#a separate post on that specific theme

[fexalted]

good omens + text posts (part 9)

an assortment i made last year with some season 2 mixed in for variety :3c

[aroaceleovaldez]

forever mad that HoO introduced Diocletian's scepter as an object but. gave it to Nico and had Jason promote Frank about it.

Like. Okay here is an object that can summon the dead. It can only be used by a child of Hades/Pluto and a Roman officer in unison. HAZEL IS RIGHT THERE!!!!!

Nico can already summon the dead! He doesn't need a special object for it! Literally IN THE SCENE WHERE THEY GET THE SCEPTER, NICO RAISES THE DEAD. HE'S NOT WEAK ENOUGH THAT HE CAN'T! Hazel meanwhile has never raised the dead before (kind of - she did a little bit like once)! Theoretically she's fully capable of it but she's never properly tried it before! Giving her an object to help facilitate practicing with that would be perfect, especially given the scepter expires after a certain number of uses! Also, since Hazel ends up a praetor in TOA anyways, there's no reason why she shouldn't get promoted to be able to use the scepter all on her own! In fact her getting promoted in the House of Hades would be the perfect place to do so because it's a scene where she's taking the lead and saving everyone else! In fact it's a significantly better place to promote her to praetor over the scene where she ACTUALLY gets promoted! And even if you don't have Hazel promoted instead, then you'd still have it be Hazel and Frank working together to command the armies of the undead, which is perfect because they're a couple and it'd be a great way to show how well they work together!!!!!

LITERALLY THERE IS NO REASON TO NOT GIVE IT TO HAZEL. WHAT'S THE DEAL.

[cruelplatonic]

ruminating on 'the vees died despondent nobodies' thoughts

velvette interrogates vox after she hears him give various conflicting and bombastic accounts on air. a selection of these include: blew his brains out on live television, administered the death penalty for killing his "bitch wife," a tragic accident involving two shetland ponies, dubiously legal iranian yogurts, and a whole lot of cocaine. the actual cause was shockingly ordinary- a heart attack in front of the television, alone, his corpse only recovered after two weeks passed. he was watching a game show and his last mortal regret was never even learning who won, because he died during the commercials.

[candyriku]

I unfortunately find myself unable to work on my current Soriku fic today due to my mental state, but I was able to make a bit of a teaser for the next big Soriku fanfiction that will be coming sometime after JTSYS is finished.

You can read it under the cut, but TW for blood, death, and uh, general misery. This has been cathartic for me to write but the whole idea of this fic is that things are impossibly doomed, so be warned - this is not the happy fun zone.

Blood. There was so much blood.

He had smelled it before even seeing it, the metallic scent thick in his nose before he had even rounded the corner. He had tried to convince himself that it was his own bleeding wound that he smelled, or maybe the blood of something else, someone else, but in his heart, he knew the truth. He picked up his pace, sprinting at top speed now, his sneakers splashing through shallow puddles on the wet pavement. 

When his eyes finally came to rest on the crumpled form at the end of the alley, the breath was knocked out of his chest as though someone had taken a baseball bat to his sternum. He knew, of course he knew, but he had hoped-

No. It didn’t matter what he hoped for. Hopes and wishes weren’t for people that walked his path. He had been denied the right to hope for anything ages ago. When he had signed that contract, signed away his soul, he forfeited all the cushy pleasures of a normal life. He had given up his chance of knowing peace.

But it had been worth it. If it was for Sora, anything was worth it.

Standing over Sora’s blood-soaked body, Riku tried to remind himself of that truth, the one thing that he had tethered his heart to all this time. It was worth it. Even if the chance of Sora making it out alive were next to none, there was still a chance. He could still fight.

One of these loops, Riku would get it right. He would figure out how to keep Sora safe, how to protect him from this accursed dimension where everything was designed to end his life. They would break out and live a normal life together, just the way they had always planned. 

There was a happy future waiting somewhere for the two of them. There had to be. Riku had gambled everything on it.

He crouched down, his shaking fingers gently brushing Sora’s tear-stained cheek. He could hardly stand to look at his face, but the sight of his broken, bleeding body was no better. The wounds were precise and lethal, and Riku was far too late.

No matter how many dozens of times he had watched Sora die, it never got easier. It never stopped feeling like his chest was a black hole caving in on itself, his heart squeezed until it was nothing more than dust. 

He couldn’t look. He couldn't look away.

Riku kneeled and placed both of Sora’s hands over his heart. He was about to speak and begin the incantation that would throw them both back to the starting point again, but Sora suddenly stirred, weakly reaching one hand up towards Riku’s face.

“Riku…” his voice was barely more than a whisper. 

“I’m here,” Riku said, the words catching in his throat. “Don’t speak. You can rest now. It’s okay.”

He hated to say it. He wanted to plead with Sora, wanted to beg him to stay. But if Riku had learned anything throughout the loops, it was that nothing came of begging. There was no one to answer his prayers; benevolent forces did not dwell here. At best, all it would accomplish would be making Sora sad in his final moments. At worst, future loops would be impacted by Riku’s words to Sora, twisting the knife further. He had seen it enough to know what to avoid now.

“I don’t want…” There was a weighted pause. “...Don’t want to leave you.” The pool of blood continued to grow. Riku knew - though he wished that he didn’t - that Sora wouldn’t be able to maintain consciousness for much longer at this rate. He could hardly believe Sora was awake even now. 

“We’ll meet again.” he assured Sora softly, trying to keep his voice steady. “Don’t worry. It'll be okay.” 

“You…” This pause was longer, much longer, and Riku was all but sure that Sora would not speak again. Finally, with a wet cough, Sora continued. “You promise?”

“I promise.” Riku lied. He leaned forward and kissed Sora’s forehead, his lips lingering there for several long moments as he took steadying breaths. 

“Mm… ‘kay.” Sora managed. “Love you… so much.” 

“I love you too.” Riku said, clenching his teeth so hard his jaw popped. He wanted to scream. After taking a moment to compose himself, he sat up and offered his best imitation of a smile to Sora. Better for him to see that than to see how broken Riku really was. 

The all-too-familiar faraway look settled on Sora’s face as the last of his breath left his body. Riku collapsed over him, the tears finally coming, the weight hitting him all at once with the force of a tidal wave. Even knowing that he would see Sora alive and well again in mere moments did nothing to comfort him. 

It didn't matter how many times Riku had seen it. It never got any easier to watch Sora die.

[a-sketchy]

thinking on it, i’m not sure i know what the midnight channel actually is yet. i’ve been lead to believe that what appears on the midnight channel are shadow selves, but it’s been bugging me that those appearances don’t have yellow eyes like shadow selves do. and for something that’s assumedly broadcasting their shadows, the midnight channel shows are pretty different from what their shadows actually represent. like, “scoring a hot stud” and “wanting to be saved by a prince”, aren’t really the same thing? it’s persona so i figure the tv world is the collective unconscious, and (though im less certain about this) dungeons are largely rooted in personal unconscious, but i guess the midnight channel stems from the collective unconscious, or the perception of that person in the public eye rather than the person themselves? to borrow a term from the future, the midnight channel shows are cognitions of the public or something. i’m not sure how that feeds into dungeons and the appearances of shadow selves though, is it a ‘i’ll become what you want me to be’ situation or are they more influenced by the collective unconscious than i had assumed they were?

[hadesknockedupintheunderworld]

Sometimes I watch/read a piece of media, and even when I don't ship something I can see that these people are meant to mean a lot to each other or have some sort of profound relationship. It's a relationship that is never labeled as siblings, nor is it labeled as romantic

And I gotta say, you guys need to be able to reconcile the fact that not all relationships will be easily sorted into "siblings" or "lovers", or even "siblings" or "lovers" or "just friends"

Headcanons, fanon, things you personally like to read into for fun, all of those things are neat. But genuinely. It's fucking annoying reading meta of a relationship where the characters are canonically friends or teammates and are shown to mean something to each other, and people assume that these characters having a familial relationship or being basically lovers (the exception is if the essay post itself is dissecting their relationship for interpretive reasons. Like, for example, if you're making a case for why people would ship a thing or what would make someone read two characters as in love) is baseline canon that everyone should accept as true.

It is imperative for you to be able to dissect strong or meaningful relationships in media (if you fancy yourself being or becoming skilled with it) by looking at it for what it is and picking it apart instead of assuming that it must be canonically familial or canonically romantic when the media in question has only ever labeled these two people as either "friends" or "coworkers"/"partners"/"party members"

[dravidious]

You're more amazing than indestructibility

You know what ISN'T indestructible? Everything, if an imp gets a hold of it!

I love imps!!!

[wibble-wobbegong]

it’s like you don’t even care that mike is heart and will is light and el is change. do you even care that they play these roles interchangeably in each other’s lives and are intertwined in ways that no other characters even come close to?? do you even care that it’s their story and they represent separate important themes and how these different pieces create the fundamental parts of how we develop relationships full of love and not hatred… :/

[jkgnggj]

YEAHHH it's a problem </3 like I'm so sorry to anyone who posts anything I've replied to that wasn't Abt Tori at all like didn't even mention him (it ain't always Abt him 🙄) but like to me I connect anything and everything to Tori I just can't help it everything reminds me of him and. I'm sure lots of ppl are the same way with their blorbos but yeah my whole blog is just a Tori blog tbh without having the Tori aesthetic bc ew he needs a makeover babe <333 but like in the best way possible as the biggest Tori fan I'm also his biggest hater pft 🤭

[elodieunderglass]

On the topic of the monarchist animals I'm just really curious. What makes the winnie pooh real animals bourgeois? It's not like they own much more than the others. Do they just have bourgeois energy?

(In reference to my addition on this post; https://www.tumblr.com/elodieunderglass/748488762087047168/hold-on-lets-do-this-properly-paddington)

In the post I state that none of the stuffed/toy animals in the Winnie the Pooh series are monarchists, but that the real animals are bourgeoisie. Obviously this is tongue in cheek, but it’s still politically interesting to me because nobody ever reads Winnie the Pooh as an actual book. They just draw depressed Disney Eeyore and think they’ve done something.

Owl and Rabbit are real wild animals that live in the Hundred Acre Wood. The other characters in the story are Christopher Robin’s stuffed animals.

The “real” animals (reasonably) consider themselves to be separate from the stuffed ones, but where it becomes unreasonable is how they assume superiority and how they use this to exert authority.

(A charming response about how the stuffed animals view this: Piglet points out that Rabbit is both clever and Has Brain, and Pooh replies that this is why Rabbit “doesn’t understand anything.”)

Owl is characterised by being a bit of a fraud. The stuffed animals respect him for his presumed education and literacy, but even a preschooler understands that Owl can’t actually read. he actively deceives the other characters in order to maintain a higher social status over them. (Actually, Rabbit’s the most literate character in the Wood.) Owl gains relatively little advantage from this status, apart from his belief that he is superior and the pleasure in everyone deferring to him. A notable theme throughout the written series involves characters approaching Owl for advice, based on his self-made reputation of being wise and thoughtful, and him giving explicitly bad advice, rather than admit that he has no idea how to help. Also, they forcibly give him someone else’s house, in such a way that the actual possessor of the house (Piglet) feels he can’t speak up. Pooh immediately offers to Piglet that he move in with him, which even as a kid felt like an incredibly unsatisfactory solution to having the shyest character’s actual house given away to the character who casually lies about everything just to feel superior.

Rabbit is a grown-ass adult real wild animal. He is the social leader of a massively large family and an extended group of hangers-on (he has fifteen or seventeen close relatives, and the extended Friends-and-Relations are a sort of army); he is the only actually literate person in the narrative, so it is understandable that he feels this (although he also believes Owl can read.) literacy and Brain are considered very important in the Wood.

Rabbit believes in his own superiority and believes himself to serve as a sort of cadet to Christopher Robin. In the series Christopher Robin is the ultimate judge, and a kindly ruler; Rabbit positions himself constantly at Christopher Robin’s right hand and wants to be his enforcer. Christopher Robin, who is five and a fairly distracted God, does not really enforce anything. This does not stop Rabbit from trying to organise the entire Wood. It’s frequently mentioned that Rabbit wants to feel important, he wants to be the Boss. A beautiful, beautiful commentary on his character is when he wakes up feeling “important, as if everything depending on him… it was a Captainish sort of day, when everybody said “Yes Rabbit” and “No Rabbit” and waited until he had told them.” Fantastic!

However, we can see where this leads him. In the first book Rabbit is shown being hostile and actively anti-foreign in his approach to other people. When kanga and roo arrive in the forest - sanctioned by Christopher Robin who has received new toys - Rabbit instantly says they have to get rid of them. Like there is NO friendship in Rabbit’s heart here. There is no “god has placed a new friend in the wood so we have to get on with it.”

Rabbit’s anti-immigration stances are funny, and in-character, and shown by the narrative to be wrong and unfair. But they’re pretty unleashed.

His plan is to kidnap the baby and hold it hostage until the mother agrees to “leave the forest forever and never return.”

This is not a normal response to a new character. It is in fact fucking unhinged. Coming from the most normal-adult real animal in the story, it comes out of nowhere. “We have to eliminate them instantly. Take the baby hostage, blackmail the parent and deport them” Rabbit these are war crimes.

Anyway it’s all very heartwarming as Rabbit learns that he likes Baby Roo. (Their relationship grows warmer as Baby Roo says “yes rabbit” and “no rabbit” better than anyone else.) We never really learn why Rabbit is so violently anti-immigration that he instantly jumps to doing crimes, but it’s possible that he doesn’t like the threat to the status quo. Baby Roo, by deferring politely, thus turns out to be a valuable social inferior for Rabbit’s power base.

But in the next book we also get another new character introduction: Tigger. rabbit does not like tigger. In fact, he stops visiting Roo because Tigger lives with them. Rabbit, frustrated by Tigger’s bounciness, also decides to deliberately trick and bully Tigger in order to make him “small and sorry.” The fact that this comically backfires on Rabbit is part of the Pooh-lore storytelling style, of course, but it’s still something obvious even to the preschool audience - that isn’t how you treat your friends.

In conclusion, due to their hoarding of (social) capital and behaviors that prop up an unjustly unequal social system, I think the real animals in Winnie the Pooh are a bit bougie.

[upsidedowngrass]

sorry for such light posts lately btw, classes started back up and ive been busy in general </3

[heritageposts]

[...] More specifically, the cycle of violence in The Last of Us Part II appears to be largely modeled after the Israeli-Palestinian conflict. I suspect that some players, if they consciously clock the parallels at all, will think The Last of Us Part II is taking a balanced and fair perspective on that conflict, humanizing and exposing flaws in both sides of its in-game analogues. But as someone who grew up in Israel, I recognized a familiar, firmly Israeli way of seeing and explaining the conflict which tries to appear evenhanded and even enlightened, but in practice marginalizes Palestinian experience in a manner that perpetuates a horrific status quo. The game's co-director and co-writer Neil Druckmann, an Israeli who was born and raised in the [occupied] West Bank before his family moved to the U.S., told the Washington Post that the game's themes of revenge can be traced back to the 2000 killing of two Israeli soldiers by a mob in Ramallah. Some of the gruesome details of the incident were captured on video, which Druckmann viewed. In his interview, he recounted the anger and desire for vengeance he felt when he saw the video—and how he later reconsidered and regretted those impulses, saying they made him feel “gross and guilty.” But it gave him the kernel of a story. “I landed on this emotional idea of, can we, over the course of the game, make you feel this intense hate that is universal in the same way that unconditional love is universal?” Druckmann told the Post. “This hate that people feel has the same kind of universality. You hate someone so much that you want them to suffer in the way they’ve made someone you love suffer.” Druckmann drew parallels between The Last of Us and the Israeli-Palestinian conflict again on the official The Last of Us podcast. When discussing the first time Joel kills another man to protect his daughter and the extraordinary measures people will take to protect the ones they love, Druckmann said he follows "a lot of Israeli politics," and compared the incident to Israel's release of hundreds of Palestinians prisoners in exchange for the captured Israeli soldier Gilad Shalit in 2011. He said that his father thought that the exchange was overall bad for Israel, but that his father would release every prisoner in every prison to free his own son. "That's what this story is about, do the ends justify the means, and it's so much about perspective. If it was to save a strange kid maybe Joel would have made a very different decision, but when it was his tribe, his daughter, there was no question about what he was going to do," Druckmann said.

And continuing, on the security structures featured in the The Last of Us Part II:

Besides the familiar zombie fiction aesthetics of an overgrown and decomposing metropolis, The Last of Us Part II's main setting of Seattle is visually and functionally defined by a series of checkpoints, security walls, and barriers. There are many ways to build and depict structures that separate and keep people out. Just Google "U.S.-Mexico border wall" to see the variety of structures on the southern border of the United States alone. The Last of Us Part II's Seattle doesn't look like any of these. Instead, it looks almost exactly like the tall, precast concrete barriers and watch towers Israel started building through the West Bank in 2000.

Illustrations, from the article:

The first barrier Ellie and Dina encounter when arriving in Seattle / West Bank barrier.

. . . article continues on Vice (July 15 2020)

Backup -> archive.today link /archive.org link

[ifyoucandaniel]

Alright! So I finished hand binding Crimson Rivers by @mayzarbewithyou :) this was my first time bookbinding so excuse the mistakes I am far from great, but all in good time! This fic basically changed the trajectory of my life so I thought I’d give it the love it deserves! the spine is regulus standing looking up at the tree and he is purposely put on the last book because he finally learned how to climb and grow. I’m so emotional over the end of the fic so this is very emotional to me. I did the typeset myself and there are some cool details I’ll try to put in another post, but basically I added all of Zar’s end notes as footnotes to the specific scenes he talks about! All very fun and the dingbats match the theme for the books and the backs each have quotes the correspond. I split it into 5 just because it didn’t feel right to have the epilogues in the same book as the war. They were two completely different parts of the story so I separated them. Anyways I’ll make another post. This was a labor of love and I hope I did it Justice :)

[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

[lilacstro]

astrocartography and relocation charts in astrology

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Hey!! I am clearing my drafts as much as I can before we start with Vedic astrology. This post would not be as big because there is overwhelming information on this topic as well, but let us see.

Astrocartography is a discipline of astrology that graphs out where planets were conjunct angles anywhere in the world at the moment of your birth. While relocation chart is a birth chart of a place if you were born there, what would your life look like.

These are very useful to see what place is best for you to travel, or relocate to for specific purposes like maybe education, finding a partner and so on..

NOTE: SKIP TO THE LAST SECTION IF YOU DO NOT WISH TO HAVE TOO DEEP INFORMATION ON HOW TO USE COMBINATION OF THESE CHARTS!!

🌐History and a little astronomical knowledge (skip if uninterested)

There are two techniques to study this discipline. En Mundo and Zodiacal. En Mundo is what we use by default as this is what Jim Lewis the creator of astrocartography used. For some extra knowledge, (you can skip pass this section if you want to!) look below:

Image source: kepler college

The basic difference is that En Mundo measures the planets relative to the celestial equator while the Zodiacal used Ecliptic. So basically the Zodiacal misses the declinations and the right ascensions (the 23 degree tilt basically). Now look at the charts below, the left one is En Mundo while the right one is Zodiacal. You can see how planets are in one line on the Zodiacal while the shift to different positions in the En Mundo chart.

🌐How to use astrocartography and relocation charts

🎀 here is how you can create relocation and astrocartography charts. I HIGHLY recommend using these in combination to have the best ideas of your experience at a particular place.

Know that your astrocartography map is based on your relocated birth charts. That’s the first, most important thing to know. Your birth chart shifts depending on where you are in the world. Meaning you have MANY charts for all of the places in the world! The natal planet and aspects of your chart don’t change, but the houses (areas of life), angles and aspects to those angles do. When you’re pulling up your astrocartography map, you’ll notice you have 44 lines criss-crossing across the globe. These lines show where the planets were situated on angles in the relocated chart.

You do not have to be situated right on a line to activate that story. You don’t have to live on a cruise ship and venture to the ocean to experience your astrocartography lines. Note where you have planetary lines and measure 150-200 miles surrounding it to see the strongest influence. 

Jim Lewis, the creator of Astrocartography, used 800 mile of an influence. most astrologers use 600 miles maximum, meaning you can feel effects of a line around 600-800 miles either side from where the line passes. Now the question is which side is the influence strongest? the answer likely is towards the west.

There’s a saying by Jim Lewis that “west was best” but it’s been said that moving west of a planetary line makes that planetary line more angular and dynamic, and moving east of a line places it in a more cadent position, which is less powerful.

However you can always see a relocation chart for the desired place to understand what is it that you want!

For example: Having planets in angular houses, the 2nd house and 6th house may be really good if you have been wanting a career success and recognition, having planets in 9th house is good for higher education and so on. You should see the location of chart ruler for more information on the main themes you can expect! The rising sign is incredibly important as well. I would not be making this too long because you can interpret your relocation chart very similarly to your natal chart, however let me know if you guys want a separate post on that one! I also recommend looking at the Vortex and Part of Fortune for more information.

Now let us see what do the lines on your Astrocartography map mean for you. Below would be an interpretation table for each lines, HOWEVER use these lines with accordance to your natal chart. If say you have Moon in 8th house, you could experience extreme emotional experiences along your Moon lines, and though depending on whether what type of line it is would make differences, your natal chart would still show effects.

For example if you have Uranus on your angular houses or maybe you are Aquarius rising or have Uranus in 1st, or aspects to Uranus like Uranus Trine Sun, Uranus lines passing through your birth country or where you live currently, you could either want to or struggle or maybe both for self expression and crave freedom, rebel. There was some actress whose chart I saw and she was very rebellious when she was in her home country and much better when she moved out, she had her Uranus lines passing through her birth country. It is worth mentioning that all aspects to Uranus are important, if I remember correctly, astrologer Noel Tyl used to take these very seriously.

Here is what astrologer Helena says:

We all have a fixed permanent astrocartography map based on when we were born. That never changes. But what does change is timing. Regardless if whether or not you’re in a nice location, if you have hard transits or progressions at that time, and hitting that location (and the angles of that new relocated chart), it will bring up challenging times. Progressions can last up to 3 years and transits can be as short as a few days to 3 years. Timing matters. Just as much as location. So if you’re wondering, “why am I having such a hard time in this location but I’m on a supported planetary line!” first ask yourself if you’ve looked at the relocated chart and parans, then ask yourself if you’ve looked at the timing.

(Parans are the latitude lines that are within 70-75 miles north and south. These crossings of lines create latitude lines that are a blend of two planets. Parans are incredibly powerful and can make or break a place. I would not be discussing them here since it is beyond what most people here would be willing to dedicate time to, however if anyone is curious they can study it themselves or I can make a post!)

🌐Meanings for each types of lines, AC, MC, DC and IC.

AC (Ascendant) Lines:

Moon: Heightened intuition, emotional sensitivity, and connection to needs and heart. Strong emotional bonds but be cautious of neediness and psychological worry.

Sun: Vitality, creativity, self-expression, and ego increase. Ideal for networking, social connection, and personal relationships.

Mercury: Energy abounds! Expect mental agility, restlessness, and a love for travel, writing, and speaking. Social interactions are lively, and this is an excellent place for networking, learning, and sharing ideas.

Venus: Enhanced beauty and identity, ideal for romance, indulgence, and a relaxed lifestyle.

Mars: Increased leadership, motivation, and action. Caution advised for impulsivity, recklessness, and relationship challenges.

Jupiter: Optimism, expansion, and resilience are heightened. A lucky place where you may feel compelled to share wisdom, but watch for overconfidence.

Saturn: A serious, stoic outlook on life is adopted here. Increased responsibilities and leadership roles, but also potential physical strain. Relationships may feel monotonous and duty-bound.

Uranus: A place to break free from your identity and explore authenticity. Expect changes in lifestyle and possibly even physical appearance. Relationships may be interesting, spontaneous, and non-traditional.

Neptune: Life feels dreamy and romanticized, but also prone to confusion and escapism. Relationships here can be enchanting but may involve glamorization or projection.

Pluto: A transformative place where you explore your identity and inner power. Relationships can be intense, with themes of power dynamics and potential for conflict.

MC (Midheaven) Lines:

Moon: Excellent for compassionate service careers, fame, and emotionally led work. Caution against emotional thirstiness and people-pleasing.

Sun: Optimal for launching products, promotions, and realizing potential in work and vocation. High public profile and exposure.

Mercury: The ultimate career line for work in communication! Ideal for advancing in travel, media, sales, writing, teaching, and any field that involves communication.

Venus: Ideal for careers in design, beauty, fashion, and the arts. Recognition and public acknowledgment are common.

Mars: Great for daring, risk-taking careers, especially in entrepreneurship, training, and the military. Expect hard work and bold moves.

Jupiter: One of the luckiest places for career expansion, especially in publishing, travel, teaching, and spiritual work. Expect growth and new opportunities.

Saturn: Increased authority and responsibility in your career. Success comes from hard work and effort, though it can feel lonely at the top.

Uranus: Ideal for breaking new ground in careers involving science, technology, and entrepreneurship. Expect fluctuations and sudden changes in work and public image.

Neptune: A place for public visibility in careers related to media, spirituality, and healing, but be cautious of illusions and confusion in contracts and agreements.

Pluto: A powerful location for career transformation, often involving work in government, psychology, or disrupting and transforming industries. Be cautious of controlling bosses and authority issues.

DC (Descendant) Lines:

Moon: External situations reflect subconscious needs. Emotional relationships are likely, but watch for desperation or worry.

Sun: Opportunities for business, friendships, and personal relationships increase. Ideal for popularity and extroversion.

Mercury: Social butterfly energy abounds! You'll enjoy lively discussions, meet interesting people, and possibly start a client-based business. Great for flirting, gossiping, and learning from others.

Venus: Romance and pleasant relationships thrive. Likely to meet romantic partners or enjoy romantic getaways.

Mars: Challenges in relationships, with potential for breakups, confrontations, or aggression. Strong need for physical activity or training.

Jupiter: Relationships expand and grow, with the possibility of meeting uplifting people, teachers, or guides. Business partnerships may also flourish.

Saturn: Relationships may be slow and laborious, with a focus on duty and responsibility. Romantic partnerships could face delays and challenges.

Uranus: Relationships can be exciting, inspiring, and non-traditional but may also be unstable and unpredictable.

Neptune: Romantic and spiritual relationships thrive, but there's a risk of confusion, escapism, and projection. Stay grounded in your interactions.

Pluto: Intense, transformative relationships, with themes of power dynamics and psychological exploration. Be cautious of conflict and manipulation.

IC (Imum Coeli) Lines:

Moon: Deep connection to home and family life, with a focus on nourishment and settledness. Often a more private and comforting location.

Sun: A place to build a joyful private life and focus on self-expression at home. Ideal for settling down and family life.

Mercury: One of the best lines for working from home, writing projects, or exploring family lineage and the past. Local travel and community engagement are common.

Venus: Creates a love for domestic life, pleasure, and beauty in the home. Ideal for creative expression and local community involvement.

Mars: Home life may feel chaotic and busy. Not ideal for peace, but careers in risk-taking and pioneering thrive.

Jupiter: An ideal place for a joyful home life, personal hobbies, and retirement. Expect freedom and space to pursue your interests.

Saturn: Not the easiest place for family life, with a sense of duty and obligation. Maintenance, renovation, and feelings of being stuck or isolated may arise.

Uranus: A place for breaking away from family and tradition. Restlessness and frequent home changes are likely, so consider a trial visit before moving.

Neptune: A peaceful, dreamy location for healing and escaping reality, but be cautious with real estate investments and contracts.

Pluto: A location for deep psychological exploration of family roots and ancestry. Be wary of real estate investments and potential family conflicts.

Now I would yet again say this could be such a lengthy post but no one really has time for that. For example,

🎀people usually would suggest against travelling to your Pluto lines, however, if you have Pluto trine/conjunct Sun, you could benefit from travelling along your Pluto lines.

🎀Jupiter DSC lines can sometimes show the location of your spouse or maybe where would be the best place to find abundant love/partnerships.

🎀 I have often seen people having IC and ASC lines passing through their childhood home/birth country.

Now you can look up a combination of your relocation chart, natal chart-astrocartography chart to get a good idea of what your life could be at a place

I hope this helped,

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[tokutaiseichan]

List of Tokyo Debunker Fandom Tags & Yume/MC Ships Guides to Help You Navigate Twitter

Since the fandom is growing, I feel like it'd be handy to have a list like this. Please note that some of the tags below don't actually exist yet! I just compiled it using my knowledge from previous fandoms.

#東ディバ絵札 (toudiba efuda) - General fanart tag. It's usually frowned upon to upload shippy art on the main tag (no matter what kind. Yes, yume included) so please be careful!

#tkdb夢 (tkdb yume) / #東ディバ夢 (toudiba yume) - General yume tag. Scopes including both Character x default MC and OC x Canon.

#tkdbプラス (tkdb plus) - Often used interchangeably with #tkdb夢. Yume works posted with this tag have the general "sweet romance" feel.

#病みのtkdbプラス (yami no tkdb plus) - For yume works where the canon character is depicted as a yandere / harboring some kind of twisted love for the yume MC. Sometimes used together with #tkdbマイナス tag if the scenario fits.

#tkdbマイナス (tkdb minus) - For yume works that deal with more niche, darker themes generally unsuitable with the positive vibes of plus yume works. Themes vary including but not limited to: forever one-sided feelings, angst, character death, break up, domestic violence, cheating, bad / merry bad endings, gore, etc. Basically if you see works tagged as this, that'd be your Dead Dove: Do Not Eat warning.

#夜のtkdbプラス (yoru no tkdb plus) - General R-18 yume works.

特待生ちゃん (tokutaisei-chan) - Honor Student / The MC. Since Tokyo Debunker MC doesn't have a default name, this is usually how the fans refer to her when talking about her. The canon MC, if you will.

創作特待生 (sousaku tokutaisei) - Original rendition of the Honor Student. Visual design, personality, gender, and backstory may be different to the canon MC.

創作寮生 (sousaku ryousei) - Original (Darkwick) Student that's completely separate from the Honor Student. This term isn't exclusive to Tokyo Debunker so if you only put "創作寮生" on the search bar you'll get OCs from other franchises too (Twisted Wonderland & Harry Potter, to name a few).

Some character x canon MC ship names

冠特 (kamutoku) - Jin x Honor Student

伯特 (hatoku / hakutoku) - Haku x Honor Student

翔特 (shoutoku) - Sho x Honor Student

Those three are currently the only ones popular enough to have people using a dedicated ship names when making works about them. If you want to see the other characters x canon MC ship works, you'll have better luck searching "#tkdb夢 / #tkdbプラス + (character's name)" instead.

As for canon x canon character ships, usually a fandom would create specific 腐 tag for it (like #ツイ腐テ for twst) but since the fandom is still pretty small, I don't think anyone has came up with a proper 腐 tag for Tokyo Debunker. I could've just missed it tho, since I only follow people who post yume and general non-shippy works so feel free to let me know!

For now, you can try your luck by combining the first kanji of two characters' given name. Keep in mind that Japanese fandom is usually much more strict about ship naming tho. AB ≠ BA!

I think that's all of it for now. Thank you for reading! I'll leave a kitty Rui here so you can stare at how cute he is~ ;3c