History Foreshadowing / DokiDokiLiteratureClub

* Yuri mentions that her tastes in literature involve sympathetic characters who act evil not because they want to, but because of their own goals, philosophies, or circumstances. This foreshadows the fact that, despite this being a horror game, [[RousseauWasRight there are no truly evil characters]] (at least in the original game - Plus introduces the sociopathic Paula Miner as the GreaterScopeVillain). Yuri herself only becomes frightening as a result of MindRape-induced SanitySlippage, and [[ReluctantPsycho is clearly horrified by her actions]]. Natsuki becomes more verbally abusive, but only because she's also been tampered with; she's even still in there enough to beg the player to help Yuri. Even [[BigBad Monika]] is a [[WoobieDestroyerOfWorlds sympathetic figure]], since she's an ordinary teenage girl who's learned the AwfulTruth about her artificiality and is coping with it in an extremely unhealthy way. The same goes for Sayori if you get the normal ending.

* Yuri mentions that her tastes in literature involve sympathetic characters who act evil not because they want to, but because of their own goals, philosophies, or circumstances. This foreshadows the fact that, despite this being a horror game, [[RousseauWasRight there are no truly evil characters]]. Yuri herself only becomes frightening as a result of MindRape-induced SanitySlippage, and [[ReluctantPsycho is clearly horrified by her actions]]. Natsuki becomes more verbally abusive, but only because she's also been tampered with; she's even still in there enough to beg the player to help Yuri. Even [[BigBad Monika]] is a [[WoobieDestroyerOfWorlds sympathetic figure]], since she's an ordinary teenage girl who's learned the AwfulTruth and is coping with it in an extremely unhealthy way. The same goes for Sayori if you get the normal ending.

* If you decide to help Yuri with the festival preparations, the scene where she's over at your house foreshadows a lot of her SanitySlippage in Act 2. Aside from establishing that Yuri [[ChekhovsGun owns knives]], there's a brief mention of Yuri tugging her sleeve down when the player character walks back into the room. She's likely hiding her cutting habit. The way she describes the effects of aromatherapy also seems similar to how she describes what's it's like being around the player as she becomes more obsessed. During the preparations, you and Yuri paint a gradient of colors representing the passage of the day. (Morning lighting, day lighting, sunset lighting, night lighting, etc.) You eventually have to watch Yuri's corpse rot for three days straight as the passage of the days changes the lighting of the scene over and over again.

** After Yuri describes the plot of ''The Portrait of Markov'', the PC notes that she made it sound like it was going to be a nice story at first until it took a dark turn. This, of course, foreshadows the SurpriseCreepy that comes later. %%It may also be ProductionForeshadowing for a later game. (SpeculativeTroping)

->"Stagnant air is often [[LampshadeHanging foreshadowing]] that something [[SurpriseCreepy bad]] is going to happen."

** Also on the title is a standing pen that casts a notable shadow, which makes the pen take on a [[DoesThisRemindYouOfAnything rather unsettling shape]]. And given what Yuri [[ADateWithRosiePalms claims to have done with your dropped pen]] late in the game...

* The game's logo. Both instances of "Doki" are placed extremely close together. which merges the two letter Os together, turning them into [[GroundhogDayLoop the infinity symbol]].
** Also on the logo is a standing pen that casts a notable shadow, which makes the pen take on a [[DoesThisRemindYouOfAnything rather unsettling shape]]. And given what Yuri [[ADateWithRosiePalms claims to have done with your dropped pen]] late in the game...

* An interesting example where the foreshadowing comes before the context to interpret it with: Sayori's sprite sometimes barely pops into the screen when you select a word she likes in the poem-writing game during Act 2, even if she isn't an option anymore. In Act 3, when Monika says that she deleted all the character files, the fact that Sayori's sprite ''shouldn't'' have appeared if Monika was being honest foreshadows the truth: she couldn't bring herself to do it, and hid the files instead.

* An interesting example where the foreshadowing comes before the context to interpret it with: Sayori's sprite sometimes barely pops into the screen when you select a word she likes in the poem-writing game during Act 2, even if she isn't an option anymore. In Act 3, when Monika says that she deleted all the character files, the fact that Sayori's sprite ''shouldn't''have appeared if Monika was being honest foreshadows the truth: she couldn't bring herself to do it, and hid the files instead.

* There's Monika's fourth-wall-breaking comments in Act 1 (like something being LostInTranslation or [[HeKnowsAboutTimedHits tip about saving the game]]), and her comment about feeling like she and the player character are the only people in the club, which the player is likely to dismiss as cute little jokes [[ChekhovsGag but is actually the very cause of the game's conflict]]. Notably, her comment about constantly saving and loading is a key hint to getting the GoldenEnding.

* There's Monika's fourth-wall-breaking comments, and her comment about feeling like she and the player character are the only people in the club. Notably, her comment about constantly saving and loading is a key hint to getting the GoldenEnding.

* There's Monika's fourth-wall-breaking comments, and her comment about feeling like she and the player character are the only real people in the club. Notably, her comment about constantly saving and loading is a key hint to getting the GoldenEnding.

* When Sayori mistakenly states that Monika has a boyfriend, Monika quizzically glances at the protagonist. While divining her ''exact'' thoughts would be about as easy as in "Literature/TheLadyOrTheTiger",[[note]]or better yet its sequel "The Discourager of Hesitancy"[[/note]] this clearly has something to do with how the protagonist is the avatar of the only person she wants to date, and possibly how she's aware of the MinimalistCast of the game meaning there isn't anyone else available anyway.

** ''Parfait Girls'', Natsuki's manga, has four girls in animated poses on the cover, much like the game's title screen. She describes it as starting as a comedy with a chapter about the girls obsessing over a boy in an ice cream shop, before turning to the dramatic later on once it delves into the characters' backstories. She also mentions a character named Minori, who is "unlucky" but still likeable, that apparently goes through [[BreakTheCutie something bad]]. This seems to reference the events of Act 1, the reveal of Sayori's depression, and her ultimate fate by the end of the Act.

* The manual has a section about "Deleting Save Data & Accessing Files", including the line "In some cases, you may want to delete your save data to start the game completely over." This seemingly neutral, technical and non-plot-related point foreshadows the fact that after a certain point, you can't start the game again normally without doing so. And accessing and deleting individual files, character files specifically, is something Monika will eventually do to the other characters, and what you have to do to her.

*** This almost applies in DDLC+ as well, except for Natsuki facing (but not looking at) the screen in the side-story "Self-Love". Also, Monika is not Medium Aware in these stories, and she doesn't face the screen either, except in the very last CGI, which also features all the others ''not'' doing it. Could be seen as foreshadowing that after these prequel events (that is, in the game proper) things are going to be different, even though they're really in a different timeline from the game, and side-story-Monika is just looking at her own in-universe camera.