DUDE FICTION LMAO

>DUDE FICTION LMAO
What the fuck kind of ending was that?

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Miu's pussy juices.

Brainlet detected.

I want to fuck mugi-chan!

REAL ULTIMATE FICTION XDD

heh heh heh
it's just fiction bro
no need to be so upset

I love Junko!

>DUDE MAYBE DESBAIR MAYBE NOT DESBAIR
>DUDE DESBAIR VR LMAO
DR endings are all shit and you are a fucking retard if you believe otherwise.

t. brainlets

Explain it then, einstein

It's very simple, actually. You need to STOP buying Kodaka's games. That's what he actually wanted to convey through V3's ending.

the first Danganronpa was not intended to kick off a series; it was intended to be a stand-alone game. however, much like Metal Gear Solid before it, once a game becomes iconic and successful, publishers and fans alike will demand sequels. then the developers have to figure out: how do we top what we did last time? how do we strike the right balance of hitting all the notes that fans loved from the last game, while still keeping things fresh and interesting?

DR2 (again, like MGS2) was great at this because it subverted a lot of player expectations, giving players cognitive dissonance as they recognize the patterns from the previous game, yet struggle to come to terms with the various nested layers of twists and subversions upon the base formula. both MGS2 and DR2 end in crazy ways that one-up the crazy endings of their predecessor in ways you couldn't have even expected going in.

MGS3 was Kojima coming to terms with the fact that if he had to keep making MGS titles, he could at least have a shit-ton of fun with them. DRV3 on the other hand pretty much follows the formula to the letter with some odd twists here and there along the way (Kaede), until its final chapter, when everything goes to shit and the game asks us a lot of questions all at once:

>what do we even want out of a DR game?
>we expected a big twist at the end, as per series formula—why does this twist in particular feel like such a gut punch?
>we continue to want crazy twists out of these games, but where else can this series even go at this point?
>why do we play DR games anyways?
>what's so appealing about them?
>what does that say about us as human beings?
>more broadly, what role does fiction in general play in human society?

JUST STOP FUCKING BUYING MY GAMES, YOU FILTHY GAIJIN

MGS2 gets trippy and surreal at the end, basically abandoning any idea of a coherent, believable (even my MGS standards) story. it shows the player a lot of things that are more symbolic than meant to be taken literally.

DRV3 ends in a similar way, especially the epilogue. if you think about stories as linear sequences of events that occur and canonically make sense in relation to each other, DRV3's end fights you every step of the way. a huge twist is revealed, yet you are given no evidence that the character relating the twist to you is telling the truth at all. you take what she says for granted, though, and the credits roll... then the epilogue happens, and throws everything you just experienced into question, while providing no answers.

continuing to mull over whether the final reveal was or was not truthful in the context of the universe our protagonists find themselves in is missing the point entirely. instead, take a hard look at the themes being presented to you, and introspect, see if they don't resonate with you, providing insight into your own real-world actions and motivations.

the game is not *ridiculing* you, the player, for being a fan of Danganronpa and for playing hours of these games and having watched the anime and maybe even played the side games too. rather, it invites the player to consider what exactly it is that got them to this point, to consider whether or not they expected something different at the end of this game, and to consider whether they *really* want more of these games going forward. how can you write a big reveal twist that tops "it was all VR all along"? surely these sequels should continue to one-up each other in every way possible, right? well, where else was there to go? where else is there *left* to go?

What's the game?
I keep seeing these images posted and it's clearly from the same game. It just bothers be because there's something off-putting about the art style. It's bad, but I can't put my finger on why I think that

many people instinctively get defensive when asked to introspect on their own actions and motivations. however, if you resist this, you may actually learn something about yourself, the nature of fiction, and its role in human society and civilization, past, present, and future. it's easy to react cynically, sarcastically, and defensively, but since you signed onto this crazy ride fully of your own accord, why not see it through to the conclusion the creators intended?

>Listen, don't obsess over words so much. Find the meaning behind the words, then decide. You can find your own name. And your own future...

the game is Danganronpa V3. pick up the demo for the first one or watch a bit of it on YouTube to see if you like it

NOOO STOP
DON'T BUY MY GAMES
STOP BUYING DANGANRONPA
STOOOOOOOOOOOP

*sigh* should've known better than to expect anything resembling actual discussion about narratives and shit on Sup Forums.

*clears throat* ahaha what a fuckin gay ending amirite? DUDE FICTION LMAO ahahahahha

Only a brainlet would defend that piss poor attempt at having a meaningful dialogue on the nature of fiction.

DR should focus more on its trials and its style and less on the plot. The focus on the plot is what got us DR3 and nobody wants that again.

So why did he say he wants to make more DR games, again?

what exactly makes it piss-poor? I mean sure it could go full Jordan Peterson and explain how stories are the fabric of society, how stories that stand the test of time reveal innate, enduring truths about the nature of man, and maybe even address just how much of modern culture (even in Japan!) owes itself to the stories of the Bible. it could've spent an additional 30-60 minutes addressing meme theory in a Kojimaesque fashion, explaining how humans not only perpetuate their species by spreading their genes, but also use the uniquely powerful linguistic processing centers of their brain to form ideas into words, and pass those words on in the form of memes. it could've gotten mad existential about the mere idea of making any sort mass entertainment in this Internet age, where information spreads instantaneously, where we all carry around portals to our digitized collective unconscious in our pockets at all times, where simple catchphrases in 140 characters or less can shape the minds and emotions of the entire Internet-connected planet in less than twenty-four hours.

but no, it doesn't overstay its welcome (at least not significantly; I did feel like the end of the last trial did perhaps drag on a bit more than was necessary), it doesn't get too Kojimaesque by just dumping every cool idea the creator has read about since the last game's release on you all at once. it invites you to explore these concepts yourself, at your own pace, on your own time.

this very is exactly what the "V3" reveal is deconstructing though!! okay, so let's say V3 was never released and DR4, 5, and 6 were all spread out over the next few years. instead they just keep cranking out semi-interesting "high school kids are trapped together and play a game where they kill each other and have to figure out who did it." is that REALLY what you want, just more of the same—provided they can even keep coming up with interesting premises for these scenarios??

and even if the creators did manage to keep you interested time and again with fun and creative murder mysteries and trials... what would this say about the people who continue to consume them, iteration after iteration? at that point you're basically writing pulp, and while pulp is fun, shouldn't literature aspire to be greater than this? to touch on greater themes and get us to think about how the story connects with our own lives and the world around us? sure, the murder mysteries are fun, but we've had three games full of them now, with more or less the same premise—how much more uncharted territory is there in that limited space?

yet, of course, your desire to continue playing games like that is not morally wrong or anything—that's a part of you, too. you had a fun and interesting experience with at least one Danganronpa, and you want to continue reliving that experience over and over. this is why sequels to anything exist at all, people wouldn't make them if nobody wanted to read/watch/play them.

but is that really all you want? to just keep mindlessly doing the same thing over and over, because you enjoyed the first couple experiences doing it, without introspecting at all and thinking about WHY it is you enjoyed Danganronpa to begin with?

THESE are the questions the game is posing to the player at the end of DRV3.

Fiction does not have to be deep to be enjoyable. Also, there's not a single Danganronpa game that has really fleshed out trials, and has minigames that are all good. In fact, I'd even go as far as to say that V3 probably has some of the most shallow trials in the series.

So is V3 the last DR game? I hope so

Also, I never once cared about the "high school kids killing each other" part of Danganronpa's plot. It's really nothing more than a way to establish the setting and give the trials a reason to exist. I don't really care about the "hope beating despair" aspect, either. In fact, I'd say it's easily the worst part in every DR game because of the very predictable progression and the over-reliance on tropes like the "power of friendship".

It's quite simple.
A lot of people somehow got the idea that the message of the game was "It was fiction, so nothing mattered". But the truth is the opposite.

The message was that despite it being fiction, it still affected real lives.
Even if fiction isn't real, it can still have real meaning and effects.
So just because it was fiction, doesn't mean it didn't matter.

Umineko no Naku Kori ni had a similar message, and a lot of people failed to understand that, too. It seems that once the "It's fiction" bomb is dropped, a lot of people turn their brains off and stop thinking about the implications of fiction and how it can affect reality.
What I personally don't understand is how so many people were so surprised and confused, as if the ending came out of nowhere. The entire game was based on the concept of truth vs lies, and the resolution to Kokichi's character arc was that it's impossible to tell the difference sometimes. Truth vs Lies became Reality vs Fiction in the ending. It's a direct continuation of the game's main theme. Yet people act like it was just some random shit that popped up out of nowhere.

Just because something's a lie, doesn't mean it's not important.
Just become something is fiction, doesn't mean it's not important.

Explain this Sup Forums

danganronpa.wikia.com/wiki/Untitled_Danganronpa_Game

USO DAYO!

>Fiction does not have to be deep to be enjoyable.
of course not; like I said, nearly everyone enjoys some good pulpy fun. but, try writing a long-form work with the premise three or four times sometime—this inevitably leads one to get existential about their work, their role as creator, and the role of their creations in society. MGS2 was Kojima's fourth Metal Gear game; he'd already made Metal Gear, its sequel MG2, and its "next-gen" sequel MGS. when it came time to make MGS2, he could've just made another Metal Gear, this time taking place in the desert or the jungle or on the Moon or where have you. instead, he set out to make a sequel that was self-aware in its role as a sequel, and used that meta concept as a metaphor for other interesting concepts he wanted to discuss (which I won't get into here, that's its own thread).

sure you can just keep churning out entry after entry in a series with zero self-awareness, but then you just get stale anyways (The Simpsons, every other long-running TV show ever), so what's the point? instead, why not investigate what drew people to the concepts behind the series to begin with, and explore where that investigation takes you?

even DR2 made fun of the "hope vs. despair" thing, by having Nagito act as a deconstruction of Makoto. DRV3 barely talks about hope vs. despair at all, and by the final trial, dispenses with the concept completely. so once it sheds these dumb anime-style ideological platitudes, and instead gets to the heart of things... you don't want or like that either? you just want a sterile series of murders and trials, with no overarching story or themes?

>you just want a sterile series of murders and trials, with no overarching story or themes?
They can do whatever they want with the endings, it's just that I really don't care about them.
Also, even if V3 tried to be a subversion, it still made use of the "power of friendship" gimmick by having all of the characters unite together and use their bonds and desire for their lives to matter to reject the killing game.

i will say one thing this game made me think of, that i never have thought of before, is how long do i want a franchise to last, how long would i be willing to put up with the same thing over and over?

it has never occurred to me that maybe, 53 seasons of the same thing i like would be awful, despite that i rag on other tv shows like the Simpsons and family guy for lasting far longer then it should've, because i once liked them too. Tl;DL it made me aware of my own hypocritical critism of some forms of media but not others, also has made me more aware that some things are better off ending.

It's nigh-impossible to not have a showdown with the mastermind and defeating the game together in a series where your cast can die anytime in a closed circle.
They even make you bond with the classmates with that knowledge.
Removing all that and just leaving the trials? You're not making a Danganronpa game.

how was that "the power of friendship"? "friendship" is a deep and meaningful relationship you cultivate with someone over a long period of time. at the end of DRV3, everyone who's still alive finds out that all of their memories had been false all along, and thus, the foundation of every relationship they'd formed with each other had been a lie. I didn't see "friendship" as the thing that united them for their final group decision—I saw some individuals who just had their minds fucked, who just had the entire world pulled out from under them, like, four different ways in the space of an hour or so, to the point where even the bedrock relationship that gave your player character motivation to step up to the plate of player character protagonist to begin with—his relationship with Kaede—was built on nothing but falsehood, the whole time.

rather, in the end, the characters all realize that ending the killing game for good—literally, making there be no more Danganronpa—is the most moral thing to do for everyone involved. this works in-universe and at a meta level, and it's a massive step up in maturity of storytelling from both previous main series games and the anime that ended that storyline.

>No user the ending wasn't poor attempt to make original ending while telling your fans you aren't going to make any more killing games

I cared about the characters before the ending. Then it obnoxiously drawed attention to the fact it's a game, fictional, yet they still expect me to feel for what the characters have gone through. Fuck off.

Thimbleweed Park did this kind of ending much better.

They can do all that, it's just that I don't think that any of it should be treated seriously, like some of the fans treat it. Just have the excuse plot there and put the actual focus on the trials, instead of trying to "challenge" your viewers or whatever the fuck.

>This Thread
High IQ thread going on.

If the next game in the series is going to be V2 (If there's even one) I really want them to pull a Kaede but with the whole cast or at least make Rantaro The blackened of a case and make him win.

They all united towards a common goal and agreed to die together, after being convinced by one another. It's not like they all decided to die, independent of everyone else's feelings. Also, while they do know that their feelings are fabricated, they still treat them as real, as demonstrated by Maki.

...

>What the fuck kind of ending was that?

a bad ending

>MGS2 gets trippy and surreal at the end, basically abandoning any idea of a coherent, believable (even my MGS standards) story. it shows the player a lot of things that are more symbolic than meant to be taken literally.
MGS2's ending was fucking a fucking mess that MGS4 had to explain it

Stop making these fucking threads and go to /vg/ for your shit game.

>deconstructing

a trainwreck is not deconstructing

Tusmugi states that fiction is worthless and has no meaning. Despite this, she says that she doesn't want to live in a world without Danganronpa (a fictional series) and states how she can hold her head up high as the copycat criminal of fictional Junko Enoshima.

Additionally, Danganronpa being fictional is a requirement in order for TDR to host their games in the first place, as the killing game was not at all portrayed in a positive light in the first two games. How else would the audience be able to stomach 50 Danganronpas unless TDR was telling them that it was all fiction so it didn't matter?

Just report them

Best girl.

yeah and MGS4's explanations and resolutions are 90% Kojima taking the piss. the fans demanded that all of the events of the games connect perfectly and coherently, when that was never Kojima's intent with the series to begin with. so he threw up his hands and said, ok fuckers, you want this shit to all connect, fine, I'll tie it all together. just be careful what you asked for, this shit's gonna get mad retarded. sure I'll include some legitimately cool things, mostly neat gameplay ideas I've wanted to play with for awhile (sneaking through a battlefield, sneaking around Europe at night), but still, here's an autistic loli and a monkey wearing a diaper drinking soda for Jar-Jar-tier comic relief

there's more to "making sense of a story" than perfect plot cohesion. the Bible contradicts itself all the time, yet nobody's bothered to "fix" it, and Christianity has endured up to this point

>yeah and MGS4's explanations and resolutions are 90% Kojima taking the piss.

better than leaving is with fuckall at the end of 2. It ended with "alright, we are going to play as Snake again and take down the Patriots" but nope.

You get a cliffhanger we have to wait years before it got a proper explination and resolved

>Real Fiction
How could you hear that and then take her logic seriously and get mad when she says your waifus are fictional?

every MGS was intended to be the last. not every story has to end with all the loose ends tied up with a neat little bow, that's brainlet-tier thinking, and MGS4 was Kojima's way of proving that to his fans. of course, 99% of his fans missed the point, as usual, because having the love interest from MGS1 get married to an intended-to-be-one-off joke character whose literal only defining trait is his tendency to shit fucking everywhere at all times wasn't enough of a clue. the fans just ate it up like retards, yourself included.

>not every story has to end with all the loose ends tied up with a neat little bow

except when you end on a huge plot element, even if the Patriot AI crap was badly presented and horribly executed

That's cool from a artistic point of view but there's no denying that it's unsatisfying. I sure as hell wouldn't want most of my games to end on cliffhangers that are never resolved just because that's the more "intelligent" direction to go in.

>so once it sheds these dumb anime-style ideological platitudes, and instead gets to the heart of things
If you legitimately think "reality" and "fiction" is a step up from "hope" and "despair" you should try reading a book and be humbled of your own pseudointellectualism.

this is what I've been saying all thread: worrying about internal consistency and narrative coherence at the expense of even trying to understand more ambiguous and interesting themes is brainlet shit.

MGS2 ends with Snake showing up randomly in NYC out of nowhere, in the middle of citizens going about their daily lives, seemingly unaware of the 9/11-tier terror attack that just happened blocks away. Snake then tells you to literally not worry about the details, to focus on thinking about what it all means instead... but people like you can't accept that, because in order to even begin thinking about greater themes, you DEMAND a fully internally-consistent narrative.

this is why video game stories generally shoot for the lowest fucking common denominator, and why few even attempt to approach anything resembling "literature"—people like you prefer a soap opera to a classic novel

Seems like a great excuse to not bother making a coherent plot then handwaving all the plotholes with "details, details!".

>worrying about internal consistency and narrative coherence at the expense of even trying to understand more ambiguous and interesting themes

the problem is that MGS2 wasn't even consistent with itself.

The moment Arsenal Gear happens, the game shits the bed so hard it it never recovers

>"muh themes" is an excuse for bad writing
The absolute state of postmodernism

MGS2 fags think their "masterpiece" is post-modern despite copying shit from other media

>more ambiguous and interesting themes
Like what senpai? What theme is great enough that it allows the writer to just give up on the plot?

I have the opposite take-away from a lot of other anons. I felt like the whole point of the ending was trying to come up with a "shock! tweest!" that's more surprising than DR1 and DR2. So you did "the world is destroyed", then you did "the world is the matrix", so the only escalation to that is "the world is fiction" and the unfortunate side-effect is that there's nowhere to go from there, and going full-meta often makes things stupid or detriments everything else in the story.

Also the epilogue was walked that shit back just like DR2's epilogue walked back everything Junko said to have EVERYONE WHO DIED BE ALIVE AND CURED OF DESPAIR in the anime, so I don't actually think the ending of V3 changes anything about the DR setting.

yes and it's no accident either. Arsenal Gear is representative of the internal struggle one goes through when they get "redpilled" as to the true nature of reality and the world around them, after having been lied to about literally everything for so long. the game gives you one last glimpse of "b-b-but I wanted to play a sequel to Metal Gear Solid!" (Raiden wanted to emulate Solid Snake, his hero, mimicking the player's motivation for playing a sequel to MGS) by recreating the torture room. then you get stripped naked and the world goes fully insane, until Snake shows up, in his trademark outfit for the first time all chapter, and tells you it's going to be okay, and that you should become the person you always were, instead of trying to emulate him.

it's fucking cool dude, but if you get hung up on "why were there holograms everywhere" "why is Arsenal Gear bigger on the inside than on the outside" "why is everything turning to dream logic all of the sudden", you'll never even let yourself consider any of this

>yes and it's no accident either.

being bad on purpose is not an excuse

>fiction is real as long as you believe it's real!

I already saw that shit in South Park Imaginationland trilogy.

>work of fiction thinks it's original despite drawing from influences
welp, time to chuck out nearly everything written ever, except for maybe Homer, the Bible, and Shakespeare, if you're feeling generous

other stuff did the same thing as MGS2 and didn't have to scrafice being a goodbook/movie/etc... to do so.

unlike MGS2 which sacrificed being a good game for this clusterfuck of an ending

>unlike MGS2 which sacrificed being a good game for this clusterfuck of an ending
admit it, you're just mad the whole game wasn't like the tanker chapter wherein you play as an HD Solid Snake with more abilities than he had in the last game, going on fun and interesting adventures.

garbage fucking game, i couldn't bring myself to continue after chapter 2 it was so shit

>admit it, you're just mad the whole game wasn't like the tanker chapter wherein you play as an HD Solid Snake

...

The actual problem with the game is how awfully fucking predictable the mysteries are.

This
>DR2 makes a big deal about how they're comatose but they'll NEVER EVER WAKE UP!!! and Hope Jesus even says some shit in the epilogue about how miracles are inevitable for them
>V3 makes a big deal over how fiction means nothing and you it can NEVER impact reality (also calling you yourself fictional) and shuichi says in the end that maybe they were bullshitting all along
>V3

I don't think I've watched a game with such a high IQ story before.

A peaceful world is where reality has become fiction. So to escape their fictional peaceful world, they chose to escape into a harsh reality. As opposed to a reality escaping into a fictional world.

A word where fiction has become more like reality than reality itself... genius.

That was far and away the best ending in the series. There's so much depth to it and what they were going for.

at the end of the epilogue in V3, it's wholly ambiguous as to whether you're in
>1) the world Tsumugi outlined (DR1-3 are fiction in-universe)
>2) the world of DR1-3
>3) some other world entirely
the only evidence you have to suggest 1) is Tsumugi's word. there is zero evidence for either other option.

when I first got to the epilogue, I was kind of mad, because it felt like the asspull at the end of DR3 where Kirigiri was saved through some deus ex fucking machina. I was totally satisfied with the end of Trial #6—wtf is this epilogue bullshit where they lived, I thought?

but then I realized what was happening in the epilogue and I "got it". the characters peer through a hole in the "Danganronpa" branded "bubble" to speak in a fully meta way, outside of even the "ending" before that.
>It doesn't really matter where the truth ends and where the lies began. If lies can change the world just as well as the truth can... Then lies are just another way of telling the truth.
not too dissimilar to
>Listen, don't obsess over words so much. Find the meaning behind the words, then decide. You can find your own name. And your own future...
both speak in a meta way about everything that just happened in their respective game, "outside of the confines of the narrative of the game". they might as well be standing around in a dev-textured test scene talking about the nature of the game and how it affects the reality you, the player, exist in.

dude the ending of V3 says that fiction affects reality implicitly, which is self-evidently true. people like to think of fiction as escapism, of something to run away to to turn your brain off, but the reality is, fiction affects the way you think, it affects your worldview, it shapes how you interpret reality. even if your takeaway from V3 is "lol that was fucking stupid, what a crock of shit", it still presented a series of ideas to you, and got you to think about them. this inherently affects your worldview

V3 is truly the "Citizen Kane" of the ironic weeb genre

just read and tell me this isn't the deepest game story in years.

This game is even deeper than MGS2. Of course a game this good would be controversial. It's not going the safe "le epic Junko xdd" route SDR2 went.

things get predictable after the 53rd season of anything, that's literally half the point of the game—"is this what you want out of Danganronpa, going forward? just more mysteries with 'twists', such that, the longer the series goes and the more of these you play, the less ideas we'll have and the more predictable it'll all get? are you SURE you want us to make more of these?"

I'm saying that Tsumugi's rant in order to make the characters fall into despair was that fiction was inherently worthless and could in no way impact reality, not that the ending itself said that. Sit down.

my b senpai

>tfw no chiaki gf

Did anyone think the other games weren't "predictable?" I predicted DR1 chapter 4 in the first 10 seconds. These games were never about the mysteries so much as the story and figuring out exactly what happened.

But saying this game is meant to be predictable is also a cop out. It had the best chapters/mysteries, just because it's easily the best DR game, still had some flaws.

>dude the point of the game was to be bad

>It's not going the safe "le epic Junko xdd" route SDR2 went.
It literally is. Tsumugi's entire character is that she's Junko but obsessed with fiction instead of despair. She cycles through cosplays like Junko goes through personalities. The entire 6th trial is her attempting to recreate the ending of DR1 (which is implied to have been done 50 other times as well), to make them all silent and bitchboys so the audience can tell Kiibo to start shooting Hope at everything. It is in fact Kiibo doing this that gets Shuichi out of his tracked thinking of voting for despair to spite the audience to not voting at all.

It literally isn't you faggot. She's only cosplaying as Junko, and a bunch of other characters. SDR2 went the brainlet route of a deus ex machina where Junko is revived through bullshit technology. This was a far stronger independent ending even though it thematically called back to the first game and had Tsumugi cosplay as Junko. It's a completely different beast to the terrible ending of SDR2 and the stupid nonsense in DR1.

In no point of this post do you attempt to specifically refute my central claim with evidence. This is not an argument.

Any chill Danganronpa fans want to chat?
discord.gg/jqrTMh
Pretty lonely with just me and this other lad

I kinda want to see the ~50 other times it was Junko.

You said "literally". Tsumugi is not LITERALLY Junko you cum guzzling fucktard. You may have a point if you didn't say that word and trying to undermine what I said in my original post with your retarded understanding of the English language.

>arguing semantics
Not an argument

all game long, you're under impression that it's the third one of these (fourth if you count the anime), and how "predictable" it appears to you will vary from player to player, but there is at least some degree of "ah this again". the sequence of murders follows set patterns established in the first game and codified in the second... but then the reveal is, oh shit, this is actually the 53rd time this has happened, and even though you, the player, didn't experience 50 of those (49 if anime was fiction in-universe, which I think it is), you can imagine that if you HAD, the whole thing would be INCREDIBLY rote at that point, to the point where you might think to yourself, "lol if they make another one of these, it's totally gonna follow the same broad patterns, isn't it?" the (irl) DR team is skilled at keeping things interesting of course, but one can imagine that after seeing the same shit iterated upon 53 times, it would get very, very old.

You literally should kill yourself

>still has not refuted me
I accept your concession.

Remember when there were 53 Danganronpas and the hosts only ever referenced the first two?

you don't know that. for a we know, the seesaw trick is a seasonal in-joke at this point

>ITT: user tries to explain something thematically harder than a Mario game to brainlets

It's Sup Forums, the explanation is wasted on them.

Is Hajime the CHAD protagonist?

user badly overexplains a theme done by an action movie starring Arnold Schwarzenegger in the 90s and acts like it's new and revolutionary.

Public bans came back?

M-mukuro?