Shitou Alisa

Full Name: Shitou Alisa

Gender: Female

Prisoner Number: 666

Role: Witch Candidate, Prisoner in the “Manor Prison”

Magic: Ignition (fire-starting magic)

Original Sin: Self-Punishment Addiction (self-sabotaging, self-destructive need to be punished)

Birthday: November 25

Height: 154 cm

Weight: 50 kg

Likes: Wedging herself between vending machines

Dislikes: Having her face seen

Trauma: Unspecified at first (later revealed to be tied to fire, self-harm, and her family)

Voice Actress: Misa Ishii

Alisa speaks in a rough, abrasive way and refers to herself with a blunt, casual “uchi”-style first person in the original.

She is foul-mouthed, quick to pick fights, and constantly tries to keep others at arm’s length.

She calls the other witch candidates by their surnames without honorifics, emphasizing distance and hostility.

On the surface she hates many things, but more than anything, she hates herself the most.

Despite her scary first impression, Alisa is fundamentally kind.

She goes out of her way to help others—lighting fire with her magic when someone needs it, or trying to remove a thorn from a friend’s hand—while pretending she is not being considerate at all.

She strongly dislikes being cared for in return.

When Toono Hanna tries to look after her, Alisa brusquely pushes her away.

She also shows unexpected intelligence and education, such as explaining the mechanism of rainbows to Jogasaki Noah.

Even so, her reputation and behavior make her easy to misunderstand and frequently suspected of wrongdoing.

Alisa is deeply afraid of turning into a witch and killing someone with her own hands.

This fear, combined with her self-punishment addiction, pushes her toward self-destructive decisions throughout the story.

Alisa usually wears a hood pulled down and hides her face with a black mask.

She hates showing her face and almost never removes the mask when others are around.

Her character design includes a weight attached to her ankle.

A two-panel comic reveals that she actually puts this weight on herself every morning.

Official trauma-related event art released before the game’s launch reveals her unmasked face.

In the game’s standing portraits, however, she is always shown masked, and only a few CGs allow the player to see her real expression.

In the manga adaptation, she is shown without her mask much earlier.

By chapter three, she appears maskless while speaking to others outside the punishment cell and while eating in the cafeteria.

Underneath the delinquent styling and mask, her face bears burn scars in some scenes.

These scars are later explained as the result of a medicine bottle explosion caused by her own fire magic.

“Don’t come any closer.

If you take one more step, I’ll punch you.”

“I don’t care about witches or prisoners or whatever.

I don’t want to stay in a place like this for even a second.”

These early lines set her up as an aggressive runaway who wants nothing to do with the Manor Prison or the witch trials.

But over time, they contrast sharply with how much she actually worries about others.

Two-Panel Comic “You’re Going to Die After This.”

In the short comic series “You’re Going to Die After This.,” the gap between Alisa’s delinquent appearance and her true nature is emphasized.

She often acts kinder than she wants people to notice.

When Sakuraba Emma is looking for something to light a fire, Alisa voluntarily uses her ignition magic as a living lighter.

She pretends to be annoyed, but she clearly wants to help.

When Hikami Meruru gets a thorn stuck in her hand, Alisa tries to remove it for her.

However, Nikaido Hiro misreads the scene as a bullying or extortion attempt and physically restrains Alisa, thinking she is threatening Meruru.

Alisa dislikes being fussed over, so she coldly brushes off Toono Hanna’s attempts to show concern.

Her “don’t care about me” attitude contrasts with how much she quietly cares about others.

Because of her territorial, “yankee” street-delinquent instincts, she nearly starts a fight with Kurobe Nanoka during cleaning duty.

Even here, her reactions are more about pride and territory than true cruelty.

Overall Role

Alisa is one of the witch candidates imprisoned in the “Manor Prison,” forced to participate in repeated witch trials to identify and execute murderers among them.

She tends to act alone, refuses to join groups, and is often suspected because of her rough demeanor and fire-based magic.

After the first death, she loudly declares she has no interest in witches or prisoners and tries to escape the Manor Prison immediately.

Her escape attempt fails, and she is thrown into the punishment cell.

Because of the nature of her ignition magic, Alisa says she feels safer near water.

She is often found near the showers or the lake, where the presence of water makes her feel less anxious about fire.

She avoids removing her mask in front of people, and in the game’s standard art she remains masked at all times.

Seeing her bare face is limited to a small number of CG scenes.

Although she speaks harshly and pushes others away, she is repulsed by the witch trials themselves.

She complains that the trials only make everyone turn on each other and hates the idea of mutual suspicion and killing.

When her magic accidentally ignites Sakuraba Emma’s clothes, she immediately puts out the flames and anxiously checks on Emma’s safety.

This scene also ties into her trauma with fire, which is later revealed in her backstory.

Because of her behavior and appearance, she is repeatedly misunderstood.

In the first witch trial, Sawatari Coco remarks that Alisa “looks exactly like the type who would kill someone,” and later she is suspected of stealing Kurobe Nanoka’s missing hair ribbon.

Among all the witch candidates, Alisa’s witchification is depicted as particularly severe.

In deep witchified states, she nearly strangles Emma to death and at another point burns Meruru.

Alisa herself is terrified of turning into a witch and killing someone.

This fear becomes a major driving force behind her choices and her eventual self-destructive decision regarding sleeping pills.

Eighth Departure

Alisa is the eighth character to “leave” the game’s cast.

She is found dead, strapped to the electric chair atop the execution platform in the courthouse.

Her corpse is strangely wet and has visible burn scars on her face.

Her body shows signs of partial transformation, indicating advanced witchification at the time of death.

Before this discovery, Emma had shared information about a hidden underground room in the facility with Nanoka.

While Nanoka searches the underground area, Emma keeps watch outside, but Alisa’s death is announced before Nanoka returns, forcing Emma to conceal Nanoka’s absence and participate alone in the subsequent trial.

The wetness on the body is initially assumed to come from water poured over her before electrocution to increase conductivity.

However, records of the execution platform’s movement reveal that the chair was moved to the underground freezer during the night, causing her body to become cold and damp.

Emma proposes that Alisa’s actual cause of death was an overdose of sleeping pills—a suicide by intentional overuse.

Normally, the dead cannot be chosen as the witch in the trial, but Emma persuades Kokucho to allow a special rule: if everyone unanimously votes for Alisa, a suicide verdict will be accepted.

According to Emma’s theory, the burns on Alisa’s face came from the sleeping pill bottle exploding after being heated by Alisa’s ignition magic.

She heated the bottle to burn off the label so that the doctor who dispensed the pills, Hikami Meruru, would not be suspected.

Alisa decided to take her own life because her witchification was becoming unbearable and she was terrified of hurting others.

Emma presents this reasoning along with supporting evidence, and for a moment, the other witch candidates almost accept the conclusion of suicide.

However, Kokucho then raises a critical question: the execution platform can only be moved by a remote control or from the underground control room.

If the chair was moved the previous night, who operated it?

Emma admits she had found a hidden passage leading to the underground control room and had been trapped inside.

She suggests the platform may have been inadvertently moved when she touched the control panel.

This turns the mood of the trial completely.

The others argue that Alisa’s real cause of death may have been freezing to death in the underground freezer, not the overdose itself.

Because Emma was the one who activated the elevation controls on the platform, suspicion falls on her as Alisa’s killer.

Overwhelmed by distrust, the witch candidates vote to execute Emma.

But when the execution platform rises, the body strapped to the chair is not Emma.

Instead, the corpse of Kurobe Nanoka appears.

The courtroom plunges into chaos as the rules of the game itself seem to be breaking.

Emma persuades Kokucho to allow another witch trial, this time to find Nanoka’s killer.

As the investigation continues, it is revealed that Alisa, like Nanoka, was not a suicide but the victim of murder.

The true culprit is eventually identified as the mastermind behind the entire Manor Prison incident.

Bad End: Alisa’s Wrongful Execution

In the first run’s third chapter, there is a bad-end route where Alisa is falsely chosen as the witch.

At the crime scene, a fire has broken out (later extinguished by surveillance owls), and because of the flames, Coco and others suspect Alisa.

If the player fails to resolve the case before time runs out, Alisa is selected as the witch and executed by electric chair.

In this bad ending, the water that would normally be used to improve electric conduction is not poured on her.

As a result, she burns violently on the chair rather than being quickly electrocuted.

It is a grim irony aimed at a girl who hates fire and feels safe only near water.

Childhood and Family

Alisa’s parents were extremely gentle and never scolded her, no matter what she did.

In response, she always played the role of the “good girl” to match their expectations.

Over time, she developed a strange desire: she wanted to be scolded.

She began to test boundaries, driven by the hope that punishment would equal real attention and love.

She escalated from running away from home to shoplifting and even self-endangering behavior such as overdosing.

Ultimately, she set her own house on fire.

Yet even after such extreme acts, her parents did not truly punish her.

Alisa concludes that they avoided scolding or reporting her because they cared more about appearances and social reputation than about her.

When she is brought to the Manor Prison, she is still technically a runaway.

Her parents tell her to forget them and live happily, telling her to be “happy” away from them.

This leads Alisa to equate being scolded with being loved.

If she does something bad but nobody punishes her, that absence of punishment becomes a taboo and a source of deep self-loathing.

In a bad ending where she strangles Emma and Emma offers no resistance, Alisa goes too far and kills her.

After that, something inside Alisa breaks; she decides that if “everything burns down,” then no one will be able to forgive her.

She attempts to burn down the entire Manor Prison, wanting to erase everything so that she can never be forgiven.

This extreme self-punishment behavior embodies her “self-punishment addiction” sin.

The story features a second loop where time is rewound by magic.

In this worldline, Nikaido Hiro is killed by a guard but uses her “Return by Death” magic to jump back to the Manor Prison’s first day.

After the first witch trial in this second loop, Hasumi Leia proposes a stage play to strengthen the bonds between the witch candidates and prevent future murders.

Alisa has no interest in the play and refuses to participate.

Leia asks her to play the role of a fire spirit, since Alisa controls fire.

Alisa turns the role down flat, wanting nothing to do with such a frivolous activity.

Later, Hiro kills herself in order to activate “Return by Death” and go back again, hoping to ultimately save everyone.

At that point, Alisa is still alive, but what happens to her after Hiro’s next reset remains unknown in that route.

Sakuraba Emma

At first, Alisa speaks to Emma in a very cold and distant manner.

She refuses to show weakness or friendliness, maintaining her tough facade.

As the story progresses, Alisa gradually opens up to Emma.

She reveals her trauma and her self-destructive mindset, showing a vulnerable side she hides from others.

Their bond becomes one of the emotional cores of Alisa’s story.

However, in a witchified state, Alisa later nearly kills Emma by strangling her, making their relationship a painful mix of care and danger.

Fan communities often pair them under the tag “EmmaAlisa” (also reversed as “AlisaEmma”).

This reflects the intensity and ambiguity of their connection.

Nikaido Hiro

In the second loop’s self-introduction scenes, Alisa bluntly says she dislikes Hiro.

She sees Hiro’s class-representative, honor-student vibe as the opposite of herself.

Despite this, Hiro is one of the people trying hardest to save everyone, including Alisa.

Alisa’s eventual emotional shift is linked to Hiro’s determination in the final stages.

Jogasaki Noah

Alisa does not interact much with Noah directly in the game’s main story.

However, she mentions that she likes Noah’s paintings.

She notices earlier than most that Noah is not a normal human but a balloon-like being.

This early insight hints at Alisa’s keen observational skills beneath her rough exterior.

Hasumi Leia

Alisa does not think highly of Leia, for similar reasons as Hiro.

Leia’s proactive, organizer-like role reminds her of the “good student” type she dislikes.

When Alisa goes to look at Noah’s paintings, she runs into Leia.

The encounter makes her so uncomfortable that she turns back, and in her fluster she collides with Emma, highlighting how easily she gets rattled under her tough mask.

Kurobe Nanoka

Their first major interaction is openly hostile.

Nanoka, searching for her missing hair ribbon, confronts Alisa aggressively and accuses her of stealing it, based purely on prejudice.

Alisa is not the thief, and later she is actually the one who finds Nanoka’s hair ribbon.

Despite being wrongly accused, she returns it, showing again that she is kinder than she pretends.

Nanoka as a character becomes crucial around the time of Alisa’s supposed suicide.

Nanoka’s later death and the reveal of both murders reshape the understanding of Alisa’s fate.

Tachibana Sherry

Alisa and Sherry are roommates.

On the very first day, Sherry presses Alisa with questions about her mask.

Angered by this invasion of privacy, Alisa quickly develops a strong dislike for Sherry.

Sherry is fully aware that Alisa detests her.

When Emma approaches Alisa while accompanied by Sherry, Sherry actually hides herself instead of joining the conversation.

Even so, the two share a key commonality: both have killed someone in their past.

Hikami Meruru

Meruru is responsible for managing medicine within the Manor Prison.

She is the one who provides Alisa with a large number of sleeping pills.

Alisa later tries to burn the label off the pill bottle using her ignition magic.

She does this to prevent Meruru from being suspected of helping her overdose, which results in the bottle exploding and burning Alisa’s face.

Toono Hanna

Hanna is one of the few who reaches out and tries to care for Alisa.

However, Alisa habitually pushes Hanna away, rejecting attempts at kindness.

This dynamic reflects Alisa’s belief that she does not deserve warmth or support.

Even so, Hanna’s concern adds emotional weight to Alisa’s isolation.

Sawatari Coco

Coco openly voices suspicion toward Alisa during the witch trials.

She remarks that Alisa “looks exactly like someone who would commit murder.”

In routes where Alisa is falsely accused, Coco’s suspicions contribute to the voting that leads to Alisa’s bad-end execution.

This shows how Alisa’s appearance and personality put her at a constant disadvantage in the social dynamics of the prison.

Saeki Millia

Millia becomes critical in the late game, when her “Switch” (body-swapping) magic goes out of control.

During a chaotic climax, her magic, combined with Hiro’s “Return by Death” and Coco’s clairvoyance, triggers a catastrophic sharing of memories between all witch candidates.

This event indirectly leads to Alisa’s full witchification.

Millia’s role is less about a personal bond with Alisa and more about triggering the world-state where Alisa loses control.

At the climax of the story, Nikaido Hiro attempts a desperate plan: she tries to force all the girls into witchification to summon the Great Witch, Yuki Tsukishiro.

During this plan, Saeki Millia’s “Switch” magic spirals out of control, and Hiro’s “Return by Death” and Sawatari Coco’s “Clairvoyance” interfere with it.

As a result, the memories of all thirteen witch candidates from both the first and second loops are forcibly shared.

Everyone remembers both timelines simultaneously, including all their deaths, failures, and betrayals.

Under this emotional overload, Alisa fully witchifies.

Consumed by despair and self-hatred, she sets the trial hall (“the trial woman”) ablaze to try to die in a murder-suicide with everyone else.

Hiro confronts witchified Alisa and reaches out to her.

Through Hiro’s words and persistence, Alisa regains her sense of self and manages to extinguish the flames she set.

Once all of the witch candidates have undergone witchification, the Great Witch Yuki Tsukishiro is resurrected.

At the same time, the witch factors are purged, and the girls, including Alisa, return to their original human forms.

With the witch factors gone, the witch candidates are finally granted permission to leave the Manor Prison and go home.

Now free of the compulsion to self-destruct and her fatalistic obsession with punishment, Alisa finds herself able to think, at last, “I want to see my family again.”

That simple wish marks the completion of her growth—from a runaway who thought she deserved to burn, to a girl who can imagine going home.