one of self-discovery. When we meet him, he's been stripped of everything that's made him himself, having a gap in his memory that has his identity within it. This is a direct parallel to Ryoko Otonashi's lack of memory, having no identity or memories of the past with which to identify herself. She has only the words others tell her. But in the case of Hajime, it's revealed that the supposed gap is virtually nonexistent. He has no special talent or ability that differentiates him from the rest. He's a blank slate- empty, one might say. And this is quite similar to Ryoko. In a similar way, Izuru and Junko are both burdened by the weight of their talents. In the case of Izuru, he was operated on to remove all emotions and thoughts to be a symbol for Hope's Peak, while Junko's Analyst talent left her burdened with the inability to enjoy anything.

There are also similarities to Izuru and Ryoko, having both had their minds operated on to remove all memories of their true identity and become someone new, while Hajime and Junko both feel a heavy burden of who they are and feel as if that makes it impossible for them to enjoy their lives as they are. This parallel is exactly why Hajime's choice to live, and choosing to live in the face of retreating into the NWP, is so impactful, especially when faced with the shadow of Junko Enoshima.

Junko never chose herself. She never could choose herself, and when given the opportunity to, she rejected it entirely, too addicted to the cycle of self-destruction she'd created for herself. She felt as though Despair was the only answer for her, so she could never stop searching for it, even from beyond the grave. That not just she should feel it, but everyone should. Everyone needed to know the way she felt. And she used anything and anyone at her disposal to make sure the world burned, because she wanted to feel, and what was the point of such a world pretending not to feel Despair anyways?

Hajime chose himself. It wasn't for anyone but himself. When looking in the face of what he'd turned himself into for hope, he was able to come to the conclusion inverse to what Junko did- that he didn't need to change for the sake of anyone else. It didn't matter that he wasn't SHSL like the people he admired, so long as he lived for himself. Meanwhile, when Junko reverted back to herself, it was like dragging herself back into a cage, being burdened by the same kind of talent that Hajime never needed. A talent she never asked for was the source of her undoing, while Hajime's lack thereof almost killed him in the pursuit of one.

The dichotomy of the talented vs the talentless is one that can be felt extremely strongly between dr0, sdr2, and dr3, but especially when in regards to the divide between these two characters, as it again circles back to the damage the hierarchy they find themselves in creates. Junko is a heralded SHSL Analyst and Gyaru, dubbed by Japan as superior and handed the influence that makes it so much easier for her to poke holes in the system until it collapses. Even when all the evidence is placed on her, she's the SHSL Analyst, and can convince HPA to keep quiet for her. They cover up her crimes, and when they can't anymore, she's part of the 'chosen' that receive protection from the government while the Reserve Course and their families are never mentioned again. Hajime has nothing, is considered nothing, is even beaten and told to 'take to the leash and collar already' to keep him complacent. His choice to become Kamukura is weighted by the pressures of the system he's trapped within, holding him not only to his desire to be considered important, but to be equal, not to mention the debt he's placed in just for the right to participate in said hierarchy. Those treated like nothing are downtrodden to accept the system and uphold it, and those with power can do whatever they want and the system will protect them.

In a lot of ways, Hajime and Junko are more similar to each other than any other two characters in the franchise, all the way down to the sacrifice of the ones they closest around them sending them on their final path- Junko with Mukuro, and Hajime with Nagito. And in mirroring this, Nagito eventually returns, while Mukuro never can.

Mukuro and Junko are twins, and work to attain the same goal, but they're still very different people. Junko is absolutely fucked up, and Mukuro follows her out of a twisted need to be by her side, even when it leads to her eventual death. Hajime and Nagito are repeatedly called out as similar, both needing the other to get through the trials and survive and being forced to come to an understanding, but still retaining their individuality and separate beliefs. When Mukuro dies, it's directly because of her loyalty to Junko, even at the cost of herself, and Junko's betraying her resulted in both their deaths. Nagito died because of his loyalty to hope, even at the cost of himself, and Hajime's trust in him was what allowed him to survive and eventually bring Nagito back. Where Mukuro was metaphorically absorbed into Junko and forgotten, Nagito's individuality was what became critical to Hajime.

15.1- Shirokuma & Kurokuma

This part will remain brief. Shirokuma and Kurokuma are the AIs found in an all-white and all-black bear in UDG, each positioned on one side of the Towa City genocide and perpetuating the war by manipulating the Towa siblings.

Shirokuma is the 'good' one, and is positioned with the adult survivors. He's the one responsible for creating the underground safe house, and is Haiji's right-hand. Even when making it appear as though he wants peace first and foremost, he goes on to pilot Big Bang Monokuma and stands with Haiji, playing him and Komaru to escalate things.

Kurokuma is the 'bad' one, and is the one who gave Monaca the plan to create a Successor in the first place. He's a chatterbox that's an advisor to the WoH, presumably left behind by Junko or created by Monaca, and pushes the kids into their murder games by standing with Monaca.

Near the end of the game, Kurokuma reveals that Shirokuma is his little brother, and later in the epilogue, we learn that they were actually not distinct AIs, but rather, the same AI Junko as in SDR2 that was working both sides to destroy Towa City. Them taking the form of siblings mirrors that Junko herself was a twin, and isn't truly complete if she doesn't have her sibling still present.

Part 16- Big Sis Junko (UDG)

Following SDR2, UDG returned a master-manipulator Junko to the scene via the Warriors of Hope. Though AI Junko is present and perpetuating the war through her manipulation of the Towas, Junko herself is all but gone, survived only through the kids' memory of her, and what they have to say is extremely telling to the capability Junko really had to push people further towards her Despair.

Her role as 'Big Sis Junko' came when she prevented them from killing themselves, though how she knew to be there at the right time is unknown. We can assume she'd been keeping eyes on Monaca already and, through her Analyst talent, figured out when the right time to be to show up.

From there, they became the Warriors of Hope, not missed by their parents that hated them or worried for by the world, and Junko was free to mold them however she liked. She did this by teaching them to lash out at the people responsible for their suffering- not just their parents and abusers, but any and all adults. She was a teenage girl who'd taken pity on them, as far as most of them saw, and so they trusted her as the first and only person besides each other to show them kindness. They became ideological, lumping all adults within the same box of 'demon' because they were given no other comparison, and they did it for Junko.

"As far as I remember, the first adult we defeated was a random person we didn't even know. .... From there, we leveled ourselves up by killing Demons. Big Sis Junko was so pleased..." -Nagisa Shingetsu, UDG chapter 4

They came to rely on her as their one true savior, and even those of them who knew they were being manipulated didn't care, if only it meant they weren't the ones being beaten anymore.

"At least, at the time I thought it was a miracle. But later I learned it was inevitable. She came into my life just to take advantage of me." -Monaca Towa, UDG chapter 5

"'You guys... were completely deceived by Junko Enoshima.' 'And what's wrong with that? Did I not tell you that we are her possessions? We would rather her take advantage of us than horrible adults.' 'Sounds like it's too late.' 'Say what you like. Big Sis Junko... gave us hope. That's the truth.'" -Toko Fukawa & Nagisa Shingetsu, UDG chapter 4

And when she died, she was martyred, a victim of the cowards who'd believe in the adults and Hope's Peak. By dying, she completed her manipulation of them, ensuring in her absence, they would only remember the kindness she offered them. Anyone who said otherwise must be a demon.

"No matter how much you hate us, no matter how much we're shunned, we're definitely not wrong. That's the real truth, because Big Sis Junko said so. .... Those adults who took her away from us and said that she was the bad one! They're the filthy ones; they're the ugly ones, the disgusting ones!!!" -Jataro Kemuri, UDG chapter 2

This manipulation and creation of the WoH stemmed from a practical source, as we learn in the game. By Monaca's own admission, Junko only ever cared about getting access to Towa City tech for her Monokumas and for spreading Despair wide-scale. Having highly talented and abused kids to carry out her will when she was gone was just a very welcome bonus; having the youth primed to continue spreading Despair when she was gone would create a legacy, and her ghost would continue to haunt those with hope for at least another generation. Enter Monaca Towa.

8.8- Monaca Towa & the WoH (CW: Mentions of Incest & Pedophilia)

Monaca is differentiated from the rest of the Warriors of Hope almost immediately as being more aware of what the fuck is going on than her friends. She's the L'il Ultimate/SESL Homeroom that loves hearing everyone else talk about their thoughts and feelings, she's the one who invented the Captives game, and she has swastikas in her eyes, because Nazi symbolism was the only way we could convey she's a dictator I guess. As the game goes on, we see that her relationship with Junko is different from the rest of the class- a bit more substantial. She has much more knowledge of Junko's desire for Despair and knows the real reason Junko sought them out in the first place. She uses her friends' idolization of her to trick them into helping her make a new generation Junko to carry her memory. She also has a hidden bedroom full of photos of Junko, and one in particular stands out among the rest.

Junko and Monaca, all by themselves, posing for a photo. None of the other WoH are present for this photo. It's also worth noting that Monaca's in her WoH outfit, even though in every other flashback or cutaway to the past before Junko's death, they were all in their Hope's Peak Elementary uniforms. If it weren't already obvious, these two were spending more time together than with the rest of the WoH. This is primarily because of the explanation we've already been given- Junko needed tech, Monaca was the one that had it. Of course extra work was gonna be put into her, and if she felt special in comparison, she'd become more like Junko.

Both Monaca and Junko are a younger sister, and their older siblings are established as pretty creepy in their own ways. Mukuro is incestuous and lusts after Junko whenever they're together, or even just when thinking about her. Haiji, meanwhile, is a pedophile, mentioning he likes girls younger, "as young as I can get 'em." I don't have to explain why the knowledge he has an extremely younger half-sister he expressly doesn't think counts as family is a bloodcurdling realization given this information. While they seem to have very different levels of connection with their siblings, this is a pretty distinct commonality to give both masterminds, especially when one is meant to immediately succeed the other. Both girls are also considered the "genius" of their families, while their older siblings use more brute strength.

Monaca is a character built upon the mimicry of Junko. We know this because we pay attention to the game, but also because if we look at the concept art and beta forms of the Successor, we can see without question that creating a "New Junko" was always going to be a major part of UDG, as not one, but two unused Successor characters were considered before Monaca eventually became who she is today as the mastermind and true Successor.

Monaca throughout UDG undergoes a similar behavior to Junko in the way that she treats the WoH, but it's in a way the fundamentally misunderstands why Junko acts the way she does. Monaca is a child, and idolizes Junko, but that doesn't mean she actually understands her, even if she got much closer than her friends.

Monaca manipulates and discards the other WoH one by one, making herself the center of their movement and letting them believe they have control over what they're doing. She motivates them with a Paradise that'll never exist, similar to how Junko motivated the reserve course to stand up against Hope's Peak, and they take over Towa City. Whenever a WoH disappears, she decides whether or not they're mourned, but it appears as though she doesn't care and never did. She quickly forgets Masaru's name, barely bothers with Jataro, and later in her backstory monologue, proudly claims that when Junko met them, she was planning to let her only friends all kill themselves as a prank and not jump herself. She takes all the steps possible to Not Care about these people, similar to how Junko seemed not to care about the people she loved.

If Monaca spent enough time around Junko to observe and pick up this pattern, it likely means she also saw how little Junko actually cared for herself and her friends. This would explain why she starts acting as though she doesn't care at all for her only friends in the world and discarding them, wanting to emulate Junko, her idol. It also means she knew Junko didn't care about her, but her talents, and just didn't care because it was Junko. Again, this is a mentality not just held by her within the WoH, but because she was given a peek behind the curtain, she filled in the blanks in her head and let herself continue to be manipulated by Kurokuma, all in the hopes that Junko could return and manipulate her again. She needed a Successor, someone to fill that sisterly void again. And in that desperate desire, she inadvertently set herself up to someday become the SESL Despair.

Nagito's intervention is directly stated as the reason why she ends up abandoning this role as SESL Despair and fucking off to space as SESL Apathy instead, shrugging it off as 'not wanting to end up like he did'. This appears to be a deviation from what was originally intended for her, as not only was this wrapped up in a singular episode of an anime not actually about her, but the teaser images for a UDG 2 in UDG's credits ultimately ended up unused, and V3 totes a teaser of a canceled UDG 2.

Part 17- Junko's Apocalyptic Crash Course

"Right now, Hope’s Peak Academy is set up in a pyramid sort of idea that a third world country would use; it’s only really there to concentrate it’s effort on the 'super high school levels', for their benefit, and then below them are the reserve students from the preparatory school. .... The teachers here don’t really think any of the reserve students really belong here." -Yasuke Matsuda, DR 0

As we've seen repeatedly throughout the previous games and DR 0, Junko's strengths don't come from sheer force of will. She didn't take some perfect world of hope and twist it into a world of Despair by flipping some ideological switch. She's charismatic, but still human. Junko's strength comes from her ability to analyze, her high intelligence, and her charisma combining to create a master manipulator. Using the skills and people at her disposal, she was able to amass a cult following, and inspire the downfall of a society that was already flawed by attacking the weak points that were already present. Ergo, Junko's SHSL Analyst talent led her to not only infiltrate the school, but also to find the flaws within it and the lies it covered up by taking advantage of the Kamukura project wearing the school thin.

She may have been the face of the Despair movement, but she wasn't a singularity. She had a small group of people she trusted with a certain amount of information, and who had skills that would become beneficial to her. Mukuro is the obvious right-hand, as previously discussed, and perhaps the only one she legitimately believed to be an equal, but there was also Yasuke, Izuru, Ryota, Mikan, and Monaca, all of whom she attached herself too and all of whom had an extremely useful talent or title that was immediately beneficial to her cause. These people were able to directly carry out her desired acts of Despair and work alongside her, reporting back to her to ensure things were running smoothly. These were people who were needed directly as they were, and who were most useful when they believed she genuinely took interest in them, whether she actually had or not.

In a world already so flawed, with thinly veiled atrocities already taking place by people who believe in a caste system of talent, earning a downtrodden majority's trust is as simple as taking the blindfold off. Manipulating the people she'd attached herself to let her reveal key information at her leisure and drive the school and its inhabitants to Despair without them noticing or knowing to take action until it was too late to stop it. Something manmade, that turned into a disease and spread across the world, infesting it with the Tragedy and burning the oh-so-predictable world to the ground, all while standing as the eye of the storm- that was the power of the SHSL Despair that Junko worshipped, and she became its spokesperson, sending the world into a spiral.

Part 18- Junko's Legacy (Death of the Human, Birth of the God)

Everyone that loves Junko, misunderstands Junko. This is a fact that we see more than once. Mukuro obsesses, not loves. Yasuke romanticizes a childhood he can never return to. Monaca idolizes her. Mikan overtly sexualizes her. Her classmates know nothing of her self-destructive nature. Junko knew this and Despaired every time. But this fundamental misunderstanding of who Junko is didn't just exist in the game. In real life, Junko Enoshima became an iconic villain, the teenage girl that burned the world, the Ultimate Despair. She was insanely popular, and still is. And the more popular a character gets, the more susceptible they become to misinterpretations, fanon, oversimplification, etc.

In becoming such a well-known figure, Junko Enoshima the person got lost in translation. There was now Junko Enoshima, the mascot, the figurehead. This isn't a phenomenon exclusive to Junko, of course, but as the titular villain of the series until this point, how could the series continue without her? To this very day, people can't agree on who Junko was or who she actually cared about or if she ever even cared for anyone at all. And when NDRV3 was made, it took advantage of this to tell its own story, utilizing Junko Enoshima specifically to demonstrate flanderization of characters within its lore.

Junko Enoshima is not a real person. She's a fictional character. All her motivations, her thoughts and feelings, are fabricated stories and vague implications from the writing of real people. And in V3, that 'real person' is Tsumugi Shirogane, one of many cogs in the machine of Team Danganronpa, who dresses up as Junko and uses her face to become 'Junko Enoshima the 53rd'. Junko has been used and reused over and over and over, to the point where the original vision has been muddied beyond belief. What she was at the beginning, way back in THH, no longer exists. She's now a silly mascot, a familiar face that fans can point at and dress as and draw fanart of, and a face that Team DR can profit off of. Tsumugi's portrayal is laughably inaccurate to the original Junko. It's a costume, nothing more, and the dialogue she gives when 'in-character' is simplistic and insignificant. All its weight comes not from the meaning, but from the reference for reference's sake.

Junko's appearance in V3, like many other moving parts of V3, reference real-world fandom culture. It's appealing to both the in-universe fandom and the real one, bringing back character sprites and voice actors and poking fun at its own ridiculousness because none of it is real, none of it ever was. It was because Junko was fiction that she could do everything she ever did. Her Despair has meaning, but that doesn't mean she felt the feelings we're told she did, because she never existed to feel them. And that's the thing that lets her forever remain an enigma; she is Danganronpa's villain, and to become immortalized in Despair, she deconstructed into nothing but the word Despair, a fate that is in and of itself Despairful.

8.9- Tsumugi Shirogane

Tsumugi Shirogane is the mastermind of V3, and believes wholeheartedly in Junko Enoshima as the true villain of Danganronpa. Tsumugi is built as the fandom insert of DR, being immersed in fandom culture in every conceivable way- winking at the camera, making references to other fandoms, the love and joy of making cosplay- but also the less palatable parts of major fandoms, like her purist views of cosplay, her usage of incest as both a serious plot point and as a gag, and even does blackface when cosplaying as the dark-skinned DR characters of dr1 and 2. She's also the in-universe producer of the season. Therefore, Tsumugi also represents content creators, and how even the creator themselves can lose the plot of the character in their attempts to create what they perceive to be a compelling story.

As Tsumugi is explaining her story and why she tied it back into the Hope's Peak era, she pretty openly admits that a) she sees it as a perfect reproduction and b) a necessary writing choice in order to make it interesting. Both are false, as not only is V3's continuity in a separate world from the Hope's Peak era, but her presentation of Junko and the voice lines aren't displayed the same way Junko had acted in previous installations.

"'So... you're just a freak pretending to be Junko Enoshima, huh!?' 'No, a perfect reproduction! Perfect reproductions are exactly the same as the original.'" -Maki Harukawa & Tsumugi Shirogane, V3

She presents Junko as a singularity, the Ultimate Despair, and brazenly parades her face around as the immortal and ever-present true Despair. She's the 53rd Despair simply because her influence wouldn't allow her to fade away. She's become Despair-incarnate, but in making new games, Team DR has forgotten why Junko caused Despair in the first place. She didn't do it just to do it; she threw the world into Despair because it made her feel human to feel Despair. And yet when Tsumugi explains Junko the 53rd's plans, it's nothing but a big show, and that's exactly what a surface-level Junko looks like to the masses- a high-school girl that ended the world for fun.

Junko's games had meaning. Even when she didn't feel particularly connected to a person, like the RoD, she still brought them into Despair for a purpose. She was an analyst, and did the things she did with intention and with care. Attention to detail and careful manipulation with the face of a charismatic gyaru was her forte. But Tsumugi's so-called "perfect reproduction" is a story full of plot holes and contradictions, all caused by some need to deify Junko. In other words, as they refused to let Danganronpa go, they lost the plot, and Junko's humanity went with it in a desire to continue using her image when writing new stories. In becoming a god of Despair, her origins as a human were forgotten.

Part 19- Despair Into Tomorrow (Why We Care)

Junko Enoshima is an enigma. She is Despair incarnate, a pillar of the Danganronpa world created by her own hands, hellbent on burning herself to the ground. She's a character of poetic irony, unknown to all as anything but Despair. She was born with a perfect mind, and in trying to feel human, feel pain, feel Despair, she became permanently deified by all that she loved and all that she met, whether that was as a savior who killed a cruel world or a demon that detested hope.

At every turn, Junko's actiona are filled with malice, and yet so often that malice is directed at herself. Living in a peaceful world pains her because it leaves her bored. Anhedonia is a cruel mistress, and those who claimed to love her could never once comprehend it, because they couldn't feel the way she felt. The only thing she had that connected her in any human way to others or to herself was grief, and her entire story becomes one of self-sabotage. Despite that, though, she's not the only character burdened by anhedonia, and her self-destructive nature outstretching to the people and world around her is designed as a story of caution.

In each and every installation of Danganronpa, Junko and the other masterminds inspired by her fail because of their key difference in connections. When Makoto appeals to his classmates, they're reminded of their own desires to live and their love for each other- Hina's memory of Sakura, Syo's love of Byakuya, Kyoko's and Byakuya's love of Makoto himself. The same can be said of when Hajime chooses himself, to fight for himself, and is inspired to do so by Chiaki. Every other survivor has someone that inspired them to live for themself- Peko, Nakomaru, Gundham, the people around them. When Komaru is saved by Toko, it's because she took the time to connect with her and with Syo, and that love saved her from destruction. When Munakata gave up hunting Makoto, it was because of his love for Chisa. And when Shuichi declared he wouldn't vote, it was so that Maki and Keebo wouldn't be forced into sacrifice of a system that would hurt them over and over again.

Junko had connections. Junko had people she loved. Junko had another half. But she burned them one by one, until there was nothing left but her, and then she burned that too. She's a villain even to herself, and she knows it. She feels Despair upon Despair and even then can't regret it, because she wouldn't let anything else touch her heart besides it. It's an inherently self-fulfilling prophecy to only feel Despair, because in order for that Despair to exist, she must have felt love first. But she doesn't acknowledge her love and her vulnerabilities because she believes those fall under her 'factory settings'. Comfort is boring; safety is boring, and boredom was her enemy, an enemy second only to herself.

Junko's actions stem from a deeply embedded self-hatred. She was too smart and too comfortable, and so her boredom became everything she was. She believed the lie she told herself, that pain and grief and Despair was the only answer. Don't be like Junko. Don't believe the lies you tell yourself. Even in an unjust world, you can try to make things better without making them worse. Feel your Despair and let it go. It is okay to let it go. You are still human, no matter what image the people around you have, and to be seen, you must first be vulnerable.

Afterword

JESUS FUCKING CHRIST IT'S BEEN OVER 5 MONTHS. I made jokes and gags about 'getting this out before 2025' but I didn't think that would actually end up as my deadline. Holy fuck.

Junko's analysis is by far the beefiest I've done so far, and very well could remain the biggest one in this entire series of analyses (I think Kyoko, Makoto, and mayyybe Chiaki or Hajime might get close, but otherwise? Those are def gonna be the big 5 though) But hey, that's what being the mastermind of the franchise gets you. In retrospect, Junko probably should've been the grand finale, not part 5/17 of this series' part 1, but whatever. I'll save that grand finale for Kyoko instead

This will probably be the most controversial analysis I put out, alongside the eventual Mukuro one. I know people are, uh, divided on their relationship, but I did my best to stay objective and look at it from an unbiased viewpoint for what they offer narratively and its effectiveness. And I hope people are able to see that. Just in case, though, I'm gonna have anons off for a bit until whatever circulation this post gets dies down lol

Honestly, my perception of Junko has changed so much over the course of these past several months. It's not like I didn't like her before, but she's morphed into one of my favorite villains in all of media after this. This girl just cannot fucking die, no matter how much she wants to, and I think there's something so deeply compelling about a villain that wants nothing more than to self-destruct and burn the world with them, especially if you've fallen into a depressive state like the one she's in before

Good news, though! The next analysis set is Hifumi's, which means it won't take nearly as long as this whopper of a tumblr post! I'm actually very eager to deconstruct him, so hopefully we can go back to the summer days where I was able to crank out an analysis after 2 weeks. Please, god, can we go back to the summer days where I cranked out an analysis after 2 weeks

Catch ya later! :P

[loganjameshowlett]

SAME AS IT EVER WAS

01: AND YOU MAY ASK YOURSELF (WELL, HOW DID I GET HERE?)

pairing: peter parker/mutant!reader summary: you tutor peter parker. you dodge a robbery. you get run over and are somehow unhurt. all in a day's work, i guess. word count: 4.1k+

series masterlist | next installment

You were beginning to regret promising your tutoring services to Professor Sorensen. 

The early morning sky was pink outside the library’s picture windows, and you stared wistfully as you spread your things out across one of the empty tables, wishing that you were still in bed. But Sorensen was maybe your favorite professor ever, and when she stopped you after class last week and asked you to tutor for the general education English classes in exchange for a meager pay and some extra points on your final essay, you didn’t have the heart to tell her no. 

You couldn’t imagine, though, what kind of linguistically-inept STEM major would be desperate enough for tutoring to schedule an appointment with you at eight o’clock on a Wednesday morning. You kind of wanted to beat them over the head with your laptop. Instead, you took a searing gulp of your coffee and opened your current required reading for Sorensen’s class. If you were going to be up this early, you might as well make some use of the time beyond tutoring. 

“Excuse me,” a voice calling your name cut through the otherwise silent main reading room of the library a few minutes later, and you looked up to find a tall boy with messy brown hair standing at the other side of your table. He had a frayed backpack slung over one shoulder, and a look of exhaustion in his brown eyes that was very familiar to you. “Am I in the right place for Professor Sorensen’s English tutoring?”

“Uh, yeah,” you nodded, shutting your book and briefly glancing down at the email from Sorensen open on your laptop to catch his name. “Peter Parker?” 

“That’s me,” he nodded, offering a small smile as he slid into the chair to the right of you. 

“So, you’re taking Beginnings of American Lit with Professor Liu, right?” you asked, checking the email once more. 

“Yeah. She’s kind of a tough grader, and if I don’t score an A on my next essay it’ll fuck with my GPA,” Peter explained, glancing over at you sheepishly as he dug through his bag, eventually producing a thin stack of rumpled papers. “I was hoping we could edit this one together? Maybe you’ll be able to explain what she’s looking for, ‘cause I really don’t know.” 

“Yeah, Liu is… particular, but not impossible,” you told him, reaching forward to slide the essay toward you. “Luckily, I’ve taken her twice, so I think I’ll be able to help.”

“Oh, thank god. I was starting to feel hopeless,” Peter said, and you couldn’t help but snort at the complete earnestness in his voice.  

“So, I take it you’re not a humanities major,” you observe, and Peter laughs, shaking his head. 

“Definitely not. I’m a chemistry major, actually. Science has always come easily to me, but writing not so much. S’why I put off taking my literature requirement until Junior year.”

“That’s what I did with my lab science requirement,” you said. “And now I’m struggling through a biology lab that might actually kill my GPA. Okay, so, your intro paragraph looks pretty good. Thesis is solid. I think your trouble is probably in the body– Liu is a real stickler for thorough analysis of quotes and citations. And by thorough, I mean extensive to the point of near-redundancy.” 

“Alright, I already know I’m gonna have to beef up the middle, in that case,” Peter sighed, taking the first page of his essay to look over the few line edits you had penned in with red ink. “Hey, about your biology lab. I can help, if you want. As a thank you for helping me with Liu’s class.” 

“Yeah? That’d be a lifesaver, honestly,” you said, raising your brow at him. “I don’t really know anyone in the department to help me find a reliable tutor. Not that I know you’re a reliable tutor. You could be a really shitty chemist, for all I know.” 

Peter let out a theatrical gasp, bringing a hand to his chest in mock hurt. “I’ll have you know that I’m a very good chemist. And, lucky for you, a perfectly average biologist. Good enough to get you to pass that lab with an A, I bet.” 

“Well, then, I’m gonna hold you to that, Mr. Parker.” 

“Just Peter’s fine. Mr. Parker makes me sound geriatric.” 

“Okay, Peter,” you hum. “Look, this quote you have at the top of this paragraph? It’ll be really easy to beef up your analysis if you introduce how it speaks on gender roles in American culture at the time. In fact, you could probably get a whole extra paragraph out of it, if you provide enough context.” 

“Would you mind writing that in the margin? I’ll forget otherwise,” Peter asked and you complied, writing the potential edit in small, neat letters next to the paragraph. “If you’re free Friday afternoon, we could go through some of your biology work.” 

“I actually am free then,” you said, eyes roaming over the last paragraph of his essay. You scribbled a few notes and line edits in, before stacking the pages neatly and sliding them back towards Peter. “Tell you what, you make the edits we talked about today, and we can go over the next version of your essay then, too, yeah? Make sure it’s up to Professor Liu’s standard?” 

“You’re an angel,” Peter said, glancing up from where he was absorbing your edits to shoot you a grin. “Hey, sorry to be so abrupt, but I gotta run. How does same spot, two o’clock on Friday sound?” 

“Works for me. Thanks for volunteering to help, Parker.” 

“ ‘Course. We should exchange numbers, in case anything comes up. I never check my email,” Peter said, pulling his phone out of his back pocket. He passed it along to you, the contacts page opened, and you entered your information, sending a text to yourself so you had his information in return. 

“See you Friday,” you smiled, handing the phone back to him. 

“Friday,” Peter confirmed, taking a few backward steps away from the table before turning around. He glanced over his shoulder once more, waving, before he disappeared into the hall. 

***

“God, this shift couldn’t be any fuckin’ slower,” Mickey groaned, dropping her head against the bodega’s countertop. Her red curls fanned all around her head, dripping over the edge of the counter. 

“Closing shift is always slow, Mick,” you reminded her, leaning against the wall with your arms folded over your chest. The thick of the after work rush had been over for about an hour, leaving the bodega deserted, aside from the two of you and Gary, the ancient orange bodega cat. 

“Dontcha ever just wish somethin’ interesting would happen around here?” she asked, picking her head up in order to blow a big pink bubble from her lips. 

“Interesting things happen in this city every day,” you countered. “Spider-Man fights some new fuckin’ loser every week, man, and that’s just him. Daredevil broke Mrs. Llewellyn’s kitchen window, like, four days ago.” 

“That shit’s not interesting anymore; you said it yourself, it happens every day,” Mickey said, stepping around the counter to pretend to organize the shelves. “Tell you what’d be interesting: if we found out who Daredevil or Spider-Man or any of the others are beneath the mask. And if not that, I’d settle for Daredevil crashing through my bedroom window tonight. That man is fine.” 

“How would you know? Nobody’s ever seen his face.” 

“He’s built, baby. That’s how I know,” Mickey scoffed. 

You shrugged. “I’d rather the cape types stay away from my bedroom window. Or my general vicinity. I’ve got enough going on between class and this job and tutoring without getting involved in one of their situations.” 

“Oh come on, you’re telling me the thought of some sexy superhero literally crashing into your life isn’t appealing at all?” 

“No, dude. I don’t want the drama. Or, I’m sorry, the adventure,” you doubled down. “You can have it.” 

“Amen,” Mickey nodded. “I hope Daredevil heard you say that somehow.” 

Before you could respond, the mostly quiet night was cut through with the sound of police sirens, loud and close and then fading slightly as they passed down the street. 

“Wonder what’s going on,” you murmured, craning your neck to follow the red and blue lights down the block. 

“Whatever it is, I hope a man in tights responds to it.”

“God, Mickey, you are incorrigible,” you groaned, turning away from the window and grasping the handle of the broom, looking for something to do. 

“Don’t use your fancy English major words on me, woman.” 

“Incorrigible is not a fancy–” you started, but were cut off by your phone ringing in your pocket, the specific song you assigned to Mr. Browne, your boss. 

“Hey, bossman, what’s up?” you asked, answering. Concern laced your voice; it wasn’t like Mr. Browne to call during closing shift. He trusted you and Mickey not to burn the place down, and his watching reruns of Jeopardy! time was basically sacred. 

“Honey, listen,” his gruff voice filtered through the speaker. “I want you and Mickey to close up and go on home now.” 

“What? Why? There’s still an hour until closing,” you asked, furrowing your brow. 

“I just saw on the news that there’s a robbery going down in the neighborhood, and I don’t need you girls getting caught up in any danger, okay?”

“Oh, guess that explains the police cars,” you said, more to yourself than to him. 

“You see? Lock up and get out of there,” he said, his voice firmer. “And no dilly-dallying, you hear? I got a bad feeling.” 

“Okay, Mr. Browne, you got it. We’ll close up now and go straight home,” you promised. 

“Good. Just feed Gary before you go.” 

“Will do. G’night, bossman,” you said, before hanging up the phone. 

“What’s that all about?” Mickey asked, brushing a piece of her wild hair away from her face. 

“Apparently those police cars that went by are responding to a robbery in the neighborhood,” you informed her. “Mr. Browne wants us to lock up and go home now before we get caught up in any of the trouble.”

“Must be my lucky day,” Mickey grinned. “You get the keys, I’ll feed Gar.” You did as she said, retrieving the keys, your jacket, and your bag from behind the counter. Already, you were lost in thoughts of going home and crashing immediately in bed. You had been out and about for over twelve hours that day already, and you were practically asleep on your feet. You had half a mind to walk down the block and thank the robbers for cutting your shift short. 

A minute later, the two of you were standing out on the sidewalk. You could hear shouts and the sirens as more police responded to the scene, even the drone of a news copter overhead. The robbery must be closer than you expected, and maybe a bigger problem than you were assuming, too. There was a bank two blocks down and one over; you wondered if it was all going down over there. 

“Alright, text me the minute you get home,” Mickey said sternly. 

“You, too,” you responded. The two of you lived in opposite directions, so you wouldn’t have the comfort of each other’s company on the walk home. 

“We’ll be fine,” Mickey responded with a dismissive wave of her hand. “I bet the neighborhood is safer than usual– bet nobody else will try shit with the place crawling with so many cops. But still text me when you get home, got it?” 

“Yeah, yeah. I’ll see you tomorrow.” She pulled you into a quick, tight hug before waving and heading down the block towards home. You turned in the opposite direction, back towards your apartment in Hell’s Kitchen. The night was cool for the beginning of October, and you pulled your flimsy zip-up tighter around your middle, hiding your hands deep in the pockets. Your head swam with all the things you needed to do for the week, wondering if you should get a jump on some of it with your newfound hour of free time, or actually give yourself a rest for once. You were leaning toward the former; if you hurried, you could probably finish the reading you started at the library before Peter showed up, and the corresponding question set. 

With that thought in mind, you cut through a nearby alley, shaving off a block from your walk. You wouldn’t normally, but you had a feeling that Mickey was right, the high concentration of cops in the area would deter any other criminals. Probably you’d be fine. You stuffed your earbuds in your ears and pressed play on whatever had last been going, lost in thought as you tried to plan the rest of your week around class and work shifts and your new tutoring session with Peter. 

As you cut through a second alley, bringing you just half a block from home, chin tucked in and head down against the wind, you didn’t hear the squeal of tires as they turned around a corner and sped down the street you were just on. You didn’t hear as they abruptly turned into the alley, doors scraping against a dumpster. The hair-raising screech of metal on metal finally cut through your music, and you turned around just in time to find a large, black SUV barrelling straight towards you. 

There was nowhere to go. The alley was hardly wider than the car itself, and fear or shock or some horrible mix of both at the sight of it coming toward you had rooted you to one spot on the wet asphalt. 

Fuck. I am about to die, you thought as you stared down the headlights, so bright you couldn’t see whoever was driving the thing. 

The next ten seconds– because, really, it couldn’t have been any longer than that– occurred in a blur. The impact, your body on the wet ground. Front right tire crushing over your torso, the back tire following half a second later. Vaguely, with the small part of your brain where synapses still seemed to be firing, you knew there must be immeasurable pain, but all you felt was cold and static. There were too many things happening at once, too many pains and thoughts all garbled together that you couldn’t feel or register any of it. 

You laid there, staring up at the dark, gusty sky, expecting death to collect you at any moment. When, after several minutes of slow blinking and shallow breathing, you were still alive, you figured you might have experienced a miracle. Maybe the tires had passed over you in just the right way to preserve your life? Not that you thought such a thing was possible. Getting crushed by a speeding SUV felt like a very final kind of thing. 

Slowly, your senses started coming back to you. Hearing first, as you registered sirens rushing past at the mouth of the alley. You grimaced, tensing as you waited for them to also cut down the alley and actually kill you this time, but they passed by without incident. The pain started next: a horrible, dull ache across your ribs and a sharper, prickling kind of hurt along your shoulder blades, but nothing like you thought you should have been experiencing. You were worried that it was still all a trick of the mind, that you’d muster up the courage to lift your head and look down to take stock of the damage and find your torso resembling roadkill more than anything human. But you couldn’t lay there forever, you reasoned, and so went to work testing appendages to see if they were in order. 

You wiggled your fingers and toes first, surprised, frankly, that you were able to do so. If you could wiggle your toes, everything below your ribs must still be connected to everything above your ribs. Good sign. You bent your arms at the elbow next, which reignited the flame of pain in your shoulder blades, but they moved fine otherwise. Bent your knees, turned your head from side to side. You were… okay, you concluded. Physically not dying in a dirty alley, at least. 

A jolt of effort, and you sat up all the way, despite the protest of pain across your ribs and shoulder blades. Looking down, you took stock of the dark tire track running across the front of your sweater, but more importantly, the very uncrushed nature of your ribs and internal organs. 

“How the fuck,” you muttered to yourself, brushing your hands tentatively down your front. The contact of your palms against your middle was like irritating a nasty bruise, but that was it. That was… impossible, you were pretty sure. Maybe you could gaslight yourself into believing it was if it had been some tiny, dinghy little car that had run you over, but it was a fucking monstrous SUV. 

Blinking, you reached back toward the wall behind you and used it to hoist yourself up onto your feet. A terrible panic was creeping up on you now, and you preferred to deal with that in the privacy of your bedroom, not on the streets of Hell’s Kitchen. As you turned to stumble your way out of the alley, you noticed something else: the pavement beneath where you had fallen was crushed in a peculiar shape, almost like wings and six feet across. 

“What the fuck,” you said, louder this time. Whatthefuckwhatthefuckwhatthefuck. This situation was getting stranger by the second, and you were pretty sure you were about to experience a mental break, if you weren’t already. 

Maybe I actually am dead, and none of this is happening right now, you mused as the alley spat you back out on the street. Your feet headed in the direction of your apartment on their own accord, your mind caught up in bright headlights and wing shapes stamped into asphalt. A horrible headache was building behind your eyes, and all you wanted was to get to the safety of your own home, dead or not. 

The walk seemed to take an eternity in your dazed state, but eventually the familiar redbrick corner building that had been your home for the last two years loomed in front of you. You fumbled in your jacket pocket for your key, gripping it in your shaky fist as you punched in the key code to the front door. Up four flights of stairs, a fight with the apartment door as the lock rejected your key like always. You went through the motions in a dream state, so many thoughts tumbling through your head, but none of them sticking. Before opening the door, you shucked off your sweater and balled it up in your arms, in case either of your roommates were up and about. You really had no idea how you’d be able to explain the tire tracks across the front. 

Inside, the lights were dim and a Bob’s Burgers rerun was playing at low-volume on the little television. An electric blue pixie cut shot up over the back of the couch at the sound of the opening door. 

“You’re home early,” your cousin, Winona, called to you. “What’s the deal?” 

“Uh…robbery. Down the block. Mr. Browne wanted us to leave early to be, um, safe,” you stammered out, toeing your shoes off at the door. Each subtle movement sent more pain lancing through your ribs, and you struggled to keep a straight, unbothered face. 

Winona wasn’t convinced. After living together for two years and knowing you since birth, she was familiar with all of your little idiosyncrasies. She could tell when you were just a little irritated, so of course she could tell when you… well, when whatever the fuck just happened, happened to you. Her thick, dark brows drew in until they met at the center, brown eyes narrowing as she scrutinized you. 

“What’s going on with you?” Your cousin was not one to beat around the bush. 

“What do you mean?” you asked, skirting around the question.

“Somethin’s wrong with our girl?” a sleepy voice called from the other end of the couch. A second later, Odie’s head of wild brown waves popped up over the back of the couch. Winona’s best friend since grade school and your other roommate, she was extremely protective over you. Always had been, since she met you when you started freshman year at Midtown High and she and Winona were seniors. 

“There’s nothing wrong,” you huffed. Even that extra expansion of your lungs caused the pain to flare. “I’m just tired. It was a long day.”

Winona frowned at you, clearly disbelieving. “I made lasagna earlier. You hungry?” 

“Ate a bunch of junk at work with Mick. But I’ll bring some with me for lunch tomorrow,” you promised, and wrenched open your bedroom door and disappeared behind it before either of them could question you further. You pressed yourself against the door once it was closed, then jumped away quickly as the action sent an explosion of pain through your shoulder blades. You’d forgotten about it that fast. 

“Fuck,” you whispered, closing your eyes against the burning of tears suddenly threatening to come. “Oh, god. What the fuck. What the fuck.” 

What was even the next move? You couldn’t very well go out there and tell Winona you’d been crushed by an SUV earlier in the night. Nothing about your current state would corroborate the claim, why would she, or anyone else, believe you? And honestly, that was the least of your worries. More pressing issues: why weren’t you crushed by the SUV? Why weren’t you fucking dead? What was up with the weird, wing-shaped damage in the street below you? What had actually happened in that alley?

Something was deeply, deeply not right. You could feel the wrongness of it all buzzing through every inch of your body. You knew that the feeling would overwhelm you if you let it, and you were dangerously close to just sinking to the floor and letting it take you. 

Your phone buzzed in your back pocket. Opening your eyes, you fished it out and brought the too-bright screen to your eyes. 

Make it home okay? The text from Mickey read. 

No, you wanted to say. Got hit by a fucking car but somehow I think that might be the least of my problems. I think something’s really wrong. 

Your thumbs hovered over the keyboard, but of course you didn’t type it. You shot off a text confirming that you did– because really, you supposed, you did get home okay in some sense of the word– and asked if she did, too. 

After Mickey texted back that she did get home safe, you set about the task of peeling off your uniform. Every movement hurt like a bitch, and you reminded yourself every five seconds that you should be grateful for the pain. You didn’t even have a single broken bone. You weren’t dead. You could handle some aches and bruising. 

You worked your jeans off first, then your shirt and bra, heaping them in the corner of your room and plucking a random t-shirt and pajama shorts out of your drawer. Before pulling on the t-shirt, you caught a glimpse of yourself in the mirror tucked in the corner. As you suspected, a thick line of bruises was already purpling along your ribs, the width of a car tire. You sighed, turning to see how far they stretched on either side and paused when your back came into view. 

Two thick lines of what looked like red, irritated scar tissue traced along the lines of your shoulder blades. It looked as though someone had surgically cut them open, and recently. You brought a hand to your mouth, suppressing the gasp threatening to worm its way out. You felt like all the crap you ate at work was about to make a reappearance. 

Those certainly hadn’t been there this morning. You would know: you stood naked in front of this very mirror after your shower, sleepily trying to pick out your outfit. The skin of your back had been smooth, unscarred. Obviously. You would have remembered if you had gone through something that would have resulted in scars like this. 

“Okay, no,” you muttered, throwing the t-shirt over your head as quickly as possible in your bruised, hurting state. This was all too much to deal with in one night, you decided suddenly. You were tired and hurting and you had a busy fucking day tomorrow, damn it. 

You pulled your blankets back and turned off the light, climbing gingerly into bed. Maybe if you were lucky, you would wake up in the morning to all of this having been some wild fucking nightmare. Not that you were ever that lucky.

[artbyblastweave]

Let’s get some abandoned effortposts on disco Elysium in the list. Liked what analysis on it you had, would be great to see more, or fail to see as the case may be

Here’s one of the last insights on Disco Elysium I care to put to paper for a good long while; I really enjoy the nested futility and self-defeat of the central murder mystery, the way it structured to constantly raise the question of how anyone could possibly benefit from what you’re doing.

I mean off the bat the murder victim is a fascist stormtrooper, so there’s that. I personally maintain that it’s still good in a general sense to investigate murders regardless of the moral standing of the victim, but to get real, it’s a very convenient time for me to embrace universalist rhetoric given how little support the neighborhood receives with problems that don’t involve someone well connected. And then, over the course of the game, you can kill all four people left on the planet to whom the initial victim actually mattered on a personal level. Three in clear-cut self-defense, the fourth as an optional casualty to the same mindless, trusting proceduralism that’s admittedly and unfortunately intertwined with my “ no murder left unsolved” stance.

And then! You finally run down the murderer, and from a public safety perspective it turns out that if you’d just gone home after the mercenary tribunal, nothing would have changed; Dros is on his last legs, the odds he’s gonna kill anyone else are very very low.

The last redoubt is the ideological angle- there could be a narrative here about how you’re crushing the last vestige of the revolution, how the killing and the subsequent investigation was the last theatre of the old war- but I think the narrative resists even this attempt to read meaning into it. From an ideological perspective Dros committed the killing off the clock. It was spite, not praxis- informed in the moment by his misanthropy, his neuroses about women, and his obsession with Klaasje more than it was about striking a blow for communism. He killed Lely while Lely was doing probably the least objectionable thing he ever did. Obviously Dros’s neuroses and living situation were downstream of ideology, of material circumstances, in the way everything else is- but to try and elevate the killing by making it about that feels disingenuous.

And this is great, because Disco Elysium isn’t really about the murder mystery in the same way that Fallout: New Vegas isn’t really about finding the guy who shot you in the head-it’s an injection point, it’s a thread you pull for guidance, but the real meat is all the other stuff and people you encounter while poking around. The killing isn’t unimportant, per se, but the mystery surrounding it kinda is! Given the repeated anti-climax, it’s definitely *less* important than the harm you can cause to people in order to push the investigation forward, or the good you can do for the community by going off-script and helping people out with random bullshit. It’s neat!

[meiieiri]

Something about JJK 236 is bothering me

That fight...was awesome, but it could have gone better.

Other than the fact that I'm currently in mourning over our king's garish demise (don't get me wrong, I do want him to be happy in the afterlife and I'm slowly coming to terms with his death, it's just I can't really process all this yet), I'm still a bit confused how we got here so quickly.

I have countless questions and I know Gege will probably brush this off in the coming chapters and pull yet another meeska-mooska-Mickey Mouse Clubhouse move.

But there is one that lingers in my mind up to this day:

Remember during the Fearsome Womb Arc when Yuji and Sukuna deliberated with each other on the possible resurrection or re-animation of Itadori's body via a deathmatch?

Yeah. We all know Sukuna, the king of all curses, is a master at one-shotting his opponent. Just take a look at what he did to our best rose-colored boy who went from this:

To this, in a split second (lmao):

Yeah, yeah, I've read all the “copium” theories from other Gojo fans such as myself who are kinda on the fence when it comes to accepting Gojo's death as being final or not, but, let me bring this back real quick to the matter at hand.

Sukuna went for the head with Itadori. Of course, maybe he did that to shut him up sure, but what I'm getting at is, the head is the singlemost critical point to hit when it comes to sorcery dogfights.

He knows this.

And he probably knows that Gojo Satoru, the darling of the heavens, the uncontested gem of Jujutsu Society, is a reverse cursed technique user. Pretty obvious thing to catch since Satoru had been using RCT the entire showdown to heal his countless critical wounds.

So, Sukuna, in all his centuries of wreaking havoc on the world, should know that the only way to permanently kill a sorcerer who uses RCT is by targeting the head. There were so many instances in this entire deathmatch that we are completely blown away by Sukuna's prowess and overall mastery of Jujutsu.

Can you imagine the amount of practice he's had over the years with other "greatest sorcerer of their generation"s? He knows the ins and outs of Jujutsu like scripture, which is exactly what kept Gojo Satoru on his backfoot for some parts of their skirmish.

Now, here's the thing that's bothering me:

I liken Sukuna as something like a super computer. All that battle experience is readily available to him like some Jujutsu techniques data bank, not to mention, Mahoraga's adaptation clearly gave him yet another advantage in this fight for the title of the strongest.

He knows Satoru Gojo has been frying his brain using Reverse Cursed Technique this entire time, and he's probably seen his former opponents do the same as well. He knows that the only way to kill them is by dealing a devastating blow to the head via decapitation or complete obliteration of the body.

So, my question now is:

Why did he bother cutting Gojo in this particular manner? Why didn't he go straight for the head, since Mahoraga's adaptation blueprint can now allow Sukuna to cut through reality/space itself and therefore bypass Gojo’s infinity non-selectively?

Arrogance now that he's secured his definitive victory? Or the so-called warrior's high? Why leave room for obvious speculation when it could so easily be crushed into smithereens if he just went for the kill?

It's all very confusing. I'll point back to the time when Sukuna swiftly decapitated Itadori.

And I'm willing to bet that that move was deliberate since at the time, Itadori had already been in Jujutsu High for quite some time and Sukuna must have realized that under the tutelage of Gojo and other sorcerers, he must be learning a thing or two about RCT here and there which may have led him to end the fight quickly hence, the resurrection of Yuji Itadori.

Now before, ya'll attack me, I know what manga panel you're gonna throw at me to deconstruct this entire analysis and dismiss it as "copium". So, I'll put this here:

I know it may look like Gojo's entire head has been blown off at this point seeing the pool of blood he's currently lying on. But why is Gege or the editor making the effort to cover Gojo’s head with the text bubble when, logically speaking (and coldly at that), Gojo should be deader than dead? Which he…in theory based on the afterlife sequence, SHOULD be.

And with that whole North/South thing to cap it all off? Though, I wouldn't dwell on that. The wording in that bit was very vague and I’m not really into the habit of over-reading so hehe~

Anyway.

Could it be there's something else in store for Gojo Satoru? Is something else at play here?

Or is this simply a writer's failsafe, just in case Gege wishes to bring back Gojo Satoru so that he'll have a rational explanation as to how that came to be? No one knows. But I think this wasn't some on-the-fly decision by Gege or the editors.

Gege Akutami - though as a writer myself, I find his current choices for the story to be a little questionable with the many gray areas where plotholes could eventually arise - has been deliberate about this story since the beginning, having already mapped out the fate of Fushiguro Megumi.

This panel, the entire chapter, the circumstances we're now currently witnessing is deliberate. And maybe...we haven't seen the last of Satoru yet.

I'll leave this here for everyone to think about. This is all speculation, after all, so don't be mean about it, Jesus. In the meantime, I'll just admire my husband, Suguru, for now and will probably go back to writing my fics~ 💕

[sneezemonster15]

I'd give you an analysis, but frankly from what I've seen from your own "analysis" you're not very good at reading

also if you'd be so kind to tag this as mha spoilers, or screenshot this ask and put it under a read more so i dont spoil anyone who's interested in reading mha. it'd be greatly appreciated

(also thanks for getting rid of anon, this time i will include pics !)

anyway, this is the "straight dude who is having a typical cutesy high school het romance with a girl in a taken for granted het world." you're talking about;

also i wont lie, calling mha a het world when these are real dialogue is highkey stupid:

and i know the topic at hand is s/n/s and bk/dk but lets pivot to tg/chk bc theyre more relevant to what im saying

theres a lot to say but honestly, the manga speaks for itself :)

oh and also, you're right, bk/dk has no romantic subtext - it has romantic text. no subtlety needed! :) that is, if you have read the manga - my favourite example is this:

and then shgrk then proceeds to kill bkg, who "dies" (sort of) thinking about izuku in his final moments:

and then izk loses control when he sees bkg "dead" on the ground

and these are from recent chapters! imagine the rest of the series, ey

well! that got long. i'd tackle your crappy assessment of deku's character, but then I'd be here all day!

anyways, if i were you, I'd reread mha and really really understand the text you're reading. you might end up seeing something you missed at first!

Aiyyo someone got triggered! Hehehe. Ah it was inevitable that the moment I talked about MHA and rejected shippy head canons from the show, some delusional hardcore shipper would get all up in arms. Sigh.

You think what you wrote is analysis? Hehehe.

So just some random panels and chapter covers from the manga prove Bakugou or Deku is gay? Lol. I have seen fans like you in Naruto fandom as well. But you are right, I am not as invested in MHA, because it just doesn't have the versatility and genius of Naruto and Shippuden, it is actually quite a straightforward story and I don't need to burn a lot of my braincells to 'get it'. Lol. I am not saying it's bad, but as compared to its contemporary mangas, it just isn't at par for my tastes. It's good for entertainment but it doesn't affect me like other mangas that it takes inspiration from. Some silly shipper telling me I can't read, I would tell you my credentials but nah, too much work for disproving silly ass headcanons.

Fans make comparisons between Naruto and BNHA because Horikoshi is inspired by Kishimoto, definitely some similarities are there, but it misses on the most crucial point. Naruto and Shippuden are love stories. BNHA is simply your typical shounen manga. Naruto and Shippuden use the narrative tool of subversion to tell a love story in the restrictive genre of shounen. It has multiple layers and you need presence of mind to see them. Naruto is gay and you see comphet in his character, his interest in Sakura looks superficial from the beginning and then in kage arc, it is concluded as a mere cover to run from confronting his dilemma, and closetedness. His character is consistently shown as having an internal fight, a dilemma. Sasuke is just on your face, he is clearly shown as having no interest in women, but with Naruto he is especially intimate on his own accord. Ya know, using random panels ain't gonna help, you need to establish it in the narrative. Headcanons are all nice to entertain when that's all you watch media for, shipping. But please to be showing more maturity and media comprehension when sending me an ask, I am not very sympathetic to gaslighters whose heads are filled with shippy shit and cheap self gratification. When I talk Naruto, I make comparisons with other clearly gay media, and point out the common tropes, it's a result of expansive research. Not just random panels that prove nothing. Little one, you need more than that to prove your theories. I have watched a wide range of media, including gay media, your ask is just representative of your ignorance and lack of knowledge about how storytelling and character building works. Heh. Or do you think BNHA has its own concept of homosexuality, its own private language that cannot be compared with how other media establishes homosexuality in a given universe? Yeah, solipsistic ideas like that cannot be taken seriously.

Conformity is one of the pillars Japanese society is built upon, so it's not surprising that Japanese media talks upon how anything that doesn't conform to the norms is rejected. Their media is representative of their society. Mha also touches upon that and there's no surprises there, but again, you need more than that to prove it in the course of plot building and narrative. Some random out of context panel about some character saying something about conformity proves your point? You need to SHOW it and not just tell. But where other mangas, great mangas, popular and critically well acclaimed mangas have explored this idea in detail, MHA is just touch and go. It doesn't entertain a balanced proper discourse on it. It is truly shounen in that sense. Again, I am not saying it is bad, it is just more age appropriate. Which is totally fine. Do you know how heteronormativity is established in the narrative? Like this. Show me where this happens in MHA. Lol. Sweetheart, if the writer had made any attempt to write this world as heteronormative, where gay characters face challenges, I would have seen it. But mha is just not that deep. Sorry to burst your bubble. But that's just a fact.

Seriously, you are going to give me the example of Toga? I haven't gone through the recent chapters yet. I have only watched the anime. But it is clear that, that girl is medically insane. Her idea of liking someone is to kill that person and drink their blood, for her own pleasure. She ain't a homosexual, more like hemosexual. Hahaha. Again, you gotta show me the trajectory of her character, start with the base and show me how it escalates, how does she learn better about herself, her own feelings, the world from her perspective. No character is isolated, any writer who is talented enough to write multimillion franchise knows that. Don't project your assumptions on the story and the characters, work with what you have and draw the meaning from what's given, not the other way round.

There is no doubt Izuku and Bakugou have a strong relationship, even if it is mostly rivalry. But one can see that Bakugou cares about Deku and vice versa. Before telling me how to read, perhaps you should have done it yourself. Lol, I see this type of behaviour a lot from typical silly shippy shippers. "What, did you just say my ship makes no sense? 🤬"

Read.

Do you even know what subtext or text is? Hahah. This is text and subtext. So just because Bakugou and Deku talk about their rivalry in their vulnerable moments, that the audience knows as congruent since we have already seen they have a hot and cold relationship but that they are friends nonetheless, that proves they love each other romantically? You obviously don't know how romance tropes work. The dynamic between two men who respect and admire each other is always shown with a lot of empathy in Japanese media. It is one of the founding pillars of shounen, a genre meant for teenaged boys. They are certainly closer to each other than they are with women they are interested in, but a lot of fans such as yourself misinterpret it as romantic, because headcanon goggles. No, you gotta have more than that. Where Naruto and Shippuden have it in truckloads, none of that in BNHA. Deku is heterosexual af. If he is so interested in Bakugou, how come he reacts the way he reacts to Uraraka? Where is his conflict? Where is his dilemma? His affection and romantic interest in Uraraka is genuine and sincere, not a cover to hide his more private feelings. Unlike in Naruto's case. Kishi uses clever narrative tricks and tools to tell his love story in shounen and he does it skillfully. His motives and intentions are clear as water. He uses inventive smokescreens and red herrings to escape from being too controversial and colour inside the borders of shounen, nothing like that in BNHA. To begin with, Horikoshi doesn't even delve into the sexualities of his characters, because his story is not about that. There's no context, no set up, nothing. His worldbuilding is simply conventional, by which I mean heteronormative, there's no talk about sexual orientation of characters. You see the usual shounen perviness by Mineta and Kaminari and typical straight girls going kawaai over good looking boys like Todoroki, what impression does that give? If Horikoshi wanted to establish his characters being gay, he would have set up the context mindfully and carefully, like Kishi did. Gay relationships and characters can't be shown so explicitly in shounen as that would jeopardize its distribution in the west. Reason? Censorship. That's why Kishi had to be so careful, his target audience might not get it, but the adults do. Well, unbiased adults do, at the very least. So the boys in bnha are gay just because? Because you want them to be? Storytelling and character building doesn't work like that.

Seriously everything you think works as 'analysis' isn't even valid. I honestly didn't even want to respond to this ask, given it's so surface level and ridiculously simple minded. Perhaps you are a tween or teen who thinks every time two boys or girls smile at each other or rescue each other, they are gay and in love. Lol, watch gay media. Like actually watch it and see where your arguments stand in the scheme of things. I will tell you, nowhere. Juvenile kiddy stuff. I won't entertain anymore asks like these, they are a waste of my time.

[teaforthotxxx]

They’ll never do it but if I was rebooting HP i would literally start off in the Marauders’ first year and have a degrassi-style graduating cohort every year so we can see the entire transition from each year and each headppl. Then, I would change the plot by literally making every ship gay to give the AO3 readers what they want. Cause i mean the faithful adaptations’ already been done. Like literally I would make Dorcas/Marlene canon. Wolfstar is definitely canon. Jily is a thing for the first 2 seasons but I would literally create a fan poll to see if the mob wants jegulus, jily or jegulily.

I wouldn’t go fully into Order of the Pheonix. I’d hint abt the first war but it’d be through whispers and rumours to keep Hogwarts the main focus. Then, I would unkill everyone. I might still have Peter betray them or maybe I won’t- Maybe, he almost breaks but in this reality the marauders are good friends and they manage to save him somehow.

Then if my Max series somehow doesn’t get cancelled, I’d do Golden Trio era but like mostly focused on the weasleys and what they got up to. The trio can still be a thing but we’ve already seen their story. Like we’ll get an in depth character analysis of Ginny and her rs with Tom Riddle. Then, we are gonna have dramoine surprise get tgt. Because in this ver., Harry is a little bit more mentally stable (assuming his parents are still around or like trapped in a mirror or idk how it wld work but MAGIC). Maybe, Harry can explore his bisexuality and hook up with Cedric or Cho or Oliver Wood. We can see what everyone’s been up to. Maybe, do the grindeldore flashbacks some justice (have someone finally see their entire love story). We can see more of Luna’s future beau or Luna can be with Harry (we all know mentally stable Harry wld be more of a whore). I’d still talk about the wizarding war and Voldy will still be a thing but his story will be more fleshed out through Ginny and maybe Draco. Then, it’d end with the grand finale where they have an epic-ish battle. Maybe some ppl can die or maybe not. I wld still kill some ppl for PLOT but Dobby can keep his sock.

Then, once everything is over and all the ships are messed up. I will do some mental gymnastics and plot acrobatics to somehow make next gen hp characters a thing so I can fully showcase Teddy Lupin (yes blue hair teddy. Idk maybe Nymphadora was a surrogate or they had a thing but wolfstar would still be alive and endgame). Then, we can have Victorie Weasley, other Weasleys etc. Eventually, we’ll hit cursed child era but instead of the nonsense we got, I’ll stop milking the dead dick of Voldy and come up with a brand new facist villain. Maybe it’ll be the ministry or like the Elf enslavers? Deep dive into Kreacher? Politician!Dobby? More “dark creatures” at the sch? Possibilities are endless!!

HBO MAX pls hire me. Also, im not straight or white so you best believe we are going to add real diversity and not just racebend or genderbend for the sake of diversity.

Anyways just my thoughts on the reboot. Im prepared for disappointment esp w the recent hp discourse but oh well.

[corvlth]

Alright so seeing as I am finally caught up with the manga, I feel like saying a thing or two about the Baki characters, and as the resident God of war degenerate who really likes blorbos interacting, I’m sad to announce that they don’t do a lot of interacting besides praising each other’s fighting skills. Bear with me because this is probably gonna be long and unfocused as shit of half remembered plot beats. I’m more of a make lines on a canvas guy than a words one, but regardless.

Now, people usually have big brain analysis about it with references made to Buddhism and symbolism, and I’m from buttfuck, Eastern Europe so I’m not aware of subtle cultural aspects of this manga, so if anything take this as an interesting point of view of a foreigner (though I do sometimes feel like people put more meaning into it than the author intended).

Baki. I’ve read it all (except the side stories, so take all this with a grain of salt). Is it good? No. But it is the outlandish, off the walls shit that brought me back to it ‘til the end and those definitely delivered, but I feel like the character department could have used more attention, so let’s talk about that.

Firstly, Baki Hanma. Protagonist, public menace and little meow meow you root for. He started off the manga by already being the champion of the underground arena before having a flashback of him getting there, which made the first part of it feel kinda clunky but so is this ramble so I ain’t the one to talk. I feel like Baki doesn’t really bring anything particularly interesting to the table by himself, which is a shame because he definitely has the potential to. He was pushed by his mother to train so she could gain the attention of Yujiro, Baki being nothing more than a means to an end for her in the vain attempt to impress a guy who simply couldn’t bring himself to give less of a shit. We see flashbacks of him training with Yujiro too, though I can’t really make out anything out of them. I guess he was tough on the kid? Either way, his mom gets killed in front of him, and after the child arc he’s just nice. Like with exceptions he’s just a swell guy. Which is fine, but it does feel kind of unearned since he just goes from walking through the streets with his mother’s corpse talking to her while trying to delude himself for just a bit longer from the truth of what has just happened, to being a nice, kind teenager with 0 explanation as to what happened in the meantime. And there’s glimpses of Baki acting more like Yujiro but the author doesn’t really do anything with it besides remind us that he’s a Hanma and therefore really strong.

I’m just saying it would be nice to see Baki be more of a messy bitch, like go girl make bad choices, while also being terrified of turning into his father. For example, in the Baki goes to prison arc, he butts in to Jun and Oliva talking and gets thrown into the railings outside, and Jun makes note of the “Hanma blood being the most stimulating liquid known to man” and implying his nature made him act that way. It never gets brought up again or acknowledged besides a ‘this is foreshadowing that he’s really strong actually’. Thank you, we knew that. It’s just that it’d be an interesting plot point for him to fight against his nature and have to eventually accept that the monstrous part of him will always be a part of him, but he can temper himself with compassion and he can use his power for other people and then we get to have him be a nice guy.

The Kozue plot arc felt… Like nothing. They already had a crush on each other, became a couple, Kozue accepted that Baki’s gonna be a fighter, then after that was already established the Ali Jr. arc happened and it just felt like nothing. Jr. gets set up as a potential threat to Baki’s relationship and gets his ass kicked multiple times which does nothing to set him up as a real threat, no idea why Itagaki chose to include that. Also Kozue was inexplicably considering Ali as a potential love interest after knowing him for what felt like 10 minutes. And after Son of Ogre and the big battle she never showed up, not in any meaningful way anyway, as far as I remember. Which is a shame because women an endangered species in this manga.

Skimming through Son of Ogre I see that Baki was looking up to Yujiro for his opulent lifestyle, which would also yield an interesting arc of Baki leaning into his nature, unaware of the effects it has on him and unintentionally getting worse and worse to those around him and that would put him at odds with Jack who does see what he’s turning into and hates it, himself and partially his brother, but desperately wants to save him from this road he’s choosing to go down.

SPEAKING OF WHICH, we love Jack in this house. He’s the messy bitch I wanted Baki to be. He’s out for vengeance, he’s destroying himself in order to achieve it. He’d flush Yujiro’s heart medications down the toilet if he had the chance to. My only gripe with him is that I’d like to see more of his relationship with his mother. She did show up at the end of the first volume. Is she using him to get back at the ogre? Is he even aware of it? Was she cruel to him as a child due to the circumstances of his birth? If so, was that even intentional? It’d be a cool plot point to see if Jack is doing all this because he feels guilty for existing and reconciling this with his mother that- I’m just saying I’ll cry like a bitch if she shows up and holds his face and looks him in the eye and says that she’s sorry and he’s not the monster he convinced himself to be.

And the big bad, the Ogre, the strongest creature on Earth, Yujiro Hanma. I’m torn between disliking and appreciating the fact that he’s very inconsistent. On one hand it’s very jarring that he seems like a caring (albeit very intimidating) father to Baki and gives him advice and warning Tokugawa about his health, and then doing horrible things left and right to people. On the other hand, the unpredictability seems to suit his character. He’s a fun character to hate and watch and it really felt like him and Baki were the only actual characters for a good portion of the first volume. Also that scene at the hotel with him being weaker than whoever was on the other side of the door is very funny and it gets funnier the longer it never gets brought up, I hope they never do.

This is getting kinda long so, some quick ones:

Retsu could have leaned into the pride of his 4000 year old Chinese martial arts but at the same time feeling crippling anxiety that he doesn’t live up to it

Katsumi never had his circus days and his father dying in front of his eyes affect him and is also just a nice well adjusted guy, also my man’s used to have dimples remember what they took from you

Jun’s an actual looney toon and we love him in this house but it’s weird that he’s allegedly fought for independence for his country out of compassion for his people but then says to Oliva that fighting for others is a weakness in his eyes, and only remembered about them halfway through their fight. Has he done all that for personal glory before and just now had a come to Jesus moment?

Musashi was just curious about the present for a good portion of Baki dou, until suddenly deciding to regain his glory, which was kind of jarring and could have been brought up earlier.

The entire Sukune arc was an actual slog to get through I actually only half remember most of these because I put down the manga for days to weeks on time because it felt boring as shit to continue reading until Jack came in and it picked up again. I guess he gets the bitches and banishes evil spirits, so good for him, I guess?

Pickle was a character I was looking forward to see him animated because I wanted to hear the sound design they chose for his vocalizations and was disappointed on that front because it’s like the same sound that’s way too quiet, but otherwise fun character. Kinda weird that there was a plot point for people to vote on freezing him back again and that went nowhere because he’s just living in the sewers now, but he’s a fun character to have around so that’s fine.

I guess that’s kind of it for the most part? Everything that I remembered I had an opinion on anyway, sorry I’m a god of war fan and decided to make that everybody’s problem. Feel free to ask any questions if you got any?

[rainiiisspamming]

BSD 109 SPOILERS!!!

Seriously read it first don't spoil yourself it's amazing it will ruin you and your life.

Okay now that that's out of the way, I will literally NEVER shut up about BSD 109 ever, and specifically about Dazai. This is not a serious analysis, just me being in pain because what the fuck.

Now before anything gets said, a few points :

He will survive. He's the plot, quite literally, and I have seen a lot of people point out the fact that his character arc isn't finished yet, and I totally agree- Asagiri is extremely careful with his plot devices and writing, so I'm pretty sure he wouldn't just cut Dazai's arc right in the middle like that. Tons of people have made several analysis on this, and again, I 100% agree with that.

A lot of people have been theorizing that the bullet in his head is not real, and that Chuuya stopped it with gravity. I agree with that- it makes sense, and would be the best way for Asagiri to 'save' Dazai from his situation.

Biology majors have made several panel analysis explaining that the spots Dazai got shot in are, in fact, non-lethal. Even when it comes to the head injury, the bullet wouldn't go as far as completely killing him, but instead harming parts that would have to do with memories and planning (not gonna get technical because it's definitely not an area I'm comfortable in, I'm a literature major ffs, but the arguments have been made).

Okay, now that these are out of the way, can we just talk about these panels for a minute, because there is so much to unpack. The shot in one the previous chapters in which Dazai kinda just, pathetically drags himself and his broken legs to a camera was bad enough, because we know Dazai hates pain. He endures it, but his whole thing is that he's looking work a way to die painlessly. And in this chapter, well. Not only has Dazai been waiting a while in there, while Fyodor and Sigma were speaking, but his whole interaction with Chuuya is SO much. From the way his eyes lighten like never before when he tries to convince Chuuya to come back, to Chuuya just not being there- I think that overall, Dazai didn't believe a second that Chuuya would come back. I mean, he looked mighty confident there, so either the situation is completely out of his control, which I doubt, because come on, it's Dazai (but I would love if it was the case because Dazai loosing composure has to be the most interesting thing ever), either he did have a plan that involved making his 'death' convincing to Fyodor.

Now, back to that pain thing. I think the worst part was the face he makes while yelling at Chuuya after Chuuya takes the first shot- he is in SO much pain (also I looked it up and the bullet did hit super close to a nerve so he might have a severed nerve I'm unwell). And then the head bullet hits, and the two other- he must have been in so much pain. The way his eyes are light but in a different way as he (falsely or not) realizes that this is It. The way one of his last words is 'finally'. He doesn't even get to finish his sentence, because he passes out before that. It was all so much.

Anyways this post is a mess but who cares I needed to put those thoughts somewhere because I didn't feel a think after 101 except for a oh, that happened, kinda feeling, but 109 had me sobbing. Genuinely crying, out loud, hugging my pillow. I really hope Dazai's gonna make it. Just imagine Atsushi, Aku, Kunikida and Chuuya's reactions if he doesn't. God fucking dammit.

[specterscythe]

Album Review: Genesis by Baby Bugs

Requested by Dexhatesnormies (it/xim) my wonderful partner <5

Side note: I love the album cover, its so freaky /pos

TW FOR:

Cannibalism Depression Abuse Religion Swearing

I asked in a server I'm in with my partner whether they wanted a song analysis or an album review. More people said album review and one person gave a request, that being my partner.

I listened to it while walking at night and wow this is a depressing yet brutal listen. The vocals are so pained and so genuine, and the instrumentals are either hard hitting rock bangers or soft stripped back guitar. The lyrics in this album are so intriguing but for the most part I wont go too deep into them, as I'm no analyst.

Every song I've heard from this artist has been really well done, they feel like cries for help while also being really nice pieces of music.

I will give a short sentence or two for every song on the tracklist and give my final full thoughts and score at the end.

I am not biased because my partner likes this album, I genuinely do like this utterly gut wrenching project. Enjoy the review!!

PART 1: THE SONGS

AUTOTHEIST ★

SHORT THOUGHTS: RAHHHHH THIS SONG IS SUCH A BANGER. Genuinely garnered such a strong reaction from me. Goddamn this song is so good. Probably my favorite on the album. Its such a fuck you to religion I love that. Immediate playlister.

PRETTY FOR YOU:

SHORT THOUGHTS: This song is so fucked up but I love fucked up music so this song is great. The lyrics are powerful as they are sad. Its basically about someone trying to make themselves perfect for their partner, destroying who they are in the process. A real and soul crushing thing lots of people in unhealthy relationships face.

SINAHOLIC:

SHORT THOUGHTS: This one is such a fuck you anthem I love songs like this. Not much to say here, I really like it.

DRESS UP DOLL:

SHORT THOUGHTS: GOD THE VOCALS ON THIS PROJECT ARE SO GOOD. Baby Bugs is such a diverse vocalist, it kills it on this one.

ANGELS:

SHORT THOUGHTS: This is the song I have the least to say about. THE VOCALS ARE SO GOOD THOOO I LIKE IT.

I just wanted to put a transitional photo here whoops

PUPPETEER:

SHORT THOUGHTS: A banger. This person can fucking make a banger and also make it fucked up. I love the production on this album and it was all done by baby Bugs. They're a very impressive artist!

TEDDY BEAR SYNDROME

SHORT THOUGHTS: I really hope the person who made this album is in a better place right now. This song is gut wrenching, just a stripped back vent. What a song /pos.

CANNIBAL GIRLFRIEND

SHORT THOUGHTS: RAHHH GIRL THAT EATS PEOPLE. This song goes crazy though its probably got some dark deeper meaning but RAHHH YEAHHH CANNIBAL GIRLFRIEND.

TAPEWORMS:

SHORT THOUGHTS: Similar style to Teddy Bear Syndrome, no flashy guitar just pure deep poetry. I hope this album helped Bowie's mental health. This album is so good.

I TOLD YOU SO:

SHORT THOUGHTS: I like it, I wish it went on a little longer. Probably if I had to pick this would be my least favorite.

PART 2: FULL THOUGHTS

This album was a ride, 26 minutes of really good rock music. I'm definitely gonna listen to this again at some point, I really really enjoyed this listen! It's a very depressing deep album made with care and a genuine passion in the lyrics and production.

Goddamn this album is sad, but that is not a point against it. This album is a work of fucking art and MASSIVELY underrated. Give this album a listen if you can. Thank you to my partner DEXXX for recommending this to me, follow it!!

My only real issues were I wish it was longer, I feel like it needed more songs to fill the story but I love the story they told in this album.

Favorite songs: Autotheist ★, Sinaholic, Puppeteer, Teddy bear Syndrome, Cannibal Girlfriend, Tapeworms.

Least favorite song: I told you so

SCORE: 8/10

Listen to the album here: Genesis

[bustedrocket]

holy shit ok I finally watched terrifier 2 (I was holding off to watch with a friend) and wow. Erm....this isn't like an analysis or anything I'm just gonna say shit!!

Ok so I definitely preferred the first half of the movie. Art is soooo cutesie as always awwww. They kinda lost me by the end tbh. I knew that things surrounding Art were already somewhat supernatural so I'm not too taken off guard....BUT. didn't the pure amount of it just seem a bit much? Compared to the first movie it was just so much idk. It left me with so many questions that I can only assume will be answered in the threequel. Why did Sienna's dad have prophetic visions of Art? Was the little girl "real" or not? And what are the rules of seeing her?? Was that ACTUAL LITERAL HELL? And why was she having a dream of it beforehand? Was Art in said dream "real"? Is he on some Freddy Krueger type shit? Why was Sienna's dad's sword magic and why could it ressurect her? Or was that just a visual representation of her living through her injuries? What the fuck was that with Victoria and Art at the end (that just felt random for the sake of shock tbh)? AND MOST IMPORTANTLY, was that Art's daughter? Like real life daughter? Or someone else's? Did he kill her? Or is she just some demon that took on her form? Granted, I could just be an idiot with 0 media literacy here.

Also, yes, THE scene was truly horrific. Only gore in either movie that I had to look away from. It was intense. Pussy hacksaw has NOTHING on that in my eyes.

[thequietmanno1]

TheLreads, Vigilantes ch 100, Replies Part 2

1) “Alright McBee, please tell me you’re gonna honor your name.”- More like “McBoom” actually. 2) “…

Alright I didn’t saw that one coming

but also, those Nomus do not look like the people who were calling to them a few panels ago, and they weren’t doing this bullshit stuttered speech, they said a whole sentence without problem”- The perception filter of looking at them from afar contrasted with getting a better look up close. And I’m guessing the stuttering is their last audio command/voice “skipping” a little as the “explode” command overrides all the rest of their functions. 3) “Good going McBee, I’m sure this is gonna work flawlessly”- Explosions have never worked out for failed him yet! 4) “bomber villain cells… you mean, a bomb quirk, right? something that Aizawa can shut down just by looking at

Also, lol at this page trying to be dramatic and making it seem like Jeanist, Edge shot and Tensei, three famous top heroes which we saw a lot in the main series, are just gonna do the opposite of being alive like that

lmao even”- Granted, he probably wasn’t factoring in Aizawa’s anti-Quirk Quirk when they were made, since a power that stops other powers working is so rare as to be one in a million, and thus the potential scenarios wherein it’d be used against the drones in deployment were not high, but yeah, having any other heroes present would have made the stakes higher. At best, they’re going to be mildly stunned by these blasts, if even inconvenienced at all. 5) “There’s… There’s just two of them Azaiwa. And you guys can climb up the building.

They pose pretty much no threat, if they try to run to target innocent people you can just immobilize them from a distance with your scarves.

I’m starting to think McBee did not thought this through.”- If this was all of the drones he had to work with, sure. But unfortunately for Koichi’s side, it seems he brought enough to keep every potential hero interference tied up at once whilst he makes a beeline for the hospital. 6) “Koichi please tell me that you’re trying to hit them with something strong rather than just using “non-lethal” shots”-Still human-shaped, so the mental block against killing people is in place, just in case they’re actually ‘alive’ in there.  7) “Well, maybe if you didn’t used this weak-ass pellets and instead actually shot him with your real power then you could prevent them”- They can’t suicide bomb with a hole through the head!....or maybe they still can, since it’s not really them pulling the trigger. Experimentation is required for a more precise analysis. 8) “Oh thank you Aizawa, finally doing something rational.

…

They are gonna pull some bullshit about how this is not gonna work, right?”- Well, no it works alright….but Aizawa’s got a visualisation limit on the amount of moving exploding targets he can keep locked down, especially since more of them seem to be spawning from the very shadows themselves. 9) “OH? YOUR QUIRK ACTUALLY WORKED? OH MY GOD THAT IS SURPRISING

I WAS SURE THAT BOMBER CELL BULLSHIT WOULD BE SOME ASS-PULL TO AVOID AIZAWA SOLVING EVERYTHING

ALRIGHT, SO McBEE McFUCKED REAL TIME COMPLETELY BY ACCIDENT.”- Well, Aizawa can stop the explosion from happening until he’s safely outside the blast radius, but that means he still has to be occupied with safely detonating each Drone one by one on the streets away from people, leaving Nomura free to make his direct strike on the hospital. Nomura definitely didn’t have Aizawa’s counter in mind when deploying the Drones, but there’s enough flexibility in the situation to keep them viable as a distraction whilst he achieves his real goal. 10) “Oh okay so there’s more of them it seems

a whole lot

McBee how many of those fucking things did AfO gave you to do this shit?”- Probably enough that he wouldn’t be able to fuck things up due to lack of disposable minions to throw at the problem. Although, this is taking into account Nomura’s competence thus far… 11) “alright guys, show us what nomus can do

and I don’t mean talking, expressing delight in causing pain and coming up with combat strategies. Because there’s definitely no way something like that would be possible, right? (: “- Not for another few years, though these drones do be beating the High-Ends out on styling fashion choices at least. 12) “Aizawa don’t start talking about your life, this is the sort of thing someone about to die would start blabbing about. We need to keep the timeline stable, don’t tempt fate.”- Aizawa’s guaranteed to die at a later time against Tomura, so for this fight, he can tempt fate and boggie-dance back and forth over the line of life and death, it won’t affect him none. 13) “OH WE HAVEN’T SEEN THOSE STUDENTS, I SO WANTED TO KNOW MORE ABOUT THEM

THERE’S A TURTLEMAN, A MINER ONE, SOMEONE WEARING A FEDORA ON THE BACK, ON THE RIGHT IT SEEMS LIKE KIRBY AFTER HE ATE SOMEONE”- At least one of these guys look like a pokemon evolution, and now I’m wondering hiw many hero team-ups formed from high-school classmates realising their powers worked well in tandem together? Like, Pokemon trainers aren’t known for their fighting skills directly, but as support options for their pokemons, they’re unparalleled. 14) “AIZAWA JUST TOLD McBEE HIS LACKEYS AIN’T SHIT

BEAUTIFUL

McBEE GOT McFUCKED ONCE AGAIN.”- These guys are literally disposable cannon fodder, so none of them will be a stand-out fighter. The real star of the show is making his move in the long shadows they cast though…. 15) “Oh, now you need his help, right Aizawa? Noooow he isn’t a villain under arrest, huh? Yeah, I deeeeeefinitely didn’t saw that one coming…”- Technically, he’s still under arrest. They’re just trusting him to run over to the police and hand himself into custody whilst they’re tied down with hero duties. It’d be nice if he also filled in the paperwork for them while he’s at it.

16) “But at least I’m once again curious to see how things are gonna unfold, even if that laughable fake-out with the heroes dying was laughable. My god man. You know, if they were original heroes exclusive to Vigilantes I could be at least worried that something could happen to them, but c'mon man, Tensei? really? It’s like trying to make us worry that Phelps is gonna die. which you already did before now that think about it…”- With Tanuma down and in a coma, there’s sadly no disposable police officers Nomura can wreak on his way to Pop, which means her safety is guaranteed so long as Phelps keeps himself between her and her faceless assassin. If he manages to lure Phelps away though…. @thelreads

[yellowbluemoonshine]

First of all, I want to clarify that I'm not sending an ask trying to bashing Bakugou, however I would like to know your opinion about what his role would be in this ending, since we supposedly entered the final arc a lot has happened and there is still a lot to happen, Toga and Uraraka haven't had their real showdown yet, Touya, Shoto and Endeavor's role isn't done yet and Midoriya and Tomura haven't had a lot of panels focused on themselves yet, but we can see that Horikoshi is leading them to the expected confrontation. However, I still can't see Bakugou's role in all this, taking analysis that says he must have a role in all this saving Tomura, the truth is that such a role is more of a demand seeking to give him prominence than something that It has truly raised the story, beyond the fact that Bakugou's redemption and him learning another way of being a heroe. But even so I can't find his role beyond this, giving him prominence involving him with Tomura is only for the good of his character and his fans who want him to have prominence in the story, I imagine that Horikoshi is going to work the character from the point that he should accept Midoriya's decision to save Tomura, because there is no way that this thought of saving the villain sprouts out of nowhere if we consider that the closest thing we Bakugou understands that it's necessary to save the villains was when he didn't oppose Todoroki's plans, which makes sense since he isn't involved or has personal feelings about Touya, but he has it with Tomura, which is why Bakugou's idea was to fight to kill, since he said it himself, he didn't care if it was AFO or Tomura, it makes no difference to him.

Bakugou's Character Plotline;

Thanks for the ask anon.

Honestly, i am not really sure how author is gonna add him but one thing we know is he is definitely gonna have important plotline since he is fan favorite and author's favorite.

Before making theories, i want to talk about what i was expecting Bakugou as character ;

1- Bakugou and His Potential as Character;

I really want story to focus on bullying that happenned in their past but not just Bakugou's part. I wanted story to explore Deku's feeling for his own pain.

Logically, there is no reason Deku to like Bakugou as friend because they were not friends, he bullied him and Bakugou didnt even like Deku, until he had one for all. Their feelings should've explored more. Only explanation can be Deku has stockholm sendrome towards Bakugou which is never really adressed. Same as Shouto who has no reason to be friends with Bakugou. I mean, why would Shouto want to be friends with someone who acts like his abuser? They only get close because those three are the strongest as heroes. I am not saying that they should never be friends but it feels so ooc and forced. Because their friendship isnt earned but forced. They could be friends after Bakugou started working on himself without abusing others, that would be nice. Though, they dont even have to be friends, not everyone has to get along with everyone, thats the thing. And honestly he definitely should be punished and face consequences for his actions, just like any other characters.

Because Deku clearly felt anger and fear towards Bakugou and he and society is the reason he view himself as worthless and became self destructive but as story goes, most BakuDeku moment focused on Bakugou's feeling and whether Deku just had to accept or endure it. And only thing Deku said about their past is 'You were so cool thats why i chase after you.' And they started working together only Allmight told them to because of 'win to save' and 'save to win'.

Personally, i dont like 'win to save' plotline because only reason a person would prioritize winning against others would be for their ego which is not a good thing. Except if that winning turn into winning against myself to be better version of me, instead of competiting with others, if you race with yourself, thats when you can truly improve. That would be really good lesson for Bakugou and he can be the one who turn toxic competition between heroes to healthy one. That would be amazing.

Bakugou is gifted child but since he is supposed to learn what he did to Deku and kids like him is wrong, that he shouldnt put himself above on others, maybe he can be the one who would see toxic parts of the system, such as hero community. He doesnt necessarely need a villain foil, he is not part of the 'saving villains' group so adding him there without build is not good and Bakugou already has dark foils. He is parallel with Endeavour, which Bakugou supposed to learn to be better to not turn out like him. He is parallel with Hawks, gifted childs. He is also parallel with Kouta and Koutaro (Deku's relationship with Bakugou is parallel with Tenko's relationship with Koutaro). Since hero society is messed up, even heroes, i really want to see conflict between heroes, especially between kid heroes and adult heroes. Bakugou would be one of the main ones who fight against adult heroes or system.

Those are my general expectations from Bakugou and his character arc. But well, lets focus on what most likely can happen with Bakugou in story.

2- Problem with Writing;

I think right now main issue with bnha is not just writing with Bakugou but generaly writing hero characters. It seems like author is trying to make them look good person as possible that it ruins their characters because they feel less human, they become more predictable. The only difference between heroes and villains supposed to be just luck. Story showed us many times but it like its all gone.

- Both Bakugou and Deku's character arc is ruined because author didnt explore it properly. Worst part is Bakugou's biggest flaw, his toxicity, his abuse towards Izuku used as humor. And story didnt let Deku to have negative feelings towards Bakugou, its like it erased Deku's anger and what happenned to him and suddenly, they are okay now because they are both heroes who should work together because Allmight said so. This didnt just ruined Deku's character, it also ruined Bakugou's redemption arc because its not earned. Though at least Deku had interesting potential plotline with his saving villains mission while Bakugou doesnt even have that one.

- Not just Deku and Bakugou. At some point, story stopped focusing on corruption of hero society and flaws of heroes. And heroes always win. Deku used to loose almost every fight he had. His biggest flaw is self destruction and he would face conseuences whenever he self desructs but after Overhaul arc, its literally gone. He still doesnt care about himself but story isnt punishing him for it anymore. The way Deku deal with villains seems forced too, the way he empathize with them. It almost like story is trying to say that heroes are always right.

Bakugou's arc is worse than Deku's because he always win even against Afo, he somehow can fight back and characters in story isnt even allowed to criticise him, he is always right because he is Bakugou.

Class 1 A has no confict between each others. Heroes dont really have confict between each others. They all seem to think same thing and uncontidionally support each others.

Deku, Ochaco and Shouto has a few small panels of talking about wanting to save their villain foil, even though thats the most important thing about their characters and story, we hardly even see what they are thinking and since they dont mention to anyone, they dont even seem to have confict with other heroes. Traitor problem was one of the biggest problem in story but we only get a few chapters, honestly we could get whole arc for it.

Endeavour's story became 'he wasnt that bad'. Even though, he didnt actively do much as father, story portrays as he did too much. His victim Rei used as readers to sempathize with him with 'he changed because he got me a flower' scene which is horrible. Hawks was one of the most ineteresting characters on hero sides because he was allowed to be dark. Thats what makes his character shine. His relationship with Twice and how dark he was. But after he killed Twice, something about his character just gone because you can tell story is tring to make him look better than he actually is. Not saying that he is bad. It almost like heroes are still heroes so they are not bad, they will always be better than villains, even though being hero is just a job in their world.

-Also there is so many things that didnt explored and adressed, so story's ending here doesnt fit it. It feels like rushing it or maybe, we later will get shippuden style, second part bnha story, idk.

3- What might happen at the end;

Story portrayed Bakugou's desire to winning (his ego/ambition) as good and heroic thing. Thats most likely why Deku, Ochaco, Shouto, Kirishima and others starts to admiring him and wanting to be friends with him etc etc. Since winning is always core of Bakugou's character, of course, his plotline will focus on that.

He is written to be one of the main characters so he will get big moment, big victory moment that will save everyone, who knows? Maybe, Bakugou will be the one who defeats Afo while Deku, Ochaco and Shouto try to save Shigaraki, Toga and Dabi.

Bakugou's plotline is also parallel with Endeavour so once again, his character arc might focus on helping Deku so he might support Deku for his decision or try to save him at some point. Maybe he can get some kind of connection with one for all plotline, maybe try to save Deku from self destruction or something.

Bakugou is not part of the 'saving villains' group, there is no set up for him to empathise with them. Especially with Toga, Dabi, Spinner, Twice, Mr Compress. Only progress could be wondering why Shigaraki chose him to kidnap him. Shigaraki gave that speech to him but since Bakugou is the gifted child, he cant relate to 'losers' but he can figure out that villains and heroes are not different because they both are violent in the end. Maybe he can relate to Afo and he might get some epic line.

I think mainly he will get the big victory moment. Heroes winning will happen with most likely teamwork so Bakugou will be part of it. Thats all can think right now.

[namtanlovesfilm]

Can't wait to read your post on SeanWhite!!! Absolutely loved this episode and their development

okay so I'll highjack this ask to make my analysis there then hehe! I also adored this episode, and the more I think about it, the more I'm in love with it! let us start bc that shit is, as always, gonna be long as fuck

why not me ep 6 is extremely important for seanwhite

so something that fascinated me this episode, on top of being fucking brilliant, is how it feels like its own arc inside of the main story if that makes sense. in this episode, we had sean finally break down his last barriers and trust white/black completely, before being betrayed by white in the worst possible way in his eyes. let us see why I adored the development of seanwhite in this episode & why it made white's betrayal feel even worse.

we start the episode with white and sean having been "kidnapped", which we quickly learn was just another test to prepare for the upcoming mission. but white's feelings in that scene are very much real as he believes sean's life to be in danger. (see how white rests his head against sean's back when the "gangster" fires his gun in the picture above. a very cute detail that shows him seeking closeness to the person he trusts the most & feels the most protected by.) that entire scene though, whether we the viewers believed it was real at some point or not, is still very stressful and tense as white cannot handle these types of situations well at all. his emotions are more than palpable and it affects the viewer, and, even though he won't show it, sean as well. and white, in typical white fashion, betrays the rest of the gang to save sean. not only this response to the situation would make sense for white no matter who was being threatened to be killed, but here it's sean who we're talking about, THE driving force of white towards changing his ways of thinking from a future politician to a vigilante. the man who white most definitely is attracted to & said he wanted him to "listen to me and trust me too."

so anyways, obviously white is affected by thinking sean is gonna die, and put his life above protecting the rest of the gang, which is a very powerful move. that being said his reaction to be scolded, abundant tears falling on his face, is even more powerful to me because it is white SHOWING sean he cares about him, something black would've never done. and sean knows it & is affected by it. I think this is the scene that makes white takes full conscience of his feelings, because as we know it's only when we have or are about to lose something that we realize how much it matters to us.

in the next scene, seanwhite bicker about the plan & that's when the main problem of the episode starts, which is a difference in value between sean & white. sean wants to make tawi suffer no matter what, even if that causes people to drink something that has been altered, whereas white doesn't want to involve tawi's buyers, and more so worries about how society will perceive sean's actions. we can see that, despite already having changed a lot, having cut off his relationship with his dad & not having taken the political job he'd been given, white hasn't 100% changed his views either. how people perceive you is still very important to him, whereas sean doesn't care one bit & just wants the result to be that tawi suffers.

the next scene we have right after this one is sean being drunk on the bed. it felt a little random to me at first, but actually made a whole lot of sense, as sean was both shaken by white's betrayal of the gang in the fake kidnapping, but also mostly got angry about tawi again & most probably thought about his father. he then drowns his sorrows in alcohol, but I find it very telling that he does so alone, knowing that white sleeps in his room. being drunk is quite a vulnerable position to be in, and we're gonna see that sean doesn't hold back and allows white to see him like that. I also LOVE how for the first time of the show, white comes into the room and says "I want to talk things out." after ALL the shit that seanwhite haven't said, all the tension, attraction and confusion, this time white doesn't run away from confrontation & is even the one to instigate it.

and when sean confronts him about having changed, this time white responds to it heads on, in a way that actually feels less shady than denying it like he's done until now. and for ONCE, the two of them talk like grown ass adults capable of communication, a miracle!!! even with sean completely hammered, they have the most calm & mature discussion they've had until now, clearly eased by, yes, alcohol, but also the intimacy of their shared room. it also seems like white has finally embraced the gang fully & actually wants to belong in it, as well as sean being more open about how much this mission means to him & how invested in it he is (which again, is a false feeling of safety for sean & consequently the viewer who will get betrayed by white's action later on in the episode.) but anyways I love this scene because it's the first time these two feel like a team, that, yes, still bicker & have their differences, but truly wanna work together no matter what. and that... is kinda beautiful. especially accompanied by drunk sean who is truly priceless & very handsy. once again these two finally feel like friends if not more, and I loved seeing sean so vulnerable and white so open. BUT it also is interesting to note that every vulnerable scene that sean has is either when he's asleep or drunk, which means he still has quite a bit of opening up to do.

speaking of being vulnerable when asleep, sean has another nightmare that night, which shows us a lot more backstory to sean's father's death, as well as remind us how young sean was at the time with an amazing performance by off who kills it as always. what I love about this nightmare scene is that it goes almost the exact same as the first one, clearly establishing a pattern, and ends up again with sean seeking comfort with white, by hugging him close. we can see that white is just as worried & soft with him as the first time, and while this scene doesn't bring us any new information on their relationship, it does show a repetition of trust & a habit of taking care of each other forming. I also LOVE the waking up scene, where even though once again sean plays it shocked that they went to sleep hugging, there seems to be way more closeness than in the first scene of that type, showing again that they're closer & more comfortable together. there is even banter between them, with white kicking sean with his feet & sean waking white up repeatedly, which truly shows how far they've come.

then we have a small but meaningful moment during the plan explaining scene, when white tastes the bitter powder and sean immediately gives him a candy or gum to make the taste disappear. this is actually a very meaningful gesture, as up until now sean has only helped white in life & death situations, and not just being mildly uncomfortable for a couple of minutes like here. yet he doesn't hesitate, and pulls that gum out of literally thin air to help white out. I'd say that's love bitches!

after that though, we have white promising to sean he won't jeopardize the plan, which... we all know how that goes 😬 and once the mission starts, sadly the differences of opinions between sean & white only continue, with white being against sean knocking out the employees while sean is way more heartless with it by saying "everything I have to do, I'll do it." we keep confirming how far sean is ready to go to in order to get his revenge against tawi, and how white clearly doesn't agree with his ways at all. the issue becomes that white still wants to be part of the mission, even when sean gives him a way out multiple times. it shows how confused about it all he is: he doesn't think the same way he used to, but there's also a LONG way until he starts thinking like sean, if he ever does.

AND THEN, we have my favorite scene (probably, actually every scene is my favorite lol), when after white basically criticized every step of the mission, sean finally shows him that despite his cool appearance, he's also stressed & scared. this is a very vulnerable admission for sean to make, him who's always acting so cool & detached unless asleep or drunk, and I particularly enjoy the directorial choice to zoom onto their faces for most of the scene to make the scene feel even more intimate. once again, despite them having been in a disagreement for the whole mission, they still feel like a team. sean can't fully work if white doesn't work alongside him too. and here we see a side of sean under all of that pain and thirst for revenge, a side that, as we've seen in the nightmare flashback scene, is actually just a young adult having to deal with too much way too young. once again those two have become softer about those things & actually communicate, which is a true miracle. it almost seems like white is convinced now, as he apologizes and continues to show his support to sean, even if he disapproves of his ways of doing things. and I LOVE how soft their voices are in that scene, even though they're supposed to be fighting. once again we see how long of a way they've come from the earlier episodes.

and then, sadly, we have the gut-wrenching betrayal of white who does not pour the bitter powder in. that scene is as frustrating for the viewer as it is for sean who watches it happen through the cctv & can't do anything, even though he trusted white enough to keep him on the mission even after he betrayed them during the fake kidnapping & showed multiple times that he didn't agree with the plan. yet sean did, probably from a mix of remembering the old unstoppable black & trusting this new "black." I can't fully say WHY white betrays sean like this as I myself am struggling to see why he did it, as even though, yes, he didn't agree with the plan from the start, he promised sean he wouldn't jeapardize it & messes it up right in front of sean's nose and not secretly like when he poured the gas in the sink in the ep 2 mission. I do think most of it is impulse though, and white regrets it pretty much immediately. at least I hope so, and there’s clearly a plan he has with the picture of the tank he’s taken. we see sean in such a rage that he leaves the cctv room without erasing the footage like he said he would... and confronts white, though they're interrupted by tawi's right hand which cuts short to a confrontation & makes them go into survival mode.

you will note though, that even having been betrayed, sean still opens the door & lets white go first, that he still helps him fight tawi's right hand even though he could escape freely & leave him, AND that he lets him go first through the barbed wires so he can arrive first. that shows that even though sean might be enraged, he still cares for white & ngl, that shit is touching as hell.

THAT BEING SAID, when they arrive to the motorcycles, that's when sean can really express his rage. and @fck-inspector-m pointed it out to me, but this is such a quiet fight. it's none of the usual "grandiose" ones with sound effects and choreography, this time it feels... real. sean is hurting white bc he feels betrayed, he who has been betrayed by the justice system & the entire society for his father's case. he who has felt all alone in the past 4 years, trying to make his father's death count for something. trying to make a change. and white ruined that for him, despite how much he trusted him, despite his promise. how can sean not feel completely & utterly betrayed in that moment?

and so, that's how the episode ends. an episode that started so hopeful for these two, finally building a relationship & trusting each other, to white doing the worst thing he could probably ever do to sean & sean choking him for it. this episode truly was a roller-coaster, and I wonder how it's all gonna get settled when now it feels like sean & white are further apart than they ever were in the first place. p'nuchie did say ep 7 is the episode they start to fall in love, so... we'll see 👀👀👀 hope you enjoyed this analysis, it took me so long haha but I really enjoy doing those :')

xxx

[brushstrokesapocalyptic]

it’s time for the “overanalyzing one-off lines” show!

so the very first thing magnus says when he sees pit in chapter 2 of kid icarus: uprising is as follows:

“Well, I didn’t expect to see an angel here. Hope this doesn’t mean I’ve kicked the bucket.”

now, i’m not sure if you’re aware, but that’s a really weird thing for someone to say, and it’s even more weird that no one comments on it. pit and palutena go on talking about unrelated things, as if that’s a totally normal and expected thing for magnus to say.

now, if you’re like me, you probably also didn’t really react to this line the first few times you saw it. it’s the second chapter, kiu has a lot of slightly-odd lines which turn out to be foreshadowing. me, personally? my first thought was “oh, i guess angels are probably associated with escorting the dead to the afterlife,“ and then i moved on.

they’re not, though. that’s what reapers do. and there’s no way humans have these two races mixed up. just fucking look at them.

do they look anything alike to you??? no. they don’t. which raises the question of why, exactly, magnus said that.

now, we don’t know a lot about angels as a whole. pit (and by extension dark pit) is emphatically not the gold standard of angeldom. we can assume he looks fairly ordinary for an angel, seeing as no one has trouble identifying him as such. beyond that, though, a lot of what we know about angels comes from what pit isn’t. for starters, he can’t fly. and there’s something else, too, but i’ll get to that later.

before that, though, i’m gonna go through the various unsubstantiated comments made by people with a dubious level of authority on the subject. (incidentally, i sourced these screenshots from the wiki— much more convenient than trying to dig through youtube for every single random conversation.)

without any further ado! let’s get into it!

Angels as Messengers

Gaol: Aw, Palutena’s little messenger boy. And Magnus, it’s always a pleasure. (src)

in the specific context of overanalyzing magnus’s first line, this is an important sentence to pick out. magnus and gaol are both humans, both with presumably a fairly similar history as mercenaries up until gaol got stuffed in a suit of armor. but while magnus makes a weird comment about death, gaol calls pit a messenger.

and pit agrees with her!

Viridi: I wish I had an angel to do my bidding. It’s like having an intern.

Pit: I’m not an intern. I’m a messenger of the gods!

Viridi: Poor Pit. Don't you know that the definition of angel is "errand spirit"? (src)

this particular conversation is the most insight we get into angels as a whole, i think. viridi thinks of angels as like divine interns, there to do little tasks for gods, and palutena doesn’t exactly disagree with her. pit says they’re specifically messengers, which lines up with biblical mythology. i could see the traditional role of angels in the world of KI being exactly that, showing up to tell the humans what the gods have to say because the gods themselves are too busy being petty jerks to do it themselves.

The Angel’s Code of Conduct

Magnus: You go in fully dressed? Don't you at least want to change into a...swimming tunic or something?

Pit: Oh, no no no! The angel's code of conduct says that we must always be ready for duty.

Magnus: I guess you wouldn't be an angel if you didn't do things by the book. (src)

Pit: Hey! You know the angel's code of conduct! I need to be prepared at all times! (src)

another random little thing is the angel’s code of conduct. without a larger sample size, we can’t know if it’s a real thing or just an excuse to save on laundry, but apparently it’s against the rules to not be on call at all times. in pit’s case, the duty he has to be ready for is doing palutena’s dirty work, but it can easily mean just about anything— including, of course, being a messenger.

No Warrior

Chariot Master: But you are no warrior, angel. Tell me, why do you fight?

Pit: I fight for Lady Palutena. And I fight for the people under her protection!

Chariot Master: That's not reason enough for an angel. (src)

remember how i said there was something else weird about pit? the chariot master seems to think angels aren’t very prone to battle— or perhaps even that they’re actively opposed to it. this lines up well with the idea that they’re supposed to be messengers, peaceful go-betweens for gods and mortals. this does not line up well with pit, the adorable weapon of mass destruction.

and it also does absolutely nothing to explain the question driving the whole existence of this post.

you know what does kinda lean towards an explanation?

No Other Angels

Pit: Do all gods have their own angels, like you have me?

Palutena: No, I don't think that's necessarily the case. (src)

i said before that the Intern Pit conversation had the most illuminating information on angels. this is what i was actually referring to. on its own, it’s pretty innocuous, but it’s just as weird as the magnus line. shouldn’t pit know about other angels, seeing as he is one himself? but he doesn’t know if there are other angels.

the only angels we ever see are him and his clone. no one ever directly references the existence of other angels, they only make general statements about what angels as a whole are like— statements which clearly don’t apply to pit, meaning they’re not just extrapolating based on the one angel that definitely does exist.

the one time someone does comment on the hypothetical existence of other angels, palutena gives a vague answer to the tune of “no,” the topic is changed, and no one brings it up again.

let’s go over everything i’ve established about angels up to this point. they can fly, they’re peaceful messengers of the gods, and pit is the only one that seems to exist as of the start of KIU.

it should be pretty obvious at this point what answer i’m dancing around, if it wasn’t obvious from the start. pit is the only angel around because all the other ones are dead. the reason why magnus said what he did is that his thought process went something like this:

See an angel.

Think “Aren’t angels extinct? Is that a ghost? Am I a ghost? I sure hope not.“

Make a quip about that.

Move on with his life, because he isn’t dead and evidently neither is this guy.

i’m not gonna pretend i went into this post with the intent of any other conclusion to that mystery. anyone who’s bothered glancing over a plot summary for the original kid icarus can draw that conclusion. it’s certainly what i did, reinforced by fics by people who had the same thought!

the truth, however, is that this was all a trick to get you to read my analysis of the theoretical nature of angels as a race. now that you’re invested, i’m going to dramatically throw aside my cape and reveal my TRUE FORM: telling people that fandom consensus is wrong, and my ideas are cooler and better than everyone else’s and you should all throw roses at my feet and bow before your king.

(or just, y’know, take it as the subjective analysis that it is. whatever floats your boat.)

Hot Takes

the original kid icarus does not actually tell you about angels going extinct. here’s the wiki article with the full text of the backstory, just for convenience, so you know what i’m on about for the rest of this post.

so, the part of the story that i think gets misinterpreted is this part about palutena’s army.

Medusa led a surprise attack on Palutena's army which could barely fend off the attack. Palutena's army suffered major losses and was heavily defeated in the final battle.

specifically, i think a lot of people interpret said army as having been made up at least partly of angels. sure, in the actual game it consists entirely of centurions, but you have to take old NES games with a grain of salt. i know i don’t buy for a second that pit was part of palutena’s guard before the original game (he was just too goddamn young), there’s nothing wrong with reinterpreting things.

recall everything i established about angels already, though. this is the hot official lore, from the game everyone knows and loves. angels are messengers, and if the chariot master is to be believed, never warriors. pit is an outlier. palutena’s army consists of centurions, not angels. if medusa wiped them out, it wasn’t because they were fighting for palutena.

(and honestly, i don’t think angels are necessarily associated with palutena exclusively. sure, she’s got the wing imagery, and she’s got the one known surviving angel working for her, at least up until pittoo is born. but angels are messengers of the gods, not messengers of palutena. again, pit is an outlier.)

which all brings us to the real question of this post.

what the FUCK happened to all the other angels? why is there only pit? why does magnus act surprised to see a messenger of the gods, and make a quip about being dead, if not because angels are otherwise extinct?! WHO KILLED THEM, AND WHY?!

thus concludes the “over analyzing one-off lines“ show. see you next, uh, maybe at some point if i feel like it!

(also another thought i had but couldn’t find room to fit it in properly: the gods don’t really act like angels are all extinct, but i feel like that can be explained through the sheer scale of a god’s lifespan. if we assume they were wiped out sometime around the original kid icarus (even if not as palutena’s army) then that’s a whole twenty-five years. that’s a long time for us humans, but for a god, that might as well be last tuesday. “yeah, i know what angels are like. sure wish i could have one. too bad palutena’s got a monopoly on the one single angel that medusa didn’t manage to wreck.”)

[purposelynana]

Vegas And Pete, An Essay.

Genuinely I did not watch any KinnPorsche before episode 12. I tried to watch episode 1 and then nah I just couldn't take any of that seriously. Then, I decided to just saw it through GIF and clip which scattered around Tumblr and Twitter. But episode 12 is really the one that changed the game for me.

It's always fascinating to watch a broken relationship. That's why, subjectively Love Mechanics is such a dear to my heart. Because its depiction about love is truly ugly. Because in real life those unfortunate situations could happen to you despite its trigger warning. It sparked discussions whether it was about the stupidity surrounding its characters, or perhaps the plot which is closer to makjang rather than an actual young-adult romance show. To me this kind of tropes is constantly evolving and left me with so much new perspective.

And then came, episode 12 of KP. We came so far from dead-fish kissing era. KP's love scenes already proved that. But there was something different in Vegas and Pete, something sinister lurking behind the shots and lighting. Everything was designed to be weird and strange. And hell, I can't stop thinking about it. It seemed like a B-movie because of the Dutch angles, but at the same time the lightning and its colors reminds me with Wong Kar Wai's stuff. Okay. This sounds like a complete bonkers. It was by no any means that this series is an outstanding piece of art. It still has plenty of problems but that particular scene, it did something to me. It was so unsettling and yet, we kept watching it to kill time. Why? Is this some kind of foreshadowing? Is it me being dramatic ass bitch? After all this is just some tv-show that will probably gonna sit comfortably at the back of my mind.

In addition of the technical aspect of the scene, we moved into a rather controversial point and generate its own conversation revolving that. Which is the treatment of BDSM practice. Yep. People have their own takes, it's fine. A lot of discussion narrowed to one specific thing. Trauma can lead someone to their preferable sexual activity but I dunno I'm not a psychologist and certainly not a BDSM practicer. Yet, it was rather engaging to find discussion and people trying to give their analysis for that matter. And to me, it felt like I was gaining new knowledge.

Vegas is still maddening piece of shit. The series didn't walk away from his horrendous attitude that had been portrayed in the novel. But the screenwriter clearly removing a few harmful traits which makes him yeah not so far from redemption, even though, subjectively, he doesn't need any redemption arcs. What for? We love a character who's proud being a bad guy.

Meanwhile, Pete. Ah Pete. What a treat to get something as complex as him. If this is called VegasPete The Series, it would be wonderful to see what makes him, him. Is it child abuse? Is it the days that he spend during Vegas' captivity? What is it? What is it that makes him entrancing? Because to me he never stood out, he was lurking in the back, and the choice of production team to made him as invisible as possible paid off because by the time he was on his own story arc, he was explosive.

Oh God.

The acting, oh my god. Rarely I found a pairing that complete each other in terms of acting. The last time is definitely Ohm and Nanon. And now this. Whatever BoC did on their workshop, it worked. My god. I was bawling to see the emotional scenes. I was relieved when finally they got their happy ending. I was mad because maybe I'm not going to see such a brilliance in a long time. BIBLE BUILD RULESSSSSS!!!!

In conclusion, it seems conflicted for me to recommend KinnPorsche because as a whole series this is not the greatest thing out there. In fact, I have so much disapproval towards everything except the cinematography and how they handled VegasPete. It felt like all over the place. It appeared to be that the 3 directors who helmed this, never consulted with each other. So, sometimes it did sense like 3 different series put into one.

Now I wonder someone on youtube make a VegasPete cut. Come on universe do your thing.

a very suitable song for vegaspete indeed.