#ginti

[thequietkid-moonie]

New life together

𝆹𝅥 Yandere headcanons

𝆹𝅥 Decim, Ginti (DEATH PARADE)

Decim

Decim is someone completely devoted to his darling, in his eyes his darling is simply perfect, something he aspires to at least be able to reach, to be able to walk at their side and be somewhat enough to have their eyes on him, and because of that he devotes himself to his darling, to learn from them, to be able to be worthy of their attention and love

He won't actually kidnapt his darling but is incredibly close to it, if he is allowed he will keep his darling with him, preparing the most cozy and comfortable room in his bar just for you, he would not even dare to think on sleeping on the same room as you unless you explicit express that that is what you want, and while that doesn't happen he simply will be happy to assist you at night and first hour at day, being more than willing to go to sleep until late and waking up extra early just to have everything ready for you, to assist you in even the slighlest of your needs and be there for when you need something, having it ready before hand if posible

If you would let him and if you want it he will handle everything, he can go to any extent, so willingly to do everything and anything to the point where you just have to ask and don't even have to do it kindly, he is always preparing breakfast for you two, he is always getting ready your clothes, perfectly presented at the side of your bed for when you wake up, he would even use his mannequins to serve if you don't want to see him

He tries his best to please you and while doing that he becomes incredibly clingy and dependant, even Nona has noticed and has decided to let you two be as close as posible (after all, this is pretty much her fault), you two spend pretty much every moment free together, he knows your favorite drinks and how you know it by heart so he always has it ready by the time you come to his bar

If it happens to be that he goes to your bar he hesitate for a moment, it is just like he feels somewhat overwhelmed by the only idea of being in your work space, does he really is deserving of such honor? It affects him to the point where he almost do nothing at your place if you don't explicit tell him he is allowed to, he looks around and take the time to appreciate everything without daring to touch, he even hesitate to accept anything you may offer, but ultimately he accepts it because it comes from you

More than anything Decim wants to please you, to be worthy of you, of your presence and love, of your teaching and attention, he looks up at you to the point of being completely obsessed and devoted, he pretty much worships you for what you are and he will never be able to be, and yet is so stoic that it is dificult to catch a glimpse of how deep and twisted his feelings truly are, he is so devoted that he could kneel down before you if that would make you happy, and he is so dependant of your approvation that he pretty much tells you everything he has done during work, telling you all the details he may thought are important just so you can judge him, eager to hear from you that he has been good but more than willing to take any opinion you have of him to heart

Ginti

Ginti has struggled with his feelings in the worst way posible, he has always related feelings to the human and he has been looking down to the humans, even if the feelings he has for his darling are far from being human he can't help but hate his feelings

For the longest time he tried to push you away and to hate you but the more time he pushed you the worst he felt because his feelings simply didn't faded away, his feelings were torturing him and dragging him towards you over and over again until he couldn't do anything but gave up and finally accept it

He was trapped in this love as much as you were so it was incredibly dificult for both to create a dynamic, after all Ginti struggled a lot for being stuck between still wanting to push you away and wanting you close

It all started by just being together, mostly during his free time you two where just together, spending time awkwardly until both manage to feel comfortable in each other presence, wich actually would lead Ginti to grow to love those moments because, for once, he allows himself to don't push you or his feelings away, he lets himself just feel and love you and that feeling is intoxicating

Everything is done step by step, Ginti takes a painful amount of time to settle down with his feelings, ironically that means his darling gets more peaceful time before he becomes posessive. He needs the times to accept his feelings and since he doesn't want to keep pushing his darling away (specially after letting his obsesive love sink in his heart and yearn for more), in the mean time he does tiny approaches to his darling, trying to start conversations and just get to know more about his darling

In that process of taking slow steps he ends up actually taking bigger steps in indirect ways, he grows more comfortable with his darling and even lingers closer, he starts to learn more about what drink his darling likes the most and learn how to perfecting it, he even start searching for his darling's company even more and not so discreetly, either by openly inviting you to spend time together or him visiting you in your own bar

By how the steps are been taken so slowly it almost feels as everything have happened naturally, it gives both enough time for the relasionship to grow so comfortably that it is more likely that his more obsesive and unhealthy tendencies wouldn't even need to come out because both have worked on your relasionship, and since Ginti has been trying to hold back most of his feelings that ended up helping a lot

However, Ginti will never forget the fact that he did a lot for his darling, he accepted the feelings he hates so much and have grown to have something like a rutine to spend time with his darling, his frustration and hate for this obsesive love haven't been ereased at its fullest so he is too quick to snap when you don't follow the rutine or dynamic that has been made between you two, he doesn't mean to hurt you (specially when he have grown to love you more sincerely and pasionately) but he simply doesn't take a 'no' too well, it makes him panic wich only lead him to be desperate and angry

A/N: Giving the yandere a oportunity to be with their darling instead of writing about the darling not even wanting them in their life is kind of new to me, not complaining tho

[ribs02]

this is for the 10 death parade fans in the fandom

[froggos-are-superior]

Their collective crimes include, but are not limited to: murder, attempted murder, assault and battery, psychological torture, being a general freak, domestic terrorism, international terrorism, aiding and abetting, being a literal devil, and being Nagito.

[cuntyglam]

i think if there was a season 2 of death parade (highly unlikely) it would be cool to have a season focusing on another bartender, probably ginti, and we could check in on decim every once and a while and how his emotions affect his judgements. we could also see what’s up with the chiyuki dummy. or, alternatively, it could follow decim meeting chiyuki after shes lived another life, but decim doesn’t remember because his memories are wiped periodically and chiyuki obviously doesn’t remember. nona would be one of the only ones to really know what’s going on and i think that would be cool.

do i think there will be a season 2 ? no. the anime aired like ten years ago, is an anime original, and had a pretty satisfying ending, but i do wish we could see more of this world

[blorbo-court]

Submitted by averinna

Ginti (Death Parade)

Innocent

Guilty

Voting ended onSep 2, 2025

[cloudynyxx]

"I want to depict the meaning of living." Interview with Death Parade Director, Yuzuru Tachikawa

[Part 1]

Continuing from the first part of the interview, the second part delves deeper into the making of Death Parade with director Yuzuru Tachikawa. We inquire about his staff and his technique as we explore his production process. The Visual Emphasis Was on Attention to Detail [Part 2 of 2] — In the second part of the interview, we will mainly discuss your role as a director.  Did you establish any guiding principles for direction while working on this project?

Tachikawa: We discussed not wanting to include too many unnecessary camera movements, so we planned the sequences around fixed shots. This was to ensure that the focus remained on the detailed craftsmanship of the visuals. If we weren't careful, we would end up with more than 300 cuts just within the bar (laughs). — Yes. that's right. Tachikawa: Since we have to stage the scenes in the same location most of the time, using the usual shot-reverse shot technique would make all the cuts look the same. So at the storyboard stage, I asked for the camera positions and pacing to reflect the characters' emotions. I wanted the structure of the composition to maintain a sense of tension throughout the scene.  

— The storyboard for Episode 2 was done by Satō Yūzō, the director of Tohai Densetu Akagi -Yamini Maiorita Tensai- and Kaiji: Ultimate Survivor. Was he chosen because you wanted to expose the tension of a psychological battle?

Tachikawa: Actually, the original concept for that episode revolved around mahjong (laughs). But that got scrapped, and Sato was assigned to Episode 2.

— If the mahjong story was done, that would have been interesting (laughs). Earlier, you mentioned that you wanted to emphasize the detailed craftsmanship of the visuals. I heard that you have incorporated 3D layouts this time. What is the reason behind that?

Tachikawa: To start, the room inside the bar is extremely difficult to animate. It’s deceptively wide and circular…drawing curves can be challenging. When we did Death Billiards, we aimed to train young animators, so everyone drew it by hand. But the struggle with layouts alone consumed half of the schedule. If we did the same thing in a TV series, the production would definitely collapse. So this time, we created the bar in 3D and asked the key animators to focus on drawing the characters’ performances. That's why we opted for 3D layouts.

— Was this approach something that you had experienced in previous projects you had participated in? Tachikawa: In the project Terror in Resonance, which I participated in just before this one, we also used 3D for locations like the hideout used in a prolonged scene.

― You were also an assistant director for Terror in Resonance, right? How did you use your experience during that production for this one?

Tachikawa: Yes, that's right, and the direction of both works is quite similar (laughs). Actually, even the direction plans felt close to Director Watanabe Shinichirō's. We had many discussions where I thought, "ah, yes, that's right." I wanted to see Director Watanabe's work up close, so I participated in Terror in Resonance, and I was glad that there were many aspects of it that intuitively made sense to me.

― When you say that the directing plans are similar to Director Watanabe's, what exactly do you mean?

Tachikawa: It’s regarding how we create the visuals and structure the cuts. Terror in Resonance also focuses on crafting the visuals based on a fixed camera, using angles that are more typical of film. The approach is closer to live-action, and in that sense, I think we are similar.

Staffing and Their Tasks

― In this work, there is a position for key animators, but what exactly are they responsible for?

 Tachikawa: The key animator is the person who is in charge of the most important part of the animation.

― Three main animators are credited. Could you tell us about their primary responsibilities?

 Tachikawa: Tokura-san is good at effects animation, so he does a lot of cuts like that. In each episode, he draws the smoke effects when the game machines come out. Besides effects, he also draws various other elements, but his main focus is on those parts. I asked Ishibashi Shōsuke-san to do the original drawings for the parts where the characters' emotions are running high and more sides of their personalities are exposed. He joined from Episode 4 onwards. For instance, he animated scenes like the one where Misaki was running while shouting “Stop messing with me!," and the scene later on where she was caught up in threads and crying out. Kojima-san similarly works on scenes where the characters' emotions explode. For example, in the latter half of Episode 1, where Takashi shouts while gesturing, "That’s not my child! It has to be someone else’s!." He tends to enjoy working on scenes that are not typically depicted in anime.

― Regarding the staffing, Director Shishido Jun from Hajime no Ippo: Rising is listed as the Chief Director. What exactly is his role?

Tachikawa: At first we thought about an assistant director position, but then it was decided that someone with a career as long as Shishido-san's would not fit well as an assistant director for a rookie director like myself. So, rather than focusing on assistant director duties, he mostly assists in directing aspects at key points, which led to the title of Chief Director.

― What specifically does Shishido-san do?

Tachikawa: He's responsible for requesting the storyboards and directors for each episode. He also assists in checking the work when I become busy with other tasks. Additionally, he occasionally takes on assistant director tasks as well.

― Similar to Death Billiards, the artistry in this work is also incredibly intricate.

Tachikawa: Art Director Hirayanagi Satoru also worked on Death Billiards. For the previous work, we commissioned Studio Easter for background art, but now he has established his own art team called Heikuro. In this series, we show places like behind the bar, which wasn't shown in Death Billiards. When creating such things, we would submit new images, and after discussing them with him and his team, they would put them together into something that would suit this universe.

 ― How do you balance the art and 3D layout?

Tachikawa: For Quindecim's bar, we model it in 3D and apply textures. By creating it in 3D, we can freely move the camera inside the room. So, for Quindecim's layouts, the art department adds retouches to the still images created from 3D data. As for other settings, they are drawn from scratch.

― In Death Billiards, Murakami Izumi, who was a young key animator, is now in charge of prop design.

Tachikawa: Murakami-san has always had an original sense of creativity. She's responsible for designing small items and the design of Ginti's bar, and we ask her to come up with unconventional ideas.

― Ginti's bar filled with kokeshi dolls was quite amusing.

Tachikawa: In Ginti's bar, there's a large hand statue, and that idea also came from her. She's also involved in key animation, and she draws intricate movements as well.

― How do you delegate tasks between her and Akishino Denforword Hiyori, who also works on prop design?

Tachikawa: Akishino-san mainly works on designing the games featured in the story. Murakami-san is based in the studio, so we can discuss and work together easily. Akishino-san works from home, so we asked for things that are easier to explain, like dartboards.

― The music is handled by Hayashi Yuuki, right?

Tachikawa: Yes, I specifically requested Hayashi-san. I really liked the music he created for the TV drama Strawberry Night. I had the sound director create a music menu, and I communicated my vision and the kind of image I wanted for the music. Opening and Ending

— Please tell us about the much-discussed opening. What was the reason for making the opening more upbeat, contrasting from the main story?

Tachikawa: We had always discussed making the opening bright and enjoyable, especially since the main story tends to be rather dark.

— I think it was a great success, betraying the audience's expectations in a good way.

Tachikawa: Thank you (laughs). If we were to add an opening to the previous work Death Billiards, I think it would have had darker imagery, but I wanted to dispel that image.

— I see. So you wanted to separate it from the image of the work.

 Tachikawa: That's right. I hoped that if you feel down after watching the film, the opening will cheer you up.

― (laughs). Was the music the starting point for this, and then you developed the imagery?

Tachikawa: We had the image of how we wanted it to be first. The music we received afterward matched that image quite closely, so it expanded from there.

— It is interesting that the characters are dancing so seriously.

Tachikawa: Throughout the sequence, the arbiters are actually listening to that song. That's why everyone is dedicated to it. Some of the characters are more reluctant, but that too is incorporated into the way each of them dances according to their personality. ― Please tell us about the ending as well. Director Shinichiro Watanabe, mentioned earlier from Terror in Resonance, handled the storyboards and direction, right?

Tachikawa: Because of how tight the schedule for Terror in Resonance, Watanabe-san told me, "If you ever need any help, let me know." Since the main story has a heavy workload and Watanabe-san has another job lined up, we decided he could handle the ending. We conveyed the essence of this work and asked him to create the visuals by summarizing the concept.

― Just like the opening, the show proper seems to have a sharp sense of humor. Episode 6, Cross Heart Attack, which is a gag episode, was also very entertaining. What are your thoughts on humor in this series, Director Tachikawa?

Tachikawa: Rather than consciously thinking, "Let's make people laugh like this," I just did what I liked, so it came out organically. Someone told me that my comedy tends to be surreal. I like when jokes come at unexpected times. In Death Billiards, for example, there was a scene where an old man's dentures flew out after he hit the glass. In the sixth episode of this series, there's a moment when Mayu is about to fall and get pierced by a needle, which then becomes a gag. I think I enjoy the contrast between seriousness and comedy. If it's comedy all the time, it becomes monotonous, right? Before doing comedy, I intentionally insert tense elements and create a contrast, so that's where I aim for laughter.

― Decim also has quite a mischievous side. Is that also aimed at creating contrast?

Tachikawa: Yes, that's right. And Decim has a cute side too, so I thought I'd stretch that a bit.

 — (laughs). (Laughs.) Is the change in Decim a key point in this story?

 Tachikawa: Yes. I think that will be an important part.

― As the show is enters its final stages, could you tell us about the highlights of the second half?

Tachikawa: In Death Parade, we are trying to depict the essence of human "life." To that end, we need to define what it means to be "alive" within the story. I personally believe that the purpose of living lies in facing and embracing everyone’s individual qualities and destinies, while actively making choices that shape our own paths. This aspect might be related to the core of this work.

― It seems to have philosophical themes. Do you often think about human life and death?

Tachikawa: No, not often (laughs). ━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━ NOTE: I am not fluent in Japanese! I translated this with the help of a language partner. However, as neither of us are fluent in one another’s native tongue, there may be errors in the translation. I typically don’t share things I translate in my free time, but since no one has tackled these interviews in nearly 10 years, I figured it was nice to put these out there for folks who may be interested.

[midnight-sally]

Decim, Death Parade, Episode 11: Memento Mori (17:36-17:56)

[thatanimewriter]

DEATH’S DOORSTEP.

➳ request: Hello hello, I hope requests are open, if not, just ignore this request.  I can ask for a headcanon, with Death Parade gang or just Decim, where the reader who is Death itself, they are kind, sweet and soft-spoken, they are participating in a game against the one who killed them, imagine death needs to participate in the games of life at least once to feel what it's like when it arrives for humans!  and they only find out when Death wins the game, and reveals that every century Death needs to know what it's like to be human, they never lose the games.  OP Reader Supremacy! Thanks for your attention. (Inspiration taken from Nail Gaiman's Sandman Comics.)

➳ character/s: decim, nona, ginti

➳ warnings: swearing, mentions of death, actual death??, mentions of murder, can be interpreted as romantic or platonic, it’s not really referring to either of them explicitly

➳ notes: DEATH PARADEEEEE! i took chiyuki outta this one just cause it didn’t really make as much sense in this scenario, but our icons are here :))

𝐫𝐞𝐪𝐮𝐞𝐬𝐭𝐢𝐧𝐠 𝐫𝐮𝐥𝐞𝐬 / 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐥𝐢𝐬𝐭  / 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭 𝐨𝐟 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭𝐬 / 𝐰𝐢𝐩 𝐥𝐢𝐬𝐭

──  𝐃𝐄𝐂𝐈𝐌.

nothing out of the ordinary here

just another set of clients

where one of them killed the other-

he’s quite surprised how sweet and kind you are

always thanking him for the drink

in return you get a ._. from decim

during the game, you end up playing poker and decim is a lil bit impressed with how smart you are

he finds that even when facing your murderer, you’re still nice???

what the hell is up with that?

he knows your memories because he kinda has to have them

but he’s a lil taken aback at how fast yours came back

more so how graciously you took the win

since figuring out you’re death, he now wants you around way more

he wants to know what you think of different guests and possibly have you help with his judgement

eventually he just grew fond of you anyway, cause you’re so SWEET what is it about you that makes him want to hug you-

he hadn’t seen you before, he’d been working for less than 20 years

so the earlier he got to know you and your beliefs on life, the better

not for any self-serving purposes like being the object of your kindness

not at all...

──  𝐍𝐎𝐍𝐀.

i feel like nona would be the first to catch on before the end of the game

she’s been doin this for a whileee

she’d pick up on anomalies quite fast

not many people enjoy the presence of a killer

but nona found herself enjoying your company a lot more

you were so nice and polite

even to the other competitor for some reason

which she saw no point in

but she did give you the benefit of the doubt considering your memories are erased

and she was right to, because even though you took a while to gain any significant memories back

you DESTROYED the other person, it wasn’t even close

and only until the very end did she realise you knew you were death itself once you came to the elevators to leave

in which you just smiled at her and asked if you could have another drink

she said yes cause honestly, you deserved it after that shit show and winning by a landslide

and that was when she decided to make you a a clavis 2.0

she had yet to meet you, since this only happens every century and she hadn’t been in management the last time you came

so she took the time to get to know you and BASK IN THE TOOTH-ROTTING SWEETNESS

that is you :))

you’re now her new pool buddy in her spare time even if you always win

──  𝐆𝐈𝐍𝐓𝐈.

“huh?”

head empty, no thoughts

he doesn’t usually get customer dynamics like murderer vs victim

but he did find himself getting a bit angry

because who is this bitch to kill someone so nice as you??

it took a lot not to punch the guy across the bar as they entered

there’s a clear bias here, but he doesn’t let it impact his judgement

is what he thinks

but while watching you guys compete, he’s already vouching for you

secretly screaming in his head when he sees you continue to get ahead of the opponent

just a casual internal dialogue of

“FUCK HIM UPPPPP-”

he gave you a nice NOOGIE for winning and then had you sit with him after the game to have a nice chat

nona did join you guys to discuss business with you and what you’re job would be

which is a massive bonus for ginti, cause he gets to see you a ton >:)))

lots of playing with the cat

and a lot more noogies

also a lot of ginti asking you about how the other games went from previous centuries

and pisses off nona because he always gets you to stay during his appointments-