#'human beings are defined by their flaws'

[conkreetmonkey]

And like also, genetic diversity. If you reduce the amount of individuals in a gene pool, either via killing them or simply disallowing them to breed, the result is a populace that's FAR more susceptible to all kinds of diseases, because their immune systems will be way more similar to each other and therefore way easier for a bacteria or virus to adapt to, and their genes, becoming more similar and overlapping more with every passing generation, will gradually become more and more likely to produce disordered offspring when combined.

Eugenics doesn't work. Humans aren't livestock, because we don't have one simple purpose shared by every single individual within a population (even considering "simple purposes" eugenicists would like, such as "serving society," like HOW bro there's like a million distinct ways to do that and each requires different skills and attributes. A society is magnitudes more complex than a fucking farm).

And, like OP said, these over-specialized farm animals aren't even better than older, more generalized breeds. Factory farmed eugenics chicken supposedly tastes like ASS, it's dirt quality compared to that of a healthy, slow-growing bird. Free range, healthy eggs are more nutritious and also taste better. These inbred, deformed breeds require constant medical attention and complex facilities to even SURVIVE.

Ruthless optimization and the worship of efficiency, simplification and "perfection" above all else destroys everything it touches. It's a cancerous ideology. A tumor is simple, efficient and homogenous. A functioning organ is complex multifaceted and flawed. But only one of these things kills its host, and I sure know which I'd prefer humanity to be like.

Fuck eugenics. It's unscientific, illogical, and based wholly on subjective, culturally-defined notions of what's good and bad. Believing in it is pretty much on par with being a flat earther; it requires you to turn your brain off, because it crumbles under the slightest bit of scrutiny and stands opposed to all evidence and common sense.

I think sometimes people think eugenics is bad but its still true, like thinking that if people with certain traits have children it will change society for better or worse based upon what traits are promoted. I think its important to emphasize that eugenics is not only wrong morally it's also fake and stupid bullshit

Like eugenics was supposed to be based on the idea that "If it works with animals to select only the best ones to breed, why wouldn't it work with humans?"

well it doesn't work with animals, that's the thing. applying the eugenics ideas to domestic breeds of animals hasn't made better animals it's just made animals with more extreme expression of certain traits. turns out that when you decide which traits are the "best" and become obsessed with the genetic purity of the animals that have the "best" traits, you might well end up with some sad suffering creature like a Pug, or the Persian cats with the smashed faces that are in constant pain because their teeth and airways and brains are getting crushed by their skulls, or those meat chickens that grow so fast they can hardly even stand up after a few weeks old, or inbred race horses with tiny feet and fragile toothpick legs

like almost all traits are neither "good" or "bad" they're way more complex than that. a long tail or a long snout or a stubborn, independent personality can be good or bad depending on the situation. Who gets to decide what is a "good" trait or a "bad" trait? It's arbitrary and selecting for traits that are "good" in your opinion will often have both "good" and "bad" outcomes because the "good" and "bad" are part of each other and not separate its just part of being alive

Obviously oversimplifying everything but you get it. we did eugenics with dogs and how did that go? not very well

[wheelie-sick]

no context because I don't want the discourse this came from on my blog- saw the phrase "gender is a social construct, mental illness is not" and I disagree (on the mental illness part- gender is a social construct)

while the symptoms of mental illness are real the way we define them is a social construct.

we know for some mental illnesses (as much as I hate the term) that some genes predispose to those mental illnesses but those genes are usually not unique to one mental illness and never guarantee a specific mental illness. we don't define mental illness by the objective facts, genes, because we can't.

AKAP11 mutations predispose people to both bipolar disorder and schizophrenia. bipolar and schizophrenia can be two very similar, often overlapping, disorders. we define them differently because we have recognized patterns in symptom presentation but even then there are gray areas. those gray areas where symptoms blur and overlap are so large and so common we have a term for them- schizoaffective disorder.

we define them differently because we see them differently not because there is a known biological difference between the two. the disorder is socially constructed.

I'm going to go and give some other examples of social construction. money is a social construct, we give it value because we decide to and we define it in ways that have no scientific basis. this does not mean money isn't real or that it has no impact. mental illness is real and has impact, but our definitions are made up based on patterns we see not a biological reality.

diagnostic criteria can also be very flawed, there is a reason that they change with every new edition of the DSM. the people defining these mental illnesses do not have a full grasp on them. they probably won't within our lifetime.

it does not help that mental illness is also very subjective. what looks like OCD to one psychiatrist can look like an anxiety disorder to another. a psychiatrist can change their mind and walk back and anxiety disorder diagnosis switching it to OCD whenever they feel like it as long as these vague criteria have been met. if you're not getting the point here- mental illness is a gray muddled mess that isn't based on any biological reality of disorder.

I did want to touch on the fact that not everyone considers what's happening in their brain to be an illness or disorder at all. the idea of suffering, disorder, and illness are subjective. some people view their brain's natural state of being as just that- a natural state of being. they find it to be natural variation of human existence rather than something that is "wrong" as disorder and illness can suggest. some people believe their brain's state of being is correct and does not need changing.

madness can be empowering. people are not wrong for looking at their madness & neurodivergence and finding correctness in it. looking at mental illness from this angle, the fact that it's even considered an illness is a subjective social construction. this also does not mean that people who find what happens in their brains to be an illness are wrong either. this is a social construction after all, not biological fact.

[monards]

"It's so rare for R to be in her right mind for a spell. Should she really be wasting the precious little lucid time she has writing this?" "Don't worry. For a witch, this is the most important thing."

you mean to be telling me that it's an explicit point that rhinedottir is rarely in the proper state to do spells and write things like this. and of all the choices she had not to. she chooses to write it and places importance (read. it's established as the MOST IMPORTANT THING too.) in spending said-precious-time to write something with her friends commemorating andersdotter. hoyo i need youto stare me in the eyes and real the implications of rhinedottir expending what the other's are describing as her "precious little lucid time" to commemorate and make an ode to her dead friend HOYOPLEAS

[coachbeards]

beard: Ted is my best friend, he is my savior, he is my rock. I will define my life by servicing him as his assistant and I will drop my entire life in the span of three days just because he asked me to. My biggest regret that still haunts me years and years later is that I betrayed him, and I have been punishing myself ever since. He’s an agent of good, I follow him like he is Jesus and I am just a simple worshiper. I love Ted. I have ruined relationships because of my devotion to Ted, my own girlfriend turned wife hates Ted with a passion due to her jealousy. I am constantly having to pick between my girlfriend and ted.

ted: this is my best buddy beardo :{D

[locuas642]

I just saw someone say that Greek Mythology is about Intergenerational Trauma and Abuse. and

I kinda want to scream.

[an-egg-on-it]

People are gonna kill me for this but I feel like Good Omens and Steven Universe are similar in a kind of way

[navramanan]

no good alone. isolation is easy; living is hard by Rayne Fisher-Quann

[luna-azzurra]

The Villain Checklist!

Creating a villain is a delicate art, much like crafting a masterpiece. To ensure your antagonist leaps off the page with depth, consider these essential elements for your villain checklist:

Motivation: Every great villain is driven by a potent motivation, one that fuels their actions and sets them on their dark path. Explore their backstory and unearth the core reason behind their villainy. Are they seeking power, revenge, redemption, or something more sinister?

Complexity: Gone are the days of one-dimensional villains twirling mustaches and cackling maniacally. Infuse your antagonist with layers of complexity and nuance. Perhaps they possess redeeming qualities or wrestle with inner conflicts that humanize their actions.

Flaws and Vulnerabilities: Despite their nefarious intentions, villains should be flawed beings with vulnerabilities. These weaknesses not only add depth to their character but also create opportunities for conflict and growth throughout your story.

Backstory: Delve into your villain's past to uncover formative experiences that shaped their present disposition. Trauma, betrayal, or societal pressures can all contribute to their descent into villainy, providing rich narrative fodder for exploration.

Goals and Ambitions: Just as heroes strive for noble objectives, villains pursue their own twisted goals with fervor and determination. Define what your antagonist hopes to achieve and the lengths they're willing to go to attain it, even if it means sacrificing everything in their path.

Antagonistic Traits: From cunning intellect to ruthless brutality, equip your villain with traits that make them a formidable adversary for your protagonist. Consider how their strengths and weaknesses complement each other, creating dynamic conflicts that propel your story forward.

Relationships and Alliances: Villains don't operate in isolation; they forge alliances, manipulate allies, and cultivate relationships to further their agendas. Develop the connections your antagonist shares with other characters, be they loyal minions or reluctant collaborators, to add depth to their character dynamics.

Moral Justification (from their perspective): While their actions may be abhorrent to society, villains often believe they're justified in their pursuits. Explore your antagonist's moral code and the twisted logic that rationalizes their behavior, offering readers insight into their twisted worldview.

Arc of Transformation: Just as protagonists undergo arcs of growth and change, villains should experience their own journey of transformation. Whether it's redemption, downfall, or something altogether unexpected, chart the evolution of your antagonist throughout the narrative.

Memorable Traits: Give your villain distinctive traits or quirks that leave a lasting impression on readers. Whether it's a chilling catchphrase, a distinctive appearance, or a haunting backstory, give your antagonist elements that linger in the minds of your audience long after they've closed the book.

[anghraine]

It's always been intriguing to me that, even when Elizabeth hates Darcy and thinks he's genuinely a monstrous, predatory human being, she does not ever perceive him as sexually predatory. In fact, literally no one in the novel suggests or believes he is sexually dangerous at any point. There's not the slightest hint of that as a factor in the rumors surrounding him, even though eighteenth-century fiction writers very often linked masculine villainy to a possibility of sexual predation in the subtext or just text*. Austen herself does this over and over when it comes to the true villains of her novels.

Even as a supposed villain, though, Darcy is broadly understood to be predatory and callous towards men who are weaker than him in status, power, and personality—with no real hint of sexual threat about it at all (certainly none towards women). Darcy's "villainy" is overwhelmingly about abusing his socioeconomic power over other men, like Wickham and Bingley. This can have secondhand effects on women's lives, but as collateral damage. Nobody thinks he's targeting women.

In addition, Elizabeth's interpretations of Darcy in the first half of the book tend to involve associating him with relatively prestigious women by contrast to the men in his life (he's seen as extremely dissimilar from his male friends and, as a villain, from his father). So Elizabeth understands Darcy-as-villain not in terms of the popular, often very sexualized images of masculine villainy at the time, but in terms of rich women she personally despises like Caroline Bingley and Lady Catherine de Bourgh (and even Georgiana Darcy; Elizabeth assumes a lot about Georgiana in service of her hatred of Darcy before ever meeting her).

The only people in Elizabeth's own community who side with Darcy at this time are, interestingly, both women, and likely the highest-status unmarried women in her community: Charlotte Lucas and Jane Bennet. Both have some temperamental affinities with Darcy, and while it's not clear if he recognizes this, he quietly approves of them without even knowing they've been sticking up for him behind the scenes.

This concept of Darcy-as-villain is not just Elizabeth's, either. Darcy is never seen by anyone as a sexual threat no matter how "bad" he's supposed to be. No one is concerned about any danger he might pose to their daughters or sisters. Kitty is afraid of him, but because she's easily intimidated rather than any sense of actual peril. Even another man, Mr Bennet, seems genuinely surprised to discover late in the novel that Darcy experiences attraction to anything other than his own ego.

I was thinking about this because of how often the concept of Darcy as an anti-hero before Elizabeth "fixes him" seems caught up in a hypermasculine, sexually dangerous, bad boy image of him that even people who actively hate him in the novel never subscribe to or remotely imply. Wickham doesn't suggest anything of the kind, Elizabeth doesn't, the various gossips of Meryton don't, Mr Bennet and the Gardiners don't, nobody does. If anything, he's perceived as cold and sexless.

Wickham in particular defines Darcy's villainy in opposition to the patriarchal ideal his father represented. Wickham's version of their history works to link Darcy to Lady Anne, Lady Catherine (primarily), and Georgiana rather than any kind of masculine sexuality. This version of Darcy is a villain who colludes with unsympathetic high-status women to harm men of less power than themselves, but villain!Darcy poses no direct threat to women of any kind.

It's always seemed to me that there's a very strong tendency among fans and academics to frame Darcy as this ultra-gendered figure with some kind of sexual menace going on, textually or subtextually. He's so often understood entirely in terms of masculinity and sexual desire, with his flaws closely tied to both (whether those flaws are his real ones, exaggerated, or entirely manufactured). Yet that doesn't seem to be his vibe to other characters in the story. There's a level at which he does not register to other characters as highly masculine in his affiliations, highly sexual, or in general as at all unsafe** to be around, even when they think he's a monster. And I kind of feel like this makes the revelations of his actual decency all along and his full-on heroism later easier to accept in the end.

------------

*The incompetently awful villain(?) in Sanditon, for instance, imagines himself another Lovelace (a reference to the famous rapist-villain of Samuel Richardson's Clarissa). Evelina's sheltered education and lack of protectors makes her vulnerable to sexual exploitation in Frances Burney's Evelina, though she ultimately manages to avoid it. There's frequently an element of sexual predation in Gothic novels even of very different kinds (e.g. Ann Radcliffe's The Mysteries of Udolpho and Matthew Lewis's The Monk both lean into this, in their wildly dissimilar styles). William Godwin's novel Caleb Williams, a book mostly about the destructive evils of class hierarchies and landowning classes specifically, depicts the mutual obsession of the genteel villain Falkland and working class hero Caleb in notoriously homoerotic terms (Godwin himself added a preface in 1832 saying, "Falkland was my Bluebeard, who had perpetrated atrocious crimes ... Caleb Williams was the wife"). This list could go on for a very long time.

**Darcy is also not usually perceived by other characters as a particularly sexual, highly masculine person in a safe way, either, even once his true character is known. Elizabeth emphasizes the resilience of Darcy's love for her more than the passionate intensity they both evidently feel; in the later book, she does sometimes makes assumptions about his true feelings or intentions based on his gender, but these assumptions are pretty much invariably shown to be wrong. In general the cast is completely oblivious to the attraction he does feel; even Charlotte, who wonders about something in that quarter, ends up doubting her own suspicions and wonders if he's just very absent-minded.

The novel emphasizes that he is physically attractive, but it goes to pains to distinguish this from Wickham's sex appeal or the charisma of a Bingley or Fitzwilliam. Mr Bennet (as mentioned above) seems to have assumed Darcy is functionally asexual, insofar as he has a concept of that. Most of the fandom-beloved moments in which Darcy is framed as highly sexual, or where he himself is sexualized for the audience, are very significantly changed in adaptation or just invented altogether for the adaptations they appear in. Darcy watching Elizabeth after his bath in the 1995 is invented for that version, him snapping at Elizabeth in their debates out of UST is a persistent change from his smiling banter with her in the book, the fencing to purge his feelings is invented, the pond swim/wet shirt is invented. In the 2005 P&P, the instant reaction to Elizabeth is invented, the hand flex of repressed passion is invented, the Netherfield Ball dance as anything but an exercise in mutual frustration is invented, the near-kiss after the proposal in invented, etc. And in those as well, he's never presented as sexually predatory, not even as a "villain."

[luckykiwiii101]

YOU ARE VOID

(Your Power Is Beyond Human Comprehension)

XOXO | GOSSIP GIRL | XOXO | GOSSIP GIRL | XOXO | GOSSIP GRL

XOXO | GOSSIP GIRL | XOXO | GOSSIP GIRL | XOXO | GOSSIP GRL

ィI made something that’ll love me, even with my flaws⠀࿐

Hey Upper East Siders. You are many things, disappointing, frustrating, the polar opposite of persistent, and pitiful. Did that trigger you…? Well I hope it did. Because you better not have listened to an outsider to tell you who you are.

But if there’s one thing I can tell you about yourself, it’s that you are the void. You are everything. But you act like the opposite. Nothing. But you know why. As i’ve said before, that feeling always comes from somewhere. And it’s not coming from inside the house, it’s coming from the outside. And you keep letting it in. Doors wide open, arms wide open and mouth wide open when you realise you didn’t get what you wanted. How…familiar? You’ve been living this on loop for years.

“S-s-so h-how d-do I s-s-s-s-stop-p g-gos-s-sip-p g-g-g-irl?🥺 I-I’m s-so h-h-help-pless-s-s a-and-d c-c-an’t-t p-pers-sist t-to s-save m-my li-ife. *sucks thumb in stupidity*” …

You know what i’m going to tell you. Identify with your inner self, persist blah blah blah. And yes that is exactly what I would tell you. But this post is for the upper east siders who actually get the point. Now let me get to it. This post is about feeling that you are the void and the creator of your life. Want to induce pure consciousness? Want to wake up “there” in the void? Want to exercise your full power? This is how.

Break out of all bounds created by your human limitations. Want to know why you manifest instantly “in” the void state? Because that’s when you are purely just you. In that state, you are purely you. That is who you truly are. And that is the who I am talking about when I say the “inner self”. Completely detached from the physical world. And that is who you go back to every time you imagine. That is who has it.

Now I want to help you intensify this feeling, make it easier to navigate. Really understand it. Making your desires feel less “out of reach” and “extraordinary”. It’ll help you make your desires feel a lot more natural to you, including inducing the void state and waking up in it. In your purest state. Here’s how.

DO IT NOW:

Close your eyes. Focus on just being. Focus on just being aware. Being conscious. Focus on feeling limitless. Free from all physical “limitations”. Now focus on feeling all powerful. Feel that you can do absolutely anything, feel anything, create anything. That is the real you. Not the outer you.

Infact, there is no “outer you”. There is only the inner you. The outer you is your physical body, the one who is being perceived by others. The inner you can only be perceived by you. Can only be defined by you. And only you.

This is the feeling I meant to talk about when I said “go back to imagination and start with the feeling that you can have whatever you want there.”

Start with this feeling that you are limitless and powerful. Feel that you are the void. Remember who you are, and then imagine whatever you want. That is when you become unstoppable.

I’ve given you all the information you need. Now it’s all on you. What are you going to do? Who are you going to be? XOXO

- gossip girl

XOXO | GOSSIP GIRL | XOXO | GOSSIP GIRL | XOXO | GOSSIP GRL

XOXO | GOSSIP GIRL | XOXO | GOSSIP GIRL | XOXO | GOSSIP GRL

[thermodynamic-comedian]

i just finished madoka magica, and honestly, what drives me so insane about it is how it's just another example of what's been shown throughout the entire show; madoka just loves people. she's not a savior or a hero, she's not a morally pure being, she's a teen girl who loves people too much to let them suffer if she has a chance to stop it all, even if it means reducing her own existence into a rule of the universe.

madoka's love for humanity, despite the horrors she's been forced to witness, despite the evils she knows humans are capable of, she can't let go of that love for other people that she holds. it's her fatal flaw. her achilles heel. her most fundamentally defining quality.

and she's survived by someone who hates humanity, but loves her enough to keep fighting anyways, because it's what she wants. all the love that madoka puts out into the universe is returned right back to her in the form of homura.

[bittersweetcatharsis]

One of my biggest criticisms of the Mouthwashing fanbase (not the game itself) is the way it treats victims of abuse and disabled characters. There’s a tendency to lean so far into being delicate that, in an effort to be respectful, you ultimately wind up being guilty of the disrespect, yourself.

What primarily set off this rant was something I saw on Twitter (the cesspool of all cesspools, so this is ultimately unsurprising) the other day:

(For absolute clarification, I completely agree with user Joetastic_ here !!)

This. This is just,, I have no words. I felt kinda sick when I saw this !!!!!

There is a DISTINCT and EXPLICITLY OBVIOUS difference between intentional and unintentional portrayals of sexuality. Criticizing an artist for using her CANON proportions reveals more about your own flawed thinking than the artist’s. Here was my response:

Victims of abuse are people outside of their trauma. They can have sex, have relationships, have fun- Anya talks about how a person’s worst moments don’t define them, which works both ways. A person’s worst experiences don’t become intrinsic to their identity, just as a person’s worst decisions don’t become intrinsic to their character. Anya is not her abuse- she’s a complex person outside of her victimization. I think it’s incredibly important to remember that when discussing her. I think it’s great that artists find a way to show her having fun, being cutesy and silly, being a person, whilst not erasing what happened to her. All of that can be true at once. All of that can occur simultaneously.

The same goes for Curly. While Curly’s body was damaged in the crash, his mind wasn’t changed. Despite his acquired disabilities, he’s still the same person he always was. He deserves to be treated as such. Using his disability to infantilize him or treat him as a pet is, of course, it’s own issue- but to be too careful when depicting him because he is disabled crosses into the territory of dehumanizing him.

It’s okay to portray Anya and Curly as unserious- they’re humans too, not embodiments of their suffering.

[linkspooky]

Are You Satisfied?

As you might have heard chapter 236 of Jujutsu Kaisen ends with the death of Gojo Satoru. The fandom is making a pretty big deal about it. As someone who predicted from the beginning that Gojo was going to lose against Sukuna, the reaction is fascinating to me. This is perhaps the most controversial chapter of Jujutsu Kaisen I've ever seen. So I've decided to throw my hat into the ring.

The central theme of Jujutsu Kaisen is death, so the death of one of the main characters isn't too surprising, but what does Gojo's death mean for the story? What does it say about his character?

As I said above I am a little bit shocked by the extreme controversy over Gojo's death. Gojo was never going to win the fight in the first place, because Jujutsu Kaisen is a story and the story would be over if he defeated Sukuna. He'd easily be able to take care of Kenjaku afterwards and the main conflcit would be resolved. Would it really be an interesting story if Gojo one shotted the villains while the kids just wathced on Television?

The story is also not about Gojo, it's about the students. Gojo may think he's the protagonist of reality but he's not the protagonist of the story.

Once again, Jujutsu Kaisen is a story and stories have themes. We may grow personally attached to characters, but characters are just narrative tools to convey the themes of a story, no different from prose, dialogue, and art. Characters are a tool to be used well or used poorly, and sometimes yes that means killing them. Whether Gojo's death was naratively satisfying though isn't the purpose of this post though we're only asking what does it mean?

Finally, Jujutsu Kaisen is not only a fictional story, it's specifically a tragedy. Full disclosure, it's a manga about death.

The Protagonist of a Tragedy

So, number one shout out to me for making this post 4 months ago where I called the way Gojo would end the fight.

Excuse me while I fist pump for calling it!

The question on everyone's minds is why does one of the most powerful characters in the manga die offscreen in a pretty humiliating way, cut in half and helpless on the ground just like Kaneki. The reason Gojo didn't get a more heroic (or cooler) death is because we're not reading My Hero Academia, this is not a story about heroes or even a typical Shonen manga it is a tragedy.

In poetics Aristotle defines tragedy as:

"an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions" (51).

To paraphrase a tragedy is about human action, actions characters make in a tragedy often have dire consequences. One of the most common consequences if the reversal of a hero's fortune, a hero of a tragedy usually starts out on top and ends up on the bottom because of the bad choices they make. If in normal shonen manga characters overcome their flaws through effort and persistence, in Jujutsu Kaisen we see characters more often than not lose to their flaws.

The reason I posted that Kaneki panel specifically is because it was a brilliant moment of narrative punishment for Kaneki's central character flaw. Kaneki the hero's main flaw is that he always fights alone, and he constantly makes that same choice over and over again to fight alone. One of the characters helpfully explains it as well.

Stories are primarily about change. If a character doesn't change they're not serving the plot, unless that specifically is the point. People have pointed out how abrupt it is for Gojo to get sealed in Shibuya, get let out, and then immediately die afterwards but that's kind of the point. Gojo made more or less the exact same choice (he asked for Utahime's help for a buff but otherwise fought the entire battle himself). The definition of insanity and what not, why would doing the same thing over and over again net him a different result?

Not only did Gojo choose to fight alone, but as I've been hammering on and on about in previous meta the entire fight Gojo cared more about fighting a strong opponent then he did saving Megumi, the child he was responsible for.

Jujutsu Kaisen is not a typical shonen manga where everything is resolved by beating a strong villain in a fight. That's specifically why I used the Tokyo Ghoul reference, because the reason Kaneki is defeated offscreen like that is because he thought the world worked like a shonen manga. He has a fantasy sequence where he's fighting Juzo in a shonen battle tournament like this is Yu Yu Hakusho right before it snaps back to reality and he's limbless on the ground.

Gojo is a major character in the manga Jujutsu Kaisen, literally "Sorcery Fight" and he is the best sorcerer in the whole world. His entire identity revolves around being a sorcerer. Since he is so good and beloved at what he does, he thinks that everything is resolved by exorcising a curse or defeating a strong opponent. He has basically no identity outside of that. Which is why when he's fighting the possessed body of his student, a person he's been mentoring since childhood his priority is not to save Megumi but to beat a strong opponent. Gojo is a sorcerer, before a human being. That's who he is, that's who he always has been since day one.

I think part of the negative fan reaction comes from fans being really attached to this scene in the manga and deciding Gojo's entire character revolves around being a good mentor figure to children.

Which is just incorrect, Gojo's entire character revolves around being the strongest. On top of that though, Gojo can care about children and also care about being the strongest he can care about multiple things at once and have those things contradict each other because humans are complicated. I'd point out even in this panel where he's stating motivation he's not trying to raise these kids up into being healthy adults, he wants them to be strong Jujutsu Sorcerers. Even when he's raising kids, his intention is to turn them into Jujutsu Sorcerers because everything in Gojo's mind revolves around Jujutsu Sorcery. Gojo does not exist outside of the world of sorcerers. Gojo may be the chosen one but he'd never be able to hold down a job at Mcdonalds.

I think in general readers put more investment in the things characters say out loud, rather than their actions. You can say one thing and do another. I can say "I should never eat sweets again I'm going to improve my diet", and then go and eat ice cream five hours later. Gojo can state out loud his intention to foster children and protect their youths, but then fail to properly do that in the story. Characters are not always what they say they are, that's why they're interesting to interpret. This isn't me calling the readers stupid, just pointing out that Gojo is made up of contradictions. He wants to get rid of the old guard and replace them with something new, but Gojo IS THE OLD GUARD.

If the culling games arc has shown us one thing, it's that ancient sorcerers brought to the modern age do not care that much about human life on an individual level, they are all of them egoists. There's a reason Gojo resembles someone like Sukuna more than he does any other character in the manga. I'm not saying Gojo is exactly like Sukuna, he's far more altruistic and uses his genuinely noble ideals but at the same time Sukuna is a shadow archetype to Gojo he represents Gojo's flaws. The flaws that Gojo succumbs to in tragic fashion.

Which if you believe that Gojo genuinely does love his students, and the ideal he's fighting for is to raise up a better generation and allow them to live out their youths, then Gojo throughout the entire Sukuna fight is acting against those ideals. He cares far more about fighting Sukuna then he does saving Megumi, it's shown over and over again in the battle, Megumi is an afterthought to him. If Gojo care moredefeating the big bad and saving the world is more important than helping a child that Gojo is responsible for then Gojo is acting against his stated principles. Why should Gojo win the fight when he's fighting for all the wrong reasons?

Tragedies are like visual novels, if you make the wrong choice the novel will give you a red flag. If you ignore the red flag then you get locked into the route with the bad ending. Gojo always fights alone. Gojo only ever fights for himself, even if he's using that selfishness in support of a more noble ideal like creating a better generation of sorcerers. If Gojo consecutively makes the same changes then in a tragedy he's not going to be rewarded for it.

Gojo wants the old generation out and the new generation in, but Gojo resembles the old generation too much. Old sorcerers like Hajime and Sukuna respect him, Hajime argues that Gojo being able to fight for his pride is far more important than him living to the end of the battle when Yuta wanted to interfere and help him.

Gojo's death isn't a surprise curve ball that Gege is throwing us for shock value, it's a result of his choices throughout the manga. A manga about change, and the change between generations is not going to punish a character for remaining roughly the same. Of course you might find it disappointing that Gege didn't give Gojo the chance to grow and change and experience a character arc like Megumi or Yuji, but Jujutsu Kaisen is a tragedy, and the way Gojo's arc ended is consistent with what Gege wrote.

Jujutsu Kaisen is not just a tragedy though, it's a manga about death. The manga begins with Yuji's grandfather warning him not to die alone the way that he did. His grandfather's dying words are what motivate Yuji throughout the beginning of the manga as he's searching for a "proper" death.

One of the major themes of Yuji's character is a contemplation of death. He accepts that death is inevitable, so he wants to save them from the gruesome deaths they'd experience if they became victims to curses and allow them to have a more satisfying death. Yuji's grandpa died an unsatisfying death because he died alone in a hospital room. Yuji even tries to make his own death a satisfying one because he believes by dying to seal away Sukuna he'll reduce the total number of casualties to curses.

Jujutsu Kaisen keeps investigating the theme of death and what exactly would make for a satisfying death. At one point it's all but stated that death is the mirror that makes humans analyze their lives.

When Yuji fails to save Junpei from the "unnatural death" it calls into question whether or not his goal of saving people from unsatisfying deaths and the gruesome deaths caused by curses is even feasible. Nanami even says that Yuji might not be able to accomplish his goal and warns him away from the path.

We see repeated unsatifying deaths in the manga, each time someone reflecting on their deaths that they weren't able to get what they wanted out of life. This list comes via @kaibutsushidousha by the way I'm quoting them.

Nanami's a character who chose to work as a sorcerer because he didn't want to evade the responsibility of doing all you can to help people, he wanted to believe he's somewhere where he's needed. He never runs away from responsibility like Mei Mei does so he quite literally works himself to death, living and dying as a sorcerer. Nanami or Gojo's dying hallucination of Nanami even says as much, his death is the result of him choosing to go south and returning to be a sorcerer.

Maki chose revenge against the Zen'in over her sister, and as a result Mai is dead. Maki has all the power in the world now, her revenge complete but she's left with a sense of "now what?" She's as strong as Toji now but she failed to protect her sister, and it's the result of the choices she made. Maki's reflection isn't triumph, it's "I should have chosen to die with her."

Even Yuji himself is robbed of his narrative purpose. The manga began with Yuji saying he wants to choose how he's going to die and he'll die taking out Sukuna with him so he can reduce the number of people killed by curses in the world. Both of those things are thrown in Sukuna's face. Number one the amount of people Yuji can save by permanently killing Sukuna is now a moot point because he let Sukuna rampage in Shibuya.

Number two, Sukuna isn't even in Yuji anymore. To build on what Comun said though, this repeated tragedy has a purpose to it and understanding requires understanding that Jujutsu Kaisen is an existentialist manga. Existentialism is basically a school of philosophy centered around the question of "Why do I exist?"

There's nothing about the invetability of death to make you question why you're alive in the first place. In the myth of Sispyhus, Albert Camus boils down all of philosophy to one question.

"There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. "

All of philosophy is should I shoot myself in the head or should I keep living? Everything comes after that question, which is why in Jujutsu Kaisen a lot of the characters motivations revolve around them contemplating death. Sorcerers exist in a world where they can die any moment, and as Gojo says most of them die alone. It might be the nature of sorcery itself that causes so many people to die, not only are they dying because they are trapped in an uncaring system, but the characters themselves aren't really attempting to live outside of it. They live and die as sorcerers, replaceable cogs in the machine.

All of these unsatisfying deaths may just be the result of all these characters making one choice, to live as sorcerers rather than people. Because to exist means to live in the world.

Even in Mechamaru's case, his goal is deeply existentialist by what I defined, all he wants to do is live in the world with everyone else rather than be stuck in his hospital room but his actions contradict that goal. Instead of letting his friends come and visit he's obsessed with the idea of getting a normal body because he feels that's the only way he can exist with everyone else, he makes a deal with the devil, he lies and goes behind their backs. He wasn't living with everyone else in the world and he could have chosen to, he chose wrong and his death is the result of that choice.

Jujutsu Sorcerers aren't living in the world. They're living in a little snowglobe far removed from the world with its own rules, most of them regressive and disconnected from the rest of society. If you define existentialism as just "living in the world' then a lot of these characters aren't, because they only exist in the world of sorcery.

INVISIBLE BUFFY: What are you talking ab- SPIKE: The only reason you're here, is that you're not here. (drinking) INVISIBLE BUFFY: Right. Of course, as usual there's something wrong with Buffy. She came back all wrong. (moving around on the bed) You know, I didn't ask for this to happen to me. SPIKE: Not too put off by it though, are you? (drinking) INVISIBLE BUFFY: No! Maybe because for the first time since ... I'm free. She tosses the sheet aside. Spike looks around, trying to figure out where she's going. INVISIBLE BUFFY: Free of rules and reports ... free of this life. SPIKE: Free of life? Got another name for that. Dead.

Not living in the world with everyone else is the same as being dead.

A lot of these characters either make the choice to act alone, or be a jujutsu sorcerer rather than a person and because of that they die as sorcerers, b/c sorcerers die that's what they do. Mai didn't want to keep living as a hindrance to Maki so she kills herself. Maki didn't want to be anything other than a sorcerer, so her little sister dies and she's not a big sister anymore. Nanami chose to leave his job behind and become a sorcerer again, he dies as one.

Of course I don't think the manga is punishing characters for being too egotistical, but rather too unbalanced. If anything Mai is too selfless and that is why she died, she didn't want to live for herself and chooses self sacrifice for her sister. An unbalance between selfishness or selflessness results in an underdeveloped ego. Jujutsu Kaisen doesn't punish individualism per se, moreso if you're not a fully developed individual you won't last long. Because it's also a manga about growing up in the world, and a person who doesn't have a healthy, mature, well-balanced sense of self is not a grown up.

This twitter user det_critics points out that Gojo (and also Yuki + Yuji's) failures in the manga can be attributed to the fact they don't have real senses of self.

Gojo has an identity crisis as outlined by Geto, "are you Satoru Gojo because you're the strongest, or are you the strongest because you're Satoru Gojo?"

It's a challenge for him to find some reason to live outside of being the strongest, and in tragic fashion Gojo just doesn't find it in time. Gojo lived for fighting others, and proving to himself that he's the strongest, and that's how he dies.

There's something I like to say about narrative punishment in stories. There are two ways to punish a character, you either don't give them what they want, or you give them exactly what they want. This is the latter, Gojo wanted to find someone stronger than him because deep down he believed that nobody could understand him unless they were on his level. He wanted to be surpassed, and that's why he focused on creating stronger young sorcerers, but he never shook himself of the belief that only someone as strong or even stronger than he was could ever be emotionally attached to him so he made a deliberate choice to draw a line between himself and others.

Gojo's essentially gotten what he wanted from that choice in the worst way possible. The student he picked to succeed him Megumi, has his body stolen and kills him. Gojo is surpassed, but it's not by one of his own students it's by an enemy that's not only trying to kill Gojo but is going to massacre his students afterwards.

Gojo's spent his entire life believing that because he's more powerful that makes him inherently different and above others, and being lonely because he himself believed he couldn't relate to ordinary people and he dies like an ordinary person, an unsatisfying death where he wasn't able to bring out Sukuna's best, where he gets unceremoniously cut in half offscreen but yay he's no longer the strongest. He's gotten exactly what he wanted. Megumi is still not saved, Sukuna's probably going to kill more people because Gojo failed to stop him here, but hey at least he stopped to compliment Gojo.

It's empty, but it's empty because of the choices Gojo made in life to just not bother connecting to people or develop any kind of identity besides being a sorcerer. Gojo lives and dies as a sorcerer, and his dying dream is returning to a teenager being surrounded by everyone he was with during his school days, because that's the happiest time in his life. Ironically he was happier before he became the strongest, because that was the only time in his life that he allowed himself to connect to people.

However in the eyes of others, he is someone who has it all. That's why he is always alone. There was no one who could hold the same sentiments and mutually understand him. Geto was the only one who could understand what he was trying to say, and the only one who could communicate well with him.

It's no coincidence Gojo and Geto die exactly a year apart on the same day, if anything I'd say the reasons they die are similiar to at least thematically. They both die because they don't want to live in the world. Geto thinks the world is too corrupt and GOjo doesn't want to be anything other than a sorcerer, both of them fail to adapt.

「 'It's just. . .' It's just that it was what Geto had to do. [...] To someone like him, the reality that the world of sorcerers presented to him was just too cruel. '. . .that in a world like this, I couldn't truly be happy from the bottom of my heart.'」

They can't be happy in a world like this from the bottom of their hearts, so narratively they both die. The things they chose to live for at the end of their life they fail to accomplish, Gojo is no longer the stronget, Geto fails to wipe out mankind or make major changes to the world and they die as normal people unsatisfied because they weren't trying to live in the world and make connections to others. They die almost karmically a year apart because their main connection for both of them, the thing which made them feel connected to the world and other people was each other.

Which is why this panel breaks my heart and is so narratively satisfying because of how unsatisfying it is...

"If you were among those patting my back... then I might've been satisfied."

Gojo reflects that he's not satisfied dying against Sukuna, not because he failed to give him a good enough challenge but because Geto wasn't there to pat him on the back. The one thing that would have satisfied him he couldn't have, because he didn't live to connect to people he lived to be the strongest and he died alone as the strongest. There's just something deeply upsetting about Gojo's dying dream fantasy just him being there talking with all of his dead friends who he never appreciated or connected to properly when he was alive. Knowing that if something had just gone a little differently, that even if he had to die no matter what he could have died happier if Geto was among the people saying goodbye to him because that connection with Geto is what gave his life meaning.

Dazai Osamu: "A life with someone you can say good-bye to is a good life, especially when it hurts so much to say it to them. Am I wrong?" -Bungou Stray Dogs Beast

[monards]

dies a little inside when people wholly demonize rhinedottir

[iasirene]

I really hate how some Mouthwashing fans think that if you point out Curly’s abuse by Jimmy that it somehow justifies what he did to Anya. It doesn’t, not at all. Curly is smart, physically strong, and attractive- but even people like this can be pulled into an abusive dynamic. Jimmy and Curly have a narcissist/narcissistic enabler type of relationship, where Jimmy is the narcissist and Curly is his enabler. Jimmy causes direct harm (his sexual assault of Anya, crashing the ship, and his treatment of everyone on board.) Curly also causes harm by enabling his friend. Jimmy says “you always had my back”, but he also says “I ended up hurting you even though I was trying to save us." This line is a great example of Jimmy’s narcissistic abuse towards Curly-“yeah I hurt you, treated you like shit, BUT…..” Even in the end, Jimmy doesn’t want to take responsibility. These lines suggest that these two have known each other for a while.

Curly dismisses Jimmy’s sexually charged comments towards Anya during the psych evals by laughing it off and saying “he won’t try that bullshit with me! Don’t worry, I’ll get him off your hands”. Anya is happy after he says this, she lets herself trust Curly to put his foot down around his weirdo friend. However, after Anya tells him about the pregnancy, he simply says that he knows Jimmy, that he’ll “talk to him” and that he will “fix things.” Yes Curly apologists- he DOES side with his friend, not in a “hahah nice going Jimmy, Anya’s so hot!” way, but because he wants to avoid conflict. By wanting to avoid that conflict, he leaves Anya and his crew behind. The crew that he was supposed to protect as the captain. Curly does not take Jimmy “out of her hands” like he promised before her assault. Curly is simultaneously victim and perpetrator. Although his actions lack a deliberate malice, his enabling and protection of Jimmy throughout their friendship is ultimately the catalyst for what happens in the game. There is a reason why we only play as Curly and Jimmy- and we don’t play as Anya, Daisuke, or Swansea. However, Curly feels guilt for his actions and the role he played in the events that unfolded on board the Tulpar. “He joined because of me you know.” “We are defined by our past, but not slaves to it.” Unlike Jimmy, Curly is introspective, and is able to feel remorse for what he’s done. He is not an irredeemable monster like Jimmy, but he is also not the “Great Captain Curly” either. He’s a flawed human being living in a world that rewards complacency, service to capital, and cruelty.

[thedemoninme141]

Woeful Tooth. (set in the "Not A Bad Day" universe)

Summary: Wednesday doesn't want to go to the dentist.

Theme: FLUFF!!!

Pairings: Wednesday x Fem Reader. Theme: Fluff! Set in the "after dating" period.

Warnings: Root Canal?!?

Thanks for the insight @cobaltperun

You weren’t one to overthink—well, not much. But the subtle shift in Wednesday’s mood was undeniable. After dating her for months, you had come to learn every expression she wore, no matter how imperceptible it might seem to others.

And right now, something was wrong.

And while Wednesday Addams wasn’t exactly the conversational type, her words now came in curt whispers, that might not alarm anyone else, but it worried you.

In the past few days, her choices leaned exclusively toward soft foods like soups, puddings, and smoothies. And Wednesday eating puddings? That scared you.

“Mashed potatoes, Wednesday?” you asked, raising an eyebrow.

She leveled you with a glare. “They are not mashed potatoes. They are boiled tubers, pulverized into an unrecognizable state… much like most victims in my books. I find their texture fascinating.”

“You hate soft foods,” you countered, leaning forward. “Last week, you said pudding was ‘an insult to the human palate.’”

She didn’t respond, instead taking an excruciatingly slow bite, her jaw moving in a way that looked… wrong. She was chewing… carefully?

“Oh my god. You’re in pain,” you blurted, a mix of concern and frustration bubbling up.

Wednesday’s hand twitched, the only sign that you’d struck a nerve. “Your imagination is as dramatic as Enid’s wardrobe. I’m fine.”

“She’s not fine,” Enid chirped from her side of the table, “She’s been super moody these days.”

You shot her a look. “When isn’t she moody?”

“Good point.”

Wednesday stood abruptly, her chair scraping against the floor. “If this riveting discussion of my character flaws is over, I have more pressing matters to attend to.” Without another word, she strode off, leaving you and Enid.

You didn’t confront her again until later that evening in her dorm, “Alright, spill it.”

Wednesday raised a single eyebrow, still not looking at you. “I’ve spilled nothing.”

“You’re acting weird.”

“Am I?”

“Yes, weirder than usual. You’re always quiet but how did you get quieter than quiet? And don’t get me started on your sudden love affair with soft foods. Care to explain what’s going on?"

"Is this a lovers’ quarrel? Do I need to—" Enid just entered the room,

"Enid, no," you interrupted. "Enid, yes," Enid countered, smirking. You ignored her and turned back to Wednesday. "I’m serious. Tell me what’s wrong. You’ve been eating soft foods, avoiding anything crunchy, and barely talking. That’s not you.”

She didn’t respond.

“Wednesday.” Still nothing.

“Enid, start blasting pop music until she cracks.” You ordered,

"On it mam," Enid smirked going for her laptop.

At that, Wednesday sighed—an actual sigh—and turned to face you. “You are as relentless as the Grim Reaper, though far less charming.”

“That’s the nicest thing you’ve ever said to me.”

Her lips twitched, almost imperceptibly. “If you must know, I’m experiencing a mild inconvenience. It’s nothing worth discussing.”

You tilted your head, studying her. “Define ‘mild.’”

“An intermittent, dull ache.”

“In English?”

She scowled. “A toothache.”

“Wait, you have a tooth problem?” Enid’s grin widened. “This is hilarious.”

“I fail to see the humor,” Wednesday deadpanned.

“I’m calling the dentist,” you announced.

“No, you are not.”

“Oh, yes, I am.”

“You’re being ridiculous.” She crossed her arms, “Pain builds character.”

“Pain builds cavities if you don’t deal with it,” you shot back.

She raised an eyebrow. “Perhaps I enjoy the pain. It’s a constant reminder of mortality, a delightful ache that—”

“Stop. Just stop,” you interrupted, pinching the bridge of your nose. “You’re not romanticizing a toothache right now.”

“You are overreacting,” she said coolly.

“And you’re underreacting!” you replied, unable to hold back any longer.

Enid laughed. “This is way better than the TV shows Yoko watches.”

You pointed a finger at Wednesday. “If you think I’m letting that tooth-problemed mouth anywhere near my things—” “What things?” Enid interrupted. You ignored her, focusing on Wednesday’s icy glare. “—then you’ve got another thing coming.” Wednesday stood abruptly, somehow towering over you despite her "height".

“I refuse to be dragged into some sterile torture chamber.”

“Oh, you’re being dragged, alright.”

You grabbed her hand, your grip firm despite her half-hearted attempts to wriggle free.

“This is a violation of my autonomy,” she hissed as you pulled her toward the door. “You’ll thank me later.” “You’re insufferable,” Wednesday muttered. “I love you too,” you replied Behind you, Enid called out, “WHAT THINGS?”

"This place reeks of mundanity," Wednesday muttered. You sighed, gripping her hand, which she allowed but did not return. "Wednesday, it’s a dentist’s office, not a dungeon." "I would prefer the dungeon," she replied dryly. Before you could respond, you heard the assistant's voice, "Wednesday Addams?" "That’s us," you said, standing and tugging Wednesday up with you.

"Well, I have some good news and some bad news," The dentist began. "Start with the bad," Wednesday said flatly. "Your tooth isn’t just decayed—it’s broken."

You blinked. "Broken? What do you mean broken?"

"It looks like it was fractured with blunt force—something hard enough to crack it deep into the root. That’s likely why you’ve been in so much pain."

You whipped around to face her. "Blunt force? What the hell, Wednesday? What did you do?"

Wednesday’s eyes flicked to you, her expression carefully blank. "Nothing of note."

"Wednesday…"

"I fail to see how this line of questioning is relevant," she replied.

You opened your mouth to press further, but the dentist interjected. "I understand this might be a surprise, but for now, let’s focus on treatment. We’ll start with a root canal to clean out the infection and save the tooth. It’s a multi-step process, so today we’ll address the infection and prep the area. Afterward, we’ll schedule a follow-up to place a crown and finalize the procedure."

You sighed, realizing this wasn’t the time or place to interrogate Wednesday. "Fine. Let’s just get it fixed."

The dentist nodded. "Alright, Wednesday, I’ll numb the area first, and then we’ll get started."

Wednesday didn’t even flinch as the needle approached. Instead, she shot you a pointed glance, as if daring you to comment. "She’s handling this easily," The dentist remarked as she drilled the decay. "Most people squirm a little." "Wednesday doesn’t squirm," you muttered, half in admiration, half in exasperation.

After about half an hour, the dentist stepped back, wiping her hands. "That’s the worst of it done. I’ve placed a temporary filling, but she’ll need to return for the crown placement. I’ll schedule the next appointment before you leave."

"Thanks, Doc," you said, relieved.

"Avoid eating anything hard or chewy until the permanent crown is in place. And no blunt force trauma to your mouth, please."

You shot Wednesday a look. She remained silent.

The bus ride back to Nevermore was quiet, You sat beside Wednesday, leaning your head against her shoulder, exhaustion finally catching up to you. "That wasn’t so bad," you murmured sleepily, your eyes drifting shut.

Wednesday didn’t respond, her gaze fixed straight ahead. But as the minutes ticked by, her eyes softened, shifting down to you. Your breathing was slow and even, your face peaceful against her shoulder.

Beating those boys in Weathervane, who Enid mentioned had made comments about you, was worth it. Even if it had cost her a tooth.

[Author's note: Trying to improve my one-shot writings more, how do you feel about this one? You guys can consider this is set in "Not A Bad Day"s universe, prolly after you two started dating, maybe I can write a one set on how Wednesday asked you out]

MORE ONESHOTS HERE--->WORKLIST