The Impact Of Tenko’s Ability On Maki And Kokichi's Character Arc: A Continuation Of Me Rewriting Tenko’s

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?

Double Standards, Misogyny, and Bad Writing: A Deep Dive into Character Criticism

So, it's a common saying that no one's perfect. We all make mistakes. Some of which we remember at 3 a.m. when we're trying to sleep and think, "God, why did I do that?"

But since we, as a species, don’t consider ourselves perfect (well, most of us who keep our feet on the ground don’t think that), why shouldn't we hold our characters to the same standards?

Now, writing flawed characters? It’s good writing. It doesn’t even have to be a major flaw. Make them a procrastinator, make them unable to cook, etc. But we should give our characters flaws. We don’t want our characters to be two-dimensional. We want them to be complex, we want them to be interesting.

But some people, when female characters have flaws, they hate it. They’ll magnify these flaws and perpetually criticize them. But when a male character has flaws, suddenly, they're a complex, well-written character.

Like I said before with Kaito and Tenko very similar characters pretty similar flaws to some Tenko's flaws are magnified or talked about to large degree while Kaito's are pretty much ignored.

Not saying there's no valid reason to like or hate either of them.

Think of it like cutting out cookies. People put men in a bigger mold, so they have more room for mistakes, but they put women in a tight, rigid mold. Their expectations are too narrow. And this is just normalizing Mary Sue characters, which in my opinion, is bad writing. Perfect women with no flaws who just sit there, looking pretty, are counterpieces to the male characters. I don’t want to live in a world where writing Mary Sue characters is the norm because people hate flawed characters.

Writing flawed characters is good writing. Flaws make them interesting, relatable, and real. In fact, most people kin characters because of their flaws. But when female characters are constantly held to impossible standards, it’s not just unfair—it reflects a much bigger problem with how society views women.

It’s the same pattern we see when people complain that women in video games aren’t sexualized enough. Is that seriously all you’re playing for? If you can’t handle women with flaws, maybe the problem isn’t them. Maybe it’s you.

The Sun That Never Truly Sets: Kaito Kaede and Tenko's Legacy in the Survivors

Kaede Kaito and Tenko are the as I like to call them counterparts to the v3 survivors their confidants their supports their extroverts that pratically adopted them building them up until they eventually have to die for plot relevance and character devolpment.

And they are as I believe I have compared them to before the sun- bright, radiant, lighting up every room they walk into (hot?)

Untill the sun goes out and it's not immediate but the after effects are felt strongly cold dark unforgiving. It's not as drastic as what would happen if the sun went out in real life but to the survivors it is like the end of the world like there is no life left living.

And yet, even in death, Kaede, Kaito, and Tenko leave something behind. Just like the sun transfers its warmth through radiation, they passed their energy onto the survivors, carrying them forward to the end of the game. Their presence lingers—not physically, but in the lessons they left behind, in the strength they instilled in those they cared about.

Or, if you prefer another analogy: Maki, Himiko, and Shuichi are plants, and Kaede, Kaito, and Tenko were the sunlight that helped them grow. They transferred their energy, their warmth, their unwavering belief, and that’s what gave the survivors the strength to keep going.

In conclusion: Maki, Shuichi, and Himiko are plants, and no one actually died.

My full essay of my rewriting Tenko’s flipping ability

Just a heads up. This is a 33-page essay about Tenko’s flipping ability, a very niche topic, and a scene that only showed up once in the game. It has some good points, of course, but it is VERY LONG and in my opinion okay in quality.

But someone asked me for it and I promised I would post it if someone asked

So if you genuinely want to read it, you can read it Here 👈

I hope you enjoy it as much as you enjoyed my original post, and if not, I'm sorry.

The double standard: Why Kaito’s flaws are forgiven and Tenko’s aren't

Sexism in DRV3 is crazy-like which loud, hot headed, oddly dressed, self sacrificical, hero complex having supportive character do you like more? But ones a girl.

It's not about disliking any of them honestly-I used to hate Kaito for no reason-if you asked me I wouldn't be able to give you a straight answer.

Now I appreciate his character and actually like him and he is my second or third favorite male character (the spot for second place fluctuates with Kokichi.)

That said its worth recognizing the double standards, you can ignore and forgive every questionable thing Kaito says but don't start hating on Tenko for her male hating when it isn't even that bad.

You don’t have to love Tenko just like you don't have to love Kaito. But it's worth asking: "are we holding the girls to a different standard than the boys?"

If Kaito’s flaws don't ruin his character for you the same ones that Tenko has shouldn’t ruin her character either.

It's okay to have preferences but at least be honest with why you hold them. Saying "hey I'm biased I just like Kaito more than Tenko" or "I don't like Tenko for this super specific reason" is totally valid. But sometimes the reasons people hate Tenko don't hold up when you compare her to Kaito, and that's worth thinking about.

No hate if you like either and not the other- this is specifically for the people who say "I don't like Tenko for her personality and sexism" but then defend Kaito from any criticism about his personality or sexism/ toxic masculinity. I think it's worth questioning whether the issues might be more about how we treat certain flaws than the characters themselves.

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.

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.

Why Post Game AUs Hit Different

Hear me out, okay? Post-Game AUs in the sense of Danganronpa hold a special place in my heart. They’re what first brought me into the fandom space, they’re some of the first fics and fanart I made, and yeah, I know it’s kind of weird, but there’s just something about them that I can’t shake.

When I first sat down to write this, I stared at a blank screen for hours. I really wanted to talk about this topic, especially since no one else seems to have tackled it in depth before. But I was stuck. At first, all I could think was, "I want the V3 cast to be happy and alive," and, "I love angst."

However, after re-reading some of my favorite post-game fanfictions and really reflecting on them, I realized there’s so much more to this AU than I initially thought.

Post-game AUs are so compelling because they dive deep into themes like healing, found family, rediscovering happiness, self-identity, and the truth about fame.

These themes are what make the stories emotionally impactful and really connect with readers. They make you think, and they allow the audience to resonate with the characters and the world they inhabit.

For example, when I read about Kaede digging her nails into her neck, desperately trying to pry off the chain that dragged her to her execution—a chain she never actually wore—it makes me stop and think. It makes me feel something.

Or when I read about Maki having nightmares about killing people and being tortured, even though she never actually did. Those moments resonate deeply, and I find myself thinking about them long after I’ve finished reading.

Then there’s Kokichi, atoning for his past mistakes and opening up, allowing himself to be vulnerable. And when I see Ryoma discovering that there are people who genuinely care about him, it hits so hard.

It’s like watching that final, epic battle in a movie that everything’s been building toward. It’s satisfying, and it gives you an ending you can feel content with.

I know a lot of people complain about V3’s open ending, but honestly, if there had been a definitive conclusion, we might not have gotten all the creativity that’s poured into post-game fanfics and fanart. The beauty of that open ending is that it left so much room for fans to craft their own narratives—nothing feels too absurd because there was no ending at all.

And I’m not going to talk about every single post-game fan art or fanfic that’s completely changed my view and perception of post-game, but some of these fics have inspired thoughts that go beyond just the post-game world For example, It’s Just Showbiz got me thinking about the reality TV side of fame and made me start headcanoning Tenko as a trans woman, which I hadn’t considered before.

Here Comes the Sun shifted my perception of Kiyo, showing me a different side of him that I hadn’t thought about in the context of the original story.

The Friends We Used to Know led me to a rabbit hole of exploring platonic Chabahara, which opened my mind to new dynamics between characters.

These fanfics didn’t just change how I think about post-game—they expanded how I view the characters and their potential after the events of the original game.

There are so many vastly different takes on what happened to the V3 cast after the events of the game. (Well, all the casts, but V3 is the most prominent in the post-game space, followed by SDR2.) Some interpretations focus on the survivors struggling with guilt, forced to carry the weight of everything that happened. Others bring back the dead students in different ways—some with injuries reflecting how they died, some as puppets controlled by Team Danganronpa for publicity, and some just living happily together in a one-bedroom apartment.

Some fics depict V3 as the final game, while others frame it as just the beginning of something even bigger. Some characters signed up willingly; others had no idea what they were getting into. Post-game AUs are completely open to interpretation, with no right or wrong answer. Sure, you could say the same for Hope’s Peak, non-despair AUs, or even pre-game stories, but there’s something about post-game that just hits different. Maybe it’s the characters. Maybe it’s the themes. Maybe it’s the perfect balance of angst and healing. I can’t fully explain it—but it works.

Post-game AUs are more than just a way to keep the story going—they’re a way to explore what happens after the cameras stop rolling, after the killing game ends, after the characters are left to pick up the pieces. They allow for healing, for growth, for alternate interpretations that make us rethink everything we thought we knew. And maybe that’s why they hit so hard.

No matter how many versions exist, no matter how different the interpretations may be, post-game AUs will always be special to me. They take everything I love about these characters—their struggles, their resilience, their ability to change—and push it one step further. They remind me why I fell in love with Danganronpa in the first place, and why I keep coming back.

I love post-game aus so much and I can’t wait to see what other incredible stories and art will come from this space, because if there’s one thing I know for sure, it’s that post-game AUs aren’t going anywhere.

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