#turbobabbling

I apologise in advance, this won't be a positive post. This year was awful and beyond depressing. And the future feels bleak.

Me and my friends' struggle to afford living, while our professions are being stolen by soulless machines, developed and advocated for by equally soulless people. Our group suddenly lost a dear, longtime friend, and right after that, another had a brush-in with death due to a sudden medical emergency, and recovered only to be pulled back into thankless, unsustainable grind everyone is stuck in - because you've gotta survive, somehow. Don't even get me started on the violent events happening around the world.

Everyone seems just… so damn tired. Disillusioned. Resigned.

Frankly, I'm at a point where I regret not pushing through my burnout and health issues, to do more of my personal projects, stuff I consider a part of "actually living", when it was still feasible. Because allowing myself to heal, currently feels like a wasted time. Even though I know this is an irresponsible and unfair thing to say. Also very rich, considering even remembering to drink or eat felt too exhausting and mentally taxing during those days.

But I will keep crawling forward, not because I feel any hope anymore, or have strength left - but because what other option is there? I want to return to the fancomic I'm making, even though it's been in limbo for months. I want to keep contributing to my friends' gamedev projects. I still want to keep pursuing my passions, fulfil my goals. Even though, honestly, right now I don't know when and if it will be possible.

I may desperately feel like I want to turn into a stone statue, but the truth is, it's just the lethargy and apathy talking.

What I really want is to fucking live. I want me and my friends to thrive, to feel secure, and be able to do something that has meaning. Not struggle to barely vegetate in a world that never rewards, but only seeks to exploit our efforts to a point of them feeling futile.

That's it.

Still baffles me how well that post was received, given it's due to pure accident that I've ultimately decided to leave so many of my thoughts in. Normally, I heavily edit them down or put in tags due to talker's remorse over my struggle with being brief.

So I'm really glad there were people who found it valuable despite my insecurities.

Either way...

if there was anything you particularly disliked about gonta

Him being dead.

(and kokichi)

How bro's so hellbent on being a contrarian chuuni and not letting anyone figure him out, he's at odds with even himself sometimes.

Other than this they're the most perfectest sweetest of angels who fell down from heaven, rainbows shining out of their asses, got brain damage upon impact, and then were promptly and violently yeeted back home 💢

I totally do not wish to put them into a headlock or suplex them 👊(👁_👁💢)🤜💨💢💢

But tbh, it's complicated and depends on whether we're talking about character's psychology/behaviour/emotions, etc. vs purely technical writing.

When it comes to the former, I'm torn, and find it difficult to settle on a specific stance. In a good way... I think. That's the short answer.

The long one is... of course I wish the cast as a whole would act smarter, more mature or actively compassionate, say the right things at the right time, get over their hubris or issues, or realise how counterproductive some of their plans were. But it's partly my personal preference rather than criticism, and while there's a lot of alternatives that I'd love to explore via fanart, I'm not sure they'd fit the fundamental intentions of the canon.

The characters all had everything they needed to achieve the best outcome possible, but mostly messed up for entirely humane reasons. I think that makes everything all the more tragic, and I acknowledge its role in the story.

And yeah, sure... There are things about Gonta that drive me up the walls, or things Kokichi did that I find unforgivably foul and low, but I can't help but love them both to this or that extent. I can't exactly control this emotion, and I appreciate both that, as well as feeling conflicted about them and their fate, me being someone who's generally rather numb emotionally. That pain and sense of loss, or even the sense of inconclusivity over a wasted potential, a life cut short and discarded... there's merit to it.

My point is, V3, being its flawed self, still has a spark that made it stick more than many polished pieces. It made me like the cast in the void for very detailed, hyper-specific reasons, not just in the context of the story; and nothing else has made me feel such palpable grief. And I think it's 100% intentional, considering what Shuichi says in Ch6.

So I feel really careful about the idea of changing much about it... while, at the same time I'd totally jump on the possibility of a path where Gonta - and Miu! - live, lmao. Like I said, I'm torn and I love these dumplings as more than the vehicles for story and message XD It's the difference between personal gratification as a reader, vs what serves the story's intentions the best, even if some characters do get the shorter end of the stick in the process...

As for the purely technical stuff...

If there's something I'd really like to see being done differently, it is the logistics of the Ch4 case. This is a video game, and yet, bafflingly, the whole Ch4 VR segment and the way it operates feels like it's written by someone who has no idea how programming and technology works.

I won't specify much, because I think it'd be more entertaining to poke fun at those concepts in future fanarts, but the point is, things could be so much more neat if this chapter actually utilised all the silliness that can come with programming and subsequent glitches...

Plus... why did we need SEVEN people to inspect a tiny roof, while two not exactly trustworthy guys - who've caused so much mayhem in Ch2 - march off on their own to allegedly cover an entire forest? Kaito, Maki and even Kiibo (if you talk to him), recognize something's fishy with Kokichi pulling Gonta away, and yet everyone still readily dismisses it, while the game won't let me get outside bc "gotta check the roof". Shuichi looks at the items in the storage, chapel, bathroom, or the kitchen, knowing they're indestructible, and it doesn't even dawn on him that anything here could be used as DIY weapons in lieu of proper ones. Kaito goes to nap instead of maybe watching over people in the computer room. In general what bothers me is how uncharacteristically negligent and careless everyone is in that chapter, in a way that imo feels more like Kodaka railroading to the next plot-point rather than the cast's fault, which is frankly something that really started bothering me about his writing from RC onwards... But maybe I'm just fatigued here.

Still, I feel like one could make this chapter's intrigue a bit more technically complicated and detailed, without changing the outcome or emotional impact of it. But then, I dunno. Maybe everyone being dragged into VR during a literal nighttime made them operate at like 5% brainpower bc they were all sleepy.

Oh, also, sorta unrelated to Gonta and Kokichi and the whole "technical writing" stuff... I wish we could at least get stuff like Salmon mode from Kaede's perspective, too, so that she also can have 5 FTE per character, to max out bond with everyone. Fuck it, add Love Suites from her perspective as well. I really enjoyed her dynamic with others, in some cases even more than interacting as Shuichi, specifically due to her bluntness and readiness to call people out directly... I'd love to see how her interactions with others (especially my faves, of course) would play out in more detail and depth, since I'm sure some things would go way differently... And she deserves to have some story fully to herself, not just a partial ride - I had real blast playing as her, after all.

i don't know if this hit the same with you but i personally felt Sick when i realized: hold up. why am i not trusting that gonta is actually going to be a good person through and through and that there is some "twist" the actual twist was that he was nuanced.

I knew why: because of who I am, and my past experiences. I often gravitate towards characters that are either kind and sweet OR collected and politely insightful, only for them to turn out to be villains, or two-faced and spiteful in ways that make me feel dumb for buying into their facade - even if I often do keep liking or appreciating them.

Plus cozy and cute or over the top nice stuff can trigger such unexplainable primal fear within me lol. I'm weird, and distrustful of the things I like.

Lastly, at the time of playing V3, I simply DID NOT trust my own judgement in people whatsoever, whether real or fictional, lmao.

Granted, the specific brand of kindness and warmth that Gonta exhibits, one that cannot help itself even to his own detriment, is entirely different from the conventionally appealing, skillful and calculated one that superficially nice people put on for manipulation or self-image purposes. And it was clear a considerable amount of it is trauma response, too.

But tell that to my self-doubting, cynical brain. Even when I found Gonta incredibly soothing, even if I was fully aware of my more accurate observations of him, my trust issues still flared up. Gonta just felt so... WRONG. His 4th FTE, and some of the things he said during the Ch3 investigation and Post-Trial made me slowly calm down, but ultimately it was just all too easy to fall back into paranoia. You just... don't remain so utterly emotionally unguarded and open-hearted after a lonely, ostracized childhood, followed by 10 years in the wilderness, followed by parents who look down on you. It was unfathomable to me. Abnormal.

And me not being able to control my attachment to him made me feel incredibly on edge, too. I just braced myself for disappointment.

But no, turns out there really was no spite nor cynicism, and as for the hate, Gonta redirected it at himself and himself only...

I really do regret freaking out so much, and that it took his post-trial scenes for things to finally sink in. But then I'm not surprised I did.

or at the VERY least stating his boundaries without someone else doing it for him.

[GENERAL INTRO] (for context: the ask is about one of those sketches)

The title's "Danganronpa Another Universe: Giga Despair Triad", or GDT for short.

First, I'd like to clarify that while I said it's a "survival horror" game, in reality it's the prologue and later random scenes that fall cleanly into the "survival" sub-category.

As a whole I imagine it to be more of an *action* horror game, mixing fight and investigation mechanics, with some light environmental puzzles here and there. We're helpless at the start, and later on the horror is mostly existential and psychological. Though, of course, there are (mono)monsters and general horror aesthetics involved, as the world is going through an apocalyptic event.

It's not all angst and suffering, either. There are silly moments, as a nod to typical DR wackiness + my own morbid sense of humour.

It's meant to be both V3 as well as UDG sequel (very original, I know xD). And it's an indulgent thing, with references to other games or manga that I love (similarly how V3 did it with it's own homages), and my top faves freely put together, specifically Gonta and Tokomaru, so I can go wild with all of the psychological and interpersonal dynamics that could be explored between those three. Really dig into Gonta's brain especially, and dissect the behavioral and emotional bulIshit that plagues him, in a way that may deconstruct and challenge his character. At least... That's my main intention.

It's a result of wondering how to - in a way that's plausible within the lore of the DR universe - bring back Gonta and certain other characters... but at a hefty price.

[HOW IT STARTS]

At the very beginning Gonta startles awake to a flash of light. With his last memory being the stabbing, flames, sounds of buzzing, and a searing agony, he's shocked and disoriented, but soon realizes he's alone in a dimly lit room, lying in a pod of sorts, and he... seems alive and completely uninjured?

Despite the confusion, he stumbles out of this "infirmary" onto a ruined corridor. Water dripping from nearby broken pipes helps to quench his thirst, and to his relief, he finds fireflies there! The place where they concentrate would be your first save point - and with the help of their bioluminescence, Gonta is now able to explore and investigate the dilapidated facility he's stuck in. Judging from a glance into a narrow crack in the ceiling, and seeing the sunlight pouring down from many floors above, it looks to be rather deep underground. And while the place seems long abandoned, Gonta certainly doesn't feel alone, and it's not just because of bugs. He finds some blood-written messages on the walls that seem to guide him and then disappear; his own(?) missing glasses are unexpectedly tossed at him from a dark corner, yet he finds nothing, when he anxiously checks in that direction; and he senses and hears something terrifying and hostile lurking in the half-crumbled dark rooms just beyond the reach of firefly lights. In fact, to his terror, when one of them flew across a large hole in the floor in order to inspect the other end of a hallway, the light disappeared abruptly as if someone - or something - had grabbed... or eaten it. But, in spite of his searching, it looks like his friends aren't here, and this confuses him even more. There's lots of documents or recordings, that partially clue him in as to what has transpired after his death, almost up till 53rd killing game's end, there's even a morgue with what seems to be his own corpse (a discovery that pretty much messes up with his sense of reality and makes him question if he's not in afterlife. It's hard to sum up everything going through his head, but Gonta's sanity certainly takes a hit from seeing this), but no living people whatsoever.

Once his first objective to search for others is fulfilled, his next one is to escape the facility, by climbing the broken elevator shaft... He ends up using his own execution chain as a makeshift rope.

Oh and... While down there, he stumbles upon a futuristic server/computer room, where he finds his own Alter Ego. After a conversation, we'd get the first narrative choice as to whether you want the Alter Ego's memory to fuse with Gonta's consciousness via Flashback Light... or not. Tbh I'd imagine the game to be mostly linear, but choices like that would mostly impact some of his dialogues, his mental state (there would be a mechanic for that, actually!), as well as count to making some alternative/bad/early endings either available or not. He'd have the same information from 3rd party sources either way, the question is whether he wants to remember the events from Ch4 VR from "his own" POV or not.

"The world is okay" image is actually the end of this whole section aka the Prologue. Gonta climbs out of the dilapidated facility, and stews in all of the information he managed to gather while being trapped down there, including one that implies the world is supposedly perfectly okay. He catches some darker, defeated part of himself faintly hoping that the world is actually destroyed, because if it isn't, then what did he end Miu's life for? At least it would make his action not as senseless... He promptly pushes that thought away, internally bashing himself for ever thinking that, finally crawls out to the surface, and then sees a clear sky, unobstructed by the dome of the End Wall, which makes him notice he's outside of the Academy - cue crushing shame and layers upon layers of disappointment and painful realizations. About the 4th trial, about himself... about that intrusive thought he just had. "The world is okay, and you're still stupid", is how the whole line actually goes. But beyond that, there's relief and hope as well. Because if he's alive, despite his brutal death, then perhaps others are as well, no matter how... unreal it sounds? He now knows that Himiko, Shuichi and Maki survived, too, and he desperately wants to see them again. After Gonta gathers himself from his breakdown and rests, he tries to figure out just where he is - he uses his entomological and star knowledge to do so - and embarks on a journey, trying to find any nearest city, to then continue searching for his other friends.

Incidentally, as Gonta starts walking... he hears some cries of frustration (or perhaps cries for help?) and upon rushing to the spot he's heard them from, finds a particularly energetic and chatty bug, who reallyreallyreallyreallyreally wants to find her friend. Human friend, actually! Gonta decides to help her as well, seeing that they might head in the same direction anyway. And wow, that person the bug is talking about must be such a kind, sweet and good-hearted individual! They *both* even used to be friendless losers who befriended bugs as kids! Gonta sure would love to meet this kindred spirit, if possible!

[SETTING, PLOT BITS & CONCEPTS, yadda yadda]

The memories of V3 cast are false, but Hope's Peak is very much real. The killing game(s) organized by Tsumugi/Team Danganronpa were the copycat crimes Tsumugi alluded to at the end of V3. Personally, I feel that this combo offers most concepts and ideas to explore, so that's what I'm going for. Once V3 survivors escape the Academy for Gifted Juveniles, they manage to find Future Foundation, and while under its protection/employment, begin investigating their real pasts and Team Danganronpa as a whole, while dealing with other missions, if ordered to do so. When GDT begins, it's about 2-3 years since the 53th killing game has concluded.

After the Prologue, Gonta eventually finds Toko and Komaru, who are out on a field mission that day (he quite heroically saves them in sheer panic picks up a random manhole cover and yeets it at the monobeast that was facing them, interrupting and ending their fight). Thanks to Kameko's tearful reunion with Toko, and Gonta introducing himself and explaining his predicament in a gentlemanly fashion frantically BOMBARDING Tokomarus with info about him, Shuichi, Himiko and Maki, and whatever Kameko has told Gonta about Toko and her own ties to the killing games, all to convince her to pleasebelievehimandhelphimfindhisfriendsaaaahhhhhh, they hesitantly allow him to join them. They're not sure if this is a good idea, and this big-ass scary looking dude is still wearing some hospital-looking gown, so who knows where he's escaped from, but... it's worth checking out with FF. And Gonta translating Kameko's words to Toko, 100000% validating her feelings about Kameko indeed being a very special "friendsect" might've helped to buy into her good graces, just a liiiiiittle bit. She denies it though when Komaru calls her out on this :).

The three (four, if you will!) musketeers head back to one of the FF outposts, but since the road back is rather long and dangerous, at one point they get separated by horde of mono-monsters, and amids that chaos, Gonta has a surprise run-in with Miu who... isn't just very unfriendly, hostile even, but doesn't even feel fully herself either, and apparently for more reasons than mere anger over Gonta choking her. There's a goddamn Monokuma with her, too?! Suffice to say... Gonta doesn't exactly escape this situation unscathed and unshaken.

Some other things happen along the way, but luckily, as the night approaches, he's able to find Toko and Komaru again, and together with them reach the Future Foundation, finally reuniting with the V3 survivor Trio. And this closes Chapter 1 - while Prologue served as tutorial for stealth and investigation and puzzle mechanics, this one would teach fight mechanics and introduce core premise and plot elements, which is pretty much investigating the secret behind Gonta's revival, Miu situation, what it might mean about other deceased killing game participants... as well as Gonta trying to find his own place and purpose in FF.

The ones that are confirmed to be revived are Gonta, Miu, and eventually also Kokichi, in that exact order. Yes, the whole Holy Trinity gets their second chance, how nice!

It ain't no VR, actually. I'm saying this, bc I remember someone leaving tags "Oh, it makes me think of post V3 VR digital limbo", and I know this is a popular fanon, but that's not the case here. As a reader, even if I don't gravitate towards the trope, I like it when it's done well - Kodaka did do some cool stuff VR motives in his games, and so did the fandom - but as creator I can't think of anything inspired (plus at the time I had no clue it was such widespread interpretation). And I suppose my brain naturally prefers stories to happen within more material settings, even if they're warped and influenced by a mind, or reality-breaking phenomena? So, my point... everything in GDT is very much real. The killing game happened for real. People died for real… And some got to live for "real" again.

I'm making it all work by playing with and building upon certain elements and technology already established within canon. And this is mostly where I draw the horror element from.

I considered one of the first hints towards what's truly happening - aside from the body in the morgue - that every time you'd die as Gonta within the game, he'd find his previous body lying in that spot. Players would need to pick his things back up, such as glasses and items. Kinda like in Automata or the "bloodstain-retrieval" system in soulsborne? There of course would be a limit to how many would appear, as the oldest one would start to naturally disintegrate. There'd be some more of those hints in Prologue, but I'd make discovering them all except for the morgue optional and missable. Like, if Gonta didn't die in that segment, the player would never know they could stumble upon his old body, until that happened later in the game. Or if he didn't return to a specific place after something specific happens, then he wouldn't witness something curious. I just... like elements like that, that aren't vital but fuel the conspiracy and reward wall-licking XD. Of course there'd be an option for no-death runs, aside from those imposed by the plot.

Gonta fights with a manhole cover attached to the very chains he was tied with during his execution XD. I wanted to give him a wacky weapon that would fit what Toko and Komaru use.

[DRAMATIS PERSONAE, CHARACTER ARCS/DYNAMIC, ETC.?]

Things I'd like to explore the most are Gonta's compulsions, and whether he can grow to accept being seen in the wrong or negative way, without his self-worth falling apart. Whether he's capable of letting Miu heal on her own, without him in the picture, without insisting on desperately fixing things, or showing how regretful and sorry he is; how he can handle someone challenging his near-obsessive and self-destructive need for being seen by others as a good person, while ironically having zero self-preservation and harbouring so much self-hatred. Whether he can realise how insisting on helping everyone the way he does can paradoxically come off as self-centered, in spite of his inherent selflessness, earnestness, and genuine love for others. How there are some things that just can't be fixed... and you still gotta live and still deserve, no, have a duty to care for yourself. Just... ya know. A few examples out of an endless list of his personal issues that imo need addressing one way or another. Nothing is really easy for him, not even his integration into FF ranks, as no one here, not even Gonta, is exactly sure what is up with him coming back to life. He's given a chance to prove himself, though he's not automatically granted the freedom to do what he pleases. But he understands.

Truth is, the nature of his revival aside, Gonta in general trusts himself less. He seems to act like his old self alright, but there's an air of resignation and subtle hopelessness to the way he seems to perceive himself now. He's in a worse state, even if he keeps moving forward for other people's sake. The 4th trial, after all, felt like a thorough breakdown and "confirmation" of his worst fears and criticism he had about himself, or how others used to misjudge him. It's not something that wouldn't leave a trace on his already shitty self-perception. Thankfully, there are some compassionate souls looking out for him, like Himiko, for example. But it's not just her.

I didn't think I'd reveal it this way, I actually hoped to compile my old sketches of this in future… but it involves my very first Gonta ship ever.

Namely Gonta x Toko (or as I like to call it, gontoko). At the time, I didn't have it in me to delve into ougoku (wounds still too fresh to feel worth it yet, despite some morbid fascination) nor saigoku (somehow didn't click for me for over 3-4 months after finishing V3 despite the massive in-game fuel being present in there). In my eyes ship with Toko provided that perfect balance of cozy/healthy but still flawed dynamic, while still having some "tooth" to it (aka psychological f-ckupery and dysfunctionality between two people trying to make sense of each other and their inner demons, contrasts and parallels etc.) without me feeling like I'm tossing Gonta in a heartbreakingly and irreparably harmful to him situation.

With that in mind though, we're NOT interfering with Tokomaru in any way whatsoever. Tokomaru is *sacred*. Nothing will break it apart. It's a 100% "Toko has two hands" situation. That's her life now, and you bet she gets constant migraines over it. She now has to deal with two "but I'm too normal/dumb for this wahh wahh shitty self-esteem!" green-haired messes. Plus the thought that she's kiiiinda like her dad now, with tho partners, drives Toko up the walls. Thing is, this girl is doing this right, even if she doesn't currently see it this way. Meanwhile Gonta can fry her brain with kindness and deep respect she's so not wired to handle.

That being said, my goal with them isn't exactly touchy-feely stuff, but exploring their dynamic as two deeply self-loathing but sensitive and hard-working towards self-betterment people, who know how it's like to discover they're murderers, while having zero memory of the act - and how crushing it is towards any crumbs of positive self-perception and hope for being deserving of affection/validation they might've held onto until this point in their life. Different circumstances, motivations, and the ways it all transpired, but still, there are grounds for mutual understanding here. At the same time Toko seems like a perfect character to call Gonta out on his bs in a way no one else could: both in good faith with genuine, constructive support in mind, as well as due to her own flaws and current hangups causing her to lash out. Both options can create potentially compelling conflict. But frankly, it goes both ways. After all, Gonta does tend to make simple but startingly on-point observations, sometimes. They'd just be dishing reality-checks at each other, whether knowingly or not :D

Perhaps I could also touch upon Gonta's and Toko's (either conscious or not) tendency to gravitate towards individuals who are "evil-coded" (regardless of whether they're really evil or not, either personality or aesthetic-wise), or those who either talk down, insult, mistreat if not outright harm/use them. It's something that sadly many victims of abuse in the real world do - habitually ending up in toxic circles, since it's something familiar, while not reacting to, not "computing", feeling lost, confused or even stressed out in more healthy dynamics. And from what I see, both Toko and Gonta are different flavours of that in their own right...

I'd like to explore the parallels between Gonta and Komaru as well, from a friendship perspective. I do see certain similarities between them, how they were both set up to end up making drastic choices via someone else orchestrating everything with that exact outcome in mind, before Gonta/Komaru would ever know they'd be making such a choice... I truly think the only difference between Gonta and Komaru is that, at her lowest, after her spirits were broken upon seeing that video, there was someone by her side, who *actually* cared for her and prioritized her wellbeing; someone who would fight to stop her from making a decision driven by despair, as opposed to actively feeding into and enabling it. Then, there's of course the issue of low self-esteem, and downplaying one's achievements. Komaru in this story has of course mostly grown past this and in a much better place, but to an extent, she certainly could see some of her past self in Gonta.

Plus, on a lighter note, with Komaru wanting to be a manga artist, and Gonta thinking comic artists and book illustrators are "good people" (because it makes understanding complex concepts easy for him), I feel like they could become good buddies via that passion of hers. Also in DR:S both Gonta and Komaru asked Angie for art advice... they're both aspiring artists in a way!

Also I find it really damn funny that Komaru is very similar to "komar", which is the polish word for mosquito xD. That certainly would appeal to Mr Ultimate Entomologist!

Shuichi and Komaru are petrolhead friends, and they wish oh so badly to have a car vs motorbike race with each other. It'd be a waste of FF resources, but they can't help to get excited about the idea. And maybe they'd get a sequence dedicated to just that… with an extra bonus of escaping from a horde of monobeasts.

As you may have gathered already, Kameko is an actual character in there, she helps with espionage and exploration, and she indeed is the bug Gonta meets at the end of Prologue, that helps him find the (Towa?) city. She rightfully serves as the catalyst for the whole gontoko deal starting :).

The twist tho is… this actually ain't original Kameko, but one of her descendants, who took it upon itself to keep her name and live as "Kameko" and Toko's friend. Life of a stink bug isn't that long, after all, ranging between 6-8 months once it exits the nymph stage. Yes, it has thematic relevance to the overall story. :D

Maki finds herself busy with taking care of Monokuma Children (the helmet wearing kids from UDG), using her knowledge of living and working in orphanage... frankly, she's seeing a bit on herself in those kids, who had their hands stained, going as far as to orphan themselves due to brainwashing. Sure, her memories might not be real... but to her it feels real, and the empathy for their circumstances is still there in her heart. She's also a close friend with Nagisa.

Miu's out there, as we already know, dealing with her own problems, and seemingly in a way worse situation than Kokichi and Gonta are. Seems like Monokuma is keeping her captive, and wants to form her into the next Junko - and with Miu being completely alone here, she pretty much forces herself to comply out of fear. She's also developed trauma response to hearing apologies - as this was the very last thing she kept hearing while dying. Still, she's not exactly proud of what she did to Gonta in retaliation during their accidental "reunion". She feels like she's crossed a moral line she can't exactly come back from. And this, as well as the current state of the world she wished to make better with her inventions, would accumulate and make her want to fight against her cowardice.

Kokichi... is quite tricky to describe, not gonna lie, because a lot of his arc relies on mystery and working while in hiding. He's seemingly found everywhere, defying logical explanation, as to how he could even move between those locations. He's no doubt planning something though. Trying to defeat the evils... in his own way. Which is naturally making life harder for everyone around, both "allies" and enemies. He's seemingly alone, but extremely busy executing a certain plan of his.

There's one version of Kokichi though, that starts sort of hanging around the Gonta+Tokomaru team. I affectionately call him Fukushima Flower Kokichi due to the odd deformities of his body (there will be a concept sketch below). He seems more frail and quieter and even... sweeter? Than his normal self. Because of that, Gonta, in his compulsive empathy, finds it difficult to completely dismiss the little guy and not feel bad towards him, despite the anxiety he feels after the Ch4 events. He's cautious and tense, but can't help not to at least keep an eye on him. This particular Kokichi also assures that he's... Disconnected from the "main one", and therefore "safe". Whatever that means.

[MAJOR SPOILER/DEEP LORE TERRITORY + EXPERIMENTAL IDEAS?] (beware if you care for those, there's 0,0000000000001% change this might be made within next 30 years lmao)

Nanokumas, son. They mutate in response to despair! You can't get rid of them, Gonta.

After the end of the 53rd killing game, and the survivor trio escaping the Academy, with no Motherkuma to oversee and control their numbers, they eventually began to go rogue and self-replicate while executing their hidden self-preservation protocol and now bugged programming indiscriminately. And then they went on without anyone's supervision or knowledge for a very long while.

One of the by-products of their activity is Mono-beasts we know from UDG mutating into Eldritch Abominations, and certain individuals coming back wrong, but it's actually so much more than that, and the situation is pretty dire. The world is at the risk of grey goo apocalypse, and what's going around is pretty much the Mist meets End of Evangelion bs. And they might go "I Have No Mouth and I Must Scream" pretty soon, considering that for some death isn't an escape any more. Despair and the concept of killing games has taken a new form, pretty much, and the horrible discoveries don't end here.

Knowing this, Gonta, Kokichi and Miu... it's not surprising to find that they're all literally infested with nanomachines holding their cells like glue, and of course their newfound existence comes with a catch.

The stability of their form is influenced by their mental state, self-perception, and to a limited extent, their own will, the last one allowing for introducing unique fighting or puzzle-solving mechanics later on. But, as a scary side-effect, they're at risk of physically manifesting their emotional distress... including exhibiting the symptoms of their deaths. Their bodies may lose integrity and simply fall apart on a cellular level if things go unchecked for too long.

For now the assumption is that Kokichi was the first one to revive (with Miu second, and Gonta last). Because of this, his form is the most flawed and unstable one out of all of them. There might be more than one of him, too.

Kokichi's revival was an accident, Miu's seems to have happened by Monokuma's design, but how did Gonta even came back to life? By whose will and design? Was it an accident, just like in Kokichi's case, or...? It's true, that when he woke up, it seemed like some things were specifically prepared just for him to find. Either way Gonta's in the middle when it comes to stability, but it can go either way, depending on how much he relies on special fighting mechanics, and on his arc/choices made.

Miu's arguably in best condition, since her body wasn't destroyed like the guys' were. She wasn't as much revived via complete rebuilding, but her original body was "simply repaired". However, at first, she's unaware that she truly died - being instead convinced by Monokuma, that she miraculously survived and ended up in a coma instead.

Even if they're technically immortal, it doesn't mean the process of dying or reviving wouldn't be traumatic, as they'd then wake up and remember all of the pain they've gone through, or remain conscious in states any other human being would perish from. There are also things suggesting their super-healing abilities might come with certain dangers attached to them, so... perhaps the "survival" aspect of the game doesn't ever disappear entirely, it's just that the repercussions for dying are recontextualised.

Either way, speaking of existential issues...

So, if you're a "clone" of yourself with your memories "reinstalled" via Flashback Light, are you still that person? Are you really different, if molecularly, functionally and psychologically you're the perfect recreation of the "original"? Or perhaps the body at the morgue was the fake one? Who knows? And does it even matter, considering that previously, your memories and backstory were a fabrication anyway? You're pretty much just an Alter Ego installed onto "flesh hardware", just like you were before. The only difference is that your previous body might've used a real human being - with their own life and history - as a base, and currently you're using a "blank slate" aka a clone. Or perhaps that old body was a clone, too, and the original is out there, somewhere? And if so... did he have a say in your/his participation in the 53rd killing game?

Was this how the Ch3 resurrection ritual was supposed to actually work? (In my mind, yes. With nanotech, imo cloning is also within the realm of possibility for this universe, but even without it Team DR could've just kidnapped an unwilling body double and slap fake memories onto him and call it a day)

Maki, out of all three V3 survivors, is the most sceptical of the idea of bringing others back the same way Gonta was. She worries about Shuichi and Himiko getting false hopes of saving Kaede, Kaito, Tenko and Angie, and getting themselves into danger by obsessing over this. She also doesn't exactly trust Gonta… Well, she pretty much doesn't view Gonta as Gonta, but an imposter, and perhaps a spy or something akin to a living Troyan Horse, even if unwilling/unwitting. Basically, she thinks there has to be a reason for him to come back to life to conveniently end up with Future Foundation, and all of this might be one big trap. It's only thanks to Himiko's and surprisingly Toko's insistence that she doesn't do as much about it as she normally would have. Plus, when it goes to Kaito... the idea of a """living""" "puppet" that emulates his behaviour feels like an affront to both his memory and her feelings for him. Gonta will certainly remember all that.

There's also a problem of how Gonta, Miu and Kokichi deal with the news that their past life wasn't real to begin with...

For Gonta... most of the things he was doing in his life were for others, out of genuine need to see them happy, but also because Gonta wanted to both be and be seen as a good and helpful person. So, if it's all fake, if all those people - who've shaped or inspired his goals and motivations, who were the source of abuse, neglect, of his insecurities - have never existed to begin with, then what did he work for so hard, what did he felt so stupid and worthless for? In his FTEs, Shuichi helped Gonta focus on himself a bit more, but it seems like a wasted effort now. Just what set of values should he even pursue now? He can't help but mourn the forest family, specific bug friends, and many other people in his life, that turns out he never truly had. What Maki said about him being just a copy that's convinced they're the original doesn't help either. He feels horrible about "stealing" the life of that original person. Like a parasite that got his host's life snuffed out, only to continue living in their body undeservingly. Something akin to Ophiocordyceps unilateralis, the zombie-ant fungus. Suffice to say... this whole thing is a source of a lot of anguish for him, and to no one's surprise, he feels personally responsible. He's even begging FF to help him find the real family of that individual, so that he can "atone" by living with them while pretending to be the"original" person before they had "Gonta mod" installed. That idea is very firmly and promptly shot down by Toko.

Kokichi, I imagine, could be pushed further down the unhinged territory... For all the lies he's ever told and the masks he's put on, he, at the very least, assumed he could depend on knowing the truth about himself, no matter how deeply it was hidden. But now it turns out to be a lie he's never signed up for, and he gets that extra layer of detachment from everything. Or perhaps it's the total opposite - he's glad to be "rid off" his "true" self, if it was something he wanted to bury or avoid - and the sense of losing touch with it is "no biggie", or so he insists. Still, it annoys him to no end, that it's a result of someone else's will, instead of his own. "Invasive" doesn't even begin to describe it. Underneath it all though, there's that persistent nihilistic thought of "I can do anything, create anything, I have no attachments to anyone and anything. I can shape myself into who I want over and over and over and over, and no one will stop me now." - and this revelation is both freeing and depressing for him. All he knows for sure is that Monokuma is still pissing him off, and he wants that bitch down. And he's going to make that everyone's problem.

Miu actually takes the news quite well. See, if I had to sum up her own arc... it's definitely the most shoneny one out of them all XD. The whole thing with Miu becoming Junko is basically her going from complying with Monokuma's plans out of fear, to deliberately pretending to do so, so that she can have an in depth access to his tech, come up with proper plans against him etc. etc.. She causes a ton of problems to the other characters, yes, because she has to put on a believable act, but I wanted Miu's endgame to be this wholesome twist with her dramatically undoing her pig-tails, as she announces she's *not* and *never* would be some Junk! She's the one and only golden girl genius Miu Iruma, and she's here to save the world with her inventions, not fuck it over. Monokuma retorts to this by reminding her that she's a fake, but her response is basically: "Oh, that "us being fiction" thing? So? I LOVE being me. It's fuckin' awesome to be Miu Iruma!". It probably helps that, in her made up backstory, she became an inventor after waking up from a coma episode, so the unreality and randomness of her identity was pretty much always part of the package. Plus, falsely acquired or not, her knowledge is still applicable and Miu *can* come up with and build things that work, and make tangible difference through them. If that doesn't make it real, then what does? So, what's the point of the angst, again? She concludes her old self would LOVE to be her. Tldr, I just want this girl to keep winning, okay?

At one point Gonta faces another temptation - if his personality, backstory, traumas, self-hatred, if they're all fake, and coming from nothing "real", no tangible experience, then what's even the point of sticking to his hangups, of... dealing with this mess? Of tormenting himself and failing because of who he is? Why not ditch it all and take a shortcut by rewriting himself completely, into someone better, smarter, more useful, someone... just perfect. What's the point of being the person he intuitively hates, if all of that can seemingly be changed at a whim and snap of a finger? The moment he's able to notice and verbalize those feelings, the mere possibility eats at him from the inside, especially since the technology IS there. He could spare everyone so much trouble, so much time spent on coaching him, on teaching him, on explaining the obvious, spare them from getting frustrated with his naivete or lack of knowledge... Sure, it might mean he will ultimately become a different person, effectively ending his current self, but isn't that a fair price for providing benefit to the world and his friends? It doesn't even dawn on him that some people might've already gotten attached to who he currently is, and the outcome of his actions might depend on several gameplay factors.

I'm thinking about the structure where there would be hidden counters for Affection (with Toko), Doom (based on narrative personal choices, character development and monitoring emotional state, the amount of deaths etc.) and Performance (based again on amount of deaths, reliance on special abilities in fights, objective completion rate, and damage healing), that could determine different endings for different combinations of those (like Low/High/Poor status respectively could result in a Bad End at one point), even if generally those would be interconnected anyways. The game would be, again, linear, but because of those counters there, a small branching in narrative leading to an earlier ending could occur along that path.

I did say I'm not really inspired by VR AU, but after stewing on it while writing this post, maybe there could be some slight elements of it. It could help introduce some trippier and more surreal segments into the mix, that I wouldn't know how to incorporate otherwise, aside from literally breaking their fabric of reality as we know it XD (not that it isn't broken already, but...). It would serve as no more than plot/scene enhancer, rather than a major component of it.

Nyeh. I wish we could play a segment as Himiko. Do some MAGIC. Or to put it simply, use stuff like sleight of hand and tricks to distract people in order to solve stealth puzzles or something like that.

Jfc I just found a scribble that Gonta gets shitface drunk on purpose at one point, I dunno anymore what his plan was, he wanted to poison nanokumas or something? XDDD Or maybe he was just so done with everything up to this point? dasjgdsaj I forgot about that bit but it's hilarious and it so stays if I ever make this game dajhgsajhgjsadgj I don't care what I will have to do to make it in-character, it's gonna happen xDDDD

Komaeda's here too????? Just... Happy to be there? Talking esoteric stuff? Enjoying the show not even from a front row, but putting his chair right on the damn stage? Taking in the view of the "great tide of human enterprise, coming to naught"? XD Rooting for Hope??? XD

[RANDOM TRIVIA etc.]

I'd like to expand on the references to the other media thing. Before V3 I used to be one of those assholes who would see fanarts as a waste of time and effort as opposed to just focusing on one's own original content. You know, the "why would you spend time on something someone else made, instead of making your own thing?". Turns out I haven't loved a fictional story strong enough to understand the drive until it finally hit. There IS merit and certain selfless dedication to pursuing fanarts and expressing love for something that isn't about you or your concepts. It is an unique and wonderful feeling with a different flavor of satisfaction, just like doing personal artwork vs commission work are activities that feel rewarding in a completely distinct way (happiness of self-actualization to see your inner world come to life vs pride of a professional who likes making happy clients. With fanarts I'd say it's... Sense of celebration and paying homage. And rotating the blorbo).

Either way, this was a considerable shift in mentality for me, and ngl, it felt huge. So now that I had my anime redemption arc, my change of heart, my heel turn, I wanted to go out of my way to actively make GDT a love letter to other games or manga that I liked. Just like V3 sort of did, with its characters and story being their own thing, while simultaneously being PACKED with references to other media.

For example, I listened a ton to this "Time and Tide" by Alan Price song from Plague Dogs while thinking of this story. A song about the ocean/waves and going home, just like "At the Bottom of the Sea", but whose message is a completely opposite one. I wanted it to be the theme for the Good/True Ending, and kind of symbolic for the character arc Gonta would go through.

One of the manga I want to reference a lot is Gunnm (or Battle Angel Alita). It's one of my all time faves and fundamentals of my art style, and I think it has a ton of motives than could mesh well, because of the motives it itself tackles: cyborgs, and their total opposite, humans with flesh body but chip instead of a brain; humans who sold off their biological tissue and rights to DNA and someone else ended up constructing literal monsters and mutants out of those; scientists who achieved near-immortality thanks to cloud of nanomachines; 3D bioprinters; people whose DNA was designed from scratch, and people who wanted to mass produce them for "bloody, killing sports"; quantum supercomputers forecasting future and dictating humanity's fate; an "Incubator", where biological brains dream of a fake world, while their energy is used as a power and processing units for said quantum computers; the concept of freedom, instinct and definitions of *True* free will and individuality in a world like that. I wouldn't go as extra on those motives in GDT, but I'd love to incorporate some of that into the overarching themes and plot elements as far as constraints of original universe could plausibly allow (and with nanomachines, full-immersion VR, big mechas, robots, and personality/memory rewriting machines I think there's quite a lot of that wiggle room for those elements to fit like glove). An artificial personality installed onto biological "hardware", and the whole Theseus ship dilemma as to whether they're still an individual is something that would fit perfectly alongside such homages.

I wanted to pay homage to Gentleman Dress Up, too, by making some collectible clothes for Gonta, but... I dunno, at this point this thing already turns into such an overambitious project XD... still I thought it'd be neat.

[SOME EXTRA DOODLES TO MAKE UP FOR THAT WALL TEXT] (at least those more legible ones)

(The three main sillies. And Kameko!)

(Poster sketches, Nuclear Flower Kokichi, Gonta hairstyle concepts - I was thinking maybe some choices could result in him having either long or short hair- etc.,etc... Oh, and about that Gonta & Kokichi sketch in the upper right corner... Remember that one wip compilation I posted a long, long time ago? This one? Well, I kinda sorta deliberately showed an edited out version back then. Now you can see how it's really suppossed to look like. Hopefully certain details are noticeable :) It's from a True Ending. Make of it what you will :D)

I wish I could post more drawings in the same style as the previous concepts for this game, especially moody environments/scenes (I specifically practiced a style that'd be quick, but give a vibe of a finished piece), but in reality the majority of those are either too messy to be legible, some I'd like to work more on (like Miu's new attire, more mono-nano-monster designs, etc.) and some are still in my head... I do hope to do so one day though.

[TO SUM THIS UP]

There are a lot of things I haven't ultimately talked about, and frankly, if I were to do this project for real, I'm not sure how many of those ideas would be left unchanged, or even make it to the final product... Reading my old notes, there are definitely concepts I'd do differently now, or ones that felt a bit embarrassing to talk about here... But that's pretty much the gist of it at its current form!

It's been a while, too... I haven't thought about GDT as much ever since I've got similar emotional catharsis by making Gonta in Code Vein and playing it while projecting his post-V3 arc onto it. But I had fun with it, and getting your ask... kinda rekindled those brain worms, haha. I dunno if actually making it into a game would be ever feasible for me, who has zero gamedev/coding knowledge aside from designing 2d assets for my friends/other people's indie games. Even if I had to make it much simpler and sacrifice most of the play mechanics... But concept artbook though... that would be lovely. And within the realm of possibility. But not this year. And very unlikely a year after that. There are other priorities, and more pressing artistic matters now xD.

Ngl, I feel a bit stressed that this will force me to draw pages in chronological order - part of keeping myself motivated was based on the fact that if I get stuck on drawing any given page/panel, I can just hop onto any other bit in the storyboard.

But in the end it actually might be a better option to enforce a more strict, structured and linear approach - jumping around so much created this daunting illusion of nothing ever truly progressing despite pouring tons of time and effort into drawing; Plus one of the problems I created for myself, is that the second half is more completed than the first one, because I was too afraid of touching it and messing up lmao. As a result I keep working on it a bit, then putting it away for a while, because it's just too intimidating as a whole. ("It's gonna be easy now that script/storyboard is all done, and I don't have to figure out anything no more, it's just mechanically completing one panel after another! (' 7 '✿)" famous last words)

Meanwhile finishing one page at a time at least feels like completing a concrete step, giving a boost to keep on going? This is how it worked with my old webcomic at least, and at this point I'll do anything to force my very much unwell sponge of a brain to work at least semi-consistently.