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tsumi no moyou kawari banko this line in requiem can also mean "[taking turns/switching] between my sin state(s)" in which the sin is his self-states since kawari banko was used in t1 as "taking turns" (which if you had to en-fy it, it's pretty much "switching")
Some non shidou swapgrammies (yuno and kazui)
Related to this post . This too can be 0505
Y’know, the plummeting of positive sentiment towards John is really interesting to me, as it’s in large part due to how it is believed that “alter roles” are some fixed, rigid box an alter must fit into. The Milgram fandom labeled John a “protector alter” then projected their idea of what valid and acceptable protection is onto him. He was described as misguided, yes, but only misguided in a way people could easily sympathize with and readily digest—that is to say, John was theorized to have only killed people who “deserved it”.
Now that we know who he killed, and that they decidedly did not “deserve it”, that illusion has been shattered. Instead of accepting this, many fans have doubled down to insist their perception of him is the correct version and that canon is a mistake. There are claims of him being entirely fumbled, of him being retconned, yet this is who he always has been. The thought of John as a hero figure who protected in a way they could easily sympathize with is a fandom invention.
A “protector alter” has to exist within the bounds of what a “true protector” is to be accepted, it seems. So many have said things like, “How is John a protector? He didn’t protect Mikoto at all! He made things worse!” John was never stated to have any one role—just displayed certain motivations and values—and even then, in the moment, he’d perceived his actions as being necessary. In that, I would say John is somebody who protects out of necessity instead of a rigid “protector alter”. Someone will protect in the way they feel they must, not in the way you feel they must.
It must be understood that John had been acting under incredible pressure and strain. He seems to have been frantic and, not to mention, disoriented. I’m not trying to say that his actions were justified; I’m pointing out context I believe is often neglected: John had not been in a clear-minded state at the time of his murders at all, and was instead at his absolute limit.
Also, it’s still possible to sympathize with him, it’s just less comfortable to do so than many expected. John has always been known to be “misguided” and to have killed multiple people, so why the uproar? Popular theories were wrong, but that doesn’t mean the actual character himself has to be scrapped entirely. All it means is that we ought to look at him differently.
Btw I’m one of the people who had theories aligning with the popular ones so this is also me criticizing my own knee-jerk mentality. I struggled to accept John as he is right now for a few days myself.
yeah. i found it fascinating not only to prescribe him alter roles, such as rigid categorization which easily becomes stereotyping in its reduction and rigidness of character, but straight up anglo-centric alter roles (though in japan even alter designations are adjectives rather than a noun category like in anglo spaces)
like we don't really use the adjective descriptors either but the terms do exist for people who choose to talk about themselves in that way but there's WAYY LESS focus on alters (like genuinely you barely really see people talking about that) and more on ways trauma has affected someone and coping strats and frustration towards incompetent institutions/clinicians/etc and ableism
i'll provide like an example of an adjective descriptor people use but please please please do not focus on it so entirely to get caught up on something that's not exactly used much
救済者人格 = savior self-state/selfhood; colloquially known as "protector" in en did spaces
saving someone can mean methods that aren't always conventionally understandable or subjective morally good. as long as it saves them, then the methods could be endless
my future is tomorrow i'm scared
i'm curious what you think about mikoto's killcount because i vaguely remember you criticized the idea of it being this high before. i liked a lot of his t3 but this is one of the parts that i can't come around to and which makes me question what was yamanaka's point with this that could not be achieved with. literally any other number tbh.
i dont feel a lot about his killcount, but thats probably my very on-and-off empathy if im honest. half the time i dont understand why its supposed to be so horrible, and my mind always ends up drifting to the millions of social murders that occur that nobody bats an eye at; it is endlessly fascinating that it is only when an individual grabs a weapon that violence seems to be recognised as such.
but if i was going to stick with the assertion that Murdering People On The Street Is Bad – Focus! – i do understand where the critique is coming from. i understand why it was included In General (needed more impersonal victims, needed more multi-murders) but i can accept the critique that on a surface level, it reads that those who have mental illness kill indiscriminately and in far larger quantities than those of accepted mind.
i do find it hard to imagine how his case would play out with less victims though. it is very easy to lose what makes his crime thought-provoking; seeing as the less victims the more personal the victimisation is, and ultimately his crime was not personal. maybe if he had attacked 12 people, but only one or two had really died..? or maybe if the cast had simply had more unambiguous murderers in, so he wouldnt have looked like such an obvious outlier.
I've always been an extremely casual MILGRAM fan, but I want to take a minute to talk about the evolution of my opinion on Mikoto's trial 3, cause I think it's important.
When I saw the report, I literally about threw my phone across the room. I was spinning through the stages of grief like a fucking merry-go-round, telling everybody I knew how bad they butchered my boy.
But then, while looking for people online to validate my frustration (like a complete idiot), I came across some takes from people who... actually looked at something other than the songs (hi new mutuals, that's some of you!). And I realized I completely misinterpreted everything (and made the mistake of having an opinion without having the full picture).
I finally got around to making that longer analysis on Substack.. if anyone is interested click here.
I love you so much for putting into words what I had trouble even considering. This is going to be a little emotionally charged and I apologize if it’s too much.
TW: Discussions of child abuse, some descriptions.
I'm glad my ramblings were able to help you understand your frustrations with the discourse. The reception to my posts about Mikoto have all been very good and constructive so far and that makes me happy and is very relieving..
And don't worry about having put something this heavy here. This whole discussion is very heavy, so it makes total sense; not out of place at all.
(I'll put a tw as well.. I maybe should have been doing that before.. TW child abuse mentions)
a more personal reflection in response to mikoto's t3, about how diagnostic labels tend to only be applied after a breaking point, and how societal systems often fail us
you know how sometimes there's characters we find fascinating because their story is compelling, even though they aren't necessarily relatable? and then, there's others that we grow attached to because we see so much of ourselves in them?
i'd always considered mikoto to be in the first category for me, but after seeing the report, i realized there's actually a strong similarity to my own reckoning with mental health. it's left me reflecting on how easily we dismiss things that are unlabeled as insignificant, and even after finding a label that fits, it can feel restrictive, binding. we start thinking of the diagnosis as the source of all issues, rather than recognizing it simply as a term to describe an individual's experience.
i find the claims that "the report says mikoto couldn't have developed DID in childhood" misguided at best and insulting at worst for a multitude of reasons... but what i want to focus on for now is this notion that if somebody is successful in school/work and has little to no social disturbances, then that person must not have any mental disorders. in fact, they have no right to claim any sort of suffering, and it's insulting to those who have real problems.
i've heard this kind of rhetoric for all my life, internalized it as a child, carried that with me through teenage years and into young adulthood, mocked and diminished myself with it even in the absence of others.
i lived in a stable, middle-class home with parents that took care of me, so why would i have any problems? nevermind the fact that i was never taken seriously when i was "too emotional", or that my opinions were often talked over or turned into an argument (which would lead into the "too emotional, you're irrational" problem again), to the point where i'd avoid conversations by zoning out, and never disclosed anything about my personal thoughts or interests, feeling like my family never knew the "real" me.
but hey, we'd always eat dinner together. and if i really needed to buy something, i could always ask and usually get it. and if i got a call from home, i'd definitely pick up and let them know how work was going fine, not to worry about me, because i'd want them to be proud...
oh, right, and there's also the thing about how mikoto thought of himself as a genius, and never had setbacks or disappointments.
i was precisely that stereotype of the asian kid who's better than you at everything. straight As with minimal effort, shelves full of awards for musical performance, mathematics, athletics, so on and so forth. and that didn't end for me after high school, like it does for many "gifted" children. actually, i excelled even more in university, where the only reason my perfect GPA became "blemished" was because of a severe sinus infection during finals, and an unreasonable professor who wouldn't allow me to take the exam at another time when i was healthy. and no, i didn't have to sell my soul pulling all-nighters to study. actually, i spent most of my time having fun with various social circles, and would often skip classes to sleep in after a night out.
i always, always feel an ick when i bring up these facts about my life because there is inevitably someone who sees all this and thinks, "wow, we get it. you're very talented and smart and everything comes easily to you. lay off the bragging, would you? you're not special." idk, maybe that's just the critic in my own head talking, but hey, i got that voice from somewhere for a reason.
i bring all this up because mikoto's spectacular crash-and-burn in his first job after graduating is hilariously and horribly relatable to me.
i'd secured a great position with one of the largest healthtech companies in the country. i'd impressed them during my internship, and felt confident that i could continue doing good work there. and, at first, that seemed to be the case. training went off without a hitch, i was getting along with my coworkers, and i was excited to finally manage my own apartment space...
fast-forward a year, and i was struggling to clock in on time. project deadlines felt overwhelming, and meetings were filled with technical jargon that i couldn't parse at all. my peers were being promoted to leadership positions, while i was struggling not to be left behind. i was told that 8 hours a day wasn't enough, because my coworkers were usually working 9 hours at minimum, and i ought to match their efforts, right? i'd often alternate between hours spent zoning out staring at a blank wall, and hours stuck at my desk late into the evening because i'd finally gotten into the flow of things, and if i stopped working now, i'd lose all my progress! only to finally come home to an empty, dark apartment, and realize, "oh, i still need to make dinner..."
the apartment was starting to smell. i was too tired to clean, too tired to cook, too tired to shower. dirty dishes, rotten groceries, infested garbage can. that's disgusting, isn't it? it's ok, nobody noticed, so nobody cared. people are pretty good at hiding the ugly signs of mental illness.
i couldn't even admit it was mental illness at the time. it was laziness, it was burnout, it was... idk. not that bad. it was all my own fault.
once my absenteeism became too much for my company to ignore, i became partially hospitalized for depression. i learned a lot while i was there and started making real connections with people for the first time since graduating, but just when things were starting to look up for me, my insurance coverage was pulled, with the reason being, "i wasn't depressed enough". how did they determine this? by the number i filled out on a 1-10 survey about how much i thought about suicide. ridiculous.
i went back to work feeling betrayed and let down by the healthcare system, and within a few months, i was finally fired. finally, i say, because i felt relieved that it was over. i'd "failed", if we imagine this whole school -> employment pipeline as some kind of massive exam, but i was glad. i could still start over.
looking back, it was only because of this "failure" that i was finally able to consider that i had ADHD in addition to depression, and receive a diagnosis and medication. up until then, i'd always thought, "well, i have some traits that fit the description for ADHD, but it doesn't impair my day-to-day function, so i don't have it!" it was only after i became impaired to the point of partial hospitalization and unemployment that i could even consider a diagnosis. and even after receiving that label, did my issues get magically resolved? absolutely not.
so, what does this mean when we think about what the label of DID does for mikoto?
i like to think about what yamanaka said once about his character writing, which is that rather than thinking of labels first and then working inward, he prefers to start with the character's inner traits and work outward. from there, certain labels will naturally bloom as a result. with this kind of writing, it is easy for a character to be misinterpreted or misunderstood, but it reflects much more accurately what people are like in real life.
we ought to remind ourselves that behind every label is a living, breathing person with a wealth of personal experiences. and just like es said, every person's suffering is unique to them. there is no benefit to playing comparison games where we say, "this person had it worse," "that doesn't count as abuse," "you should be grateful you didn't deal with x," and so on. living comes first; labels come after.
doubting mikoto's experience with DID on the basis of him having a "perfect childhood" is reductive, dismissive, and misinformed.
i've gotten flack for "treating mikoto like a real person" with this line of thought, but does it not make sense to think that if you apply this kind of framework to a fictional character, you might apply it to real people as well? can you understand that people who relate to mikoto's experiences (including pwDID) might feel shut down and invalidated when they see his character getting mocked for being "unrealistic" and "harmful"?
there's a whole other tangent i can dive into about how the label of DID is forced onto mikoto specifically in the context of a criminal justice system, but as that goes beyond my personal experience and has been explored by other people in the community, i won't harp on it anymore.
this is a more vulnerable post for me, who has been scared off from online spaces before, but this kind of self-reflection helps me to evaluate myself and issues we can improve upon on both a societal and personal level, so i hope it helps at least one other person to do the same.
Incomplete thing I was gonna put on Reddit but I didn't feel like dealing with Reddit and it's been a few days
I will be parroting a few opinions from systems on Tumblr since I think their input is really helpful to understanding where my head is at with this.
I think that Mikoto has DID. I also think that he formed a new alter because of his new abusive job. I think that Mikoto’s life wasn’t actually that great and the report is presented in a manner similar to cases presented by the prosecution. A report meant to ignite disgust in people and as consequence leave them fuming in the wake of what Mikoto did.
Recently I learned that the top reason for forming DID in Japan is neglect. It’s sometimes been floated around here and there that he was parentified by his mother, since the only man in the house left during the divorce and Mikoto was left to assume every single role people wanted him to fit into. I feel like the report even hints at Mikoto having a very loose, fluid sense of self, suggesting that he has a self for every situation he could get into and that’s what helps him be popular in school and other situations.
I think that it isn’t too much a stretch to suggest that Mikoto has always been dissociative throughout his life, constantly molding himself around his environment to avoid stirring the pot and making people unhappy, people-pleasing until there’s no one left to people-please and he can finally rest. He’s an upstart, he gets a job, he wants to make his mom and sister proud… But there’s one problem. No, make that many, many problems. His boss is a workaholic and transfers that attitude to all of his workers. He is loud and berating and he pushes Mikoto to take on hours that are torturous in nature. Mikoto goes through grueling hours and intense sleep deprivation for 100 days. He is shown to be afraid of dying because of how vicious his job at the time was.
Let’s not address the dissociation for now. I imagine it’s hard to picture happening for people who don’t go through it. Instead, focus on the sleep deprivation. The constant verbal abuse. What were likely conflicting and confusing directions, only to be berated for not immediately picking up on the subtleties workers with seniority likely picked up over time. The constant piling on of more and more work, the shots of false relief only to be cruelly corrected and then cast back on the course with all the ferocity of a drill sergeant. Let’s not take this as an angle of mental illness, because oftentimes people focus singularly on the idea of a mentally ill person. What I want you to focus on is the following:
Would you be okay after 100 days of cruelty, torture, and constant stress that made you feel like you were going to die?
I understand the disappointment. Clinical diagnostic materials are quite often treated as gospel because they do help improve a lot of people’s lives. However, it’s important to address that we really don’t know everything there is to know about dissociation yet. On top of that, Mikoto was only diagnosed with DID after being brought into MILGRAM. This means that he went his entire life potentially having symptoms and sometimes wondering why he does certain things or forgets certain things, but never having an actual answer until he’s inside of an abusive prison system. He genuinely may have had symptoms and irregularities appear completely normalized to him, and only have something as severe as John’s actions brought to his attention upon his entry into MILGRAM.
When he’s brought into MILGRAM, he’s so confused by the situation that he literally has no clue what’s happening and assumes it’s some prank show or reality television show. Es in Trial 1 fully embodies the system as it operates typically. It is very unmerciful to Mikoto, so Es is similarly unmerciful. When Mikoto is lackadaisical in the face of what Es knows to be a very serious situation - one in which everyone present has taken at least one human life - Es is disgusted and insulted and insists that Mikoto admit to his crime.
It’s not that Mikoto faked it, or doesn’t have it, or is a poor representation of it. To me, I think he could represent someone out there. Not in the sense that someone out there with DID became a spree killer after 100 days of legalized torture, but rather, he could represent someone who is constantly forced to march in line towards a painful, miserable existence that literally everyone around himself seems to expect him to be fine with.
I also feel like I need to talk about how Mikoto gets diagnosed in the first place. There are no doctors in MILGRAM (who know of the condition at the time), in the moments of the diagnosis it was literally just Kotoko and Es. Kotoko and Es, the latter of which who’d gotten attacked by Mikoto moments earlier and who had still been insisting that Mikoto remember his crime. I don’t think Es even really knew what DID was when Kotoko came in, Es is amnesiatic, they are introduced to the concept of MILGRAM and never ask questions about going home or going anywhere else. Es seems to exist solely within the world of MILGRAM and further likely had to be introduced to different concepts over time.
So, Kotoko is the one to bring up the possibility of DID in Mikoto, and Es agrees to it because her definition of it and her explanation of it makes sense to them with the behavior that Mikoto showed.
Mikoto during Trial 1 was never formally diagnosed with DID by a doctor, he was diagnosed with DID by Kotoko, a character who seems to be a sort of way for the story to criticize punitive justice and how MILGRAM itself works. Kotoko even discusses possible discussions of whether or not Mikoto is culpable because of his diagnosis as a sort of angle, as if she’s fascinated with what conclusion Es will come to. If viewing the voice dramas in order, we wouldn’t know what Kotoko does to guilty prisoners quite yet. We only become cognizant of what she does to guilty prisoners once the guilty prisoners have been punished by a wild and free Kotoko. Sure, maybe we could try piecing together from her music video what her idea of justice is, but I’m giving people the benefit of the doubt because frankly I don’t think people would’ve voted anyone guilty if they knew Kotoko was going to near-fatally assault a character like Mahiru.
All of this is to say, Kotoko posits the idea of having Es debate whether or not to hold Mikoto culpable for his crime because he has a dissociative disorder. Kotoko is also the prisoner who viciously derides the fact Es was merciful to literally any of the other prisoners in Trial 2. I feel like between Trial 1 and Trial 2, Kotoko found herself disgusted in the affirmations of the innocent verdicts and thus began calling for us to tell her to bare her fangs for our sakes again. Kotoko is punitive justice, Kotoko is the audience’s shadow, Kotoko is what the audience becomes when they vote in order to punish or kill a prisoner, rather than to engage in the idea of affirming or disaffirming beliefs within them.
I think it’s interesting that the prisoner who embodies the crueler side of the institution the most is the one to assign that label to Mikoto. Because even if it may be accurate to him, a label such as “mentally ill” in literally any respect often causes people to do a double-take. It’s often the subject of headlines when something bad happens. Mental illness diagnosed following a crime is usually to immediately explain why someone lashing out in a violent way happened. It isn’t that the world they’re living in pushed them to react this way, it’s that they had something wrong with themselves. Kotoko is the system pushing the label onto Mikoto because he behaves in ways she thinks she can prescribe a definition onto. It helps her dismiss him easier. It helps her justify to herself that assaulting him is a normal and fine thing to do because he’s dehumanized to her by the diagnosis.
possibly the funniest argument I've seen so far: Mikoto exhibits more symptoms related to personality disorders than DID (which explains everything, such as why he has these symptoms without childhood trauma)
hey uhhhhh. remind me how personality disorders develop again? haha I'm blanking ^_^
MILGRAM is an ARG (Alternate Reality Game)
Alternate Reality Games (ARG) are a collaborative game that is co-created by its players and the game designers, in which activity is often centered around a search for narrative, limited in its playability. It is “a reflection of the sociological milieu through which we interact [with]” (Garcia et al.).
The 3 Main Features of an ARG:
1. Transmedia storytelling Narrative elements of the story are distributed across multiple mediums (Bonsignore), differing in its content. In MILGRAM’s case, its story is scattered through CD voice dramas, YouTube music videos, novels, manga, scriptbooks, and even its limited-run live performance that featured a morse cipher at the end of curtain call.
2. Anti-escapism ARGs are played in the real world, qualifying them as anti-escapist. MILGRAM is played by its participants in the real world through a digital medium. “[P]eople don’t play ARGs to escape their life but to improve it in several ways such as enchanting it or making decisions that have an impact in their life” (Garcia et al.). MILGRAM’s topics invite commentary, discussion, and discourse on society and culture. After all, in violation of a law that created these prisoners, the edges of morality/ethics/judgement/sense and so on are defined.
3. Ambiguity ARGs blur the boundaries of what is part of the magic circle (Salen et al.) of the game and what is not (Garcia et al.). In ambiguity of information, context, and relationship, it is up to the player to navigate between the blurred spaces of the game and reality to piece together a narrative through interpretation, introspection, and curiosity.
ARGs take the familiar everyday world and—through some simple conceits—makes them look strange and unfamiliar, allowing participants to do things they’ve never done before or think they cannot do because they, in the space of an alternate reality played in reality, have forgotten that they cannot be done (Garcia et al.). These types of games often present itself as This Is Not A Game (TINAG) to increase immersion.
MILGRAM is an Alternate Reality Game (ARG) that advertises itself as a transmedia series that invites its viewer-wardens to cast judgement on its prisoner-characters. Its story is distributed across monthly mini-comic releases, Twitter-like timeline updates on its mobile app revolving around the life of its prisoners within MILGRAM, CD voice dramas, and music videos on YouTube. Voting is done on the MILGRAM website or its mobile app.
Mechanics of MILGRAM
The diegetic design choices MILGRAM creates an eternally growing discourse born from the interpretations of players, in which conflict is created from the variance of meaning engendered from a player’s interpretation and the in-game characters’ actions for the sake of a goal (Salen et. al). The goal in this case: the final verdict. Individual votes of the jury-audience-participant-player are corralled for a final verdict at the end of a Prisoner’s voting period, where consequences are based on whether the Prisoner was 赦す or 赦さない. MILGRAM is set in a panopticon, a circular prison with cells arranged around a central well from which prisoners could be surveilled from at all times by an unseen warden. ARGs in itself are panopticon-like; players are constantly surveilled by other players, game designers, anyone on the internet, and the devices they use while playing whether they’re aware or not. As ARGs inherently blur the lines between the magic circle of a game and reality, as well its structure of an open system where it is “engineered to be responsive and adaptive to player involvement” (Davies), there lies the question of where the panopticon players engage with ends; in MILGRAM, in real life.
French philosopher Michel Foucault expanded the idea of the panopticon from being merely an architectural idea to being a symbol of internalized authority, creating a self-imposed prison within one’s own mind (Foucault).
MILGRAM’s story of a performative prison is made legitimate by its participants; the prisoners, the warden, and the judge and jury: the audience. In participating in this game, the bases of the viewer’s judgement and decisions are challenged, not only by the characters of MILGRAM itself directly addressing the audience but, also, by fellow viewers and oneself. While MILGRAM coaxes the audience through entertainment— escapism, this inherently anti-escapism game tears down that presumed distance between audience and character, where the participant becomes both the judge and judged, making you realize your own culpability in the surveillance and creation of systems of authority that govern people; you, the warden to their own prisoner, a self-sustained panopticon much like MILGRAM. The systems of ARGs cannot exist without its players and MILGRAM/reality is no exception. MILGRAM cleverly utilizes the relationship people today have with mass media and arts to challenge the foundations of realities that a person’s decisions and judgement are engendered from. It is, quite literally, a social experiment—that reflects its namesake, the Stanley Milgram obedience experiments—of a game where the bounds of the number of subject-participants studied through the act of being perceived are endless.
"ARGs illustrate how games have real consequences. They are media that connect people with environments and infrastructure. These connections are usually governed by myriad rules and media. In everyday, non-ARG experiences, a key question for interacting in society is if an individual feels like she or he has the agency to engage at a civic level with rules and society. Many social structures— laws, conventions, stipulations— cast individuals as passive agents in society or are not clearly delineated. These rules are opaque and so most civic infrastructures remain opaque. A game creates transparent mediations in which people do have agency. And of course, once you have agency, even in imaginary contexts, you remember that feeling. You can map that feeling as a demand or positive expectation onto non-mediated or non-transparent or too static situations where you don’t feel like you have agency." (Garcia and Niemeyer)
ARGs are often associated with a mystery or narrative, known as “central fabrication”, that participants and players work to resolve (Garcia et. al). With a Cultural Alternate Reality Game (CARG) such as MILGRAM, it can change the image of a cultural institution; be it the institution of justice and punishment, mores, milieu and more. Culture is “a set of beliefs, practices, and symbols that are learned and shared… [that] form an all-encompassing, integrated whole that binds people together and shapes their worldview and lifeways” (Braff and Nelson) and if the characters, thus topics, that can be found in MILGRAM are a reflection of present reality—present culture—then in dialogue of this game comes understanding of the player and their relationships to self, other, and world; The increased apophenia leading to critical thinking of present social mores, increased sociability due to the community centered within an ambiguous border of play, and creating meaning in what cannot be escaped, MILGRAM—ergo ARGs—help develop of a player’s identity and agency through the process of acquisition and performance in an alternative reality co-habituating reality.
some more swap shidous because i been preoccupied with artfight (20 attacks made so far hooughahg) and i needed a breather. so. the.
Canon Shidou meeting 10Shidou?
bad. it'd go bad. They hate each other (himself) and one of them (10shidou) is willing to do Anything to do 'what's right'. Normal shidou would be frankly disgusted at 10shidous actions and 10shidou would think canon shidou is a self deceiving idiot trying to feign a moral high ground.
though, since 10shidou works more as a divergence from canon shidous circumstances... how would he feel about his past self (as established in triage)?
bad. the answer is really, really bad.
in words i gave to another mutual
if you feel like talking abt it,, may I know more abt swapgram 10? 🙏🏻
hiiii i have so many thoughts about swapgram 10 (that being shidou) but i will give you thoughts on the both of them.
10shidou is Mean. he is cold and standoffish, a bit similarly to kotoko in milgram but with a slightly different reason. They both don't want to get close to people, but while we dont know for sure kotokos reason, 10shidou has lost his family, his love, his entire life, and is deeply afraid of experiencing that again. that, and, hes surrounded by murderers. he's treating them as such.
speaking of, im probably gonna try drawing his clothes to be less baggy (i draw them with the physics of it in mind too much...) and more 'sleek' to match his sort of 'elegance' like his cape gives him in milgram. hes like a snake. i hate him a lot.e
05kotoko!! she keeps her sense of justice but gets shidous deep deep guilt externalized as suicidal desire instead of her drive to fix injustices. she views herself as an 'injustice' in that sense. i don't have much thought up for her as im waiting for her t3 but!! generally whatever happened she blames herself fully. she doesnt see what she was doing as wrong in the way shidou did but she takes all that as 'righteous wrongs' she had to commit, that are catching up to her conscience now that she's done something she cannot even justify. yay? notably she dies in t3 instead of shidou due to the number swap... havent figured that one out yet.
okay thank GOD you think mikoto t3 is good i do too but the entire fandom made me feel like i was going insane
do not fear anon i will put you in a loving blanket for being good takes gang. we will save you
as far as ive seen of the fandom response a large bulk of the backlash is because people are pressed that mikoto doesn't seem to fit the etiology of DID as concieved in america (i.e. seemingly uneventful family life, positive relationships and prospects until he started at his job). but i will never understand people that care more about characters conforming to psychiatric constructs than about being portrayed as people – this is how we get people arguing that Split is good rep because it superficially hits each diagnostic criterion [1, 2].
that's also not even accounting for the fact that a lot of the fandom appears totally unwilling to entertain the fact that you can be predisposed to a complex dissociative disorder even with relatively normative childhood experiences, since normative is relative, and does not necessarily mean 'not damaging to development', especially if e.g. being raised in a way that encourages dissociative internal structures may even help the child to perform tasks and roles expected of them more effectively (up until it doesn't, such as after a severe breakdown as a result of later trauma that meshes badly with / exacerbates weaknesses in the person's current internal structure). people forget that what is pathological is entirely subjective and very culturally-contextually dependent.
they also forget that the most common causes of DID in japanese children are different to those for american children. holy racism assuming that because something isn't just like america, that it must be wrong.
i've seen some crazy takes that mikoto's report implied that he just split an evil personality and went crazy one day because of (snootily) his job after having a perfect life before that, and it's just... no... that's not what it said. that's not what it said at all. and if that's what you're reading from it, maybe you should reassess your ability to read between the lines and be curious about other cultures and experiences which may give you further understanding for what experiences the writing may be trying to convey. maybe you should also be a little kinder, if not to the writers, to the people that find meaning in the character that you're mad about (just because he didn't fit your headcanon-expectations or personal fetish for american concepts around plural systems). but i digress.
i think mikoto was good :) some aspects were a little awkward, and he's not the combo-kill-as-suicide that would have been so fucking awesome... but he has a lot of really good nuggets, and he hits hard for me and a lot of my friends, and his interactive-writing-as-social-experiment has a lot of potential for literary and social analysis that i've already written uhm. a lot about. i will make a gang for those of us that think mikoto and his t3 was a good ride. and we will hold hands and stuff. spin