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fioiswriting · 1 year ago

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Reunion | Sequel

[Part 1]

Summary : After the Battle Above the Gods Eye, Daemon returned victorious. Aemond was presumed dead, though his body was never found. Three years later, you've mourned your former husband and are ready to move on. But it seems that some ghosts from your past have come back to haunt you, and that the dead aren't really dead after all...

Rating : Explicit 18+, MDNI

Pairing : Aemond x Velaryon/Strong!niece!Reader

TW : unprotected sex, breeding kink, mention of characters death, angst, possessiveness, p in v sex, oral f receiving, dom/sub undertones, mention of war, AU where the Blacks won the war, anxiety, Reader has a child, grief, fluff, pregnancy, not proofread.

Reader is Rhaenyra and Harwin’s daughter so I imagined her with dark hair like Jace, Luke and Joffrey but feel free to imagine her as you want of course <3

Words count : 9150

Author's note : Hello everyone!! Sorry for the wait, I've been very busy, but here's part two of Reunion (or at least the first part two, let's call it part 2.1 hehe). Thank you again for all you kind comments and the love you've given my fanfic omg!! Spoiler alert: this is the happy alternate ending! But I've got another bittersweet alternative ending planned 😈 If you think the first part was good enough on its own and the sequel may break the vibe, don't force yourself to read!! But if you need a happy ending, here it is <3 The plot still doesn't make any sense, but hey, we're here to have fun so enjoy ❤️

English is still not my first (or second) language, so sorry for the grammar mistakes <3

When you wake up, the first thing you feel is the reassuring embrace of his arms around you. You don't want to move, not even when the sunlight tickles your face through the opening between the wooden shutters, trying to make the moment last endlessly. But the growing anxiety in your stomach chases away the illusion of your fleeting happiness.

You close your eyes a little tighter. Perhaps if you try again, perhaps if you try harder, the world around you can fade away.

Perhaps you can wake up again, in a different reality.

But it's inevitable. You know that now you're awake, it's only a matter of time before the two of you have to say goodbye forever. Your breathing becomes heavier, and you have to fight the tingling sensation at the corners of your eyes.

Why have the gods decided to be so cruel to you? They grant you one last taste of his skin on your lips before taking it from you, again.

Haven't you given enough?

Could they not show you mercy?

You who had forgotten him, you who had begun to turn a new page, to seek comfort in the arms of the cold, far away from the fire and the ashes, why did you have to touch the poison that would once again stain your soul?

Behind you, Aemond buries his long nose in your hair. His hand absently caresses the skin of your thigh, just where the edge of the linen tunic you put on sometime during the night when you were cold ends. The fabric is pulled up, revealing the outline of your bottom, and you can already feel your uncle hardening between his thighs, but you don't move.

If you move, you'll make everything more real. Tangible.

You'll speed up the process of losing him, of him slipping through your fingers.

How can you let him go, now that your heart is full again, now that you feel complete in a way you haven't felt for over three years?

How can you let him go, now that your body has retrieve the extension of itself in the arms of the man who was the cause of your torment, your moments of joy, your pain and, paradoxically, your happiness?

"I know you're awake."

You hold your breath and Aemond inhales into your hair. His hand moves down the inside of your thigh, along the hollow that joins it to your groin. He doesn't venture any further.

His thumb rests there and brushes your skin, trying to arouse the desire in you with gentleness.

Subtly.

He doesn't want to hurry, he doesn't want to rush you.

Not when he's been harbouring the impossible fantasy of waking up with you in his arms since the day he nearly died.

He presses harder against you, as if he doesn't want to let you go, as if he wants to be one with you again, and you feel him pulsing against your buttocks, under the linen cloth that has been pulled up a little higher. He says nothing, but he is pleading, needy, in his gestures, which is rare for him.

Something has changed, after all, and perhaps something has changed in him too.

"I am awake, indeed, " you whisper in a voice that is still half asleep. The lump in your throat betrays the feeling of anxiety gradually creeping into your body, and Aemond seems to notice. Under your tunic, his hand moves up along your belly until it nestles against your chest, close to your heart. His thumb draws small circles, once again trying to bring you back to him.

Trying to calm your mind.

"Let us forget for a little longer," he whispers, his clenched jaw resting over your head. "Please."

And you know he never begs.

Aemond takes and doesn't ask.

Aemond believes he is owed everything and never gives in return.

Hearing him beg breaks something inside you, because this is the first time he does so.

Usually it was you, it was always you, begging for peace, begging for more, begging him not to leave you.

Part of him is as desperate as you are; part of him also dreads the moment when you will have to part again. Forever. It's comforting to know that his feelings are sincere, just like yours.

" Make me forget, then." You reply, moving your lower loins back against him, giving him tacit permission to explore your body once more. His fingers move down to your breasts, which he covers softly with his hand, his thumb skimming over a nipple to make it hard. You let out a gasp between your parted lips.

His hand slides lower, his palm flat against your lower belly, his fingertips brushing the light patch of hair at the top of your mound. You feel the familiar warmth growing between your thighs, in your core.

He sighs against the back of your skull, his head tilted forward. His lips search the skin at the nape of your neck, behind the long hair that has become tangled during the night, while his fingers intimately explore the secrets of your body that he knows all too well. The remnants of last night's lovemaking still smear the insides of your thighs and folds, but it doesn't matter; his fingers easily find the little bundle of nerves that they tease until you close your eyes, until your hand grips the damp, shabby sheet that covers the ragged mattress in the inn where you've spent the night.

Just the both of you, in the comfort of anonymity.

"Let me taste you". His voice, still husky, tickles the back of your neck and you feel him shift behind you. When you feel the warmth of his bare chest, against which you're nestled, leave your back, your body automatically tries to move back against him. You still need him. You still need him to chase away the lump of anxiety in the pit of your stomach and the voices that keep reminding you that you're only postponing the fateful moment. Your hand slips under your white tunic and wraps around his wrist to force him to stay there, to hold his fingers against the source of heat spreading from your core. Your hips are demanding, grinding against his hand. "On your back," he insists, and stands up on his forearms.

With reluctance you turn over. You obey, lying on your back, your hair spilled around your head on the flat, uncomfortable pillow on which you slept badly. The white tunic that serves as your nightgown is pulled up, crumpled, just above your crotch, which it barely conceals.

Aemond has swung over your body, silvery strands loosening from the braid that holds his hair behind his head and sliding down his shoulders, falling in loose loops on either side of his face, tickling your cheeks.

His lilac-tinted blue eye glows with a predatory gaze, a ray of light catching in the sapphire he hasn't removed from his socket.

He captures your lips with his own, begging for access. Aemond marks your jaw and throat with light kisses, sucking at your collarbone to make the violets of possessiveness with which he likes to adorn your body bloom. His lips travel down your chest, playing with one of the two small nipples raised by the cool air and by desire, and continue their journey past your navel.

Your heartbeat quickens as he settles between your legs, spreading your thighs to admire the part of you he covets so eagerly. At the same time you bend your legs, your gaze falling on him, on his unravelled hair, on his eye that locks with yours. He is so close to you, so close to your warm centre, and you know that between your folds the sweet nectar that your uncle longs to taste is already flowing.

But his lips trace the inside of your thighs instead, where the skin is soft and tender, and gradually they reach the hollow that connects them to your most intimate part. He takes a malicious pleasure in building up the tension, in savouring every millimetre of you like a fine delicacy, with only the tip of his lips brushing against your skin.

His thumbs spread the tender flesh of your womanhood and then he places a chaste kiss on the very centre of you. His tongue is shy at first, tracing the slit that connects your entrance to your little knob, collecting the evidence of your desire.

As his tongue wraps around your nub, your hands grip the sheets, knuckles white.

Aemond drinks from your essence like a thirsty man, his nose buried between your folds, rubbing your pearl.

The tip of his tongue catches what drips from your opening, and then the flat of his tongue tastes your slit, working its way up to the little nub gorged with desire.

He maintains the same rhythm, revelling in the moans that escape from your half-open lips. Soon his middle finger begins to draw circles against your entrance, the first knuckle sliding inside, then the whole finger. Your head is thrown back and immediately your hand buries itself in his silvery hair, gripping his braid in a messy bun behind the top of his head. Forcing his face against the most intimate part of your body, forcing his lips to work on your wet warmth, you seek more contact.

Aemond adds a second finger. He can feel you tighten around him as he searches for that particular spot, as his tongue continues to play with your bundle of nerves.

As he devours what is his, utterly his.

His fingers, the ones that aren't buried inside you, close around the flesh of your hip in a possessive grip. "Come for me," he whispers against your womanhood, his eyes lifted to you. "I know you can do it."

Your breathing becomes more erratic, faster too. You tighten the grip of your fingers in his hair, your thighs pressing either side of his face, and he collects the sweet taste of your release on his tongue with a hum.

You feel like you're floating. The waves of warmth still wash over you, less and less intense, your breast rising and falling as you catch your breath.

Your hand tucks a lock of his hair back behind his ear as Aemond lifts his face towards you, and you rest your hand against his cheek. His parted lips still glisten with your desire smeared across the lower part of his face. He stares at you without moving, his deep, regular breathing the only sound to break the silence that has followed your release. You stay like that for a moment, his gaze burning into yours. At any moment he might pounce on you. At any moment he might close the tiny distance separating your mouths and press his lips against yours like the starving man he is.

It's you who makes the first move. You taste yourself on his lips and your tongue entwines with his in a fiery, demanding kiss.

Straightening up, Aemond creeps between your legs, his hand on the underside of your thighs, holding them apart. He is still completely naked from the night before, he has not bothered to get dressed after your lovemaking, so you can catch a glimpse of his erect manhood, slightly curved. He wraps his hand around to guide it towards your still sensitive wet entrance.

He slides into you easily, in one slow movement. The haste of the night before, the urgency of the reunion, has given way to the tenderness and laziness of the early morning, and Aemond rocks inside you slowly. His hips undulate, punctuated by long, deep thrusts, in an illusion of domesticity.

But the damp sheets, rough against your skin, the discomfort of the hard mattress beneath your back, remind you that your lovemaking is anything but domestic.

For Aemond is still the enemy, for Aemond is supposed to be dead.

For your family is probably looking for you at this very moment, worried that you have not returned home for the night.

But you push those thoughts away. The weight of your uncle's body on top of yours soothes the knot that forms in the pit of your stomach at the thought of time slipping away, at the thought of having to leave him again, at the thought of this being the last time you will taste his lips, his skin.

Aemond is gentle, and that is rare enough to be worth mentioning. He has never been so gentle, so soft, in the limited time that you have been married.

Between you, there had been the devouring, consuming passion, the power play that in your submission had granted you dominance.

Between you it had been raw and devastating more than gentle and tender.

His fingers run the length of your body to your core, combining his slow, deep thrusts with the movement of his fingers against your clit.

There are only few words exchanged between you, as if you were both afraid to break the grace of the moment.

His panting, noisy breath echoes in the silence, skimming the skin of your throat, then mingling with yours as the shadow of his lips brushes against yours. He rests his forehead against yours, your hand cupping his cheek, sliding behind his neck, and you are transported into a cocoon of intimacy where nothing else exists around you.

There is only his body against yours, warm and reassuring.

There is only him inside you and the slow movement of his hips.

There is only your breathing, blending in the space that separates your mouths.

"Do you know how much I've missed you?" He whispers against your lips as you close your thighs around him. "How much I dreamed of this tight little cunt?" You swallow his words. Your hips meet his as he pushes against you. He is reaching deep inside you. Despite the intimacy of the moment, his body oozes power and darkness, and you can't help but be drawn to that side of him that complements yours so well.

You can't stop your body from aching for him.

"You could have been my queen," he says as his movements grow stronger. He won't last long, but neither will you. He's inside you, where you like to feel him, and your walls clench around his member. "And I would have set the whole world on fire for you." He thrusts. "Burned it to the ground" He thrusts again. "All for you." And again.

The old wood of the bed creaks with each of his movements.

You seek out his lips, just to brush them against yours.

Without sealing the kiss.

"And I would have accepted," you answer with a whimper. "I would have been your queen, qybor." In another life, you think you would.

In another life, in another universe, you would have been his queen.

A grunt escapes his lips and lands in the hollow of your ear. Aemond straightens on his bent elbow, right next to your head, and he plunges into you one last time, with more power, more vigour, just as his new position allows.

You close your eyes.

A second wave of warmth is about to engulf your body.

And you wait for it, you welcome it.

"Look at me when I come inside you," he growls hoarsely as his seed pours deep inside you, into the most intimate part of your body. "Look at me as I fill you up."

Your eyes lock with his, fiery as ever. A final moan escapes between your lips and you seal them to your uncle's in a feverish, wet kiss. You hold him in your arms for a moment longer, as if to allow yourself the luxury of illusion for a brief instant.

You delay the fateful moment a little longer, fighting the minutes that inevitably slip through your fingers.

"Stay inside me just a little longer," you whisper, burying your head in the hollow of his neck where you can feel the rapid rhythm of his pulse. His arms close around you, holding you tight against him, and you hear him purr against the hair on the crown of your head. He rocks you gently.

The silence welcomes you both into its embrace and you savour it like a treasure. Your body aches in the sweetest way, your insides throbbing around his softening manhood.

And around you, nothing exists anymore.

*** *** *** *** *** *** ***

"I've changed, you know." His hoarse voice vibrates against you, but you refuse to meet his eyes. You keep them closed.

You're not sure if Aemond has really changed. Aemond is ruthless, cold, brutal, calculating, merciless. Cruel. You're not sure if Aemond can ever change, but he shows unusual tenderness, and maybe, just maybe, you allow yourself to doubt. You indulge in the illusion.

Perhaps Vhagar's death has broken something in him.

Perhaps it's true, perhaps he's not the same man anymore.

He's not sorry for what he has done. He never will be. He's too proud, even if you can catch the glimmer of remorse that colours his icy eyes when he is not looking at you.

Does he think of your little brother? Is he haunted by the memory of him, as you have been for so many years?

Does he think of the innocents he killed without flinching, the blood he spilled in the Riverlands that now stains the burned grass?

Is his sanity slowly being eaten away by the atrocities he has committed with his own hands?

He has changed. You are not sure if he's changed for the better or for the worse, but he has indeed.

Daemon has changed too. So has Rhaenyra. So has Jace.

You too have changed.

For war changes people, war makes them weary and wary, it shatters something in the body that will never be the same again. It hollows out the roundness of the cheeks, it deepens the dark circles under the eyes, it fades the sparkle of childhood that remains in the eyes.

Aemond seems to be waiting for an answer, but the words remain stuck in your throat. I know, you want to whisper, I know, but suddenly you've forgotten how to speak. His thumb draws the soft line of the underside of your breast.

The future terrifies you more than ever. You had made peace with your past, you had come to a conclusion that, even if it pained you, had given you some respite.

Seeing your uncle alive had reawakened your demons.

Spending the night in the embrace of his arms had revived everything you had buried deep, deep down.

The past had returned, creeping towards you, gnawing at the corners of your heart and at what remained of your sense of stability and certainty.

Now you are plunged into doubt.

Just as you were a little over three years ago, when you were informed of his death, when you had to learn to live with the choice that had never really been given to you.

Just as three years ago, when you noticed a familiar lilac-tinged blue in Rhaegar's eyes.

Like when you had to live with the memories that haunted you, that were slowly eating away at what little sanity you had left.

Like when you finally decided to leave for the North.

Aemond seems to sense your anguish, because his fingers get lost in your hair.

"What are we going to do now?"

Finally, you dare to utter the inevitable words that have been hanging on the tip of your tongue since you woke up, words you've swallowed so many times this morning. You immediately blame yourself.

Saying them only makes them more real.

They tear at something in the imaginary cocoon you've built for yourselves. You bury your face against his skin, breathe in his scent, as if you never want to forget him.

For you know how fleeting memories can be.

You remember how his face faded with each passing day.

You don't know if you'll ever be able to experience it a second time.

"We could leave," Aemond replies, as his fingers venture to your jaw, caressing the line of your cheeks with the back of his knuckles.

He's so pragmatic, as always.

Even in this situation.

Even now.

It makes you want to shake him.

"We could run away," he says again. His gaze, fixed in the distance, falls on you at the same moment. "To Essos. Pentos. No one would know who we are." You close your eyes, and let his hoarse voice lull you into silence. "To start our own family, the three of us."

You know he is not serious. Even though he looks at you with such insistence, with that flame that flickers in the centre of his iris.

You relish his fantasy, this impossible dream.

But you can't leave your family; Essos is not Winterfell. There, they knew where to find you. They knew you were safe. They knew you were sheltered between the walls of the northern castle, under the heavy furs, under the protection of Cregan Stark.

Essos is the unknown.

You cannot let your mother lose her only daughter, not after everything she has already lost.

The itch is familiar, tickling at the corners of your eyes. There was a time when you thought you'd lost that sensitivity. When you thought the war had left you cold, incapable of feeling anything. Incapable of crying.

"You know I can't." Your nose rubs against his milky skin, made clammy by sweat. You keep your eyes closed because you feel the weight of his cold gaze on you, his furrowed eyebrows as he stares at you blankly, his lips pursed in a long, thin line. You don't have the courage to meet his accusing gaze, let alone the wounded look on his face as you crush all his illusory dreams into dust.

When did you become the more pragmatic of the two?

When did you become the one responsible for bringing Aemond back to reality?

It used to be you, the one who filled your mind with unrealistic dreams, the one who dreamed of stories and fairy tales, back when you could still dream. "They need me, you know that."

A sneer stretches across your uncle's lips as he swallows a chuckle that sounds more like an ironic growl. You feel his whole body tense against yours, a sign that he's holding back his annoyance.

A sign that he has something to say, that he's upset, but doesn't quite know how to put it into words.

"Like they needed you back then?" he replies scathingly, bitterness on the tip of his tongue. "When they used you as a bargaining chip to achieve their ends, hm?"

Your red cheeks burn with shame, as if he'd slapped you. You don't move, merely swallow hard. You know there's something right about what he is saying, but you don't want to admit it.

You've done your duty.

You've done what is expected of you as a daughter.

It was not a question of them using you. It never was.

It was your duty, only your duty, what you were always meant to perform, wasn't it?

And yet a small voice in the back of your head had already given you a similar speech, a few years ago, but you had tried to silence it.

You refused to let Aemond admit it. You refuse to allow him to do it. He had no idea, no right to criticise your family when he'd acted like that.

When he has done what he has done.

He has no idea what it is like to be a daughter.

You don't answer, and silence falls between you again.

You wish so desperately that he could go home with you; that he could tell them that he's sorry.

You wish it were easier.

There is no one left to wait for Aemond but you, but his son, you know that. His family has been decimated, as has yours in some ways, though you still have your parents and your older brother.

For your uncle, there's nothing left but the shadow of his existence, the shadow of who he once was, long ago.

You let your hand trace the side of his throat, your nose buried against it, your lips hovering over his skin. You lean against him, your body on top of his, pressed together as if you were afraid to let him go.

"You could come with me instead," you whisper, but you refuse to meet his gaze. There's something shameful in the words you've just spoken aloud, something naive, and your burning cheeks are proof of your embarrassment.

Almost imperceptibly, he clenches beneath you, holding his breath. This is a bad idea and you feel stupid. Naive to have dared to suggest something like this.

His voice purrs in a hm that vibrates against you. He's about to say something. He searches for words. "You know that -"

"I know." You cut him off sharply - a little more than you would have liked, your eyes raised to silence him.

You know what he thinks.

He thinks that Rhaenyra will never be his queen. He thinks he will never bend the knee to his eldest sister and her authority, which he doesn't recognise.

He thinks that with the death of Aegon, with the death of the children his brother fathered with Helaena, the throne belongs to him.

And you are aware of his ambitions. You know how perfectly the conqueror's crown fits his head. You know how it sets off the sapphire embedded in his eye socket. You remember the look of greed in his eyes every time he stared at the Iron Throne, you remember the look of pride on his face every time he scorned anyone who dared to question his decisions as Prince Regent.

You know how mercilessly he made the soldiers at Harrenhal kneel, forcing them to contemplate their impending deaths. You know the terror he has sown throughout the Riverlands.

Even in the Seven Hells you could have found more mercy than at the hands of Aemond Targaryen.

Aemond may have changed, but you're not sure he's changed enough to put aside the pride that is consuming him from within.

You take a deep breath. "You don't really have a choice, qybor."

Fearing his reaction, you curl into a fetal position, your back to him, your knees drawn up to you. You close your eyes. You wait for his frustration.

You wait for his sentence.

You know that he is aware that he has no choice.

He has only two options: swallow his pride or sink back into the abyss, disappear into the dark meanders of oblivion.

Rhaegar needed his father, of course, but you found him a father in Cregan Stark.

That was a sacrifice you were willing to make.

There was no way you would give up what family you had left.

For Rhaegar needed his grandparents and his uncle even more.

Behind you, you feel your uncle's hand slip under your tunic and around your body, pulling you against him. He presses his bare chest against your back, tucking your head under his chin. His hand caresses your stomach, then his fingers brush the base of your breast.

"You know she will never be my queen. You know the throne belongs to -" But he lets the words drop without finishing the sentence, the knowledge of what he was about to say hanging in the air between you.

As long as he remains alive, will the embers of war never truly be extinguished?

You don't know, but you accept the risk.

You close your eyes, as if you're about to jump into the icy depths with both feet.

"The rest is up to you, Aemond," you whisper, barely audible. "And if you have truly changed, then you will know how to make the right choice."

He says nothing.

You savour the last few minutes of illusion you have left.

*** *** *** *** *** *** ***

The fear of making the wrong choice never really leaves you, but your mother chases your fears away, as she so often did when you were a child, tucking one of your dark curls behind your ear. She has her distinctive little smirk on her lips, the one that pulls the corner of her lips up towards her nose.

The same one Lucerys had, you think sadly.

You still miss him, even after all this time, and sometimes you wonder what kind of young man he would have become.

"You're a clever girl, my sweet clever girl," she whispers against your forehead as she cradles you in her arms. She's as beautiful as ever, as gentle with you as ever, despite the years, despite the wear and tear of war that has hardened her features and hollowed her cheeks. "And I know you have made the right decision." She lifts your chin with her forefinger to look into your eyes, and you feel like you're turning back into that shy, insecure girl who disappeared somewhere in the violence of the war all those years ago.

"And if it should turn out that you were wrong... Daemon will be there to intervene. You know he is just waiting for that." You roll your eyes at her attempt at humour, and she plants a kiss on your forehead.

For a split second, you truly are that carefree little girl again.

But behind your mother's humour lie fragments of reality that make your laughter bitter.

The news of your husband's survival remains a hazy blur in your mind. Sometimes you're not sure if this conversation really occurred or if you're dreaming.

You're not sure if what's around you, if the night you spent in Aemond's arms, is real or an invention of your sick mind.

Sometimes you're not really conscious of the events or how long they lasted, the lump in your stomach grows back, and once again you're destined to carve half-moons marks in the palms of your hands to soothe the tension in your body.

You told your mother first because you knew she'd be more understanding. As a mother, as a woman, she knows the meaning behind certain silences, the weight of words, the unspoken words that float between sentences.

You know she can understand your pain and your doubts, but also your love and your compassion.

She was shocked when you told her that her younger brother was still alive. She smoothed her dress, paced back and forth, then took the time to sit down, her eyebrows furrowed, her eyes riveted to your face, looking for clues that would betray what you were thinking, what you might be hiding. She was afraid that he had hurt you. She was afraid that he would rip you away from her, just as he had once ripped your little brother away from her.

Her fingers had gently taken your hand and her thumb had drawn little circles on the back of your hand to comfort you. She listened to you first as you confessed everything.

Where you were that night when you didn't come home.

Who you were with.

And then she took you in her arms. She reassured you. Soothed you.

You had been so afraid of disappointing her, of disappointing all of them, that the tension paralysing your body had finally loosened and you burst into tears.

Things had proved more complicated with Daemon. When he learned that his nephew was alive, that he wasn't forgotten forever in the deep waters of the lake near Harrenhal, he refused to believe you. He was furious. He said he had seen him fall, that he was the one who had taken his life, tearing the sky apart.

You didn't know where to look, and it was in your mother's eyes that you sought support, comfort, anything in the face of your stepfather's rage. You could feel on you the look of disappointment of your brother, Jace, as he held his shoulders up and his chin high. He wanted to prove that one day he would be a good king. With his jaw clenched, he said nothing, looking at you as if you were suddenly so foreign to him. He probably didn't know what to say, for fear of being clumsy, for fear of unintentionally hurting you, even more than by his lack of support.

You know it wasn't his fault.

He simply couldn't understand.

The words stuck in your throat and you found yourself unable to speak, pearls glittering in the corners of your eyes while you waited impatiently for the final blow.

The final death knell that would seal your disgrace in everyone's eyes.

After all you'd endured.

Daemon stood before you, his eyebrows furrowed, his eyes hard. He was staring at you as if you'd committed the ultimate treason, and you knew he was controlling himself to keep his anger from exploding. "You're going to bring him to me," he had hissed, his hand closing over your shoulder.

" You will lure him here and he will be put to the sword." His tone left no room for argument. With the tension growing in your stomach, you sought your mother's compassionate look to calm you. You could see the fury in your stepfather's eyes, and also a mixture of fear and feelings of betrayal. You knew that, deep down, he was afraid for you because he considers you his daughter. Because Baela and Rhaena are like sisters to you.

It was his reaction you feared most, not your mother's. His fingers dug into your skin, the floor slipping out from under you, the room swaying dangerously, and your mother had come to your rescue, trying to calm things down with her usual diplomacy.

You can't quite remember the words your stepfather said; in anger he muttered something that sounded like are you really thinking of becoming his whore again? and the words hurt like hell, but you tried to swallow the pain.

Endure, hold your head high. That was what you had learned.

Your mother had suggested you go back to your room or spend some time with Rhaegar, her fingers gently stroking your dark locks, and as soon as you left the throne room you could hear their voices echoing through the door.

They were arguing.

Over you.

Because of you, again.

You took a deep breath and returned to the gardens, where your two stepsisters were making your son laugh by playing with him. They had fun running around in the damp grass to the applause of Baela's little daughter, who clapped her little hands in delight.

Your fingers were still trembling when you joined them.

In the end a solution was found, for your mother feared losing you a second time.

She remembered what had happened to Laenor, your father, when he had grown tired of the court.

She remembered what had happened to Helaena, your sweet aunt, when she could no longer bear to suffer.

It was her worst nightmare to see you torn from her again, now that she had the chance to hold you in her arms every day, to protect you again, to see you grow again.

It was her worst nightmare to see her only daughter, her only daughter and the second of her only surviving children, taken from her.

You and Jace were all she had left of her own blood.

After long negotiations with Daemon, you had managed to bargain for your husband's life in exchange for strict conditions; increased surveillance, no bonding with a new dragon, no carrying of weapons, and the assurance that he would be executed if there was the slightest doubt about him. You proposed that you and he leave the capital, with your son as well. To return to Dragonstone. To start over on a new, blank page in a book that was already too damaged.

For you, it was also a way to ease the tensions between your family and Aemond, and perhaps find a more intimate life with your husband and son.

Rhaenyra had declared that this was the best solution: a guarantee for her to have you by her side again, a guarantee for her that you would be there.

You had been afraid of Aemond's reaction, afraid that his ego would not bear it; that he would refuse, that he would rather sentence himself to his own death than to an existence as a prisoner within his own family, condemned to live as a shadow of the man he had once been in exchange for seeing his son grow up.

But in the end, wasn't he doomed to live as a shadow of the man he had once been, anyway?

He would never be the rider of Vhagar again.

He would never be the ruthless Prince Regent again.

He would never again be the second in line to the throne, the second son greedily waiting for fate to turn in his favour.

He hadn't been all of that for a good three years, lurking in the cold, gloomy corridors of Harrenhal like a lonely monster.

And if he went back, if he rejected your proposal, he would have condemned himself to eternal solitude at the side of a witch you would rather forget.

He had no choice, for he would never be that Aemond again.

When you joined your husband at the meeting place, you were relieved to see him swallow his pride and accept. It was difficult, but you convinced him.

For Rhaegar, for his son.

Aemond had suggested that you run away, far away from everything, and you almost hesitated. Running away would have allowed you to forget, of course.

But your deepest wounds had begun to heal. You had begun to be able to face the ghosts that haunted King's Landing, the ghosts that haunted Dragonstone.

To stop there was tempting, and yet so frightening at the same time.

The unknown terrified you. You needed familiarity now, something to fall back on, for you were so tired.

Now you can't help bringing your thumb to your lips, nibbling the skin at the corner of your fingernail with the tip of your teeth as you walk away from Rhaenyra. A handmaiden brings you Rhaegar, and you struggle to breathe.

You inhale.

You exhale.

The thick tuft of brown hair makes you smile. The sight of your son is enough to give you the courage to walk with a more confident stride. It's as if you were filled with new strength, for you know that he needs you more than anyone else. And for him, you've promised yourself to stay strong.

As soon as you reach him, you kneel and plant a kiss on his plump cheeks.

He's growing up so fast that sometimes you wish you could stop time.

"There's someone who'd like to meet you, sweet boy," you explain, and you can recognise your mother's inflection in your own voice. Sweet boy. Rhaegar looks at you with big, round, questioning eyes, and you wonder if he senses your anxiety, because he takes your hand between his tiny fingers.

"Who, muña ?" he babbles, striding down the cobbled path in the middle of the gardens, hopping on his clumsy little legs, and you smile at his carefree attitude. He stops to watch the bees foraging, bends down to pick up a flower and gives it to you. He's always so curious, so full of life. He's a ray of sunshine that brightens your dull days. You finally understand your mother, the agonising fear she has of losing you. You finally understand the horror she experienced when she lost her four other children.

You also finally understand why Helena threw herself from Maegor's Holdfast.

The thought of what Daemon did still revolts you, and you can't imagine anyone hurting your boy like that.

You turn around. Rhaenyra is still there, in the distance, her crown on her head, her hands crossed in front of her on the heavy fabric of her dress, watching over you. She won't move, a comforting, discreet presence.

A stone bench awaits you by the fountain, on which two cushions have been arranged. A dessert buffet has been set up under the gazebo and you immediately spot your favourite cakes, the strawberry one, the blackberry jam one, and you look down at your son. He hasn't noticed them yet, or he would have already run over, dipped his finger in the whipped cream and stolen a blueberry from one of the tarts, his innocent expression on his face.

He is definitely a lot like you. Mischievous and clever. An angelic air. He is an easy-going child who never throws a tantrum.

Who understands quickly, too.

"I love you. I love you more than anything, you know that, don't you, young boy?" your tone is soft, and you kneel down in front of him, your hands on his small shoulders to emphasise the seriousness of your discussion. You search for your words, hesitating. How do you tell a three-year-old that his father, his dead father, is back from the dead and about to meet him?

Of course, Rhaegar knows that his birthfather was valiant, that his birthfather rode the greatest dragon in the world, that his birthfather died in battle.

But there is so much he doesn't know, so much he will inevitably learn as he grows up, and it is precisely that future that frightens you. You hug him as if you're afraid of losing him.

"Princess."

The deep voice of your sworn protector echoes behind you, and you straighten your skirt.

You know he is there.

You know you will see him the moment you turn around.

Your heartbeat quickens.

Aemond Targaryen stands behind your sworn protector, surrounded by two guards. His hands are bound in front of him.

It is so strange to see your uncle in this vulnerable position. He who for so long has been on the other side, he who for so long has been the one who bent others to his will. He looks at you harshly, and you almost feel the need to apologise.

But you know it is a matter of caution.

You know that Daemon, you know that Jace and even your mother would never have agreed to bring him in if such precautions hadn't been taken.

You admire his resilience, his determination. You admire his ability to hold his head high, to be confident, despite the fact that he is being treated like a common prisoner, about to be sentenced to death.

You struggle to swallow the lump that has formed in your throat.

"Who's that, muña?" Aemond's eyes leave you and immediately drop to the small figure that has appeared beside you, reaching for your hand, huddling against your leg, shy and worried.

Immediately, your husband's icy gaze, his lilac-coloured eyes, soften.

"Thank you, Sir Rowan. You may leave us."

Despite the worry on his face, your sworn protector nods, unties his prisoner's hands and walks back to your mother, accompanied by the other two guards. You watch them leave, and a strange silence fills the space between you and your uncle.

He doesn't look at you; his eyes are riveted to your son, whom he observes with wonder. He looks as if he is admiring the most beautiful and fascinating discovery he has ever seen. You look down to see Rhaegar's reaction, and he seems as intimidated as he is hypnotised by that gaze, by that blue and purple eye so similar to his owns, by this man looking at him as if he were one of the most marvellous things in the world.

"Gods, he's perfect," Aemond murmurs as he looks up at you, emerging from his trance. He comes closer to embrace you. And for once, there is something other than his usual brutal possessiveness and ferocity when his arms close around you.

*** *** *** *** *** *** ***

Aemond is shy at first. Awkward.

He's shy and amazed as he follows your son's every move with his good eye. From time to time, his gaze rests on you, as if to make sure he's not dreaming. As if to make sure he is doing right, seeking your approval.

Rhaegar is shy too, at first.

When he sits on your lap, he snuggles up to you, buries his face in your neck, one of your locks curled in his chubby little hand and he rubs it against his nose. From time to time, he turns to give his father a curious look, recognising his own eyes in the unfamiliar face before him.

Aemond's expression grows gentler, a softness never seen in his features before.

Once he has tamed the stranger, the little boy pecks at the blueberries in the tart in front of him. He shakes his legs, hitting your knees in painful little jabs, and your arm wraps around his body to hold him down.

Rhaegar loves cake, and the sugar may be coaxing him, for he's regaining his appetite for talking.

"He really does have my eyes," Aemond whispers incredulously, and his voice, still foreign to his son's ears, causes the little boy to lift his head.

" It is definitely the only thing he has inherited from you," you reply, teasing him with a small smile at the corner of your lips.

Soon Rhaegar finishes the blueberry tart, the cream smeared over the bottom of his face and the tip of his nose.

"He inherited that from you, that is certain." Aemond grins, pointing with his long chin at the boy's voracious appetite for cakes and pastries.

You have to pinch yourself to make sure you're not dreaming. That your husband is really standing in front of you, with your son, like a normal family.

That he was truly trying to tell a joke.

This form of domesticity is so alien to your relationship, and yet so pleasant, that you find yourself thinking that perhaps you have made the right decision, indeed, if every day can be like this.

"Your muña deserves some cake too, what do you say, little one?"

Rhaegar giggles. Aemond cuts a slice of your favourite cake, the one with the strawberries, and puts it on your plate.

You blush. After all these years, he hasn't forgotten which one is your favourite.

You can't even really whisper a thank you because this apparent domesticity, this feeling of completeness, this interlude of happiness makes you uneasy. Anxious.

You have the feeling that at any moment you'll be plunged back into the horror of what you went through all those years ago.

You have the feeling that at any moment the Gods will be cruel and snatch away this happiness that you've barely been able to taste, leaving only the memory of its sweet taste on your lips.

You breathe in and out, as you often do when you feel your palpitations rising in your chest.

"Do you... do you want to take him on your lap?" you ask your uncle with shyness, your hand stroking Rhaegar's thick brown curls. Aemond looks at you as if you have spoken in a foreign language. Lips parted, he is about to say something, but not a sound escapes his lips. His lonely eye travels from you to your son, from your son to you, in silence.

"I don't know if -"

You can hear the doubt in his voice, and it's almost touching to see him lose his confidence in front of his own son, to see him so nervous and unsure of himself.

You let out a little laugh, not in mockery, obviously, just full of tenderness.

You know what he's thinking.

He's afraid of frightening him.

He's afraid of harming him.

"You won't hurt him, Aemond."

He answers nothing. He still doesn't like to look vulnerable, unsure, and you know it has to do with his childhood. With all he has kept bottled up inside him all these years. He will need time.

Your eyes fall back to the little boy sitting in your lap, and you draw his attention to yourself by stroking the curls on his forehead.

"Do you want to go to Aemond for a while? To kepus?"

you correct yourself immediately, and Rhaegar nods in agreement.

You are amazed at how easily he slips off your legs to run to his father, to pull himself onto his lap, when only a few hours ago he was so intimidated by the presence of this stranger with the eyepatch.

Your uncle automatically puts his arm around his waist to make him feel comfortable, his new role taking root in him. His fingers reach for the cloth on the table, and he wipes Rhaegar's face, who can't help but burst out laughing at his father's clumsy gestures.

For a split second you are lost in contemplating the horizon, the stillness of the sea. You taste the sea breeze on your face.

And then you turn your head towards the cobbled path where the guards and your sworn protector are still stationed.

Your mother is no longer there, and you notice that you have not at any time felt the need to seek comfort in her presence.

You smile, for in the end you know you've made the right decision.

*** *** *** *** *** *** ***

Dragonstone, 6 months later.

When you walk the corridors of the place that saw you grow up, you are no longer haunted by the ghosts and their incessant cries. A kind of peace has settled over you, a return to the pleasant familiarity you've waited so long for.

You still think of Luke, of course. Of Luke and Joff and little Aegon and Viserys, your brothers you will never see grow old.

But you no longer feel their disapproving glances at every step you take. You are no longer kept awake by their cries, by their tears, by the remorse that twists your stomach.

You no longer blame yourself.

Perhaps you've finally learnt to make peace with yourself.

The heavy door of the bedroom you share with Aemond is half open, and you slip your head into the doorway, piqued by curiosity.

Snuggled on your husband's lap, Rhaegar is staring at the pages of a large book, the corners of which you can guess are horned, the cover worn, from being carried everywhere. You can imagine the jam stains that mark the paper with children's fingerprints. You know exactly which page is missing, the one you and Aemond accidentally tore out and hid so the Septa wouldn't notice, so many years ago.

It is a book about dragons, the very one the two of you used to read hidden under the table when you were so young and innocent, long before the torment of war.

Without a sound, you lean against the doorframe and contemplate for a moment the perfect vision before you.

You don't have the cruelty to disturb them.

"This one is Vhaegar!" shouts Rhaegar, and you hold your breath, searching Aemond's face for any hint that might betray his reaction. The mention of his former dragon is still a sensitive subject for him, you know it.

"Yes, that's Vhagar." he pauses. "She was brave."

From the corner of his eye, Aemond spots your silhouette in the faint glow of the corridor, and his attention lingers on you for a moment. He's almost embarrassed to be caught in such a vulnerable, intimate moment, but you smile tenderly to encourage him.

"And big!" the little boy adds, energetically raising his arms to the sky to emphasise his words.

"Yes, and big." There's a suspended moment of silence where the words hang in the air, and then your husband gently ruffles his son's hair. It's a tender sight to see them bond like this, and your heart fills with happiness.

Taking a step forward, you step into the light of the room and Rhaegar expresses his joy at seeing you. You smile back at him and approach the chair where Aemond sits, your son on his lap.

Your uncle's hand instantly rests on the curve of your belly, which he still stares at with the same protective instinct, the same fascination, as the day you told him the news. His eyes sparkle.

"Your daughter is restless today."

He looks up at you, not without lingering for a moment on your breasts and their new shape.

"My daughter?" he asks, one eyebrow raised inquisitively.

"I'm convinced it's a girl. You reply, smiling wryly, and take a seat in the armchair next to the one where Aemond and your son are sitting, facing the fireplace. "And she took after her father, given her temper," you tease him, your hand on the top of your rounded belly to soothe the baby growing there.

Rhaegar's eyes close slowly. Nestled against the chest of the man who, just a few months ago, was still a stranger, he fights sleep, he fights to stay awake, but tiredness quickly overcomes him. And then he falls asleep, his mouth half open, the movements of his breath making his chest rise and fall rhythmically.

Aemond finally gets up. You follow his movements with your eyes as he approaches you, the child in his arms, and he plants a kiss on the top of his head.

"I'm going to put him to bed. I'll be right back." He straightens and lowers his voice.

"I wouldn't fail in my duty and neglect my wife." The heat rises to your cheeks, turning them red at the implication of what awaits you tonight. You're already wet between your thighs at the thought.

But you nod in agreement and watch him walk away.

You are left alone in the silence of the room. The only sound around you is the steady crackling of the fire.

It's strange, you think, to be back on Dragonstone, in the familiarity of the stones you've spent most of your life between, after getting used to the idea of not surviving the war.

To the idea of dying from a broken heart.

To the idea of dying, the umpteenth victim of the vicious spiral of conflict that has torn your family apart.

And yet here you are.

With your own family.

For once you have hope for the future. You hear the cries of your little brother, lost in the storm so long ago, but they are quickly replaced by the laughter of a happy memory.

And finally, you have the absolute confirmation that you have made the right decision.

*** *** *** *** ***

Thank you so much for reading!! <3

Tag list : @minttea07 @queenofshinigamis (I'm tagging you since you asked for it ❤️)

#aemond x reader #aemond targaryen #Aemond Targaryen x reader #aemond x you #aemond fanfiction #aemond targaryen fic #aemond x y/n #aemond x fem!reader #aemond targaryen x you #aemond x niece!reader #aemond targaryen fanfic

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slackerlifewhere · 7 months ago

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TCF is all about healing

- This is a review about the novel.

There's possible SPOILERS for readers who haven't finished reading the first volume.

___

When I first picked up the novel, I didn't have high expectations. After reading a lot of stories that end up disappointing me because of how the author eventually adds romance or harems into the story because their main character apparently needs a romantic relationship to feel good about themselves, I thought that Trash of the Count's Family will be the same thing further down the line.

But damn, did the author prove me wrong.

In the first few chapters, the novel's entire vibe was almost unnoticeable. Sure, there were some small details like him not being used to extravagant clothes or finding a simple meal delicious, but it wasn't obvious. It made me raise my eyebrow but I simply thought that he's a simple salaryman or something.

The first lines about him not having anyone who would miss him if he's gone in his previous world can be excused as him having no lingering attachments. And honestly, some transmigration/isekai stories do have their main characters having no attachments in their previous world. So it makes sense and it didn't alert me of what could've possibly happened to Cale, former Kim Rok Soo, for him to be so aloof and calm at the forced transmigration.

And then...he thought about poverty and pity when interacting with On and Hong. That was the first sign that he may have left a few lines out of his introduction.

It steadily got worse when he was talking to Choi Han about him being used to the cruelty of people like Venion. And then, at the first meeting with Raon, he appeared as if he understood the hopelessness of a child under an abusive adult's hand.

That's when I finally thought that TCF is a story about healing. And I was pleasantly surprised.

Sure, there's action, drama, and comedy, but TCF is mainly about moving on or healing from past hurts. There are moments when it can be called "cliche" but TCF is unique in the way it portrays Cale and his relationships. There's the found family trope that I love but what I love the most about the story is how these characters who have lost something or were about to lose something if OG Cale didn't make the deal with God of Death to have KRS replace him, is slowly understanding that they're not alone and that they can improve as a person if given the chance.

It's heart-warming and completely unexpected. I didn't read the first chapter expecting this fantasy-themed action novel to be about this.

OG Cale, Choi Han, Raon, On and Hong, Lock, Taylor and Cage, Alberu, the Dark Elves, Mary, and so many characters paved the way for me to completely fall in love with this novel.

If I sound like I'm exaggerating, then I don't care because this novel is just beautiful.

What completely blew my mind is the final reveal of Cale's past as Kim Rok Soo.

Listen, I have a love-hate relationship with KR survival novels involving monsters and dungeons and the freaking apocalypse. I love some of them and I can't stand the others. But I did not expect that Kim Rok Soo was in a world trying to survive from the effects of the apocalypse.

My first reaction was "What the actual fuck" because I 100% did not expect for the story to go that way. And my second thought was "So that's why!" Because it finally explains why he hates "papercuts"! This guy is so good at making big things about himself sound so small that it left me stunned when the big reveal happened!

I wanna slap him and hug him at the same time.

It explains why he's so good at being a commander. It explains why he's used to getting hurt or why he hates the thought of his friends and family dying with him as the survivor (I believe he has a survivor's guilt?). It explains everything.

He may be in a new world but he's still stuck in his past no matter how much he says about not thinking about what-ifs and his past. The time he spends in this new world is him slowly realizing that he's not alone and he doesn't have to be so scared.

And when I finally thought that I'm done being surprised, OG Cale appears and flips everything I knew about the character. They talk about how content they are with their new identities. They smile. They're happy. And that proves why this novel is about healing and not the simple transmigration novel full of action and comedy. Instead of getting angry at Kim Rok Soo, former Cale Henituse, for the deal with God of Death, he's just happy for the man and for himself. I just love how the author doesn't forget about Kim Rok Soo's sacrifices and rewards him with a happy life with his mother.

It's so hard not to finish the novel within weeks because of how good it is. It can be fast in some parts for the action, which makes sense since everything is happening at once. But there are also slow emotional moments that keep reminding me why I love this novel.

So yeah, this is my review about TCF. It's not a perfect novel but it's a good novel about healing and family. And I'm waiting for the second volume to be done so I can finally read the rest.

#tcf #tcf cale #tcf novel #tcf manhwa #tcf cale henituse #cale henituse #lcf cale #lcf novel #lcf #raon miru #tcf raon #kim rok soo #kim roksu #lcf manhwa

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epickiya722 · 5 months ago

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You know what the moment it was revealed Izuku was left with the embers back in 424, I knew he was going to become Horikoshi's previous protagonist from 2008... Jack Midoriya.

I'm sure almost everyone has heard of Jack Midoriya, right?

Well, guess what, you are today!

Let me just point out something that I noticed when it comes to Horikoshi and his concepts and characters. Some of the characters are characters from his previous works and maybe he has used a certain concept before. Izuku Midoriya and his story is no different. It's been told before but in a different flavor.

(I kid you not that every time I think I'm done finding every character and concept Horikoshi has used before, I'm not done. I'll probably make a post of a list!)

For those who don't know, Horikoshi had an one-shot manga published back in 2008, which is 16 years ago, called My Hero. Already seems familiar, doesn't it?

Well, it should be. My Hero Academia is like a more revamped version of that story, just expanded with more added themes and characters and a different setting.

In summary of My Hero, Jack Midoriya is a salesman who wants to be a hero, but due to being anemic and failing his Hero License exam (yes, that exists), he can't become one officially. However, it doesn't stop him from trying! Throughout the story, Jack does still try to be a hero, using the gadgets the company he works for makes. Spoiler alert, by the end of the story, he is recognized as a hero. Especially, by the one person he has looked up, Snipe aka the real Positive, the mantle Jack used during his vigilante run.

Now, how does this may relate to Izuku Midoriya?

Throughout the story, it seemed that a quirk, a good one, is what was needed for someone to be a Hero. Izuku was born Quirkless and his dreams of being a Hero seemed fruitless, nearly shut down when his role model, All Might tells him so. (Which Snipe does to Jack.) However, after trying to save Katsuki, All Might sees that Izuku does have the ambition to be a Hero and Izuku inherits the One For All Quirk from him.

Now I know some of you said that was pointless for him to have a Quirk and then lose if he was going to become a Hero anyways using gadgets.

But, folks, that was it. There is a point. And the point is... it was pointless.

Here's what I'm getting...

One theme I think is often looked over is "be your unapologetic self" and another could be "work with what you have".

Izuku never needed a Quirk to be the best Hero he could be because he already had Heroic qualities, but he did need a Quirk to see that.

One For All was a Quirk that needed to be gone. It was a curse disguised as a blessing. It worked so to challenge Izuku into becoming the Hero he always meant to be. Just as Jack Midoriya did in his story.

Now that Izuku is Quirkless, he now can become that Hero. He still has room to grow and learn from what he did fail at in the past to be better in the future.

It wasn't something he was going to learn overnight just as society isn't going to change overnight.

While MHA has some fantasy elements, just like many other stories before and after, it is a reflection of the real world sometimes. One reality is that it takes a long time to finally understand something.

In real life, it takes people years to understand "Hey, that's not right" or "maybe I should change this about me".

The characters of MHA are no different.

"Society hasn't changed, there's still discrimination, there's still rankings and---"

Well, yeah. Again reflection of the real world.

And just because the changes aren't seen, doesn't mean that they can't happen or that they didn't happen.

The last chapter gave us glimpses of what transpires over the eight years. What if those events have changed? Even not then, what about later?

"What about the talk between Katsuki and Izuku?" Just because we didn't see it, didn't mean it didn't happen. It was revealed Katsuki put in a lot of money for Izuku's Hero equipment, so that's a sign for me that they did talk some more because knowing Katsuki, he wouldn't have just done that unless he knew Izuku would be okay with it somehow.

Hell, they still had two years of high school left together. You're telling me it's impossible that they didn't have a talk?!

Sometimes I feel like some of you decide "this sucks" is because you just don't have the patience to try to decipher the message yourself. You want it handed out to you.

Not me, I want a writer to challenge my imagination because that gets my mind working and really engaged with the story. I might not understand it, but it's not that big of a deal for me. I'll still try to understand and if I never get it, I'll just move on.

Really my overall take from "Izuku being Quirkless again but still a Hero" among other things is that yeah, work with what you have. Just because you receive something that may be a blessing, it will also curse you in some way. The things and changes you want won't happen overnight, it takes time. Izuku was already a Hero, or at least one in the making.

And honestly, Izuku wearing a suit (because he's a teacher) and still being a Hero with gadgets just visually is like a reminder of "I'm not forgetting where I started" from Horikoshi.

It's wholesome in a way that he went back to an earlier work and still used his intended concept for Izuku (he wanted to make him an adult but had to change it to Izuku being a high schooler) of his last chapter. Full circle! My Hero may not be Horikoshi's first work (yes, folks, it's not), but it's familiar.

And I know some of you may not care for my opinion because I'm sure this post made you feel some kind of way (not my intention, but damn it, I'm tired of not expressing how I feel), but I know some of you might.

My overall thought of the finale? It is not as bad as some of you make it out to be. I'm sure there are worse endings out there and it's not like Izuku didn't become a Hero. It's not like Izuku didn't have people by his side because he did.

"But he was lonely." Well, you would, too if you couldn't hang out with your friends. But they're adults now and busy. Izuku is busy, too, he's a teacher.

"But Izuku's feelings!" Cut it because this is the same fandom where some of you don't care how he feels. He cries, it was annoying to you. Oh, but when he was neglecting himself y'all sure was like "yeah so badass".

I see myself in Izuku with how he treats his emotions. He's expressive, but he also tends to keep in his feelings. He even keeps them from us, the audience.

"Eight years it took him to be a Hero again!" Back to my original point. Izuku was always a Hero. You don't have to go out there and fight to be one. You don't need a Quirk to be one.

Overall, I don't hate the ending at all. It have easily been worse.

Sure I would have loved more Miruko, but I'm glad she's alive and some other Heroes didn't get the spotlight like that anyways. She is still a minor character, so I'm not actually upset. 😆

#just kiya's thoughts #bnha #mha #boku no hero academia #my hero academia #bnha 430 #mha 430 #midoriya izuku #izuku midoriya #deku #horikoshi kohei #kohei horikoshi #my hero #jack midoriya #midoriya jack #bnha final chapter #mha final chapter #bnha finale #mha finale

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nelkcats · 2 years ago

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Changing the ending

Recently, Clockwork started treating dimensional events like a TV show. He could be time itself but he wasn't going to take care of all the dimensions; considering the number of times they destroyed themselves it really didn't make sense.

Danny accompanied him, it was quite funny, and there was a dimension that he liked to observe, Clockwork called him "How to die a thousand times" but the halfa only called it "Detective Comics" or "DC" for short. Everything about it reminded him of a comic if he was being honest.

It was a messy dimension, it had been reset so many times it was worrying and had several alternate line screens that ended very badly. Danny winced at the DC Zombies screen combining with another, that dimension worked in weird ways.

Both he and Clocky prepared for the season finale, a reveal about a hero named "Batman", when he saw Clockwork throw his popcorn at Alfred's death. His mentor was devastated, he used to avoid using his future vision to not "spoil" the ending, but it was obvious that Alfred was his favorite character.

When all of it ended horribly for the original dimension, Danny and Clockwork looked at each other. That ending was very unsatisfying, so they decided to...change it. They had some time to waste after all.

They disguised themselves as a couple of normal civilians, went back to the start of the problems, and started changing all the bad endings they could find (without interfering with some things, even if Danny wanted to save Jason, Red Hood had to happen).

Spoiler alert: Those heroes die a lot, and apparently they're determined to die!

#dp x dc #dc x dp #dpxdc #dp x dc crossover #dp x dc prompt #Danny and Clockwork are very frustrated #DC characters take bad decisions #all the time #they have a death wish or something?#ghost king danny #Clockwork and Danny are powerful #but they are trying to help as civilians #they are inside their favorite show #and at first tried to not interfere that much #but apparently heroes have a death wish #and they need to save them #without being discovered #is really problematic #their disguises are father and son #or neighbors #you decide #Clockwork change of age a lot so #maybe he disguised as a whole family #he will do it #They are interacting with their favorite characters too #and making new friends #is going to be sad when they retire to their own dimension #JL Dark know something is happening #but they don't know what is exactly happening #is very confusing

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dovesdreaming · 5 months ago

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Saw you were willing to do cassandra nova x reader requests!!

Cassandra x reader, r is a rare find in the void. Cassandra has seen dozens of villains and minor heros but reader was an Xmen or avenger, like major leagues. She can't wait to collect them.

Part of my collection

I loved this request!!!! I hoped I portrayed her character well as this is the most dialogue I’ve ever done (which isn’t actually a lot 💀). I’ve loved every single request I’ve received for her so far <3

Word count: 1k

Warnings: none -contains spoilers!

Not proofread

One minute you were in the tva and the next you were lying on the ground of what appeared to be a wasteland. You knelt up on your elbows and adjusted your eyes to the light, great this was just great you thought. As you start to stand up you hear a loud roaring of engines getting louder. You turned around only to be met with an army of cars and weaponry, this was just getting better. The cars all stopped in a circle around you, trapping you. Due to being tired from your fall into the void you tried all you could to fight them off but they seemed to know their way around powers. While you were fighting three men off in front of you one managed to sneak up behind and whack on the head, knocking you out cold onto the sand. You could have normally easily fought them all but you were drained and being knocked out for a second time definitely wasn’t going to help.

Waking up for the second time you were now in a cage being pulled by one of the many cars, tied to the centre. You fought at the rope but it only made it tighter, your powers were getting weaker as you got more tired so you saved anything you had til you could make a clean escape. The cars pulled up to what you recognised as Antman and his hands opened up to reveal more people. All clad in armour and weapons, some you even recognised from your own universe. You knew not to get attached to these versions though as they didn’t seem to be half as welcoming as ones from back home.

Two large men rough houses you from the cage into the centre of the sort of town they had. Everyone stared down at you, some in shock most looking like they want a piece of you in a fight. It was looking less and less likely that you would be able to escape but you kept alert for any small chances that appeared.

Everyone seemed to be waiting for something or someone and that was when Antmans helmet open to reveal a figure at the top of the ramp. A bald woman but you couldn’t deny that they were an attractive one. If you could move your hands you would have slapped yourself, this was no time to think like that she was probably going to kill you. You had thought she was going to walk down and kill you infront of everyone yet the men holding your restraints dragged you up the ramp before dumping you at her feet. They then left you there letting the helmet shut behind them.

There was a deafening silence as she slowly walked in a circle round you. You were on your knees staring at the ground but you could tell she was taking all of you in, it almost made your heart beat quicken if it wasn’t for the fact you were also scared of her. She stopped back where she had started, in front of you. She leant down and pulled your chin up, ever so slightly ruff, to look into your eyes. That’s when a wicked grin spread across her face and she stood back up to her full height.

“You don’t know how long I’ve been waiting for one of you”. While slightly confused what was so special about yourself you guessed it had something to do with variants. “I’ve had countless avengers from the hulk to the scarlet witch. I’ve had countless x men. Yet you.. not a single one of you”. This made you curl ever so slightly back in on yourself, instead of feeling threatened by her words they just made you question whether you were the worst of your variants for managing to end up here. She crouched back down infront of you, taking ahold of your chin again while quietly saying “what did you do to end up here? Hm” she maintained strong eye contact and gripped your cheeks, squishing them and then mockingly said “shame such a pretty face will go to waste in the void”. You hated to admit it but something about her was just so attracting, the way she spoke made your heart flutter.

She then raised herself back up and turned away from you. Taking small steps while in thought. “I could keep you and have you all too myself, finally adding you to my collection or I could finally kill one of you”. Your life was on the line and yet all you could think about was wanting her to turn back around so that you could stare at her face again. You shouldn’t be like this, you should be looking for an exit plan, you probably had enough powers to try and make a run for it but she seemed to take all your focus turning all other thoughts into background noise. “I think I’ll keep you, who else could say they captured one of your kind. Only me having one of you, how powerful we could be together”. You found yourself excited at this prospect, no longer concerned with escaping her lair and the void all together. In a fake sad voice she said “Though I do have to look into your mind to see just how horrible you’ve been to get here”. And as she stuck her fingers into your head, feeling around and appearing in your memories you couldn’t find it in yourself to care. Your new focus was Cassandra, someone who thought you were pretty and good enough to rule with her. How could you deny such an offer? Things were looking pretty good if she kept sweet talking you and allowed you to stare at her.

Thank you for reading!!!

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zeherili-ankhein · 6 months ago

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So I went back on my words and did watch Kalki 2898 AD yesterday (forgot to post this before lol)

SPOILER ALERT (a lot of spoilers)

Tbh I enjoyed it... Wasn't disappointing or something... Well I liked it a lot actually

— Just the glorifying of Karna was annoying 😒 they even made Krishna said he's better that Arjun gurl shut up!!

— And the reveal at the end that Prabhas' character Bhairava was Karna... Bro that was so bad what do I even say..

— My mom didn't like Saswata Chatterjee as a villain lol 😭 I thought he did a great job...

— Dulquer Salmaan's role was confusing... But I think it was kind of how Athiratha had adopted Karna...

Because he was the charioteer and Dulquer is some Captain over here..

— DEEPIKA IN HER MOM ERA SLAYYYYY ✨

— Also not them making Ashwatthama this 8 feet tall giant lmaoooo 😭 I mean yeah... Understandable, They showed the yug height difference quite nicely

— Contrary to popular opinion... The Krishna's voice acting and looks sucked.. Not the skin colour that was pure accuracy and I loved that..But this Krishna didn't felt Dwarkadhish enough he looked more Gopal

— VIJAY DEVERAKONDA AS ARJUN IS MY CURRENT FAVOURITE THING 🥹

— Also loved the Kashi is the first-ever city to last ever-city thing.... Cool but also heart breaking

— I hate Bhairava rn he was so irritating and arrogant but let's see if it will change in the future...

— Lmaooo what is that danda they claim was Karna's weapon?? Lol my OC's spear looks like that in my mind

— HOW DARE THEY GIVE GANDIVA TO KAALI!!! AYE WHAT'S YOUR PROBLEM DIRECTOR??

Nonetheless wasn't too disappointed.... Definitely would watch part 2 just not with my mom she doesn't like action and have been complaining ever since 😔 (sad maa I thought you'd love to know about our culture more...)

#kalki2898ad #kalki movie #tw spoilers #spoilers #desiblr #desi tumblr #desi tag #desi teen #desi

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connoisseursdecomfort · 11 months ago

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The thin line between Waku Waku and danger - what awaits Anya after ch.94?

[Manga spoiler alert]

Anya. The baby of the story. The star of the show. The leader of the Twiyor ship (she even created the slogan "Chichi to haha icha icha".) The telepath. The gremlin. The peanut. The heh.

In SxF, we saw how she forged the Forgers, how she fortified her friendship with Becky and Damian, as well as Emile and Ewen, and how she improved academically. It all started because she found it to be waku waku to have Twilight to be her father.

Same reason for choosing Yor to be her mother:

Of course, I love her for doing that. But there is no denying that she's drawn to danger. She likes it to be exciting. She wants to be the hero. And we all do. We, like Anya, like things to be waku waku.

It is good for the audience. But is it good for Anya?

Not really. Slowly but surely, Endo is revealing to us how it would affect Anya.

She thinks it is waku waku to have a spy and an assassin as parents because she is obsessed with Spy Wars. It is totally understandable for people to be want to imitate the cool characters on TV, and it is mentioned once again in Ch.94.

But it's something more than that. Loid being the top spy and Yor being the top assassin gives us a feeling that no matter what they will save her, and more importantly, they will be able to save her.

In the first chapter, her desire to make the spy work more waku waku has got her into trouble. Twilight rescues her, all ends well. In Chapter 7 she gets into trouble again, and Yor rescues her.

We have a sense of security that the Forger parents will do anything to get their baby back. And while that's VERY true (that's not up for debate - sorry), it also gives Anya the sense of security that she could maybe play with fire a bit more. So in Short Mission 1 we see her deliberately holding onto the bad guy's clothes, trying to get Yor to help. And Yor saves her and kicks the bad guy's ass.

Nonetheless, I should specify that Anya doesn't only want waku waku only for the sake of it although she does gloat over her successes. She understands that she needs to be careful, both in the doggy crisis arc and the cruise arc. But she still runs towards danger because she wants to help.

We already know she would do anything to keep the family together because of her love for her parents and also her abandonment issue especially when it comes to Operation Strix. That includes running towards a building that is going to explode in the doggy crisis arc and heading to the front deck where Yor is fighting with other assassins in the cruise arc. She has a good reason wanting to get involved, and she always succeeds too.

But that isn't all. She actually sees how her parents work towards their goals tirelessly.

That, of course, has something to do with what Endo chooses to focus on when it comes to the jobs of spies and assassins. He doesn't actually focus on the waku waku part that much (which has been one of the most common complaints). Literally in the first chapter, Endo has already shown us what the nature of spy work is - It can be freaking boring.

Same with the assassins' work.

One could even argue that Endo is deconstructing the images of spies and assassins in popular culture. While it is still waku waku for us and for Anya to see them working as spies and assassins, most of the time it is just a job for Loid and Yor. That means we AND Anya also see how tired they are after they've finished their jobs.

But why? If their jobs are ruthless and even thankless, why did they do it? The answers have been given in the cruise arc and ch.62. And for Anya who has been with them for quite some time now, she is inspired by their goals.

Anya wants to do good. Just like her papa and mama. And I think this is probably a good time to revisit the bus arc, particularly this moment:

Other children are thinking how their parents would come and save them. When Anya thinks about her parents, what would she think about?

Is it her parents' goal(s) - to make the world a better place?

Or is it the fact that she has always been the one actively doing something in order to save people, just like how she saves her parents and keeps her family together?

Even in the movie trailer, we see Anya desperately trying to help despite being all tied up.

The bus arc is also when the adults starts to scold her for being reckless.

It is not really the first time they've seen her being reckless. In the doggy crisis arc, Anya is told not to wander off.

Twice.

And even the childcare lady told her the same thing in the cruise arc:

But before it can be brushed off as kids having a tendency to wander off. But it is becoming more and more clear to the Forger parents that it seems to be something even more serious.

Endo is definitely dropping hints here, no?

It reminds me of what Loid told Bond:

This applies to everyone in the Forger family. Yor in the cruise arc. Loid in the mole arc. And Anya in the bus arc.

Anya has learned so many things in the process. Her grades have improved. She has learnt to read the clock. She has to try to write something that is readable so she can eat the gifts from Damian. But it seems she hasn't learned the most important thing yet.

PS Meanwhile, Bond went from not knowing how to play in the dog park

to suggesting an alternative game to Anya in Ch.94

Bond is best boi \o/

#spy x family #sxf #spyxfamily #loid forger #anya forger #yor forger #spy family #agent twilight #spy x family manga #bond forger

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merwgue · 2 months ago

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(This is neither a pro nor anti post, this is merely to criticise SJM's writing. However, it will be tagged as "anti" because if I tag it neutral, I'll get jumped❤️)

Ah yes, the infamous communication void in Sarah J. Maas's books—a void so deep it could probably swallow the entire Night Court and still be hungry. SJM doesn’t just dabble in miscommunication; she throws her characters into emotional landmines and says, "You figure it out... or don’t." And that’s where the fated mates trope comes in, right? It’s supposed to patch up that mess with some mystical connection, as if being mates magically grants couples ESP-level knowledge of each other’s deepest feelings. Spoiler alert: It doesn’t.

Let’s dive into why SJM’s version of communication—or lack thereof—just doesn’t hold water.

The Fated Mate Shortcut

In theory, fated mates should have some magical telepathic bond that transcends words. It's the ultimate get-out-of-jail-free card for character development: why build healthy communication skills when the mating bond can conveniently swoop in to fill the gaps? In Maas’s world, this idea is wielded like an all-powerful tool: mates just know what the other is feeling, and therefore don't need to use this wild, ancient concept called words. The idea that fated mates can "sense" each other's emotions essentially sidelines the necessity of open dialogue. But here’s the problem: emotional intuition ≠ effective communication.

Psychologically speaking, emotional intelligence involves recognizing and managing your own emotions and the emotions of others. That’s not mind-reading! You can be deeply connected to someone, even soul-tied, and still have no idea what’s going on in their head. People are complex, and relationships require actual verbal communication to navigate emotional landscapes.

Take Feyre and Tamlin. They clearly loved each other but weren’t mates, which might be why their lack of communication felt so tangible and raw. The failure to express needs, fears, and insecurities is what led to their downfall, and honestly? That’s valid. Miscommunication or inability to communicate is one of the most common—and understandable—reasons relationships end. But do we get that sense of growth and change when Feyre hooks up with Rhysand? Not really. It’s like the narrative shifts gears from "Tamlin doesn’t understand Feyre" to "Rhysand just knows because they’re mates," completely skipping the part where Feyre needs to actually talk about what she went through.

The "Communication-Free" Mating Bond

Now we get to the Rhysand-Feyre dynamic. Once they're revealed as mates, it’s as though any need for in-depth conversations about feelings becomes redundant. The bond is treated as an unbreakable connection that automatically compensates for any emotional roadblocks. Rhysand messes up? It's okay, they’re mates. Feyre’s spiraling emotionally? Don’t worry, the bond will smooth that over. In psychological terms, this reliance on a supernatural bond as a "fix" is classic avoidant behavior. Instead of confronting the discomfort of working through problems, the narrative leans into this magical quick-fix. They’re bonded for life—problem solved, right?

Except it’s not.

Relationships—good ones, healthy ones—are built on effective communication, trust, and vulnerability. The mere presence of a fated mate bond doesn’t remove the need for these things. Mates don’t automatically understand each other’s trauma just because of some mystical bond. Imagine being so emotionally stunted that instead of apologizing or owning up to your mistakes, you’re just like, "But we’re mates, so it’s fine." Spoiler alert: it’s not fine.

Nessian: Miscommunication Meets the Mating Bond

And then we have Nesta and Cassian, whose relationship could be the ultimate case study in how not to communicate. Nesta, dealing with PTSD and trauma, is paired with Cassian, who—for all his supposed swagger—cannot for the life of him communicate effectively. They constantly clash, avoid real conversations about their pain, and sweep everything under the rug with physical intimacy. They kiss and make up, but no one is really talking. And that’s not love; that’s avoidance. It's like putting a Band-Aid on a bullet wound.

The bond between them is used as a crutch. When they fight, we’re supposed to believe that their mate bond will fix things eventually, but that's simply not how relationships work. Kissing your partner instead of discussing real problems is fine for a silly argument, but when it comes to serious issues—trauma, boundaries, power imbalances—it’s irresponsible. And the fact that Maas frames this as healthy because they’re mates is the narrative equivalent of gaslighting the reader into accepting toxic dynamics.

In psychological terms, this is where we see the conflict-avoidant and emotionally avoidant behaviors on full display. Cassian and Nesta both lack the emotional tools to effectively navigate their struggles, yet instead of being called out, their dysfunction is wrapped up in a bow of "fated mates" as if that’s supposed to be a solution. It’s not. The reality is that their bond does nothing to facilitate real healing; it’s just there as a placeholder for emotional growth that never comes.

The Unhealthy Dynamic

In psychology, we talk about secure attachment as the cornerstone of healthy relationships. You can have a deep connection, but you also need to work on things like trust, openness, and communication. What happens in Maas’s world is the opposite: the characters are codependent on this fated bond, rather than working toward a healthy attachment style. And SJM lets them off the hook. This narrative implies that emotional labor and apologizing for mistakes don’t really matter because "the bond will fix it." Not only does this undermine real, meaningful growth, but it also glosses over the entire point of relationships: to grow and learn together through the hard stuff.

When it comes to Cassian and Nesta, they literally can’t communicate. Cassian has all his own insecurities (hello, always calling himself a brute, never feeling worthy of Rhysand’s inner circle), and Nesta is navigating serious mental health struggles. They’re both drowning, but instead of Maas writing about how they could heal together, she plasters it with the band-aid of "mating bond."

At the end of the day, the whole "fated mates" trope in ACOTAR is a narrative cop-out that excuses bad communication and toxic dynamics. It’s okay to have flawed characters, but the problem is Maas doesn't treat them as flawed. She treats their lack of communication as something normal or even romantic. When in reality, if you can’t talk through your issues with your partner, no magical bond is going to save you.

So yeah, SJM’s version of "fated mates" feels like a lazy way to dodge the hard work of showing real character growth. And if these characters weren’t mates, they’d probably have broken up long ago—because healthy relationships are built on communication, not just magical convenience.

#acotar #anti rhysand #anti ic #anti rhys #anti feyre #pro nesta #anti nessian #anti cassian #sjm critical #anti feysand #like i said i genuinely do not think this is an anti posy #i just dont wanna fight today #tamlin #anti sjm

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thegingerheed · 5 months ago

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How DELTATRAVELER is the funniest UT fangame by complete accident.

Over the course of the past year, I've talked a ton about various UT/DR fan-projects and my thoughts regarding them and their writing. One fan-work I have talked extensively about on various forums and threads being DELTATRAVELLER. For a while, I didn't know exactly how to feel about this game. It felt like an enigma to me.

The game was enjoyable to play, it was entertaining to read. Yet I could never get myself invested in anything regarding the game's narrative or characters. It was as if the game was unintentionally written to obliterate (pun entirely intended) any and all chances for narrative investment in its story and characters. What the game did have over me was that it had me in histersics for the majority of its runtime. Yet, paradoxically, none of the jokes written to be funny landed for me. For a while I didn't fully know why and how it made me feel about the game as a whole. How can you say you enjoyed something a lot whilst also laughing at it and acknowledging that under any other circumstance, it wouldn't be something that you'd consider to be good?

Spoiler alert: I found that answer, which I will now be explaining to YOU in weirdly esoteric detail !!!

But before we start, let's start of with the basic premise of DELTATRAVELER for those not in the know.

What is a "DELTATRAVELER"

DELTATRAVELER is a UT/DR fangame about Kris, Susie and Noelle being isekai'd from a Post-Chapter 2 DELTARUNE into the worlds of various different video games and UNDERTALE on a quest to find a way home. The game was inspired and made off the back of "GOD FUCKING damnit KRIS where the FUCK are we!?" which was a very popular meme at the time of DELTARUNE: Chapter 2's release.

Like DELTARUNE, the game is divided and released in chapters (dubbed 'sections' by the devs). Each chapter is set in a different world and has the Shit Squad (The objectively best name for the heroes) explore, fight and eventually find that world's "grey door" which serves as the end goal for the chapter as that will take the Shit Squad to the next world after the boss of the chapter is complete. In total the game is slated to have eight total chapters with what they are based on being revealed in advanced:

Chapter 1: UNDERTALE

Chapter 2: Earthbound

Chapter 3: GG!UNDERFELL

Chapter 4: The Legend of Zelda: A Link to the Past

Chapter 5: TS!UNDERSWAP

Chapter 6: Mario & Luigi: Bowser's Inside Story

Chapter 7: Toontown Online

Chapter 8: The Dark (the game's finale)

Currently as of this post, DELTATRAVELER is still a work in progress with Chapter 3 being released back in December. As a result all discussion of the game of the game will be on Chapters 1-3 as those are what's out right now.

I think I should preface this post with me saying, I don't think DELTATRAVELER is a bad game, quite the opposite, actually! I enjoyed my time with it.

Mechanically, the gameplay is really well done, the physics feel very on point to UT/DR, which is surprisingly rare for a lot of UT fan-games. It felt like I was playing UT/DR and was rewarded for the skills I had gained from the collective hundreds of hours I have played these games.

Visually, I think it looks very solid and charming. Seeing various locales and characters from other games being translated into UT/DR's iconic, sometimes janky artstyle is always cool to see and it will be very interesting to see how games like A Link to the Past are adapted in future chapters.

Musically, I think the game is fine. The original songs in the OST doesn't have anything I'd point to as "bangers" but also doesn't have anything I thought was particularly hard to listen to (With the outlier maybe being Eye for an Eye. The obligatory Megalo for the Sans fight in the GG!UNDERFELL chapter. But even then, I wouldn't even call the song "bad". I just don't like it too much and that's fine! just how music taste works.)

But to get to the main point. The most intreasting thing about DELTATRAVELER to me, is the way the game is written which has proven to be quite the controversial topic within the broader fandom which is what I'll try to give an in-depth and nuanced disection of but to put a long story short, I don't think this game is written well. Most of the core issues I have with DELTATRAVELER's writing can be attributed to a single, fundamental flaw. That being how the game handles it's "tone"

Explaining Tone

In writing, Tone is a very multi-factor concept, working as the bedrock for a given work. To put it simply and cleanly, tone is basically "the vibes" of a given thing. Tone can come in a lot of different flavours. Whether that be the tone of a given scene, the work itself or even the tone of an entire series. Tone is important as keeping tone consistent with itself is one of the major factors in narrative investment. It essentially tells the audience what they can and can't expect from a work of fiction.

Let's use this as an example:

You're watching a movie, in the movie there's a scene involving the protagonist having an anvil inexplicably dropped on their head by the antagonist.

If this movie was a comedy for children and family, the tone of this scene would ensure that this be as funny a punchline as possible or the set up for a funny punchline. This expectation built by the previous events of the story shields the narrative and characters from anything that might be too ill-fitting for the "comedy for child and family tone" it's trying to go for. At most the protagonist could be expected to suffer from a Loney Toons-like knockout rather than ending in a hospital bed with a shattered skull. Or, at worst, splattered and crushed across the pavement in an intensely gruesome fashion. If that happened, it wouldn't pass the story's "vibe check" which can cause something that I'll be calling "Tonal Whiplash"

If you want an example of "Tonal Whiplash" and the effects it can have on the audience, look no further than Shadow the Hedgehog

This game, to be frank. Is fucking hilarious and this is in part due to the mere concept of the game about Shadow using a gun breaking the tone set series-wide by other Sonic games and media in the past. (Expect Sonic Adventure 2, that has similar issues to a lesser extent)

It takes a series about stopping egg-themed villain from ruling the world to trying to assassinate the president and watching as a innocent girl gets shot in the back by what is basically, the USA military. And it all tries to do this in the Sonic series' iconic, albeit rather corny writing while also intened to appeal to older kids and be "cool". It leaves the game being kinda a clusterfuck even beyond just its tone issue, in a very funny way.

Now, this isn't to say that breaking tone is necessarily a bad thing all the time. Sometimes it's intentional, a way to make a moment hit harder, surprise the audience or all of the above. However, breaking tone is a narrative risk and if it fails you risk hurting the narrative investment your audience has within your work and to top it off once tone has been broken, it can't really be put back together with a story. You'll basically be shifting the tone of the story from that point on.

An easy example of this tonal shift is UT itself with it's Geno Route.

How UNDERTALE handles it's tone

UT's tone is one that acknowledges its nature as a video game with the usage of diegetic game mechanics like SAVING and the battle system.

This has many unique effects, for example means things like death as a concept is something that is treated rather lightly within the game's tone, the game even joking about it on the occasion. It's rather pointless treating death as anything other than a slight inconvenience to the human when you directly acknowledge that they can undo it by simply not wanting to die.

This treatment of death intentionally clashes with how it's treated when you kill monsters in a Geno Route. Papyrus is a shining example of this. Being something of an emotional obstacle for the player. Designed to make the player feel shit. Basically UT's writing is effectively, unapologetically trying to guilt trip you as another test of your determination to see this run to its completion.

The emotional weight of this scene is less carried by the idea of death and more so the fact that you hurt one of your favourite characters and won't see him anymore for the remainder of the run. It's more character focused, if you've already begun to withdraw your narrative investment and attachment to the characters or if you simply just don't give a fuck, it's not gonna make you feel anything. It'd just be another monster to slay, another number to increase.

Now you might find yourself wondering. How can UT be funny and sad without it leading to side effects normally seen by "tonal whiplash"? UT is funny, sure. There's a lot of jokes, each joke told in UT is a joke told by either a character or the world. Each joke means something beyond it being a funny line. But UT can also be heartfelt, like the walk up to Asgore. It all further fleshes these characters out making them feel more deep and layered, it treats it's world and characters not as jokes to be laughed at but as people, people who can be funny, people that can be sad and down even if you and the game both know that deep down, they aren't real. Just bundles of pixels and dialogue for your entertainment which is what makes Geno's clash work.

Your attachment to the characters and world. It's sudden, yes. But that's why it hits. NPCs vanish and their absence is felt, the once lively music replaced with a slowed drone. It all feels empty. It's dark, all because you have killed the things that gave this game its "light". UT's tone is something that . The tone of Pasifist runs reinforce and bring greater impact to Geno runs and that's why it feels less like tonal whiplash to the audience.

Now, let's get to DELTATRAVELER. If we want to establish how DELTATRAVELER establishes a tone for itself what best than analysis the beginning?

How DELTATRAVELER handles it's tone

After an amusing title screen and a quick file selection, we open with Kris and Susie on a bed of flowers, the first room of UT. After a brief moment of the two getting their bearings, they stand up and Susie turns to Kris before saying "God Damnit Kris! Where the hell are we?!!" fit with a silly pose and sound effect. A reference to the meme that inspired the game's creation.

The next scene is in the very next room and it's encounter with Flowey. Here he attempts the same speech he said in UT before Susie cuts him off, gets him to spill the beans that he was actually after Kris' SOUL before getting into a battle. Where they make a joke about DR battles being different from UT battles before Susie bashes her HUD into Kris' creating a unique one that DELTATRAVELER uses before blasting Flowey away with Rude Buster.

Off the cuff, DELTATRAVELER isn't really being serious. So far it's spent the first couple of scenes essentially making jokes around the characters, world and basic premise of the game and the game will continue to do this with inclusion such as Ralsei smoking a blunt, referencing a meme of the same name and Noelle making expressions referencing both a popular SpongeBob and MegaMind memes. On its own, this isn't really a bad thing, sure I may personally find it very unfunny but the game starting off with various memes isn't even a negative in principle, it just indicates that it doesn't want the audience to take it too seriously, which if that was the intention, would be fine. The issue DELTATRAVELER has with it's writing is that it unfortunately does want me to take it seriously.

The game makes an attempt to emulate UT's writing style, attempts to have serious moments sprinkled amongst jokes. However, unlike UT, DELTATRAVELER's brand of humour is basically solely self aware memes. Oftentimes, made at the expense of its own characters and world, leaving the moments where the game actually wants to be taken serious to fall flat.

Things like Kris' nightmare during Chapter 3, where they wonder why they are cursed with our control before lamenting about how much they want to rip their SOUL out and destroy it. Before crying out that they "Don't want to die alone." Doesn't have the impact the game wants it to have, because prior to that point, the game had basically already told the audience not to take the game too seriously, thus hurting any narrative and emotional investment the player could form with this interpretation of Kris as a character leading up to that point.

The same can be said with DELTATRAVELER's Geno Route equivalent, dubbed by the devs as The Obliteration Route watching the game in one route go from, "Ralsei Dobbie! No Bitches? Vine boom!" to beating and slaughtering a beloved protagonist and watching the kid bleed out on the ground as the other fights for revenge whilst a cover of (fucking) MEGALOVANIA starts playing in another takes what should be a very climactic and emotional moment and turns it into the single funniest boss fight I have played.

And that isn't counting the various other characterization issues present throughout the route as a whole. Characters like Noelle and Susie have no real reason to help Kris with the run once they notice them seemingly going around looking for people to slaughter. DELTATRAVELER especially when the game then goes out of its way to show the player that both party members have the digetic ability to reject the player's control, to the point where they can refuse to enter battles with Kris entirely.

But they don't, they'll even attack Ness and Paula under a certain percentage of health even after Susie tells explicitly Kris to not kill them. It leads to the game putting the blame on Kris and then The Player for a situation Susie and Noelle also have established agency over. Susie can help and kill a ton of monsters yet still be pissed at Kris for what is, under the game's internal logic, still a choice she chose to follow. The game tries to remedy this via Chapter 3's talk with the trio and it's better, sure. But it still leaves the writing in this strange place of hypocrisy with the characterization to me.

One scene that sticks out to me as particularly odd being after a secret Gaster lore dump cutscene on an Aborted Obliteration run has Noelle say:

"Kris..."

"If you were serious about not having control."

"You would've done it."

Directly implying that she thought Kris should've jumped off the cliff... which is just a strange inclusion, I feel is... Done more so to enlist a reaction in the player rather than creating important moments that respects the world and established characterization.

On the topic of weird characterization, let's talk Sans...

In the GG!UNDERFELL chapter, the main antagonists are Papyrus and Sans. Papyrus, is written, pretty recognisably from his Canon Counterpart. Sans however? Is a mess and a wonderful mess, at that. They take this very edgy, unhinged approach to his character, making him into an insane killer type of character similar to AUs like Dusttale. Throughout the chapter, he tries his damnest to kill Kris and take their SOUL, talking vaugely about a gurdge that doesn't ever get elaborated on. This approach creates a dynamic between Sans and Papyrus, where Sans is basically on Papyrus' metaphorically leash. Reaching a breaking point where he kicks Papyrus off a cliff, rushes at Kris like a feral dog before being being thrown off the bridge, leading to his battle.

His battle... oh my god his battle! It was easily the best part of the game, to the point it had to have its dialogue rewritten, the reason for this being honestly something I cannot begin to accurately describe to you while also doing the scene justice. So here's a clip from Andrew Cunningham's playthrough.

This isn't even the ironic either, this was just how Sans was written. The tone takes itself very seriously, this creates this type of divide where the game has already conditioned you not take it seriously, while trying to take itself completely seriously. It's peak tonal whiplash and it makes the scene, and the fight as a whole, unintentional hilarious.

Final Thoughts

The weirdest part? I don't even care. I've spent the better half of this essay arguing the flaws in DELTATRAVELER's writing, and while I do think they are all valid positions to have, for me? I don't really care about it that much, it's these issues that make me like the game. It's really funny in a very earnest, albeit unintentional way and at the end of the day. It's entertaining to read and there is value there. It's why I am not big on the rewrite of GG!Fell Sans. His issues come from fundemental aspect of his character that couldn't be changed with a simple rewrite, nor should it have it been expected to, as a result however, it doesn't really fix his character for me, it just takes a big part of what I enjoyed from him away. It's sort of a shining example on how when creating, you do not have a choice on how other people see your work. Some jokes you might tell might land and be funny, but also to some, may be brutally annoying and that's just the beauty of the beast. There's always room to analyse, to see if what the creator wanted to convey reads back to the audience. But even if there is critical flaws with the writing, enjoyment of that writing isn't inheritantly attached to author intentions or even the quality of the content, it's a feeling, a subjective one at that. It's why I could say I don't like Sonic the Hedgehog and Kingdom Hearts for being too corny and cheesey but to others, that's exactly what they love about it, and there's a lot of value in that.

There isn't a correct way to have an opinion, a right way to like or dislike something. You like things for the reasons you like them, you dislike you dislike them and that's fine.

However, I do want to take the time in this post to address pretty plevalent fandom issue perpetuated by the wider.

In the past, the UT/DR community was, to be frank rather toxic and elitist, it still is, depending on where you look. Overtime though, there's been a shift, whether be because those types of people moved on to other things or simply grew out of that behaviour, it doesn't matter why just that it has happened. There's a lot more positivity in this community and that is great to see. All healthy communities need such things. However, I do believe that as a result of this, the fandom now is suffering from a "rubber band mentality" where we've pulled too far in the opposite direction, leading to what feels like ironically "toxic positivity".

A lot of people feel very passionate about these fan-projects and that should be celebrated. However a trend I've seen in this fandom, one which has had a net negative effect on this community, is how we as a community react to people voicing opinions/ making jokes or just talking negatively about these beloved works.

You see it a lot with works like UNDERTALE: Yellow, DELTATRAVELER, Inverted Fate, all of the big fandom projects. Everytime a critique or just a joke about a fan-work gets more than like 10K Views on social media, the entire fandom begins to fold into basically damage control, regressing into "can we just not be so negative about the super popular fandom work loved by thousands?" People that voice their opinions on these work, especially negative opinions, get dogpiled, mocked and dismissed because according to them they "don't understand the writing", "hate fan works" or are just being "bitter about works made with passion and love and should simply shouldn't engage", even when said people once taking the time to actually hear them out, provide criticism that's honestly pretty valid.

I'd understand if people were directly going after devs, commenting under their tweets, invading their own communities just to mock and be the answer to a question nobody answered. That is wrong and should be called out. Voicing how funny or even terrible you think certain scenes are on your public social media? Ultimately, that's harmless in the grander scheme of things and I feel like fans and creators should be mindful of how they react to things because at the end of the day. People are allowed to voice their opinions, they are also allowed to make jokes and laugh at the writing, they are allowed to do all of that. People want to treat fan works like works of art and I am right there with them, but if you want to do that, you have to actually start treating them like art and accept it's a completely subjective thing. People will have different thoughts about them and that's okay! The moment you start policing what thoughts should and shouldn't be expressed is when any meaningful discussion dies. This whole mentality that since it took hard work and dedication to make a fan project should be celebrated to the highest order and treated as an object of reverence, absolved from all criticism is a harmful mentality to fall into. A thing can both require hard work and dedication and also be criticised and joked about by people. These two can co-exist. One doesn't somehow counteract and invalidate the other.

For some, analysing and critiquing media is a fun thing to do! It helps you get a better understand of the medium you're analysing, what works and what doesn't. It's legitimately fun to have discussions about. Being negative about works, even if they are works of passion aren't the end of the world, especially when they are just posts made by people just minding their own business. Jokes? Shitposts? They should all be allowed, because that's also how some people enjoy works of fiction. And if you don't want to see it? Valid but there are countless methods available to ensure that that don't involve creating a "good vibes only" type of fandom environment that everyone is forced to adhere to. That helps nobody and only breeds division within this community, I think.

#deltarune #undertale #analysis #undertale meta #critique #undertale au #undertale fangame #deltatraveler

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exo-raskreia · 7 months ago

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More on Utahime's potential in the Shinjuku Showdown Arc

WARNING: DELULU IDEAS + MANGA SPOILERS

So, GOJO HAS RISEN 🥳 (potentially). We'll see in the next chapter or so 😥. There are several ways this could've happened. In this post, however, I will mostly focus on Utahime.

(My reaction to chapter 260 at end of post)

Chapter 259 once again showcased flashbacks of the other characters strategizing against Sukuna, except for Gojo, Utahime, Gakuganji & Ijichi. At this point, one's inclined to believe that team was up to something during the time-skip. It's getting too obvious now.

In this post, I talked about Utahime's potential role in Gojo's revival and/or maybe have another equally important role in this arc.

While some ideas still stand, I thought of some others.

• One of my delulu theories was that Utahime & team could summon Sukuna with his 20th finger to a new vessel (maybe back to Yuuji) or maybe do something else with it, & I just got the idea that what if it's with Nobara's help? With Todo's return & the strange imagery in that recent MV for the opening of the Phantom Parade mobile game, "Avant" by Eve, which potentially foreshadows Gojo's return, & even shows Nobara's Straw Doll CT, Sukuna's new domain, etc., could it be Nobara will return as well? Could she use her Resonance on Sukuna's 20th finger, as it was revealed in 259 that Yuuji's & Sukuna's souls are still connected? (As of right now, it's possible Yuuta may be storing the finger inside Rika, so I wonder about the retrieval of it...)

Another possibility is what if they were doing something with the Prism Realm? That MV showed a bunch of those boxes with creepy eyes, like Sukuna's... What if Gojo's "special training" that he mentioned in 223 had to do with that? Like, maybe his team found a way to train in the box, as time flies differently? Or they were figuring out a way to seal Sukuna? In that same MV, we see paper seals on the boxes, so what if Utahime, as a shrine maiden, made them? Is it possible the team found or created more than one Prism, or something similar?

One thing that worries me is that the only ones who know about Yaga's secret CT are Gakuganji & Gojo. It hasn't been brought up again so... Were they planning something with that? Related to Gojo or maybe Nobara? I don't like the implications, though...

Because of that lingering connection between Sukuna & Yuuji, it seems like Sukuna was able to be a step ahead of everyone due to seeing/sensing all the sorcerers' plans that Yuuji had been a part of during the time-skip. Now, we know that Todo had kept his comeback secret from Yuuji so as not to alert Sukuna. Which could mean...that Utahime's CT was also kept a secret from Yuuji.

Sukuna still doesn't know about it. We know that Yuuji never knew about it while harboring Sukuna, & it seems that this was kept from him even during the time-skip? So, it means that he had no idea what Gojo was planning for his initial attack nor what else he was potentially doing during the time-skip.

Was this Gojo's idea? Did he just want to show off their 200% Hollow Purple? Is it because Utahime is a trump card? And/or is it to protect Utahime? (oof, Gojo, if that's so, we see u~ 👀)

To add to this, we got some recent content that makes me wonder if something regarding Utahime's character may actually happen. This is all mere wishful thinking speculation, of course.

• In the upcoming JJK exhibition (summer 2024), Gege is releasing some rough drafts from the manga & will apparently elaborate on his creative process when making them. One of them is the "You cryin'?" scene from chapter 65.

Out of all his rough drafts, he chose this one as one of the main ones for promo... 👀

In the original text here, Gojo said, "You're weak, so don't go on business trips too often." /OR "You're weak, so don't push yourself too hard."

(translation varies. Here, here, & here for further context)

The text seems to imply that Gojo didn't want Utahime to go so far away for missions (she was 3 hours away by train from Tokyo), or that she shouldn't take on such dangerous missions. Is it because he wouldn't be able to get to her sooner if she needed help, since at the time, he couldn't teleport yet? 👀

Gege changed it to "I came to save you" in the official release. Why, though? We could still tell Gojo was worried for Utahime due to him leaving the supervisor & his teammates behind to go save her from the mansion, forgetting to put up the curtain, & using Blue (which at the time, was exhausting to use) while managing to leave her unscathed. Did Gege think Gojo's concern for Utahime would be too obvious with the original text, though? 😏

• The characters got some updates on their profiles for the upcoming 4th character popularity poll. However, while most of the others got some slight changes, Utahime's only reiterates that she's a very good singer.

(Used Google Translate)

(We wish Gege would just give us more info on her but oh well 😮‍💨...)

Even this article finds the brief description strange.

Why did Gege bring this up again? Why not simply say she's a very good dancer instead, as we now know? He had said in the 2021 fanbook that her singing is a huge part of her CT, but we have yet to see it in action (unless the chanting for her 120% counted?). Some people had already lost hope that we'd get it, so is he implying that it's still something to look forward to? That her VA, Yoko Hikasa's singing talent, won't actually go to waste in the future? That Utahime still has a role to play? 👀

• On April 2, in order to commemorate Vol. 26 of the manga (containing infamous chapter 236), Shounen Jump uploaded a lofi video to their official YouTube channel in which we see edited versions of Gojo's memories. These mysterious edits have made people theorize that Gojo's memories have become a distorted mess in his brain, which is implied to be damaged in his (potentially) current state between life & death.

Utahime & Shoko appear with Gojo in one of the images.

Both girls have been theorized to help bring back Gojo. Utahime seems to be the focal point here, however, while Shoko is more in the background. Her appearance is that of her & Gojo's phone call scene, which had lasted 3min 41s in the anime (341, guys). Why is Utahime more prominent to him here, instead of his former teammate & closest friend?

(Full delulu) Could this be foreshadowing that Utahime will be the one to call Gojo back from the airport? That she will use her singing to reach him? Lure him like a siren or something? Or, like I said before in my aforementioned delulu post, does her singing have healing abilities?

Got the idea from this post that in the edit, it's like Gojo's heading (north) towards the girls, & since Utahime is at the center (of Gojo's distorted memory, mind u 😌), could it be implying she really will be the key to help guide him back? While Shoko is busy healing him?

AND SO...onto chapter 260:

GOJO HAS RISEN?! 🤩

(Gege, u better not be playing... Sukuna better not be hallucinating or smth...😑)

Right now, the Binding Vow theory seems the most popular, & while I don't like it, it's still possible. However, would this discredit the theory that Shoko healed him? And/or that Utahime buffed her? Maybe not. Shoko did say in 258 that the efficacy of her RCT can depend on the person's body/CE being healed. So, would Gojo have had to give up something, like his right eye, in order for Shoko's RCT to work, in case his CE was rejecting hers? 🤔😓

Gege will explain what's going on in the next chapters. As Gojo's return does seem rather sudden & random, it's possible it may not be official YET, but it doesn't mean it won't happen. So if this is a fluke, I do believe Gojo will return at a crucial moment.

Whether it was/will be thru a BV or with outside help, we will see. Either way, this also means that Utahime is coming back!! We'll finally see her again!! Where there is Gojo, there is Utahime. WE'RE GETTING THAT FLASHBACK, TRUST. Incredible how Gege timed this so closely with last year's chapter 222 in May, in which Gojo gets unsealed, & then in 223, Utahime reappears after a long absence WITH him. WILL GEGE DO THIS AGAIN? OH, MAN-

Ok, I know I'm fully delulu & Gege may go against all our expectations in the next chapter or so, so I'll try to keep them low. We'll see... He's not off the hook yet... 😕😫

#iori utahime #gojohime #gojo and utahime #gojo satoru #more delulu #jjk theory #reiapost

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danganronpasurvivoraskblog · 5 days ago

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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?

#danganronpa survivor #danganronpa #ranking #mod talks #danganronpa 1 #dr1 #chihiro fujisaki #mondo owada #genocide jill #toko fukawa #byakuya togami #kiyotaka ishimaru #dangancember 2024

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