We’re originally acquainted with Michiru in the basic course of The Fruit of Grisaia, when hero Yuuji runs over her doing vocal activities in a vacant study hall, intently pursued by her working on howling out stock tsundere expressions, for example, “I dislike I’m doing this for you or anything” and “d-don’t misjudge!”
Effectively very much aware by this point his new colleagues are a little on the curious side, Yuuji doesn’t test too profoundly into the issue, yet it’s quickly evident at whatever point Michiru associates with Yuuji or her different cohorts that her tsundere character isn’t who she truly is; fairly, it’s a façade she’s setting up for reasons that, at the beginning of the story, aren’t totally clear.
The primary insight that all isn’t well in Michiru’s internal world comes during a discussion with the gathering about kinship. As the discussion the fruit of grisaia download to the point of “closest companions”, Michiru appears to build up some distress in her chest, and in the end, veers off concocting a rationalization about inclination “weak”. Yuuji suspects this isn’t every bit of relevant information, yet keeping in mind Michiru and his developing want for a “typical” school life doesn’t jab his nose into her business, rather simply ensuring she’s OK before coming back to the gathering, no inquiries posed.
This episode rehashes itself a couple of times until Yuuji finds a fairly weird truth about Michiru: at whatever point she gripes of distress this current, it’s normally trailed by an emotional move as a part of her character. Instead of the uproarious mouthed simpleton that the vast majority of her schoolmates know as “the typical Michiru”, this “other” Michiru is generally softly-spoken, yet well-spoken and emphatic. From numerous points of view, she’s the total inverse of her “pseudo-tsundere” partner.
There are various potential clarifications for this conduct, and the game takes care to not really offer a complete response concerning what’s causing it, however, it inclines rather unequivocally toward cell memory hypothesis. Michiru’s heart isn’t her own, you see; it originated from the body of a young lady who was totally deadened in an auto collision since Michiru herself experienced a dangerous heart condition in her adolescence. This “other” Michiru, it appears, likely could be the character of this other young lady, who had taken to “turning out” at whatever point Michiru gave off an impression of being in trouble so as to determine her issues, at that point sink once more into the murkiness once more.This “crouching up” matches with how she manages her snapshots of pain; she withdraws into her very own internal world which she envisions as “the base of the ocean” and embraces her knees to herself, permitting the “other” Michiru to go to the fore, not in every case intentionally. At the point when she “awakens” from the experience, she often finds that her life is “better” by one way or another, or that the issue has been mysteriously settled in her “nonattendance”.
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