Danganronpa: Trigger Happy Havoc
Introduction
Have you ever thought about what it takes to escape your classroom? Danganronpa: Trigger Happy Havoc (2010) introduces that very idea, scaled to an extreme—it is a visual novel-style horror game developed and published by Spike Chunsoft. The story begins with the player character Makoto Naegi receiving an acceptance letter from Hopes Peak Academy, the highschool for students with “Ultimate” talents, implying they are the best in their respective fields. What begins as a surreal dream soon turns into a nightmare when Makoto sets foot into the school and immediately passes out. He wakes up in a classroom only to realize the windows and doors are heavily bolted off from any potential exit. Makoto explores the school and eventually meets 15 other students trapped in the same situation.
Eventually the school mascot—a bear named Monokuma—appears and explains the rules to a killing game that the students will be forced to participate in, in order to “graduate,” or escape the school. While the students initially claim that they would never hurt anyone, Monokuma introduces motives throughout the game as a way to effectively jumpstart the killing. Motives dig into the character’s psyche and backstory to reveal hidden secrets that would drive one of the students to commit the unthinkable for their own personal gain. However, with the player’s keen detective work and fatal flaws within the crimes committed, the killers are revealed one by one.
Danganronpa has amassed a huge community of fans, many of which are artists, cosplayers, animators, and even game developers creating their own fangames that replicate the unique art style, atmosphere, and gameplay, like Project: Eden’s Garden. Danganronpa: Trigger Happy Havoc has sold over 1.3 million copies of the game on Steam, according to Gamalytic. However, this statistic barely scratches the surface—the game is widely accessible on numerous different platforms, such as PS4, iOS, Android, Nintendo Switch, Xbox, and so many more.
“Trans Shock,” Toxic Masculinity, and Chihiro Fujisaki
The second case of Danganronpa: Trigger Happy Havoc follows the murder of Ultimate Programmer, Chihiro Fujisaki. For simplicity's sake, they/them pronouns will be used for Chihiro as they are referred to as both a girl and a boy during the trial. At the beginning of the chapter, a new motive is introduced to incentivise the students into killing, this motive being their “most embarrassing secret.” In 24 hours, if there were no killer, all of their secrets would be shown to the world. For Chihiro this secret was “even though he is a boy, Chihiro Fujisaki dresses as a girl.” As we learn in the trial and throughout the game, Chihiro was weaker than other boys and they were picked on frequently. As a result, they began to present as a girl to protect themselves from the bullying, though this was not a long-term solution, as the harassment would worsen if people found out. In Hibby Thach’s article “A Cross-Game Look at Transgender Representation in Video Games,” she speaks about the concept of trans shock, “Trans shock refers to actual shock and panic around unexpected physiology or genitalia…” (Thach 31). Danganronpa attempted to further complicate the trial using this concept, since one of the key elements in their case was that the body was found in the women’s changeroom, while the murder actually occurred in the men’s changeroom.
“I was... jealous. I was jealous of Chihiro's strength. He had the strength to face his own weakness, to try and overcome it...! It was the kind of strength I've never had... So I was jealous of him. And that jealousy... broke me.” (FPZero).
The killer is revealed to have been jealous of Chihiro’s bravery in revealing their secret and working to better themselves and was overcome by his jealousy which ended in him killing Chihiro. He had made a “promise between men” to keep Chihiro’s secret and so he moved the body to the women's change room out of respect. Past the initial reveal Chihiro’s gender is not brought up and is used primarily as shock value. It could be argued the characters have a negative perception of Chihiro’s inherent transness, one character calling them a “cross-dresser” during the trial. As a genderqueer person, this portrayal of a trans character is in poor taste and not done out of respect for their identity.
Internal vs External Masculinity and Mondo Owada
Among all of the Danganronpa cast, one character stands out as strikingly coarse, physically violent, and stereotypically masculine—at least externally. Mondo Owada is the Ultimate Biker Gang Leader and also happens to be one of the second most interesting representations of masculinity to analyze in the game, with Chihiro being the first. While on the exterior Mondo presents himself like a tough, stereotypically masculine gang leader; however, at his very core, he is eventually revealed to be vulnerable and helpless, lacking the mindset to go with his physique.
Art scholar Dr. Ewan Kirkland claims that videogames generally uphold a certain expression of masculinity for men, “... [they are] uncompromisingly macho, triumphantly aggressive, and [have] uncritical narratives…” (Kirkland 166). Mondo flaunts all these traits from the very moment Makoto meets him. When trying to break up a fight between Byakuya and Mondo, Makoto steps in and tells them to stop, attempting to be the voice of reason. Makoto is then accused of acting like Mondo’s dad and he reactively punches him, knocking him out. This short temper paired with violent solutions is a clear representation of what Kirkland claimed about masculinity being triumphantly aggressive in videogames.
In the case where he kills Chihiro, during the final summative comic where the pieces to the case are placed together, Mondo is shown to commit one last act of aggression. He is evidently jealous of Chihiro’s dedication to grow and change—demonstrating true inner strength—a masculine mindset which Mondo lacked. Ultimately, jealousy and the attempt to challenge masculinity was the deciding factor for Mondo to kill Chihiro. Internal and external masculinity is a very important topic to the two of these characters when considering them through a critical lens.
The Temporary and Often Forgotten, Sayaka Maizono
One of the only characters to pique the romantic interest of the protagonist, Makoto, is Sayaka Maizono, the Ultimate Pop Sensation. However, the representation of this character is highly controversial. This is due to her falling into two very stereotypical tropes: the temporary love interest and the star-crossed lover. The temporary love interest is described as a brief relationship with the protagonist before their partner tragically dies and is never mentioned again (TV Tropes [1]). Meanwhile, star-crossed lovers describe how the pairing will never work out despite their reciprocated feelings, “... doomed to be kept apart no matter how hard they struggle to be together.” (TV Tropes [2]). Sayaka bonds closely with Makoto early on since they went to middle school together, and his feelings are evident every time he interacts with her. There is frequently a surplus of blue dialogue (representing his inner thoughts) commenting on her beauty or smile. In return, Sayaka mentions how memorable Makoto was for his kindness, as she manages to recall a story about how Makoto saved a crane.
However, these two were never destined to be despite their chemistry, as Sayaka attempts to frame Makoto for murder—which then backfires on her and results in her death. Following this, Makoto is displayed to have no interest in anyone else, “Makoto in THH has no romantic feelings for anybody after the events of chapter 1.” (Majestic_Ad_1840), making their romance rather fleeting and unimportant aside from adding to the shock of her betrayal. Sayaka essentially fulfills the role of a temporary love interest, then disappears and never comes back again. Because she dies so early on, her story does not offer much if any leverage in the plot.
On the contrary, one user on Reddit argues that Sayaka’s death was required for Makoto to flourish into an independent protagonist, “... [her death was] needed narratively and for Makoto [to develop] as the ultimate hope…” (Majestic_Ad_1840). While it is true that Sayaka’s death could theoretically push Makoto to continue forward in his narrative, this claim falls flat when you consider the broader context of the game, which is a life-or-death situation. Makoto’s hope roots from all of his friends, not a sole character, nor a temporary star-crossed romance. Despite being the Ultimate Pop Star Sensation, Sayaka ironically never got the stage she deserved for her true character to shine through. This adds another layer to the despair of her case, and yet the dismissal of her goes to show that Danganronpa truly did reduce her to someone that is often forgotten.
Gore and Body Horror in Danganronpa Punishments
Punishments are one of the most memorable parts of Danganronpa because of the strikingly bizarre and disturbing ways the characters are killed. Usually, punishments are related to the character’s talent or picks away at their ego, “... it’s always their passion that causes their death, a complete humiliation.” (The Game Essayist 3:21-3:25). It is meant to be demeaning to the blackened, ripping away their dignity alongside their life. This makes it not only a physical attempt at horror but also psychological. However, the physical is much more noteworthy, as it reflects Danganronpa’s recurring themes of gore and body horror that give the game its own unique and artful aesthetic.
Despite the paper animated cartoon-like style, the excessive gruesomeness is more than enough to make anyone cringe. In humanities scholar Pawel Baran’s article on body horror in videogames, he differentiates these two concepts describing gore as a process, “... explicitly showing death, violence and collapse of the body.” (Baran 209). In terms of gore, the first and third punishments suit this exact description. The first blackened gets pelted to death by 1000 baseballs, which is extraordinarily uncomfortable and surreal to look at. The third blackened gets scorched in a renaissance-themed witch trial, before getting hit by a firetruck. Danganronpa clearly uses gore as a jarring way to present a punishment in such a strange style that cannot be easily forgotten.
However, the most surreal execution of them all is the second one, where the blackened drives in an endless orb on a motorcycle, so fast that he is churned into butter, which Monokuma then puts on his toast. This introduces a very surreal way of representing the concept of body horror, linking to how Baran describes the body’s anguish through mutation (Baran 208). Full body transformation from human into inanimate object introduces a whole new level of despair by stripping the individual of their humanity and dignity. Most punishments in Trigger Happy Havoc aim for something torturous and hard to watch, but have never used complete abjection like this execution did. Both gore and body horror are used to create a blend of the strange, violent, and surreal to generate fear and memorability. Punishments are truly a staple to Danganronpa in both the art style and unconventional use of horror. The game is a defining feature and would not be the same without it.
Mental Illness in Video Games
In horror games, representations of mental illnesses such as DID (dissociative identity disorder) are frequently butchered and not indicative of real life, this being the case for the Ultimate Writer, Toko Fukawa. In the second case of Trigger Happy Havoc we learn Toko suffers from DID, her other personality (or alter) being that of a serial killer named Genocide Jack (also known as Genocide Jill and Genocider Sho in the original Japanese release). While Toko is timid and gloomy, Jack is bloodthirsty, boisterous, and outgoing. Toko developed DID through her shut-in lifestyle and neglectful homelife, Jack being a manifestation of her inner feelings and desires. In Trigger Happy Havoc Genocide Jack only appears when Toko sneezes or faints, this is not indicative of the actual condition and is merely used to further the plot. After Genocide Jack reveals herself, we can see the immediate personality change,
“Not Toko! That's a loser name! And what happened is a textbook split personality! So what if one of them happens to be a serial killer!? You should turn a blind eye to one’s faults!” (FPZero).
Manuela Ferrari et al.’s article Gaming With Stigma calls out horror games for their inaccurate portrayal of mental illnesses like DID, “... when these terms were used, diagnostic labels seemed to be misapplied or used without a full understanding of their medical meanings.” (Ferrari). Horror game developers often use real life conditions such as this and twist them to better fit the narrative and further the story leading to harmful stereotypes and public perception of mental disorder, creating stigma around those who suffer from them and isolating them further. Genocide Jack’s existence is most likely a result of the stigma around those with DID being more prone to violent tendencies than those without the disorder.
During Danganronpa’s trials, there is a minigame called “Hangman’s Gambit,” where you choose from random letters to guess a word that is a clue in the case. In the section of the trial where Toko’s condition is revealed, the word is “Schizo,” which is a derogatory and offensive term for people who suffer from schizophrenia; this shows a lack of care and respect put into her character.
Conclusion
Danganronpa: Trigger Happy Havoc offers a rich gameplay experience with an engaging story, complex characters, and mysteries that keep you on your toes. While this game can and should be viewed critically, Danganronpa means a lot to so many people worldwide—it started one of the most iconic visual novel series to this day, filled with a diverse community of both fans and talented artists creating fangames, fanart, and fanfictions for others to enjoy. Danganronpa: Trigger Happy Havoc is truly one of a kind and is worth a play through.
Why Does This Game Matter to You?
Sadie’s Response: During covid I took a deep dive into new genres of games and TV to stave off the boredom of being kept inside and discovered Danganronpa: Trigger Happy Havoc. The music, art style, and executions had me hooked and I would play it on my phone at any opportunity, constantly thinking about the clues and what could have happened. Over the years since I’ve replayed the games, played fanmade games with the same premise, and even created my own. Danganronpa has provided me with so much inspiration when it comes to stories and mysteries and I will always come back to this series and the game that started it all.
Josie’s Response: I knew of Danganronpa: Trigger Happy Havoc pretty much ever since it was released. However, throughout the years I refused to play/watch it. My reason? “It’s cringe.” I never gave it a chance until 2022 when I was complaining to my friend about a lack of a new Ace Attorney game, and he suggested Danganronpa. Since I had recently become obsessed with the 2010 game era (the awkward transition from 2D to experimental 3D), I thought I should give it a try. The art style, characters and gameplay are ultimately why I ended up loving this game.
Gameplay Video
https://www.youtube.com/watch?v=h88iXwonb_E
Bibliography
Crawford, Rebecca. “The Sound of Visual Novels: Differences and Similarities in Experience for Japanese and English-Speakers.” Mechademia: Second Arc, vol. 13, no. 2, 2021, pp. 176. JSTOR, https://doi.org/10.5749/mech.13.2.0169
Thach, Hibby. “A Cross-Game Look at Transgender Representation in Video Games.” Press
Kirkland, Ewan. “Masculinity in Video Games: The Gendered Gameplay of Silent Hill.” Camera Obscura (Durham, NC), vol. 24, no. 2, 2009, pp. 161–83, https://doi.org/10.1215/02705346-2009-006.
Baran, Paweł. “Observe, Dismember, Overcome: "Resident Evil 4" (2005; 2023) and ‘Dead Space’ (2008; 2023) As Video Game Extensions of the Body Horror Subgenre”. Zagadnienia Rodzajów Literackich The Problems of Literary Genres, vol. 68, no. 1, July 2025, pp. 207-22, doi:10.26485/ZRL/2025/68.1/26.
“Danganronpa: Artful Execution Storytelling.” YouTube, uploaded by The Game Essayist, 18 May 2023. https://www.youtube.com/watch?v=S53RTgYrRrk.
“Danganronpa: Trigger Happy Havoc - Steam Stats.” Gamalytic, https://gamalytic.com/game/413410
Ferrari, Manuela, et al. "Gaming with Stigma: Analysis of Messages about Mental Illnesses in Video Games." JMIR Mental Health, vol. 6, no. 5, 2019. ProQuest, https://ezproxy.library.uvic.ca/login?url=https://www.proquest.com/scholarly-journals/gaming-with-stigma-analysis-messages-about-mental/docview/2511388077/se-2, doi:https://doi.org/10.2196/12418.
FPzero. “The Let’s Play Archive.” Danganronpa: Trigger Happy Havoc Part #44 - Trial 2, Part 1, lparchive.org/Danganronpa-Trigger-Happy-Havoc/Update%2044/.
Majestic_Ad_1840. “Makoto & Sayaka: Star-Crossed Lovers?” Reddit, 13 February 2025, https://www.reddit.com/r/danganronpa/comments/1ioskt2/makoto_sayaka_starcrossed_lovers/
[2] “Star-Crossed Lovers.” TV Tropes. https://tvtropes.org/pmwiki/pmwiki.php/Main/StarCrossedLovers.
[1] “Temporary Love Interest.” TV Tropes. https://tvtropes.org/pmwiki/pmwiki.php/Main/TemporaryLoveInterest.
AI Disclosure
No generative AI has been used in this project.
Ultimate Bonus Sketches
