#HUGE ENDING SPOILERS

[equiz923]

Please don’t crucify me for this, but I really do not like how dunmeshi ended. Spoilers for the ending of the manga under the cut (obv this is all my opinion but if you have a diff one and you wanna chat im v open to that)

Ending things is hard, ending great stories is even harder but I just finished rereading the manga in full and it makes it so apparent how rushed the ending feels.

With Laios specifically, him running a kingdom Does Not make sense. It feels too storybook ending. ESPECIALLY with what the winged lion showed him during his dream- the idyllic world where he runs a monster kingdom but figures it all out. I thought that this was kind of clear with how dream falin had to shoo him away from his actual duties to make the idea more palatable. It was a clear manipulation by the winged lion to try make it something Laios would actively want to do, an appeal to his greater sense of morality to try convince him that he was the good guy, especially because we all know he just deep down wanted to be a super epic monster.

With this in mind, the manga actually ending with him running the kingdom is insane. We as an audience have already found out and understood that he actually does not want to do that shit, and that there is no way that the kingdom would prosper under him. I personally really don’t like the way that the winged lion’s curse is pretty much thrown in as a joke on the final page, because the idea is really really interesting from a character perspective. From what we know of Laios, would he not clearly break at some point and try to chase after the monsters? Go insane? Both? Also him always being hungry is such a genuinely cool idea that gets another throwaway line, that has such interesting character implications. It is fine to add that as a footnote at the end, but it’s not treated with the gravity it should have.

Another character I think really got rushed toward the end is Marcille. Her character resolution of after the banquet being okay with Falin’s death is crazy. Her calling her time with the winged lion a tantrum is insane. Her extending of others life may be something that she now sees the consequences of, but there is not payoff for that realisation. We do not see it happen, it apparently occurs offscreen.

There’s a lotta other little things that feel off to me but those are my two main examples. I found in reading it again there were times that the story didn’t show or explain things properly (Kabru in magic handcuffs is something I only found out about when he broke them, I genuinely cannot find where itsumi found that doll of Yadd). You can make the argument that’s a reading comprehension error on my end, that’s fine but there were enough small things that I don’t think I’m the only one that missed small half panel cues. Chekov’s gun only works if you let the audience actually see and note the gun.

Again, please don’t take this as a hate rant, I genuinely love dunmeshi. It’s a really good story. But the best stories are the ones that need to be critiqued. The basic happy ending just does not fit at all, to the point that it feels completely wrong.

Idk, hi if you actually read this whole thing, you’re a legend. Please tell me your opinions id love to hear them

[theribbajack]

"Now, the vow will be honoured, and my Lord brother's soul will return."

Radahn stans keep winning, but I personally am in Miyazaki's walls rn

[geezmarty]

I'be been watching a danganronpa 2 LP as I work I'm on the final chapter and I'd like to state I'd die for them

[egophiliac]

new chapter 7 installment dropped how we feelin????

YOU DON'T UNDERSTAND

THAT'S HIS DAD

[bookdork1]

Okay but Charlotte was extremely generous to her children in regards to their marriages up until the line of succession was in question. She let all the boys secretly date whomever they chose and, most significantly, she didn’t sell off any of her daughters as alliance chattel (the way that she was). She was extremely hands off on their love lives until she couldn’t be and the cosseted royal children don’t realize that or the fact that very few children in English society grew up with present parents

[queenjulia11]

Spoilers for the end of ep 4 of Burrow’s End!!

Look at Thorn Vale’s face when he finally arrives at Last Bast. Look at how happy he is. He’s not just happy, he’s elated. I’ve been thinking a lot about what Jasper chose to say after hearing the story of these new stoats.

“They did it, Sweetie. They did it.”

Thorn’s whole life has been defined by a nightmare. Something incomprehensible that a select few friends understand — but only because they were there, too. The rest of his family understands that he went through something traumatic, but they all also kinda know that there’s no way they can get on the same page about it. All they can really say is “yeah, that sounds awful,” or “it’s okay, you’re safe now.” And those words don’t mean nothing, but they don’t do enough to truly describe the terror Thorn went through.

But these guys? They’ve seen the monsters, too. And they aren’t afraid of them.

For the first time in Thorn’s life, the monsters have names. And we know how big a deal names are for Thorn Vale — who wasn’t even given one when he was born. Names make you knowable. You’re not just this amorphous *thing* floating in space that no one knows how to talk about anymore. The name “Human” is something Thorn has over them now. He’s reclaimed a bit of power from the things that makes him feel the most powerless.

The humans aren’t just something to fear now, they can be defeated. It is finally possible to not only overcome the worst thing that’s ever happened to him, but to make sure his children never have to face it. Even think about it.

And the best part? He doesn’t have to lead anymore. He can rely on others — if someone dies or gets hurt, it’s not his fault. We saw how he broke in episode three, that pressure would’ve killed the poor guy if he had kept it on his shoulders. He can finally take some of the weight off. He doesn’t have to do this alone.

Look at that pure relief on his face.

This is light. This is hope. This is power. This is how it feels to be understood. And now he can share it with the people who matter the most to him.

“They did it, Sweetie. They did it.”

[vero-niche]

for anyone else who doesnt have twitter like myself, i was reading the final episode's Anime Trending review and this part i found very reassuring about That Kazuki Scene and wanted to share:

so it really truly seems that any added ambiguity was only to get past the censors (whom i wanna take down kazurei style) - the creators themselves are with us in this. 👨‍👨‍👧💕

(update: the producer is @michi1020 on twitter, post with screenshots by @hubbydaddies)

[marimeeko]

The thing I love about the ending of mha is not only that there's no conclusive "canon ship", but the way he ended it as sort of a new beginning, so anything could start to happen.

And specifically for bkdk, it's not canon but he gave us AN INCREDIBLE AMOUNT TO WORK WITH.

Katsuki leading the project to get Izuku a support suit so he could be a working hero again. Katsuki putting out a hand for izuku to take.

The forgone conclusion that Izuku and Katsuki will now be competing again as they ALWAYS WANTED. Their future could have them jockeying for rankings for the rest of their lives, constantly one upping each other, AND/OR they could become partners, or open their own agency!

The implication that Katsuki wanted a future WITH IZUKU so badly that he contributed a large chunk of his own money and resources to making it happen. That he MOST LIKELY was where they got a lot of the info on how the Quirks worked and how Izuku utilized them. Sure they have battle footage, but katsuki had intimate knowledge as Izukus closest person and sparring partner.

The fact that A PROPOSAL, A RING, AND A WEDDING WOULD HAVE BEEN CHEAPER.

Like there are so many little ideas buzzing around my head and it's not fair that I don't even have enough time to sit down with them for post epilogue fics 😅

And I want to know more about that suit. I hope they animate it more in the anime when the time comes bc I do want a little super suit fanservice.

[sunbloomdew]

ttm beach episode spoilers below!

something about how the game lets you decide when to end it all and come back to reality. press esc to leave. how it would be up to eva how long she'd stay there on that beach, but knowing she could never remain there forever. just a little while longer. something about how it greets you with the same image if you decide to open it again. the truth is, i never actually felt that way. do you begin the cycle again or do you find comfort in that temporary ending? and i just can't get past that it's the one i didn't want.

something about how player's actions represent eva coming back to the machine searching for closure. did she find it? will she? will we?

while it was only my first (of many) playthroughs, i think the way the game portrays dealing with grief is really heartwrenching and beautiful in how real but fleeting it all is.

[haine-kleine]

Head in hands thinking how Dabi keeps calling himself Shouto's nii-chan sarcastically to stress how their relationship is nothing like normal younger and older brother.

And then Shouto keeps going 'Touya-nii (affectionate) (🥺🥺🥺) (please let's be friends)'

No one in this family had been able to put this starry eyed look of wonder on Shouto's face.

(and then Touya realizes he has been hating and punishing the sweetest member of his family and breaks down crying)

[ravelights]

I think one of the reasons I don't like the idea of Izuku ending the series quirkless is because he gave the quirk up to save Tomura. Izuku could have gone with the brute force method and purposely killed Tomura but he didn't because that wouldn't have save him. But because Tomura died, and he died in such a way that it feels bitter and unresolved, Izuku ending up quirkless feels more like a gut punch then a noble sacrifice. Although Tomura died quote unquote "with a saved soul" his death has shaken Izuku in ways that will change him forever and it just so bitter that it doesn't warrant Izuku losing his power over it. If Tomura had physically survived I could see Izuku losing OFA for good, but Tomura dying AND Izuku becoming quirkless again just feels like such a middle finger to Izuku whole sacrifice and journey.

[tatakaeeren]

Gojo riding the Rainbow dragoooooooon!!!

[ihatebiden]

bottoms was soooo good i loved when they killed people and did terrorism ❤️

[chronicowboy]

sorry but HOW is the last line of The Episode gonna be about buck calling eddie and anyone is doubting where this is gonna end up?

[egophiliac]

more masquerade stuff! things really went from 0 to 1000 in, like, thirty seconds.

(sorry if none of these make sense outside of my head)

[megyulmi]

➠ Sukuna, the ‘shunned’ child and the demonisation and worship of ‘unwanted’ children in Japanese folklore:

[long read. trigger warning: referenced folktales and practices depict themes of infanticide, religious rituals and child exorcism, demonisation and worship of children, ableism, suicide, implied sa, and period-typical outdated social views. they are not a representation of my personal beliefs. please read with caution.]

New revelations of Sukuna’s past in Chapter 257 made me look deeper into some of the tales and customs from Japanese folklore about children deemed ‘abominable’ in the eyes of society that I had previously noted down and I decided to share as I think they could offer a better insight into Sukuna as a character and what might have inspired Akutami Gege’s depiction of him.

It would be better to start with a bit of the social background of Japanese folklore. I will use the Emishi (an ancient ethnic group of people who lived in parts of Honshū, especially in the Tōhoku region) as an example, the oral tales of whom later blended with Shintō and Buddhist religious concepts and heavily influenced Japanese folklore. It is believed that many of their tales were shaped by the region’s difficult history of natural disasters, famines, and geographic isolation. In the Tōhoku region, infanticide was sometimes used as a form of ‘birth control’ due to repeated famines. The bodies of ‘unwanted children’ were often disposed of in rivers or lakes.

Another important source of such folklore is the city of Tōno in Iwate prefecture, known particularly for Kappa, tales of which could offer a good basis for the beginning of my intended analysis.

Kappa, a green, amphibious, child-like creature with a yellow beak for a mouth and a turtle shell on its back is one of the most popular Yōkai from Japanese folklore. Some researchers say that the darker aspects of Kappa tales in Tōhoku may be an echo of the region’s tragic history of famines and the high rates of infant mortality caused by a harsh climate, natural disasters, and the tax system that was paid in rice. Similarly, many people in Tōno (which is part of the Tōhoku region) believe that tragic history is one of the origins of the stories of Kappa. The Kappa of Tōno specifically are said to be red in colour rather than green, which may allude to the Japanese word for infant - akachan, which derives from aka, the word for red. From this perspective, Kappa are creatures born out of social challenges and disasters. They may not seem all too relevant to Sukuna, but the need to mention them will come up in the later part.

Moving on, at the beginning I mentioned that ‘unwanted children’ were often disposed of in the rivers and lakes, which is also found in the Japanese creation myth. I discussed the variations of the myth in this post about Sukuna previously (you do not need to read it for the moment, but please note that it has many variations), but somehow I did not mention their first ‘inadequate’ child. According to the myth, before they had Kagutsuchi, Izanagi and Izanami had a child as a result of their first attempt at a union, but the child, known as Hiruko (‘Leech Child’), was born deformed. The mistake was attributed to a ritual error on the part of Izanami, who, as a woman, should never have spoken first (i.e. initiated the union). Considering the child inadequate for a diety, they set him adrift in a boat in hopes he would die at the sea. This myth reflects how women and children who were born ‘different’ or seen unable to serve their ‘purpose’ were treated.

Continuing from the myth, Chapter 257 made me think of the tale of Katako, in which the protagonist is born half-human and half-oni. What is Sukuna’s true nature we cannot know for certain. We know he was a human once, but we do not know enough of his past to assume if there was more to him (how and why he as a human might have come to be called the King of Curses will be explained in the later part), but the tale still has the potential to give us insight into Sukuna and his mother’s relationship. The tale has various versions with different endings, but it generally could be summarised as follows:

[A long time ago, a man encountered a man-eating ogre (from here on referred to as oni) while working in the field. He told the oni how much he loved mochi (rice cake), jokingly adding that he could even trade his wife for it. Taking his casual banter seriously, the oni treated him to mochi. The man ate his favourite food to his fill and happily went home only to find that the oni had taken his wife in exchange for the treat. The man searched everywhere and finally found his wife on the island where the oni lived. The man and his wife managed to come back home with Katako (meaning ‘Half-Child’), a child born of his wife and the oni on the island. However, Katako was always ostracised by his human peers (in another version, it is said that he had an insatiable appetite for eating humans). At ten years old, tired of being ridiculed, he asked his mother ‘to cut the oni part of him into pieces’ when he died, and then committed suicide.]

In the tale, Katako’s relationship with his mother seems to be of trust. He is cast out of society by humans and despite his mother being one as well, he does not harbour hate for her, he trusts her enough to leave his final wish upon her. We do not know much about Sukuna’s relationship with his mother, but the manner he referred to her in the last chapter makes it seem that he also harbours no hostility toward her. This tale also shows how children deemed ‘different’ were treated.

In past ages, children, being considered closer to the gods and the Other World, also played the part of intermediary between humans and the gods in Japanese society. This task of mediation between two separate worlds fell to them because they were regarded as incomplete persons (until the age of seven it was considered uncertain whether they would live or return to the Other World: a belief related to the challenges indicated at the beginning). While considered sacred beings different in nature from adults, they were at the same time looked down upon and referred to as kodomo (where ~domo has a negative/belittling connotation), gaki (hungry ghost or demon; brat), or jari (lit. gravel).

Back in the day, people referred to the killing off of ‘unwanted children’ (mabiki or ‘culling’, a common old slang for infanticide) as ‘sending a child back’, and a dead child was given a special non-Buddhist funeral. The various rituals surrounding birth and the child’s upbringing were intended, through communication with the Other World, to transform the child into an earthly being. This aspect of the ritual made me think of Sukuna’s mask and how that part of his face resembles a burn scar (note: i am aware the nature of his ‘mask’ is still not clear and whether it is really one) in some of the official illustrations. It is known that rituals of purification included fire and water magic. Exorcism of demons, aversion of disasters, and other rituals for the removal of pollution were frequent. A katashiro (paper cut in the shape of a man) symbolising the disaster would be burned or floated down the river as well. Personally, I see the possibility of Sukuna’s scar (if it really happens to be one) being from one of such rituals. At the same time, it resembles a fragment of a wooden mask used in ceremonial rituals associated with Shintoism, where it represented a ‘spirit of a head,’ which was believed to be a god in the shape of a human. In this case, it can be a remnant of such ceremonial ritual gone wrong.

Continuing, there is a term - Goryō used to refer to the spirits of those who had died violently (e.g. by murder or execution) and have become gods. It also included those who had died untimely deaths and therefore had been unable to fulfil their purpose in this world. Some notable gods such as Hachiman, Tenjin, and Tenno were once considered powerful Goryō. Great natural disasters and social unrest were attributed to them; rituals designed to appease them were performed, and a cult of such worship evolved. It was (usually) as a result of belief in Goryō that particular individuals came to be worshipped as gods. At times when public unrest threatened the social order, elements estranged or excluded from the ‘normal system/order’ were assigned the status of Goryō and worshipped as such. The cult was intended to purify and renew society. Manga has given us a similar glimpse of Sukuna’s past, where despite being feared (and despised), people were ready to serve him (and pray in his name) for their own well-being. I think Akutami intended to echo this very aspect of society through the scene.

I mentioned that children were considered closer to the gods and the Other World, but not all children were treated equally. One version of the origin of Kamadogami (additional post on the parallels between Sukuna and Kamadogami after Chapter 258) in the Tōhoku region is that he was an ‘ugly child’ from the Dragon Palace who had been killed and was thereafter worshipped at household hearths. Zashikiwarashi, who often inhabits old houses and is said to bring good fortune while he remains, is another household god in the shape of a child or, in another version, the spirit of an unwanted child who, having been killed off, became the guardian god of houses. I mentioned Hiruko at the beginning as well, who was set afloat on the boat in the sea. Despite that, he is in some Shintō shrines identified with Ebisu, the patron of fishermen and tradesmen. Their worship was for the purposes indicated in the previous abstract, to avoid their wrath. Sukuna has not been ‘killed off’ like these children were, but such worship shows us the general psyche of the public.

The ‘ugly child’ who appears in the story of the origin of Kamadogami has parallels in Yokenai, Untoku, Hyotoku, and Hanatarekozo, children who brought good fortune and prosperity to the house in return for offerings to the Watery World of kadomatsu (pine-branch gate decorations for the New Year) and firewood. But despite that, their ‘ugliness’ and names were used as an indication that these children did not belong to this world. It is important to note that socially inferior and rebellious beings were treated in the same manner (here is where the point connects to Sukuna, continued from the next part in depth). Such children were often associated with the colour red. For example, Zashikiwarashi is described as red-haired and red-faced. Kintaro, Shutendoji, and other children born in unusual circumstances (but may not have been considered an ‘ugly child’) and brought up in the mountain wilderness are also said to have had red bodies and were endowed with superhuman strength. I also mentioned that Kappa from Tōno were depicted as red. We see Sukuna often associated with the colour red, particularly, his eyes are red. I believe the above-mentioned could be the reason for that.

I indicated that socially inferior and rebellious beings were treated similarly in the previous part. The character Dō of Dōji (童子, meaning child) once meant ‘slave’, tattooed on the forehead, and was closely linked to notions of personal status. It signified one who was not a complete person and also one who had not yet been initiated, in other words, one who did not belong to the order of this world, one who was in this world but not of it. They were despised, feared, and avoided by ordinary people for their strange appearance and magical powers. In some cases they even formed separate ‘child’ villages (dōji mura), calling themselves ‘descendants of oni (demons)’. Since they played the role of demons during the rituals, they were shunned by the nobility as if they were real demons. Could this somehow connect to Sukuna’s title? I do believe there is a possibility this could have inspired his being as the King of Curses.

Personally, what we know of Sukuna and his past seems to echo these folktales and practices as the foundation of his character. He was a ‘Demon’ for being an ‘abominable’ child, but he was worshipped for this same reason as well. Whether he was born that way after eating his twin in the womb or something happened to him later in life cannot be known yet, but it is clear his ‘abominable’ appearance could have warranted the same treatment from society. It could also explain Kenjaku’s ‘fascination’ with him as a being. We do not know what relationship they had or how exactly they came to know each other, but there is clearly a reason why a being such as Sukuna would ‘work’ with them. We do not know much about Kenjaku either, but it could be possible that they (Kenjaku) once were either (1) one of those ‘priests’ who performed exorcism to purify ‘demon’ children or (2) someone who offered such children refuge (perhaps and more likely, for their own personal gain). It would also relate to the variations of Ryomen Sukuna’s story that inspired Akutami Gege.

[Disclaimer: This post does not intend to demonise Shintoism or Buddhism, but to tell folklore and practices for analytical purposes. Additionally, English is not my native language and this is only a personal interpretation as just another reader that I am sharing in case someone finds it interesting or can use the information for better analysis.]