#EVEN AFTER YOU KNOW WHAT HE DID

[tohokuu]

why is my friend of 10+ years hanging out with the guy that used me to cheat on his girlfriend and then lied to his gf abt it and got me in hot water with a couple of ppl- PAINTED ME AS A VILLAIN IN FRONT OF EVERYONE

[butchfalin]

the funniest meltdown ive ever had was in college when i got so overstimulated that i could Not speak, including over text. one of my friends was trying to talk me through it but i was solely using emojis because they were easier than trying to come up with words so he started using primarily emojis as well just to make things feel balanced. this was not the Most effective strategy... until. he tried to ask me "you okay?" but the way he chose to do that was by sending "👉🏼👌🏼❓" and i was so shocked by suddenly being asked if i was dtf that i was like WHAT???? WHAT DID YOU JUST SAY TO ME?????????? and thus was verbal again

[puppppppppy]

who is your favorite AA character? 👁️👁️

ziska… I hope capcom brings her back someday

[daisybell-on-a-carousel]

Being someone who read Under The Red Hood and came out with the firm belief that, for Jason, it's not about killing Joker, it's about Jason wanting proof Batman would choose him over the Joker (bc shelia chose the joker). Makes seeing any other media where it's all about just wanting the Joker dead is a teeny bit frustrating. to be honest

Jason could've killed the Joker himself, really, really easily. Jason kidnaps the Joker before the confrontation. I can't open my comic for a reference right now, but it felt like he had the Joker for quite a bit before the confrontation. He had him. He beat him up with a crowbar. He had every single opportunity to kill the Joker himself, but he didn't because that wasn't his goal. Make no mistake, he did plan for the Joker to be dead by the end of it, but do you see what im trying to say here

Edit: If I knew this post was gonna get 1000+ notes I would've tried to word it better or something, this was a rant I made on the way to the grocery store 😭

It's not about making Batman kill either. When Batman says he won't kill, Jason adjusts and goes, 'Let ME kill the Joker or kill me to stop me' instead. The test is all about Batman choosing him. The whole final confrontation is Jason's first death again. The parent, The Joker, and the explosives. It even ends with Jason unable to move as a bomb goes off right next to him again because the parent didn't choose Jason. And instead tried finding an option that'd benefit them and (consequencely) letting the Joker walk, again, lol, lmao <-in agony

[poorly-drawn-mdzs]

Burning Rotten Bridges

[First] Prev <–-> Next

[backpackingspace]

My actual favorite part of wisdom saga is telemachus trying to lean against Athena (he thought about that for .03 seconds and then was like nah !!! :D she's my friend not the goddess of war!!! Good to see that the audacity is running strong in odysseus's family) and then just passed threw her and fell on the floor. And then Athena did not move at all!!! And just stood there looking at him.

[megaawkwardhuman]

[zarnzarn]

The doors to Olympus are sturdy and strong, given everyone's preferences for drama and slamming said doors open and sending them cracking into the wall whenever the opportunity arises. Which is why it's a surprise when they creak open during the once-a-decade pantheon meeting; less so because no entity worth their salt would take so long to open the doors, and more so because everyone who is anyone is already there.

But if everyone is being honest with themselves- which no one is, usually- these gatherings are boring enough that the bland conversation is dropped immediately in favour of craning their necks to catch a glimpse of whatever is coming to relieve them of their boredom.

When the doors finally open however, several of the pantheon murmur in surprise.

"Odysseus," Athena whispers, wide-eyed as she pushes herself off her throne to her feet. It is him- in the king's garb he was buried in but the face he has when he reached home, hair till the shoulders and speckled with grey, face oddly blank. His feet are transparent.

"What are you doing here, sceptre?" Poseidon booms, hair the color of a stormy sea. Zeus, beside him, looks reserved, observing the ghost with something approaching curiosity- eyes flicking to the lightning scars on his daughter's face and back. "Your time has long passed, and Hades-"

"It is a temporary agreement," Odysseus says curtly, barely sparing him a glance as he approaches his patron. "Athena."

Her armour clinks as she steps forward and the gods all twitch, trading glances. Owls are silent creatures- to have her aspect so affected to make noise was... uneasy to say the least. She even holds herself different than usual, something like confused delight shining in her eyes. "How did you-"

"Did you sleep with my wife?"

The throne room is silent. Several jaws drop.

Athena straightens back up, blinking in surprise. She looks a bit shifty, some of the nymphs closest whisper to each other, which- well, almost every single god present owed some part of their existence to the mere story of Odysseus loving his wife.

Would he fight his own patron goddess over it in front of Mount Olympus, though? He certainly was unbalanced enough; Athena herself looked rather uncertain of her odds, even though-

"Are you addled in death, King of Ithaka?" Artemis drawls, looking amused. "Did you forget that your own patron is celibate? Whatever rumor you-"

"No, I-" Athena says suddenly, shifting her spear to her other hand. "I did."

Artemis chokes on her breath and several assorted divine beings gasp in shock and the rest shouting for explanations, although everyone is nearly drowned out by Aphrodite's loud, "WHAT?"

Odysseus inhales sharply and pinches the bridge of his nose. "I cannot believe you."

"She asked-" Athena starts, only to be drowned out by the din of various beings screeching and shouting about the scandal.

"ATHENA!" Hera hisses, peacock tail fanning behind her sharply as she pushes herself up. "Explain yourself!"

Athena half-turns to face her, face creased in a frown. "Mother, I-"

"LET ME REPHRASE!" Odysseus cuts in loudly, and the shouting settles down into silence. He walks to his patron, eyes blazing. "I cannot believe," he throws his clenched fists wide as he growls the last word, "-you took Penelope to bed-" Athena surprisingly stays still as he reaches her, mouth falling open as he grabs her by the chiton to yank her down, uncaring of the gasps of horror from all around as he snarls, "-before you ever kissed me."

And then Odysseus grabs Athena by the face roughly and kisses her.

This time Aphrodite's shriek cannot be escaped by anyone.

"Aphrodite, please," Zeus says a few moments later, wincing as his throne reforms around him, stained oddly pink. Quite a few minor entities have discorporated, and the ones nearest to her are still trying to regenerate their hearing. "Control yourself."

Their eyes land back on where Athena has dropped her spear- dropped her spear, Ares in the corner seems to be having some minor hysteria over this, well warranted- and is also on the floor, still being thoroughly kissed by that insufferable, mannerless hero of hers, perched on her stomach to reach. Zeus inhales in fury, Poseidon close behind him as the shock wears off, lightning crackling around his fingers as he opens his mouth to shout- of all the indignities-

"If you two ruin this for me," Aphrodite thunders, warping in front of them and glaring. "I will make you both regret it."

Both gods visibly blanch at the threat, taken aback for one brief moment. Threats from Aphrodite are far worse than any of her more violent siblings, at the end of the day.

Zeus visibly gathers himself just as Athena's helmet clatters to the floor, and he gains a second wind immediately, eye twitching as he spreads a hand to the spectacle in the middle of the hall. "WHAT MANNER OF DISRESPECT IS THIS? TO BARGE INTO OUR MEETING AND THROW ONE OF THE OLDEST GODDESSES TO THE FLOOR LIKE A COMMON WENCH-"

"Zeus," Hera says quietly. Everyone falls silent, although it's not quite enough to stop the two tangled together on the ground. She clears her throat, which finally seems to get through to Athena, who had finally seemed to have gotten over her shock enough to reach out, hands hovering over Odysseus hesitantly. Still, at the noise she seems to remember herself, pushing herself up on an elbow and dislodging him enough to break their necking. He pouts at her, but Athena's eyes are too glazed over to notice, heaving for breath.

Hera opens her mouth to speak, crown manifesting on her brow as she steps in front of the throne, but closes it as the door rattles again.

This time, the spectre shimmers with a faint hint of scales that comes with a freshwater nymph's heritage and excited whispers starved for drama explode across the room as the Queen of Ithaka steps into the room, skirts hitched in her hand and panting as if she'd been running.

"Your Graces," She bows respectfully before entering, Spartan princess through and through, until she catches sight of her husband and Athena, the former of whom seems to have taken the opportunity to start kissing the wisdom goddess again, fingers in her curls.

"What are you doing?" She snaps, rushing over. The entire courtroom holds its breath. She slaps her husband upside the head, making him yelp and move back to shoot her a betrayed look. Athena looks even further dazed than before, cheeks red. "Argos has more manners than you! No wonder Lady Athena wanted nothing to do with you- ah, hello, darling, by the way."

"Penelope," Athena murmurs hoarsely, and the Queen of Ithaka leans down to kiss her as well.

Odysseus chuckles, then jumps with everyone else as Hera slams a hand down on the throne elegantly, cracking it to the base.

"Ah, goddess-" He says, clambering off Athena to bow.

"Silence," Hera interrupts, holding up a hand, eyes cold. "You will not say anything to me apart from an explanation. My agreement for your release from Ogygia was due to the assurance that your marriage was one of the truest I have ever witnessed, conveyed by Athena herself when bartered with all of us to let you go. Tell me, was it a ploy? Because from the disgraceful looks of it, this seems to not be the case in the slightest."

Odysseus frowns, face twisting in confusion. "Athena bartered with...?" He turns to look at his patron, who stares back, unspeaking. His eyes flicker to the lightning scar over her right eye as Penelope traces it with horrified eyes and a gentle thumb, and understanding seems to dawn.

For a moment, rage seems to fill him, glaring with a hatred towards Zeus that everyone whispered later wasn't met by the god king with anger, but a flicker of remorse- before he visibly throws it away behind Athena's old smile and bows.

"God-queen," He says formally, gracefully. Hera twitches a bit, and they'll all talk later about how odd it was to so clearly see Athena's younger mannerisms in the man, down to the curl of the letters. "My marriage to Penelope has never been false, never been broken, this I promise you." He takes Penelope's hand and squeezes it for emphasis, and she raises them as acknowledgement. "But... can you not argue that Athena has been part of our marriage all this time? From its start, where she advised me on courting and her on what to look for, to the twenty years she spent with both of us- me on the battlefield and Penelope in the court; to say nothing of how she helped raise our son and lived in our palace in the days after. And is she not so unbearably beautiful that even my Penelope couldn't wait-" He shoots a glare at her, which Penelope returns with a smile. "-when the chance was presented? How can you fault us for disgrace, after being so long apart from our wife?"

Hera raises both eyebrows at the impudence, the kind of disbelieving expression that hides a warning to tread carefully. "So you claim to be both married to Pallas Athena?"

"In every way that matters except legality," Odysseus says, fearlessly. He is dead, after all, what much can you do to a shade that they didn't already put him through when alive. He is sort of worried about Athena, though, as they both help her back to her feet, Penelope busy whispering compliments and updates and endearments in turn- she's not usually one to be quiet in face of a problem.

Hera tilts her head. "Ah, but you see. I need the legality, if I am to finally-" A helpless, excited smile pulls at her lips once, twice, before unfolding into a bright grin, peacock tails unfolding to their full wingspan. "-finally arrange for a marriage for my eldest daughter who has not once- oh finally, I can hardly believe this day has come-"

"I do not like the way you grabbed her, Sacker of Troy," Ares steps forward as Hera starts ranting half to herself, half to an equally loud assemblage of joyful entities about wedding arrangements, eyes narrowed.

Odysseus barks an incredulous, loud laugh, gesturing to Athena with a slightly crazed look in his eyes. "This lady has broken- and I do not exaggerate- every single bone in my body before I saw my sixteenth year. I have punched her a hundred times in the face when she taught me how to fight. We'll survive, thanks."

"That is fair," Ares steps back, hands raised.

"What duties will you provide as spouses, Ithakan Queen?" Hestia questions, stepping forward.

"Oh, the same we did when we were living," Penelope huffs a laugh. "Keep her busy, make her laugh, be of mild frustration to her, love her well, worship her-"

"I do not. Need to know," Hestia closes her eyes and raises a hand to cut her off, stepping back. Around them, the din catches speed and volume as no further objections arise, excitement spilling into the air.

"What is happening?" Athena says faintly, looking around as if she was just waking up.

"-oh, and we can get out the decor once more! Hebe, Aphrodite, loves, do you remember where we kept the fountains-"

"-finally, a reason to celebrate! Call them all out of hiding-"

"-can't believe this is finally happening, oh sister, what songs should we-

"Why am I getting married," Athena says with much more alarm and horror. She turns to Odysseus and shakes him by the shoulder, eyes wild. "What did you do?"

"Nothing!"

"How is this nothing? Do you have any idea the headache-"

"Athena, sweetheart, will you consider changing into that beautiful piece you made for the ceremony?"

Creakily, she turns her head to Hera, disbelief pasted across her face. "Mother," She says slowly. "They are both dead."

"Oh, I'll make a deal with Hades or something, you hush!" Aphrodite leans forward and snaps, before her irritation melts back into a manic joy. "Oh, what paint shall we do?"

Paint, Athena mouths, looking afraid for possibly the first time since her conception.

Penelope laughs and tugs on Athena's hand to make her turn, tucking dishevelled curls behind her ear. She wonders if the goddess knows how beautiful she is when she's flustered. "Take us away," She whispers. On Athena's other side, Odysseus leans against their patron with a besotted, helpless smile as he stares up at her, her helmet and spear in hand. She'd missed Athena like a limb, missed her deep laugh at night when they'd discussed the day's court, the dry jokes, the hands over hers as she weaved- but Odysseus wasn't himself without her, happy though they were in Hades' lands together, all of them.

"I'm-" Athena wavers, then looks around once more at all the excited screaming, something unreadable flashing in her eyes. Almost against her will, her eyes fall to Zeus, who is sitting silently and staring back at her. Poseidon looks like he still wants to start a fight, but clearly by his wary looks below can tell he will be heavily outnumbered by the overexcited crowd to not try, but Zeus just stares back at her, face blank of any emotion.

"We ask you formally this time," King Odysseus says, walking in front of her to take her attention away, holding onto her hand. His voice has strength in it, drawing the eyes of the murmuring crowd, but he's deaf to it as he stares up at her.

"Will you be our wife?" Queen Penelope asks, joining him, watching their beautiful patron shudder for breath she does not need as her eyes flick to one of them and then the other.

"Yes," She whispers and cheers erupt all across Mount Olympus.

"Finally!" Odysseus complains, and then pulls her down once more to kiss her, all three of them fading at the edges as one of the generous gods present there- who seems to realize that they're not very inclined to stop anytime soon- thankfully teleports them away into a nice room with a large bed.

"Finally," He whispers as he breaks apart to lay her down, cupping her face, voice heavy with the longing of a full lifetime and more. Penelope circles to the head of the bed and starts undoing Athena's braid, staring at them both lovingly.

Later the ones closest will murmur, as the silhouettes faded away, that tears had slipped from proud Pallas Athena's eyes as she placed one hand against Odysseus' cheek, trembling.

"I missed you," She will whisper back, and all three of them fade away to their own story, yet to be made.

[3twindragons]

It’s been a long dry spell for WinterHawk!

[1v31182m5]

The sessions get longer each time

[tubbytarchia]

gg buddy am I right (ethubs doodle that I don't know what to do with)

[stillwaterinc]

i have nowhere to put my batman thoughts so they’re going here

jason comes back as the red hood, planning to take out his little replacement or at least hurt him bad enough that he drops the suit and lets robin die but suddenly, a month before his plan is to start, robin disappears. and so does the joker.

what? jason looks, he scours security cameras and internet forums, even weasels his was into the gcpd’s files and…

nothing. there’s nothing.

no bodies reported, joker’s not in arkham or black gate or any other prison, he hasn’t finally been given the death penalty he just. disappeared.

he can’t find anything on robin either, or tim drake, for months until he stumbles upon a nearly perfect patient file in some hospital records.

nearly. it’d be perfect to anyone else but jason, even years later, can recognize bruce and barbara’s finger prints all over it. it’s a cover. a cover for what though? he reads through the file, tim drake’s file, presumably and finds… well.

someone clearly tortured the kid, and with the meds he was being prescribed it got to him. it would’ve gotten to anyone.

jason shudders reading the initial injury report. electric burns, lots of them, are what catches his eye the most but there’s all kinds of stuff. what catches his eye the most though is the lacerations that had to be stitched either side of the kid’s mouth. shit.

he doesn’t get the full picture, not yet, but pieces are starting to come together. the joker has been missing for a while, just a little longer than jason’s replacement has been in the hospital for some violent injuries.

the joker is missing.

tim drake is in the hospital.

something happened, clearly. the joker did something to tim, something awful, something bad enough that the joker disappeared and the kid’s been in the hospital for weeks.

bruce didn’t make it in time, only this time robin wasn’t dead, he’d been broken.

someone had gotten to robin, to tim drake, before jason could, had gotten to him so badly that even after he was released he wasn’t robin anymore.

not because he didn’t want to be, a few bugs here and there in the manor let him know that much, but because bruce wouldn’t let him.

it comes out, in one of these arguments, that time killed the joker. shot him dead. and jason almost wants to congratulate the kid for it, or wants to strangle bruce and ask him how the hell he let robin, who’s just a kid, tim, who’s just a fucking kid, get anywhere near a position where he had the means and desire to fatally shoot the joker.

because that’s it, isn’t it? the reason jason’s like this, doing this, is because of the joker. jason knows how to use guns because of the joker. he’ll never go to college like a normal kid because of the joker. and now tim.

tim wants to be robin, asks for it, begs bruce to let him back out in the suit and jason nearly finds himself agreeing with bruce. the joker’s gone sure but what if someone else tries the same thing? what if someone tries worse? being in the suit’s already gotten tim this much pain, why risk more?

it hits jason, one night, that he stopped being angry at tim a while ago. a long while. he can’t be angry at bruce either, because the joker is dead. there’s no one to enact vengeance for his death on anymore.

anyways most of my posts are about incest please don’t follow me for batman content

[imminent-danger-came]

2x02 // 3x01 // 3x03 // 3x13 // 4x12

Team huddle!

[s0fter-sin]

something happening on a mission, something personal that has soap spiralling; panic and rage making him reckless, thoughtless, and ghost has to draw the line

“you’re compromised johnny; you know what that means?”

“you’re not pulling me out,” soap immediately snarls. he turns on him and ghost barely recognises him; venomous fear turning his eyes to unyielding ice. "you're not sidelining me; i need to be in this-!"

but ghost has never been afraid of venom; spat or dripped straight from bared fangs.

he snakes out a hand grip the back of his neck, jerking him in a rough shake. "if you can't think, you can't be a soldier," he growls and he flinches like he's been struck.

his lips quiver as they twist in a sneer and he wrenches, trying to free himself of his hold.

ghost doesn't let him.

"it means you give your body to me because your head ain't fucking attached to it anymore."

soap stills, body trembling beneath his hand as he sucks in shaking breaths.

he tightens his grip, pulling him closer and digs his forehead hard into his. “it means you give yourself to me so i can have the weapon that you are and use you the way you're meant to be used."

the ice in soap's eyes fractures.

ghost’s voice drops to a whisper, spoken only to johnny, not this facade of vengeance and pain, and wills it to reach him through the glaciers.

“so i can keep you safe ‘til it’s done and i can bring you back.”

[thepersonperson]

Sukuna’s Loneliness Part 4 (Sukuna’s Negative Rizz)

Part 1 Part 2 Part 3 Part 5

Some warnings before we start.

1) This analysis deals with sexual topics.

2) I will be mainly using the TCB scans because of their accessibility. Raws are from mangareader(.)to.

3) This was written as of JJK 262 266. (I'm just going to keep updating this until I stop finding things I should've noticed earlier.)

4) The raws broke me in ways you cannot possibly imagine.

(Click images for captions/citations.)

Fighting as Communication

Baki the Grappler. This is a manga where men destroy each other’s bodies as a test of strength. It’s poorly written but the art is terrifying and I love it so dearly. Between fights of extreme violence and body horror the characters eat. And that’s it. That’s the manga.

I bring Baki up because Gege is a huge fan of Fujimoto Tatsuki, the creator of Chainsawman. Fujimoto is a fan of Gege too, but more importantly, he is a huge fan of Itagaki Keisuke, the creator of Baki. (His daughter made Beastars btw.) In a way, this means Jujutsu Kaisen has been influenced by Baki. But that’s not a surprise, a lot of manga is.

Itagaki’s work is so massively influetial on Japanese media that it’s kind of hard to grasp since it’s not as popular overseas. When listening to interviews from various Japanese creators, Baki will often be cited as a major influence. And the thing is, you can tell when a creative has read Baki. There’s nothing quite like it. If you’ve read Baki and consume Chainsawman, you will see its bones everywhere. I feel the same about Jujutsu Kaisen.

The main antagonist in Baki is Yujiro Hanma. He is the strongest creature alive. So much so that he has no one to call a rival. He’s bored. He causes trouble. He kills his wife to motivate his son, Baki into becoming stronger. His son, Baki, who he grooms into becoming a fighter that might beat him in combat one day. Kind of sounds like Sukuna, right?

But that’s not my point here. My focus is how Baki doubles as a discussion about strength and manhood. It’s aggressively bisexual. Men love each other with their fists. Straight up the main character says having sex with women is the same thing as fighting men.

And it just doesn’t stop there. The homoerotic nature of the fights is never shyed away from. Here’s an example of my favorite.

He grabs his balls and compliments their size. That’s pretty gay, right? Well there’s this reanimated prehistoric caveman called Pickle that fights Baki’s brother Jack. And how do they fight? They kiss.

I didn’t call it a kiss. Itagaki did. I didn’t say they melded together. Itagaki did. This mangaka overtly calls attention to the homoerotic nature of men fighting men, and how men communicate their love for each other through violence. And yes, it’s sexual. Itagaki wants you to read it that way.

But sometimes he doesn’t want you to read it that way. Sometimes the fights are a dialogue, an emotional conversation. Like one between father and son.

Itagaki is a master of narrative framing. When he wants you to feel a certain way, you will feel it. He also tells his readers that there’s more to the fights than just fighting.

Those are the ideas that help me see the bones of Baki in other works. Men loving men with violence. Men communicating with men through violence. I see these ideas in Jujutsu Kaisen too.

Jujutsu Communication

I’ve gone over how Yuji commucates with other people on their own terms. And a lot of it is through fighting. A conversation without words, learning how someone works. Yuji is good at using fights as tool of communication.

But he’s not the one who tells you that there’s more to the fights than just fighting. Maki does in her spar with the sumo guy.

Just like Baki. Fighting is a means of communication. Gege has told you that there can be more to the fights than fighting. It's a tool used to understand the self and others.

With that in mind, I want to reexamine a particular fight under the lens of Baki rather than Umineko.

Sukuna vs Gojo

Baki tells you that homoerotic readings of its fights are intentional. If you ask me, this probably stems from historical stances on masculinity and homosexuality in ancient Japan. Men loved men and women differently, but both were ok. That’s how Baki can have a girlfriend and his gay fights. Peak bisexual optimization.

What does Jujutsu Kaisen have to do with this? Well it has been extremely queer friendly. We have a multidue of canonical trans characters, non-binary characters, and other flavors of queer characters not disparaged for their identities, Gojo Satoru included. It may not be stated outright, but Gojo and Geto do love each other in a gay way. The subtext is so persisent it’s basically text.

In other words, Gege has already told us, yes please have queer readings of this text. It’s the same way Baki tells you, yes this is straight up convoluded gay sex. So that’s what I’m going to do. I’m going to reread the Sukuna and Gojo fight as some ridiculous mating display between two men who are fighting over can miscommunicate their intent the hardest.

Framed as Courtship

Let’s start with the framing. The pre-fight set up. How does text tell you queer readings are allowed?

Kenjaku does. It’s romantic. It’s a date. This reading has been made valid explicitly. And if there’s room for doubt because of the sarcasm? There’s still additional support for it.

We already know how badly in love Gojo is with Geto. The fight is on the 24th of December, the most romantic day in Japan. And in a fun little Geto parallel, who declared the start of war on this day, violence underlines this new romantic venture.

That doesn’t include Sukuna who recalls Yorozu’s words about teaching love in the context of marriage.

Gojo never heard that conversation which is why the next point is absolutely insane.

The outfit Gojo initially is in resembles that of a groom at a Shinto wedding.

Shinto weddings were implemented after the Heian era. Part of the ceremony includes a priest and a shrine maiden who respectively stand to the right and left of the altar. A purification ritual will occur, lead by the priest, to cleanse the shrine before vows are exchanged. Gakuganji is the priest and Utahime is the shrine maiden. To the right and left of Gojo respectively.

The bride at a Shinto wedding wears mainly white. After the 200% Hollow Purple cleanses the area, the dark shawl is removed and Sukuna remains in mostly white.

How interesting that this battle has been framed as one between groom and bride.

The thing is, marriage in the Heian era was far more lax. There were no major ceremonies. If a man was interested in marrying a woman, he would visit her for 3 nights after receiving approval from her father. Upon the passing of their 3rd night together, the family would have an informal celebration of their union in private. Even after marriage, multiple partners were allowed and sometimes encouraged.

Yorozu’s big celebration proposal to Sukuna and banning of concubines was quite improper by Heian standards. Though it is in line with modern marriages. If Sukuna did not consume any Shinto wedding literature, he probably didn’t recognize that Gojo was dressed as a groom.

But did Gojo dress this way for Sukuna intentionally? The Toji fit served an entirely different purpose. It’s the robes and pre-fight ceremony that catch my attention. So I propose the following:

1) Gojo dressed up as a groom to die and be wed with his one and only Geto in death.

2) Gojo dressed up as a groom in part as an offering to Sukuna. And because Sukuna is from the Heian era it went over his head entirely.

3) Gojo intended for both of these things at the same time and left who he would end up with to fate.

Regardless of what Gojo was going for here, it’s a visual cue combined with the knowledge of it being Dec 24th that encourages the reader to perhaps consider the fight as something other than just a fight. A date perhaps? Kenjaku made the connection and neither Gojo or Sukuna really denied it. Gojo gave the weak excuse of a death anniversary confusion. But much weirder, given how hostile he was to Yorozu, Sukuna did not object to the romantic framing in any capacity.

Am I reaching? Is this reading intentional?

When I start getting this confused by how a translated work wants me to read it, I try to refer to the original language text and anyone who knows it for missing context. Sometimes localizations add things that weren’t there or push readers towards one interpretation. So for the rest of this analysis, I’m going to be focusing on the raws.

I’m going to be honest. My Japanese fudging sucks. I can barely read kanji and can’t reliably translate anything. Feel free to correct me if I got something wrong. That being said, with what little I do know, I have discovered something interesting.

In this post I talked about how weird Sukuna’s manner of speech is. I focused on his you pronoun usage of お前 (Omae) for everyone else and 貴様 (Kisama) for Gojo since this is a strong indicator of how a character views their relationship to someone.

Here's a summary of the two points I made in that post:

1) Omae is informal and either a casual thing amongst peers or indicates the speaker's higher status. Since Sukuna is arrogant, we can reasonably assume he's talking down to people.

2) Kisama historically was a formal show of respect, but in modern times it is a hostile insult, much more rude than Omae. Since Sukuna is 1,000 years old and hates Yuji (who he uses Omae with), we can reasonably assume Sukuna was being friendly to Gojo when he used Kisama.

With that pronoun usage in mind, while examining the raws for the infamous “You Cleared My Skies” speech I found this:

Kisama. Sukuna is very happy and lavishing Gojo with praise. The assumption it was formal from the start seems to be correct. It's hard to read this any other way.

Though Japanese can easily be dubious in its interpretation, there are instances where context can cut off all other readings. I truly believe this one of those cases.

Now, to confirm Sukuna is still only treating Gojo this way I started looking at his you pronouns as he got excited post-Gojo death. Maki is the person he seems to admire the most.

He’s still just using Omae. What does that mean? Gojo is in his own fudging category for Sukuna and he has been there since the start of the manga. (For more on why this is significant, refer to this post.)

Wow ok. That’s pretty intense! We’ve got Gojo dressed up as a groom on December 24th and Sukuna treating Gojo different from anyone else. I read their fight again under the lens of explicit courtship and focused in on these specific panels.

Satisfaction. Now that’s a word that can easily carry a sexual connotation. Love as well. The parallel syntax fascinated me in English. So I decided to look at the raws and see how close they are.

Pretty much the same except for "the one who will teach you love" and "the one satisfying him now". Since the one being satisfied is Gojo by Sukuna, it really seems we can assume the one being taught love is Gojo by Sukuna.

Time to learn some Japanese again!

Kanji has multiple readings. Most have at least two. The Onyomi (Chinese) reading typically used for nouns and the Kunyomi (Japanese) reading typically used for verbs. (This is not always the case but it’s the basics.)

That’s probably why 満 is read as まん (man) when Gojo and Geto are talking about “satisfaction” using the On version and み (mi), the Kun version, when the narrator is talking about who “satisfies” who.

However 満 on its own does not mean satisfaction. It means full. To be filled. Or fullness. 足 (zoku) is added as a modifier after 満 to be read as satisfaction 満足 (manzoku). 足 usually means feet, but it can also mean to be sufficient. Manzoku therefore has a direct translation of being sufficiently full. It’s not a surprise a lot of food places in Japan use Manzoku in their names or advertising.

But what’s this? Why is this sentence written as 満たして or Mi(tashite) instead of 満足して or Manzoku(shite)? The addition of Zoku is what transforms Man into "satisfying". Without the Zoku, it’s just "fill". The means this sentence can be read as “The one filling him up now is—”

We’ve already established that the blank is Sukuna. The new problem is that he’s filling Gojo up. And boy, does that sound homoerotic to put it lightly. But perhaps I am reaching.

So I did what any sane person would do in this situation. I read hentai.

Surely if the phrase 満たして (mitashite) can carry a sexual connotation I will find it in hentai.

...

I immediately found a yaoi doujin called Fill me with your Big Love aka おっきな愛で満たして (Okkina Ai de Mitashite). Honestly, I found too many doujins about creampies specifically. (You have internet access verify this yourself.) When you search Manzokushite the results are much more in line with life satisfaction than sexual satisfaction. ...So Gege decided to use the more frisky phrasing.

Manzoku is also the name of an active sex toy manufacturer (I’m not linking them use a search engine.) and a discontinued adult entertainment news company. So the satisfaction Gojo and Geto talk about, along with Geto using 妬 (ya), the jealous kanji often used between lovers, is definitely probably carrying a sexual connotation too.

So, I’m not reaching. What the fudge did Gege mean by this?

Now that we've established that I am NOT reaching. What do we do with this information?

Well, we ruminate on the fight with the knowledge that Sukuna, of his own volition, decided to get Gojo off, probably.

I have forgiven Nanami for calling Gojo a pervert. If I watched someone bust a nut after being cut in half by his sworn enemy instead of saving the country, I too would be like what the fudge.

Anyways, the typical phrase used for an orgasm in Japanese is 行く(iku). It translates as to go. And yes it can mean to die, as in going to the other side. To die and go to heaven if you will. Which is what Gojo did with a big old smile on his face.

There’s also the term 心天 (tokoroten). It refers to a dish were a semi-opaque white substance is pushed through holes to create noodles. Literal translation using the kanji for heart 心 (kokoro) and the kanji for heaven 天 (ten). (Don’t ask me why them being smack together turns the Koroko into Tokoro. I don’t know.) Which in slang refers to prostate orgasms. This has nothing to do with this analysis I wanted to drop this fun fact in here. …And this image of Sukuna clutching his heart while looking at someone he sent to heaven.

(This is a reach but the idea of this being an elaborate gay pun amuses me greatly.)

I have another fun slang term: 賢者タイム (kenjataimu) which directly translates to sage 賢者 (kenja) time タイム (taimu). This refers to post-nut clarity sending someone into a meditative-like state.

Oh that’s a bit familiar. Sukuna was giving sagely advice to Kashimo and reflecting on satisfaction and love.

And what’s this? Mitashite has made a reappearance! Sukuna is saying “I’ve never thought about needing another person to fill me up.” Which 1. further supports the 'The one satisfying/filling him (Gojo) now is—Sukuna.' reading and 2. suggests Sukuna is a top suggests Sukuna really doesn’t have sexual interest in people. (Since the context of this convo is relationships and love.)

By the way. Acts of eating in Japanese can be modified to carry sexual meanings. It’s a bit more suggestive than English, but it carries over pretty well I think? 肉食系 (nikusokukei) refers to someone who aggresively pursues romantic or sexual relationships. Composed of the kanji 肉 (niku) for meat, 食 (ta) for eating, and 系 (kei) class. If you noticed, 食 isn’t usually read as Soku. It becomes Soku when paired with Niku for some reason. (I don’t know why someone please help me.) Side by side the kanji 肉食 (nikusoku) means meat-eater.

食 is still interesting on it’s own. The 食べる (taberu) reading is normal eating. The 食う(kuu) reading is an innuendo. It can mean to devour someone, like a cannibal, or devour someone sexually.

Sukuna has made it very clear that his eating of people is literal. There’s no innuendo. In fact, if you read into it, he’ll kill you (rip Yorozu and Kashimo).

Gojo, however, appears to be his sole exception to this rule. When Sukuna tells Kashimo not to spoil his pleasure he uses the kanji 興 (kyou). This of course can be directly translated as pleasure, but the Chinese reading of it can also indicate intense excitement or sexual arousal.

Sukuna is pretty good at double-entendre wordplay if his earlier stunts with the kanji for Enchain doubling as Megumi Activities if read a different way is anything to go by. He's a fan of Chinese literature. It's not a stretch to assume there's more going on here.

And if notoriously homophobic Reddit dudebros are posting things like this. Maybe there's a lot more merit to this reading than I can currently grasp.

I’m still pretty convinced Sukuna is aroace. That of course doesn’t bar him from pursuing romantic or sexual relationships. Sometimes there’s the one exception. Sometimes the desire to be with and please an allo partner allows for engagement of activities they aren’t into. Sometimes the actions are pursued without the emotional attachment because they physically feel good. There’s also the gray-scale and demi labels to consider.

With that in mind, I want to emphasize this all points to how important Gojo is to Sukuna regardless of sexuality. He tried to engage with and understand Gojo on terms he won’t for anyone else. And he’s been pursuing this connection relentlessly since the start of manga.

Sukuna’s Negative Rizz

Ok I established that reading the Sukuna vs Gojo fight as unhinged courtship is supported by the text. That doesn’t really say anything about Sukuna sucking at it.

But, my dear reader, that in of itself is proof of his negative rizz. I had to sit down. Learn about Heian era and Shinto wedding rituals, learn more Japanese, splice seemingly unrelated manga panels together, read hentai, and know that Gege is into yaoi to come to this conclusion. I had to rip every little shred of characterization and context apart and rearrange it into something comprehensible.

You know who can’t do that? Gojo.

As far as Gojo is concerned, Sukuna hates him. Kisama is an extremely hostile you pronoun in modern times. And if Gojo can’t tell Shoko (his closest friend after Geto) is stressed over him being used like a meat puppet by her visibly falling back on her addiction, he’s going to default to the assumption Sukuna hates him just as much as everyone else.

And Gojo does just that. He assumes he failed to reach Sukuna. Despite how often they did hand to hand combat and weaponized their knowledge of each other, Gojo believes they never had proper conversation through fighting. He dies not understanding Sukuna, convinced the other was not trying to communicate with him at all.

And if you recall, all of this fight occurred while Sukuna was wearing Megumi’s face. That boy is pretty much Gojo’s adopted child. From my experience, most single parents do not go looking for clones of their kids as partners.

If someone wore the skin of my family member I would assume they were trying to torment me. And torment Gojo Sukuna does. He draws attention to Megumi’s soul being used as collateral and attacks him with the 10 Shadows. We as the audience know this is all for the sake of getting past Infinity using his Shrine. Gojo doesn’t know that. He’s fighting an evil dude who is puppeting the body of his son for god knows what reason.

Seriously, Sukuna sucks at communicating intent.

In Part 3 of my examination of Sukuna’s loneliness, I said Dismantle is a tool Sukuna uses to understand. And that him upgrading it by making Gojo the center of his world was indicative of his desire to reach him. I also said his refusal to use it on Yorozu was him expressing how little interest he had in her.

Yorozu is pissed by this. She sees it as Sukuna rejecting her and I don’t think she’s wrong. Sukuna saved his special Cursed Technique (CT) for Gojo while turning Yorozu down. If we’re considering all the wedding imagery and references that started with Yorozu, I’m certainly allowed to read that as him saving himself for Gojo. (Think of how he lied to Gojo about being the first one he killed.)

There’s also the fact that Yorozu saw their battle as an expression love and lust—that the usage of CT is a type of foreplay under certain circumstances since it is an extension of the self. Combine that with the established premise that fighting is a type of a communication thanks to Maki vs Sumo Guy and you can start to see the courtship logic behind Sukuna’s treatment of Gojo.

If we are to read “The one who will teach you love is…Sukuna” there’s another adorable caveat. Yorozu uses the you pronoun あなた (Anata) for Sukuna.

It’s an informal you pronoun used by people learning Japanese. Native speakers try to avoid using it as it can come across as rude. But in the context of love? This is colloquially called the wife pronoun as its often used by a wife to her husband.

If you wanted to localize its usage in the way Yorozu means it, Anata might become “you, dear”. So here we have Sukuna dressed in white, like a bride to Gojo’s groom, thinking of him as Anata.

The problem is, Gojo doesn’t know that. Sukuna never bothered to open his mouth and say this was an act of love. Sure he told Kashimo in the most roundabout way possible, but Gojo was the one who needed to hear that. If a courtship is going to be this diabolically complicated, there has to be clear hints for the other party. JJK is not Umineko where there’s a witch that can revive the dead over and over until the idiot finally understands this was all for them.

Gojo also doesn’t have access to the kanji Sukuna uses to describe certain techinques or words. He hears the phonetics and runs with whatever best fits the context. This means there’s no way for him to catch the double-meaning unless he’s a certain type of lingust, which he is not. His manner of speech and personal interests don’t line up with the flowery language of the Heian Era. The types of written works Gojo is into are historical war politics from the Sengoku period (known for violence more than the fine arts), Shonen manga, and physics/math.

And what's this? According to CFYOW (the canon light novels): JJK Thorny Road at Dawn, Chapter 3 Asakusabashi Elegy, Gojo doesn't even like ancient poetry. You know, the thing Sukuna enjoys and tries to communicate with.

The Kokin Wakashu Gojo off-handedly disparages is a compilation of Hiean Era poetry known as Waka. This was the primary means of communication amongst the noble class and spiritual leaders at the time. And the thing is, this poetry is supposed to be read into. Down to the quality of stroke and paper, not just the kanji written. Especially for courtship.

It’s not that Gojo is stupid. He just doesn’t specialize in the studies that would give him a more critical ear to Sukuna's words. And Sukuna doesn’t seem to understand that no one in the modern era communicates like this anymore.

If you didn’t know, this is why Japanese characters introduce themselves they often describe what kanji their name is spelled with. Take for example: Satoru. He uses the kanji 悟 meaning enlightenment. This kanji can be read as Go instead of Satoru. Additionally, the name Satoru can be written in kanji as 聡 for smart, 智 for wisdom, 知 for knowledge, 了 for understanding, 哲 for philosophy, 聖 for virtuous, or 暁 for daybreak. That’s 8 different kanji possible if you hear the name Satoru.

This is why Sukuna’s wordplay for everything else can be easily missed by other characters. They hear the words and cannot read the kanji like us. Context decides what Sukuna means for them. And since Sukuna’s context for most is violence and insults, it’s very hard for them to think about his words in any other way.

And boy howdy does Gojo miss it. Sukuna straight up calls him his husband and it took me several rereads to catch it. While mocking Gojo for being unable to open his domain, Sukuna calls him "painfully ordinary". This is localized from the word 凡夫 (bonpu) which can also be translated as unenlightened. (A layered insult! Sukuna is pretty much saying Gojo's sorcery is so boring he shouldn't even call himself the Honored One.)

The thing is...Bonpu is comprised of the 2 kanji 凡 for mediocre, and 夫 for husband. (Please note that there are many other ways to call Gojo a ditz without using the kanji for husband.) And an update from the Replies: Turns out there's layers to the gayness too.

It's come full fudging circle. Gojo came dressed as a groom for a wedding and Sukuna thinks they're already married. The miscommunication is off the rails.

But wait! There's more...

Earlier I mentioned that the kanji for Enchain doubles as Megumi Activities. Let's break that down more. (Unfortunately the Twitter account of the person I referenced may or may not be nuked so here's this screenshot I've doctored.)

So we have the translation of Enchain from 契闊 (Keikatsu), which might be better localized as Separation.

This term comes from a Chinese poem about lovers who are husband and wife in The Book of Odes, Section I (Lessons from the States), Chapter 3 (The Odes of Bei), Poem 31 (Banging the Drum). (Here's a link to the full poem and context of it.)

In summary, it’s about a soldier who is on the brink of death, having lost nearly everything after being abandoned by those in power, lamenting the happiest days of his life with his love are ones he can never get back. (Hey that sounds just like what Sukuna did to Yuji!)

Keikatsu specifically comes from this passage:

“Our vow is beyond death and life”, I and you are together I always remembered. I will hold your hand, And together we grow old.

Too pitiful we are faraway apart, The distance separates us to meet again! Too miserable this takes forever, And it does not let us fulfill our vow!

Keikatsu is used to exemplify how the physical distance between the husband and wife prevents them from fulfilling their wedding vows. And that's just what Keikatsu/Enchain does to Yuji and Megumi, it causes painful separation neither of them wanted.

Keikatsu also tells Yuji exactly how Sukuna plans to do it. 契(kei)闊(katsu) can be written as 恵(kei)活(katsu). The kanji 恵 can be read as Kei or...Megumi. (It's the literal kanji used for his name.) The kanji 活 (katsu) can mean "activities", which is how we get Enchain=Megumi Activities.

A two for one special! Sukuna mocks Yuji for being so close with Megumi while telling him exactly how he's going to destroy their relationship.

It seems this has nothing to do with Gojo until you consider the 3rd possible reading from wordplay with 契闊 (Keikatsu). The kanji 契 when read as Kei refers to a promise, pledge or vow. When 契 read as Chigi? It can refer to sexual intercourse, especially between husband and wife.

So we have 契闊(keikatsu, separation), 恵(kei Megumi)活(katsu, activities), and 契(kei chigi, spousal sex)活(katsu, activities). It's no wonder he erased Yuji's memory of it.

Keep in mind, that when Sukuna uses Keikatsu, the only vow that he has made at this point is his promise to kill Gojo. He eventually does that using Megumi's body during a fight framed between groom and bride. And for reasons beyond their control, Sukuna and Gojo have been unable to fulfill that vow through lengthy separation.

Notes from poem "Banging the Drum" Sukuna references include the following:

"And during the operation, he lost his horse, which was a desperate situation (horses in ancient time carried soldier supply and weapons, are life companion for soldiers in advance or retreat), he lost his horse, his supply, maybe his armor and weapons, and the road he was facing that we may lose his life so he may never go back. In all these mess, he started searching, and somehow at this hopeless moment he started to revisit his happiest moment, when he together vowed in marriage ceremony with his wife, and he was even afraid that he might never see his love again."

"And His last statement for his true value is his home, his love, his fulfillment of his vow is his true duty. Hero's duty is to pursue love."

In Buddhism, which JJK is heavily influenced by, horses are a pretty big deal. Horses can represent the path to enlightenment, especially since The Buddha's horse is what takes him on this journey away from his wife and children. They separate in the end though, the horse dying of a broken heart.

Remember how Sukuna called Gojo unenlightened? He sort of guided Gojo to enlightenment using Mahoraga, whose Eight-Handed title is a reference to the Eightfold Path to be followed for enlightenment. Buddhist enlightenment is centered around liberation from suffering. (Just check the wiki entry to verify this.) Infinity was the source of Gojo's suffering and Sukuna cut right through it.

Sukuna has been running around with a broken heart for a good chunk of the post-Gojo fight. And if you take that into consideration with this poem and all the other symbolism, he's somehow a Buddha, a Bodhisattva, the dying husband, the widowed wife, and the heartbroken horse all at the same time. Not unlike his wordplay taking on every possible meaning at once.

But my point here is that Sukuna might’ve seen his fight with Gojo as consummation of their marriage. (There's probably a joke in here about the husband reaching climax while leaving his wife unsatisfied.) Remember in the wise words of Itagaki Keisuke, "Fighting and sex are exactly the same!"

In Conclusion?

This is possibly one of the most bizarre and elaborate expressions of love I have lost my mind over. Sukuna gave everything Gojo ever wanted from Jujutsu violently. He did it in such an unpleasant and cruel way that the target of his affection thought there was nothing between them. Sukuna also hid his intent under social norms that no longer exist. Unless Gojo happened to be into ancient literature, there was never a scenario where he would catch onto this. Sukuna's failure is critical on multiple levels.

It’s impressive. It really is. No one knows how Sukuna’s strange little brain works so he’s stuck being loner without anyone that fully understands him. (I’m still thinking about how Uraume didn’t know Sukuna was a twin for over 1,000 years.) He’d have to let people in and tell him outright, but he’s just like Gojo so I guess that’s never happening.

[otaku553]

Haha