Translation: Subarashiki Hibi Official Visual Archive

The protagonist of Down the Rabbit-Hole. She begins our story smoking cigarettes, but it wouldn't be accurate to call her a delinquent herself.

In possession of a lively and straightforward personality. Not one to put barriers between herself and others; you could even call her sociable. Received martial arts training since childhood and seems rather confident in her abilities. Her true identity is as a dojo instructor's only daughter and target of admiration for the young Yuki Tomosane, who viewed her as an elder sister before Yuki passes away in an incident before the story begins.

A character based on the character Minakami Yukito from Tsui no Sora.

I remember she came together initially when I was working through the question of "What kind of person would Mamiya Takuji look up to?". Keep in mind, though, that this was simply a holdover from the early stages of planning, back when the game was called Tsui no Sora II. Now that the story has been reborn as Wonderful Everyday, the two characters don't seem to have so much in common anymore. You can tell from how the Yuki that appears in Down the Rabbit-Hole is an entirely different beast from the Yuki from Jabberwocky onwards. If you think about the lore implications this raises, a lot of painful questions come up, like "What even is identity?" and so on. And before we can get into that, as one who very much enjoys critiquing the very concept of "Substance dualism" I...

Okay, okay, this is getting way too off topic for a character description, LOL.

The only recording session I was present for was Kawashima Rino-san's, who voiced Yuki. She gave an outstanding dub performance, and I remember feeling honored as the one who wrote her lines. I'm sorry for giving you something so difficult to work with (and riddled with typos, too). Which reminds me, after talking with her I remember being deeply impressed at how well-read and cultured she was. "I see. So the reason her range is so good is because she's well-educated!" thought a self-satisfied SCA-Ji, having one-sidedly forced his own beliefs and value systems onto poor little Kawashima Rino-san.

The protagonist of Looking-glass Insects. A girl with beautiful black hair. Zakuro is reserved, with a slight otaku tendency to her which from time to time causes her to lose herself in fantasy. When this happens, she becomes high-strung and energetic; almost like a different person. And so she falls in love with Mamiya Takuji, encountering him by chance one day on a rooftop.

Having drawn the attention of a band of delinquents, she winds up being bullied on the regular. Her choice from this point onwards will decide her ultimate fate. What awaits her? Happiness? Or despair...?

Though Takashima Zakuro-san appears from Down the Rabbit-Hole I, chronologically speaking It's my own Invention is her true first appearance in the story.

With that in mind, it's moving seeing Takashima-san in Down the Rabbit-Hole I after going through the true ending of It's my own Invention. You saw how hyperactive she was right before the Spiral Matai, but afterwards (in the scene where she encounters Yuki on the roof in Down the Rabbit-Hole I) she's at complete peace. At work, somebody called this "Post-nut clarity but for Spiral Matai" and wondered if the process felt like ejaculation. It's a good theory. Takashima Zakuro-san might act very much like a moè character when she's fawning over her beloved Mamiya Takuji (with Yuki inside), but otherwise you can think of her as quite the oddball. Personally, I love her gloomily doomscrolling through social media, but that doesn't make for a good galge. It might make for a good eroge thoug—sorry you're right it doesn't I'm so sorry. In any case, the way her voice trembles right before the Spiral Matai was so realistic it made me laugh. I wasn't present at the recording, so thinking to myself about how hyper Suzumiya-san must've gotten gave me butterflies in my stomach.

The protagonist of It's my own Invention. The kind of timid young man with otaku interests you can find anywhere. He loves to invent worlds of his own, and turned the underground space beneath the old school building into his own secret hideaway. After suffering bullying at the hands of a gang of delinquents, he comes to the realization that he is actually the messiah, and goes on to obtain strength appropriate for such a role. His original personality is that of the deceased Mamiya Takuji, who died in childhood, while his body is Tomosane's. Their swapping of places throughout the work is convoluted and confuddles those around them.

Takuji-kun, the messiah, is an oddball of a character——Mamiya Tomosane on the surface, while secretly Takuji-kun on the inside. First off, Sayama Shin's voice is incredible!

She was so good. I was shook seeing how cool Mamiya Takuji was in It's my own Invention when he showed up to protect Zakuro and Kimika. That was so cool!

Tomosane is a good, cute kid. He acts like a nihilist, but he never puts his money where his mouth is, making him somewhat adorable. He's a tsundere. When it comes to Mamiya Takuji, there's not much I have to say. Motoyon is downright obsessed with him, so frankly they're the one you should be asking. They made comments like "He really mellowed out since Tsui no Sora" "He's more human now." "He's had ten long years of being the messiah now, so he deserves a break.", to which my reaction was like, "I see...?" That aside, considering that Takuji and Tomosane are brothers, doesn't that make Wonderful Everyday a posthumous tale of sibling rivalry? ......What was this story about again? LOL

The protagonist of Which Dreamed It; a girl who loves her older brother Mamiya Tomosane. Always carrying around her giant rabbit plushie. The type to always do her best for others, tugging at your heartstrings. The younger sister of Mamiya Takuji, who passed away long ago. Her birth twisted the gears of fate, causing her to walk a path of misfortune. Currently lives along with her mother, Mamiya Kotomi, together in her apartment. The individual who knows the truth behind this tale.

The character in this game most obviously 'galge' in nature, and also the character who took the most care to mold into shape. As a result, most likely, I have a lot of attachment to her as a character. Frankly she's one of my favorites. Her interactions with Tomosane in It's my own Invention, like the scene with her on the sofa watching him play video games, took countless do-overs and processes of refinement. Not because it was difficult per se, but more because I was picky (in how I like my younger sisters). Conversely, it was barely a struggle at all to write Hasaki as a kid in Jabberwocky II. I never really had an instance of the characters acting out-of-character, maybe because of my solid grasp on the core concept behind that story. By the way, I don't feel any sexual attraction towards kid Hasaki. Wouldn't you know it? Little sisters are way better once they've grown up a little!

On another note, I was stunned at how close Nishida Komugi-san's performance was to the image I had in my head. It was spot on, like the voice I imagined had taken form in reality. Maybe the signals in my head escaped into the outside world? Makes the delusions start to take me over, Takuji-style.

The protagonist of Jabberwocky. A cool, hotheaded guy, who serves as an older brother to Hasaki. A good friend of [Minakami] Yuki, and the personality who Zakuro fell in love with. Loves to read, and plays the piano just like Yuki. He uses this skill at his part-time job at a bar.

Though he might look like the Mamiya Takuji who died long ago as a child, for some reason his heart has become that of Mamiya Tomosane's. Their current circumstances, where he is now the inverse of the current Takuji, were caused by an incident which would become the beginning of this tale.

Yet another weirdo character. Despite being Mamiya Tomosane on the inside, his appearance is that of Tomosane's dead younger brother, Mamiya Takuji. The lore behind these two is such a pain that I remember repeatedly messing up my instructions for the story illustrations. I feel bad for the lineart artist responsible. That aside, when you compare him to Shiroyama-kun it sets in just how crazy strong he is for a shortie.

A girl hailing from the End Sky. Aloof, detached, and difficult to pin down. At times she shows up without warning at the margins of the story, leaving comments in her wake that possess hidden depths. In these moments, her presence takes on a superlative quality: serious, cold and cruel. The messiah, Mamiya Takuji, finds himself overcome with abject terror at this version of her.

Her true form is unveiled only at the very, very end of the tale. But even that is just one of many choices as part of Wonderful Everyday.

The only one said to be unchanged from Tsui no Sora. This damn non-human, I swear!

My take is that Otonashi Ayana-san loved Yukito from Tsui no Sora, which is why she doesn't have a sex scene in Wonderful Everyday, though that's an excuse, of course. Truthfully I simply couldn't see her pairing up with someone and getting involved with matters of boys and girls. Lore-wise, she's the strongest, and nobody can beat her. Not even those guys, Futatsukage Sougen and Kanzaki Takahiro IMO.

The very definition of tsundere. Her charm points are her long twintails, and the slightly miffed look given by her upturned eyes. Neighbor to Yuki, who she gets along with; Kagami and her younger sister Tsukasa play around with her.

She was gravely hurt in the True ending by the messiah Takuji, and lost her life as a result. However, it is revealed later that this was all but a delusion created by him in the first place.

The daughter of the Wakatsuki storefront. You could say she's the result of countless prototypes and attempts at making a product. (I'm sure this doesn't make a lick of sense if you haven't played the game, though if you hadn't you wouldn't be reading this, would you?) Anyway, Kagami-san's voice was fantastic. Though that goes without saying, seeing as it was me finding the character Jinno Mayaka from Jikan Fuusa (the eroge, not the sci-fi novel) cute which made me go "Let's hire her for my next game!" Of course I like her. End of story!

The younger of the Wakatsuki sisters, always showing up as a pair alongside Kagami. Unlike her tsundere older sister, she has a grim on herself and gives off a calming atmosphere. Though she may seem to take things slowly, at times she can be the scariest person around, putting Kagami and Yuki on the backfoot. In the True ending, she manages to avoid becoming Takuji's target, never being acknowledged or having much focus. This is due to the truth behind her existence.

If I start to explain what Tsukasa-san even is, I don't think I'd ever stop, so let's not think too hard about it. For now, just think of her as "What Hasaki looks like from a certain personality's point of view." She doesn't have much time to shine in the story, but secretly, she's grown to occupy a place in my heart just from how wonderful her voice is. It pains me that these twins' voices kinda went to waste. "Couldn't you have done something about that? You hack!" I accuse myself sometimes——it's fun.

The other protagonist of Looking-glass Insects. A partner, of sorts, to Takashima Zakuro. A member of the track and field club, perhaps because of her worries over her poor athletic abilities. Also the 39th club president of the Kita High School Science Club. Just as deep in the otaku weeds as Takuji, and also a whiz at using chemicals thanks to her science club knowledge.

A curious individual, clearly putting on a performance alongside Takuji in one scenario, while otherwise remaining aloof from the other characters.

There's this group of dangerous freelance writers known as Unit.Yakuri. Tachibana Kimika-san is a dangerous girlie spawned by the influence of their writing. She spews sardonic (?) jokes (?) like "I want to grow up to become a mad scientist! Or a NEET!", but she's somewhat unstable on the mental front, so she's also kind of a menhera. She's able to apply her knowledge of drugs when working alongside the messiah, while with Zakuro she uses biological and chemical sciences to help. I took so much influence from the source material, her motto as a character became something like "someone who values poisons and explosives over their daily meals". She's a dyed-in-the-wool otaku who loves stuff like anime: the kind who's watched so much they can even name the individual animation directors. If Yuki is the traditional 'good at everything' character, then Kimika-san is the unorthodox 'good at everything' type. Both incredibly capable, but in opposite directions. She's so skilled you could call it supernatural even. Is that really okay for a galge heroine? LOL But hey, she's voiced by Hokuto Minami. You can't lose!

Wonderful Everyday is already overflowing with characters, and the minor characters are no exception. While I can't give comments for all of them, here's two: "Minakami Bar Owner——ew." "Kimura——double ew."

Down the Rabbit-Hole I: My working filename for this was "Fantasyland". As the name implies, the theme of this story is about a world that is separate from our reality. This chapter deliberately uses eroge-like storylines and direction to set itself apart from the others. You can see this most clearly in the prose, with descriptions like "A tacky theme park, so old and run-down it'd be a stretch to call it a place of dreams. And into that cheap dreamland, we proceeded forth, smiles on our faces..." What is this, metafiction? That reminds me, actually. Up until a few years ago there was all that hype and discourse about how "Meta stories are the be-all and end-all of writing!" along with theories about "The inside vs the outside of a story". What was up with that, anyway? At the time it was a complete mystery to me, and now that everybody's stopped mentioning it, it's a mystery buried six feet under, never to be dug up again. Or so it feels like, anyway.

Down the Rabbit-Hole II: Despite also being the first chapter, this chapter is a strange creature of its own whose atmosphere and everything else is an immediate about-face from Down the Rabbit-Hole I. In contrast to Down the Rabbit-Hole I's introduction with Cyrano, Down the Rabbit-Hole II begins with Wittgenstein's Tractatus Logico-Philosophicus.

The soft, fluffy eroge atmosphere clouds over all of a sudden, and doubts spring up about the direction events are taking. Before you know it, look, those idyllic moments have been painted over by the black psychowaves! It's such a dark turn; like seeing the bouncing, cutesy maid serving you in-store afterwards behind the cafe smoking a pack. But hear me out. If that's the kind of person she is, my take is that she shouldn't have put on the toothachingly sweet act online and in-store in the first place. There's a market for those kinds of 'tsun'-type, sadistic maids! Your forced "Oh I love anime~" facade is leading you to ruin! But you see, you could level this exact criticism at Wonderful Everyday, and you'd have a point. What better demonstration could there be that being able to point out the missteps of others doesn't make you capable of identifying your own?

In any case, now that we're past the lighthearted mask seen in the demo version of Wonderful Everyday, the work begins to show its true colors, and from Down the Rabbit-Hole II things ramp up and start to give off that distinct Wonderful Everyday atmosphere. Zakuro-san jumps. Mrs. Senagawa jumps. Yokoyama Yasuko (and others) jumps, and finally our messiah, also jumps. How foolish the writer when he took the initial concept document and jokingly slapped on the label 'jump-a-thon game'. I want to grab them by the neck and say "Listen bud. What's the big idea proposing this chaotic mess of a concept? Don't you know how dark the era we're living through is?" To which he'd reply "I'm soo sorry! But even I don't have a clue what's what anymore!" Confusing times, a confused writer... Is confusion all this world has to offer?

By the way, the quote at the beginning says "The subject does not belong to the world", but in the text of Down the Rabbit-Hole II we see "I am my world". This contradiction shows up in the Tractatus as well, and the descriptions of "Am I the world itself? Or do I not belong to the world?" are sections known to leave Wittgenstein fanatics around the world swooning.

Yuki's smoking habit stems entirely from Kagome's love of girls smoking cigarettes. As you might expect, the writing of the immense script of Wonderful Everyday began with this scene. A girl, smoking, encounters a boy atop a department store roof. It's an introduction unlike most bishoujo games, but I'm quite fond of it.

These are the CGs from partway through Down the Rabbit-Hole I. We wanted to go all-out in giving off that bishoujo game aura with this section, so we put in all kinds of art you typically find in those games——Kagami and Zakuro coming into the bath, four girls playing Truth or Dare, that sort of thing. You're all girls, so there's no harm in getting naked around each other, right? It'd be gross if it were boys though.

The yuri CGs with Kagami and Yuki. When writing this part I didn't have any grasp on what the difference between yuri and lesbians were, so I remember not having a clue what I was doing here. It was like pulling teeth. And I think the result speaks for itself. Why does Kagami like Yuki so much, anyway? I guess she likes her enough that it makes you ask the question.

Following that up, we have the yuri CGs with Tsukasa and Yuki. My memory tells me I struggled just as much with this as with Kagami's scene.

The more I understand about yuri, the more convinced I am that it's all about the relationship and how it lets you develop the inner world of the characters. That's my thinking, anyway, but I don't have a clue what I'm talking about really...

The theme park used as a metaphor for the world of dreams. That said, rural theme parks can feel like you've wandered into a dream in an entirely different sense. They're creepy in a normal way, kinda.

The world the girls trek through is spacey and indistinct, like they can't get a proper footing. Like a boat floating in the middle of a lake, I suppose.

For whatever reason, the final performance of the world of dreams is the Galactic Railroad. Looking at the game as a whole, this is where the real story begins. The ending of a single tiny tale, before the sweeping epic starts its first act. This also is the scene where Takashima Zakuro gets to say her true farewells. It might be interesting to replay this part after clearing Looking-glass Insects.

Having completed the prologue that is Down the Rabbit-Hole I, now the true Wonderful Everyday begins.

With that said, these CGs don't seem much different from your standard run-of-the-mill galge. Huh, funny that. A childhood friend coming to wake you in the morning. Eating bento boxes on the roof. Zakuro-san's kiss. Nassim...

Ah, now this is where the CGs start to take a turn for the weird. You might've noticed, but the scene of Takuji-kun's speech looks very typical, still. It must've been drawn early on. As the project went forward Motoyon's Takuji started to develop these swirly pupils that were fun but super creepy. How many signals do you have to receive to wind up like that? Their Takuji art only grew more and more intimidating as things progressed.

One sad scene after another in these pages. These CGs of Kagami-san are quite sad for a number of reasons. On another note, look how cool Takuji-kun's become! He looked like such a pathetic wimp before. Does awakening to your role as the messiah really make your face hot like that? Yes I'm being stupid.

The peak of the black psychowaves. And also the peak point where most people give up reading. A demonic chapter that yearns to break the players' heart and will to continue. If I put "It's my own Invention" like that, it sounds kinda awesome, but if you ask me that's putting it on too much of a pedestal.

Apologies for changing the topic all of a sudden, but in Japan, there's these books called the three "Daikisho" (Great Bizarre Novels)——The Black Death Mansion Murders, the Dogra Magra, and An Offering to Nothingness——each jam-packed with more than enough chaos to justify their categorization.

One core aspect these three works have in common? They're a massive pain to read. True dyed-in-the-wool masochist bibliophiles (though frankly anyone so inclined to label themselves such generally swing that way; they habitually recommend such difficult tomes to people with an air as casual as recommending a serialized Shounen Jump manga so approach with caution) will tell you they make for fun reads, to which I can only respond, "Like hell they do!" They're so freaking hard to understand! But still, they definitely earned their reputation. After all, when I explained the premises to my light novel-loving coworkers they all chorused "They sound amazing!" (this may be an exaggeration). With that in mind, does "It's my own Invention" match up to the same caliber...? As the one who wrote it, I have my doubts. It's certainly "hard to read"... There's little I can say in response to that.

In any case, this chapter, more than any, gives off that Tsui no Sora atmosphere. From time to time I hear people say that Wonderful Everyday is just 80% the same text as Tsui no Sora. Alas, while Tsui no Sora's text sums a total of 600kb, Wonderful Everyday stretches for more than 3000kb. As much as I would've loved to reuse it all and sell it as brand new, that's barely 1/5 of the entire script. And even then, the horrible prose and sheer number of typos makes the whole exercise pointless. In practice, I wound up opening Tsui no Sora's script over and over in another window to use as a source for the quotes in common with Takuji's lines. It made me want to tweet about how "Even here, this is a cursed piece of fiction... no! This must be the work of the black psychowaves...", but at the time things were far too hectic to mess about like that. Mr Messiah's behavior was so unpredictable, messing with each and every one of the creator's plans (the plot), it made me start to wonder——was it him that was crazy? Was it the story? Was it me for writing it? I ran out to my apartment veranda and screamed, "Forget about Mamiya Takuji, it's me who's going to Spiral Matai first!"

For whatever reason, it was around this time that somebody (from the housing association, maybe) attached an iron mesh to the railings on my apartment building. I'm sure this was a countermeasure for stray cats, and had no connection to my own behavior (true story btw). Afterwards, an imaginary girl named Tachibana Kimika showed herself before me and gave me and Mr Messiah some choice words of guidance to help us find the path again. This was what proved to me that ultimately what counts in the end is not hard work or talent, but fictional 2D girls.

Lots of guys on these pages. Though seeing as Takuji's dressed as a girl while giving head, that makes him one of those crossdressing guys that are all the rage. Some people are probably really into that. You pervs!

On that note, I'm no exception——I love crossdressing! You pervert, you!

There's so many CGs! It's my own Invention not only has significantly more text than the other chapters, but also is on another level for the amount of CGs, and it shows.

And here we have Kimika's introduction. It was around when the lineart artist drew this piece for me that my understanding of her began to change significantly.

Here's the Kiyokawa part. All of these scenes I got another writer, Ayane-san, to work on. Even though I was the one who gave her the plot, I remember being shocked at the story she came back with. This is the most surreal and terrifying scene in the game to me. You're creeping me out, Mrs. Kiyokawa!

It's from here onwards that the story takes on an energy where the people who like it really like it, but the people who don't get it really don't get it.

The exchange between Kimika and Takuji on the ark; the two heading to the ends of space on the roof. This is the first time we hear the terms 'God' and 'melody'.

God weighs the same as melody. Kimika tries to use a set of scales on the roof to measure the weight of God. I don't know if this is poetic, or drug-addled nonsense, or insane, or what. All I know is that they look like they're having fun. The world's first dance outside the bars of the cell, and the arrival of the day all shall return to the sky. Everything seems to sparkle.

These sex scenes are the ones from the world of delusions, aren't they? Though we don't know for sure when it comes to Riruru.

In any case, this is fairly accurate when it comes to the powers of horniness when you're young, I'm pretty sure.

Wait, the only sex scene Otonashi-san gets is Takuji-kun's delusion...? This game's fucked up! I'm shocked, even though I made it.

On another note, Yuki Tomosane. In this chapter he still appears to be your everyday delinquent, but it's here that you start to see his hot-blooded nature start to overcome his cool head.

I feel so bad for Kagami here... Well, as she says, I guess it's just sex. If she says it'll come out in the wash, then no problem, right? (I don't think that's how it works.)

Kind of crazy how on board with this everyone is, actually. Sure they might be high, but I mean... fucking that thing? It ain't easy being a devout believer.

These CGs lead up to the True ending. Kimika and Takuji don't have sex in her ending, but they do here. How convoluted! Probably an odd thing to mention as the one who made it that way, but still...

This route's last portion shows the events of Down the Rabbit-Hole II from a different perspective, and the story ends by revealing certain elements which were unclear in the other scenario.

A chapter whose True and Happy endings couldn't be further apart in vibe. Why? Because this is when the jumping incidents all started. Even for me, the writer, the bullying Takashima Zakuro goes through in the True end gains such a vicious quality that it makes me want to settle for the Happy end instead. Though it was necessary to make her downfall into the Spiral Matai believable, the level of torture the writer put Takashima Zakuro through here likely pissed off a great many readers. And I don't mean to defend the writer, per se, but know that they're innocent in all this. They're a gentlemanly fellow, known for their noble pursuits (incorrigible perversion aside, anyway) and, most importantly, they're me. It's not my fault things turned out like this, hence it's not the writer's fault either!

When it comes to the events leading up to the True ending, male readers might see it as overly brutal and gruesome, but the women I know gave me testimony along the lines of "Yeah, this tracks for bullying between girls." It wasn't so bad simply researching the topic, but for those who suffer through it as their everyday reality, it sinks in just how heartless the world can be. When you're faced with that, why not kick reality to the curb and escape into the world of fiction and 2D characters? Leap in all together, like lemmings! Wait, but doesn't that mean what lies on the other side is... death? (Lemmings don't actually commit group suicide, but I digress.) True or Happy ending aside, in this chapter Takashima Zakuro is fighting back against her reality, but the direction she's headed in end up being polar opposites. Watch how she uses phrases from Cyrano de Bergerac in both routes to justify her actions, but the meaning those phrases contain gets turned around entirely.

She speaks those words in two different situations: When she declares war on the reality of the bullying she's being subjected to, and again when she decides to deny her world entirely, refusing to accept it.

Ultimately, they're both war declarations. And personally, I want her way of fighting to be as it is in the Happy ending. While the Happy ending might be optimistic in nature, in our world we label such behavior as criminal, or as disorderly conduct. The actions Tachibana Kimika takes are not ones that guarantee things resolve peacefully in the end. In that sense, the choices the two make in the True ending can't be called 100% wrong, and the choices in the Happy ending aren't 100% correct, either. Even so, their battle in the Happy route is something exhilarating and liberating, and that's what makes it feel right to me.

Zakuro-san's initial state. From here a series of reformatting will cause her to transform entirely... but she's a maiden in love when she's doting on her Takuji-kun.

From her perspective, Takuji-kun sure is a stud. When I was younger, I think he's the kind of person I wanted to grow up to be.

I'm kinda obsessed with these CGs of Zakuro-san on the train and Takuji-kun playing the piano. Motoyan's art is adorable. It gets me every time.

Fate takes a huge turn from here. No, Zakuro! Don't go down the True ending! Live happily! ...is how I want it to go, but then we wouldn't get anywhere, would we?

Takuji (Tomosane) showing up to save the day for Kimika and Zakuro. He's so cool. Sayama-san's voice in this scene sends shivers down my spine every time. She's so damn cool!

Even so, Zakuro-san chooses Kimika in the end. Verily, a maiden's heart is as fickle as the Autumn sky. Hence why the final scene has them walking down a park in Autumn (it was a pun the WHOLE TIME!?)

These are from the True route. The leadup to Zakuro-san being raped is quite realistic in my opinion... that said, it's a mish-mash of stories I've read and real life events other people have told me about. This is what it's like being roofied, I hear.

If you're here to say "It's not exhibitionism if they're not embarrassed!" you might be right. (no clue who this comment is for)

After being raped, Zakuro-san starts to go down the denpa rabbit hole.

I assumed websites like these must've died out by now, but apparently now there's these sites where people meet up based on their past lives.

On my first playthrough, this Zakuro-san from right before the True ending was so damn scary it made me laugh. I was like "Sui-san's acting is so good holy shiiiit it's scaryyy" That quiver in her voice is so unique and realistic, it terrifies me.

These CGs were from later in development, so you really notice the horror of Motoyan's Zakuro-san. I love this scene.

You could say this is where the story surpasses Tsui no Sora to reach its starting point as Wonderful Everyday. Tomosane, our star performer, takes the stage. We learn that a great many of the mysteries of the incident thus far can be explained via multiple personalities. The nature of these personalities winds up being corrected and elaborated on later, so let's save that for my explanations of the other chapters.

Now then. The highlight of this chapter is undoubtedly the breakthrough appearance of the little sister character Mamiya Hasaki, who occupied a bit part up until now. I, for one, am an individual lacking a younger sister in any form, physical or corporeal, and thus have always longed for such an existence. I actually have a number of conceptual little sisters on standby in my heart at all times, ready to keep me company. Hasaki is one of 108 such 'soul sisters', and though in this story she might appear to hold affections for Tomosane, don't be fooled——she's clearly head over heels for me!

Conversely, with her appearance the Wakatsuki sisters have lost all reason to exist... I personally love these two as well. Yes, I know what you're going to say——What about their names? And their design inspiration?——but who cares at this point? Just listen to their voices! They're enough to heal even the most wounded soul!

And as Hasaki takes to the stage she shares the limelight with Minakami Yuki, whose presence becomes all the more dazzling. What did you think when you heard her call herself "Yuki-nee"? I, for one, am an individual in possession of an older sister both physical and corporeal. The two of us are on poor terms and haven't gotten along for many years now, so I despise these creatures known as older sisters. Which is why my aspirations for them are just as strong as younger ones! Yuki-nee is someone packed full of all these dreams and ideals. While she may be many, many years my junior, she is undoubtedly many, many times more the 'older sister' than I could ever hope to be. From this chapter onwards, the player's view of Tomosane-kun is turned entirely on its head. At first your typical delinquent, he's transformed into someone who recoils as Hasaki screams "Tomo-nii-san you idioooot!" Thus begins Tomosane-kun's heroic escapades.

Once we take on Tomosane's perspective, Hasaki-san starts to appear a lot more. I'm especially fond of the interactions with her on the sofa, and asked for tons of variations from the lineart artist.

By the way, the game Tomosane's playing is called Sky Kid Deluxe. I'm sure the sound of the FM music lights a fire in Tomosane-kun's soul.

What a fulfilling life Tomosane leads, receiving so much affection from Yuki AND Hasaki. I won't be having it!

We saw the bath interaction happen with Kagami and Zakuro as well; it's a situation I'm really into. Here's hoping it happens to me too someday.

I wanted to write more sex scenes with Hasaki-san, but alas, time didn't allow it.

Honestly, Jabberwocky should've had more flirting scenes with her in general.

In this route you choose between Yuki or Hasaki, but honestly I think we could've had something like a harem ending, too.

Looking back on it now, there's so many ideas I end up wishing I could add. It's tough to deal with.

Hasaki-san's perspective. From here, we begin to untangle piece-by-piece what feels like an answer——three personalties, living inside an individual known as Mamiya Takuji. We also start to reveal the reason why Hasaki-san calls Tomosane——one of several personalities within Mamiya Takuji——"Tomo-nii-san".

But this chapter still doesn't hold all the answers; this story still has many mysteries left to solve. On that note, this chapter marks the final appearance of Wakatsuki Kagami-san. Lore-wise, the characters of Kagami and Tsukasa are taken from one of Takuji-kun's favorite anime. As a premise, this toes so close to the line it leaves me floored. It's not something any sane writer would come up with (this took a lot of courage so let's all give him a round of applause). The group cuts Wakatsuki Kagami to pieces, who turns out to just be a rabbit plushie. Now that won't come out in the wash. Even if you sew her back together, she'll have stitches all over! She'll become one of those gothic lolita punk types. You know, the fashion you see young people (if not in age at least in spirit) around Shinjuku and Harajuku wearing. What's that? Sounds like an improvement? Ahaha.

What were we talking about? Oh yeah, answers to the mysteries. This chapter has many reveals. For example, we learn that the person known as Mamiya Takuji is already dead. We learn that there is no Yuki Tomosane, though there is a Mamiya Tomosane in his place. We learn that Minakami Yuki was someone who used to exist: the daughter of the man who runs the Bar Hakushu-kyo. We learn that the man solving these mysteries is——shock horror——a virgin gentleman on the verge of thirty named Kimura! (okay, who gives a crap about the last one.)

Now that I look at it, it's shocking how few CGs Which Dreamed It actually has. The story itself might not be that long, but this few...? I wasn't expecting that.

We do see what Hasaki was like as a kid, though we see tons more of her in the route after this, so...

The past underpinning everything is exposed to the light. The various relationships: Minakami Yuki and Mamiya Tomosane. The father, Hiroo-san, and mother, Kotomi-san. Mamiya Hasaki-san and Mamiya Takuji. We even learn why the Wakatsuki sisters are called the Wakatsuki sisters (though who cares, really). We see a year of their lives spent earnestly in Sawai village, each trying to live happily as best they can. Writing this chapter was some of the greatest joy I've ever felt. Frankly, my feeling is that I wish I could have kept going with this section much, much longer.

The chain of sad events up until now have been so extreme, but in my mind, this village has the power to make all of that pain go away. But alas, stories are a cruel thing (though this is partly the fault of the writer who designed it this way) and so the past told in this chapter ends up itself becoming the very first link in that chain. Instead of healing the pain, things get twisted beyond repair. In any case, I'm rather shocked at what (kid) Takuji-kun looks like. Less at how he looks like Yuki Tomosane, and more at the fact that he's wearing shorts! I mean, he's a kid, so it makes sense, but still... That aside, for a brat the way he talks is well beyond his years. He might have more of a grip on himself than you might think.

And this is where the player learns the truth: Wonderful Everyday was about an epic sibling squabble the entire time. These Mamiya brothers are certainly something, dragging this many people into their little spat. If only things hadn't gone down that way, with their talents maybe they'd be able to contribute something meaningful to society? (though being the messiah or a hero might be impossible) "Who knows!" says the writer, that is to say me, as though it's somebody else's problem.

This route branches extensively into three separate endings. These branches give you a further view of different worlds. Let me end with my explanation of each of the endings (see pg. 99). (Wait. This entire time, was this supposed to be me explaining things...?)

This is my favorite story in all of Wonderful Everyday. The experience of writing it was like escaping out the end of a tunnel to a world filled with light.

Matching that, this chapter's art is generally bright and cheery. If only a happy future was waiting for Hasaki-san and Yuki-san...

These are the CGs leading up to the ending. This is the scene that begins——and ends——the squabble between the Mamiya brothers.

Now that I think about it, Tomosane never did beat Takuji a single time. Though I suppose we do see Tomosane beat 'fate' in the end...

It would be rather cruel to talk about both the Hill of Sunflowers ending and Wonderful Everyday endings at the same time, so I gathered my thoughts below.

The CG of the four-leaf clover, along with the scene of Kimura and Tomosane going for a stroll, are two scenes that are so important to me that if I started to talk about them I'd never stop. How should I summarize my thoughts? Would "Live Happily!" suffice?

The ending christened with the title of the work itself. After all the words that comprise this story, we end with a simple phrase——"Live Happily!" There's nothing more to be said. Wittgenstein says as much in his Notebooks, and there's also this famous passage in the Tractatus Logico-Philosophicus:

"My propositions serve as elucidations in the following way: anyone who understands me eventually recognizes them as nonsensical, when he has used them——as steps——to climb beyond them. (He must, so to speak, throw away the ladder after he has climbed up it.) He must transcend these propositions, and then he will see the world aright." (6.54)

He then continues with "Whereof one cannot speak, thereof one must be silent." (7)

Wittgenstein, having declared that nothing more can be said than "Live Happily!", would throw away the ladder known as philosophy after the completion of the Tractatus to walk an entirely different path. But life doesn't resolve itself quite as neatly as the stories us writers like to tell. The man would go on to face many trials, overcome tribulations, have revelations, commit sins and sully himself before returning to philosophy once more. While this isn't the place to discuss what did and didn't change between the philosophy of the Tractatus (Early Wittgenstein) and what came later, what I can say is that there is a continuation to the words "Live Happily!", and the journey from there is far from an easy road.

I'm convinced that there's so, so many things worth saying that go beyond what's covered in Wonderful Everyday. And thanks to having penned this ending, the core, vital themes have been refined to their very essence. So now, I think, comes the time to write stories that are well and truly my own. (I'm so cool)

While writing the script this was intended to give the characters some semblance of salvation, but after seeing it in action with the art and voices my impression of this ending has changed a lot, and now my honest feelings are "Sure it might be overly convenient, but what's the problem with that?" With Yuki, I tossed up running with a reveal that she was actually alive all along, but I settled with positioning her as a "ghost" of sorts in the end. This ending is one which somewhat denies the hallucination theory——the idea that the events in the story are explained by multiple personalities.

Yuki essentially stands beside her beloved not as a piece of split identity, but as a spirit or ghost. From the get-go, her love was the reason her soul was by Tomosane's side, so why not let her remain after returning Takuji's soul to where it belongs? I muse over this sometimes. My blessings to the three of them as they climb the hill of sunflowers. Maybe it's weird for the one writing it to say this, but I find myself earnestly wishing them the best.

I agonized over this ending right up to the finish line. The original plan for this project was "to depict the world as it is after the encounter with the End Sky in 1999", and as things were reworked to be more light-hearted and the name was changed from Tsui no Sora II to Wonderful Everyday I debated heavily whether to leave this as the final scene of the game. I think this lingering question of how best to handle Otonashi Ayana transformed this final ending into a very strange beast indeed. In fact, even after becoming Wonderful Everyday there were two separate endings on the table: Tsui no Sora II and Beyond Numinous (proposed title). The lore for both of these was incompatible, so they couldn't exist together within the same work, and hence one ended up being chosen over the other.

This would become Tsui no Sora II, and Beyond Numinous (proposed title) would never end up seeing the light of day. "Numinous" is a term defined by Rudolf Otto referring to things that are illogical and "holy" in nature. Indeed, Tsui no Sora II's story is by its nature numinous, and so its reflection, Beyond Numinous, made sense as its opposite.

Tsui no Sora II's core concept is organized around a unique brand of metaphysics called "Omnipresent Reincarnation". The details are explained in the chapter itself so I don't think it warrants further explanation. If you ask me, I am a stranger who has not had any contact with Otonashi Ayana (and never will), and even if it occurred via this omnipresent reincarnation that wouldn't be "me", but "somebody else". Isn't this precisely the kind of numinous quality that Otto was talking about? The mysterium tremendum? Or maybe the mysterium fascinans...? In any case, I figured this Tsui no Sora II ending would be one that would split opinions on the work as a whole, but I ended up placing it as the final ending of Wonderful Everyday ~Discontinuous Existence~. There's a part of me that wants to see another version based around Beyond Numinous, maybe Wonderful Everyday ~Beyond Numinous~? The title alone sounds like it wouldn't sell a single copy, though. LOL

Producer, lineart artist and scenario writer. Since Tsui no Sora, his debut work, he has been involved with all of his company's titles. His activities as a creator have spread to original manga as well, with Ebiten: Ebisugawa Public High School Astronomy Club, serialized in Kadokawa Shoten's Comp-Ace magazine