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tiredfoxtf · 9 months ago

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Small analysis on DR murder mystery no one asked for but I wrote it anyway!

Danganronpa! A colourful series of murder mysteries with a pink tint of blood. The last addition to the series – Danganonpa V3: Killing Harmony – has been around for 7 years now and that makes me automatically feel so old, but hey what’s worse than that is to think that 2019 was 5 years ago now. It’s been half a decade since the start of COVID epidemic and that alone would make someone sick. And during these years I found myself in and out of Danganronpa fandom spaces. Specifically a Fan Danganropa fan spaces, the inception goes crazy on this one. I am a big enthusiast of taking the Danganronpa’s core ideas and shaping them into something new. I don’t really go into actual canonical Danganronpa fandom, because, well, it's a completely different can of worms that I really do not want to deal with. I've had enough discourse these past 5 years in MCYT fandom and am really tired. But that’s a side tangent.

What we are actually here today is to take a peek at what makes the most intriguing part of any Danganronpa game tick – the murder mystery. And as a side hustle we can take a peek on how different characters affect it. And just maybe a structure of the plot itself. (spoilers for mainline dr games ahead)

So, first thing first let’s look at the way a chapter in the main line Danganronpa game is structured, something you guys know very well.

DAILY LIFE

First we have a Daily Life. On the first glance you might think – “What Daily Life has to do with a murder mystery aspect of the mainline game? Isn’t it supposed to be a peaceful time with no murder?”. And on the surface you are right. But Daily Life serves many purposes for the Murder Mystery: Environment, Motive and Social Interaction.

Firstly, set up of the environment. Like props on the stage, rooms and layout of the building or other environment that is introduced in Daily Life will affect the murder in some way. It’s basically Chechov’s Arsenal we’re talking about. If there’s a gun in the first act, it must be shot by the end of the third and if there’s a garbage compactor in the Daily Life it must be used in a murder. Of course as we progress down the chapters and the area of the Killing Game’s grounds grow bigger it gets harder to just keep in mind what happened when and what rooms have what. And mainline DR games really suffer from “we used this room once in one chapter and forgot about it” disease. But in defence of the games, the area they work with is usually so unbelievably huge (especially suffers SDR2). I really don’t blame them for not utilising stuff from previous chapters in new ones.

But also it’s what is really easy to fix for us, the murder mystery and DR enthusiasts, in our own Danganronpa-like stories. All that needs to be done is to shrink the scale a notch. Instead of opening up a whole new section of buildings or new floors every new chapter, it’s worth opening up a few rooms. It’s also important, listen to me, it’s very important that every new room that is opened is unique in some way. You should not be able to replace it with a room from the previous chapters and you should not be able just get rid of it without significantly changing the plot! It shouldn’t be just a prop that characters alternatively hang out in. This one gets really bad in V3 with the Ultimate Research Labs – most of the labs were not really special and not used at all, which is a pity.

The second thing which is provided to us by Daily Life is a motive. Motive is a really broad term for any event that was planned by the Mastermind or organiser of the Killing Game. It can be Practically anything, but what’s important to keep in mind is that it’s something that someone who Wants murder to happen made. It’s basically a stimuli for a murder however it might present.

Some of the cannon motives in Danganronpa, especially in the very first game, are very trivial, while the others are kinda weird. In the THH it was the very point that Junko was making – the Ultimates, so called symbols of hope, will actually abandon morals like any other person for such trivial reasons like secrets and money. In SDR2 and V3 they just kinda decided to get crazy with them. The infamous Despair Disease and that Virtual Reality thingy or even the First Blood perk. Because, well, Ultimately both of the games’ Masterminds didn’t have anything to prove with them. One existed to just simply send players into a state of Despair again and the other was a TV show for fun.

Which leads to this interesting point – the Motives of your Danganronpa-like story should reflect the Mastermind’s ambition or their own motive for making a Killing Game. Also, personally I think it would be nice if every motive was related to the main theme of your story. Since the Mastermind tries to prove something to the cast to “win” over them, the protagonist usually symbolises the opposite idea (ex. Makoto “Hope” vs. Junko “Despair”; Hajime “Future” vs. Izuru & Junko “Past”; Shuichi “Truth” vs. Tsumugi “Lie”), so it would be a great chance to show how Mastermind thinks and how cast and specifically the Protagonist overcomes the motive from the other side of the ideological spectrum. And it works to show the grey area of the spectrum too, but it’s way deeper into themes than into murder mystery itself.

And the final third part that presents in the Daily Life I eloquently named “Social Events”. To clarify, I do not mean like Free Time Events, no. I mean Major Events that were organised by the cast that played into the murder. A lot of people caught on to the importance of this one element of Daily Life, but got stuck on the execution part of it – something I dubbed in my head as “Party Syndrome”. Categorised by the extensive need to write a some sort of party in one too many chapters.

Jokes aside, the Social Events are VERY important for a murder case in every Danganronpa chapter. Basically Social Events is something that characters That Are NOT the Mastermind do that will affect the way the murder will play out. They are often made to be something to combat the Motive or other ways to cope with the reality of being in a killing game. Rarely they are set ups organised by a wannabe killer and when they are, the wannabe killer got beat to it by someone else. Except for all chapter 3 murders. Yeah, one of the absolutely weakest parts of every Dangnronpa games, what a surprise. Not! Absolutely no one is surprised that the most obvious murders have the easiest solution – a person who set the whole thing up. Which is an important lesson – sometimes the thing that makes the most sense is not a good answer for a good murder mystery.

There’s actually a lot of good examples of Social Events in the mainline DR games that aren’t some party. Like the switch of rooms between Sayaka and Makoto, the sauna challenge between Mondo and Kiyotaka, Kaede’s and Shuchi’s Mastermind investigation, Kaito’s and Shuichi’s training, Insect Meet and Greet (technically. Not a party. Kidnapping).

A lot of fangans faced this criticism about how weird it is to throw a party in the killing game, which is absolutely completely fair. Whatever your social event is, please remember that your characters in the story feel the weight of death on them. Even the most carefree and borderline delusional ones. Which unless it’s the point, not all and definitely not most of them. Keep it real, ask yourself would YOU approve of such an event in these circumstances? If not, why would it happen anyway? Or come up with other ways to introduce social activity. Remember the worst your characters can be is passive and reactive in lieu of being active and making decisions.

And that’s about covers Daily Life, in conclusion to the end of the segment I would like to say that Daily Life should highly set up the scene for Deadly Life, they should not exist as two separate entities. Of course when murder happens you are supposed to feel shocked, but to a reader of Danganronpa-like story it’s very obvious that the murders will happen. There’s no point of trying to surprise the audience, they highly expect it. So, set the viewer up properly instead of trying to use an element of shock. But don’t fall into the pit of predictability either. It’s a delicate balance.

DEADLY LIFE

Before we could go into details of Deadly Life part of Danganronpa Murder Mystery inner workings, I want to make a note of the methods they use to conceal the identity of the killer: time of death, murder scene and murder weapon. Or simplier put: “when?”,” where?” and “how?”.

On the most rare occasions it’s also “who?” as in “who’s the victim?”, such as in chapter 5 and 6 of THH and chapter 5 of V3, one of the most convoluted chapters of the entire game trilogy. The reason why it’s so rare is because, at its core, DR Killing Game is a closed murder mystery which means we have a set number of characters we know, so it becomes obvious who’s not with us anymore. It’s a really hard trick to pull off to completely disguise a victim to beyond recognition And not make it obvious who is missing from the cast. In THH it’s achieved by “extra body” of a secret sixteenth’s student who was murdered by a mastermind previously, the whole chapter relied on that lack of knowledge and was a set-up by a mastermind to get rid of one of the players. In the V3’s case however the idea was flipped – now it’s a plan of two students working together to confuse the game and break it, which was supposed to result in beating it entirely. The idea of both is pretty clever and it’s what sets these 5th cases apart so much.

But generally the culprit will try to conceal the true time of death, the true murder scene and the true murder weapon to hide their identity. Or for other reasons (ex. Mondo moved Chihiro’s body to Girl’s changing room in order to keep his secret rather than hide a true murder scene).

You should be aware that no matter how much effort you put into murder, there’s no such thing as a “perfect murder”, there never is. Especially in the DR killing game. The game is NOT fair for the killer, please, understand it. Your killer works alone against a group of innocent students AND against the Mastermind. Mastermind does want to test the participants’ abilities and for them to feel despair of possible looming death. HOWEVER, the mastermind won’t allow the unsolvable. The mastermind wants the game to continue, this is why they provide a case file about a murder. Of course they would leave out some information that would probably reveal the identity of the culprit immediately, but generally the mastermind's goal is to have the innocent party win and win until there’s 2 (or 3, depending on the rules) students remaining.

Also even if it wasn’t that way, it’s nearly impossible to set up a perfect murder, due to a killer and a victim being flawed. Everyone makes mistakes, especially in a high stress situation as murder.

Now we can move on to Deadly Life.

I would love to divide Deadly Life in three parts: a body discovery, investigation and a trial. Very obvious division, but an effective one at that.

When we talk about Body Discovery I of course mean these things:

When was the body discovered?

Who discovered the body?

What circumstances led to discovering the body?

These things are crucial to understand when you write a body discovery, because Discovering a body is one of the important things for the killer in the DR scenario. Until the body is discovered there will be no trial held, which means the killer has no chance of escape even if they kill somebody.

When was the body discovered? Time frame. In the killing game time measured a lot like this daytime/nighttime due to having morning and nighttime announcements and some areas being off-limits during night. Which actually doesn’t matter for Mastermind, I think. Like a lot of rules have literally no effect on the mastermind (like no sleeping outside dormitories). They are made exclusively for the murder mystery part, so guilty students could take advantage of it. When answering this question it’s also important to think “How much time has passed between actual death and the body discovery?” and “Why did it take this long to discover it?” and “Why discovering it at this time would benefit or hinder the killer?”.

Who discovered the body? According to canon DR rules across the trilogy, the body is officially discovered when three non-guilty participants see it. It’s a very special rule to the killing game and stayed a very important part of it across the mainline games. It’s often used to either deduce the killer or prove the innocence of one of the suspects. When you answer this question, think about “Why was it they who discovered the body?” if discovery wasn’t immediate after one person found it why didn’t they tell others?

What circumstances led to discovering the body? Did the group of participants just accidentally stumbled across the body? Did they come looking for this person, because they were missing? Were they doing something unrelated and the body just sort of dropped on them? Did they actively witness death live and where too late to save the person? And most importantly “why is this circumstance important/not important (in case they didn’t do any preparation) to the killer?”

Noticeably every part should include an answer to “Why?”. Killers in DR do not do anything for no reason. BECAUSE IT’S A WASTE OF TIME! If something doesn’t benefit them in some way, do not do it. Very simple.

The Investigation is a mandatory part of the game where you run around and note down all the clues you can find, as the name suggests. It’s always a convenient amount of time when at least one person finds everything there’s to find physically. The main mistake you can make during the investigation is to give out all the information about the circumstances of a murder. You give out hints, not the whole murder and it’s very important. If your audience solves the murder entirely from investigation alone – you’ve failed to write a mystery.

Class Trial – the main event of the Deadly Life, where innocent parties try to find the guilty and where the audience should try to puzzle together the whole mystery. During a class trial some new details about the murder should present themselves as we go along. Like for example in my absolute favourite case 4 for SDR2 where we deduce the layout of the funhouse. Something that we couldn’t understand from investigation alone. But it doesn’t have to be anything big like a whole layout of the building. It can be details of someone’s seeing the victim or the killer and realising it at the moment, the details of how some part of the mechanism works, etc. Also it’s the perfect time to catch slip-ups. The DR community do not usually like when something is solved on pure chance of slip-up, so if you plan on using them, make sure that instead of chance, your characters set up a trap for their suspect to fall in. That would look MUCH cooler than if your culprit just gave out too much info by accident.

A danganronpa case always gets solved because it was something specific to a character that only the culprit could have done, but it is not supposed to be obvious from the start.

Also I really want to bring attention to the victims of the case. Victim is an important part of the case WITH the killer. They should play an active part in the murder. This will further the context to the murder and give more mystery. Was the victim doing something to provoke the culprit? Why did the culprit choose this character as their victim? Did they even have a choice? If the victim was strong, how were they overpowered by the culprit? What if they wanted to be murdered? What if they tried to fight off the murderer and lost? Did the victim have habits a culprit took advantage of? All of that WILL directly affect the murder mystery. Make the victim an active character and make it so no one else but this character can be a victim in this case.

FROM START TO FINISH?

The truth is – murder mystery starts with a new chapter, we just do not know it yet. When you start writing a chapter you should already have an idea of who the culprit and victim are and how you want to carry out a murder in this chapter. Because you need to go through several steps and even the first one – level design with it in mind. It's kinda a question of “what came first, a chicken or an egg?”, but instead of “chicken” and “egg” it’s a “murder plan” and “level design”. Say, I can’t exactly tell if the idea of Kirumi using a ropeway that connects the gym window and a window of Ryoma’s lab through the pool came before or after they designed a level like that. And neither do I know how the hell they had an idea to use a confusing building structure of a funhouse from SDR2 as a “secret weapon” to kill a guy. But what I do know, it was set up from the very beginning of the chapters.

What I do know is, when you already have an idea who the culprit of the case is, try walking them through the chapter as if they were the protagonist. “What made them want to kill now?”, “how did they choose the victim, the timing?”. Construct a “perfect murder” from their POV, divide it into parts and think about what can go wrong? Because something always goes wrong. Maybe rules will affect their plan, or there will be some witnesses the culprit wasn’t expecting. If the whole thing was actually a freak accident – how would they react and improvise? How can you involve other characters into that murder otherwise?

Just start somewhere and answer your questions “what’s next?” on the way. When you write it it may seem genius and convoluted or maybe on the flip side, too simple and obvious. So my advice is to have a story “beta-testers”. When you finish the draft of a full chapter – send it for a reading to someone who could provide you with feedback on the quality of the mystery. They will tell you if you are being an idiot. If you work completely alone then it gets real hard to judge the story.

#> tired writes #I GUESS???#there's more than 3k words #but it's still kinda small because in theory there's a lot to expand on but I already put out thoughts I wanted so idc enough

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theultimatesleuth · 11 days ago

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S A I H A R A , S H U I C H I ; a portrayal of the Ultimate Detective from Danganronpa v3: Killing Harmony, POST GAME & CANON DIVERGENT.

an analysis in ; THE TRUTH, grief, trauma, suicidal ideation & self deprecation, poor coping skills, LIES, the struggle of being fictional, and all things UNHEALTHY.

independent, highly selective, crossover + oc friendly, multiship, multi-paragraph/novella level writer & random but mostly frequent activity. dash only + minors/personals will be blocked.

C O N T E N T W A R N I N G

{ suicidal ideation, suicidal tendencies, self-harm, struggling with grief, loss, and possible nsfw content. } keep in mind that while I am not new to roleplay, I am new to tumblrs roleplay scene.

#╰┈➤.#- personals + minors dni.#- frankie + 20 + they/them.#- do not reblog.

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averagepoet · 3 years ago

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Okay I might make a tiktok of this later cuz that was my original idea but I can’t do that while in a car with my parents so I’m settling for this. Get ready for my Danganronpa Trans Headcanons

yup some of the most controversial things in the fandom. And just for some clarity, even though I don’t owe anyone this, I myself am trans; I use He/They pronouns and am AFAB (fun fact my pfp is a drawing I did of my partner, not of myself).

I’d like to preface this with this statement: obviously everyone is entitled to their own opinion, and I’m not trying to target or judge anyone that feels differently than I do. Please don’t send me hate for my thoughts, because I wouldn’t send you hate for yours.

Also, I’m putting a spoiler warning here for all the games, because every game is going to be spoiled by at least one of the characters listed.

Danganronpa: Trigger Happy Havoc

Chihiro Fujisaki- I head cannon him as a trans guy (though I also enjoy the nonbinary Chihiro head canon), and let me explain before anyone gets mad at me (I know a lot of people hold the “Chihiro is a trans girl” head canon close, but I’d like to be heard out). His arc is extremely trans coded, it’s true. But a lot of people assume that because he wears dresses that it means he’s a girl. From my point of view, though, the way he dresses and the way his situation is described seems like when a trans guy is forced back in the closet after trying to come out (he’s deemed not masculine enough to be a “real boy” by his peers, so he retreats into hyper-femininity like a lot of closeted trans men do). It’s able to be seen that he’s uncomfortable with his situation because he seeks Mondo out thinking that he’s a safe person to come out to and ask for guidance from. Some people might wonder about the end of the investigation with this head canon, and it’s my humble belief that he could’ve worn a packer. No one would know or notice it, and I fully believe his dad was supportive of him, so maybe that was a way for him to be comfortable in a small way. So, that’s why I think Chihiro is a trans guy, not a trans girl.

Celestia Ludenburg- I head canon her as a trans girl. It’s mostly because she changed her name and doesn’t want to tell anyone her “real name,” because it’s not her “real” name, its her deadname.

Kiyotaka Ishimaru- I head canon him as a trans guy simply because he’s probably my favorite character from this game.

Makoto Naegi- I head canon him as nonbinary and trans masculine, but would probably feel comfortable with any pronouns. This is another one where it’s not because I feel like there’s reasons ingrained in his story, it’s just because of the vibes I get.

Super Danganronpa 2: Goodbye Despair

Fuyuhiko Kuzuryu- I head canon him as a trans guy because he’s so short and angry. As a short and angry trans guy, I find him very relatable.

Peko Pekoyama- This will probably sound stupid, but it’s because I fully believe that Peko and Fuyuhiko are T4T. She is a trans girl.

Hajime Hinata- I head canon him as a trans guy. He mentions discomfort while showering when you click on the bathroom in his cottage, he doesn’t want to swim with other people, and Mahiru has to ask him if he’s a boy. I just think it makes sense.

Ibuki Mioda- Ibuki talks a lot about being lonely in her FTE, not just when she was a kid, but also while she was in her girl group. I head canon that this is because she and the other girls had a hard time relating to each other because Ibuki is a trans girl. I worry that maybe she left the group less for artistic differences and more because she didn’t feel that she fit in with them.

Ultimate Imposter- Because the Imposter can perfectly impersonate anyone, I like to believe that they are genderfluid and feel comfortable presenting as any gender.

Chiaki Nanami- This is definitely biased, because I relate Chiaki in my head so much to my partner, but I fully believe that Chiaki is nonbinary and uses she/they pronouns.

Kazuichi Souda- I head canon him as a trans guy. Partly from how he’s drawn in some shots with wider hips and a smaller waist, but mostly because of the drastic appearance change he went through prior to the game.

Gundham Tanaka- With this one it is yet again less about the story and more about the vibes. I feel like Gundham would use he/they and maybe even neopronouns. He also seems like he would’ve tried binding with ace bandages for the aesthetic, but his mom caught him and bought him a proper binder because there is no way she’d let her son hurt himself like that.

Danganronpa V3: Killing Harmony

Shuichi Saihara- I head canon him as a trans man. It does have mostly to do with how he looks and the fact that I find him relatable.

Kokichi Ouma- Again, a trans guy. For the exact same reasons as Shuichi.

Kiibo Idabashi (K1-B0)- Kiibo is a robot. Kiibo says he hasn’t thought about whether or not he’s a boy. I think that Kiibo is nonbinary, and is comfortable with they/he pronouns.

Tsumugi Shirogane- I head canon her as a trans girl. This is just another example of me liking a character so much that I head canon them as trans. I don’t care what anyone else says, in my brain she is a wonderful trans lesbian who has two very loving girlfriends.

Himiko Yumeno- I head canon Himiko as a nonbinary lesbian who uses they/she pronouns. It just feels right to me.

Angie Yonaga- Angie is also a nonbinary lesbian in my mind, using she/they/halo pronouns.

Ryoma Hoshi- I head canon him as a trans man. He is small and sad. Like me.

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owo-shenanigans · 4 years ago

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Danganronpa Masterlist ;

⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀

Trigger Happy Havoc Masterlist ;

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Goodbye Despair Masterlist ;

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Killing Harmony Masterlist ;

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Hall of Fame (Current fav post): Hajime, Ibuki, Korekiyo x Ultimate Love Interest Reader

Mukuro Ikusaba sprite art created by https://shinjiroaragaki.tumblr.com/ ! Go give them a visit because their sprites are honestly great.

⠀⠀⠀

Unless otherwise specified, I most often write in the non-despair au.

When writing for Peko or Fuyuhiko, the other will likely show up because Peko is his bodyguard. I’m not saying it’s a poly relationship but like. That will be a thing lmao

Feel free to specify personality or Ultimate in your request, even if it’s not related to the main request.

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TEMP BLACKLIST (i'm sick of writing them, but they'll become available again once i feel like it)

BLANK

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Danganronpa Blacklist ;

Teruteru Hanamura

Miu Iruma

Hiyoko, Himiko, or Ryoma in a romantic way- they just feel too much like children to me.

Izuru Kamakura (I don't know his personality at all, and I don't feel confident in writing him.)

Gonta Gokuhara

I won't say don't send in stupid Ultimates because that's very restrictive and I like thinking of how exactly it works, but also don't request Ultimate Hope I will fucking bite you

Angie's religion- Atua is named after a real cultures God, or their name for gods, and I don't feel comfortable writing about it at the moment. I will write for Angie, I just won't write anything that centers on her religion.

Pregame for V3 - as there are no canonical personalities, I don't feel like coming up with them.

Any of the UDG characters (though I will be playing the game soon!)

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SHIPS I WON'T WRITE -

Any Kokichi ships except for Oumatsu just because he's such an asshole to everyone after chapter one she's the only one he's not horrible to

Tenko x men - y'all know why.

Makoto x Mukuro

Sonia x Kazuichi

Sonia x Gundham

Overall, I probably won't write a drabble or ficlet unless I love the ship, but I am willing to write headcanons for them.

#masterlist

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xxm1m1kyuxx · 4 years ago

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korekiiyo shiingujii ana1ysiis

spoii1ers for ndrv3!

iit’s quiite hard to wriite 1iike thiis wiith autocorrect on, so from the 1iine break be1ow ii wii11 not be usiing my typiing quiirk Σ(･口･)

word count (exc1udiing author’s notes): 1,611 words

tota1: 1,717 words

for siimp1iiciity's sake, ii've done thiis on computer so that there's not a wa11 of text

~*~

"You wonder, "Who is this?" Yes... I shall make that clear first. My name is Korekiyo Shinguji... I am called the Ultimate Anthropologist."

~*~

Hello everyone, my name is Milo, and today I’ll be doing my best to cover one of my favorite characters in the Danganronpa universe, Korekiyo Shinguji. He is originally from the 3rd mainline game, New Danganronpa v3: Killing Harmony. Since I don’t physically own the game, I’m basing most of this essay entirely on the Danganronpa Wiki page for Shinguji. Please read that if you desire a more lengthy look at his actions from an unbiased perspective since this one leans more towards empathy than hatred. Whoops!

We first properly meet him after talking to everyone else inside of Hope’s Peak. He’s in the main hall and standing away from the doors leading out to the courtyard. When he introduces himself, Shinguji goes on to talk about anthropology and the beauty of humanity. This proceeds to creep Akamatsu out.

Alongside that, in Chapter 3, we are unfortunately forced to see his relationship with his sister. It’s weird and only gets weirder if you spend two of your Free Time events talking to him when you first play as Akamatsu. He’s evaluated that all girls present at the academy would be great “friends” for his sister, barring Iruma and Harukawa. This is because Shinguji believes that Harukawa doesn’t believe in the power of love, and Iruma is just… well, she’s Iruma. Hardly the girl you would want to send home to your parents.

This weird incest plotline is unfortunately present in most Danganronpa games, such as Leon and his cousin (though one-sided on his cousin’s behalf; he didn’t like her), Tsumugi in the Love Hotel (if you consider that canon), and Monotaro & Monophanie (which is then implemented into Gokuharu’s execution, killing them both).

His sister’s name is never disclosed in-game or in any other Danganronpa media, so the fandom dubbed her “Miyadera/Miyatera,” which is an alternate way of reading Shinguji’s last name. The miya character - represented as 宮 - and tera character - 寺 - are both present in Shinguji, 真宮寺. For the rest of this essay/paper, I’ll be referring to his sister as Miyadera, and himself as Shinguji.

I’ll be getting deeper into his mischaracterization later on, but I want to talk about his appearance for now. Mainly, his hair, his mask, and the lipstick he wears. From what we see of Miyadera in Shinguji’s execution, if that is Miyadera at all, we can see that she had long hair, and when Shinguji was turned into a ghost, it was the exact shade of Shinguji’s hair. From here, we can assume that Miyadera looks exactly, if not similar, to Shinguji.

His lipstick and mask are results of representations of his tulpa, Miyadera. Tulpa is defined as “a concept in mysticism and the paranormal of a being or object which is created through spiritual or mental powers.” In much simpler terms, it is an object or living thing that was created/imagined through spiritual/mental abilities. Shinguji gained a tulpa by being beaten half to death by villagers shortly after arriving there. When he was in a state between life and death, he saw his sister, who joined his subconscious and took control of his body whenever his mask was off. It’s why we only see him take off his make once Saihara dubs him the culprit of Chapter 3, and why his voice suddenly took a more feminine tone. A quote from Miyadera, which can be found in the game, is, "Sweet Korekiyo, calm yourself... Their words are all hollow. There is no meaning to any of them... You must teach these ignorant children a lesson."

That statement can be interpreted two ways, one; that she’s trying to calm him down and two; she’s repeating whatever she said to him during childhood. It’s implied that Miyadera passed away from disease sometime before Killing Harmony takes place, which is both a good and bad thing. It’s great because then we have some time frame of how she was and how she acted when Shinguji knew her best.

Whenever I read the quote above, or any of her quotes, to be honest, I am filled with a sense of dread, or even, despair. The following quote especially makes me feel terrible; "Calm yourself, Korekiyo. You mustn't raise your voice. You mustn't stutter. You mustn't lose composure. You mustn't become flustered. You mustn't waver. Look at their horrid faces. This sorry lot is not worth agonizing over."

Have you noticed how she’s setting guidelines on how to defend himself? She’s turning Shinguji’s attention away from Saihara and the trial and to her because she knows that Shinguji trusts her even after all these years.

You might be wondering, “Milo, what the hell does that all have to do with Shinguji?” And I’ll tell you plain and simple: he was abused by Miyadera. Shocking, I know. Having Shinguji rave and rant about being in love with her, only to be a victim? Sadly, it’s very true indeed. Shinguji was most likely groomed and gaslighted into thinking that Miyadera loved him when that was not the case.

Gaslighting is defined as, “[to] manipulate (someone) by psychological means into questioning their own sanity.” From the two quotes I provided, it doesn’t seem to make sense. Miyadera only sounds like a kind, worrisome older sister. Incorrect, I say. She’s emotionally gaslighting him, trying to make him believe that the trial makes no sense and he shouldn’t worry about any of them. I can also bet she used this tactic to control him as a younger person as well.

It’s a well-known fact that children are both impressionable and gullible. If an older sister figure came up to you as a child and told you to do unmentionable things, unfortunately, you might follow her directions. Shinguji states that his sister was a sickly girl who often stayed in the hospital. When she would come home, he’d be at his easiest to manipulate. Why would his dear, sweet, sickly, older sister ever lie to him?

Next, I’m going to be covering his relationships with other students, namely Shuichi Saihara and Rantaro Amami. These will delve further into spoiler territory, so if you didn’t already read the warnings I put in place, here is your extra warning for spoilers for Chapter 3 of Killing Harmony.

To start with, I’ll be exploring his poorer relationships first. Most of the girls fit into this category, namely Iruma, Harukawa, Chabashira, and Yonaga - that means he has a terrible standing with four of the eight girls present at the beginning of Killing Harmony, five if you count Yumeno’s way of dealing with Chabashira’s murder. Shinguji even taunts her once they solve that mystery, stating, “Let me guess, you’ll never forgive me. Himiko, you must hate me so very much right now. Maybe you’d feel better if I was executed by Monokuma…”

Shinguji has a poor relationship with Iruma and Harukawa due to seeing them as “unfit” to be “friends” with Miyadera. He has a poor relationship with Chabashira because he’s a degenerate male, but he still thinks she made a good friend for his sister. His poor relationship with Yonaga is shown in Chapter 3 when Yonaga forms the student council. Once again, I’m making amends to some parts of the characters. I’ll be referring to Yonaga’s god as God, simply because Atua is an actual Polynesian god in real life. Shinguji doesn’t worship any god, and so wants to study Yonaga’s God purely for anthropologic purposes. This displeases Yonaga, who then states that God's business hours are closed for the day. In Chapter 3 when Yumeno brings up Yonaga’s God, he simply asks whether or not they’re done talking about it, cementing his distrust in faith.

Next, I’ll cover his better relationships. Akamatsu isn’t too terribly creeped out by him and instead sees Shinguji as a kind guy who cares about his sister. Akamatsu even apologizes for saying that Shinguji would be into inc*st, this event either taking place in his first or second Free Time event. I’m saving his and Saihara’s relationship for last since I’ll have the most to write about then. Instead, please enjoy the news that in the events of Ultimate Talent Development Plan (UTDP for typing purposes), Shinguji and Amami are actually great friends. In Amami’s first free time event, he tells Akamatsu that Korekiyo has a strong personality, but she’ll be able to understand him plenty if she takes time to. It’s also stated that Amami emphasizes that Shinguji is also the calm and clever type.

Lastly, I’ll be exploring his relationship with Saihara. It’s slightly rocky, if only because Shinguji hasn’t let go of his sister yet, but it’s miles better than his relationship with Chabashira. Slight side note before we begin, I’ll be discounting the Love Hotel scene mostly because I’m a minor and I don’t feel completely comfortable having to watch that simply because I’m writing an analysis. As the game progresses to Chapter 3, Shinguji and Saihara have built trust between themselves. While Saihara still found Shinguji creepy, he [Saihara] never discounted him simply for existing. There was even a point where Shinguji offered to help Saihara communicate with Akamatsu from beyond the grave, though he was turned down.

Korekiyo Shinguji is a misunderstood and somewhat tragic character who usually gets disregarded and uncredited all because people do not like him. However he’s not an “uwu soft twamatized bean <3” either. He’s a strong character who has questionable morals at best and a terrible representation of an abused character at worst.

~*~

thank you for readiing!! p1ease make sure to get a hea1thy amount of s1eep and that you do have a cup of water and some food, you deserve iit!!

sources:

- https://danganronpa.fandom.com/wiki/Korekiyo_Shinguji

- https://www.quotev.com/story/7873923/Danganronpa-Class-Trials/73 (siide note: how fucked up iis iit that ii was on1y ab1e to fiind a transcriiptiion of the triia1 on quotev)

#korekiyo shinguji #shinguji korekiyo #sister shinguji #miyadera shinguji #drv3 #ndrv3 #killing harmony #new danganronpa v3 #new danganronpa killing harmony #character analysis #korekiyo shinguji analysis

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kokichis-cafe · 3 years ago

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Mod's Info & Intro Post

Sources

-> Danganronpa: Trigger Happy Havoc

-> Danganronpa: Goodbye Despair

-> Danganronpa Another Episode: Ultra Despair Girls

-> Danganronpa V3: Killing Harmony

-> Danganronpa Anime (Selective)

-> Doki Doki Literature Club!

-> My Hero Academia

:｡･:*:･ﾟ’★,｡･:*:･ﾟ’☆

What Am I Able To Write?

-> Fluff! Cute stuff, you get the gist!

-> Angst! I'm the Queen Of Angst!

-> NSFW! (Just don't sexualize me, I am a minor!)

-> Platonic stuff! Especially for the Warriors Of Hope!

-> Gore!

-> Yandere!

-> Mastermind! Actually, I love these ones!

-> AUs!

-> Talent-Swap AUs!

-> Heavy topics! Will be tagged properly, of course!

-> Character x Reader! Of course!

-> Character Matchups!

-> Ships! I am a bit selective with these, though!

-> Headcanons!

-> One-Shots!

-> Songfics!

-> Executions! Either for canon characters or OCs!

:｡･:*:･ﾟ’★,｡･:*:･ﾟ’☆

Whitelist

-> Kokichi Ouma

-> SaiOuma

-> KiibOuma

-> JunkOuma

-> OuZono ( Junko x Kokichi )

-> OuNever ( Sonia x Kokichi )

-> OuNaga

-> OuMatsu

-> Kotoko Utsugi

-> Kokichi Ouma Adopting Kotoko Utsugi

-> Sonia Nevermind

-> Despair Sisters

-> Celestia Ludenberg

-> Familial Celestia Ludenberg And Kokichi Ouma

-> Familial Kyoko Kirigiri and Shuichi Saihara

-> Chiaki Nanami

-> Warriors Of Hope

-> Sayaka Maizono

-> Princess Pop (Sonia x Sayaka)

-> SaiMota

-> OuMota

:｡･:*:･ﾟ’★,｡･:*:･ﾟ’☆

Blacklist

-> Haiji Towa

-> Pro-Ship (All Proship Requests Will Be Turned Wholesome)

-> Pedophilic Ships

-> Incest Ships

-> OuMami

-> SaiGiri

-> CelesOuma

:｡･:*:･ﾟ’★,｡･:*:･ﾟ’☆

Triggers And Discomforts:

Triggers: OuMami, G/ntle Jokes, Crushing Jokes, TogaFuka, CelesOuma, ChiaHiro, Unsolicited DMs, Money

Discomforts: SaiGiri, Needles, Spiders, Clowns

:｡･:*:･ﾟ’★,｡･:*:･ﾟ’☆

DNI:

:｡･:*:･ﾟ’★,｡･:*:･ﾟ’☆

About The Mod:

-> Any pronouns! I don't mind! She/They/His, I don't really mind!

-> Demipansexual

-> Philophobic (Fear of love)

-> Feel free to ask me to tag something!

-> I'm always open to vent to!

-> Confessions, no matter how sinful, are always open-

#💜🎲 Mod Kokichi 🎲💜#Intro Post!

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commentaryvorg · 4 years ago

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Danganronpa V3 Commentary Extra: Rantaro’s Love Hotel Event

At one point I vaguely mentioned that I might make a post covering Rantaro’s Love Hotel event sometime. Unlike most of these events, Rantaro’s one is in fact very good, to the point that it might actually be my favourite piece of Rantaro content. So if I ever wanted to briefly talk about some of the things that are interesting about Rantaro that aren’t relevant in the main storyline, this is honestly the best way for me to do it.

(And maybe there’s also a not-so-Rantaro-specific reason I want to talk about this, too.)

Obligatory warning: this is side-mode bonus content, but I will be mentioning endgame spoilers; don’t read this if you haven’t finished the main story of the game.

First off, understanding this event requires knowledge of what we learn in Rantaro’s FTEs. So, while I don’t quite want to go out of my way to cover those line-by-line, here’s the gist of them for anyone who doesn’t know.

Rantaro’s family is fairly rich and travels around a lot, and one time while in a foreign country, he lost track of his little sister, who was supposed to be following behind him, and she vanished. Ever since then, he’s been doing everything he can to get her back, travelling all over the place and getting himself into all kinds of dangerous scenarios.

Rantaro feels as though his Ultimate should be something like Ultimate Useless Older Brother for letting this happen to his sister in the first place. But Shuichi concludes after hearing the story that maybe Rantaro’s actually the Ultimate Big Brother. It’s not Rantaro’s fault that he lost her, and he’s been trying so hard since then to get her back, essentially devoting his whole life to it, which sounds like the best kind of big brother there is.

After Shuichi agrees to use his detective skills to help Rantaro find his sister, Rantaro then casually adds that, oh by the way, he’s actually got twelve younger sisters who all went missing in similar ways on separate trips.

…And this is the point at which I go “yep, that backstory’s definitely fictional”. Letting it happen once could have been an accidental lapse of attention, sure. But after that, Rantaro would have been extra determined to protect his remaining sisters and not lose them too, so there’s absolutely no way he would have let it happen again eleven more times. That’s just wanton carelessness, as if Rantaro doesn’t actually give a damn about his sisters’ safety at all, which is very clearly the opposite of the truth about him. This only makes sense if it’s fake memories and never actually happened.

(But man, no wonder he hates himself, since he genuinely believes that he really did somehow just carelessly let that happen to every single one of his sisters like the worst big brother in the world.)

Rantaro’s backstory here doesn’t really have much bearing on his role in the canon plot, since his issues there are an entirely separate story fuelled by the whole Survivor Perk thing. Still, this does somewhat help explain why Rantaro is the type of person he is. He probably already had trouble trusting people and feeling like he deserved to be trusted even without the Survivor Perk handicap making it worse – recall fresh-out-of-season-52 Rantaro telling his future self to “trust no-one”. And yet, despite that, he also has a very strong instinct to look out for others and be protective like the big brother he is, hence trying to end the killing game despite his hesitation to trust anyone. His protective instinct might lean towards girls in particular, since they’d be more likely to remind him of his sisters – he did comment at one point that he was worried Kaede’s proactiveness might get her in trouble with Monokuma. (This is why I headcanon that the two survivors from season 52 were both girls; I just think it’d be fun if part of why Rantaro sacrificed himself for them was that they reminded him a little of his sisters and he wanted to protect them at least where he’d failed before.)

So anyway, Rantaro’s Love Hotel event, aka an event where Shuichi has to play the role of the subject’s “ideal fantasy”, which doesn’t have to mean something romantic, shock horror, because this one is entirely platonic. In it, Shuichi finds himself being treated as a student whom Rantaro is something like a private tutor for.

Rantaro: “That’s why you’re my favourite student. Good job! Good work, Shuichi!”

Shuichi: (As he showered me with praise, he lightly tussled my hair with a smile.) […] “R-Rantaro… I’m not a little kid…” (Even if this is his fantasy, it feels weird to be talked to like that.)

Rantaro: “…‘Rantaro,’ huh?”

(His tone had changed. He pulled his hand away, dejected.)

Rantaro: “Not that long ago… you were calling me ‘Big Brother.’”

Except it’s clearly more than that. Rantaro has come to think of this student as like a surrogate younger sibling figure, no doubt to fill the painful gap while his sisters are still missing.

It’s unclear, though, whether he actually has a student like this in real life. This could just be his fantasy of wanting to feel like a big brother again – a fantasy constrained by the unchangeable reality that his sisters are gone and it’s impossible for them to just magically be there, so his subconscious went for the most plausible alternative instead.

Rantaro: “Haha… I guess I made you hate me… didn’t I, Shuichi?”

Apparently Rantaro is all too liable to assume that any “younger sibling” of his would obviously turn to hating him at the slightest provocation. (His sisters must hate him for letting them fall into whatever awful situation they’re in right now, right? They’re definitely blaming it all on him.)

The reason for “Shuichi” supposedly hating Rantaro here is that Rantaro recently announced he’d be leaving on a trip soon – presumably another expedition to try and find his sisters – and can’t even say why.

(Shuichi doesn’t figure out that this is about his sisters, which I guess is because it’s possible to get this event without having done Rantaro’s FTEs in which Shuichi learns about that.)

Rantaro: “I know I’m being selfish, Shuichi. I’m sorry, but I want to shelter you from danger as much as I can…”

Shuichi: “What? Danger…?”

Rantaro: “Haha, whoops, guess I shouldn’t have said that… Forget it.”

Shuichi: “No, Rantaro, I won’t. Not with that look on your face…”

Rantaro: “Some teacher I am, huh? Making you worry about me…”

Obviously it’s terrible of Rantaro as a teacher (as a big brother) to make Shuichi worry about him. That’s not how things are supposed to go in this arrangement at all, so Shuichi should definitely just forget all about it and stop worrying.

(yes hello guess who this is beginning to remind me of, are you maybe starting to see that other reason I wanted to cover this event)

Rantaro: “But you don’t have to worry about a thing. Nothing will ever hurt you. I will protect you. I promise. No one precious to me will ever get hurt again.”

There is absolutely no way someone this fiercely protective would ever have let each of his precious little sisters disappear on him twelve times over. No way. It’s so cruel that Rantaro’s fake memories are making him believe he must secretly be the kind of callously careless person who would let it happen. He’s bound to feel like these assurances otherwise are really just empty words that he’ll always end up betraying when it matters, because he would have promised the same thing to eleven of his sisters, more and more fervently each time, and look what happened anyway.

Shuichi: “W-Wait, Rantaro!” (I don’t really understand, but here goes…) “That… That hurts me, Rantaro. Thinking about you carrying this burden all by yourself hurts me.”

Meanwhile, look at Shuichi hating to see someone he cares about carrying a burden all by themselves, and confronting that person with the fact that they’re hurting him by not letting him help. I wonder who else Shuichi might have said this to, hm? If only he’d known.

Shuichi: “Maybe you see me as just a student, so you don’t think I can protect you… But I don’t *want* to be sheltered and oblivious to everything.”

Rantaro: “Shuichi…”

And look at how Shuichi doesn’t want this person to be hiding their troubles from him in an attempt to protect him, because he can protect them too. This unbalanced arrangement of strictly one-directional help and support while the other person suffers alone was never what Shuichi signed up for.

(If only they’d realise that they need and deserve to be supported, and that needing it doesn’t mean they can’t still support others themselves.)

Shuichi: “Rantaro, you’re going to quit being my tutor, right? So I’m not just your student. I’m your *friend*. You can tell me anything. I know I can help you.”

Shuichi’s approach to this is exactly what he does in Kaito’s Harmonious Heart event and I love it. Rantaro’s trying to insist they have this tutor/student (big brother/little brother) relationship that means Rantaro has to hide all his worries and problems and bear all of that by himself to keep Shuichi safe and oblivious and not worried – but no. Shuichi is having none of that nonsense that puts so much extra undue pressure on Rantaro, because they are friends and he wants to help. Just like with Kaito – he sees this as the best, simplest way to get through to his friend and stop them being so goddamn selfless, and it is.

(Or, well, he and Rantaro might not even technically be friends in this Love Hotel event if Shuichi hasn’t done his FTEs. Still, Shuichi is playing this role of someone who views Rantaro as a tutor/big brother/friend, so he’s acting out what he would do if a person he cared about in that way was behaving like this. Sure, Rantaro never even mentioned that they’re specifically friends, but Shuichi extrapolated from the situation that obviously this person would consider Rantaro a friend as well as those other things. Shuichi is good.)

Rantaro: “Are you sure about this, Shuichi? You’re at the point of no return…

Shuichi: “I would never want you to face it alone, Rantaro…”

Rantaro: “You’ve really come into your own. Haha… Alright, I give up. I’ll tell you everything.”

Looks like it worked! Rantaro now has (in his fantasy) not just a surrogate little brother, but a friend and comrade who’s going to help him and be there for him as he searches for his sisters. Which is probably a lot more beneficial for him in the long run than just yet another younger sibling for him to feel like he’s letting down one way or another.

Rantaro: “Just… until the end of this lesson, can we act like nothing’s changed? The time that I’ve spent as your teacher… has been such a comfort to me.”

I also really like this, because it shows that Shuichi’s response to all this wasn’t Rantaro’s fantasy. Rantaro wanted to just re-experience the feeling of spending time with a younger sibling who’s safe and protected and is never ever going to get hurt or be in danger at all. And Shuichi essentially threw that out and told Rantaro not what he wanted to hear, but what he needed to hear – that he needs to stop being so selfless and let the people who care about him help him for once, because they don’t want him to be suffering alone and he deserves better than that.

This is a really great event because it’s a rare – and really well-done – showcase of Rantaro’s issues from his backstory. They’re some pretty fun issues, so it’s honestly a big shame that they’re basically not relevant at all in the main story and only even come up in bonus bits like this. (Granted, someone had to be the first to die, and the way it was done with Rantaro was probably one of the best ways to make that person still feel fairly narratively relevant and not like a complete throwaway – but it does sadly mean that most of his potential as a character and not as a mysterious plot device had to be squandered.)

But that’s not all; I also really like this event because of Shuichi’s role in it. From what little I gather of how these mostly-stupid Love Hotel scenes go, it probably doesn’t usually even matter that it’s Shuichi in them, because he’s just a placeholder forced to play this role no matter how uncomfortable it makes him and how unlike him it is. But in this one, Shuichi being here does make a difference. Not everyone would have responded to Rantaro’s situation like this, but Shuichi did, because he’s a really good friend who’d never want to let the people he cares about carry their burdens alone.

So not only is this a great event for showcasing Rantaro’s issues, but it’s also great for showing us how good and supportive of a friend Shuichi has the potential to be, even towards people who are stubbornly trying to put themselves in a one-sided protector role that has to carry burdens alone. Shuichi was always exactly the right kind of person to help Kaito with his problems, too – if only he’d known what Kaito was hiding from him in the first place.

(Also, man, if Rantaro had lived longer, he and Kaito could have had some very interesting interactions. I love how many characters in this story it’s possible to draw parallels and contrasts to Kaito with.)

#danganronpa #danganronpa v3 #drv3 #ndrv3 #commentary #salmon team #extra #(don't expect these extras to be regular or numerous; i just happened to want to talk about this)

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dxncingxqueen · 4 years ago

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Rules

I’m semi-selective, OC friendly, and semi-low activity. I will also rp crossovers.

I am caught up the first two games and DR3, and am available for roleplay with characters from those respective points in the DR timeline. Although I have not played V3 yet, I know the premise of the game and will roleplay with characters from that game as well. As for UDG, I have not played that game yet nor am I familiar with the characters exclusive to that game, so I’m a bit hesitant to interact with muses from that game in fear of potential spoilers. You may still approach me if you have a UDG muse and would still like to interact.

If we are going to interact, I would prefer if you had proper grammar. I don’t mind typos, they happen to the best of us. But if you grammar is inconsistent and genuinely hard to understand, I’m not likely to interact with you. Same goes for non-easily accessible fonts and formats.

I am open to ships with everyone, mainly those in the main dr cast! That includes THH, Goodbye Despair, and Killing Harmony! Teruteru is my favorite character, however, so he will be a priority when shipping, but don’t let that stop you from coming to me about ships!

I will always properly tag triggers. Naya is a self conscious person with anxiety and is prone to panic attacks, so expect things of that caliber on this blog. If you do not wish to see that, come to me and I will tag it for you.

This is a drama free blog. Call outs and/or hate posts of any kind are not and will not be tolerated here. Be respectful. If you have trouble with me or someone else, take care of the situation privately, then block and report if necessary and move on, like adults. None of us come here on tumblr to see negativity.

Since this is a sideblog, I will be following from my main account potatorobotgirl.

I am not mutually exclusive! Feel free to like my starter calls and reply to my open starters, it’d be greatly appreciated!

Mun does not equal muse. Mun will never equal muse.

I do not practice reblog karma, so feel free to reblog memes from me, you won’t get penalized for it :)

Mun is of legal age.

I just recently got xkit, so I’m able to trim my posts! I’m still learning how to use it though, so please bare with me 😅

Any non-danganronpa muse that I interact with will be its own verse, separate from the danganronpa verse, so anything that happens in will not conflict with or be canon to Naya’s primary danganronpa verse.

If you’ve read this far, congrats! Send ‘Diggin’ the Dancing Queen” in my inbox so I can ensure you’ve read through! It’s not required, though!

#ooc #rules

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problematickincalls1 · 4 years ago

Note

Hello, I am Korekiyo Shinguuji from Danganronpa V3: Killing Harmony. I have several specific memories but what’s most important is that the memories of who I’m looking for are the same as what happened in the source canon. I am looking for Sister, of course...for I miss her so much. I don’t really care about age but keep in mind I am 17. So, if any spiritual kins out there happen to be Sister...I’d appreciate if you’d interact with this post and I shall respond.

#korekiyo shinguuji kin #danganronpa kin #killing harmony kin #canon calls #anonymous #mod tyki #Anonymous

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schooltripkins · 5 years ago

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- Re-Boot: Mod Hajime -

Long post under the cut.

★ Moodboards/Aesthetics ★ Icons ★ Headers★ Edit Sets (1-3 icons, 1-2 headers) ★ Canon Calls ★ Promos ★ Ask for anything else and I’ll see

Blacklist: ★ Komaeda x Women ★ Hiyoko Saionji ★ Mikan Tsumiki ★ Byakuya Twogami/Togami ★ Teruteru Hanamura ★ Toko Fukawa/Genocider ★ NSFW ★ Bugs in general (excludes Ladybugs/Butterflies)

Sources: ★ Danganronpa Trigger Happy Havoc (Everything~) ★ Danganronpa 2 Goodbye Despair (Everything!) ★ Danganronpa V3 Killing Harmony (Almost everything, please ask!) ★ Danganronpa Ultra Despair Girls Another Episode (Masaru only) ★ Danganronpa Gaiden Killer Killer (Everything)

Kins: ★ Hajime Hinata (SDR2) ★ Izuru Kamukura (SDR2) ★ Takumi Hijirihara (GKK)

Comfort Characters: ★ Nagito Komaeda (SDR2) ★ Chiaki Nanami (SDR2) ★ Makoto Naegi (THH)

About Me: ★ I’m Mod Hajime, I’m a boy, but am fine with gender neutral pronouns as well. I consider myself pretty serious but my comfort characters make me pretty soft, so I love doing requests for them! I’m a minor, and I prefer using prefixes (-kun, -san, -chan, -etc.) rather then first names/urls if I don’t know you well, so if you request I’ll call you by the person you first requested for unless otherwise specified.

DNI: ★ TERFS/SWERFS/RADFEM ★ discourse (ESPECIALLY the Trans Chihiro thing..) ★ anti-komahina/anti-kamukoma ★ anti-kin ★ ddlg/any variants, even sfw (littlespace is okay) ★ yandere/yanderecore ★ anti-anti ★ truscum ★ MAP/NOMAP + supporters

@saladkinz @servants-service @danganherokin + anyone else willing ;;;

#important #new future #shslhope★modhajime #long post

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unweavinglies · 6 years ago

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Kokichi Ouma, Shuichi Saihara, and the True Nature of the Relationship Between Them.

SO A QUICK DISCLAIMER: Yes, I am very aware that this is most likely not canon, or at least not what the writers intended on being canon, nor am I saying that this is 100% canon and should be considered as such. This is just a fan theory/analysis I came up with for my own enjoyment and wanted to share with others, as I like coming up with theories/analysis posts and reworking canons to make enhanced stories and character development in my perspective. I firmly believe that the idea of making theories isn’t supposed to be a shouting contest to see which opinion is the most loud and correct, but should be something to share with others and find acceptance and understanding in different interpretations, even if you don’t agree with them.

So lately, I’ve been seeing a lot of people debating on the true nature of Shuichi’s and Kokichi’s relationship is, an it got me pretty inspired to do an analysis on the two, how they interact with one another, and bring my own conclusion to the table as to what these two characters relate to one another, and their relationship’s true nature.

Note, this isn’t about shipping, but more so an analysis of how the two characters behave with one another. I will still be tagging this with the ship’s names, however.

So without further adieu, let’s talk about the relationship between Shuichi Saihara and Kokichi Ouma.

Now first and foremost, we have to set some ground rules in order to properly analyze what kind of nature these two characters have with one another, and it’s going to need some ground rules due to different situations and modes.

Here are my rules for this analysis:

We are ignoring the main narrative all together. Aside from Shuichi’s Free Time Events with Kokichi, the main narrative of Danganronpa V3 has no place here. Why? Well to put it bluntly, it is a skewed and unfair narrative for this analysis. You cannot truly judge a relationship’s potential and nature by using the actions and words said during a high intense, stressful situation like a Killing Game. If we want to discover the real, true nature of Kokichi and Shuichi’s relationship, we have to ignore narratives that put them under intense, stressful situations, as people do not think rationally or coherently during such situations, and can make very grave and terrible mistakes they otherwise wouldn’t. So the main narrative just has no place here.

I’m going to be analyzing them, but player input is going to be taken with quite a grain of salt. Because the player is having Shuichi say and act in a certain way, it’s difficult to say which answer Shuichi is the most in character saying. This is an especially important rule for Salmon Mode, since player input is very much crucial to the outcome of the dates/date mode.

Speaking of Salmon Mode, I’m going to probably take Shuichi’s “best answers” (AKA the best routes) as the most critical for information, for a few reasons. The biggest reason is that Salmon Mode’s main objective is to make the other character (in this case, Kokichi) swoon for Shuichi in one way or another. Because this is the main objective, I’m going to take the other answers as obstacles for the player, and not necessarily Shuichi’s true dialogue. Salmon Mode is essentially a dating game, and like all dating games, there have to be ways for the player to “fail.” With this in mind, the other answers Shuichi can give are “ways for the player to fail” rather than “Shuichi’s true dialogue.”

With these rules in mind, let’s finally start analyzing the relationship between Kokichi and Shuichi! First, let’s start with the Free Time Events.

I’d like to call the Free Time Events part one of a two part journey of Shuichi coming to know Kokichi as a person. Because Kokichi is a compulsive liar and has a lot of walls, there isn’t much to be said about their relationship at all here. Unfortunately, that’s because Kokichi isn’t really letting Shuichi in and Shuichi isn’t used to this kind of behavior.

Shuichi finds Kokichi’s mind games mentally and physically exhausting and difficult to deal with. Considering the idea is that Shuichi is trying to reach out to Kokichi and Kokichi’s response is to toy with him mentally and emotionally, it’s not really much of a surprise that Shuichi sees Kokichi as frustrating, and is even annoyed with Kokichi for messign with him. Shuichi’s after the fact remarks for the third Free Time Event even has Shuichi saying Kokichi laughed in his face, implying Shuichi thinks Kokichi is making fun of him or being malicious. Shuichi doesn’t quiet yet realize that Kokichi is actually opening up to him, little by little, even if he’s lying and mentally challenging him.

Kokichi had these “events” planned out from the start. Once Shuichi approached him, Kokichi’s plan was set into motion. He “accidentally” told Shuichi some... not very insightful information about his organization that may or may-not be true in order to make the excuse that he had to “kill” him for knowing too much. The next four events are all carefully planned situations that implies Kokichi’s loneliness: rigging the card game to have two sevens at the top, dragging Shuichi to afternoon tea to try to bribe him to join D.I.C.E., throwing the one-hundred games of rock paper scissors in the fourth, and purposefully cutting his finger during the knife game in the fifth. All of these events, plus Kokichi’s exclamation of how many “events” Shuichi has left in order to win his right to “live,” points to Kokichi adamantly planning these games that are rigged for ties or against himself just to spend time with Shuichi.

The two events I think that have Shuichi just barely starting to understand Kokichi’s true intentions are the last to events--the rock paper scissors games, and the knife game.

Let’s talk about the Rock Paper Scissors game first.

To summarize the main bulk of the event, Kokichi gets Shuichi to play rock paper scissors with him, but they end up playing about one-hundred games, and all of them end with a draw. At first, it might seem like it was all dumb luck, however...

Kokichi reveals the trick, and pretty much also reveals to us that the other games in his events are rigged against him.

Shuichi doesn’t just dismiss this, either. He catches on pretty quickly that Kokichi had been purposefully putting out the same as him to result in the one-hundred draws.

And when Kokichi back pedals into lying and saying Shuichi just has good luck...

Shuichi doesn’t believe him.

Instead of assuming Kokichi to have the most malicious intent (that being him lying about there being a way to put out the same thing in rock paper scissors just to mess with his head) Shuichi actually considers Kokichi’s first admission to be true, which is... a pretty good step in the right direction.

Shuichi may not reach to a complete understanding by the end of these events, but he is starting to. Most of that is shown in Salmon Mode, so I’ll be getting to those in a little bit. For now, let’s look at the conclusion of the Free Time Events.

I think that these three lines of texts really do stand out as proof that Shuichi is, slowly, starting to understand Kokichi and what it means to be close to him.

Just before this, Kokichi admitted that the “killing him” thing was all just a big lie, and Shuichi is... very rightfully frustrated with him over it. Yet Shuichi extends his hand to Kokichi. It’s a very odd gesture for someone that isn’t truly trying to understand or relate to Kokichi. Shuichi still, unfortunately, isn’t close enough for Kokichi to feel comfortable being vulnerable and honest with him, and Shuichi has come to that realization when Kokichi doesn’t take his hand.

Shuichi is reaching out to Kokichi, but in all the wrong ways. His efforts are appreciated, but going about his relationship with Kokichi isn’t going to work, and that’s what these lines represent. Shuichi has been trying to reach out to Kokichi and understand him, learn the truth about him, but is frustrated when the more traditional methods of getting to know someone aren’t working and it seems like Kokichi is just toying with him for fun, or otherwise not interested in a friendship.

However, through Kokichi’s admission after the one-hundred games of Rock Paper Scissors, and Kokichi refusing to take his hand, he’s coming to understand that if he wants to be friends with Kokichi, he has to try a different approach. That Kokichi wasn’t just doing these things to mess with his head--there was more under the surface, something that Kokichi himself can’t quite reveal comfortably yet, and Shuichi’s demand for openness and honesty is trying to push Kokichi into very uncomfortable conversations that Kokichi very clearly is not ready to have.

This reflects a lot in Kokichi’s Salmon Mode Dating events as well, which I consider phase two of their relationship. The best routes are often where Kokichi is able to keep things at his own pace, where Shuichi isn’t trying to observe Kokichi or trying to piece him together like a puzzle. When Kokichi can freely lie, and Shuichi just accepts his lies rather than take them seriously or fight him, Kokichi has the most fun.

The worst routes are when Shuichi still tries to get to know Kokichi in the more traditional sense, not letting Kokichi open up on his own terms and trying to force some kind of truth out of him--even like simply observing Kokichi/watching Kokichi makes Kokichi uncomfortable. Things that are also bad routes include: Kokichi feeling under stimulated and bored and Shuichi implying Kokichi is boring him.

The same can be said for the Harmonious Heart Event with Kokichi as well. I already did a full, in-depth analysis on the event here, but the results of the event also correlate with this analysis as well--in that Kokichi and Shuichi’s best interactions are when Shuichi accepts that Kokichi is a liar, will always be a liar, and that’s not changing anytime soon. The worst routes are when Shuichi tries to force Kokichi into being honest with him, disregarding Kokichi’s own personal comfort.

Finally, let’s talk about the Graduation Event.

Kokichi’s graduation event in Salmon Mode, AKA when Shuichi and Kokichi are the closest they can be to one another/the player has the best routes/heart events in Salmon Mode. Meaning to get this event, you have to have the best relationship with Kokichi--which is the end goal/objective of this mode, thus why the best routes/good routes are more valuable here than the bad routes.

The ending to the event is the most interesting and telling of their relationship:

Shuichi seems genuinely surprised by Kokichi’s offer to continue being friends or having this relationship with one another even outside of the school. Considering how distant and closed off to his true intentions Kokichi was, it’s not actually all that surprising that this took Shuichi off guard. Unlike in the Free Time Events where Shuichi was trying to reach out to Kokichi, now it’s the opposite--Kokichi has become comfortable enough with Shuichi that he is reaching out to Shuichi.

Knowing how Kokichi thinks and how he keeps his heart under several locks and keys, this is a very big deal. Kokichi opening up to Shuichi, being comfortable enough with him to reach out to him in his own way, means Shuichi has become someone he has grown to trust. Someone he cares about, and someone he doesn’t want to leave his side.

Once Shuichi stops trying to force Kokichi to be honest with him, and stops trying to pick him apart like a puzzle and learns to enjoy his company, is when their relationship truly starts to shine. The less Shuichi pushes, the more comfortable Kokichi gets with him, and thus the more willing Kokichi is to talk to him about the truth of his past, who he is and open up in a way he hadn’t previously before. With gentleness and patience, Shuichi has earned Kokichi’s genuine, wholehearted trust.

And he seems to understand that--of course, like anyone who wants to get closer to someone, he wants to know more about Kokichi. That’s just a natural instinct, which is why Shuichi was so frustrated in the Free Time Events. He wanted to get closer when Kokichi wasn’t ready to open up and tried to push him in that way, but then realizes that if he wants to genuinely be closer to Kokichi, he has to learn how to be patient and wait for Kokichi to open up to him on his own terms. It’s a privilege he has earned, and he understood that.

Describing the warmth of Kokichi’s hand, and the direct parallels to the Free Time Events in general, show how much they’ve both grown in retrospect to one another. Shuichi coming to understand that patience, open mindedness, and gentleness are necessities when befriending Kokichi, and Kokichi finally feeling comfortable to let down those walls and open up to Shuichi in a way that few people probably have ever gotten him to do. Kokichi being the one to offer his hand to shake, and Shuichi describing the warmth that Kokichi can’t hide represents these feelings for one another. Trust, and understanding.

So, in conclusion... what is the true nature of Shuichi’s and Kokichi’s relationship?

Well, it’s about the kind of relationship you might encounter when meeting someone anxious, shy, and afraid--and no, we’re not talking about Shuichi here. Shuichi was the one who approached Kokichi, and continued to approach him, trying to reach out to him and befriend him even when Kokichi shut him out in such a strange way, even with the strange push and pull Kokichi had on him--wanting Shuichi to be around, but not get too close. Kokichi is the one afraid, the one that’s anxious about opening up and is quite shy in that regard. Why else would he be so uncomfortable with Shuichi prodding him for information? He’s got something to hide, something he’s not comfortable sharing with just anyone, something that seems to be directly related to how he behaves and acts from how little he is willing to talk about himself. It suggests a potential fear of rejection, or a fear of something in general.

Kokichi is the kind of person that is difficult to befriend if you don’t know how to approach him, and that’s exactly the kind of situation Shuichi finds himself in when trying to befriend Kokichi. Frustrating, lost and confused, feeling shut out and toyed with, but then slowly coming to the realization of what kind of path is necessary when dealing with someone as locked up as Kokichi. Learning to shove down his own curiosity and desire to know Kokichi in a way before Kokichi feels comfortable expressing, finding ways to enjoy his time spent with Kokichi without being too preoccupied with not understanding him entirely, and eventually, that kind of patience being rewarded with trust and warmth, and the promise of truth and openness.

That concludes my analysis on Kokichi and Shuichi’s relationship! I hope you enjoyed my thoughts an conclusions! Either way, have a good day/night!

#kokichi ouma #shuichi saihara #saihara shuuichi #kokichi oma #oumasai #saiouma #theory #analysis

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edogawatranslations · 6 years ago

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Project Announcement - Danganronpa Kirigiri: Volume 3

Danganronpa Kirigiri: Volume 3

Story: Takekuni Kitayama Illustrations: Rui Komatsuzaki

English Translation: Kyu

A new project has begun! I’ll be translating Volume 3 of the Danganronpa Kirigiri light novel series, a canonical spinoff of the Danganronpa murder mystery visual novel series created by Kazutaka Kodaka. This novel series centers on Kyoko Kirigiri’s background as a detective, and is written by Takekuni Kitayama, a mystery novelist who served as a co-writer for Danganronpa V3: Killing Harmony. Six novels have been published between 2013-2018, and Volume 3 was published on November 28, 2014.

“Wait, wait, wait. Why Volume 3? Don’t Volumes 1 and 2 exist?”

Good question! I have a couple of reasons for jumping straight into Volume 3.

There’s a great translation of Volume 1 out there that’s about 95% complete, which would be the best place to start. At least one person has translated the remaining 5%, so there’s not much left to contribute. (Edit: A full PDF can be found here.)

Summaries for part of Volume 2 are available, though admittedly woefully incomplete. A summary of the first few sections of the novel can be found on the DR Wiki, and summaries of the the last chapter can be found on Tumblr. That still leaves much of the novel unaccounted for. However, at least one person has announced their intent to translate Volume 2, so I figured my efforts would be better directed towards Volume 3. (Edit: A translation project for Volume 2 has begun here as of July 6, 2019.)

I’m more familiar with Volume 3, having read it just a few weeks ago, as opposed to Volume 2 a number of months ago. Volume 3 also sets up the plot/conflict for Volumes 4-5 as well, as opposed to Volume 2, which is more of a standalone mystery novel (though it does have character development and a few major reveals for the series). Personally, I’m more fond of the overarching plot of Volumes 3-5 than I am of Volume 2. Volume 3 does start off a little slow, but I felt I would enjoy translating it more. Volume 2 is also much longer than Volume 3.

For those wishing to read the full novels in order, I won’t push you to read on—I highly recommend reading or familiarizing yourself with Volume 2 before diving into Volume 3, even if that means waiting for another fan translation project. I simply wanted to launch this project for those itching for English translations of additional parts of the Danganronpa canon, especially those who are already familiar with the plot of the novels.

A couple of notes:

1. At the very least, I recommend having played/watched Danganronpa: Trigger Happy Havoc, and having read the fan translation for Volume 1 before reading Volume 3. While nothing major is explicitly spoiled, being familiar with the series is a definite plus.

2. This novel does spoil parts of Volume 2. While the intricacies of the case (the murder trick, culprit, etc.) aren’t explicitly touched upon, Volume 3 does name some of the victims from Volume 2, and, more importantly, it spoils the big plot reveal at the end of the novel—the head of the Crime Victims’ Salvation Committee. If you are fine with these spoilers, carry on! If anything from Volume 2 is needed to fully understand a scene, I’ll include pertinent information in footnotes.

3. Some of the terms/names I will be using may differ from those used in the fan translation of Volume 1. Some translation decisions I have made for this project include:

Names will be written in western order (e.g., Kyoko Kirigiri, Yui Samidare).

The organization at the center of the series (犯罪被害者救済委員会) will be referred to as the “Crime Victims’ Salvation Committee,” or simply “the Committee.”

I will not be including honorifics. In the original text, Kyoko refers to Yui as Yui-oneesama, and Yui refers to Kyoko as Kirigiri-chan (or simply as Kirigiri in narration). In my translation, these will be rendered as “Yui” and “Kyoko” respectively in most situations (or simply removed), unless I feel some other term is more appropriate.

Anything else worth noting will be mentioned in footnotes throughout the text.

4. I’ll be tackling this project a bit more loosely than 999: Alterna. While the original meaning of the text will be preserved, I will endeavor to express things more creatively and stylistically for a more enjoyable reading experience.

5. Unlike 999: Alterna, this project will not have a regular release schedule, at least in the beginning. I will aim to post multiple updates every month, but things are subject to change based on my availability. For notifications or announcements, feel free to follow me on Twitter (@TanteiKyu), where I’ll be tweeting in advance of project updates.

6. The novel is divided into five chapters. I will find natural stopping points for each project update, while also trying to keep all updates similar in length. If you prefer shorter/more frequent updates instead of longer/less frequent updates, please let me know!

7. Disclaimer: None of the rights to Danganronpa Kirigiri belong to me. This is a nonprofit fan-based project.

8. Enjoy, share, and follow! Start from Chapter 1, Part 1 or the Table of Contents!

~Kyu

#danganronpa #dr kirigiri #kirigiri #danganronpa kirigiri #translation #light novel #novel

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