#so that does make for more compelling character drama

[danganronpasurvivoraskblog]

Dangancember 2024 - Danganronpa Top 24 Class Trials - NUMBER 3🥉: Danganronpa 1 Case 2 {BEST CASE FROM DR1}

//Our Bronze Medalist for this ranking is the second trial from the first game. And that fact alone is kind of surprising.

//DR1 has by far the most simple of mysteries, largely thanks to the later games really going all out with the complexities and red herrings. So some of you might be wondering why this particular case, a relatively early one in its respective game, ranks so highly on my list.

//Well young boys and girls...let me tell you a tale. The tale of how Mod Creeper first discovered a visual novel series that permanently changed his life.

//Well, actually, I'm make it short. This was the very first Danganronpa case I ever experienced. Rather than starting with the beginning of the series, I initially watched a playthrough of the first game and skipped the opening case.

//Which turned out to be no skin off my nose after all.

//But yeah, the first mystery I truly immersed myself in was Game 1, Case 2, and it was a transformative moment. As soon as I finished watching it, I knew without a doubt that this was the series for me.

//And you know I mean that, because I wrote a WHOLE FANFIC CENTERED AROUND THE STUFF THAT HAPPENS IN THIS CASE.

//What makes this case particularly memorable is the compelling character dynamics it brings to the forefront. Much like the previous cases I've discussed, the interplay between the characters is one of its strongest aspects.

//Additionally, this case excels at keeping you on your toes, constantly making you second-guess your assumptions. It’s this combination of personal nostalgia and expertly crafted intrigue that solidifies its place on my list.

//Okay, so to start with, Chapter 2 is fine. It's just an okay chapter, but it's important because it's designed to keep you hooked and sets the tone for what’s to come.

//The motive Monokuma dangles in front of the students this time is as juicy as it is insidious: he threatens to reveal their most humiliating, deeply buried secrets to the entire class unless someone commits murder.

//Compared to the family-threat motive from Chapter 1, this doesn't SEEM as immediately threatening, but it does end up upping the ante by turning every interaction into a potential minefield. Who knows what horrors could be lurking in those envelopes? A secret love of pineapple on pizza? A forbidden fondness for poorly-written fanfiction? The stakes skyrocket.

//And it's what actually HAPPENS with this motive that I really like, but since it leads to the murder, we'll get to that.

//But that’s not all. This chapter also carries the weight of being the first post-trial chapter in the entire series, assuming you’re playing in chronological order. By now, you’ve endured your first taste of the ultimate despair buffet: someone you thought was your friend turned out to be an unreliable backstabber, and you watched an innocent-seeming baseball star get pulverized by an iron-fisted pinball machine.

//Suffice to say, the air is heavy, and for the first time, the game makes you sit with that weight. This isn’t just a wacky murder mystery anymore; it’s a psychological marathon, and the runners are already limping.

//On a more character-driven note, Chapter 2 marks a significant tonal shift for our cinnamon-roll protagonist, Makoto. With Sayaka out of the picture, Makoto loses that last little tether of hope she provided. Sure, she annoyed some players with her "walking embodiment of plot drama" energy, but she gave Makoto a reason to act brave when she couldn’t.

//Now, with her absence, Makoto is left fumbling to fill that void. The chapter is as much about the students attempting to "return to normal" as it is about Makoto trying to figure out what "normal" even means when your classmates keep dropping like flies. Spoiler alert: it’s not the kind of normal that includes a carefree lunch break.

//This setup works beautifully because it’s multifaceted. On top of the fear and Despair dangling over everyone's heads, the motive manipulates the social dynamic, forcing the students to confront their own vulnerabilities and question their trust in one another. Plus, the lingering despair from Chapter 1 makes it clear that the emotional stakes are here to stay. Combined with a protagonist trying to rebuild his own hope, the chapter lays the groundwork for the spiral of distrust and tension that defines the series.

//But sadly, the peace does not last, because someone does end up cracking under the pressure, and a murder is committed.

//One of the reasons this case stands out as excellent, at least to me, is how seamlessly every mystery, twist, and solution contributes to a memorable character moment. Moments that often ripple across the rest of the game in a big way. And right from the start, this case has a leg up simply because I adore both the victim and the killer.

//It’s rare to find a case where both roles are handled so compellingly, but this one nails it. And they are genuinely the complete reverse case to Kirumi and Ryoma for me, where they were BOTH INSANELY interesting to me.

//ESPECIALLY Chihiro.

//And goddammit if I wasn't so excited to get to this case JUST so I could talk about Chihiro.

//In case I haven't already made it blindingly obvious, Chihiro is far and away my favourite character from the orginal cast, and quite possibly my second favourite character in the entire series behind ONLY Kaede. He's a character whose very existence throws the audience for a loop, and I mean that in the best way possible.

//Many of the mysteries in this case stem directly from Chihiro as a character, and even in death, he remains one of the most impactful figures in the entire Danganronpa series. There’s just something so fascinating about how he subverts expectations, because on the surface, he seems shy, weak, and submissive; traits that might lead you to underestimate him. But dig deeper, and you’ll find one of the most quietly strong-hearted characters in the series.

//What really made me love Chihiro was how he reacted to Monokuma’s motive, because he does something that NO OTHER CHARACTER (Besides Kaito in V3-1 and his group, which only got interrupted by Rantaro and Tsumugi being cucks) has done before. Unlike most of the other characters, who either try to ignore the motive or contemplate murder to protect their secrets, Chihiro takes a third option. He chooses to face it head-on, not with violence, but with determination and self-improvement.

//While at this point in any Danganronpa game, others are spiraling into paranoia, Chihiro decides to do something about it. His secret, as revealed in this case as a part of the mystery to why he died in the place that he did, and it's a brilliant twist that turns the trial on its head.

//If no murder occurred, Monokuma would expose this secret, but instead of succumbing to despair or committing a crime to protect himself, Chihiro chooses a different path.

//He decides to work on himself, to build emotional and physical strength, so that he can one day share his truth on his own terms. It’s a clever, admirable response, especially coming from someone who can’t even bring himself to swat a mosquito.

//Of course, this brave decision leads to tragedy. Chihiro seeks help from the wrong person, the killer of this case, and his noble intentions are ultimately met with betrayal. It’s heartbreaking to see someone so full of potential and hope meet such an untimely end, and it makes the case all the more gut-wrenching.

//I do really wish that Chihiro had lived longer, but this case is so good, that I can forgive the decision to kill him off relatively early.

//(And no, Alter Ego is a different character than Chihiro. I have already explained that I feel this way. Despite being based on Chihiro, he is an entirely different personality, and plays a whole different role in the story, with different experiences.)

//But the beauty of this case lies in how it uses this tragedy. It doesn’t just stop at shocking revelations; it digs into the emotional fallout and how it affects the rest of the cast. Chihiro’s story, even in death, becomes a catalyst for some of the game’s most significant character growth and development. It’s not just a twist for the sake of a twist. it’s a deeply human story about vulnerability, courage, and the consequences of trust.

//And honestly, if you didn’t shed at least one tear for Chihiro, I might have to question whether Monokuma replaced your heart with a Monokuma Coin.

//But Chihiro’s death sets the stage for the investigation, which, if I’m being completely honest, is my least favorite part of this otherwise stellar case.

//Don’t get me wrong, the clues themselves are great, and piecing everything together during the trial is an absolute blast. I lost count of how many jaw-dropping moments this case delivered.

//But the journey to find those clues? Let’s just say it’s not exactly a highlight reel.

//The investigation is slow. Like, waiting in line at the DMV, slow. And the biggest drag? Spending the majority of it with Byakuya.

//Now, I get that Byakuya is supposed to be this insufferable know-it-all with a superiority complex, and he has a very important role to play in this trial, but during this segment, he takes it to a whole new level. It’s not just that he’s condescending; it’s that he doesn’t even treat you as a person.

//To Byakuya, Makoto is just some vaguely sentient tool he can use to exploit the Ultimate Lucky Student talent.

//And if you think that sounds unpleasant, trust me, it’s worse in practice. Byakuya doesn’t so much guide you through the investigation as he does lecture clues at you. Instead of letting you have the satisfaction of uncovering things on your own, he practically shoves the answers in your face while monologuing about how much smarter he is.

//Honestly, I would’ve been happier if he just handed me a checklist of locations and let me investigate solo. But no, we’re stuck with Mr. "I’m Rich and Therefore Better Than You" for the majority of this slog.

//Don’t get me wrong, Byakuya’s character is intentionally written to get under your skin, and in that sense, he’s wildly effective. But that doesn’t make it any less frustrating to have him glued to your side during what’s supposed to be a pivotal, player-driven part of the game. It’s like trying to solve a murder mystery while your annoying cousin keeps pointing out the obvious and claiming they solved it first.

//That said, I can’t let this one annoying sequence sour my opinion of the case as a whole. The investigation may drag, but it’s worth it for the payoff in the trial, where all those clues come together in spectacular fashion. So, while I may have groaned every time Byakuya opened his mouth, I can’t deny the sheer brilliance of the twists and revelations that followed. Just, uh, maybe next time give me the option to leave him in the library where he belongs?

//Anyway, the investigation wraps up, and you have your clues. It's trial time!

//This trial starts off super well, because as I said, it is absolutely FILLED with plot twists, and not a single one of them is uninteresting, or drags the trial. But the most obvious one is covered IMMEDIATELY; and not even in a way that you have to figure it out, but it's instead told to you, and you have to help explain it.

//As I mentioned earlier, one of the reasons I’m such a fan of this trial is its clever use of a red herring. Now, red herrings are a tricky beast in storytelling, because how effective they are can vary wildly depending on who you’re talking to.

//For me, a good red herring is like a well-spiced meal: it adds intrigue, hides additional mysteries, and, when done right, leads to a surprising and satisfying twist. But there’s a fine line. Overdo it, and your audience will start rolling their eyes instead of gasping in delight.

//Thankfully, Danganronpa strikes a balance that works more often than not. The series has its fair share of red herrings, but they’re spaced out just enough to avoid becoming irritating. In my opinion, the two best examples are in V3-2, where Maki’s unexpected encounter with Ryoma flips everything we thought we knew, and, of course, the one in this case. Even if you can predict the twist, the journey to uncover it and the way it’s handled are what make it memorable.

//The red herring here revolves around a character who has only been vaguely hinted at so far but takes center stage in this chapter: Genocide Jack, the infamous serial killer who exclusively targets attractive men.

//Genocide Jack’s notoriety is built up brilliantly. This is someone who’s eluded law enforcement for ages, a near-mythical figure whose very name sends shivers down spines. So naturally, when Genocide Jack’s name pops up in connection with Chihiro’s murder, thanks to a familiar message carved in blood on the wall, everyone starts freaking out and pointing fingers. Could this be the mastermind? Is the infamous Ultimate Murderous Fiend behind the bloodshed?

//And then Byakuya, in his usual smug fashion, drops the mic:

//Now, as I already admitted, the reveal isn’t exactly the world’s most shocking twist. If you’ve been paying attention to Toko’s erratic behavior, you could probably piece it together.

//But the way it’s revealed is pure gold.

//Toko is revealed to have Dissociative Identity Disorder (not the same as Schizophrenia as I was led to believe for so long, so I apologize for being unable to make the distinction in the past), with her alternate personality being none other than Genocide Jack; or, as she prefers to be called, Genocide Jill (or Genocider Sho, if you’re rocking the Japanese version).

//And let me tell you, Genocide Jill is a RIOT. She’s like the unhinged cartoon villain you never knew you needed in your murder mystery.

//What makes Jill so fascinating is how she manages to be both a perfect foil AND a twisted mirror of Toko. On one hand, she’s loud, outgoing, and unapologetically chaotic, everything Toko isn’t. But on the other hand, she shares Toko’s unhealthy obsession with Byakuya, which manifests in wildly inappropriate, borderline absurd ways. It’s a fascinating dynamic, and it keeps you glued to the screen, not knowing what she’s going to do or say next.

//Despite being a literal serial killer, Genocide Jill is mostly played for laughs, and it works. Her maniacal cackling, over-the-top dialogue, and penchant for wild, inappropriate jokes add a bizarre layer of levity to an otherwise intense trial. She’ll pretend to drop a serious revelation, only to swerve into a punchline. It’s unhinged, but it fits the chaotic world of this franchise perfectly.

//And then there’s her self-proclaimed fujoshi tendencies, which take her over-the-top personality to new heights. Jill gleefully declares that she only kills cute boys who, and I quote, "turn her on, a detail so ludicrously specific that it’s hard not to laugh.

//Because how could anyone have guessed that Toko’s repressed, introverted personality would manifest in such an explosively cartoonish, sadomasochistic alter ego this way? You could have seen the half-serial killer twist coming, but NO WAY anyone thought it was gonna manifest like this.

//It’s the kind of twist that’s so outlandish it somehow works, and it gives this trial a unique flavor that no other case in the series quite matches.

//But then it gets MORE intense, because this leads into ANOTHER possibility.

//After Toko is outed to be GJ, the group quickly narrows their focus on her. Everyone becomes engrossed in debating whether Jill could be the culprit, citing her violent history and the eerie similarities between Chihiro’s murder and Jill’s MO.

//However, the evidence doesn't line up, and not only is Jill not the killer, but she eventually becomes one of the first game’s SURVIVORS!

//And this is where another key character in this case steps into the fray: Byakuya.

//I've been eluding to him a bit so far, but this is the case where Byakuya really comes front-and-center compared to the rest of the game, besides maybe Chapter 4. But while he's not exactly as compelling an antagonist as the future rivals in the series, the Affluant Progeny laid the groundwork for the type of character dynamic that Nagito and Kokichi would go on to take and run with.

//So far, Byakuya has been an arrogant thorn in everyone’s side, but it's here that he seizes an opportunity to step into the limelight. He was already a smug elitist, and the kind of guy you’d expect to demand five-star service during an apocalypse, but this case reveals a darker, more manipulative side.

//If Chapter 1 painted him as an insufferable know-it-all, Chapter 2 cements him as a grade-A sociopath. He pulls off actions so reprehensible that it’s a wonder he wasn’t voted off the proverbial island long before the game’s end.

//First of all, as I already said, Byakuya is the one who exposes Toko’s alter ego, Genocide Jill, to the rest of the group. And the only reason he knows the truth is because Toko TOLD him, and he actively and unashamedly goes against her wishes, and outs her.

//Does he do this out of concern for the group’s safety? Nope. Does he think it’ll help solve the murder? Not really. He does it purely to stroke his own ego, basking in the chaos that ensues.

//But wait, there’s more.

//When the group begins piecing together the crime scene, suspicion briefly turns toward Byakuya for a few reasons: the extension cord used to string up Chihiro’s body matched one seen in the library, a place Byakuya frequented, and the bloodstained message, "Blood Lust," mimicked Genocide Jill’s signature style, and Byakuya was the only one who read the Genocide Jack file, which described her specific methods.

At this point, you might think Byakuya is the killer...And that’s exactly what he wants you to think. The truth, however, is far worse.

//Byakuya isn’t the killer, but he did tamper with the crime scene in the most twisted way imaginable. After noticing the actual killer leaving the girl’s locker room, he discovered Chihiro’s body and decided to "spice things up." He staged the scene to implicate Genocide Jill, stringing up Chihiro’s body with the extension cord and scrawling Blood Lust on the wall in Chihiro’s blood.

//You might think what the hell he could possibly stand to gain by doing this, especially since one misstep means that EVERYONE dies, including Byakuya himself.

//Well, it turns out all of this was done not to protect himself or even to accuse someone else, but it was to make the killing game "more interesting" and to force Toko’s secret into the open. As well as to give him an idea of what kinds of minds he's up against.

//For context, earlier in this chapter, when everyone is trying to unite under one banner, Byakuya outright refuses, and practically BULLIES Chihiro for ever thinking that a sense of cameraderie could be found in the environment of a Killing Game. And throughout the game, before and after this, he is a cold, self-centered individual with a deeply reserved demeanor. His aloofness stems from an unshakable sense of superiority and an unyielding belief that most people are inherently beneath him.

//And while it's frustrating, this mindset complies PERFECTLY to what he talks about in his backstory during his Free Time Events. It really gives you the motivation to go out of your way to spend time with him, because it really goes into good detail at why Byakuya is so adamant to comply to the Killing Game the way it is meant to be played, at least until Chapter 4.

//Born into the prestigious Togami family, Byakuya was forced to compete against his siblings in a ruthless battle for succession. Only the most competent sibling would inherit the family name and fortune, while the rest were disowned and cut off financially, labeled as dead to the family.

//Growing up in this cutthroat environment shaped Byakuya into someone who views the world through a lens of "winners" and "losers." To him, life is a zero-sum game where cooperation is a weakness and emotional bonds are trivial distractions.

//Byakuya’s disdain for collaboration and his dismissal of others as insignificant are rooted in his belief that self-interest is the only true driving force behind human behavior. His upbringing not only honed his competitive edge but also left him with a deeply cynical view of relationships, which he regards as petty and unimportant. And he perfectly summarizes it in his own words:

"You're not about to claim she wouldn't kill a close friend, are you? You still don't get it, do you? The game we're playing here isn't so kind. Honeyed words like friendship don't matter here. What matters is outwitting the opponent, defeating them...Not a person alive would sacrifice themselves for another. In the end, we're all in it for ourselves."

//This mindset obviously comes back to bite him in Chapter 4, but we have already talked about that.

//What makes Byakuya so detestable here isn’t just the tampering itself, though that’s bad enough; it’s his cold, calculated reasoning and justification behind his actions.

//He doesn’t care about Chihiro’s dignity or the emotional toll on the group. To him, it’s all a game, a twisted experiment to see how far he can push his classmates before they break. He even admits he was aware that his meddling would make him a suspect, but he couldn’t resist the "fun" of stirring the pot.

//As interesting as he ends up being, and as much development as he goes through after this, this case solidifies Byakuya as one of the most despicable little fucks in the series. Not because he’s a killer, but because his actions reveal a complete lack of empathy. He doesn’t just view his classmates as beneath him; he treats them as pawns in his personal chess game, moving them around for his entertainment. It’s a chilling glimpse into this warped psyche he has, and a stark reminder of how dangerous unchecked arrogance can be.

//So while Nagito and Kokichi are more complex and arguably more compelling, Byakuya lays the groundwork for the unpredictable rival archetype. Love him or hate him, he makes this case unforgettable, and gives us plenty of reasons to hate him along the way.

//When the trial discussion begins to zero in on potential suspects, Byakuya’s overconfidence is momentarily disrupted, and Kyoko steps in to steer the investigation in a new direction. Her calm and incisive analysis introduces a revelation that not only reshapes the trial but also leaves an indelible mark on the game, and unlike Trial 1, REALLY defines how far this game is willing to go to catch you off guard.

//The build-up to this twist is handled with remarkable care, with every clue serving as a breadcrumb in a trail that keeps you engaged, guessing, and second-guessing. When the truth finally comes out, it’s both shocking and strangely fitting, a testament to the narrative’s ability to balance absurdity with depth.

//The lead-up to the twist begins with inconsistencies that don’t seem to add up, particularly regarding where the crime took place. Initially, it’s assumed the murder occurred in the girls’ locker room because that’s where Chihiro’s body was found. But as the discussion progresses, it’s revealed that the murder actually happened in the boys’ locker room, and the killer went to great lengths to swap the two rooms to obscure this fact.

//This revelation should theoretically narrow down the suspects, as only a boy could access the boys’ locker room due to the biometric security system that ensures nobody can enter the wrong room without being riddled with bullets. But then a new problem arises, because if Chihiro was a girl, as everyone believed, how could he have accessed the boys’ locker room?

//The contradiction hangs in the air, and tension builds as the trial teases out every angle. Then, in a moment that’s both jaw-dropping and comically over-the-top, the truth comes to light:

//Chihiro Fujisaki wasn’t a girl at all. He was a cross-dressing boy.

//And this revelation flips the entire trial, and everyone’s assumptions, on its head.

//This twist lands perfectly for a variety of reasons. For one, it’s not a sudden, out-of-nowhere bombshell, but it's not hinted at enough to be blatantly obvious. The game spends time setting up the groundwork with subtle hints, such as Chihiro’s soft-spoken nature and reluctance to use the locker rooms. These details, while easy to overlook on a first playthrough, become glaringly significant in hindsight. As ridiculous as the notion is, given how meek and feminine Chihiro always came across, it doesn’t feel forced or contrived because it’s woven into the fabric of the narrative from the beginning, making the reveal not just surprising but satisfying.

//What makes this moment even more impactful is its emotional depth. Chihiro’s decision to present as a girl wasn’t just a quirky personality trait or a superficial gimmick. It was rooted in years of pain and self-doubt.

//Monokuma reveals post-trial that as a child, Chihiro was relentlessly bullied for being weak and not living up to societal expectations of masculinity. Dressing as a girl was his way of escaping that ridicule, a shield against the harsh judgments of others.

//But this choice came with its own set of challenges, fostering a deep inferiority complex. Chihiro wanted to be seen as strong and capable, but he felt trapped, unable to reconcile his true self with the persona he had created to protect himself.

//This internal struggle adds a layer of tragedy to Chihiro’s story and elevates the twist from a mere plot device to a poignant exploration of identity and self-worth.

//It also contextualizes his actions leading up to his death. Instead of succumbing to Monokuma’s motive and resorting to murder, Chihiro chose a path of self-improvement. He began training in secret, both physically and mentally, determined to grow stronger and eventually share his truth with the world on his own terms. This decision, born of courage and hope, ultimately led him to confide in the killer, tragically sealing his fate.

//However, while the emotional resonance of this twist is undeniable, it’s not without its flaws. While the initial shock from the cast feels natural, their quick acceptance of Chihiro’s true identity comes across as a bit too tidy. Almost immediately, they begin referring to Chihiro as male, seamlessly integrating this revelation into their discussions as if it were a minor detail rather than a groundbreaking shift in their understanding of their classmate.

//While this efficiency keeps the trial moving at a brisk pace, it sacrifices some of the nuance and emotional complexity that such a revelation would realistically entail. Even for a group grappling with life-and-death stakes, this level of instant adjustment feels a bit implausible.

//The trope of cross-dressing characters is not uncommon in early 2000s anime, so this twist fits comfortably within the genre’s conventions. However, what sets it apart is the depth of emotion and thoughtfulness behind its execution.

//Chihiro’s struggles are treated with a surprising amount of sensitivity for a series known for its over-the-top antics. The twist isn’t just a shocking moment for the sake of drama, but it also ties directly into the themes of self-identity, resilience, and the impact of societal expectations.

//Moreover, it segues seamlessly into the motives and circumstances of the case, adding layers of complexity to both the mystery and the character dynamics.

//I feel like I say that a lot, but it's true.

//And then the conclusion of this trial comes about as a result of a neat little gambit from Kyoko, that finally nails down the killer, with all the facts on the table serving to place them under the guilty spotlight. The sequence is very dramatic, and very well structured.

//Kyoko skillfully draws the killer into a trap by zeroing in on a critical detail: Chihiro’s tracksuit. She highlights its specific color, implying that Chihiro had carefully chosen it for a planned training session with someone who would be wearing a matching outfit. This subtle nudge prompts everyone to recall their own tracksuit colors, and it’s here that Mondo Owada unknowingly seals his fate.

//In a clumsy attempt to prove his innocence, he eagerly states that his tracksuit was black, while Chihiro’s was blue, thinking this distinction would exonerate him. The problem? Celeste had testified earlier that she saw Chihiro carrying a tracksuit in a duffle bag but never mentioned its color.

//For Mondo to know Chihiro’s tracksuit was blue, he would’ve needed to see it firsthand at the time of the murder. Celeste confirms this detail, further tightening the noose around Mondo as she reiterates her sighting of the blue tracksuit. Taka, ever eager to contribute, recalls seeing the tracksuit and bag during the investigation, but Kyoko quickly corrects him, noting that both had been disposed of by then, leaving no chance for Mondo to craft a plausible alibi.

//Cornered, Mondo fumbles for an explanation, claiming that he happened to see Chihiro carrying the blue tracksuit as they crossed paths. But this excuse falls apart when Makoto recalls Celeste’s testimony: Chihiro had deliberately stuffed the tracksuit entirely into the duffle bag, ensuring it wasn’t visible. Mondo’s story, already thin, collapses under the weight of this contradiction, making it clear he’s lying.

//Adding to the suspicion, Kyoko astutely points out that Mondo referred to Chihiro as "dude" earlier in the trial, rather than "chick." This subtle slip indicated Mondo knew about Chihiro’s true gender, something only the killer could have known at this point. While this detail alone isn’t enough to definitively convict Mondo, it deepens Kyoko’s suspicions and primes the rest of the class for the final pieces of evidence.

//At this critical juncture, Hifumi unexpectedly steps in with a crucial revelation: he found a broken E-Handbook in the sauna. Since Chihiro’s E-Handbook was missing from the crime scene, it’s reasonable to suspect the broken one belonged to him.

//Here’s where things get interesting. Mondo had recently competed in a grueling sauna endurance contest with Taka, during which he unknowingly left his E-Handbook in his pocket. The intense heat damaged the device, inadvertently teaching Mondo about its weakness. Armed with this knowledge, Mondo destroyed Chihiro’s E-Handbook after the murder to cover his tracks. To avoid suspicion, he replaced his broken E-Handbook with Leon’s, knowing Leon couldn’t object due to being, well, dead.

//Makoto suggests a simple test to confirm this: everyone shows their E-Handbooks. But at this point, Mondo has no way out. Revealing his E-Handbook would expose the switch, proving he had Leon’s and confirming his role in the crime, so, realizing he’s cornered, Mondo finally breaks down and confesses to killing Chihiro. The students vote unanimously to convict him, sealing his fate.

//Now...Chihiro alone is already carrying this case with how brilliant a character he is. However, I would go the extra mile and say that Mondo is one of the most criminally underrated characters in the Danganronpa series, and if nothing else, definitely so amongst the killers of each game.

//What truly stands out about Mondo, and this case in particular, is his motive. Unlike many other killers in the series, Mondo didn’t kill to protect his secret or out of malicious intent. Instead, his actions stemmed from a complex mix of jealousy, frustration, emotional vulnerability, and above all, deep-rooted trauma.

//The full circumstances are as follows: Mondo grew up idolizing his older brother, Daiya, who played a pivotal role in shaping him into the person he would become. Raised with the values of strength and resilience, Mondo was introduced to the world of biking at a young age when Daiya invited him to join The Crazy Diamonds, their legendary biker gang. Inspired by his brother's example, Mondo dedicated himself to biking and helped solidify the gang’s reputation as one of the most feared and respected in Japan. Together, the siblings earned the moniker "The Diamond Brothers," becoming a household name in the underground biker community.

//Despite his growing skills and reputation, Mondo constantly lived in Daiya's shadow. Early in his riding career, he struggled to keep up, often finding himself at the back of the pack. On one such occasion, his inexperience led to an encounter with the police that caused chaos for the group. But Mondo refused to let his setbacks define him. Through perseverance and sheer determination, he rose through the ranks and eventually became a force to be reckoned with in his own right.

//Mondo’s defining moment came when Daiya decided it was time to retire and pass the leadership of The Crazy Diamonds to him. The gang members, however, doubted Mondo’s ability to fill his brother’s shoes, so Mondo issued a challenge to Daiya: a high-stakes race to prove he was worthy of the role.

//Tragically, the race ended in disaster. During the heated competition, Mondo recklessly drove into oncoming traffic. In a split-second act of selflessness, Daiya pushed Mondo’s motorcycle aside, saving his younger brother but sacrificing himself in a fatal collision with another vehicle.

//Devastated by his brother’s death, Mondo was consumed by guilt, but he honored Daiya’s dying wish. To lead The Crazy Diamonds and never blame himself for the accident. Unable to admit the truth, Mondo told the gang nothing of his involvement in Daiya’s death. Instead, he channeled his grief into maintaining The Crazy Diamonds as Japan’s most formidable biker gang, carrying on his brother’s legacy while hiding the burden of his secret.

//Fast forward to the killing game, where Monokuma introduced his second motive; revealing each participant’s darkest secret. Mondo’s envelope contained the devastating confession, that Mondo was the cause of death for his brother.

//This revelation terrified Mondo. The very foundation of his identity and leadership, the image of strength and reliability, was built on a lie. If the truth were exposed, not only would his reputation crumble, but it could also destroy The Crazy Diamonds, breaking the pact he’d made with Daiya to keep the gang intact.

//Meanwhile, Chihiro, faced with the same motive, reacted differently. Instead of succumbing to fear, Chihiro became determined to grow stronger and confront his own insecurities. Inspired by Mondo’s seemingly unshakable persona, Chihiro decided to confide his secret in him, believing Mondo could understand and provide guidance. Chihiro invited Mondo to train with him in the gym, hoping to take the first step toward self-improvement.

//In the boys’ locker room, Chihiro revealed his truth: that he was a boy who had been pretending to be a girl to avoid being bullied for his perceived weakness. He explained his desire to overcome his fears and grow stronger, no matter the challenges.

//However, Mondo, already under immense pressure from Monokuma’s threat, was blindsided by the revelation. Hearing Chihiro’s confession sparked a storm of emotions in Mondo. Jealousy, self-loathing, and anger surged as he grappled with the realization that Chihiro, someone he had viewed as weak, possessed a level of emotional strength and courage that Mondo lacked.

//Chihiro, a small and seemingly fragile boy who dressed as a girl to avoid ridicule, found the courage to confide his secret in Mondo. For someone like Mondo, built on a foundation of machismo, loyalty, and an obsession with appearing strong, this moment was earth-shattering.

//Mondo, who had spent his life cultivating an image of toughness, now felt exposed. The weight of his survivor’s guilt and the constant fear of his secret being uncovered made him feel weaker than ever. Chihiro’s bravery only magnified Mondo’s insecurities, leading to a boiling point where his envy turned into uncontrollable rage.

//In an impulsive and tragic act, Mondo struck Chihiro in the head with a dumbbell, killing him. Thus, what began as a moment of admiration and connection turned into one of the most devastating events of the killing game..a senseless murder fueled by jealousy, guilt, and the crushing weight of unspoken truths.

//Mondo’s actions are unforgivable, but what makes his character compelling is the sheer depth of his remorse over this. He doesn’t fit the mold of the cold-blooded killer or the manipulative mastermind.

//Instead, Mondo is consumed by guilt. His reaction throughout the trial is one of disbelief and self-loathing, as though he can’t come to terms with the fact that he’s capable of such a thing. And that regret alone sets him apart from every other killer in the series.

//In Danganronpa, murderers often fall into four broad categories: those who kill for selfish gain (like Celeste or Teruteru), cold-blooded killers who kill out of sociopathy (like Kiyo or Mikan), those manipulated into killing (like Gonta or Chiaki), and those with motives that, while tragic, are grounded in reason (like Gundham or Satsuki).

//Mondo, however, occupies a unique space. He is not an unwilling pawn, nor does he commit murder for a calculated purpose. Instead, his crime is an impulsive, emotionally charged act that he makes ABUNDANTLY CLEAR that he wishes to HIGH HEAVEN that he could undo.

//Mondo is the first killer in the series to express genuine guilt over his actions instead of trying and failing to justify them. But to this day, he's the only killer who you can truly tell he wants nothing more than to take it back, but tragically knows that he's already fucked himself over, and there's only one path left for him.

//Other killers in Danganronpa show remorse, but never outright condemn themselves for their actions, because a lot of them still stand by their actions, and that their ends justfied their means. Not Mondo.

//In fact, Mondo is the only killer in the first game who confesses to his crime before the vote. That moment, where he admits to the murder, is both a gut-punch and a testament to his character. It highlights the tragedy of the case. He didn’t want to be a killer, and yet he became one.

//This is highlighted by poor Taka's reaction, starting a trauma train for him before 1-3 completely wastes it. Taka, at this point in the game, is Mondo's arch-rival turned best friend and blood brother. He's the one who brings most of the heartache to the trial, because he's so adamant against the idea that Mondo could be the killer, and he's also directly tied to the piece of evidence that ultimately incriminates him. His breakdown reflects on the player, and it makes everything even more gutting.

//Adding yet nother layer of poignancy to Mondo’s character is Kyoko’s post-trial insight. She speculates that Mondo’s decision to switch the boys’ and girls’ locker rooms wasn’t solely about covering his tracks. Instead, it was a last-ditch effort to protect Chihiro’s secret for as long as possible. This act, though misguided, shows a glimmer of the kindness and respect Mondo had for Chihiro, even after what he’d done. It wasn’t enough to erase his guilt, but it underscores the depth of his regret and his desire to honor Chihiro in some way.

//What makes this situation even more heart-wrenching is the context, and reflecting on what you actually just went through after the trial. Mondo is not just a rough, gruff biker with a violent streak. Beneath his tough exterior, he has a heart of gold, as evidenced by his genuine friendship with Taka, the honor student. Their bond is one of the most endearing parts of the early game, built on mutual respect despite their vastly different personalities. To see someone like Mondo, who was capable of such strong friendships and who valued loyalty above all, commit this crime is a tragic twist.

//Meanwhile, Byakuya, who shamelessly tampered with the crime scene to boost his own ego, and Genocide Jill, a literal serial killer, serve as red herrings in this case, and survive not just past this trial, but both make it to the end of the game. The irony is almost painful: the person who seemed most trustworthy, someone who built a meaningful connection, ends up being the culprit.

//The emotional weight of this case easily rivals the infamous suicide case later in the game. Mondo’s crime wasn’t premeditated, nor was it born of pure malice. It was the result of a moment of vulnerability and insecurity, and that’s what makes it so impactful.

//You’re left not just grieving for Chihiro but also for Mondo, who is a victim of his own flawed sense of strength and masculinity. It’s a deeply human tragedy, and that’s what makes this case one of the most memorable in the series.

//And fuck me, I wish more people appreciated him.

//That's basically the majority of what I have to say on the trial, but I want to end this analysis by making a statement. Because this is heavily associated with this trial, and even though I really don't want to, I need to cover it, or else some people might come after me.

//This trial is fantastic. But in recent times, when I've been looking at other reviews for reference, I can't help but notice that some people really don't like this trial, and think that narratively, it's one of the worst in the series.

//And there's only one or two reasons for that, and they're all the same. And it pisses me the fuck off, because it reminds me that people are so quick to jump on this type of stuff, and it makes them miss what is actually genuinely amazing writing, mystery-solving, and everything the Danganronpa series stands for.

//Alright...here goes...

//This chapter, aptly named "Boys' Life of Despair," remains one of the most controversial in the series, largely due to its handling of Chihiro's gender identity and Genocide Jill’s characterization and how that reflects back on D.I.D. as a condition.

//While the case delves into deep themes such as guilt, weakness, and societal expectations, lots of people, from what I have seen, have criticized how these topics are presented. The controversy stems from whether the game misrepresents or trivializes sensitive issues such as transgender identity and mental health.

//Quite a significant number of people interpreted Chihiro's story as a poorly executed representation of transgender identity. Although the game never explicitly states that Chihiro identifies as transgender, the setup inadvertently evokes real-world experiences of gender dysphoria and societal pressures faced by transgender individuals.

//Critics argue that the game's framing treats Chihiro’s gender presentation as a plot twist rather than a nuanced exploration of identity. The reveal is pivotal to the case but comes across as reductive, reducing Chihiro’s complex internal struggles to a mere "shock factor" moment.

//Moreover, the resolution of Chihiro’s arc is problematic for some. Chihiro is framed as wanting to become “stronger” by embracing traditional masculinity, which implies that their perceived weakness is tied to their feminine appearance. Which comes across as dismissive of the broader spectrum of gender identity and expression, and for many, feels like the narrative missed an opportunity to explore Chihiro’s courage in defying societal norms rather than portraying their femininity as a flaw to be corrected.

//As for Jill, she's obviously a standout character in the series for a long time even after this trial, but her portrayal as a comic relief character often veers into caricature, with exaggerated behaviors and dialogue that reduce her mental health condition to a punchline. And that's ignoring the fact that she's a deranged psychopath.

//For many, this feels insensitive, as it reinforces harmful stereotypes about people with split-personalities being dangerous or unstable, and not as people who might genuinely need help, or suffering under a mental condition that is often born of traumatic incidents, and also that most people have no control over.

//The comedic tone surrounding Jill contrasts sharply with the serious nature of D.I.D, leaving many feeling that the game trivializes the disorder. This portrayal has sparked debates about whether the developers intended for Genocide Jill to be a satirical character or simply misunderstood the nuances of mental health representation. Regardless of intent, the character has been widely regarded as an inaccurate and harmful depiction of DID, leading to further scrutiny of the series' approach to complex psychological topics.

//Now...*sigh* personally, I do think these concerns are valid. Especially the one's with Jill. And people are free to debate the sexualities and gender identity of characters all they want; that's the entire fucking point of Fandom.

//And as your stereotypical cisgendered white man, who has no sway in these discussions as he cannot speak from a trans person perspective, please allow me to explain how I interpreted it, and what I genuinely believe was the intended effect, and hopefully, it will make a bit more sense.

//Danganronpa, as a series full of a variety of interesting characters, is basically BUILT on, and relies VERY HEAVILY on stereotypes. Particularly the first game's cast, because all of them are based on a well-known Japanese characterization stereotype.

//All of which have been used in anime and manga series before, quite a majority of them in one's with school settings.

//Barring Chihiro, here's the list:

Makoto is the "Everyman Protagonist." He represents the typical Japanese high school student with no standout qualities, that is most commonly seen in the position of the main character, as a means of making them more relateable to a general audience. His luck reflects the idea of fortune favoring the ordinary, a common theme in Japanese storytelling. Other examples for this archetype include Shinji Ikari (Neon Genesis Evangelion) and Tsuna Sawada (Katekyo Hitman Reborn!)

Kyoko is the Kuudere, i.e. the cool, calm, and collected one. She embodies the quiet, mysterious type who slowly reveals a more emotional and caring side. This is a common archetype in Japanese fiction, particularly for female leads in romance or crime stories. Other examples include Rei Ayanami (Neon Genesis Evangelion), Mikasa Ackerman (Attack on Titan), and C.C. (Code Geass).

Byakuya is the Elite Snob. He represents the privileged, highly educated upper class with a sense of superiority, and his arrogance reflects the stereotypical "rich heir" character in Japanese media. Other examples include Seto Kaiba (Yu-Gi-Oh!) and Gilgamesh (Fate series)

Toko, and by extension Jill, are the "Mojo Girl." This term came from モテない女 (motenai jo) meaning unpopular girl, shortened to モ女 (mojo). In short, Toko is the classic "weird girl" stereotype, socially awkward and self-deprecating. Her Genocide Jack persona exaggerates the duality often seen in overworked or mentally strained artists. Tomoko Kuroki (Watamote) is a prime example of this.

Hina is the Genki Girl, meaning she's the energetic, positive, upbeat female among the cast. Though she goes through a lot od ups and downs, she' generally has a cheerful and optimistic personality that aligns with the "genki girl" archetype, a common depiction of athletic and lively female characters in Japanese media. Yui Hirasawa (K-On!), Asuka Langley Soryu (Neon Genesis Evangelion), and Misaka Mikoto (A Certain Scientific Railgun) are other examples.

Sakura is the Gentle Giant. Her intimidating appearance contrasts with her noble and compassionate personality, playing on themes of inner versus outer strength. A prominent example of this on other media is actually her Death Battle opponent, Jonathan Joestar (JoJo's Bizarre Adventure).

Celeste is, obviously, the Gothic Lolita, but she also subtly plays the role of the mysterious foreiner despite being fully Japanese, since she fakes having an accent, and has a very French fake name. Celeste represents the "exotic" and enigmatic character often portrayed in Japanese fiction, and her gothic fashion and affected mannerisms tie into the lolita subculture. Other examples include Kuroneko (Oreimo), Beatrice (Umineko), and Elizabeth (Black Butler).

Mondo is the Yankii, or the Delinquent. He embodies the stereotypical Japanese high-school thug, with a hot temper, loyalty to his friends, and a love for his motorbike. His pompadour hairstyle is a hallmark of the yankii style. Ryuko Matoi (Kill la Kill), and Yusuke Urameshi (Yu Yu Hakusho) are other examples.

Hifumi is, quite obviously, the Otaku. Hifumi is a very blatant parody of the "hardcore geek" stereotype, obsessed with anime, manga, and fan culture. His exaggerated behavior and delusions about 2D characters highlight the comedic portrayal of this archetype. Daru (Steins;Gate) is another perfect example of this, almost exactly the same sterotype application as Hifumi.

Sayaka is the Popular Girl/School Idol, as well as representing the Japanese idol industry, with her cheerful demeanor and "pure" image masking the pressure and ruthlessness behind the scenes. Others in this role include Minori Kushieda (Toradora!), Yuna (Kakegurui), and a more recent example, Aira Shiratori (Dandadan).

Leon is the Lazy Jock character that reflects the stereotype of young athletes who excel in sports but secretly dream of pursuing a more "cool" career, like being a musician in his case. Ryoma from V3 also falls under this stereotype, though his story is a darker subversion of it.

Taka is the uptright Honor Student. He embodies the classic "serious student" archetype, obsessed with rules, discipline, and success. His personality mirrors the high-achieving but socially awkward individuals found in competitive academic environments, and he's none for being a stickler, and very loud in getting his points across. Tenya Iida (My Hero Academia) is an almost one-for-one identical representation of this.

Hiro is a caricature of the carefree, irresponsible fortune-teller/spiritualist, often seen as unreliable or comically inept in Japanese media. His archetype isn't as common, but Isshin Kurosaki (Bleach), as a comedic father figure with a flair for spiritualism, also falls under this umbrella.

Junko/Mukuro when she's disguised as Junko, evil antics aside, is the Gyaru, AKA, "Gal." They embody the stereotype of a trendy girl, usually one who dyes their hair blond, with a keen focus on fashion, appearances, and everything trendy. More famous examples are Marin Kitagawa (Dress-Up Darling), Minami Fuyuki (Hokkaido Gals Are Super Adorable), and Yukana Yame (My First Girlfriend is a Gal)

//Every Danganronpa character is some kind of trend/stereotype among these lines taken to the extreme, and in the case of Chihiro, he is a parody of "Otokonoko"

//Otokonoko, a Japanese term that translates roughly to "boy-girl" or "male girl," refers to a genre of crossdressing or gender expression where a male adopts traditionally feminine clothing, behaviors, and aesthetics. Often portrayed in manga, anime, and other forms of media, Otokonoko characters may appear as boys but present themselves in a way that emphasize femininity, sometimes to the point of resembling girls, though their gender identity typically remains male.

//In Otokonoko-themed works, the focus is usually on the character's appearance and performance of femininity, which can range from subtle to exaggerated. The genre can be used for comedic purposes, creating moments of confusion or surprise when others misperceive the character’s gender. While Otokonoko is sometimes used to depict male characters who are intentionally trying to deceive others about their gender, it can also highlight the character's internal struggles or desires to express themselves outside of traditional gender expectations.

//This ^^^

//THIS is what Chihiro is!

//He's not a statement on transgenderism, he is a PARODY of OTOKONOKO.

//A parody character in a game FULL of PARODY CHARACTERS.

//Chihiro’s decision to cross-dress and present as a girl stems not from a desire to transition or live as a woman, but from a deep-seated need to escape the societal pressures that define strength and masculinity. By a desire to hide his perceived weakness and to shield himself from the bullying he endured due to his fragile appearance and personality.

//His gender presentation is a coping mechanism, not an expression of gender identity.

//The experience of being transgender is rooted in a fundamental disconnect between one’s assigned gender at birth and their gender identity. For transgender individuals, transitioning is often a path to aligning their physical presentation with their internal sense of self, and it is a journey that involves a complex relationship with their gender, society, and body.

//For example, Four Kaiden was a boy at birth, and decided they wanted to be a girl instead. Kouji Ito was a girl at birth, and decided he wanted to be a boy instead.

//Chihiro Fujisaki was a boy and birth and decided he wanted to be a boy. But everyone around him kept telling him that he "wasn't very manly" so he PRETENDED he wasn't a boy so people would get off his case.

//And it's not something he ENJOYED doing.

//Chihiro’s arc doesn’t align with this process, as he’s not attempting to express a different gender identity but rather to adopt an appearance that matches the gender that he CURRENTLY identifies as.

//People are free to headcanon and portray Chihiro as trans all they want, I refuse to stop them, but CANONICALLY, Chihiro aims to be the boy that he was born as, and he himself IDENTIFIES as male, even though he pretends to be female. This is a key distinction.

//I do understand where the confusion and agitation comes from, though. Chihiro’s arc is still an interesting and powerful exploration of self-perception, insecurity, and societal pressures, particularly those related to gender.

//Chihiro's cross-dressing is a response to the unrealistic standards of strength and masculinity that are imposed upon him by both society and his own internalized beliefs. Chihiro believes that by dressing as a girl, he can escape being labeled as weak and fragile, two qualities that are traditionally deemed "unmanly" in his environment.

//What makes Chihiro’s arc compelling is not the twist about his gender, but the deeper emotional struggle he faces in coming to terms with his own self-worth. His internal conflict revolves around the desire to be strong, but not in a way that feels authentic to him. Rather than embrace traditional masculinity, he wants to cultivate his own strength, free from the narrow confines of gendered expectations.

//This isn't supposed to CONCIDE with the larger theme of toxic masculinity, it's supposed to highlight how the idea often forces individuals, particularly men, to suppress their vulnerabilities and present a facade of unyielding strength.

//If you think otherwise, I need to ask...Is Mondo just a NON-FACTOR in this equation to you?

//Mondo is LITERALLY THE MASCULINE CHARACTER. And in this case, his innate need to preserve that masculinity, and hide his weaknesses, makes him KILL SOMEONE!

//In what way was this trial framed to make you think you were supposed to APPROVE of that!?

//For me, when I'm looking back on it, the actual intent behind Chihiro’s character arc seems to be a narrative about self-improvement and the painful journey toward personal growth. Chihiro’s struggle with his self-image, and his eventual attempt to confide in Mondo, is about learning to face his fears and embrace his vulnerabilities rather than hide them behind a facade. His goal is not to fit into a specific gender role, but to find his own sense of strength and courage, free from the fear of judgment. In this way, his arc is less about gender identity and more about the universal struggle of reconciling one’s inner self with societal expectations.

//When Chihiro reveals his secret to Mondo, he is expressing a desire to be stronger, not by becoming someone he is not, but by confronting his fears and embracing who he truly is, even if that means appearing weak in others' eyes. This theme is supposed to resonate with anyone who has ever struggled with the weight of societal expectations, regardless of their gender identity, and Chihiro’s tragic end underscores the dangers of not being able to live authentically and the emotional toll that repression can take on a person.

//As someone who has seen Kazutaka Kodaka's ways on viewing things, I know for a fact that he is not transphobic, homophobic, or anything of that ilk. But it's not uncommon for him to present a deep idea in his work, and for it to come across in an absolutely implosive way that he didn't intend (V3-6).

/I personally think his intent in Chihiro’s arc seems to have been to portray the complexity of self-doubt and the journey toward personal growth. The twist about Chihiro’s gender serves as a plot device to challenge the assumptions of the other characters and to force them, and the player, to reconsider their preconceived notions about identity and strength.

//The issue at hand, therefire, is that the execution of this plot twist has been criticized for its clumsy handling of gender identity, especially in a modern world where transgender representation in media is often misrepresented or sensationalized.

//So all in all, rather than reflecting the experience of a transgender person, Chihiro’s arc is a story about confronting one’s weaknesses, internalized insecurities, and the difficulty of being true to oneself in a world that demands conformity. The twist regarding his gender is not meant to diminish the significance of gender identity but rather to highlight the emotional journey of someone who is grappling with their own concept of masculinity and strength. It’s about understanding that true strength comes not from hiding behind a facade but from embracing one’s vulnerabilities and learning to grow from them.

//It's just...important to keep in mind.

//As for Genocide Jill, she's...honestly a little harder to defend. But I'm gonna try.

//Genocide Jill is introduced as Toko Fukawa’s alternate personality, a violent and sadistic persona that emerges under specific conditions, such as extreme emotional distress or stress. Her dual personality is a key plot device that serves to explore the darker sides of Toko’s psyche, specifically her repressed desires and her history of abuse and trauma.

//Unlike a simplistic portrayal of DID, Danganronpa uses Genocide Jill to highlight the complexities of how trauma and emotional pain can manifest in different ways. Her violent persona is not something that Toko consciously chooses; it is a coping mechanism for dealing with her unresolved trauma and feelings of powerlessness.

//The reason why this is so hard to defend is that the concerns are extremely valid. Genocide Jill is not a clinical, nor is it an accurate, portrayal of D.I.D.

//But at the same time, it's not really trying to be. Not at all.

//Remember what I said about how the whole point of the Danganronpa characters is that they are comically exaggerated examples of typical Japanese stereotypes. Jill is a comically exaggerated example of D.I.D and mental fractures, in a way that rubs people the wrong way, but if you think about it, the basic premise, and how it comes about, is STILL THERE.

//Dissociative Identity Disorder is often seen as a response to trauma, particularly in cases of extreme abuse or neglect. In the case of Toko, Jill is a manifestation of the trauma she endured in her past thanks to the horrible childhood she had full of endless abuse and pain. The violent persona might represent an aspect of her psyche that is trying to reclaim power in a world where she otherwise feels completely weak and powerless.

//And people with D.I.D, while many are able to live with it, often struggle with different aspects of their personalities or identities that emerge in response to past trauma. Especially because they're not always in control of them.

//While Jill's violent outbursts and actions are extreme, her character adds complexity to the narrative by highlighting the ways in which trauma can affect someone’s behavior and their relationships with others. Her violent personality emerges in response to moments of vulnerability, and her relationship with Toko is crucial in showing how trauma can fracture an individual’s identity.

//Toko, who is initially ashamed and horrified by her other half, comes to accept that her alternate personality is part of who she is by the time Ultra Despair Girls comes around. This internal struggle and eventual acceptance reflect the ongoing process of reconciling with trauma and learning to navigate its effects on one’s sense of self.

//What’s significant is that, unlike many other characters who are defined by their extreme personalities, Toko's journey with Genocide Jill offers a more nuanced exploration of internal conflict.

//As the game/series progresses, Toko is never portrayed simply as "weak" or "messed up" because of her disorder; she is shown as a complex character who is learning to accept and integrate different aspects of herself. And even after Genocide Jack joins their group, as hard as it is to get used to her, nobody outright tries to keep themselves away from Toko because of her condition, as much as Toko believes they are.

//While Genocide Jill may have a sadistic personality, Toko is not solely defined by her violent alter ego; she is a multifaceted individual who struggles with vulnerability, fear, and self-worth. Making her more than just some mocking caricature.

//The criticism that Danganronpa makes a mockery of D.I.D comes primarily from the way Genocide Jill is portrayed as a comedic and exaggerated character, as well as ridiculous concept of a serial murderer.

//However, the key thing to note is that the game doesn’t try to provide a realistic depiction of DID. It’s using the condition as a plot device to further explore the darker and more humorous elements of the narrative.

//Obviously, that's not great, in and of itself, but Danganronpa is LITERALLY a Black Comedy game, a genre that very often involves absurd characters, exaggerated personalities, completely flippant portayals of mental unrest, and over-the-top situations.

//Jill’s larger-than-life nature fits into this tone, and her violent behavior is often played for laughs in the context of the absurd world of this game series.

//And that's really all I have to say about that. Again, believe what you want to believe, and think about it however you wish, but please, do not let these aspects take away from the sheer brilliance of this trial, because there are reasons for all of this.

//In conclusion, Game 1 Case 2 is a gripping and emotional rollercoaster that explores the complexities of identity, guilt, and trauma. While the portrayal of Chihiro's gender and Genocide Jill's DID may be controversial, these elements contribute to the larger narrative of fractured identities and the dark consequences of emotional struggles.

//Mondo's tragic motive, driven by a mix of jealousy and trauma, adds layers of depth to his character, turning him from a straightforward antagonist into one of the most remorseful killers in the series.

//And I love this case to death because of the way it stands out for its exploration of vulnerability, shame, and the high cost of secrets, making it a pivotal moment in the game's emotional journey.

//And with that, we have two more left...So what will be our runner up?

[llycaons]

finally found a fic where jc is a bit of a dick and acerbic and comes on strong but it's in-character and kind of funny and his actions are neither unforgivable nor glorified. lwj also has flaws in this one, which is kind of unusual, but it's neat bc neither of them are villainized nor treated as perfect

[captain-lovelace]

People are bribing others to vote for Glenn so in the spirit of fairness, send me proof of having voted Lovelace and I will send you a picture of my guppies and/or my cat!

Sexiest Podcast Character — Scripted Champion vs Unscripted Champion

[maximumzombiecreator]

I would actually like to know what you consider the basics of improv to be! If nothing else, you phrase these things really well and in ways I haven't heard before, and I'm also aware there's a lot of things I don't know (I'm in a student run college improv group, our theory might be a bit lacking)

Be glad to. A lot of improv stuff is just oral tradition at this point, passed down in musty school drama rooms and community centers, so everyone has to pick it up somewhere. When I've taught people before, beyond the basic definition of what an improv scene looks like, I usually focus on a set of do's and don'ts.

Do's:

Make offers, and make them good offers. A good offer should be strong and elegant, like a power lifter in a ball gown.

Broadly speaking, I'd say the strength of an offer refers to how much it establishes about the scene, and how much what it establishes is different from a theoretical "default" scene. Typically, you think about how much an offer is establishing in terms of the questions words: who are the characters, what are they doing, where are they, etc. An offer that establishes "two characters who are old friends since high school meeting up at a coffee shop to catch up" is establishing a lot, but it's still a weak offer because it's such a typical scene. You're not adding much that can't just be taken for granted.

When I say a good offer should be elegant, I mean that it should be as compact as possible while still doing a lot. The typical inelegant offer is verbose and unnatural. A character walks into a scene and says, "Hey, big brother Billy, I hope you're recovering from the illness you've had for the last six months, ever since our father died," or some other expository nightmare.

So, the best offers are both. They create a lot of unique, interesting details about the scene, and they do it quickly. Let's say you stagger into the scene, miming carrying something under your arm, and say, "Doctor! I've been decapitated again!" In five words, you've established who you and another character are, where you are, and why, and you've implied a lot of very unusual details about the scene, world, and your character's history.

When thinking about elegant offers, it's also worth noting that a lot of offers that you should be making are physical. Depending on the type of improv you're doing, you might be physically embodying objects and the environment, and if you're doing background like that you can add a ton of detail that the audience can pick up without friction. But even if you're not, you can establish location through miming actions, you can create details about your character through how you walk and hold your body, you can endow others with traits through how you physically react to them.

That brings us to the next do: make strong character choices and enhance other actors' characters. People have written whole books on what comprises a "strong character" but for improv purposes I'd focus on three details: quirks, status, and connections.

Quirks are fairly straightforward: what makes this character unusual? Establishing character quirks is the focus of a lot of improv games and exercises, and the best quirks are quick to establish, significantly inform the character, and are handled with enough sincerity to make the character compelling rather than only funny.

Status refers to how powerful and important a character is. High status characters will command the room, low status characters will be ignored or mistreated. Status might shift over the course of a scene. The sheriff is a high status character until the king shows up, for example. Status might seem like an obvious thing to figure out from a character's role, but it's useful to play with it. What does a low status king look like? What does an employee-boss scene look like if you decide your employee is higher status than the boss?

Connections refer to the relationships between characters. This is going to drive scenes more than most other character details, and you almost always want to avoid unconnected characters. Choosing a connection to an existing character is a very good first choice when entering a scene, as it should immediately suggest a direction for the scene to take. This is also a reason to favour unusual connections. If two actors are in a scene where they're arguing about a fender bender they've been in, you could choose to enter as one of their friends, but it'll be far more dynamic if you choose a more unusual connection. What if you're one of their anger management therapists? Their boss? Their dominatrix?

In addition to creating your own character, you should add to other actors' characters. The main way you do this is endowment, giving the character traits through your offers. Direct endowment is when you simply ascribe them a trait. If you say, "Bill, you've been mayor for the last ten years," then you're obviously giving them the trait of "mayor." But there's also indirect endowment, where you add something to a character through part of how you react to them. If you flinch when another character moves suddenly, you're endowing them with the traits of being dangerous and erratic. If you speak to them very slowly and simply, you're implying something about how intelligent your character perceives them to be.

Putting it all together, the last big thing to do is build up. There can be a temptation in improv to build out, to add new details to scenes that sort of sprawl outward from the original premise. Try to avoid that. When you add new details, make them ones that build on the existing details. Instead of adding new tensions or conflicts, raise the stakes of existing ones. Reincorporate and re-contextualize things that have already been established. Incorporate audience suggestions repeatedly, using them to colour other offers.

Don'ts:

No blocking. This is the one even people who don't know improv know. If someone adds something to the scene, go with it. Don't reject or ignore offers, incorporate and build on them.

No wimping. Whatever the scene is, whatever your character is, whatever offers are made, fully commit. Bring all your energy to it. If someone says your character is on fire, don't just stop, drop, and roll and then go back to whatever else was going on. That's wimping. Be the most on fire that you can be.

No dithering. When you're in a scene, always be adding to it or moving it forward. Saying something that just fills space, at best makes a joke, and doesn't add to the scene is bad form, it doesn't give other actors anything new to work with. If you're dithering, you're forcing other actors to pick up the slack. This is called "gagging" if you're being funny by not adding to the scene, and is a great way to be popular with the audience and have everyone else hate you, don't be that person.

Don't make yourself look good at the expense of your scene partners. It's okay to get laughs at the expense of other characters, but not at the expense of other actors. Help others get into the scene, develop their characters, and give them things to respond to, add onto their offers.

Related to the above, don't steal the spotlight. If there's a scene going on that you're not the focus of, you should be trying to figure out how to enhance what's going on. Everyone can tell when an actor can't bear to be in a supporting role, and it's not a cute look.

More than anything, don't betray the trust of other performers. All theatre requires trust, but improv requires so much trust. If you lose that trust, you're done, you've got nothing.

[adventures-in-mangaland]

Even More Dead Boy Detectives Fic Recs

I've discovered some amazing new authors since my last post! And writers I've already recced have published more great stories So here's another fic rec post!

Who? You mean your teammate in the Codependency World Cup? (series) by RoseGanymede95

I couldn't chose! They're all great! Basically a series of Edwin and Charles through the years and on cases pre-show. It scratches that adjusting-to-being-dead/newly-escaped-from-Hell itch and the authors writing is magic! It also fleshes out a really interesting conflict in the payneland dynamic: Charles' drive to protect Edwin at all costs clashing with Edwin's guilt over putting Charles at risk/depriving him of some ideal afterlife. Parts one and four also introduces Constantine/Johanna and part three revolves around an absolutely gut-wrenching temporary break-up. 😢

In Hell I'll Be in Good Company by laylabinx

Charles rescuing Edwin from Hell does not go smoothly. Just. Bucketloads of Trauma for both of them. And for you, the Reader. It's so good though!

your fangs in my neck (like an anchor like a vow) by shadowquill17

Vampire Edwin AU! It's great because it combines the (homo)eroticism of vampiric feeding with Charles' whole bisexual crisis and post-confession Edwin worrying about making Charles uncomfortable. Also Charles is some kind of demigod/immortal agent of divine vengeance which is an AMAZING detail and I desperately want to see some fanart!

The same author's ongoing story to the pain is also excellent though very angsty (cw temporary character death). I'm anxiously waiting for an update!

To Memory Now I Can't Recall by engineering_madonna

This is an amnesia fic and the most recent in an established relationship series. The first two installments feature the boys getting together and navigating their new relationship, so pulling the old 'character A forgets their whole romantic relationship with character B' trope hits especially hard! The whole series is lovely, but I am WEAK for temporary-amnesia.

Lemonade & Sunrises by paraph

A Quiet Place AU! The boys are alive, but they're the only ones. Very bleak but in a way that makes me want more!

1999 au (series) by websters_lieb

The boys figure their shit out in the 90s. Also, Edwin gets to read Maurice and queer theory. The cases in both stories are compelling and the author's writing and characterisation of the boys are excellent.

I also recommend offer me that deathless death which is about the boys' first meeting, Charles' funeral and the birth of the agency.

if I could reach the stars (i'd give them all to you) by ObsessedWithFandom

Charles falls first, Edwin falls harder. This is an AU of the author's excellent Charles' bisexual awakening fic, which I also highly recommend. It has lovely OCs and Charles having a sweet little friendship/romance with the boy he saved in canon, which actually makes his death a whole lot more tragic.

Came up from that lake of fire by ghostinthelibrary

Charles and Edwin get caught escaping Hell and promise to capture a demon-eating ghost called The Deathless in exchange for their freedom. With the added twist that they get to be alive again! An exciting case, high stakes and all the alive-again culture shocks and emotional/interpersonal drama you could ask for.

gig officially gigged by laiqualaurelote

Band AU! It shouldn't work but it does. Which might also be an in-universe review for the band tbh. Idk, I loved Edwin's massive obscure musical instruments and Charles being his unpaid roadie. Peak Found Family Feels.

No Rehearsing It, No Reversing It by DontOffendTheBees

Charles overthinks being in love with Edwin, my beloved. This time with increasingly flimsy pretexts for why they NEED to kiss. Just perfect Idiots in Love, no notes.

The Case of David Bowie's Made up Sexuality by williamvapespeare

The agency attempt to help a living lesbian couple deal with a haunting. Meanwhile, Charles struggles through his bisexual (re)awakening. With bonus past (living) Charles no-homo-ing himself to the nth degree. Pure of heart, dumb of ass, indeed.

The lamps are going out by CasiHuman

Vengeful Spirit Edwin AU! Has some interesting ghost lore and Edwin being convinced his touch is painful to Charles (love that trope!). Also features some of the author's adorable/hilarious fanart at the end.

just frame the halves (and call them brothers) by Anonymous

Crystal stumbles upon the ghost of Edwin's older brother, who hires the agency to free him and his platoon from the battleground they've been haunting. Case fic with interesting details about Edwin's family life and an awkward as hell family reunion.

the case of the very long ferry ride by obsceme

Sex pollen but with skin hunger, so it's more touching turned making out and hand jobs in a bathroom. Interesting use of ghost lore and it's cute and well written.

Form 239, Schedule L by sanctuary_for_all

Charles Rowland's Love Language is Acts of Service: The Fic. So many feels! Plus Afterlife worldbuilding and some quality Night Nurse rep.

don't go sharing your devotions (lay all your love on me) by Hephanna

The boys and Crystal accidentally summon an alternate universe version of Charles. He's very... handsy. Charles being jealous of himself is objectively hilarious and it looks like it could be heading towards throuple territory. Possibly even a foursome, if alternate Edwin figures out parallel universe travel. Which he probably will.

Still a Better Lovestory by Vamillepudding

Hanahaki disease! Charles is on the case but Edwin's being weirdly uncooperative about his own curse. I loved the worldbuilding (there's a whole sisterhood of washerwomen!) and the angst, plus the writing is excellent.

The author has also written Eternal Sunshine, in which Edwin is cursed to feel no love of any kind. It makes for an interesting character study, contrasting cursed Edwin, his public reserve and his actual personality.

[the-moon-ate-my-stardust]

Okay literally no one asked but as a former Hobbit movie hater who has since experienced character growth, I feel compelled to share my thoughts on the movies on my gay little blog.

Listen. There are legit reasons to be critical of these movies. They were made on a rushed timeline, at time where CGI overuse was the thing and there are definitely unnecessary moments. But despite those issues, these movies still have a lot of heart and character and some really wonderful acting! To compare them to LOTR, is unfair I think because LOTR was such an unimaginable success and I truly believe no other movie franchise can do what those movies did. To expect the Hobbit movies to be the same caliber considering the behind the scenes drama and massive difference in timeline is just not it.

Truly I think that the Hobbit could have been much more than it was and it’s sad to see the amazing moments and realize that we could have had movies that were maybe closer to the level of LOTR, but that doesn’t take away from all of the great things that the movies gave us! Despite what he may be like irl, Martin Freeman was a great young Bilbo, Richard Armitage was insanely good as Thorin (despite the change in age) and the other dwarf actors brought a great sense of loyalty, brotherhood and shared loss to their roles. The music is still dope as hell and there are some beautiful shots despite all the CGI.

This is way too long and I’ve not said anything that hasn’t been said before but honestly, I’m so glad that I stopped hating on these movies and have seen the special things about them. Nothing will ever compare to LOTR, but that doesn’t make these movies bad. They’re fun, they’re emotional, they have great characterization and it’s super valid to enjoy them.

Final gay thoughts because I’m obligated, but I struggle with people who argue against Bagginshield with the whole “why does everyone have to make everything gay?” thing. Because Hollywood is so deeply homophobic that we see so little genuine queer representation, so forgive us for enjoying the chemistry we find and making it our own since our society gives us breadcrumbs. If you’re not into Bagginshield, totally legit and fine, but don’t hate on other people (especially queer people) trying to find some romantic love in media that we enjoy. Also no one can convince me that Richard Armitage wasn’t at least somewhat intentionally putting his queer energy into this role, I will die on this hill.

Anyway, TL;DR there’s no shame in liking or loving the Hobbit movies despite their faults and there are lots of things to appreciate and enjoy and I for one, am glad to leave my LOTR purist hater days behind me

[lala-blahblah]

Character flaws that would have been more compelling for Will to have to overcome in TSATS instead of "uh oh my boyfriend is a little bit edgy and that came as an unexpected shock to me even though he wears black and has emo bangs":

Struggling with setting boundaries and being honest when things bother him. As a healer he always has to put other people first, it would be interesting to see him approaching a relationship the same way where he feels the instinct to put Nico's feelings and wellbeing above his own, following him into Tartarus even though it is extra hard for him as a child of Apollo to be down there. It feels so much more authentic for Will to keep quiet about his negative thoughts rather than to blurt out all these criticisms about the underworld. And then Nico could feel hurt that he's hiding something from him for the drama, and Will could grow by allowing himself to communicate better even if he has negative things he wants to talk about

Fear of abandonment but ground it more with his real experiences instead of him just randomly panicking about Nico leaving him behind. Michael and Lee both died and left him alone after he got close with them. His dad was generally distant his whole life, he finally got to spend time with him but only under dangerous circumstances and all too soon hes gone again. Will's mom was the only constant in his life but after monsters started attacking he had to live at camp away from her for most of the year. This results in generalized superstition and anxiety that every time he has a good thing the universe takes it away from him, maybe it makes it harder for him to allow himself to get attached in a deeper way. It would be interesting to see him being the one that was more upfront with his emotions and about liking Nico at the beginning, but as their relationship goes on he struggles with more serious things like saying I love you or imagining a future together because he feels like once he does it will be taken away.

Flip the TSATS struggle on it's head and have Will secretly be very into all the dark underworld stuff but feel like he has to repress that because it's weird and people judge him. Being a healer is already a little dark and intense, I feel like Will wouldn't be scared of the undead but somewhat fascinated. Like you're telling me he wouldn't love to examine a walking skeleton and see how the bones move and connect? Growing up as a son of Apollo everyone expected him to be sunshiney and positive and so he tried to hide his weirder interests but oh my GOD he has so many questions for Nico about underworld magic and it's so hard to play it off. You could still emphasize the yin and yang of Nico having lightness and Will having darkness but make it feel less judgemental to Nico this time

Basically I just take it as a personal offense that Will would ever be critical of Nico's sarcasm and grunge aesthetics. HE'S INTO IT!!! HE HAS A THING FOR EDGY MEN OK!!! THIS IS THE GUY WHO SAID HE WOULD GO ON A DATE WITH DARTH VADER just you TRY and tell me that prequels Anakin was not his bi awakening and the blueprint for all his future crushes.

[incandescentflower]

You can always tell when the writing for two characters and their conflict is compelling because you start to see continuous fights break out about which character is "right."

But in the case of Let Free the Curse of Taekwondo in particular, it really feels like the entire point of this drama is being missed by a mile to engage in that kind of thinking.

It does remind me of that quote from Blueming that my mind comes back to from time to time.

About pain, it's an absolute thing for a person. It's not something you can compare. If I feel pain, then it is pain. No body can judge you.

Some very wise words about how pain is not something that can truly be compared. And I do think those ideas continue through this narrative as well, but with the nuance of what if it's the person who you love that hurts you because you are both trying to manage that pain.

I know for many people it comes down to how one person treats the other - either directly (Dohoe pushing on Juyoung, challenging him, trying to make it seem like he can cut off Juyoung because it doesn't matter) and indirectly (Juyoung keeping a relationship with Dohoe's father who was both their abuser, pushing him to confront things he isn't ready to confront, thinking he needs to protect Dohoe from himself by keeping the gym even when that is the opposite of what Dohoe says very directly).

It's interesting because I identify with Juyoung's way of dealing with this trauma more, but it doesn't make it the correct way. And I do feel like the story is trying to say that. The 12 year separation really emphasizes that you can't make someone else deal with their trauma on your timeline no matter how much you love them. Love isn't this magic balm. You can't save someone else. But love can be a brightness in the dark, love can be hope. It's a really beautifully nuanced message.

And when you love someone you can hurt them and be hurt by them. You have to be able to see outside yourself and listen to the other person's needs to be in a relationship. And sometimes you have to decide that loving that person is too harmful to you.

It's Dohoe we see struggling with this, thinking loving Juyoung might be too harmful to him, thinking him loving Juyoung is harmful to Juyoung.

Juyoung is not thinking of that harm so people want to protect him, but that is about his own issues he also needs to deal with. He is just as responsible for figuring out his boundaries and deciding what he can manage and what he can't. He has to communicate his truths to Dohoe. There is still so much that he has held back.

And we see him start to do it. We see Juyoung calling Dohoe out on not saying how he feels and retreating so quickly. We see Juyoung saying what he needs. We see them starting to communicate, starting to smooth some of those edges and we can only hope they keep doing that.

Juyoung apologizes to Dohoe, but it seems like it's for trying to push Dohoe too hard too fast. Dohoe is being very clear about what he needs and Juyoung is now finally listening.

It's like a quote from To My Star (another Hwang Da Seul drama) I think of often:

I really like people like you. People who have their walls up. They seem really strong.

Dohoe's shutting things out is what has helped him survive. You can't just open the flood gates up all at once. Dohoe's avoidance is his protection and you can't just bulldoze it down.

This is a dance of loving someone where their needs are in direct conflict with yours and trying to manage that and figure out how much you can accept a little less of them or give a little more of yourself and hopefully bit by bit you come to some place in the middle together.

[yamisnuffles]

DATV Spoiler Free Review

I beat Veilguard a couple days ago and have had some time to let it settle in my brain. So, without getting into the nitty gritty and more spoilery things, here are my overall feelings on the game.

The Great:

The world itself. The scenery. It was really gorgeous and felt fully alive in a way that none of the previous games have quite managed. Since it wasn't as open world as DAI nor as narrow in scope as DA2 (nor as old as DAO lol), it felt more vital. Definitely a place where the advances in graphics helped, I'm sure.

The Good:

The companions. I wouldn't say any of them blew me away but they all at least ranged from enjoyable to very good. I definitely had my quibbles here and there but I think they were all pretty solid. As such, though I've only done one romance, I'll suppose they're all good. A bit... sparse in my experience and from what I've been hearing, but nice enough.

Overall, I also think the story was pretty good. Like much in this game, nothing that blew me away, but solidly compelling.

Also, mechanically, the gameplay and the glamour system. It still doesn't feel like DA to me but it was enjoyable once I got used to it. It works well with how I play games. And it was nice to just set looks for myself and my companions and not worry about stats vs appearance.

Rook. I have some definite Complaints, and so this point is probably closer to the good to mid range, but they did a pretty good job with letting you pull in your faction stuff. I'm prevented from saying great because it feels like, even with what are supposed to be rougher dialogue choices, you're limited to being mildly pleasant.

The Mid:

The music. This is tragic to me because every previous game had some really standout songs and DAI especially was such a solid soundtrack. I love soundtrack music. Also because Hans Zimmer! I love Hans Zimmer. But the entire thing felt very generic epic fantasy to me. It wasn't bad but it didn't feel good. The only times I ended up moved by the music was when they lifted DAI songs.

The lack of imports. It wasn't the end of the world but did make some cameos feel really off. And for all the talk of making what few things were imported matter, that really didn't feel like the case at all (unless you were in a specific subset of players). I didn't care too much, but it was just enough to make things feel weird, especially with characters like Harding who are so attached to previous stuff.

The Bad:

The world felt so sanitized. I have no issue getting rid of real life bigotry that makes so sense in the context of the world. For example, the sexism in DAO especially made no sense. That said, there was a lot of in world nastiness that is just... gone. The game does a lot of telling us the elves have it bad but doesn't show it. No one bats an eye at a Tevinter mage running about outside of Tevinter. No one cares about a Qunari in occupied Treviso. I suppose it's not the worst thing in the world but it feels weird, especially when it's so central to Solas' motivations.

This sanitization carried on through pretty much everything. All of the factions are presented as good and heroic, even the ones that are historically pretty shady. Your companions are all pleasant and palatable. They have the occasional minor squabble but even when they almost have actual beef, it's solved super easily. You might get some disapproval for decisions but companions never seem to much care or hold it against you, even on really big things. I don't need DA2 levels of interparty drama but, boy did I want a bit more tooth sometimes.

The Awful:

I can't get into it without spoilers but it did a Thing that Bioware sometimes likes to do that I absolutely loathe. This is definitely personal but it ruined some of my desire to replay.

Overall:

I'd give the game a 7/10 or maybe 6/10, depending on how I'm feeling. It was enjoyable for the most part but it had so many things that felt like splinters. Lots of little things that stuck under my skin and bothered me. Would I recommend it? Genuinely depends on the person.

[pookie-mulder]

My Holy Grail Fics

After the past several months of reading TXF fic, here are some of my ultimate faves so far! I’d love to know what your holy grail fics are, as well. This fandom is full of incredibly talented writers!

(Also, if have any recommendations of fics you think I’d like, send them my way!)

The Boy on the Beach by @cecilysass

I read this entire thing yesterday. Ooh boy was it a page-turner! Time travel in fiction can get dicey, but this one handles it so well. I love how the time travel plot forced M&S to confront themselves and their pasts in order to better understand each other and move forward in their relationship.

Gaslight by @sisterspooky1013

This one should come as no surprise to you. It’s rare that a fic consumes my every waking thought and I spend every free second reading as much as possible, and boy, this fic delivered. I’m such a sucker for stories like this one where the character(s) don’t know if they can trust their own minds and have to really dig deep inside themselves to find the truth.

Pause by @cecilysass

Similar concept to Gaslight as far as the amnesia goes, but totally different vibes! I love the dramatic irony of the reader putting together the pieces before Scully does. It’s agonizing in the best way!

Fall Into Place series by @skelavender

My favorite WIP fic! I look forward to reading the newest installment every Friday. I adore the slowburn, UST, teetering-on-the-edge-of-something-more MSR, and LT is the master of it! This series is filled with heart-squeezy moments that make me feel like I’m melting into a puddle of goo.

X-File #02291996 by @skelavender and @7crowsinadress

Time loop my beloved! Such an interesting (and 🔥🔥🔥) take on this trope. I can’t wait to see where it goes!

Arizona Highways by Fialka

I’m always down for an Emily AU, and this one has such a compelling, angsty twist and an air of mystery that forced me to keep reading late into the night!

Tempest by MissyPennington

I love a good survival story! There’s something so delicious about two people leaning on each other both physically and emotionally to keep going. The follow-ups are incredible, too!

All That Is Dark and Bright by @malibusunset-xf-blog

Amazing Emily AU! Dad!Mulder is my weakness. Plus, I love the way they figured out how to treat her illness. It really felt like something that would happen in canon.

I’ve Got You Under My Skin by cuits

Beautiful soulmate AU! Only M&S could have literal, undeniable proof they’re soulmates and still overthink their relationship to a ridiculous level. And I ate it up! Give me the angst! The drama! The tension!

Emily AU by skuls

Last Emily AU, I swear! This series melts your heart in the first installment, crushes it to pieces in the second one, and then makes everything better in the finale.

Update 7/16/24

Here’s some more!

Blinded by White Light by @dashakay

Omens by lepusarticus

Heuvelmans’ On the Track by The_Mythopoedic

Finding Rokovoko by prufrockslove

Belphegor’s Prime by prufrockslove

[thebirdsareafterme]

maxiel, galex, scaniel, brocedes!

OOOH OK I am ready.

Maxiel: makes sense, compels the FUCK out of me

I genuinely don’t think there’s been a ship that has compelled me like Maxiel. They make me so insane and I’ve spent the last 8 months of my life going up and down all 200ish AO3 pages in the tag like some kind of deranged possum, searching for more Maxiel content. They just make so much sense in my mind. You have Max, who has been taught his entire life that his only purpose in life is to win races, who is this angry, strung up little kid when he first joins F1…and then he meets Daniel, who is so kind and charismatic and has always been taught to enjoy the moment and the process of it all and just treats him with so much love even when he’s not winning or when he’s getting criticized by the media…and Max finally learns how to enjoy life outside of racing for the first time. Even outside of the general RPF scene of it all, the absolute pivotal Maxiel moments are so important and have so much significance in the grand scheme of the sport. Daniel leaving Red Bull because of Max (to an extent) which then caused a ripple effect on a whole bunch of people’s careers and ultimately led to the Horrors that we are currently living through, but at the end of the day, it’s about “If it can’t be me, I’m glad it’s him” and that fastest lap into “Thank you, Daniel.” Yeah, I could talk about them for DAYS if given the chance.

Galex: makes sense, compels me

They’re everythingggg to me. I love the childhood friends to lovers thing they have going on. The Galex lore is so interesting, like the throat infection incident, the collarbone biking accident, the whole thing about George being Alex’s hype man/personal photographer as a kid… underrated ship fr. They have the best chemistry and their sense of humour actually work so well together, and I NEED more content from them. I also CANNOT ship either of them with anyone else because it just does! Not! Work! In my head. They are each other’s ride or die and I love that for them.

Scaniel: makes sense, does not compel me

I love their friendship a lot and I think they have so much weird gay energy between them, but unfortunately my day one Daniel ship is still Maxiel. I think Scaniel has potential for growth, but unfortunately they do kinda give off besties to me. I will admit they have had some good, shippable moments, but Scotty just feels like a straight man in my mind. I think it’s just the DR effect (every man within a 5 mile radius falls in love with him) that drives this ship forward tbh.

Brocedes: makes sense, compels me A LOT

THIS is THE SHIP of all ships. The lore goes so hard and it’s so devastating to me. I’m a sucker for a good childhood friends to lovers to enemies storyline, so they are right up my alley. It’s just the most insane story that when I tried explaining it to my casual F1 fan friend, they asked me if it was from a movie and I was like NO! This is irl!!! The way that they have a 6 hour, 3 part YouTube docuseries about their relationship is crazy. No other ship has as much angst as them, and no one will ever come close to being them. It’s the way that they fundamentally are a part of each other’s careers and that you cannot mention one without the other, it’s the way that Nico talks about that era of his life and how he could only stomach their childhood favourite cereal on the weekend before cinching the championship, how he ruined his body and soul to beat Lewis and how his retirement changed Lewis’ whole outlook on the sport!!! And through it all, there is an awkward third-wheel in the form of either Daniel Ricciardo or Sebastian Vettel just smiling through the most disgusting vibes a room could ever have, which, in my opinion, adds to the whole drama of the ship. This ship has so much narrative and character and it is so so devastating to think about, I need to see or make a Brocedes movie before I die.

[avianconcept]

Lucas Johnson, and why he was one of my favorites in TSC.

I see a lot of people hating on him for his reactions + actions towards Jean in TSC, which is fine! Everyone’s allowed to not like characters, and we’re all on Jean’s side! Lucas enabled a really traumatizing and dangerous situation. But I keep seeing these posts referring to him as an asshole who Jean should have revenge of some sort on, and I’m like ??? 

I thought Lucas had one of the most interesting arcs in TSC, and tied in really well with one of the central messages of the story. I think he’s a character who is in a lot of distress that he is unprepared to handle, and is still seeking the painful truth. Yes he was a dick to Jean several times, but I don’t think this makes him an Evil Antagonist or a little shit or whatever else he is referred to as. I found Lucas and Jean’s plotline to be one of the most compelling in the whole book. It made me think about how much knowing the truth matters, even if it can’t change the scenario. This is going to be a long and unstructured mess that is sort of about Lucas, sort of about the Ravens vs Trojans, sort of about themes. I apologize in advance, but this has been kicking around in my brain since I finished TSC the day it came out. 

I’m going to start with the straightforward bit: why I personally think Lucas is over-hated, and why I liked him. 

I think most of it comes from the fact that we as readers forget that not all characters are operating with the same information and perspective that we are. Our perception of the situation is informed by Jean’s POV– in a lot of ways, his perception is ours. So we have known from pretty much minute one that Jean isn’t an asshole, that the rumors about him aren’t true, and that Grayson is a serial rapist. So when we see Lucas not believing Jean, questioning him or calling him a whore, we see it the way Jean sees it: a nosy, rude, foolish man who is going out of his way to make Jean’s and his own life difficult unnecessarily. 

But when you think about it from Lucas’ POV, remembering that Lucas does not know the things we know about Jean and Grayson, Lucas’ actions make a lot more sense. 

Imagine, for a moment, that you have an older brother. You grew up together, you played the same sport, you loved him. And then he leaves, and goes no contact out of the blue. You try and try and you can’t get a hold of him, even when you join a college team yourself. But then one day, after his team falls apart, he comes home. He comes home angry and wrong and you can barely recognize him.The only way you can get him to engage with you is about this ex teammate of his. He gets angry, attacks you, hits you until you lose teeth. The rest of his team is being put in inpatient care in psych hospitals. You’re not sure whats wrong with him, only that this is not the brother you loved– there is something very wrong with him, and the only thing he’ll talk about is Jean Moreau. 

I feel like when we see it this way, it isn’t hard to get why Lucas came out so hostile when he met Jean. Jean was already surrounded by this (false, unfair) media perception, and then Grayson talks about how much he hates him. When you bear in mind that Lucas has known Grayson his whole life (minus the last four or so years), and Jean for about two minutes– it doesn’t surprise me that he does not immediately take Jean’s side. I’d even go so far as to say that it would make no sense if he did. ESPECIALLY when from Lucas’ POV, Jean starts saying all of this horrible (true) shit about Grayson, which has got to be a sore spot for Lucas atm. Because Lucas doesn’t understand that 

Sidebar: I don’t say any of this to blame Jean, or say that Lucas is without flaw– I say it because it’s a really well written conflict. In both characters' heads, they’re each making perfect sense. It’s irritating to me in books when the author has thrown in a conflict for drama only, by making two characters hate each other for no reason. This situation is really compelling to read about for this reason. 

I’ve seen a few of takes along the lines of, “How dare Lucas keep pushing Jean for answers/bring Grayson to the Gold Court/not believe Jean when Jean is CLEARLY traumatized.” And I get it– it was painful and frustrating to see him not understand. But also I think we as longtime lovers of AFTG have had ten-ish years to get used to the Foxes, and their understanding of trauma. For them, the parts of trauma that are triggers and erratic behavior and strange boundaries are navigated almost instinctively because it is all of their lived experience. They all (mostly) learned the language of when to push and when to back off because they have areas themselves that they don’t want to be asked about. Though they don’t use therapy speak, and though the way they deal with it often ranges from unorthodox to downright problematic, they have an understanding of the weight of what they’re working around. 

Lucas Johnson does not come from this world. He does not have this understanding– it is likely that the first time he was afraid in his own house was when Grayson came home. Now, compared to how gently and tactfully some of the other Trojans handle Jean, like Jeremy, Cat, and Laila, or even Cody and Xavier knowing to back off about Jean’s scars; Lucas isn’t doing so great. He could have been better. There are a few things to consider though. 

One: None of Jeremy, Cat, Laila, Cody or Xavier have as much of a personal stake in this situation as Lucas does. For them, it's an issue between two teammates, not the brother they’re slowly realizing they don’t know anymore. 

Two: There’s been two instances of drama mentioned, one being whatever Cat’s freshman year drama was, and two being whatever Jeremy’s banquet situation is. So the floozies might actually have a little more of a clue about how to deal with difficult situations. 

Three: Lucas is also undergoing trauma. He had the shit beat out of him by the brother he so desperately wanted back. He’s realizing the brother he loved may actually be dead. That is traumatic and painful and does not make someone act like their best self. 

All of this to say– he goes about the situation in a really indelicate, inexperienced way, makes some really bad judgment calls, and I think that makes a ton of sense! 

ANYWAYS. God. 

The reason I think Lucas ties in really well with one of the main messages of TSC is how he reacts as he finds out more and more about Grayson. In his final conversation with Jean, he is grieving, afraid, and in shock, but he is willing to accept that Grayson is not the man he knew anymore– that Grayson turned into something horrific. 

Lucas, upon realizing this new information, doesn’t cling onto his old world view. He doesn’t try to find ways to spin it to keep his brother in the right and Jean in the wrong. He faces the evidence in front of him, and makes an effort to realign his perspective with what he now understands the truth to be. Put a pin in that for a second. 

One of the messages of TSC seems to be that to look away when you know something malignant is going on is an act of violence. 

Jeremy is the one who outright says it, I will not look away, but that sentiment is echoed in the actions of so many characters. Cat and Laila’s continued rejection of Jean’s scrimmages excuse for his injuries. Neil looking for more than a second at the state Jean was in after Grayson’s attack and realizing something was wrong. Lisinski not brushing off Jean’s reaction to the water and banning him from swimming, to keep him from doing it anyway. Xavier, Cat and Cody’s reactions to Jean's scars. Over and over again we see people refuse to look away. 

Think about the Nest, about the sexual assaults Jean’s freshman year. The backliners who assaulted him all knew Riko put them up to it, but none of them ever said it outright. This implies that everyone outside of the backline doesn’t know. Jean caused a stir because of his age and how quickly he changed partners– which means the Ravens knew he was sixteen. The Ravens, though they are psychologically screwed now, came from normal lives. Even though they didn’t know about Riko’s involvement, at least a few likely understood the concept of statutory rape. We know Thea at least saw what was going on, we know Zane KNEW about the assaults, Kevin apparently understands ‘half the truth’; either way, at a certain point, metaphorically or literally, they all turned away from the truth. 

This extends to Riko’s abuse of Jean and Kevin, too. Jean mentions that he and Kevin went to great lengths to hide what Riko was doing to them from the Ravens. But, given the level of forced proximity on the team, I think that even with these layers of secrets, it isn’t insane to think that the Ravens likely saw clues. They apparently knew Riko was violent. They know Tetsuji is, so really, how big of a stretch would it be? In Lazarus, Renee notices that Zane sounds hesitant when he says that Jean was with Riko, which implies that he does have a clue what's going on in that sense.

I don’t say all of this under the impression that the Ravens could have stood up to Riko or Tetsuji, or put a stop to much of it. I say this to point out the significance of the truth, and acknowledging or avoiding it. 

The point is– for these lies to work, for the story to hold, everyone around them had to reach a point of Looking Away. 

Looking away from someone in distress and accepting the simple narrative is easy, but the right thing is always to not look away. To keep looking until you see the whole picture, because the person you’re looking at is worth it. Even if it can change nothing, the truth matters.

To me, Lucas does this! When you think about it from his POV, he has SO MUCH MORE of a reason to believe Grayson. He was a reason to want Grayson’s version to be true. If Grayson is telling the truth, then Jean is a whore and an asshole and maybe, just maybe, Lucas can still have his brother back. Sure, Grayson’s hurt him, but that could just be stress and Raven related trauma. Not acknowledging that Grayson has crossed irredeemable lines leaves the door open for Lucas to keep the version of his brother that he dearly loves and misses. It would be easier for him to double down, to deny and defend. To buy the easy, common story  And yet he doesn’t. He questions and starts to see his brother differently- he BELIEVES that his brother could be different than the man who left four years ago. He does not blind himself to the things he's seeing and hearing in favor of holding onto some false, memory version of Grayson. To me, that takes an immense strength of character, and a commitment to what is right.  And that is why Lucas was one of my favorite

[opbackgrounds]

To be somewhat fair to OPLA, I don’t think the issues with the structural and story issues of the season can be entirely chalked up to “execs gonna exec.” A lot of it feels like it’s because the standard formula for live action television just feels fundamentally incompatible with the thing they were adapting. Live action tv’s comfort zone can be summed up as two people sitting in a room commenting on the plot, and then every 10-15 minutes the action (or “action” depending on the genre) happens. Which is a format that has made for some truly great, critically acclaimed television, but is fundamentally at odds with action-adventure/roadtrip format of One Piece. Between the inclusion of Garp and weird structural issues like characters randomly vanishing or plot points being immediately resolved/dropped, it feels like the live action adaptation is dragging its source material kicking and screaming into fitting that structure.

Season 1 was always going to be a little weird because they were going to have to make an overarching narrative where one did not initially exist in the manga. TV shows almost always utilize an A and a B plot story structure, so the marines were slotted into that B story arc role. This worked pretty good for Coby and Helmeppo, with the added bonus of them being able to adapt their cover story, but the Garp material was bad and the pacing of these scenes was also bad. However, I think it’s important to note that characters sitting around in an office set that can be reused for multiple episodes (or a set like Baratie that was already built) is cheaper than the island jumping the Straw Hats were doing. It was an efficient use of the budget for Garp to be the B plot, even if it mangled his character. This is and will continue to be something the live action will have to fight against for as long as it exists, so I would say get used to characters sitting around indoor sets talking. Otherwise an already ridiculously expensive series would just get exponentially more expensive.

TV shows also typically use mid season twists to help drive the narrative towards their second half, and as much as it pains me to say it, revealing Garp is Luffy’s grandpa early makes for a really good mid season twist. It recontextualizes everything that came before it and sets up a compelling drama for the episodes that come after. I’d have no problem with this, except, again, Garp was written really, really poorly.

The Alabasta saga has none of these problems. There is a natural marine B plot with Smoker and Tashigi that already exists in the manga with them spending a lot of time talking in offices (Crocodile also spends a lot of time hiding in an office so bonus points there, although if they are going to CGI some giant bananadiles that’d be expensive). There is an overarching narrative already written where one did not exist in the East Blue. And there is a compelling mid season twist in revealing Vivi is a princess. But by splitting the saga the live action is now going to have to come up with a narrative arc ending for the season where one does not exist in the manga, creating almost the opposite problem of season 1. Wapol as he is in the manga does not make for a compelling end of season villain like Arlong does, and I suspect that they’re going to turn Mr. 3 into that role instead just based on who they cast.

Now, while I think the live action did a good job capturing the Straw Hats, the blistering pace for season 1 meant that very few of the side characters that are so important to the manga got time to breathe, or really even exist (rip Gin), and slowing down the pace will help alleviate that flaw. The giants on Little Garden will have time to shine. Zoro vs 100 Baroque Works agents will have time to exist. The live action onlys will get it cry over a giant whale.

But dammit all, I want to have my cake and eat it too. Give me 10 episode seasons when the material calls for it, and give shorter sagas like Skypiea shorter seasons. Take the time to adapt the story that’s already there in the form that makes the most sense instead of Frankenstein’s Monstering one of the best selling comics of all time into the format a bunch of suits insist upon because of algorithm bullshit. Just let a good story be told well and the people will watch it, just as much as they watched season 1.

The sad thing is that season 1’s success proves to the suits with algorithms that 8 episodes is the way to go. If it had been less popular the solution would have been cancellation instead of fixing the pacing, and that’s why thinking too much about the state of modern TV depresses me.

[shinjiikar1]

Man kimi no tsugu kaori wa is really just getting me every single week. The POV switch showing us Mone's side and her internalized homophobia brings so much more depth to her character and makes the show that much more interesting.

It would be so easy to make any of these characters worse people and derive the drama from that, but it would be a much more stereotypical product and probably a lot less enjoyable. I was a little braced for Hoshii to suck (even if it was just in a generic mediocre husband way), and I was really pleased with how he's being portrayed. He's a nice guy, a good dad, and his family loves him, he's silly and a little overbearing but generally seems good-hearted. That's clear especially from how Kanae compares him to Touki, she wouldn't date someone similar to her dad unless she thought he was a good person.

I think another really critical point was Mone's confession scene. While it's painful in some ways that she's doing this out of a sense of fear around being "abnormal" I think it's really important to show that she does actually like Hoshii-senpai. There is some comphet happening here, but she is also just bi and choosing the "safer" path by picking the guy she likes over the girl she likes. Maybe she didn't like him quite as much at the time, or somewhat forced it to test herself, but imo it does seem like she has genuine feelings for him and doesn't regret her marriage (moreso the fact that she was cowardly and hurt Sakura).

It's such a refreshing show and a good example of how something with a pretty relaxed premise and very "normal" characters can still be incredibly compelling!

Unrelated but Touki is putting together some pieces in... not quite the correct way and it's stressing me out lol. It's so clear how this puzzle is coming together for him but also, sir, do you think she'd really let you date your half-sister?? I know she told him she doesn't remember much but Still lmao

thank you as usual to @isaksbestpillow for the subs! <3

[faelapis]

hotd: team green or black? (or?)

rhaenys thoughts?

rhaenyra x mysaria…???

house of the dragon asks! VERY LONG ANSWERS AHEAD:

1: team green or black?

there's two answers to this - the intellectual answer, and the team sports answer.

the intellectual answer is that this isn't really "the point." both sides have (and will) lose a great deal. there are no winners in war, only survivors. a petty conflict between the rich will result in the death of many.

on a broader, thematic note, my impression is that a big point of the entire "song of ice and fire" is that the unjust hierarchy of monarchy and feudalism hurts people. especially the lower classes. they are affected when lords flex military might, when they put their own survival above the realm, when they act petty, selfish or cowardly, which they frequently do. the rare "peaceful" ruler does not justify the system. the lower classes also suffer the most in war. but the system hurts everyone - even the royals themselves. they are literally killing each other for power.

THAT. BEING. SAID.

i actually disagree with the take that you can't have some fun with the team sports aspect. this is a fictional television show. Fun is allowed. it's drama! murder! crying and screaming!!!

so while HotD has overall thematic messages, the show encourages you to enjoy the back-and-forth between the characters. i don't begrudge people for their stan wars on twitter. we all know this is a fictional show - and its okay to be ruled by your emotions when watching fiction.

so. with that said? team black, 100%. i think they have more compelling characters and reasoning for their cause. fundamentally, their cause is to put a woman on the throne in a society ruled by traditional patriarchy.

look, i love alicent for her complexity. she is a well-written character who makes sense with her society... but she is not a girl's girl. she is trapped both by external forces of patriarchy and its effect on her own mind. she is stuck fighting for men and fulfilling wifely duties - never fighting for herself.

she seems pretty miserable, at the end of the day.

yes, rhaenyra is also complex. she's often a bad person - but sometimes, i like seeing a strong woman on a dragon do some crimes :) especially one who has had to fight for respect as often as rhaenyra. that's compelling tv, even if Monarchy Bad.

the greens have A Point somewhere, about stability > rhaenyra, but they are also clouded by self-interest. they didn't even TRY supporting a woman. (also, remember, this is emotion/vibes-based.)

the "aagon's dream" misunderstand was initially frustrating, which also makes me side against the greens a bit more. i like when characters are compelled by real, sincere differences in opinion. i dislike when it's just a misunderstanding that can be easily quelled.

and alicent DID have real motivations, previously! she was right that rhaenyra would have reason to kill her children to claim legitimacy - even if that's more of a Matter of War now than a real intention of hers early on.

oh well. one good thing about the misunderstanding is that it didn't actually convince anyone other than alicent. otto hightower and the council were already planning a coup. it seems mostly that it was a good tool to further their cause, not something that actually convinced the masses on a deep, personal level. you can also make the case that alicent "heard what she wanted to hear".

but it doesn't really matter because nobody was going to suddenly switch sides. the material reality is more important: the council wanted aagon. otto wanted to secure his interests. alicent wanted to secure her children's safety. the war is already happening, so alicent's misunderstanding being cleared up doesn't change anything.

and it causes alicent to realize she doesn't really have much power. society around her will keep turning, and her influence is very limited. the rabble may hate or worship her, and she has little control over it. she may be important in the council, or dismissed from it. which is leading her on a compelling arc that i'm interested to see where goes!

2: rhaenys thoughts?

very few! uhh... she seemed nice? i like her death scene?

the show seems to use her symbolically as a shorthand for "what a good woman ruler could be like" for the kingdom. but i don't know if it would've played out that way. it is hard to tell, because if she WAS queen, the society she lives in could have turned against her. or maybe she could have found a way to earn their trust. maybe viserys would've been chill enough to support her claim (probably?). but we don't know. she's The Queen Who Never Was (tm).

3: rhaenyra x mysaria?

ok so, i do actually have a hot take on this, cuz i've seen some call it "rushed." it may ruffle some feathers. here we go:

i dont think every gay kiss has to feel like an "earned" 50k slowburn fic. it's well-established that instant or near-instant attraction is a thing. i dont think it will be "endgame," but i dont think it needs to be.

i think sometimes - often in this show - you see a man and a woman meet and fuck the same night. people tend to just accept that. not every case of attraction has to be based on a Deep Bond of Many Years. sometimes, a man and woman on this show have no real bond, yet as soon as they Walk Close to Each Other, it's accepted "they will fuck that night."

i would also suggest that not everything is literal. it's addressed in canon that rhaenyras' attraction to daemon came hand-in-hand with what he represented to her. which was, in a word, freedom. she wanted to BE him more than anything.

if we take a non-literal approach, what might mysaria represent?

right now, i think its rhaenyras desperation for someone to listen to her. her council belittles her for being a woman. it protects her like a "daughter" rather than a ruler. mysaria both listens to her, and plots with her on equal level. in a way, she represents (and yes this is a somewhat cliche thing in gay pairings, but not for no reason!) a sense of equality and mutual understanding in a patriarchal world.

they are not "literally" equal in terms of rank - but again, it does not have to be completely literal. mysaria feels Treated like an equal by rhaenyra. she's trusted (and given agency), and earns rhaenyras trust (+expands her own agency) in turn.

mysaria additionally seems to represent a different idea of rebellion against patriarchy - an involuntary one. because she cannot perform its most core obligation of (presumed cisgender) womanhood: she cannot bear children. she must find other forms of "worth" in the world. she has no choice.

rhaenyra herself desires to take up sword, rule in a "masculine" way. so being the only other woman there + both of them standing outside patriarchys desired paths for them + being able to help/depend on each other... seems, to me, to serve the Themes of rhaenyras repression vs liberation well.

not to mention, it's interesting in light of rhaenyra being kinda gnc-coded in... other ways!

anyway. like i said, i Highly Doubt these two will be any kind of "endgame." but that's okay. sometimes, you dont need an eternity together - you just need a moment.

i think there's a certain breed of fan who sees many things only through shipping. so if there's not a long, "satisfying" arc of these two developing feelings for each other, it's a "badly written ship." especially for gay couples. and i don't think this is even conscious homophobia, i think its (partially from queer viewers!!) because they WANT to root for those ships. they WANT a gay ship to feel perfectly "right" in a heteronormative world.

well i'm sorry to say, this show is not a romance. it is not about ships or the idealized, perfectly developed couple. sometimes, people find an attraction to one another in ways that are not ideal. shit happens. people get lonely. people find relief in the only other person there who seems to understand them. sometimes it's quick. sometimes it's the opposite of a 50k coffeeshop slowburn AU.

but that does not mean it's bad. it's just reality.

[flower-boi16]

I genuinely hate how Season 2 derailed Loona as a character

I actually liked Loona in Season 1. She wasn't an amazing character, sure, but she was decently compelling and nuanced in Season 1. Despite Loona's cold hearted & gruf attitude, she did show genuine care for Blitz as her father.

Spring Broken is the first episode where the two have a major conflict with each other, with her developing feeelings for Vortex and Blitz just being a bit overprotective of her.

Despite the drama...not getting resolved within the episode, it works fine enough and you can kind of understand Loona's perspective here; she was almost going to be eighteen, until Blitz adopted her and now she was under his wing, plus Blitz being heavily over-bearing to her as shown in this episode. And it is shown that she does immediantly regret what she said to him, that she didn't need him then and she still doesn't need him now.

Despite the uh, very big world-building issues Queen Bee causes, I actually do really like the episode for the development it gives for Loona's reletionship with Blitz. The episode does show that, although Loona is very cold-hearted and frequently gets annoyed at Blitz constantly babying her all the time, she does have genuine care for him as her father. She comforts and takes care of Blitz in the episode and even proudly proclaims that she is her dad, showing that she's proud to be his daughter, in spite of how over-bearing he might be.

It's good development for her and her reletionship with Blitz that adds more nuance and depth to her as a character. You can understand her frusterations to Blitz to an extent from her perspective and the show makes it clear she isn't completely an asshole. It makes for an interesting and complex father daughter reletionship, where the two don't always get along with each other (and frequently may have conflicts with each other) but they do still genuinely care for each other. It felt like she had real layers to her in Season 1...

...and then Season 2 came along and ruined everything. Seeing Stars completely character assasinated Loona as a character on so many levels. She suddenely starts acting extremely aggressive towards over asking her to just be slightly nicer to clients. I already talked about before why Seeing Stars' thematic messaging fails but the rest of the episode THEN makes Loona such a massive hypocrite; she's out here telling Octavia that she learn to apperciate how hard her father tries to do his best to be the best father for her when SHE in the SAME EPISODE treats her OWN FATHER like complete shit.

Even worse, Loona never apologizes to Blitz for how she previously treated him before, and even after he apologizes for threatening to replace her, as he's running straight to her to give her a hug, Loona kicks him in the balls. This is extremely OOC for Loona and directly spits in the face of her past development in Season 1. It's character regression and assasination, plain and simple.

Western Energy continues new characterization in Season 2, now making her even more aggressive than she was in Seeing Stars with her flat out acting like a wild animal. Like, she litteraly goes to attack the docter once he brings out the needle and just fucking looses it.

I really hate how Loona has become so much more needlessly aggressive to others in Season 2 when that wasn't who she was in Season 1. She had more of the attitude of a moody teenager rather than this.

Loona went from a character with a decent amount of nuance to being completely derailed into an overly aggressive bitch who attacks others, and it's another example of Season 2 ruining one of the show's most interesting characters.