Why Post Game AUs Hit Different

Kaito and Tenko's hypocrisy

You ever wonder about how Tenko and Kaito suck at taking their own advice like Kaito and Tenko would rather be crawling on the ground actively bleeding out than asking for help but when one of their friends are even in the slightest bit of distress they'll be all about supporting each other, vulnerability is okay etc.

Kaito and Tenko's shared altruism and hero complexes intrested me and their dynamic was taking over my brain so of course I wrote something about it.

If this intrests you, check out Even a Hero Needs Saving. My three part series exploring Tenko, Kaito and what it truly means to be a hero.👇

https://archiveofourown.org/series/4590754.

Even a Hero Needs Saving.

Three short stories about Tenko Kaito and their hero complexes, putting others before themselves, playing off their injuries, and avoiding medical help like the plague.

This series will be about these heroes falling from grace, getting supported by their friends, and partners, and learning that even heroes need saving.

The Ethics of Murder in Danganronpa: A Breakdown of the Killing Game's Morality

Ethicality is the adherence to moral principles in decision-making and actions, evaluating whether something is right or wrong.

However, ethics in the form of Danganronpa is where the lines start to blur. It's not as simple as right and wrong. When your life is on the line, you can justify killing someone as self-defense, right? But it's not that simple once you add in the psychological and emotional factors—the stakes change.

What's the value of a life, especially one that's a stranger? What happens when that stranger becomes someone you actually care about? The price of their life may change, and suddenly, it's a whole new ballgame. So the questions become: how much would it take for you to kill someone, and is murder ever justified?

That’s what Danganronpa forces us to confront death isn’t just a consequence it’s the game and with every death comes new motives emotions and decisions behind it.

Some characters may seem like their killing to survive others do it for greed and their own personal gain and then you have the people who act out of pure fear and panic.

The physiological pressure the manipulation the backstabbing these aren’t just trivial things and there’s a thing in here somewhere about how being in a killing game environment isolated from the rest of the world with a bunch a strangers who can kill you at anytime would change you as a person effect your morals and such (but this sadly isn’t about that and maybe I’ll touch on that later, ) this is about how the killing game makes us and the characters question whether murder is even okay? Where do we draw the line? and why do we forgive some and ostracize others?

Of course, your first thought would be absolutely not murder is not okay, never under any circumstance. But then the other thoughts start to roll in, you think about your family you think about your life outside the game you think about the value of your own life then you start making friends with with the strangers that you’re trapped with, and you start to think about the value of their life then it becomes a twisted mess and the answer isn’t just a simple no anymore it becomes a no except… a maybe a yes only… your perception becomes skewed as other factors are weighed in.

Should we feel sorry for the murders or should we see them as monsters and what’s the cuff off point where do draw the line for sympathetic killer and heartless murderers

So, with all that in mind, how do we even begin to break down the ethics of murder in Danganronpa? It’s not a simple black-and-white answer. But here’s a framework to think about it:

Murder in Danganronpa: Breaking It Down with MBBCO Motive Brutality Bias Context and Obligation

*For specifically Dr based on the blackened trials and reactions of other students probably not good for use in real world situations*

M. Motive

Why did they do it? The motive is essential because it gives us a reason behind the action. Is it for the sake of others, like Kaede killing to end the killing game, or for personal gain, like Celestia? Some motives may seem more honorable, but it all comes down to perspective. Did they kill out of desperation, or was it a calculated act for personal gain? Understanding the motive helps weigh the ethicality of the act.

B. Brutality

How did it go down? Was the murder violent and grotesque, or was it quick, swift, and painless? Brutality plays a significant role in how we perceive the act. Junko's actions were very gruesome and treated like a spectacle, while Kiyo killing Angie was painless, not very gruesome, and simple. Even though both had reasons, how the murder went down makes a huge difference. Was it cold or heartless, or were there moments of hesitation? Brutality not only shapes the act but also the way we see the killer.

B. Bias

Who is the victim, and who is the killer? Bias can cloud judgment, and while it shouldn't determine ethics, sometimes it still can. Take Kaito vs Kokichi, for example. The majority of the cast is quick to defend and stand by Kaito but ostracize Kokichi. This extends to everything, including murder. These biases sometimes get in the way, skewing the perception of ethicality.

C. Context

Context: What was the situation? This is vital because the surrounding circumstances heavily influence the actions. If a character kills in self-defense, it changes things compared to a murder driven by power. Take Mondo as an example: Mondo killed Chihiro not just because of personal animosity but because of Mondo's fragile sense of pride and guilt. In his case, the context wasn't just survival or revenge; it was deeply tied to his own internal battle of self-worth. Context can either justify or complicate the ethical decision to kill.

O. Obligation

Obligation: Was it a choice? In a killing game, the definition of choice can be murky. Was the character forced into a situation where they had to kill for survival, or was it something they actively chose for personal reasons? In some cases, like Hifumi's, it's clear he was manipulated, while many other characters acted on their own volition. The sense of obligation varies depending on the killer's mindset and circumstances.

Murder is always murder, regardless. But this doesn't mean we should ignore the complexities that determine the ethics and morals of each murder in the killing games. It's not always clear-cut, but that doesn't mean it doesn't exist. Some characters make decisions we might understand, even if we don’t agree with them. Others make choices that are downright horrifying, and no amount of explanation can justify that. But that’s the beauty (and horror) of Danganronpa: it forces us to question the morality of our actions, and whether any of us would really be able to survive in such a twisted situation without crossing a line.

Hope vs Despair and How Danganronpa Shows the Fine Line Between Them

In Danganronpa, Hope vs. Despair aren't just opposing forces—they’re intertwined like yin and yang.

You can’t have one without the other. Each moment of hope carries the potential for despair, and each moment of despair can give birth to a new form of hope.

The series doesn’t just explore this dynamic; it forces the characters to confront it, shaping their growth and evolution throughout the story.

Take Makoto Naegi, for example. As the Ultimate Hope, he stands in direct contrast to Junko Enoshima, the Ultimate Despair. But Makoto’s hope isn't simple optimism—it’s been tested and shaped by the despair surrounding him. His journey shows how hope can survive even in the darkest circumstances. On the flip side, Junko manipulates despair, using it as a tool to corrupt and reshape hope into something sinister. She twists the idea of hope, showing that it too can be warped when exposed to extreme despair.

Despair is often depicted as the absence of hope, like the color black, while hope is like white—full of aspirations, dreams, and ambitions. But, just as there are varying shades of black and white, hope and despair are not as clear-cut as they might seem. There are nuances, shades of gray that blur the lines, making it harder to see where one ends and the other begins.

In SDR2, the pattern continues, but with more complexity. It’s still hope vs. despair, but with the added layer of past vs. future. The characters' pasts represent despair to them, but through confronting their dark pasts, they create new hope. Their stories show that hope isn’t just about looking forward—it’s about confronting the past and using that pain to forge something better.

Then there’s Nagito Komaeda, who’s obsessed with hope. His view of hope is twisted because he believes hope can only arise from despair. For him, creating despair is the means to achieve his ideal hope, showing just how tangled these forces can become. Nagito represents the extreme, where hope and despair bleed into each other in the most disturbing way.

In V3, the lines between hope and despair are even more blurred. Monokuma’s Death Road of Despair is a perfect example of this cycle. The characters are given hope—a potential escape that’s always within reach—but as they fail repeatedly, their hope turns into despair. They begin to believe that escape was never possible, that they were wasting their time from the start.

The constant cycle of hope and despair leaves them trapped in their own feelings, forcing them to reevaluate what hope even means.

Then, we have characters like Kaede, Kaito, and Tenko, who embody hope for those around them. When they die, the survivors are filled with despair, but instead of succumbing to grief, they use their deaths as a source of strength. Their deaths become a new form of hope for the survivors, pushing them to continue the fight. The cycle isn’t over; it’s reborn from loss and pain, showing that hope can arise even from the darkest moments.

Ultimately, Danganronpa isn’t about choosing hope over despair or vice versa—it’s about understanding the complex relationship between them. Both hope and despair are essential to the human experience.

One cannot exist without the other, and each gives rise to the other in ways we may not fully understand. The characters are constantly forced to confront this reality, evolving in response to the ever-present pull of these two forces.

By rejecting the notion that hope and despair are opposites, Danganronpa teaches us that life isn’t about simple binaries. It’s about the messy, complicated truth that both hope and despair are necessary for growth, and in the end, it’s the balance between them that gives life meaning.

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.

Why I Love Tenkaemaki

Hello I’m back from the dead I’ve been busy but I’m back with more Dr rants.

And I promise after this it will go back to the normal rants unless you guys like this form of content.

I fucking love Tenkaemaki that’s it that’s the whole post.

They’ve been my ot3 for a while after I stopped really hardcore shipping Tenmiko and Tenmaki became my otp and ughhhh! they’re just so ahhhhhh!

Like of course I can say that they’re cute and Maki has two loving girlfriends that will treat her like the princess she is and Kaede gets two strong girlfriends to simp over and Tenko gets two girlfriends she can protect from degenerate males even though they don’t really need her to but…

It’s also Maki having two overly affectionate girlfriends and being like affectionate ugh what is this give me more it’s Kaede not having to carry a burden by herself it Tenko caring and being cared for in return and finding true strength in leaning on others and not putting herself in danger time and time again because even though it’s a nice gesture to put yourself on the line to protect someone she has people who love her waiting for her at home.

It’s all of them not asking for help and caring for others without caring for themselves and having acts of service as a love language.

It’s Kaede sitting up all night pacing around her room waiting for her girlfriends to come back from their very dangerous jobs/ talents ready with tea and cuddles and comforting words. It’s Tenko and Maki forcing Kaede to take a break because she’s been wearing her self thin focusing on the class’s well being.

It’s all of them definitely pondering committing crimes for each other.

It’s them not having to say I love you they know in every touch every action every gesture.

It’s Maki’s bluntness and Kaede’s gentle Tenko’s hyperactive.

It’s Tenko and Maki both being so disconnected from their childhood due to their upbringing and Kaede giving them those gentle nice things they never got just so they know they deserve it and that they’re allowed to have nice things.

It’s Maki and Kaede stopping Tenko from being to hard on herself and over working herself it’s them correcting her how ever many times that it takes after she claims she’s not pretty enough not talented enough not good enough.

It’s Maki still not being used to affection after being tackle hugged for years but comfortable enough that she lets herself be hugged without retaliation and even reciprocates or initiates the affection.

It’s Kaede kissing Tenko and Maki’s scars.

It’s the group wondering how emotionally closed off cold and blunt Maki got two girlfriends.

It’s the fact they can make each other better and help each other grow in the best ways.

It’s the fact that they’re all independent and strong but have this mutual protection where no one is truly the “weak” one, but they all fall into that role for each other at times.

It’s rotating cycle of tough love and tenderness where each one of them refuses to rest until the other two do first.

It’s the “I’m hurt but you’re hurting more so I’m going to take care of you first but I know when you’re better you’re going to be pissed.”

Each of them keeps thinking they’re the burden, while the other two are the ones who truly deserve love and rest. So it turns into this heartbreaking relay race of:

“You’re always protecting us. Let us protect you.”

“You always listen. Let us listen to you.”

“You always take care of things. Let us take care of you.”

TenKaeMaki is amazing they’re so good and I just want the best for all my girls dammit all three of them deserve the world.

If Rantarou survived first chap+

Why Do We Love Seeing Our Favorite Characters Suffer?

It’s like an unspoken rule in fandom: if you have a favorite character—a “blorbo”—you want to see them suffer. Not in a mean way (we love them!), but in a put them through hell and watch them break kind of way. And then, once they’ve been completely emotionally destroyed, we turn around and say, “Actually, I want them to be the happiest person alive.”

We’ll write fics where they get to be safe, loved, and thriving… but also fics where they’re barely holding it together. We’ll create AUs where the worst never happened, only to still find ways to make them suffer. It’s the duality of fandom.

But why do we do this? Why does suffering make our favorite characters better in our eyes?As a Danganronpa fan, I’ve seen this in action a lot. We’ll create non-despair AUs, but will that stop the angst? Nope. We’ll write post-game fics where the survivors try to move on, but the trauma still eats them alive. And yet, we also turn around and make content where they’re happy, together, and free.

It’s this weird push and pull between wanting them to heal… and wanting to drag them through the worst imaginable pain first.

So what is it about suffering that makes characters so compelling?

1. Emotional Growth and Development

Let’s be real: watching a character go through hell makes them more interesting. A character who’s just happy all the time? Kinda boring. But a character who’s been through the worst and still keeps going? Now we’re talking.

There’s something about seeing them struggle that makes them feel more real. You get to see their vulnerabilities, their breaking points, and how they react under pressure. And when they do manage to grow from it, it feels earned.

Take Shuichi, for example. Seeing him go through all the weight of his friends dying then taking down the game that caused their suffering that's the good stuff. It feels so much more meaningful because we saw what it took to get there.

2. Relatability and Humanity

Characters who suffer just feel more real. Nobody’s life is perfect, and when fictional characters go through tough times, it makes them feel more human. Their emotions—whether it’s grief, fear, or desperation—make them easier to connect with.

Even if we haven’t been through the exact same things, we get the emotions behind them. Seeing them struggle can feel like looking in a mirror sometimes, and that connection is what makes us latch onto them so hard.

Ryoma is emotionally distant and initially refuses to get involved with the other students, but as the story progresses, his humanity shines through. His struggles with loneliness, despair, and his desire for redemption mirror universal feelings of wanting to escape the weight of loss while still searching for a meaningful connection.

His suffering, especially in dealing with his personal guilt and past trauma, can make him a very relatable character for some, as many of his emotional challenges are reflective of real-world emotional battles people face. Ryoma’s journey throughout the game embodies the theme of human vulnerability and the complexities of trying to find hope in the face of overwhelming darkness.

3. The Contrast Between Pain and Joy

The reason we love to make our faves suffer and be happy is because one makes the other hit so much harder. If a character’s just happy all the time, it doesn’t feel as impactful. But when a character has been through hell and finally gets a moment of peace? That’s when we feel it.

Think about it: watching Maki smile after everything she’s been through? That is what makes it powerful. If she was just happy from the start, it wouldn’t have the same weight. The suffering makes the happiness feel earned.

4. Catharsis (AKA, Glorified Therapy)

Let’s be honest, sometimes we just project a little too hard. Watching characters go through emotional breakdowns, trauma, and existential crises is basically free therapy at this point. We put them through pain, watch them survive it, and in some weird way, it helps us process our own emotions

It’s like, “If they can make it through this, maybe I can too.” Their suffering feels familiar, but their healing gives us hope. It’s weirdly comforting, even if we’re the ones making them miserable in the first place.

Take Kokichi underneath all his lies and pranks, there's a longing for genuine connection and understanding, but he’s terrified of being vulnerable.

Kokichi's journey through deception and eventual emotional exposure offers a deep form of catharsis. Fans can project their own feelings of vulnerability, fear, and longing onto him, and when he finally allows himself to show his true emotions, it’s a bittersweet release that resonates on a personal level.

5. Projection (We’re All Guilty of It)

Let’s be real: we see ourselves in our favorite characters. Whether it’s their insecurities, their struggles, or just the way they react to things, we latch onto them because we relate. So when they suffer, it feels personal.

And when they finally win—whether that means healing, finding happiness, or just getting a break—it feels like a win for us too. Seeing them overcome their struggles gives us the tiniest bit of hope that maybe we can too.

Many people can project onto Kaito because, despite his loud personality, he struggles with feelings of inadequacy and fear, particularly surrounding his health and the pressure to be the "Ultimate Astronaut"—a title that weighs on him heavily.

Kaito represents the idea of pushing through hardship while trying to maintain an outward appearance of confidence, which is something a lot of fans can relate to, especially when dealing with their own struggles while trying to appear strong or capable to others. The way Kaito allows his insecurities and fears to be buried under his bravado speaks to the way many people carry their own emotional burdens while trying to stay positive for others. When fans project onto him, they might see aspects of themselves, their own struggles with self-doubt, or the desire to be a source of support and strength for others.

Conclusion

At the end of the day, we love seeing our favorite characters suffer because it makes their stories deeper, more emotional, and more relatable. Their pain makes them feel more real, their growth makes them more compelling, and their happiness—when they finally get it—feels earned.

It’s not just about watching them struggle or giving them a happy ending—it’s about the journey in between. And that’s what makes storytelling (and fandom) so addictive.

So yeah, I will continue to put my favorite characters through hell… but only because I love them. (Sorry Tenko.)

Why do you love "torturing" your favorite character is it one of the reasons above or do you have your own reason?

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 😅)

I Accidently Made a Game: The Origin of The Duck Game

Hey, pausing the not so regularly scheduled Danganronpa rants to talk about a passion project of mine that has complety taking over my brain for the past several months.

You ever start a joke and then wake up one day realizing it’s gone way too far? Yeah. That’s The Duck Game.

It started with a simple board game, a dumb conversation, and a Danganronpa fanfic idea that spiraled completely out of control.

And now, somehow, it’s a real, fully fleshed-out narrative RPG about the dark side of ambition, success, and power.

Let me explain.

One day, my friend Jensen brought in a board game called Abducktion by Very Special Games.

It’s a strategy game where you move colored ducks into formations to score points. The game had this story where you’re an intern at a UFO company abducting ducks, and in the single player mode you could gain promotions based on how many points you earned.

So, as my friends Jensen, and Braylon were playing, we started joking around. What if Abducktion wasn’t just a fun little game? What if the boss was actually using it to weed out the weak to find the best interns, promote them and get rid of the rest?

And that’s when I thought: Wait. This would make a great fanfic.

I didn’t want to write a fic about me and my friends, so I did the next logical thing—turn it into a Danganronpa fanfic. That same day, literally hours later, I had a draft for the first chapter, multiple endings planned, and a whole choice-based structure where readers would click links to different chapters based on their decisions.

Then I realized... that would be alot of work even for an over-obsessed Danganronpa fan.

So, I told my friend Braylon about the idea, and he said:

"If you come up with the ideas, me and my team could make it a game for you."

And just like that, me and his team partnered up. But there was one little problem:

Copyright.

I couldn’t just submit a Danganronpa fanfic as a standalone game and try to market it off as my own that would be a legal disaster.

But then I remembered—my stupid brain had already come up with HCs so OOC they twisted the characters beyond reconigtion.

So I took my favorite (sadly) non canon friend group—Tenko, Kokichi, Maki, Shuichi, Kaito, and Kaede—gave them new names, new roles, new backstories, new trauma, and new relationships and boom.

The Duck Game was born.

What started as a ha-ha funny idea spiraled into something way bigger than I ever expected.

When I was writing the idea down for the first time I literally wrote "The Duck Game, lmao no way this will go anywhere"

And now, several months later, here I am—actually making a real game. And honestly? I’m really proud of myself (which is rare, so that’s how you know this means something).

It's also really weird to be super fixated on something that isn't Danganronpa for once.

So What Is The Duck Game?

It’s a narrative-driven RPG about climbing the corporate ladder at a shady company called Luxus Enterprises. You play as Bennett Brooks, an anxious intern who slowly gets tangled in a world of corruption, power, and moral compromise.

Every decision you make shapes his relationships, his career, and who or what he ultimately becomes.

With multiple endings, branching choices, and a heavy focus on ethical repercussions, The Duck Game asks one question:

"How far would you go for success?"

If you're into narrative driven games, power struggles, and complex characters you'll love The Duck Game. It's got drama, tough choices, and dark themes, with a unique twist on corporate ambition and moral dilemmas.

It's still a WIP but I'm excited to share as it develops. Follow @theduckgameoffical for updates!

If you're intrested I'd appreciate you checking it out! Your feedback and support let me know people are invested, but no pressure.

Thank you so much for all the support you’ve shown on my rants and projects in the past—I’m really excited to work towards making The Duck Game a fully fledged game with all of your help!