#though whether or not those are canon remains up to interpretation

[cocoa-rococo]

Koopaling Headcanons: Lemmy

Larry | Morton | Wendy | Iggy | Roy | Lemmy | Ludwig

The clown prince of crime and everyone's favorite circus performer! Gosh he's adorable.

Right-handed.

Fairly sensitive about his height. The rest of the Koopa Troop know better than to bring it up. Just. Don't call him short. Last guy who did ended up with more than a broken nose.

Allergic to peanuts, which is unfortunate, because a lot of folks like them roasted at circuses. He likes other nut butters better anyway.

Likes collecting old circus memorabilia, such as posters, small trinkets, and flyers. He started it when he was younger, and has kept it going ever since.

He purposefully lets people underestimate him due to his silly personality and clown aesthetics. Makes it all the sweeter when he ends up with the last laugh.

Can and will juggle just about anything. Ludwig had to stop him on multiple occasions because he was tossing around something dangerous for fun (and profit).

Is very fond of caramel corn and citrus candies, as well as fruit gummies.

Favorite cookies are snickerdoodles and classic chocolate chip, but he loves fruit pies and sweet crêpes for dessert, really anything flaky with layers.

An excellent roller and ice-skater, given his balance. He, Wendy, and Larry like to skate together sometimes.

Very tactile person! Likes giving and receiving hugs, pats on the back, head scratches, and secret handshakes.

Similarly, a tactile learner; if you want him to remember something, give him something he can hold.

Because of his smaller size and how much he moves, any sickness he gets hits him like a truck, but also burns through his system pretty quick.

The only member of the castle with permission to enter Iggy's lab at any time without prior warning or knocking.

Has an almost terrifying amount of emotional intelligence and is very good at sussing out the crux of a relationship problem, sometimes even before the other person does.

Always rehearses his tricks in front of Iggy before anyone else, because he knows he’ll always be guaranteed a laugh, as well as critique on what he can improve on.

One of the lesser strict generals, which the minions are thankful for, but will also ask them to assist in his tricks. This can range anywhere from "hand him something" to "balance on a ball while juggling flaming hammers". The minions are not so thankful for this.

His proficiency with stage illusions actually helped him grasp the concepts of his wand's abilities. Out of the Koopalings, his strength lies in how precise his magic is, able to pull what he needs right when he needs it, as well as being able to divide and manage his concentration.

Likes to exercise with Roy, though he leans more towards yoga and calisthenics than weight training.

He likes all kinds of flowers, but likes seeing cosmos and marigolds the most. Poppies are nice, too.

He can be just as bad as Iggy when it comes to pulling pranks, mainly because no one suspects him; he manages to get out of 99% of situations by pulling the "ohhhh I'm just a lil guy" card.

An alarmingly good impressionist. More than once he fooled the guards into doing something for him by pretending to voice someone else.

Given his small size and how active he is, his metabolism is working overtime to fuel him. He eats almost as much as Larry.

Mastered the art of making the perfect hot chocolate drink, inspired by his trips into the ice lands. Wendy is determined to learn his secret. Lemmy is an adorable steel vault.

If you pick him up or he falls over, he has this… almost ragdoll-like heft to him, with dangly limbs and a little flopping from where you grab him, like he's made of sand or a weighted stuffed animal. The only time this doesn't seem to affect him is when he's on his ball. No one can really explain why this is.

Favorite fruit is any kind of berry, as well as peaches (formed before any interaction with a certain princess).

Morton used to carry him under his arm when they were younger. For what purpose? None know. Lemmy, though, was happy to stay there until he was put down again.

He likes sleeping where he's suspended, like swings, tree tents, and other such places. There was a notable instance where Kamek once found him tucked in his shell and snoozing in an empty hanging plant holder.

Really good at shuffling cards and coin moves, really any sort of street magic or little parlor trick. He's been learning tarot interpretation from Kammy because it's always a hit at parties.

His bombs are his own invention. Iggy helped him develop the combustion system and ratio of powder to use, but the shape, style, and make are all his own. Similarly, the tires he sells for his business are made from the same rubber as his balancing balls.

One of the most agile of all his siblings, and one of the best climbers.

He used to share a bunk bed with Iggy when they were young, but once they got older and had their own separate rooms, he used a hammock instead of a bed. It's quite cozy, with lots of blankets and pillows.

One of his favorite snacks is roasted sunflower seeds with a little salt. Crunchy, and especially tasty after an energetic routine.

The one most likely to lose things. Not because he misplaced them somewhere, but because he made them vanish via magic trick, and can't remember if he re-summoned them again.

Takes any sort of dance class he can. He's energetic and likes being able to move around a lot, but he's especially fond of tap, hip-hop (no pun intended), and ballet. The latter he practices with Wendy.

[shsl-analyzer-guy]

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

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

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

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

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

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

Foreword

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

Part 1- Monokuma

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

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

1.1- Trigger Happy Havoc

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

1.2- Goodbye Despair

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

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

1.3- Ultra Despair Girls

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

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

1.4- Danganronpa 3- Future Arc

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

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

1.5- Killing Harmony

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

Part 2- Character Design

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

2.1- What's A Gyaru?

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

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

Part 3- The Mastermind Reveal (THH)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4.1- Despaircest & Anime (CW: Still Incest)

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

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

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

Part 5- The Murder of Mukuro Ikusaba

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

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

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

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

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

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

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

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

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

Part 6- Ultimate Despair and Junko Enoshima

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

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

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

Part 7- Ryoko Otonashi (DR 0)

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

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

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

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

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

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

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

7.1- Personality Disorders In Danganronpa

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

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

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

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

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

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

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

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

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

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

Part 8- Relationships

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

8.1- Yasuke Matsuda

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Part 9- How Junko Shaped the Game

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

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

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

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

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

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

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

Part 10- Self-Destruction (Junko vs Sakura)

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

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

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

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

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

8.2- Class 78-B

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

8.3- Makoto Naegi (Hope vs Despair)

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

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

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

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

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

Part 11- "Defeating" Despair

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

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

Part 12- Execution Analysis

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

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

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

Part 13- Answering the 'How' (SDR2)

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

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

8.4- Remnants of Despair

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

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

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

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

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

8.5- Mikan Tsumiki (The Relevance of Junkan)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

8.6- Izuru Kamukura

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

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

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

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

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

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

Part 14- The Brainwashing

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

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

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

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

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

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

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

14.1- The Despair Videos & Knowing the Difference

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

14.1.1- The Student Council Massacre

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

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

14.1.2- Human Chiaki's Death

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

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

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

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

14.1.3- Mitarai's Animation

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

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

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

14.1.4- The Flashback Light (Bonus Brainwashing!)

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

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

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

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

8.7- Ryota Mitarai

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Part 15- AI Junko

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

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

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

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

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

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

8.6.1- Hajime Hinata

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

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

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

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

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

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

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

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

15.1- Shirokuma & Kurokuma

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

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

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

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

Part 16- Big Sis Junko (UDG)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Part 17- Junko's Apocalyptic Crash Course

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

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

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

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

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

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

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

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

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

8.9- Tsumugi Shirogane

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

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

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

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

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

Part 19- Despair Into Tomorrow (Why We Care)

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

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

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

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

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

Afterword

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

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

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

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

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

Catch ya later! :P

[squip-news]

A New Wave of SQUiP Activity?

Within the past couple weeks or so, you may have noticed several new SQUiP blogs pop up! 

Although it is unclear what exactly was the catalyst, @ask-squip-official seems to be the most active. Nicknamed “Heartbreaker” after a name suggestion from the SQUiP itself, the blog has grown rather popular with a variety of anons interacting with it. Rose, Mushroom, Spin-star, Sunflower, Purple, and Heliolisk all seem to be active askers, whether it's on Heartbreaker’s own blog or other SQUiPs’.

For the most part, all these new SQUiPs appear to have the same host– Jeremy Heere. Many seem to have lost contact with him too since their deactivation and subsequent venture on Tumblr. Not the first time we’ve seen this and seems to confirm something we’ve thought of as true: that SQUiPs may be an insight to the multiverse.

While this timeline convergence’s origin remains unknown, many speculate that the quantum nature of the SQUiP’s processor has something to do with it, or that perhaps it’s the fault of the local time anomaly.

This makes it possible to have multiple timelines or “canons” separate to each blog, though they can all interact here on this site.

We here at SQUiPnews have already experienced the phenomenon as far back as the beginning of June 2023. Originally believing SQUiPs to be made by SQUiPsoft (see our article about the recall they offered), we soon found ourselves entangled with a timeline in which HRTech was the name of the SQUiP originator company. While both timelines are equally real, details regarding the two get a little muddy without proper investigation.

This “New Wave” seems to indicate a new rift of “canon” that may result in the reemergence of old universes and new ones. Be sure to communicate with others as to what universe you may be in or share. There are many, many, universes out there, and some may appear similar at first glance. The best way to check if you’re talking to someone from your dimension is to ask! Miscommunication is how we end up with glitches in the convergence that retroactively retcon certain developments.

Either way, due to the quantum convergence event, blogs from any timeline can interact, even leaving lasting effects on those they choose to collaborate with. We at SQUiPnews have already touched base with both the HRTech and SQUiPsoft timelines, after all. A few fresh universes popping up may prove to be interesting and lead to more unique discussion of the origins and mechanics of SQUiP technology.

As such, the new SQUiPs on the site each have their own stories to tell. @s-q-u-i-p-a-s-k in particular has been freshly deactivated, appearing in a white void. Thanks to a trojan virus spread by Richard Goranski’s squip, their code was replaced, causing them to act rashly. Heartbreaker thankfully uploaded their code before their deactivation, while other SQUiPs seem to have done so by accident. Both @squip-official and @squipspace have also made it to the site, although through what means is still unclear.

But they’re not all SQUiPs of Jeremy. One of them plays SQUiP to Richard Goranski (although it deems s-q-u-i-p-a-s-k’s trojan virus story a harsh interpretation of events) and Heartbreaker has been the SQUiP to multiple experiments, both human and animal, before being uploaded to Tumblr. Also, @richards-squip seems to still have contact and can interact with its host, unlike many of the other SQUiPs around it. Both Heartbreaker and @richards-squip also appear to be in the same universe, as they have now interacted through their hosts at a bonfire of burning memories.

@mostly-functional-squip also appears to be another non-Jeremy SQUiP. It is without a host and supposedly has a more human sounding model. And @everything-about-you-is-terrible is one Tumblr user, @fanaticastrid’s, own SQUiP.

Almost all the newly discovered SQUiPs seem to have been left in sorry states though. Broken code, missing files– they’re storms of glitches lacking a host. We’ve seen these issues before. Be sure to exercise caution when interacting and syncing with these SQUiPS as their broken code could result in the spread of viruses.

Even the personification of the wretched Mountain Dew Red wants in! Fans have already taken to drawing fanart of the soda, @the-real-mountain-dew-red, and Heartbreaker whether fighting or flirting together – could this be a classic tale of enemies-to-lovers?

And as a reminder, be careful of boundaries and know the proper etiquette. SQUiP interaction can be a tricky yet entertaining situation, and it's important to keep tags unspammed for those who don't want a part of it and asks and interaction non-disruptive for those who want it. Communication is always key to keeping a comfortable SQUiP to SQUiP or SQUiP to human relationship.

[seventeenlovesthree]

Digi Dynamic Shipping Game

Send me two names among the following 12 and I’ll write a short analysis post about them:

Taichi Yagami | Yamato Ishida | Sora Takenouchi | Koushirou Izumi | Mimi Tachikawa | Jyou Kidou | Takeru Takaishi | Hikari Yagami | Daisuke Motomiya | Miyako Inoue | Iori Hida | Ken Ichijouji

Whether canon provides input on them or not.

Boy, do I love to refer back to "Butterfly" and how it basically framed Taichi as the male main character and Sora as the female main character throughout. One might argue that this is a combination that has been occurring in quite a lot of anime - particularly kids and Shounen related - back in the 90s and early 2000s, so... Asking whether or not canon provides input on them is like asking if water is wet. They've known each other since elementary school, have been in the same class ever since (and will continue to be classmates until graduation) and even attended the same football club for a while. They start the series as "almost telepathically connected" football club duo (basically a novel quote right here), adventurous and hands-on plot drivers, the courageous leader and the tomboyish but caring voice of reason right by his side. You instantly get the impression that they are familiar and close with each other and it's a theme that continues throughout the entire first season; not only because they consistently jump into action and call out, care for and protect each other, but because they, their bond, their loyalty and development are basically responsible for the fact that the kids get through everything alive in the end.

Trying to describe the extent and depth of their relationship would probably end with me writing a whole novel, so I will try to keep this brief, because... You know them. Similarly to Taito, Koumi and Takari, Taiora has been a staple in the shipping scene ever since the conception of Digimon Adventure back in 1999 - and for good reason. As mentioned, there used to be - and still is - a trope to pair up the main boy and main girl with one another and this case is no exception, considering how well they play off of each other, supporting and saving each other time and time again. Digimon Adventure is a special series though - a series whose creators intended to break through tropes and stereotypes, turning those on the head whenever possible. So while Taichi's and Sora's bond may be so significant that the idea of them ending up together seems inherently plausible - this is not how their story ends.

The tomboy, who struggles with her sense of femininity and identity, cannot deal with her best friend gifting her a hairclip - and while they seem thoroughly devoted to and on each other's minds, they develop in different directions. There is a theme of miscommunication between them as they grow older, little quarrels here and there - but at the same time, there is still an incredible sense of mutual fondness and protectiveness that, despite a growing physical distance, never completely vanishes. "If you love someone, let them go", is a quote that may come to mind when you take a look at the screenshot above and are aware of its context. Whether that kind of love was romantic or platonic at this point? We may never know.

This is the story of two close long-term friends, who were not meant to be together - wrong time, wrong place.

... Which doesn't mean that there isn't a potential "right time", right...?

Whether I think why and how they’d work.

What I mentioned above seems to be somewhat cryptic and what I'm about to outline may or may not break canon to a certain degree, but HEAR ME OUT.

While this headcanon is, for now, nothing more than a headcanon, but I am a big supporter of @dutchforstrangers' interpretation of the epilogue, leading to the idea that Yamato and Sora might not remain together/married. This post is not meant to be Sorato slander in any way and I will not go into detail here as to why I think this is a valid headcanon - just know that there are a few subtext aspects in regards to their behavioural patterns and body languages that leave room for speculation. And that's all there is to it: SPECULATION!

The point I am trying to make here is, once again, that Taichi and Sora may not have been ready to be in a relationship early in life - because they first had to come to terms with themselves, their real dreams, aspirations and needs. They had to become comfortable with themselves (particularly after the loss of their Digimon partners) to bridge the (physical and emotional) distance that had festered between them through the years. Because if you think about it, due to their underlying insecurities, they both chose the same approach in their early twenties: Isolating themselves from the rest of their friend group. And I feel like they both have to come to the conclusion first that this is a state that could never bring them long-lasting happiness. They're both social beings that shrivel when they're left alone for too long. (They may also need the encouragement of their friends - particularly Mimi, Koushirou and Hikari - to get there though.)

So it may take a while, weeks, months, maybe even years, to reconcile, step by step. Rekindling their bond, making up their minds about their true passions and career paths, rediscovering old and finding new hobbies and similarities along the way; whether it's about their shared love for their friends, football, adventurous and sporty activities, probably therapy???, whatever it may be... Until they'd reunite with their partners and, with a gleeful but weary smile on their faces, realize that they just had to grow up to this point to eventually find each other as well.

Whether I’d prefer them as platonic or romantic ship.

In case the way I've been talking about them hasn't made it obvious yet - I do love Taiora a lot. While I hadn't started actively shipping Digimon characters until I started watching Tamers, I always had an incredible soft spot for them and up to this day, Taichi and Sora are my second favourite choice for each other. You could say that, in every possible universe in which Taich doesn't end up with Koushirou, he WOULD end up with Sora if I had anything to say. It's also no secret that Taikoura is my absolute favourite OT3 and I really think they COULD work out beautifully together. In the end, both romantic and platonic Taiora is absolutely beautiful to me - especially because it brought some very special, wonderful people into my life. Long story short: As long as their closeness persists in any way, shape or form, I'll be happy.

I also still maintain that the reboot timeline could potentially go there, but I will not get my hopes up... Yet.

[empty-blog-for-lurking]

Lance/hunk/shiro for character opinion bingo :3?

Hi!! Thanks for asking!!!!

Lance-

Everyone but me is wrong about them<3- Source: trust me bro. But ok seriously, everyone is going to have their own opinions and interpretations and they are more or less valid. I get that! And i also get that people are just having fun! I really do! I am not trying to be fun police! But also there is so much in the fandom that is Just......plain wrong whether it's coming from Lance stans or Lance haters or Keith stans who ship kl, i don't even know where to begin with. And even if i did know, if i started listing all of them we'll be here all day. Ok i think my biggest gripe is this insistence that if kl (or any Keith ship really) had became canon it could have saved vld, cause just no. No it won't. The writers hate their characters of colour and the Love Keith, if kl had became canon Lance would have just been reduced to being Keith's eye candy. Neither would making him Black paladin. Just look at what happened to Shiro and Kuron

They got done dirty by the fans- Kl shippers insisting that their fanon 'fixed' Lance and said fanon is Lance having every nuance or complexity removed with only things remaining is either his insecurities and him having a crush on Keith my beloathed. Please i need most fans (especially Keith stans) away from him, doesn't matter what their feelings about Lance are, all of them somehow come up with worse fanon

They got done dirty by the creators- Everyone and their mother has talked about this in great detail but still. Just. A farmer?!?! A FARMER?!?!?!!? Also apparently him moving to Altea even though he spent so much time missing Earth like?!??! I would have accepted that if it's because he is Allura's Prince Consort or a diplomat or something but this is just bullshit

Wasted Potential- Lance could have had such a great arc about being support and humility and finding his own place with his own strength but noOooOoo it's instead about how he'll only ever be second choice to fucking Keith

I am constantly going insane rotating him in my brain like a fork in a microwave- this fucker has been in my brain for 7 goddamn years and he is neither planning to leave nor planning to pay rent

Popular ships for this character suck- i actually like most of his ships except klance, the blight that it is (i enjoy it too occasionally but it's so everywhere it's getting on my nerves, free my boy i am tired of Keith)

Overrated- I love him. He is my most favorite character ever, but people need to shut up about him forever <333, especially because that fanon guy is not my son

Constantly listening to songs and mentally holding them up like paint swatches- i have. So. Many animatic ideas around Lance. So many of them

I WANT TO STUDY THEM LIKE COCKROACH- He's my little labrat and i am an unethical scientist about to have fun experimenting. He's just so intriguing, i think what's intriguing to me about is how much messy, contradictory and human he is as a character

FREE SPACE- Maybe i am bit biased here but in my opinion vld should have had three main focal points. Shiro, as he has connection with galra empire and the horrors they were committing in the present and the universe that needs to be rescued, saved and healed. Allura, as she has connection with the lions and their legend as well as the past of the galran empire and what was destroyed in their wake and seeks justice, healing, and remembrance. And finally, Lance, as he's connected to every member of the new team, no matter how uncertain and one sided those bonds were, to Earth and his family who never even knew about those dangers and are unprepared, what's at stake and the future that needs to be defended and protected.

What's wrong with him (affectionate)- He's so goddamn annoying<33333

Not Enough ScreenTime- Or atleast he definitely he needed more focus

My opinions would be received by most fans as akin to hitting a wasps nest with baseball bat- other than my dislike for kl? I think allurance was fine, yes the relationship needed better writing. But so did every relationship in this goddamn show buddy, as a matter al is one of the only ones that actually had some development for both the characters.

Also Lance should have stayed the blue paladin "He deserved to be someone's first choice" HE WAS ALREADY SOMEONE'S FIRST CHOICE!!! HE WAS BLUE'S FIRST CHOICE!!!! BLUE WAITED FOR HIM FOR 10,000 YEARS!!! SHE CHOSE HIM OVER THE BEST PILOTS, THE BEST ENGINEERS, THE BEST SCIENTIST AND SO MANY OTHERS!!!!! *rattling and gnawing on my cage bars*

BITING AND KILLING AND MAIMING THEM AND DEATH AND VIOLENCE- I am definitely Normal™ about him. Yup. Just don't look at my blog

Hunk-

i have answered him here!

Shiro-

They got done dirty by the fans- I do not get this opinion that Shiro staying dead would have fixed the narrative. Like Shiro had been dead since s2 and only came back at the end of s6 to be a side character. Him staying alive was not the reason behind the quality of the show decreasing. Also the entire "who should be the Black Paladin" debate is pointless the answer will always be the guy who fought Zarkon in the Astral Plane for it.

They got done dirty by the creators- Literally so fucking dirty, Shiro really goes from one of the most interesting character with compelling backstory integral to the plot, to a side character who may as well just not be there. The absolute bs of it all

Wasted Potential- Shiro had So Much going for him as a character, but alas

They work better as a part of a dynamic- Shiro and Black Lion parallel mirrored dynamic my beloved they'll never make me hate you <333. Cause seriously it's the most Lion-Paladin bond in the whole show, their shared similar trauma and that too from same people!!! How can you not???

The popular ships for this character suck- maybe this is just me being a Keith hater, but Shiro's dynamic with literally every other character was far more compelling then his dynamic with Keith. Like with Allura? Shared trauma from same people and also shared responsibility. With Pidge? Trying to find the same people they love. With Hunk? Two characters who struggle with their neurodivergency and need stability. With Lance? Character foils. In all these cases Shiro is in an equal position and feels like a character. With Keith however, platonic or romantic, the entire relationship is about how Keith feels about Shiro, and how sad Keith gets when Shiro gets hurt/missing etc etc, and just a completely one sided mess that is less about them equals and more about putting Keith on pedestal, which is just utterly boring nothing burger to me

I want to study them like a cockroach- Tell me your secrets boy <33

Not enough screen time- Yeah </3

My opinions would be received by most fans as akin to hitting a wasps nest with baseball bat- Like i said i find his dynamic with Keith at best boring and at worst detrimental to his character in canon in Doylist perspective way. Which sucks cause like it's fan favorite relationship in both canon and fanon and is also almost everywhere.

Also i know twinganes (Kuron and Shiro being bros) is really popular but i personally cant see them get along. Especially at first. Shiro canonically doesn't like Kuron and refers to him as an evil clone, which understandable, Shiro did spend months dead in astral plane while Kuron (unknowingly) took over his life and then goes on to nearly kill his friends. But it is also so unfair to Kuron who is not only dead but also no one is mourning him AND his body is being used by Shiro. So if Kuron were to survive all That™ i doubt he'll have high opinions about Shiro as well (hence my post s8 au)

And even if all that didn't happen i still think they'll have problems. Like at best they will be civil and friendly but also deeply uncomfortable around each other (Kuron cuz clone trauma and Shiro cuz Haggar trauma). At worst it's just this-

I like them but i don't think about him much- confession i personally found Kuron to be much more compelling as a character. Shiro is a good character! I get why people like him!!! But also if i had to choose between the two it would be Kuron without a doubt. Shiro just doesn't hit the brainrot levels of likability to me

[latineslytherin]

Snape Fandom Love-Hate Spectrum

& Definitions

An attempt at by Snape fans. Compiled by @ottogatto & @latineslytherin. Made in mid-2023. Note that definitions can shift overtime and are flexible.

We thought it would be useful for the Snapedom, especially those new and those old, to have a brief overview of the terms used within Snapedom to refer to each other and those we interact with on the daily. As well as to chart the various kinds of fans of Snape. And yes, this includes those who don't like or even hate Snape. Because that means you are interacting with Snape as a concept/character. :)

Snape Antis: Snaters who vehemently attack and harass Snape fans whenever they see them, even hunting them down. They repeatedly declare that Snape is the most evil character of HP, that he is unredeemable and that anyone who likes him or, worse, sees anything positive about him, is a horrible human being. They have declared some sort of crusade to crush down any Snape-positive content, often with repetitive slander, and to bully Snape fans, going as far as spamming their inbox, calling them all sorts of names such as Nazi, pedo or abuse apologist, sending them death threats or suicide baits, invading Snape-positive/neutral spaces and engaging in mass-harassment of Snape fans with their followers and mutuals.

Snaters (portemanteau of Snape + Hater): people who hate or dislike Snape as well as the fans, sometimes making it a personality trait. Though they haven’t declared a crusade on Snape fans, they easily engage in Snape slander and bully Snape fans. Nowadays, a significant part of Snaters consist of Marauder fans that have created a Marauder-centered universe meant to be different from canon HP material, and in which Snape is where the line is drawn in terms of evilness and redeemability. Though they don’t target Snape fans as much as Antis, they are hostile to Snape-positive/neutral content, including from other Marauder fans and mutuals.

Snopers (portemanteau of Snape + Nope): people who dislike Snape or even hate him, but do not hate Snape fans. It is important to distinguish them from Snaters. Snopers understand that people have different tastes, remain cordial, respect fandom etiquette, avoid drama or clashes with Snape fans, and can be on very nice terms with them. The term includes people who acknowledge that the Snape they dislike/hate was made-up by Marauder stans in their fandom, and not so much the canon Snape. As such, they can actually appreciate some traits of the canon version. They may post content that is hateful against the character, but they tend to do it with far less frequency or radicality, while spacing it with ambiguous content about him. If they do post hateful content, they pay attention to not make Snape fans uncomfortable, either by avoiding interactions with them or specifying that they just have a different opinion/interpretation of him and do not pretend to shame fans.

Snape Wife: a term that has different meanings depending on the era of Snape Wife. Initially, and before the height of the Snape Wife cult, Snape Wifes were "possessive" of him and didn't like other people self-shipping with Snape. The old Snape Wives have died out in favor of more reasonable ones in the modern era, though they may remain a little too ardent in their love of Snape. There remain very few of them. 

Snapewife (pejorative): misogynistic-grounded insult thrown against anyone who likes Snape, with the intent to bring up the history of a Snape-centered, female-led cult in order to humiliate Snape fans (whether Snape Wives or not). Some Snape fans have reclaimed that insult for satire.

Snapeists: members of the cult of Snape that rose up after the Deathly Hallows Book release, but more extreme than Snape Wives. They were more welcoming to other Snape self-shippers and Snape-Shifters (people who believed they "astral projected" to be with Snape, or had their husbands "embody" Snape). 

Sneutrals (portemanteau of Snape + Neutral): people who have a mixed opinion about Snape, or remain indecisive, or are indifferent about him. More often than not, they roll their eyes at fandom drama and refuse to engage with it.

Snickers (portmanteau of Snape + Liker, made into Snickers for the candy bar pun): people who enjoy Snape as a character, but aren't super into him either, and aren't creating much Snape-focused content. They easily acknowledge his flaws and failures. They can appreciate Snape’s qualities more than they dislike his flaws, or they can like him especially because of his darker side. They won't turn down a story that includes Snape, though they may be dismayed/discontented if it has a grossly caricatured portrayal of him (either positive or negative).

Snovers (portmanteau of Snape + Lover and Snover Pokemon pun): common run of the mill Snape fans, who enjoy his multifaceted aspects, his negative and positive sides. They don’t deny that Snape did bad things and have an attitude of explaining why he did them without excusing him. They greatly appreciate Snape because he has a grim personality. However, they have a harder time openly saying or conceding that Snape was mean or did horrible things, since enough Snaters and Antis constantly make Snape-hostile “reminders”, and they don’t want to either inadvertently attract Haters and Antis onto their posts or make other Snape fans uncomfortable.

Snape Stans: Snape fans who turn rabid if you even remotely suggest that Snape has even one negative quality, and may purposefully hunt down Snape-hostile people/content to crush them down. They may include people who can't stand anything negative said about him because of bad experiences by Snaters and Snape Antis.

These terms, while not indicated on the graph, are more for general use.

Snape Defenders (not included in the graph): people who, in response to large amounts of Snape slander by Snaters and Antis as well as the increase in Snape-fan bullying, have decided to dedicate part of their fandom experience into defending both Snape and the fans, often by citing canon material, providing deep analyses, pointing out double standards, and sabotaging direct attacks against fans. Though it isn’t their goal to bully Snaters and Antis, as they are allegedly fighting against harassment inside the fandom, some can engage in borderline bullying tactics for efficacy and revenge. Note that theoretically, someone who hates Snape and/or dislikes his fans could defend him and his fanbase, on the basis that no one should be bullied for the fictional character they love, and on the sentiment that if one hates Snape, they must at least hate him for the right reasons or acknowledge they aren’t truly hating the character but rather an OC. 

Snape Criticals (not included in the graph): people who make a point of not falling into caricatures, biases or misconceptions of either side of the Snape love-hate spectrum, and readily mention that Snape has done wrong things and has been horrible in his life, while refusing outright slander as well. The term can encompass people who like, dislike, are neutral or ambiguous about Snape, though it cannot include the extremes. They are more likely to have issues with the larger HP fanbase, though they mostly remain in their own spaces rather than seek out fandom spaces in an attempt to correct fans or haters.

Snape Apologist (not included in the graph): insult created and largely used by Snaters and Antis against those who like or sympathize with Snape, as well as those who refuse Snape slander or even remotely defend him, in such a way that it sounds like “rape apologist”. By “Snape apologists”, Snaters and Antis accuse fans/neutrals/criticals of thinking that Snape is perfect, has never done anything wrong in his life, that everything he did was justified or can be excused away. The term has been reclaimed by the fans, who use it more or less ironically, sometimes contracting it into “Snapologist”. “Tobias Snape apologist” is a light-hearted variant used by and for those who want to give Tobias Snape (Severus Snape’s father) a sympathetic backstory.

[good-beanswrites]

Okay, kyanako said that I can ask for a director's commentary on the fic you wrote for me.

Is there anything you’d like to share about writing this fic? Any thoughts during the writing? Maybe any questions for me?

Not you too 😭😭😭 Haha, but thank you for the option to ask you questions, because I actually do have a few! My normal commentary is in pink, but I put questions in blue :) Some of them are specifics about your characters, but I also just want to hear your takes on writing Es 👀 I don't write them super often, so I'm curious how you characterize them...

Es clutched at their head. Their fingers tore through their hair. It was the middle of the night, so they resisted the urge to shout. They didn’t want to draw any attention to themself. If they remained completely silent, though, they wouldn’t need to refrain from crying.

And so they cried.

I wanted to start off right away by setting the theme of Es experiencing the typical pain of a child in their position, but refusing to be treated like the are.

You see, there is only one sensation worse than waking up from an awful dream: waking up from a very, very, good one. 

I'm kind of relying on readers understanding this feeling already, I didn't really know how to put it into words 😅 (Is this common for people?) It's happened to me several times, and it genuinely can hit harder than a nightmare.

Es had grown accustomed to the nightmares that Milgram produced. In these dreams, Es might take the place of the prisoners. Their stomach would twist with horror at the blood on their hands. Other times, they found themselves in the victim’s shoes. They’d wake in a cold sweat, feeling hands closing around their throat, or weapons swung at their temple. 

I feel like a lot of fics (rightfully) focus on all the messed up things Es experiences on a daily basis, like this. I'm usually more upset by their canon lack of interest in their past and future. Their refusal to miss/hope for anything better is really what hurts me, and it took a while to figure out what may push them to the point of finally acknowledging it. I thought a dream was a good start. When you picture them, are they wondering about their identity a lot? Would certain things be enough to jog their memory, or do only extreme situations get through to them?

But they weren’t prepared for a dream of absolute peace. They were happy. They were laughing. There were people nearby, smiling. It was all emotion and no detail – not a single face, place, or voice, was clear – but they knew for sure what the dream had consisted of.

Es was with their family. 

I debated so long on naming specifics about what they saw, whether it was glimpses of your characters or small lines of dialogue... I still hadn't decided if I wanted the dream to be a real memory or just their imagination, though, so I kept it up to interpretation. (Also, I was so afraid of getting something wrong about who they'd be close to or how they'd react in your mind 😭 "he wouldn't fucking say that" fr). In an early draft of this, Es had fallen asleep while cataloguing the prisoners' family members, and dreamed that they were a part of some of those families. It wasn't as effective as I'd hoped, so I got right to the point and made it their own family here.

So uh, I guess, what would they dream about if it were 100% accurate to their real family? I also thought about making the dream a vision sent from them to communicate a message -- is this something that a family member could/would do? And which relative is Es closest to? I've heard you talk more about their father, but I wasn't sure if that necessarily meant they were the closest. (I wanted to make a more specific parallel with one of the prisoners. I'd pair them with Amane if they were close with their father, Haruka if it was their mother, Mikoto if it was a sibling. Since I wasn't sure, I thought Haruka was a safe bet.)

They choked out another sob. 

For the longest time, they wondered if they even had a past to remember. But that was all foolishness – Milgram was in the business of judging humans, not creating them out of thin air. They’d tried asking Jackalope, once. He turned out just as cryptic as some of the prisoners in their interrogations. Another time, they had considered using the prison’s mysterious machine on themself. There was no way to operate it alone, though. And when it came down to it, they were always alone.

Yeah. So. I made myself upset realizing the isolation Es feels :((( They're at Jackalope's mercy as much as the prisoners are, but they can never truly bond with the others over it. They're different from the prisoners, but they don't even have that much power over them (only responsibility). I thought about including an actual attempt to use the machine without someone watching over them, and what a risk that would be. It ended up taking the story way off-focus, but I wonder what could actually drive them to the point of doing something dangerous in the name of getting memories back, or would they always be accepting of the situation, given their personality?

They curled themself tight, dragging the bedsheets with them. Usually when they wondered about their past, mere curiosity washed over them. Now, they were flooded with an entirely new type of longing. It filled their chest. No, that wasn't it. Rather, the feeling left a wide hole through them.

I'm glad you thought the curling up was cute ;--; I just wanted the reader to remember how young and small they are ;----; I was sad writing this and needed everyone to remember along with me 😭

If they did have a family, had Es been stolen away? Could there be someone else out there right now, crying in the middle of the night, just as hard as Es was crying for them? The thought was not comforting.

Or, like Es, had they forgotten all traces of their connection? That possibility also did more harm than good.

Es tried to reassure themself – if this family hadn’t come looking for them, maybe it meant they weren't wanted in the first place. Maybe Es had been willingly turned over to Milgram, their parents glad to be rid of them.

That thought didn't help at all.

I had a lot of fun evilly choosing the most painful possibilities for Es to consider >:3 (<- SHE'S LYING SHE MADE HERSELF CRY). The uncertainty would hurt any any reader, but as my target, I hoped to pinpoint some exact things you'd mentioned in the past. I was picturing the art of Es' father hunting Milgram down, and some of your comments about them remembering and missing Es.

Something clattered out in the corridor. That must have been what woke them. They rose from bed, ready to raise hell. How dare one of the prisoners rip them from such a dream. Es could never return. The offender would pay for this. 

It took only a moment to put on their uniform and wipe the tears from their cheeks. They swung the door open to find Haruka stumbling down the hall. 

I'm always a sucker for the uniform being a symbol of Es' obsession with their role -- putting it on is the same as them putting up an act, even if they don't quite realize it.

“Prisoner number one, what the –” they grabbed his arm. Only then did they notice the dazed look in his eyes. His body flinched, waking from what must have been sleepwalking.

“Ah! W-warden!” He blinked, his mind still stuck somewhere else. “I’m s-sorry! What, ah… I was dreaming... She was – she was right here…”

After this part I tried ending the drabble with Haruka saying, "I was dreaming," and Es replying bitterly, "me too." Haruka then says, "it was about my family," and much quieter, Es repeats "me too." As much as I loved the exchange, I wanted the gut-wrenching pain of Es rejecting their family rather than missing them at the very end 😎👍

Es took a measured breath. They steeled their expression. There would be no unleashing hell tonight. They had lost sight of their role. They had gotten distracted with childish emotions and silly dreams. They were Milgram’s warden, not some kid like Haruka who wandered around the prison late at night looking for his mama. 

Es adjusted the hat over their hair. It was good, they told themself, that they couldn't remember a thing from the dream. They didn't need any of those people. They were perfectly fine on their own. Such a distraction would not happen again.

I had to mention the uniform hat again because I'm just too obsessed with the symbolism asdfsdfs. And yeah, like you said, all of this was an attempt to convince themself. They don't really believe it, but they have to make themself believe it, or else they'll be in even more pain...

“Let’s get you back to bed.”

“But, my p-parents, they were–”

“They’re not here. Nobody is. Back to your cell, prisoner.”

Of course "they're not here" is reflecting Es and Haruka both missing their parents, but I hoped the last line would also continue the parallels between them -- at the end of the night, Es is a prisoner here too :(

[toringo]

would you be up to explain the differences between canon Henry and your headcanons for him? Fandom interpretations are always so different I never know what’s common knowledge and not lol I’m intrigued

Hello! I'm not good at explaining stuff, so excuse any mistakes I might make. I might also misinterpret canon as I am only human, and my memory can fail me at times.

Also, with my headcanons I'm going to get deeper with some events and plotpoints instead of just giving general personality analysis.

The most important thing about canon Henry - for me - is that he is possessive - in a way.

You can kind of see it reflected in Charlie, who herself is pretty possessive of her things, memories and experiences.

Henry cannot let go of things and people he lost, it's natural, but his obsession is off putting even to his loved ones. He never lets go of Charlie, the diner, or the pizzeria.

He might have left Fredbear's, but the building remains where it was, the stage still inside. The springlock suits remain, allowing William to go on with his crimes.

He moves and opens another pizzeria. He makes a robot replica of his daughter, whom he cannot love properly anymore but clings to selfishly. He makes himself believe that she is still alive, only to rage when he realised she is… not. He can be somewhat cruel in his entitlement. Negligent, distant and utterly miserable after the tragedy.

He must have known it was William who's commited the crimes, police knew, after all.

But I don't think he would ever say anything against him.

He wouldn't want to lose anyone else; anything else, after all.

In the games, though, he is equally depressed but seems almost vindicitve. Driven. Quite literally, he spends the rest of his life hunting William down, possibly not even sure if it makes any sense.

To be honest: it's even possible that he knew all along that William was alive inside the suit, that he was the one to lock him in that place for 30 years, behind a wall. Maybe he wanted him to suffer; maybe he wants to be the one to decide whether and how William is to die after what he's done.

After William gets out, Henry lures and hunts him and the others. He doesn't even care that he is hurting his daughter in the process.

He drags all the Aftons, as well as Charlie, into his big suicide mission. He cannot be sure they will pass; cannot be sure that Michael wants to. But he makes the decision for everyone.

I don't think he considers the spirits human at all - he is much more concerned with his vengeance as much as he likes to talk about setting them free (he fails, after all).

I think Henry resents the whole Afton family, using Mike as a tool.

As calculating as William, what a match.

In my own headcanons - yes, Henry's got that violent streak and low empathy - he doesn't get people.

He's big, strong and loud - can be intimidating.

He's way more social than my William, but people still fing him mostly unpleasant to be around. He is nice; a real family man, loving and trying. But he is ultimately just as awkard as his book counterpart and similarly single-minded as the game one.

Awkward around kids, distant at times, mainly concerned with things he seems to enjoy.

I imagine that Charlotte loves him a lot, and he loves her too, but as she grows up, so does the gap between them.

In my personal aus and headcanons Henry was in love with William and got his heart broken by him multiple times but clings to those feelings, and even after getting married, he cannot let go.

He and his wife get a divorce soon after having Charlie - she stays with her mother but sees him on weekends. He was supposed to have her over for a week every 2, but he is burying himself in his work.

He is overwhelmingly unhappy.

The diner and working on the animatronics brings him joy - he loves it - but he needs to deal with seeing William every day of his life, getting mixed signals and his hopes up, before being rejected again and again. Ironically, William thinks he is the one being rejected. Henry is possessive of his work (his whole life) afterall, so he excludes him, leaving him to the paperwork.

Anyways, his whole life is work, work and more work. He is much more invested in the Afton family affairs than his own, spoiling William's children as much as he does Charlie, wanting that life - wanting a big, happy family.

When he doesn't stay late at work he drinks alone at home.

He meets William outside of Freddy's at times. Sometimes, they go private. It's nice, and it hurts to be toyed with. It hurts that the man he loves seems to treat it as entertainment, from Henry's perspective at least (Later, I have to write down William's take on things).

He drinks until he knows that Charlie is coming home, and then, he tries to be fun and a good father, and he is.

But Charlie is smart and notices things.

Charlie likes William; they're very similar personality-wise.

Henry drinks more, considering what could be.

After William loses his wife and is left with the kids, Henry is ashamed because he's considered going to him, asking if they could try again.

He doesn't, instead helping with the kids, being particiularly close with Michael.

Just like Charlie is close with Will, Mike is close to Henry.

And Mike talks, and Henry sees what William is going through and what he does to the kids.

He tells William right away that he shouldn't worry about work and should focus on the kids (should not speak of her in present tense) and their well-being.

They argue.

Henry considers breaking their partnership up just to force him to actually focus on his family, he thinks William is being ungrateful, irrational.

He wishes he could punch him.

When 83' happens, it gets worse.

Everyone is off.

William's parenting gets worse. Henry feels forced into this decision. William doesn't talk to his kids, he is consumed by work, and when he isn't, he does God knows what in the privacy of his office. He makes mistakes, is messy. Smells of alcohol even at work. Snaps at clients, barely talks to Henry at all.

Henry considers breaking it all off.

Charlie dies.

Henry feels stupid for ever considering firing William - distancing himself from him - as he cries into his shoulder.

They cling to each other, and Henry thinks he knows. But who else does he have left? His ex wife, who looks at him with disgust? Whom he never felt close to at all? She blames him; Charlie died under his care, in his restaurant, and so soon after Evan's death, too!

She is right, of course.

He is disgusted as well.

When Elizabeth dies, he is sure that William is behind everything, and he confronts him but ultimately doesn't do anything with it. Doesn't tell anyone or go to police.

Only after William disappears, leaving Michael under his care, Henry grows hateful of him. Processes everything and turns bitter, vengeful.

Michael looks like William, and Henry lets him live under his roof, but they are not family anymore.

Henry drinks more - his days are a blur.

He feels pathetic and cruel, but doesn't care. Mike is in and out of the house, clearly not apprieciating his company.

He gets it, but he resents him for it.

He is just like his father.

He wants William, wants him dead, wants both William and himself dead.

He only starts caring again when, years later, Mike comes back home, no longer human, and with new information regarding his father.

It's then that Henry fully commits himself to revenge.

The rest is usually pretty similar to how game Henry functions but his obsession with William is both hatred and longing. He hopes they will burn in hell together.

Usually, in my aus, they somehow get back together: they cannot get rid of each other, but in the main thing, yeah, it ends up just like in the game. With a blaze.

In short, he is gay, sad and cannot handle human interaction. Also dependent on William to the point when he cannot function.

Sorry for the text being so long and somewhat incomprehensive. I might be wrong and I might be cringe, but I am free, and these are my takes!

Hope you enjoyed anyways.

SO

Book Henry: loving but sad, possessive/obssessive, distant and negligent. Somewhat selfish. A broken man.

Game Henry: Mad and tired, vindictive and cunning. Will do anything to fullfil his goal, willing to hurt innocent people (for example pizzeria guests) to get his revenge.

Au/Hc Henry: Depressed, dependent and angry. Cannot make a connection, something in between both book and game one with some additional spice.

[woodenpicador]

got an interesting pair of anons on CuriousCat that I posted on Twitter so I thought it would be worth posting here (h/t @sappy-sappho for the idea to cross-post)

reminder that shauna, nat, jackie, and lottie are all canonically straight!

are they? i think we can say that shauna, nat, and jackie have canonically had intimate relationships with men, though i would argue that the show portrays those relationships in ways that intend the audience to question their motivations and desires in those moments. Lottie has kissed Travis while tripping balls but I am very hesitant to ascribe anything about genuine desire to that. I wonder whether canon/non-canon may have outlived its usefulness as a distinction: text, subtext, or metatext feels like a more interesting framework to examine media

shauna stole jackie’s boyfriend married him and had a kid. lottie tried to hook up with nats boyfriend. the key word is boy. shauna also wanted to fuck travis and her daughters boyfriend. she had a whole affair with a man. nat was in love with kevin. they’re all straight. u know u can ship characters without making up lies right? the only lesbians on the show are van and tai! u don’t need to include straight girls in lesbianism.

you raise a lot of points and I’m going to try to address them all. starting with the accounting of plot: so I don’t think these are INVALID reads of textual events necessarily—though Nat being in love with Kevyn is an interpretation of the text and not indisputable in the text itself and I really would not describe Lottie in Doomcoming as trying to hook up with Travis—but I don’t think they bear as neatly on “are these characters straight” as you present here and in fact complicate it more. I’m not here to police identities but I don’t think any of this actually precludes any of these characters from being lesbians, whether closeted or in denial or unsure or simply not knowing at the time at which these events occur. people discover themselves on different trajectories, and people do things they don’t want to do all the time (Shauna even specifically says she had Callie to save a marriage that she “got into out of guilt and shame”). the question is and remains: are these characters acting on an attraction to men or are they acting on something else? the nature of the medium makes these questions largely unanswerable in a strict “canon” sense. no character states their identity on any axis with particularized clarity, it can only be inferred and interpreted from text, subtext, and metatext. which, for instance, is how we know that tai and van are lesbians, even though neither of them outright says “I’m a lesbian.”

which brings me to what I think is the more critical point here: you’ve positioned lesbianism and straightness as a binary option, “two roads diverged in a yellow wood” - which I think neglects the different forms identity and attraction can take. Shauna, who shows attraction to men in 1996 only when they are marked by Jackie and in 2021 only when that attraction is abstract versus the concrete article, transgresses against the roles of wife and mother that she has constructed to imprison her for the duration of her life sentence, may be a closeted or in-denial lesbian or she may simply be bisexual. Nat may be (I would argue is) bisexual. at no point did I represent that they’re lesbians, but I wouldn’t reject an interpretation that they are. But bisexuality isn’t “including straight girls in lesbianism” and having had sex with men does not forever exclude you from a lesbian identity by simple fact of having done it. Jackie, whose attraction to men is so tied up in layers of performance, I would argue is clearly written as a lesbian even if you don’t buy the “Shauna and Jackie are in love with each other” formulation. but these are interpretations, no more right than anyone else’s—and no more wrong, either.

but I am a fic writer first and foremost, so no, I cannot ship two characters without telling lies upon lies. it’s fiction, none of it is “true” in the factual sense, but if it is successful, whether fan work or canon, it is true in the emotional sense

[sapphire-weapon]

They are waiting for 6 remakes to prove to you that you were wrong.

imagine having so little going on in your life that you're sitting around waiting for a game that won't come out for at least five years because someone on the internet made you feel insecure about whether a fictional relationship will be portrayed a certain way in a video game.

like, dude. these mfs think way more about me than i ever think about them or their ship. because, at the end of the day, i don't really care.

aeon's been a feature of RE's canon for 26 years, and it hasn't impeded my love for or enjoyment of the games. if aeon continues to be canon, then nothing in my life will have changed. i'm not going to get upset about something being the same way it's always been. it doesn't matter. RE will still be the same series i've always loved.

all i'm doing over here on this blog is interpreting the games' stories as they were written and providing analysis with evidence based in the text itself. that's why i have a giant wall of text post defending leon and ada's relationship as it's portrayed in OG -- because that's what the story is.

me liking or disliking the relationship has no bearing as to whether or not the relationship is canonically romantic. i don't have to like something for it to be true. and the fact is -- the truth is -- that for a majority of OG RE's runtime, leon and ada have a romantically coded relationship. and so i interpret it and analyze it that way, because that's what it is.

the fact also remains, however, that their relationship is no longer romantically coded in the remakes' version of events. and i'm not saying that because i dislike the relationship. clearly, as evidenced above, if the relationship was portrayed as romantic, i would treat and talk about it that way, regardless of whether i liked it or not. i'm saying that leon and ada's relationship is no longer romantically coded in the remakes' version of events because that's how the story is told.

and if that's upsetting for you (ubiquitous "you"), then maybe you should take it up with capcom's division 1 studio, because they're the ones writing the story. i didn't write the fucking story.

and, not for nothing, but like

i'm also wrong all the fucking time. i was wrong in predicting a wesker boss fight in SW. i was wrong in predicting more DLC coming for RE4make. i was wrong with my initial reading of remake ada from just base RE4make alone, and SW rendered all of my prior meta about her completely worthless.

and if i turn out to be wrong about aeon, i'm not going to be upset. i'm just going to add it to the list of shit i've been wrong about and move on with my life and continue analyzing the text with the new information we've been given.

but they keep trying to drag me into their ship wars as though i give a shit, and i don't. i don't fucking care about what ship is fucking canon, bro. i care about digging into the text and accurately interpreting the story because that's how i personally have fun in a fandom. it's not about the ship, for me. it's about the story.

like, eagleone isn't my only ship. it's not like i'm sitting over here concocting ways to twist the narrative in such a way that it looks like my ship is canon. i fucking ship leon with five other goddamn characters. and yet you don't see me making a case for any of those other ships being intended romances.

RE also isn't my only fandom. i play and talk about and care about other things and the industry in general all the time. i don't care about any of this RE ship shit nearly as much as they do, because i'm busy doing and caring about other things.

it's just so stupid, man. it doesn't matter. none of this matters. and it still won't matter when RE6make comes out.

we're all just trying to have fun here, and what i'm doing here on this blog, i do for myself. for my own fun. because this is how i have fun in fandom. it should have absolutely no bearing on anyone else's ability to have fun in the fandom -- and, if it does, then that person needs to stop fucking looking at my blog.

because none of this matters.

you know

i keep begging aeons to play other games, and this is exactly why.

[solving-puzzles]

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INTRO POST

‟This site appears to be quite popular, and it was Gevanni's suggestion that a blog for myself should be set up.

I must admit, it certainly is easier than being bombarded by questions from news outlets and crazily-obsessed fans. Though, I doubt I will see a shortage of the latter from my time here...⹂

- N.

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・° ⊹ . +A quick forewarning . . .

╰┈➤ This RP blog is for the mod's personal interpretation of Near from their Death Note AU/alternate universe - meaning some events that happened in the original source material either: occurred differently OR never happened at all (this also includes details about characters, such as Near himself). In other words, it's not very canon-compliant.

�� Another thing worth mentioning is that this is also a blog for *post-canon* Near, set after the events of the 2020 oneshot (otherwise known as the A-Kira Story).

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・° ⊹ . +Rules . . .

╰┈➤ As the mod is 18, suggestive asks and jokes are fine (as long as they're directed to the character). However, outright NSFW (whether it be an ask or a full RP) isn't. I'd prefer if minors DON'T send me these kinds of things, thank you.

➺ Anon hate and just generally being rude for no reason is greatly discouraged. Please take that someplace else (or just don't say it. Period.)

➺ This blog is going to have mentions of OC x Canon and anything along those lines. If that's not your thing, then feel free to not interact (or block, whatever works for you.)

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・° ⊹ . +Info about Near . . .

╰┈➤ He uses he / they / it pronouns, and identifies as a trans man. He also identifies as acespec gay.

➺ His full name is Nathaniel Xavier Lawliet, unlike canon, but you *can* call him Nate (or any nickname derived from his first name).

➺ Instead of going by "L", he goes by "N" (following the pattern of major detectives in the plot going by the first letter of their own names, established in the AU mentioned earlier in this post).

➺ Mello is his older (biological) brother, while L is their adoptive father. They do have other family members, such as L's fiancé and his other kid, so they'll likely be mentioned as well.

➺ A slightly bigger difference from canon is that he's currently 32 years old. He was slightly older after the timeskip in the main plot - however, the 10 years after the conclusion of the Kira case (in other words, when the 2020 oneshot takes place) remains the same.

➺ He's mixed. More specifically, he's Thai & British. Of course, all his posts will be in English.

       ➺ He is in a relationship with an OC belonging to the mod, named Viera. It's incredibly possible that Near will end up talking about her, as she happens to be his wife and he ADORES her so very much (and vice versa). It'd be correct to say that he enjoys spending time with her more than attending his own interviews...

➺ He views the SPK as sort of like extended family, even if they're still his coworkers at the end of the day.

➺ He loves his pet cats a lot.

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》 Headcanons : [COMING SOON]

》 Backstory : [COMING SOON]

》 Relationships : [COMING SOON]

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・° ⊹ . +Info about the mod . . .

╰┈➤ You can call me Imrys (Emrys also works) or Ambrose. I use he / they / it pronouns.

➺ I struggle with reading tone sometimes, so adding tonetags (if it's a joke, etc.) is appreciated.

➺ Another RP blog that I've made is @ask-mattjeevas , feel free to follow over there too. I have other blogs in progress, and I honestly can't wait to start RPing with them.

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[lhs3020b]

Was Vashti a Morlock ... ?

Today, I'm considering the possibility that EM Forster's "The Machine Stops" is actually set in the same world as Wells's "The Time Machine".

Consider.

Both stories posit deep-future worlds that have experienced social change we would find disorienting. Both have canonical subterranean societies. Both also have a surface-dwelling population who are isolated from the undergrounders, and relations seem to have a hostile edge. The Time Traveller asserts that Morlocks predate on the Eloi; meanwhile, according to Kuno, the Machine will directly-attack any surface dweller who gets too close.

Of course, this idea leads to the amusing conclusion that Vashti and Kuno are actually Morlocks - though, Vashti is described as being short and very pale, which actually does (slightly) fit with what little we see of the Morlocks in "Time Machine". (Neither she nor Kuno are described as being furry, but on the other hand, neither of them is described as not being furry either, so make of that what you will!)

The inconsistencies are that Vashti's world is described as brightly-lit, at least up until the end - though, it is notable that she turns the lights off when she's on the videophone thing to Kuno, and also there is my speculation that Morlock eyes actually work in what we'd consider the infrared. Maybe it's brightly-lit to Vashti, but it wouldn't be to us. (A tangential speculation, in this case, is to wonder whether the shift to seeing in the infrared happened naturally, or whether it was deliberately-engineered at some point - perhaps as a cost-saving measure for lightbulbs or something. There is more-than-a-suggestion in "The Machine Stops" that the population are subject to a program of eugenics, though its intentions are ones we would find surprising even for eugenicism.) The other major inconsistency is that the Time Traveller never sees any airships - that said though, perhaps he's simply in an area which isn't under any Machine-regulated flightpaths, so in that scenario, of course he wouldn't, would he?

Also the Time Traveller's 802,701 AD is described as being uncomfortably warm, whereas Vashti and Kuno both consider the aboveground world to be cold and bitter - but, this could simply be an acclimatisation effect? Living underground, Vashti is simply used to it being very warm? Given that the Machine civilisation is subterranean, it could be that we would consider it very warm in their tunnels and pods. After all, temperatures start to rise the deeper you go, as you're getting closer to the mantle (and, ultimately, the Earth's inner core).

Another detail of similarity between the two settings is that the Morlocks' world connects to the surface through apertures that the Time Traveller compares to wells. The old access tunnel that Kuno finds distinctly-reminds me of one of those Morlock "wells", complete with the rung-steps up the inside.

One more possibility is that the Time Traveller arrived some time after the Machine stopped; this would explain both the disrepair of what infrastructure he observes, and also possibly the Eloi-phagy. After all, following the collapse of the Machine civilisation, its survivors are food-insecure! (This, of course, assumes we accept the Time Traveller's interpretation of the Morlocks as cannibals; as I've discussed before, I'm not convinced of that.)

The one remaining detail that doesn't quite fit is that the air of the aboveground world of the Machine is apparently somehow toxic, and the Time Traveller has no difficulty breathing. But perhaps the toxicity is overstated, and Vashti and Kuno are simply too used to a highly-filtered gas mix? There is also some evidence in the text that the Machine, or its agents in whatever government their civilisation has, have been lying about just how toxic and dangerous the surface world is. Kuno's experience proves that some sort of human life is still possible up there, and indeed some passages imply that he may have eventually been able to adapt to the outer air in time.

In fact, the narrative may hint at an alternative explanation for the "toxic" air. When Kuno tries to open the pneumatic plug at the top of the shaft, he and the plug are apparently blown clear of the shaft, popped out like a cork from a bottle. And, the air from the shaft is at such a flow-rate that it's able to keep his respirator floating aloft above it for several hours. It's not clear why exactly the catacombs were designed like this, but it does seem clear that the air pressure inside is much higher than out on the surface of the Earth.

When Machine-denizens emerge onto the surface and feel ill, are they actually being poisoned, or are they experiencing a form of altitude sickness? One that perhaps the respirators mitigate by supplying extra oxygen? Perhaps the cause for the collapses Machine-people apprarently suffer on the surface isn't chemical toxicity, but rather something like a pulmonary embolism caused by a sudden change in air pressure? Perhaps if they had time to acclimatise more gently, they might be fine.

Anyway, all of this is far from proven, but it's an entertaining scenario nonetheless.

[puella-1n-somn10]

🍁🍂 Fortress Magica [ A TF2 / PMMM AU Concept ] 🍂🍁

...Welp; I caved. Someone had to make a Team Fortress 2/Puella Magi Madoka Magica crossover someday, and that someone had to be me. The brain maggots worms were too strong.

So, before I open this can of concentrated ramblings and bullshit, I do have to write down out the groundworks of this AU in order for it to make sense in the context of both universes and to make it easier for both myself and my remaining sanity left. As such, the rules are as follows:

Outside the help of incubators, humans are still able to gain magical abilities from other sources, so Merasmus and the Bombinomicon aren't necessarily connected to Kyubey and the likes. Akin to the elements of the air we breathe in, however, they all function under the same label of what we deem as "magical", so these different systems of magic do tend to coincide with one another.

Girls are not the only ones who are able to contract with Kyubey, though they are the most common demographic. I have a long-ass rant on why I chose to say "fuck canon" on these grounds, but now is not the time for it.

The history and worldbuilding of Team Fortress 2 stay mostly the same; the Blu vs. Red team, Grey Mann taking over, Australium, Saxton Hale- all the likes, baby.

Since we were not given the definitive end of the comics, I'll leave it up to ya'll on whether the AU takes place after Saxton takes over Mann Co. and diverges the timeline from there, or that, somehow, everything was back to normal after that cliffhanger of an ending is all up to you. This WILL be important later down the line, especially when we get to Medic's part.

I will be referring to the masculine individuals who have contracted Kyubey as either Puer Magi or Mahou Otoko (Magical Man), the masculine version of Witches are called Hellerunes, and the plural version of those who have contracted are Magicae. If there are any errors with these decisions, please PLEASE lmk so I can correct them accordingly.

Building upon the above point, a Puer Magi's equivalent to a Witch's Kiss would a Hellerune's Touch; both being common types of love languages that have been twisted for the purpose of causing despair amongst mankind.

Ah, now that we got all that out of the way, I also need to point out that I, admittedly, have no clue on what I should do with Sniper, Soldier and Engineer; I still need to look up the foremost former's lore and character writing, Soldier's a wild card, and we weren't given a lot of info about Engi. On top of that, be prepared to realize that some sections are WAY longer than the others; I am still catching up on TF2 lore and the comics, so I apologize in advance for missing info, apparent character favoritism, etc.

Lastly, if you guys have your own tips, interpretations, or even whole-ass AUs surrounding the topic, please do share them!! I really wanna know and see ya'll's takes on a PMMM AU- it's so fun!

And with all that said and done, let's get down to the meat and potatoes of this topic, starting with....

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Scout

Ah, the literal gift from God to straight ladies everywhere, and, no, that is not hyperbole. With a fate like that, a backstory of being the underdog amongst his family, and familiarity with bloodshed, you bet your ass that his karmic potential would be off the charts; possibly moreso than either Tart's or MADOKA'S.

When you look at his character, it becomes increasingly evident that he is prime candidate for being a Magi; outside his karmic destiny, he is the most, let's say, volatile of the mercenaries- the most likely to actually burn himself out due to sheer cockiness and pride alone - one second he believes that his soul gem is fine and dandy, then the next he sees how dark it became and goes "oh shit" -.

This is also without mentioning the potential reason why he would contract in the first place; deep beneath his egotistical exterior, you can see that he wants to keep bettering himself- to get stronger and faster, and for what? Well, either to impress the dames, or to protect his mama. After all, we all know that the "disappearance" of his father is such a painful memory to him that he dropped the tough guy act just to tell Heavy that he would rather not talk about it, period. So his wish would be related to wanting to keep his family safe- by becoming stronger.

--

Spy

Now you see him, and now you don't. We don't know much about the Spy outside of the barebones, evident details; he hailed from France, possesses technology that allows him to become invisible at will, is able to seamlessly, successfully disguise himself as any person in mind, and is Scout's mom's...buddy. True to his profession, the Spy is an enigma through and through, so the difficulty of properly placing him in this jigsaw puzzle of a universe is inevitable....

or is it? In the Naked and the Dead comic, he's disguised himself as Tom Hones in order to make sure Scout passes on peacefully, and admits to having hooked up with his mother- and conceiving him as result. As Scout closed his eyes, Spy reverts back to his real form, telling him how he was so proud of him- his own son.

A traumatic disappearance, immense karmic potential, the themes of gifts, and the spy's ability to be a literal chameleon...

Now, personally, I am unsure about Spy's wish that not only ties into his traumatic disappearance and Scout outright refusing to talk about it, but it should be tied to his canonical powers- whether it's his ability to turn invisible, him being a master of disguise, or both. I'd also wager that he's a veteran Puer Magi- and, as we all know, a magi gets weaker the older they get (the witch Roberta is one such example), so, over time, he's begun relying more on his intellect and deception than raw strength alone in order to win a fight.

--

Demoman:

He can see the Incubators even to this day. He claims to have killed the Loch Ness Monster. He has a possessed eye socket. The Eyelander is a sentient weapon, so you bet your ass he knows most of the rudimentary details about magic-

He is not a Puer Magi.

After he had lost one of his eyes and was returned to his biological family after accidentally killing his adoptive ones, a deep pit in his heart was formed and hollowed him out- from the expectations of him parents to the traumatic incident causing his eye to be removed, he was aimless, and, soon, fell into the hands of a witch-

Yes, yes, I know that this is similar to how Madoka met Homura, but remember: he had at least some skills as a demolitions expert at that time, on top of the whole possessed eye socket thing (which may or may not have a certain effect when wandering through witch domains). This is Tavish fucking Degroot we are talking about, so, even as a wee tot and influenced by a witch's kiss, you bet he's managed to blow that witch into smithereens right before whatever group of Magicae got to it. If Homura was able to do it with non-magical weapons, so could the iron-willed Tavish.

(either that, or he did get saved by a bunch of Magicae- it all depends on your interpretations, and I personally wanted throw him a bone here)

As the barrier dissipated, a grief seed slowly fell from the sky nearby the exhausted child. Whether he was curious as to what it was or saw it as once of his very first spoils of way, he took it. Whatever research a child like him at the time was able to do yielded barebones results; ranging from only talk and scraps regarding unresolved tragedies, to the unexplained runes that he was sure he's seen in that barrier.

So many threads, but very little leads - if any -. Tavish looked at the grief seed in his hands...

If he was going to get some answers, he was gonna hunt them down himself.

It wasn't tough to find another witch- or, rather, it was no challenge for another witch to come his way; with his eyesocket and that grief seed in his hands combined, he's practically become a magnet for all things magical. This time, however, Tavish was more than prepared if things got too nasty...and he wasn't alone in the hunt-

In the midst of debris and shifting magic, the silhouettes of multiple Magicae - and an odd, mishappen fox thing - came into view. Both sides had their fair share of questions; the context and absurdity of it all on Tavish's side, and the inherent impossibility of an ordinary human being able to take down a witch on that of the veteran magical people. Considering the pros and cons, the group made an alliance with the young boy, as an ever-curious Kyubey looks on- intrigues by Tavish's peculiar abilities.

Over time, the young lad and the veteran magicae grew closer, even if it was still odd to them that Tavish didn't contract. It wasn't that he didn't want to be a magical boy - he'd be lying if he said he wasn't curious over the idea of having any wish he desires come true, and he was damn close to contracting several times, too -, yet experience with magical artifacts have left a sour taste in his mouth, so he had his suspicions. He'd wave his hand at the ferret thing and say "Probably another time."

Despite the apparent ups of the Magicae life, there were also the many downs in this rollercoaster. Though he was closer to the sidelines, Tavish was able to witness all the downfalls that come with this duty of becoming bound by Kyubey's sick rules.

By the time he was a teenager, the last member of their group fell - shattered their own soul gem in order to spare themselves the inevitability of becoming a witch -, and all he was able to do was...walk away with their body in his arms between tears; a noble person like them deserved a proper burial.

Without much consideration into his emotional strife, Kyubey inquired the demolitions expert whether or not he considered bringing the team back. He had all these chances to change all this handed to him on a silver platter, and he almost caved in numerous times - whether from guilt or the pressure from his "teammates" -; so why the hesitation? It wasn't as if he didn't need any additional magical abilities- so why couldn't he help his friends?

Help? Help them by bringing them back into this shithole of a life they fell into? A vicious cycle of betrayal, backstabbing, and inhumanity?

What befell each and every one of them was terrible, but it was outright selfish if he were to "save" them by dragging them into this endless samsara of horror.

Bitterly, the Scot scoffed at the alien beneath his feet.

"If I've got one wish..."

SQUASH

"Then I'd wish for ya to go back to whatever hell ya came from."

Nowadays, outside of his experience working with the Magicae and his knowledge of the incubators, he is still our lovable, honorable, sword-wielding drunkard. He eventually joined Mann Co. participated in the Gravel War, and the rest was history. The lives of the mercenaries were on the way of reaching a familiar beat and tune they were all comfortable with...

That was, until his eye caught the glimpse of something fuzzy and white.

His blood ran cold- and he was damn sure it wasn't the alcohol poisoning his senses this time.

--

Medic

(TW: mentions of Antisemitism, N-zis, unsanitary topics)

"It's the sound of progress, mein friend."

Our lovable quack doctor himself. Much like Spy and Pyro, we weren't given much information surrounding his backstory aside from his dialogue in Meet the Medic - in which he reveals that he has stolen a patient's bones and had his medical license revoked - and the subtle yet shockingly plentiful nudges towards his Jewish heritage and the, uh, considering the time period, he's had to escape his home in Germany due to All ThatTM. Yes, he has little to no respect for the hippocratic oath and the human dignity, but one can't help but wonder whether or not his apparent insanity did come from somewhere.

So, where can we go with the Medic? You remember when I said that the timeline will affect how we're gonna go with him? Because we are going the Hellerune route 100%.

Medic's obsession with his sick idea of "medicine", studies, and experiments will be his downfall, and I believe his wish has something to do with his advanced surgical techniques. After all, he's managed to fully heal Soldier without having to separate the blood types and by using his fucking underwear to get all the blood in the first place. It wouldn't be a stretch to already call him a witch in human form, not only due to said obsession, but also the fact that he has 8 souls sewn into himself sans his own.

Here's where the problem with the timelines starts to show; I am personally of the opinion that the souls Medic has were that of the Classic team's, because, if it were his teammates' souls, then not only would that not make much sense chronologically, but Sniper and Scout would have been barred from Heaven had it been the case. After all, Medic did sell one of those souls to Satan just for his pen.

If we were to go with the Saxton timeline, then the souls must have come from someplace else- since we also need a valid reason for Kyubey to target Scout; it wouldn't be in his best interest to target someone who is running around without said soul, after all.

So why am I blabbering on about the whole soul deal? Because, my dear friends, not only will they boost his Hellerune's powers - if we're going by the logic that the reason why Walpurgis is so stupidly powerful is because she's a fusion of several other witches herself -, but they'd also influence one set of his familiars.

Yes, I am aware that a witch's familiars are reflective of the witch's inner thoughts, their desires, and even goals; while Oktavia's Holgers exist solely to provide music for her, the Clara Dolls openly mock and berate Homulilly as she endlessly marches on towards her death sentence.

HOWEVER-

Holger was not Oktavia's only familiar throughout the timelines Homura went through; the first time she's ever seen Sayaka become a witch, the familiars that Oktavia had manifested in that timeline were the Klarissas, who were tasked to dance behind the witch as she focused on defeating the magical girls in her sights without giving a care for their wellbeing. Do take note that Holger and Klarissa both represent the two individuals who have aided in Sayaka's descent into despair; Kyosuke and Hitomi. Plus, let's not get into Walpurgisnacht's familiars, especially in the manga.

Besides, even if that wasn't the case, the souls have to manifest in some way. So whether his Hellerune's familiars look like random patients or the Classic team heavily depends on where this AU takes place in the TF2 comics' timeline. Either way, they ain't gonna be looking pretty.

Going back to Medic, I am certain that he seeked out the incubators himself; though his domain primarily focuses on human physiology, human experimentation and "medicine", he did showcase his fair share of intrigue towards magic whenever Merasmus is around, and even states that he has chosen the wrong field to study- that magic was the way to go. That's also without mentioning the wish-making aspect in all this- even if he would probably try and experiment on the incubator whenever he could, you bet that this would pique his interest from the get-go.

I'll be going by the possibility that Kyubey, whether prior to or during contracting, figured out that Medic had more than one soul within him- thus, multiple destinies. Status as a hivemind be damned, whatever Kyubey that Medic ran into hit the jackpot with that one.

Medic was already deep into immorality and obsession; while he would look for less-than-moral ways to keep his soul gem constantly functioning, all he'll be doing at this point was delay the inevitable- perhaps even unknowingly increasing his own karma in the process (whether or not this means even more souls being sewn into his system is up to ya'll). His fate was sealed as soon as his and the incubator's eyes met.

Aside from the familiars, the additional souls have also boosted his Hellerune's power and sentience- that, or it was his already-fleeting sanity that allowed him to stay aware in this new form. If Walpurgis achieved such strength via fusion, Medic was like this as soon as his Hellerune hatched.

His memories and moral standing as a Hellerune...wouldn't really change much. He's already caused more than enough despair as a human (just ask the classics and look at the money he blew just by siding with them /j); I bet he's still our old medic, just in a new body...and, boy, he's LOVING it.

And, yes, Archimedes would be another one of his familiars; he'll find a way to drag that bird into his barrier.

--

Pyro

So, remember when I said that though the kinds of magic Merasmus and Kyubey utilize are vastly different, they are still interlinked and are under one label? There are many a factors and intersections that come between these two systems, and, as we are going to dive into, Pyro is one of those links that tie them all together.

Depending on your own interpretation of Pyro, whether or not they are under Pyrovision 100% of the time, and how their Pyrovision manifests in the first place is all up to you. I will simply be talking about how this ties into the Madokaverse and try to make as much sense of it as I could, but, as I said earlier, I am all open for interpretations and suggestions.

You see, in this AU, Pyrovision kinda functions like the evert mechanic present in the game Eversion- that everything is somehow real and not just to Pyro; that Pyrovision is simply another "layer" or perspective of reality. As such, the logic of non-magi being unable to see witches, their familiars, or even the incubators does not apply to Pyro because their perception is vastly different from that of a common person.

Whether they've contracted or not and their perspective on the witches+familiars+kyubey+etc., again, it all falls on one's own interpretation of Pyro's character. I could start going on about mine, but that would lean too much into hc territories and this post was getting too long, anyway. ^^;

--

Heavy

Finally, we end it all with the big man himself, the face of Team Fortress 2; Mikhail. The stone-cold killing machine with a sound mind and soft soul (who else would willingly starve themselves just to keep animals alive? Much less personally name his own guns?).

Just like Scout, there are many a reasons as to why Heavy would be a target for contracting; much like Tavish, his backstory is riddled with tragedy- upon his father's death, Heavy, his mother, and his sisters were sent to the North Siberian Gulag due to said dad being a counter-revolutionist. They were there for 3 months, but it was still approximately 91 days of being trapped in a heartless, frozen hell- until a fire consumed the camp, the soldiers there perishing, and the prisoners - heavy and his family included - running free from the disaster.

A...frankly fucked up story so far, and let's not get into the implication that he might have had something to do with the burning of said gulag; that he risked his life for the chance of his younger sisters and mother to be set free. This speaks volumes of Heavy's role as a guardian figure to those around him, and as one of the most understanding and empathetic of the mercs next to Demoman and Engineer.

Above all else, the Heavy's duty revolves around the safety of his teammates, both during gameplay and in-lore. He values the lives of those around him, human or otherwise, and, like Tavish, has a sense of duty- in his case, it is towards his surviving family and the comrades of his team. What better wish would fit a giant like him than wishing to ensure the safe escape of his family and the other prisoners?

Yes, this does fit in rather well with the rules and present themes of karma and sacrifice PMMM is so well-known for. The contrast between his and Medic's destinies is evident; in which Heavy's empathy and the specifications of his wish have assisted in allowing him to live on for so long- to stay still and strong to keep on for his loved ones' sakes, while Medic's fervent fascination with his unorthodox experiments in the name of discovery, progress, and satiating his sick curiosity was eventually his downfall.

--

I wish I was able to write more here, I really do (especially Heavy's reaction to Medic witching out, and said Hellerune not only recognizing him but also calling out his name). Alas, it is 2 in the morning where I live atm, so I'll leave it all here for now. :'D Sorry!

[alterwriting]

trial - in fontaine by default - au possible - she + he

* // arlecchino headcanons

Please note that Arlecchino canonically is extremely strong. Therefore, in battles, she will usually overpower their opponent unless we discuss a different outcome. Characters who should be able to contest Arlecchino include the harbingers ranked above her, and Archons depending on their fighting prowess. Please note that there will be mentions of child abuse, murder, and death.

I have read different interpretations of the timeline regarding Arlecchino's background. Due to personal preference, I write her to be around the human age of 30-32.

Due to her time as an orphan, Arlecchino is aware of what children need in general and doesn't shy away from spending large sums of money in order to provide for the children in her orphanage. What she may lack in emotional expressiveness, she makes up for with wordless support.

This doesn't mean that she isn't approachable for the children, though. Quite contrary even, many children who have become more familiar with her, actually find her very easy to talk to. This comfort is mostly rooted in her willingness to at least listen to any request or question she is given. Whether it is a simple question or a request for something material, she will lend an ear and give a sincere answer.

She herself goes by female pronouns, as the title the children refer to her is more of a statement for the late Crucabena than a signifier of identity for Arlecchino. She does accept male pronouns as well, though, mostly because - in combination with her androgynous style - it helps mystify her true identity and spread rumors that can distract from other secrets she might have.

The harsh treatment the children had to endure under Crucabena's care forced young Peruere to become familiar with aiding various kinds of wounds and detecting poisons. Her education did not only include fighting, but also scouting, spying, encrypting and decrypting of messages, strategic planning of operations, as well as changing her appearance.

Occasionally she enjoys returning to the children and spending time with them. Most of the time, she takes a very passive role in the activities, such as watching Lynette stage a play or magic trick. She would usually sit in the back without much of an expression on her face, but the children seem to understand her intention.

Arlecchino is not a picky eater at all. As a child, she was forced to eat whatever she was able to get her hands on, so pickiness has become an unnecessary luxury to her. Additionally, her taste buds have been damaged by being fed poison in order to become resistant to them. She is still able to recognize taste, it simply is less intense to her.

The financial resources for the House of the Heart stem from both the Fatui and the money of those who fall victim to its members. The money is mostly used for basic needs and keeping the orphanage running, but also for equipment and various kinds of hobbies the children may indulge in during their free time. Arlecchino encourages them to read different kinds of books, play games or find other kinds of activities they enjoy. It is, however, encouraged to engage in hobbies that assist in activities the House of the Hearth requires from its members. Some of the remaining money is given to the children every month.

Once a member is forced to "die", all traces of that person are removed from the House of the Hearth. In general, children are also not supposed to speak of traitors, yet Arlecchino understands the sentiment nostalgia carries with it.

Arlecchino is not the type of person who gets sick. At least no one can claim to have ever seen her with a cold or fever.

The flames of the Crimson Moon Dynasty that circulate through her veins are literally burning her. She has become more than familiar with the necessity of controlling her emotions, rarely allowing herself to slip up. Because if she did, the pain of soaring flames would remind her to regain control.

Her entire body is covered in scars and marks of the "training" all the children had to undergo. She meticulously ensures none of her children see those scars, as they might scare them.

Arlecchino can be seen visiting theater plays quite frequently, albeit her preference of genres seems to be random.

[tunedtostatic]

Podcast Girls Week day two - pre-canon or post-canon

A question I turn over in my head periodically, and have a back-burner fic idea about, is this: When the W359 crew get back to Earth, after the initial hullabaloo calms down and Goddard Futuristics is satisfactorily fought or dismantled or whatever, and the characters' lives are more or less their own to do with as they will...

Between Minkowski and Lovelace, which would want to move on and live a life unrelated to what happened, and which would find work related to their experiences in space?

"Work related to their experiences in space" is a broad category - I'm thinking "working to stop any (depending on fic plot) remaining scrap of Goddard or entities that hurt people similarly" or "doing something space-related" or "documenting their experiences in detail" or "being an emergency manager or something to use the skills they learned in space."

"Moving on and living a life unrelated to what happened" is also very broad! But my touchstone for fic purposes is the classic genre of postcanon fanfiction TM where the heroes of the story have moved on and are dealing with how their past has affected them while working an unrelated job or raising a family or trying to figure out what to do with themselves.

I already wouldn't tend to write fic framing either path as Correct or Incorrect, and I think Minkowski and Lovelace lend themselves particularly well to interpretations where either option is "better" or "worse" for them.

The fic idea is a Minlace fic with a branching narrative, exploring one timeline where Minkowski stays and Lovelace goes, one with the opposite, one where they both stay, and one where they both go. It would also explore whether they remain in a romantic relationship in each of those futures - I think it would fun to do something funky with that, like showing a world where making the "same" choice doesn't end with them staying together romantically, and another where they do end up sticking together as romantic partners even though they made opposite choices and neither was pleased by that.

[danny-chase]

I've read the Jason figurately coded posts and they aren't really any different from other coded discussion. They also usually do talk about actual female characters like Steph. I mean you can like canon black or indian characters and still talk about Raven's literal black/indian coding.

To me - my understanding of coding is when something is intentional. My understanding of Jason having female mentors, or getting killed off for man pain, was that it wasn't intentional commentary. I think those things are coincidences. I think if the writers wanted to make Jason a female character, they would have made him a female character, but these were back in the good old boys club comics days (which exists until now) and I'm kinda sus about any conversation that claims male characters written by men in the comics industry are female coded because. Well. A lot of writers were super sexist/racist/homophobic, and unless there's interviews of the writers explicitly expressing their intent to code a character... it's more just people looking at coincidences or parallels between characters and making assumptions that it was intentional coding. Don't get me wrong, the coincidences/parallels are interesting, but to me they're more indicative of how the male power batman fantasy makes the story lame and annoying not proof of coding taking place

Raven is a completly different situation than Jason, her creative team explicitly based her design off of an Indian women (has been verified in interviews), gave her a bindi, had scenes where she wore traditional Indian dress, and if I'm not completely mistaken or talking out of my ass I believe Marv took inspiration from different Eastern religions while writing her story. Now whether this is coding or cultural appropriation is kind of a fine line. Judging it by standards now - I'd say it leans more towards cultural appropriation, even now Raven still has what looks to be a bindi for aesthetic purposes (depending on the story it's associated with her evil father which is... questionable at best) while still remaining a white character who's both percieved by the audience and by the creative staffs at white. Judging by standards at the time? It's a bit more complicated I guess, I wasn't alive in the 80s. Does this mean i think future iterations of Raven should stay white and stop appropriating Indian culture? Not exactly - i think they should take a restorative justice approach: acknowledge that hey, we fucked up, and then give Raven to an Indian writer/creative team who can showcase a more authentic experience and come up with ways to incorporate her ties to the culture respectfully - say by making Arella Indian, and showcasing parts of Hindi culture on Azarath

I've quite literally never been a part of online fandom before DC so i haven't seen too much coding discourse. Obviously, there is coding in comics. But so many times I've seen people claiming coding exists without looking at the very clear authorial intent behind why the characters say what they do. One example not related to either character: people claiming Chuck Dixon queer coded Tim. I'm sorry. He's literally a raging homophobe, and Tim not wanting to have sex in his run is Chuck using him as a mouthpiece for his abstinence campaign... not queer coding. The context matters, and I'd rather people be honest and just say "hey i thought this was interesting about the character, here's my interpretation of it even though it's not what the real author intended" than lie about the content that's there. Coding in comics does exist, it does happen intentionally by certain authors. But making it up when it doesn't exist doesn't exactly feel productive to me... it just feels misleading and like you're trying to justify why your fave is the best