I'm Pretty Sure It's Because The Weight Of Her Wish (the Wish To End Walpurgisnoct, The Most Powerful

I'm pretty sure it's because the weight of her wish (the wish to end Walpurgisnoct, the most powerful witch made from several magical girls) overwhelmed her to the point her soul gem instantly (or shortly after wishing) darkened.

I think that's it (at least it's what I gathered from watching the scenes where Madoka becomes Gretchen)

It's mentioned that in every timeline Sayaka contracts and becomes a magical girl, she becomes Oktavia.

I think this says a lot about Sayaka's mental state. Even if Hitomi doesn't confess to Kyousuke, even if Sayaka and Kyousuke were to date, Sayaka would still become Oktavia.

Maybe it's a case of regretting what she wished for, or falling out of love with Kyousuke, or that her relationship with Kyousuke didn't work out how she had wanted it to. Regardless, something always goes wrong when she makes her wish; and I find that very fascinating.

The apple scene between Kyoko and Sayaka feels both like "a proper introduction between enemies who no longer wish to fight" and "a final invitation to connect with someone and pull yourself back from the edge".

Sayaka tossing aside Kyoko's gifted apple feels like her making a conscious choice to fully go crazy and a denial of Kyoko's attempt to reach out to her.

Additionally, Kyoko giving away to Sayaka something that holds significance for her (food, which she considers incredibly precious) without any expectation of something in return aside from "connection" is an interesting moment for a character previously depicted as "selfish" and constantly against Sayaka.

Kyoko sharing her story TO Sayaka is a moment of vulnerability, later matched by her sharing her story WITH Sayaka by sacrificing herself when she likely could've defeated Oktavia without dying in a effort to ensure Sayaka wouldn't be alone anymore.

OH MY GOD THE PARALLELS!!!

Thank you so much for adding onto my Mami-Gertrud stuff and adding in the Sayaka-Elsa Maria stuff!

Elsa Maria's probably my favourite witch, so I feel like a fool for not recognising the parallels between her and Sayaka earlier!

I always thought there were probably some similarities between Sayaka and Elsa Maria: but you explained the "self-proclaimed hand of righteousness" very well!

Something I find really neat and subtle amoung Madoka Magica's (many) foreshadowing and narrative contrast-y moments is Mami's fight against Gertrud.

Gertrud has a strong flower and butterfly motif, and Mami's soul gem is shaped like a flower (and maybe a stretch but in one of Mami's transformations she does an action that resembles a butterfly emerging from its chrysalis).

I think there's some parallels between the two that make Gertrud a surprisingly clever and well designed first enemy. (But perhaps I'm stuck in Mami fan mode, and just see Mami in everything)

Apply your Color

🎼⏳🎀🌼🍎

Danganronpa Ultimate Categorization

Welcome back to another episode of: Jade is a nerd about something absolutely useless! Today's topic: Talent classification in Danganronpa/Fangans.

In the process of making my own fangan/s, I've created a classification system for the types of talents you can give characters. These classifications are...

Arts: Talents that are involved in the visual arts, performing arts, or fashion. Encompasses performers of all types, any type of visual artist, or anyone involved in fashion. (Ex. Actor, Abstract Artist, Model)

Practical: Talents that focus on a specialized skill or work with your hands. Also includes any talents that are religious or spiritual in nature. (Ex. Mechanical Engineer, Detective, Shrine Maiden)

Academic: Talents that are recognized by how much knowledge or experience a character has in an academic field. Covers most science, literature, math, and research based talents. (Ex. Chemist, Theologian, Archaeologist)

Sports: Talents relating to athletic skill. (Ex. Footballer, Kickboxer, Bowler)

Novelty: Talents given to a person who is special simply by existing. Can also be given to characters who win a contest for their talent. Includes Lucky/Unlucky Students, royalty, and non-human characters. (Ex. Lucky Student, Student, Princess)

This system of classification was based on my experience in the community over about three or four years, seeing many other people's original characters as well as creating my own. I found many fell into these categories. My "perfect" ratio, which my friends and I used as a guideline for making our fangan casts, is 4 arts : 4 practical : 4 academic : 2 sports: 2 novelty. I felt this ratio kept things even and grounded.

A few months ago, I began to wonder if my "perfect" ratio was more of my own creation than an actual pattern I saw. I thought, in the event it was, that I would come up with a mathematically accurate ratio that better represented the talent distribution of Danganronpa and its fan projects. This was my attempt at doing just that.

Data Collection

For this, I tried to collect as varied of a sample as possible. I included the three mainline Danganronpa games and sixteen fangans, ranging from very popular ones to very obscure ones. The fangans sampled for this analysis were...

Danganronpa Another

Super Danganronpa Another 2

Danganronpa Despair Time

Brave Danganronpa Coward's Paradise

Project Eden's Garden

Danganronpa He(art)less Deceit

Danganronpa Hushed Whispers

Danganronpa Muave

Danganronpa Despair's Revival

Danganronpa Re:Birth

Danganronpa Twisted Truths

Danganronpa Survivor's Guilt

Danganronpa Despair's Flame (my fangan! also the one where the talent ratio originated)

Danganronpa Cyberspace

Danganronpa Akeda Amusements

Danganronpa Lost Paradise (my other fangan that isn't released anywhere but I'm counting anyway)

I figured out the talent ratio for each individual game by looking through their casts and sorting them with my classification system. Ultimate ???'s were thrown out if possible (such as in the case of Akeda Amusements, where Hanari was thrown out due to the fangan having seventeen participants) and if not, they were counted as novelty.

Also, shout out to Yuki Maeda and Teruya Ōtori for managing to count for two different data sets despite my best efforts at finagling a way to keep them confined to one.

Observations

The first thing I noticed in looking at the ratios for canon Danganronpa was that Academic ultimates are underrepresented compared to what I initially remembered. It had been a while since I revisited the mainline games, and it was a shock to be reminded of that. I was also reminded, but not quite as shocked by the greater emphasis on practical ultimates.

In fangans, the focus on practical ultimates continues to be heavy, with none having less than two. There was also less focus on sports ultimates, with the majority having only one or two compared to the three that the mainline games had a majority of the time. They also tend to have more academic ultimates.

I think that this could be explained by looking at the types of people who make fangans. The majority of people I know who make fangans have very particular knowledge about certain fields due to experience or heavy research, and more often than not these fields do not include sports. They are more likely to make characters based on their experiences and knowledge that they can then insert into the story to make it seem more authentic.

I also, unsurprisingly, found that my "perfect" ratio was not reflected in many of the fangans I looked at. There was only one besides my own that followed that ratio.

Now, if my "perfect" ratio is not the mathematically perfect ratio, then what is?

According to the data collected for the canon games, this is.

This just so happens to also be the ratio for Trigger Happy Havoc.

According to the data collected from the fangans, this is the perfect ratio.

The only fangan that followed this ratio exactly was Akeda Amusements. V3 also had this distribution.

When considering both mainline and fan made games, the perfect ratio was this.

Ironically, not a single mainline game or fan game followed this ratio.

Out of curiosity, I also calculated the standard deviation for each data set.

Canon Danganronpa has little to no variation, conveying that talent ratios are quite consistent between games. The biggest variation would be in the novelty category, making sense as V3 scaled down the amount of novelty ultimates compared to the other two games.

The fangans are shown to have a much larger variation. Though I can't be surprised by this, as perhaps it is an unfair comparison. The mainline Danganronpa games were written by mostly the same team and had less to sample from, while the fangans have not only a larger sample size in which to deviate, but many different writers that think differently about talent distribution.

Final Thoughts

In putting this all together, I found that my classification system, while not perfect in any sense of the word, has some validity to it. If I wanted to, I could definitely make some improvements to it (especially in distinguishing between certain academic and practical fields from novelty), but as of now it works perfectly fine as an aide in cast creation for me.

My ratio is also not perfect, which was an expected outcome. Really none of the ratios I found are perfect, with none of them representing more than one or two of any mainline or fan made game. While ratios like the ones I found can be good for making sure you have a balanced distribution of talents, they aren't required to make a good cast. Personally, I'll continue using my personal "perfect" ratio as a baseline for any cast I make in the future.

I also had a lot of fun making this, and hope I can find a way to make more posts like this in the future. Thank you for reading this.

It dons the air of a noble swordsman to mask its envious nature.