Management: While my opinion of the show is generally positive overall, this essay, by no means, is meant to serve as a comprehensive review, but rather, as an articulation and analysis of some of what I feel is this series’ most integral and interesting themes.
To temporarily relegate the Danganronpa franchise’s rather passionate, colorful, and often on-the-nose discourse on hope and despair to the background, there was a starring Danganronpa character during the Danganronpa 3 anime whose actions and circumstances caught my attention. He stimulated my mind cogs like trigger pictures coupled with brain prods. Okay, maybe that was an exaggeration, but it prompted me to write. With his status as the “Ultimate” Animator, Ryota Mitorai possessed not only the capacity to make media generally, anime specifically, that people could enjoy. He also possessed the ability to create propaganda could brainwash the masses. Willingly, in the name of hope, and unwittingly, in the name of despair, he appropriated his skills and had his skills appropriated to compel people to act.
To qualify, Danganronpa 3 rather oversimplifies the power media has at shaping viewer psychology. Animation is a type of media, and where influencing other people’s behaviors are concerned, the power animation has over our thought processes are limited and conditional. The show automatically assumes that it’s possible that media creators generally, and animators specifically, can brainwash other people at a smartphone and TV monitor glance if they’re “Ultimate” enough. The brainwashing mechanisms themselves weren’t enough to get me to muse. What did get me to ponder were the references and parallels Danganronpa 3 seemed to be subtly drawing between Ryota and Japanese artists, cartoonists, and yes… animators from that channeled their skills, willingly and willingly, wittingly and unwittingly, to create propaganda for their causes.
As I recount Ryota part in the story as the propagandist for both despair and hope, I’ll make some self-interjections in strategic locations to draw connections between two parallels in animated media to have made their notorious mark in Japanese history: war-time Imperial Japan and guilt, and asociality, anti-sociality and the Aum Shinrikyo cult.