The Ethics Of Murder In Danganronpa: A Breakdown Of The Killing Game's Morality

I decorated a box with a bunch of my pre-game Kokichi pen doodles I made at work, and now I have a Bonkichi box! It will hold all of my treasures :]

The True Horror of Danganronpa V3 Isn't the Killing Game It's the Aftermath

I've always been terrified of body horror, not just because of the grotesqueness but because of how it strips away your autonomy, turning you into something monstrous in the eyes of the world. It's the fear of losing control of your own body, of becoming something unrecognizable not just physically but mentally, and I believe Danganronpa V3 follows this same theme.

Not to the same extent as body horror, but the true terror of V3 isn't the killing game, it's what comes after-the unraveling of your very identity, realizing that everything about you, your relationships' backstories and personalities are all written by someone else. You're left not as who you once were, but someone else entirely a puppet to the whims of a creator.

And the worst part, there's really no one you can confide in. You don't want to hang around the people from your past, the ones who cling to the person you once were and now only see you as a celebrity on their favorite show, but the people who have been through the same things as you remind you of your past trauma. The people who should bring comfort only bring more ghosts.

And Team Dr could have changed anything to fit their mold of a perfect character your body something minor from eye color to hair texture to more major things like body type or gender your backstory if they make your character unlikeable, you're remembered like that forever think Kiyo and Miu or give you such a horrible yet detailed backstory that you have nightmares about it like you actually lived it (Maki and Ryoma) the identity crisis is the true killer.

It's also the horror of freewill. Before, all of your choices were pre-written. Now you have control of your own body, but it's terrifying when you don't even know who you are, you don't have any foundation to build your future on. You also lose your sense of purpose in the killing game. At least you had escape to push you forward and motivate all your decisions, but now you have nothing what you are supposed to do with your life.

Get a job? Where you'll be heckled for being in the latest season of Danganronpa by coworkers and fans alike, which brings me to my next point. You'll just be seen as the fictional character you were inside the game, and you know how some fans act theuy would admire you ridicule you treat you like an animal in a zoo like how some people act with celebrities stalk them have tattoos of them try to hurt them sexually, or otherwise it would be hard to go anywhere, and you may not even be safe in the privacy of your own home.

And sticking on the path of being a celebrity Team Dangaronpa using the cast for the press, especially if Shuichi actually ended the franchise, they would have to milk them for all their worth to try to hold onto straws as their biggest series falls apart around them invasive QnAs, forced smiles for photoshoots fake relationships to appease to the fans use your trauma annd suffering for content.

And wherever you go, you're haunted by your trauma. People dressing up as your friends in videos talking about your death, fans raving about your execution even after you escape. The pain isn't over.

That's the true horror of Danganronpa V3 not the blood, not the executions, not the killing game, but the aftermath. The terrifying questions of: were you ever real in the first place? How do you figure out who you truly are? And what does it mean to truly live?

How I would rewrite the utilization and timing of Tenko's flipping ability (That also slightly changes the narrative.)

Tenko's flipping ability had the power to change the entire narrative of DRV3 but the game barely used it here's how it could have made a really impact.

This is an excerpt to a 25 page essay I wrote inspired by @whattheskyknows' post about the underutilization of Tenko’s flipping ability. Check out their original post below.

https://www.tumblr.com/whattheskyknows/766230450261884928/i-wish-drv3-utilised-tenkos-flipping-technique?source=share

The first reveal of Tenko’s ability

The first time Tenko’s power will be revealed is late chapter two early chapter three. Here she will flip Shuichi and Himiko just like in the original game, but this time instead of being the only time her ability is ultilized it will be used to give the player an inclination of Tenko’s power with characters that we already know enough about to deem Tenko’s analysis correct making her ability seem reliable and trustworthy.

The next time Tenko’s power will be utilized is in the middle of chapter three.

Maki's flip

Here she would flip Maki. I know you probably think I don’t know if that would work out, etc., but at this point, Maki is getting closer to Kaito and Shuichi, and even though Tenko was one of the many people who were wary of Maki after her talent reveal she did eventually come around and had a nice chat with Maki in chapter three.

Tenko could guise it as sparring, especially after her dojo opened up and flipped Maki telling her something along the lines of:

“You hide from us because you believe that we’ll all hate you, but Tenko can tell, deep down, you’re a caring girl, Maki. You’re afraid, just like the rest of us, afraid of hurting your loved ones, which is why you lie to build up walls. You don’t want us to shun you, and you don’t want any more blood on your hands, at least not if you don’t have to.”

And then Maki would obviously (and understandably) be shocked, probably asking Tenko how she knew that just by flipping her.

I think the two would grow closer and make that conversation between them before Angie’s death a bit more impactful.

Either Shuichi would have to be in the room or Maki would have to tell him (and Kaito) after the fact since Shuichi is the protagonist and we find out all the information through him, and then he would do that thing where he has a thought or an internal monologue, but it pops up as text that reads:

‘It’s nice that those two are getting along with their combined strength; we might be able to find a way out of here.’

Kokichi’s flip

Next would be Kokichi, which wouldn't be an on screen moment like Maki's because Kokichi dropping his mask is a big reveal for the end of the game.

Tenko would either flip Kokichi out of pure annoyance or reluctant curiosity, then say:

"Tenko can see you're putting up a villainous facade, but she can tell that there’s more behind it."

And Kokichi gets so scared that he’s vulnerable and just runs away.

Maybe he even writes on his little whiteboard an insult under Tenko’s name, then erases it and writes interesting or useful under it.

They can then have little interactions where they talk, combining their skills to try and figure out the mastermind or the truth of the game, and we see them getting closer to each other.

Then I wrote two separate storylines because I love Tenko so much I created two alternate universes for her ability to be used correctly, and I wanted to make this harder for myself because I can't take the easy way out.

Here's how Tenko’s flipping ability could play out in two possible narratives option being closer to the canon and option two deviating further from it.

Option one:

Tenko dies like she was supposed to and all the secrets die with her. Kokichi and Maki are upset, but of course, in typical fashion, don’t show it in front of the others.

After Tenko’s death, Tsumugi looks happy/relieved, and Kokichi gets suspicious, but it’s not enough evidence to determine anything yet.

In late chapter three or early chapter four, before everything happens, Kokichi finds out that Tsumugi was happy Kiyo killed Tenko because she found out too much and goes into his plan even more determined to end the killing game and get revenge on Tsumugi for everything she's done to them (and Tenko).

Option two:

Kiyo kills Angie locked room mystery style, he then tries to kill Tenko but it fails (it still hit her in the arm or a non-vital part of the neck.) Tenko still dies, though, and everyone believes that it was from blood loss.

Later Kokichi discovered that Tsumugi killed Tenko using the power of the first-come, first-served rule to save herself because Tenko flipped her and found out way too much.

Kokichi would then find out and confront Tsumugi in a confrontation that would go something like:

“You did it, didn’t you?” Kokichi said, his voice filled with emotion, Tsumugi turned around, confused and angry. "You killed her."

Here bits of Kokichi's mask would start to drop , the usual mischievous smirk replaced with a rage-filled scowl.

Tsumugi would walk closer, their faces almost touching.

“She was learning too much, sticking her nose into places it didn’t belong. The game wouldn’t have been as fun if there was a reveal so early… I had to get rid of her; she was a threat to me. You understand, don’t you, Ouma?” (referencing chapter four).

Kokichi would then curse her out and say something along the lines of he'll ruin Tsumugi's game for her and everyone watching, either Tsumugi directly or the cameras, and continue his plan to end the game.

Tsumugi would then either be amused that Kokichi would try or genuinely concerned seeing Kokichi as a threat and trying to stop him herself, once again changing the narrative.

This one is especially nice because it shows the parallel of Kokichi and Tsumugi as a sheep in a wolf’s clothing and a wolf in a sheep’s clothing and also them both having scripts and doing whatever is necessary to make their narrative happen.

Kokichi is manipulating Gonta to kill Miu and Tsumugi killing Rantaro and framing it on Kaede.

This also gives Tsumugi more of a role as the mastermind in the game, also allowing Tenko to use her power multiple times without the consequences of an early reveal or boring game.

Then for either one or two, the ending would pretty much go the same except for maybe Tsumugi subtly mentioning that Tenko (and Kokichi) already found out a while ago, but the rest of the ending is perfect and wouldn’t be affected.

Conclusion

And that is a rewrite of how I think Tenko’s flipping ability could have been used to its full potential.

Of course, there were a few things that I couldn’t stress as much as I wanted to, like Tenko and Maki and Tenko and Kokichi's friendship, and the others would be like:

“Tenko and Kokichi/Maki are close these days, aren’t they?”

But this is getting long, so maybe I'll talk about it in another post.

Tenko had a really amazing power that had the chance to change the narrative and be a really cool arc, especially since she's a character that expresses her emotions wholeheartedly and wants others to do the same, but it instead was just like so many other things about Tenko's character overlooked, underutilized, and forgotten about, during and after its reveal.

Tenko deserved better. We deserved better and it's a shame to see such a great opportunity go to waste.

And if anyone wants to read the full essay if requested I will make a comment or another post (unlikely though it's very long 😅)

Danganronpa's heart isn't the killing game it's the characters

I think a part of the DR games get pretty overlooked is the daily life sections like yeah sometimes it seems like you can skip over sections them and not lose any important information and V3 makes the FTEs unbearable but it's what gives Danganronpa games their charm and what separates DR games from other games similar to it.

The characters, their backstories their relationships.

And even though THH the animation probably brought in more viewers (because its much more easy and convenient to watch a ten episode anime than to play, or watch someone else play a 25 hour game) people who watched it would just get the surface level version of the story.

Trust me I watched the anime the first time around.

If you ask any Danganronpa fan whether they play for the plot, (the mystery-solving murders, executions, and trials) or the characters most would probably pick the latter and it's not a choice with no thought at all.

Each game has a wide array of characters with their personalities, backstories, quirks, interests, and traumas. With every game comes a new cast of characters to obsess over, and hope they don’t die.

The characters are what makes the game so special and unique, and I think the game wouldn’t have gotten as much popularity as it did in the past few years if there were a bunch of normal characters with nothing of note in a killing game.

That's why the daily life sections are so important-they give the characters a chance to breathe and interact without the pressure of a trial weighing upon them.

Without those moments the deaths, executions and trials wouldn't hit as hard.

Danganronpa thrives on its daily life sections and if they are skipped over or reduced they take away so much of what makes the game special.

The mystery is engaging sure, but it's the relationships personalities and tragedies of the cast that's what keep people coming back long after they've finished the games.

More Than a Label: Rethinking V3's 'Dumb' Characters

It's weird how the characters that we and the game constantly call stupid are actually some of the smartest.

Well, a lot of characters fit this bill, but seeing as I am a DR rant blog, I'm talking specifically about Tenko Chabashira, Kaito Momota, and Gonta Gokuhara.

Now these characters are now referred to as dumb by the game and particularly the fandom for pretty similar reasons.

Gonta because of his speech pattern particularly is portrayed as Tarzan's speech, and his understanding of normal things we find simple like technology and most famously in chapter 4 where he was manipulated by Kokichi, but the localization, NIS America did change his character a lot they changed his backstory and how the whole killing game buster thing happened in chapter 4.

Which is funny because all three of the characters I'm talking about in this rant were changed pretty heavily by NIS America.

In the Japanese characterization, Gonta's backstory is more ambiguous, being raised by a forest family and developing an extensive knowledge of insect species, his speech pattern is more polite and formal, and the third-person way of speech is culturally associated with child-like innocence and a cute endearing or 'quirky' personality-not dumb.

And in chapter 4 he had more of an idea what was going on in Kokichi's plan from the beginning and acted upon his own decisions rather than just being a blindly lead victim till the end.

But in general, Gonta has a deep knowledge of insects and astrology (for this analysis we are ignoring the ending) and good observational skills that are helpful in class trials like how he noticed that he must be far away from home because the constellations looked different in chapter two and his knowledge about the state of the floorboards and the way the seesaw trick was carried out in chapter three which span both the Japanese and English translations.

Kaito is portrayed as being dumb due to his struggles in trials and his refusal to acknowledge certain truths because they go against his ideals.

But Kaito's intelligence while being shown in some ways on paper by passing the astronaut entrance exams excels in more ways than academically he has emotional intelligence and leadership shown by how he interacts with everyone particularly him supporting Shuichi and pushing him to grow his confidence and seeing past Maki cold exterior and helping her open up emotionally and also in chapter 5 acting out Kokichi's plan which shows strategy and trust.

He also possesses a good amount of street smarts that people overlook.

Tenko is often seen as dumb because of her loud over emotional nature and mannerisms. Some people also don't take her seriously because of her 'man-hating' and her relationship with Himiko.

Tenko also has the same problem as Gonta with localization. In the original Japanese her speech patterns are more elegant and refined, and her male hating is turned back exponentially.

Tenko is however extremely emotionally intelligent her flipping ability which allows her to read people's emotions contributes to this as well as her encouraging Shuichi to build his confidence and Himiko to express her emotions more.

It spans beyond this however in chapter 3 Tenko infiltrates Angie's cult to protect Himiko and avoids brainwashing as well as making it her mission to help Himiko grow from her emotional suppression.

Finally, Tenko allows herself to be the medium for Angie (whom she had a rivarly with) in the seance for Himiko showing her deep empathy self-awareness and willingness to prioritize someone else's emotional healing over her own safety. Is a clear demonstration of her emotional intelligence and wisdom.

In conclusion, whether a character is intelligent or not really depends on how the piece of media portrays the character and how the viewers define intelligence.

I think school systems have definitely skewed our perceptions of intelligence making us think intelligence is just test scores and book smarts rather than street smarts and emotional intelligence.

Gonta Kaito and Tenko- while not in the same as Shuichi or Kokichi- are smart. And I don't think our skewed perception and bad localization should determine how we view them.

Some characters are written to be dumb, and that's fine but Gonta Kaito and Tenko? They aren't.

They're loud, naive, and emotional but they aren't complete idiots.

And I hope this rant helped you realize that.

superparadise i held onto but i settle for a ghost separates:

The ending of Danganronpa V3: Not the cliché twist people think it is.

Probably the most controversial part about V3 is the ending. I love it. I love it so much I have a shirt of it. I can see why others don’t somewhat but at the same time I’m like why?

Many people say the fact the game is fiction makes it meaningless, but I strongly disagree. I understand that an 'it was all fake' or 'and then they woke up' ending is annoying and overused and, depending on what happens in the piece of media, just bad writing, but DRV3 isn't one of those endings.

And if you do believe the game was meaningless, then congrats you fell for Tsumugi's lies, hook line and sinker.

In the sixth trial, Shuichi talks about how even though the game was fiction, it still hurt him to see the people he cared about die.

Even though they are being told that everything they went through is meaningless, it is real to them; if they feel sadness and anger and love, it’s just as real; it’s just as meaningful as in the real world.

Another thing is the theme of the whole game is truth vs. lies, so wouldn’t it make sense for the final twist to be that what they thought was the truth is a lie?

In the first two games, the final trial ends with a battle of hope vs despair where hope always triumphs and despair is crushed, but in V3 it’s different.

Tsumugi wants them to continue the game. The fans want them to continue the game.

Choosing hope—sacrificing someone to go on to the next killing game—will just cause the cycle to repeat, but choosing despair is also bad; it causes people to give up and lose everything.

Shuichi doesn’t want Maki (and Kiibo) to have to go into another killing game, but they also don’t want to fall into despair. So he refuses to vote, and as much as Tsumugi begs and pleads, he stands his ground.

The viewers also refuse to vote, proving that fiction does have the power to change reality, a powerful message that is one of the main reasons this ending is so great.

Even though Shuichi Maki, and Himiko were fictional characters, they changed the outside world and stopped a whole franchise, a whole movement, and in real life, fiction can spread ideologies, beliefs, and concepts, and these things can spread to people like wildfire and bring people together in ways that normal methods, (like by mouth,) cannot.

That's why artists try to put messages in their art, musicians in their music, and directors in their movies and TV shows. They know that's the type of media that will have the most reach and spread the fastest.

Or even social media spreading information; it might not be the best source, but it still spreads rapidly.

Media has influenced our way of life for years, influencing our speech, thoughts, and cultures because of what it says; this is what V3 is trying to show.

Shuichi also talks about using his friends deaths and the lie of the killing game to change the world.

This is why it matters; this is the power of fiction.

Shuichi using his friends' deaths, which may have been seemingly useless anyway, to take down the show that has trapped them in a cycle of deceit and forced them to play their game.

It’s also great when you remember that Shuichi was afraid of finding the truth, and Kaede and Kaito helped him gain more confidence.

He vowed to Kaede he would end the killing game, and this man not only found the biggest truth ever, he not only ended the game, but ended the whole franchise.

If that's not character development, I don’t know what it is.

Another reason people hate the ending is the portrayal of the fans, the fans are portrayed as Danganronpa obsessed, and they are shunned by watching the senseless killing of people for entertainment.

It’s a world where everyone has become so desensitized to kids getting killed on TV that they gather around screens all over the world eager to watch the next installment; that’s why there are 53 seasons.

The fans in the ending are an exaggerated view of what Kodaka feared would happen.

It's not trying to bash the fans of today but the fans of the future if this continues and we don’t care about the deaths anymore, and we just want more because you can have too much of a good thing.

It also has good messaging about fans (and corporations) tearing a TV show or game series apart in compensation for more, deriving it from the original message.

For example, Squid Game a show about the flaws of capitalism and exploitation for entertainment, was remade into a reality show by Netflix, Mr. Beast, and Amazon Prime to capitalize on the success of Squid Game when it first came out, actively hurting real people in the process, just for the sake of making money.

The ending of V3 reminds us that the connections we make and the experiences we have give our lives meaning. And even if we only affect one person with our actions, it will be all worth it, and that's the greatest truth of them all.

It’s about freedom, the problems of beating a piece of media to death just to have more, using deceased loved ones' wishes to help move forward, and finding meaning in the things that seem meaningless.

The V3 ending is a roller coaster of emotions and a masterful experience. It serves as a great ending to a great series that keeps you on the edge of your seat, makes you feel sympathy for some fictional characters, and still holds up even eight years later.

I don't think this rant/analysis will fix the wedge in the fandom this ending has caused (we've argued about much more ignorant things in the past.) But I hope it at least resonated with you and re-kindled elements you remember loving about the ending for people who did enjoy it; and for those who didn't I hope this gives you some insight into why I and many others appreciate the ending.

So before your start to conclude that V3's ending was meaningless think to yourself-is that the truth or just the lie you were meant to believe.

Why Tenko Chabashira is a Great Character pt. 1: Tenko’s Backstory and Personality

Another essay excerpt because that did better than I expected last time and I'm suprised people actually want to read my stuff.

Tenko Chabashira is an over-hated character in the fandom with people before the game even came out criticizing her and hoping that she died.

Now this is not everyone’s opinion.

I've seen many people praise Tenko, but it’s a widely accepted opinion that she sucks, ranking near the bottom on a lot of people’s tier lists and having people post on every social media platform how much they hate her.

I love Tenko.

She is my favorite character in NDRV3 and right now my favorite character of all time.

With the game already in its eight anniversary I thought, what a better time than ever to fulfill my civic duty as a Tenko fan and explain why she is a great character and doesn’t deserve nearly all the hate she’s gotten.

Backstory

One of the main reasons people hate Tenko is her hatred of men.

I would like to lessen this to dislike because Tenko shows multiple times in the game that she does not hate men and there are also reasons behind her sentiments.

Tenko took her master's teachings very seriously; he was like a father figure to her (which makes sense especially since her parents abandoned her), and she was adamant about mastering neo-aikido.

Tenko is also really gullible.

It's why she believes Himiko can do real magic, so she would believe her master wholeheartedly when he tells her that interactions with men would weaken her.

It's similar to a child being told by their parents that if they are good Santa will give them gifts.

Another factor contributing to Tenko’s dislike of men would be her crime fighting which not only adds to her childlike nature but gives more of a reason to her so-called “man-hating.”

In one of Tenko’s ftes with Shuichi, she says:

“As practitioners of Neo-Aikido, Master and I… are also heroes of justice! Master and I wear masks to disguise ourselves! We serve to save, whether it is day or night! We do everything! Help an old woman carry her belongings… Help a child cross the street…Oh, yeah! I caught a thief the other day! We also punish degenerates who cheat and bring divine justice to gropers on trains. And even help girls who just had tough break-ups!”

Even though those don’t seem like the best reasons to “hate” a whole gender overshadowed by being hurt by men emotionally or physically.

If you think about it, it’s not the worst reason either, Tenko was just a kid and her master filled her head with misconceptions and stereotypes about men.

(In the end, he was just trying to protect but there are many more ways to go about it.)

Of course, Tenko didn’t have to believe it, but by being exposed to bad men on the streets when she and her master were fighting crime, and not having many interactions with good men, you can start to see where she comes from.

She’s just like a kid who never grew out of the boys' cooties phase (with a little more trauma), and as a kid, she wasn’t taught that all men aren’t bad, she wasn’t shown that all men aren’t bad, and she wasn’t exposed to the idea either.

I don’t think we should blame Tenko for something really out of her control.

Children are very impressionable that's why they're easy targets (well them and elderly people).

Their frontal lobes aren't fully developed so they don't think critically plus when your a kid small and vulnerable you tend to look to your parents for safety and guidance.

Imagine yourself in Tenko’s shoes. The man who is basically a father figure to her tells her all these misconceptions about men—and that they will stop her from fully mastering Neo-Aikido, something she has dedicated years to. With her low self-esteem, she likely already believes she isn’t good enough.

(While most of her self-esteem issues seem to be tied to her physical abilities, strength could play a role in that too. )

Wouldn’t that make you dislike them?

Then when he takes her out and she sees the men doing exactly what her master told her that they would do it would not only prove that her masters teachings are true it would solidify that hatred.

Now at the beginning of this section I said that Tenko doesn’t hate men but now I’m saying she does?

I believe Tenko had bad teachings and exposure that made her man hatred reasonable.

I don't think Tenko hates the whole male species as she says she does but if you're a man who hurts women Tenko is going to hate you with a burning passion an important distinction I need to make.

Tenko’s backstory isn’t perfect I’ll admit that but based on how she interacts with men during the game and how she acts overall bad exposure and teachings are a fine reason.

Personality

She’s rather boisterous and is like a ball of energy and can be overbearing to other students especially Himiko since how she acts with other students (not just the boys) is not “normal” per se (but no one in this game is normal) many people chalk it up to her just being annoying.

Still, I would like to add something else that may be a factor in her upbringing which I know I have already discussed.

Still, Tenko grew up in a temple with priests she was sent there when she was very young (there isn’t a specific age but many suspect five to six) so we can assume that she didn’t have a lot of interaction with kids her age (especially boys) with the only time interacting with people probably being people going in the temples for religious purposes or the people she saved while fighting crime.

A person’s upbringing especially if it’s bad or not normal can influence how someone acts just take Maki Harukawa, for example, she grew up in an orphanage and was trained to be an assassin during the game when Shuichi and Kaito are fighting she makes Shuichi watch her teaching Kaito to assemble and disassemble a crossbow so that they can make up, and when Kaito is kidnapped she reverts to the only thing she knows and tries to kill Kokichi.

Or Gonta Gokuhara who was raised in the forest by wolves doing odd things like not wearing shoes, lacking general cultural knowledge, getting suddenly controlled by strong emotions and having trouble with language.

So it makes sense for Tenko to act strangely and lack strong social skills, given her isolation from kids her age when she was young.

Unlike someone who has been interacting with others their entire life, starting from kindergarten, her experiences have been limited.

Or you can just say it’s her lack of understanding social cues and she’s neurodivergent coded.

...

Tenko, while claiming she hates men, gets along fine with them and shows them support. Some of these scenes include:

Joining Kaito’s strategy meeting

Telling Shuichi not to be too hard on himself after Kaede’s death

Yelling at Kokichi when he makes fun of Shuichi without his hat

Promising to avenge Rantaro and Ryoma’s deaths

Complementing Gonta for being calm and reasonable after Kirumi accuses him

Feeling bad after flipping Shuichi over her shoulder and carrying him back to her room

Allowing Shuichi to participate in Aikido with her

Telling Shuichi he needs to gain more confidence in himself.

She is also lovely and caring, volunteering to protect all of the girls, placing herself at risk alongside Kaito and Gonta to save Kaede from her execution, and her friendship with Himiko, in which she tries to help her overcome her emotional suppression, demonstrates her compassion for others.

She is one of the most vocal characters when it comes to opposing the killing game they were imprisoned in, and she is always willing to offer assistance or emotional support.

Tenko has a wonderful personality. Her deep emotional core, supportive persona, and childlike thinking are qualities that I and many others can identify with.

These qualities, in my opinion, dampen the hatred of her "male-hating" mentality in some aspects and make her a charming character.

Tenko's development

While having many ‘annoying/ undesirable’ traits Tenko eventually does have character development.

The main one is her dislike of men. I've already discussed that this dislike doesn’t seem genuine because, since the beginning of the game, she’s been having friendly, kindhearted interactions with men but taking that out of account Tenko does develop from the beginning of the game to her death.

Tenko’s journey reveals layers of her personality, showcasing how bad experiences shape beliefs and attitudes.

And how a good experience can turn it all around for the better even if her transformation is not entirely linear and overshadowed by other major characters (Shuichi Maki and Himiko.)

In her Free Time Events (FTEs) with Shuichi, she is very mean to him.

Nicest thing she says is that he can improve himself through Neo Aikido and become a good man like her master.

However, the interactions in her FTEs specifically with Shuichi amplify her disdain for men making it seem worse than it is in the game.

Despite all this she still she moments of genuine growth realizing that not all men are as bad as the ones her master told her about and the one she saw while crime-fighting through her experiences with Shuichi and the other men in the game she slowly but surely alters her perspective, and the journey leads her to form a friendship--though some would say acquaintanceship--with Shuichi (a man 😱.)

It’s a shift for her from her initial male-hating persona as she learns to accept that not every man is as bad as she was taught to believe by her master.

I could go on but this is getting long so in Part 2 I'll delve deeper into Tenko’s character arc and development in chapter 3.

The Possibilities of Two Blackends in Danganronpa V3: The Transfer Student Beyond The Grave and the First Come First Serve Rule

This is a rant/speculation about the addition of a second blackend in the Transfer Student From Beyond the Grave, especially with the implications of the first-come, first-serve rule.

"A lot of people talk about the missed opportunity and the idea of having two killers for Tenko and Angie in V3 Chapter 3, and yeah, I agree—having two blackends would’ve been cool.

It would’ve shaken up the trial, with the group debating when (or if) they should even bring up the second victim.

But the thing is, the real interest doesn’t come from the trial itself.

Sure, it might’ve made that useless scrum debate a little more intense, but the real draw for me is what happens after—when one of the blackends gets away scot-free."

Seeing the others having to live with a murder.

Now, you've seen how they treated Maki when she was revealed as an assassin they were nervous scared on edge and she was murdering people they never met.

Imagine how they would act if that were their friend, someone they cared about.

That's the part that would really mess with them. It's one thing to lose your friend, but it's another to know their killer is sitting right across from you.

The blackend might be alive, but socially, they're dead.

Every interaction would be laced with paranoia—the fear they will do it again—and infighting between people trying to pretend everything is normal and those being openly hostile.

Imagine the tension, the ostracization.

Of course, some people would try to make amends, but others would still see them as a potential second killer.

And the blackend, (seeing that with the rule only the first murder counts,) would probably realize they've just killed someone for no reason and are now being isolated from the rest of the group, being labeled a murderer and untrustworthy.

Maybe they would lean into their role as a villain, or maybe they would genuinely try to reach out and apologize, only to be shut down time and time again.

Even worse, what if the real danger isn't the blackend, but the others?

Someone could snap under the pressure and decide that if Monokuma won't bring justice, they will. Because who would care if a previously confirmed killer died?

They're a threat, and they killed somebody someone else cares about, so it's a win-win, right?

And the next murder—before no one had gotten away with it, but now it's been proven that it can work. You have the road map to get away with it.

You wait until someone murders, and then you kill someone who's a threat to you, someone you hate, and get away with it just like the murderer before you.

It turns the situation into not just a killing game, but a discussion about morality, ethics, and motives. Of course, these themes are in place throughout all the blackends, but it's different when you're condemning someone to an inescapable death versus them sitting across from you at the dining table, eating breakfast.

Of course they're still human but what if they killed someone you loved, someone you truly cared about, your only friend in the game.

(The arguements especially between Kaito Maki and Kokichi. chefs kiss)

In the end, having two blackends with the addition of the first come first serve rule would turn the game from a simple survival battle into a psychological minefield, where trust is shattered and the lines between right and wrong blur beyond repair.

The real danger wouldn't just be the killers, but the fear of betrayal, the crumbling of morality, and the weight of survival, forcing everyone to confront their choices of whether to forgive or forget and what they're truly willing to sacrifice.

The true impact of two killers is the emotional fallout—the fractured relationships and shattered trust. It's the heart of what makes the killing game devastating.

I've been wanting to share my thoughts on the print on Kaito's shirt for a while now. This post is largely inspired by this one

Kaito's shirt has a print of a special type of makeup used in traditional Japanese theater. This makeup type is called Kumadori. I'm not an expert, so I'll just briefly summarize what I found about it.

The makeup itself is a dramatic pattern of symmetrical lines that highlight facial features, drawn on a base of a certain color that is applied to the face in advance. The placement of the lines and their color reflect the character's personality.

Dark red (which is what Kaito has) is used to reflect courage, bravery, and a sense of justice, but can also reflect anger and short temper.

There are many types of this makeup. The one on Kaito's print most closely resembles Suji-guma (筋隈). This style is used for roles of strong heroes full of anger, which suits Kaito perfectly.

The post I linked says that in each game there is a character in a white shirt with a red print that somehow reflects their death. Leon has a broken skull, Nagito has something resembling a spear (or toxic fumes). And Kaito has his "mask" of a hero. And technically, that's what killed him. His desire to be a hero.

He tried to act like an indestructible hero the whole time. He hid his illness from his friends. He became a murderer to save Maki. And he agreed to Kokichi's plan to give others a chance to be saved. He died from his illness in the middle of an execution, but what drove his illness to that point, and what led to his execution, was his desire to be a hero.

So in a sense, it was Kaito's heroism that led to his death.

Sites where I found information about traditional Japanese theater makeup:

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And what the Suji-guma (筋隈) style itself looks like