#and I’ll see what’s different then

[lightblueminecraftorchid]

Vent post below the cut about being aroace and amatanormativity. Yes I’m okay nothing happened im just mopey.

Thoughts I am having:

- I do not feel comfortable with the idea of me having a romantic partner

- I don’t even really enjoy the idea of just one best friend I’m dedicated to, like a QPP; I don’t think I have that attraction either

- I like my roommates well enough, but I won’t be in college here forever; I have grad school, and then internship, and then. Being a neuropsychologist. All of those things cannot be at my current college, because they aren’t taking students or employing people in that program.

- I was completely on my own in my current apartment for the first week and I didn’t like it. It was very lonely and I had a lot of anxiety about being alone if something bad happened. I don’t think I want to live alone in the future.

- I absolutely do NOT want to live at home if I can avoid it. I love my family very much but I would honestly rather be alone, with the loneliness and anxiety, than be at home 24/7.

- I also didn’t enjoy living with roommates I wasn’t close friends with. I got lucky in sophomore year that I made fast friends with my roommates, but freshman year sucked, not least because I felt alone even with two other people living in the same 2 bedroom dorm suite.

- It doesn’t help that I’m autistic and ADHD, which doesn’t make me the best roommate in general. I struggle to remember to clean up after myself, I don’t make new friends easily, executive function makes it hard to do chores around the apartment, and I’m not the greatest at communication. Heck, sometimes I just fully forget to shower for a week. I try my best to be a good roommate but like. I’m never not going to be disabled. I’m not going to magically be a great roommate to get people to like me more or to make friends faster.

- So then. I want to live with multiple friends of mine, who understand and accommodate my needs, without being romantically or queerplatonically attracted to any of them, just as roommates who enjoy each other’s company.

- How on earth is *that* gonna happen?

I know I’m borrowing trouble and that it’ll probably work out fine I just feel. Lonely. I’m aroace, and like. There’s no sexual or romantic or queerplatonic attraction at all. It’s just platonic. But to most other people, those other types of attraction matter a lot in who they live with or stay around. And I can’t provide any of that. Obviously amatanormativity is not accurate to human relationships and people can live together and just be good friends and nothing else, but like. Practically. I don’t really have any examples of that happening irl. And I just feel sad about it being a lot harder not to be alone.

[tenowls]

teacher getou au...... wauh

[lotus-pear]

whatever happens, please don’t break

[potato-lord-but-not]

I saw you answered how you came up with your design for yellow.

how did you think of a design for Kaynebesides the traits we already know about?

Like how did you pick a face shape, skin tone, hair, color and all of that?

Most of them are really just vibes based- like when I hear a characters voice and their mannerisms I can picture a pretty consistent visual in my minds eye. So when I go to draw em, I try n stay as close to that as possible.

I think that’s why my old Kayne design and my new one still have a lot of similarities, like the general face shape, hair, and suit style. The one major change being the color palette, and ofc he’s now Egyptian. I also felt like he was more broad and hefty, but gave into the fandom twinkification because yknow those designs are still really cool. I kinda wanted to bring that initial vibe out more with his new design, but have yet to actually sketch that out thoroughly.

I think the color palette choice is specifically funny tho- bc I was working on a commission for my dad at the time and was working out different color palettes for the design. The colors I used for Kayne’s suit are from one of those variants I didn’t use, but still really loved. (Here’s that design btw and Kayne for comparison, which I think makes the recycled color palette even funnier.)

[the-meme-monarch]

had a smidgen of a dream about chapter three and needed to illustrate it

if you ship scc please don’t interact w me 👍

[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.

[mtreebeardiles]

Every so often I’ll see interpretations of Liara’s N7 armor display as creepy/obsessive behaviour — and that’s a fair interpretation! But it got me thinking about my own interpretation and, well

It kinda makes sense, doesn’t it?

Whether you romance her or not, she still has that armor display. The archaeologist. Displaying the armor of someone Important™️, someone whose most recent importance was downplayed by the Alliance — support for Shepard’s Reaper theory was waning, the Alliance sent them off to more remote spots, Alchera happened…

Liara is first and foremost a student of history, and an Asari one at that. She’s trained to see those patterns of history, and knows a legend when she sees one — beyond whatever else Shepard may have been known for before ME1. And in the aftermath of Alchera, I’m sure she got her first real experience with how humans, and the Alliance in particular, will try to bury or gloss over inconvenient truths — if they can be bothered to acknowledge those truths in the first place

They didn’t memorialize Alchera until Shepard was back, two years later. They didn’t want to keep a spotlight on Shepard, on why they were even out there. But Shepard didn’t stay buried, and, well, maybe other ghosts wouldn’t either

All this to say I personally see Liara’s display as her own way of honoring Shepard as a historical symbol, as someone Historically Important™️, and part of that history is a part the Alliance wanted to forget, was happy to forget until they couldn’t anymore

But Liara wasn’t going to forget, and she’d make sure galactic history broadly wouldn’t, either. And in ME3, she takes that conviction one step further, seeding Shepard’s story, the story of the Reapers, all throughout the galaxy

That just reads as more narratively consistent to me, anyway 🤷‍♂️

[celestie0]

u bitches arent ready for when i drop the ihm gojo ex wife lore chapters i just prewrote some of those scenes and i am physically ill picturing him being so domestic w another woman like this

i fear my haters had a point 😂😂 /j

[turtleblogatlast]

Combining the boys’ abilities (and I mean actual combining not just using them at the same time) because I was thinking about it and wow they’re kinda cracked actually-

[ cw: death mention / def not for them though 💀]

Raph & Mikey: infinite clones (aka unbeatable) + strength completely unparalleled + infinite cloned chains + the clones are very fast and can fly + potentially reverse any damage on main shield clones or even damage in general

Mikey & Donnie: constructs that also can last much longer than usual possibly forever + potential future vision + every single cable or wire or anything of that sort has the potential to be taken over akin to Mikey’s chains + full telekinesis

Donnie & Leo: pinpoint portal/teleportation themselves or constructs just by knowing where to aim (aka instadeath for any enemy if used right) + telepathy

Leo & Raph: teleporting clones who can grow or shrink at will (which can also be instadeath like above if used right) + said clones can also act as homing spots to switch places with + potentially swap damage taken to clones

Raph & Donnie: they literally can make Voltron, but more than one + basically impossible to destroy shields + constructs can also be cloned

Mikey & Leo: freezing time and being able to move during it + heat death of the universe + “oops hey it’s other alternate iterations of us???” + this is a time and space team up you’re not winning this-

Basically any combo is an instant “you win.” I wanna go further into these combos later and maybe even add or subtract as I think more on it because there’s so many I left out and I can always extrapolate on and explain these ones more, but this was fun and these boys have terrifying powers even without combining them all together.

Seriously, should each of them train these abilities to the best they can be, there is no beating them even if they’re alone.

[francesderwent]

“decrying the manipulative cowardice of cohabitation” I would love to hear more of this take on TTPD if you’re willing

boy am I willing!

I am going to start with You’re Losing Me, because I think it’s a crucial prologue to the album. You’re Losing Me is about a relationship that’s dying, because the partner she’s singing to is stuck in inactivity. she begs, “do something, babe, say something. lose something, babe, risk something. choose something, babe, I’ve got nothing to believe unless you’re choosing me.” we’re in new territory, for Taylor. she sings, “now I just sit in the dark, and wonder if it’s time.” he isn’t leaving (Forever & Always), and he’s not doing something so awful that she has to leave (The Moment I Knew). he is staying—which for so long has been the hallmark of a happy ending in her music (Stay Stay Stay, All You Had To Do Was Stay, New Year’s Day, The Archer)! but he won’t make some decisive move, won’t risk something, won’t choose her. but he is with her, so what is that choice?

and the thing about TTPD is, when she’s speaking directly about that relationship, she doesn’t exactly just tell us. So Long London is more about what the collapse of the relationship felt like for her than a story of how it collapsed—she felt like he wasn’t giving himself to the relationship, she felt like she was putting in all the work, she felt like her sadness wasn’t taken seriously, she felt unsure of whether he even wanted to be with her. and she throws in there amidst all of this: “I’m pissed off you let me give you all that youth for free” and “you swore that you loved me but where were the clues, I died on the altar waiting for the proof.” they were together for a long time, but still she’s waiting for something—still she felt like she was taken advantage of when that something didn’t come. the altar line is the clearest hint—along with “my beloved ghost and me sitting in a tree D-Y-I-N-G” in How Did It End—what was missing was marriage. she felt left at the altar. the relationship that should have followed the traditional trajectory of “first comes love, then comes marriage, then comes baby in the baby carriage” stalled out after love.

don’t get me wrong, I think she totally captures the feeling of slow despair when your partner won’t commit—but she doesn’t come out and say “you liar, when I fell in love with you, you told me we would get married and have a family, but you never followed through”. on the face of it, she barely focuses on this relationship at all—at first glance only the track 5s are obviously about the long-term live-in partner. instead, she presents us with a twist: not an album about the six year relationship which ended out of nowhere, but an album seemingly mostly about a rebound that only lasted a few weeks.

but the rebound doesn’t leave the theme of marriage behind! no! in fact, marriage comes to the forefront right away in the title track: “at dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding.” and again in Fresh Out the Slammer: “ain’t no way I’m gonna screw up now that I know what’s at stake here at the park where we used to sit on children’s swings, wearing imaginary rings.” so despite everything that she knows from the get-go is wrong with this guy (“you’re in self-sabotage mode, throwing spikes down on the road”, “all your indecent exposures”, “I know he’s crazy”, “the jokes that he told across the bar were revolting and far too loud”) it’s evident to me why this is the one she wants—because this guy says, clearly, that he is willing to give her what her last partner would not. marriage isn’t the unspoken wound that’s made the relationship bleed out—it’s out in the open! this guy is making moves! and so the story of how the live-in partnership fell apart starts to come together: she was lured away by the rebound guy, someone she had a former acquaintance with but who’s appeared again in her life at a decisive moment (see: Fortnight & Guilty as Sin) precisely because here was a way to actually have the happy ending that she thought she was promised in her old relationship. “it’s gonna be alright, I did my time”!

but of course, that’s not what happens. just as quickly as the rebound guy swept into her life and promised to fix everything, he disappears without a word. Down Bad paints the picture starkly: their love affair was so quick and so dramatic that she feels like she was abducted by aliens and then dropped back at home with a story no one seems to believe—but it was real, he did say all those things, she was in love. until finally, in The Smallest Man Who Ever Lived, she has to admit: whatever he was after, whatever his motivations were, it wasn’t love. he used her.

why is this important, when we’re talking about cohabitation and not rebounds or hookups? let’s turn to loml. loml tells the story of a relationship which from the beginning seemed like it was heading straight from the first kiss to marriage, but which turns out to be not what she thought it was—“a con-man sells a fool a get-love-quick scheme”. perhaps the most telling line on the whole album, “you shit-talked me under the table, talking rings and talking cradles”, tells us: in private where no one could see, he made her all these promises. but she can see now that he didn’t mean them, that although she’s mourning the loss of their love, what she’s mourning wasn’t even real: “something counterfeit is dead”. who is this song about? lines like “in your suit and tie” “you low-down boy” “you holy ghost” “told me I reformed you” and “Mr. Steal Your Girl and make her cry” seem to point to the rebound—but lines like “you stand-up guy” “you cinephile in black and white” and “all those plot twists” seem to be references to the partner. and the closer you look, the blurrier it gets. “you holy ghost” applies to both of them—one ghosted her by disappearing, but the other became a ghost in their home. “told me I reformed you” sounds like I Can Fix Him—but her relationship with the partner started in an album that opened with “knew he was a killer first time that I saw him”. the rebound stole her from her partner, making him Mr Steal Your Girl, but the partner did the same thing back in the day. “something counterfeit” could be pointing to “was any of it true” in Smallest Man—or it could be pointing to “your faithless love’s the only hoax I believe in”. the more you know the lore, the more you have all her old lyrics memorized, the more references you see.  Taylor has always been famous for calling her boyfriends out publicly, but this time, she didn’t hide any identifying clues for us to unearth. she blurred the details, she painted everybody with the same brush. loml is about both of them. they both told her they were heading towards marriage and kids—and they both disappeared on her.

and once you start to see the parallels, they start popping up all over the album. the title track is about the rebound—but it says “I’ve seen this episode and still loved the show”, hinting that everything with him feels familiar for some reason, and her plea “who's gonna hold you like me? who’s gonna know you like me?” echoes her triumphant statement to her partner in ME!: “I promise that nobody’s gonna love you like me”. My Boy Only Breaks His Favorite Toys tells the same story as loml of the man who gave you all kinds of attention at the beginning and then when he saw forever coming, smashed it up—“I’m queen of sandcastles he destroys” parallels both “once your queen had come you’d treat her like an also-ran” in Smallest Man and “salute to me, I’m your American queen” in King of My Heart. “but you should have seen him when he first got me” is the thesis of practically every song she wrote about her partner from evermore to Midnights, when she had to go back to the beginning of the relationship to find something romantic to sing about. Down Bad is the same story again, of singling her out and making her feel special, and then abandoning her. Fresh Out the Slammer parallels High Infidelity, which had her current partner cast in the part of the one she was running home to, the one who brought her back to life. “we’ve already done it in my head” in Guilty as Sin is the sinister reprise of “in the middle of the night in my dreams, you should see the things we do, baby” in Ready For It. is The Albatross about the public outcry in But Daddy I Love Him, or is it about “here’s to my baby, he ain’t reading what they call me lately” in This Is Why We Can’t Have Nice Things? in Chloe or Sam or Sophia or Marcus, who is she talking about when she says it would haunt her to know their love was real? Peter weaves the two stories into each other: both men met her when they were twenty-five—one said he wasn’t ready for a relationship but maybe they’d connect again later, the other said he was ready for a relationship but he wasn’t ready to get married. “we said it was just goodbye for now, you said you were gonna grow up then you were gonna come find me”. but all those promises, from both of them, from every guy she’s ever dated, were never ever kept.

in the album liner notes, she sums it all up: “and so I was out of the oven and into the microwave”. both men did exactly the same thing—the only difference is one did it slow, over six years, and one did it fast.

that’s a really powerful, and a really unexpected statement. think about it. most people in our society don’t really believe that marriage is until death do us part; they believe in the possibility of divorce, they believe that marriage is until one or both parties call it quits. therefore, marriage is essentially no different from living together: both are committed, but not unbreakably vowed. so the death of Taylor’s six-year cohabiting relationship is, for many people, the death of the most serious kind of relationship there is. and instead of delivering the “mature adult breakup” party line of “sometimes things are good and right for a season of life, but they just don’t work out”, what the album says is “what you did is exactly the same as if you’d fed me a few pretty lines to get me into bed then stopped answering my texts”. living with someone without proposing marriage to them EQUALS love-bombing them then ghosting. one lasts a lot longer, but it’s still just manipulation and use. she has to ask herself about both of them what it was they really wanted—“were you writing a book, were you a sleeper-cell spy?” about the rebound, and “was it hazing for a cruel fraternity I pledged and I still mean it? were you making fun of me with some esoteric joke?” about the partner—because they clearly did not want her.

I think in the end what she saw was that it’s not about timing, it’s not about fate, it’s not about anything other than whether the man has the courage to make a commitment. she says in loml “the coward claimed he was a lion”, and in The Black Dog “you said I needed a brave man, then proceeded to play him until I believed it too”—these men pretended like they were brave enough to get married, but then “there was danger in the heat of my touch, he saw forever so he smashed it up”. he gets scared and gives up; he’s “lost to the lost boys’ chapter of life”. all that courage was false bravado. “tail between your legs, you’re leaving”. by the end of the album, she has lost all patience and respect for these blokes who warm the benches on the fields of love.

I really do believe that the album she gave us is more sophisticated than if she had simply written a callout of her partner in the style of Smallest Man or Should’ve Said No. she can give detailed accounts of individual sins all day long, but by looking at the big picture and drawing equivalencies, what we get isn’t an accusation so much as it is the development of an ethics.

I mean, come on. that’s cool.

[daycordatthreepm]

not to be the guy that’s only talking about mizu5, but I think the impact of it is so interesting. obviously it’s going to have the impact of handling a trans character’s story really well —something that is so important as we continue to progress as a society— and I think it’s also a testament to how much these things can blow up. handling a queer character’s story well is going to make a really good impression among audiences (at least, the ones that are progressively becoming louder and louder in the grand scheme of things). I’ve seen this event bringing people into proseka too, which there’s something to be said there

it’s so interesting to me how much this event has spread outside of the immediate and related fandoms for project sekai (think enstars, bang!dream, etc.), onto completely random people’s social media feeds. the amount of tweets I’ve seen from random ass accounts talking about this is kind of fascinating

like this is just some guy. and I’m obsessed with it.

anyways. big game companies or tv studios. make more trans and queer characters that have care and understanding put into their storylines. it will pay off and age incredibly well and bring you more money

[makeriia]

Fantober day 31!! A free day again.

Recently gotten into HADES, and I think about them a normal amount (lie)

[sashimew-the-cat]

Demo man in cartoon saloon’s style! I’m not extremely happy with it, but whatever.

Next on the list for me drawing Demoman in different styles is kid cosmic, then I’m gonna attempt (and probably fail) jjba, so if anyone has other suggestions I might do them as well!

[potato-lord-but-not]

hey uhhhh uhh would you be mad if someone (could be anyone) was to maybe (hypothetically) write something for the holy ghosts au. and by "something" haha. well lets justr say. the whole thang

PLEASE PLEASE PLEASE PLEASE sorry no I would not be mad

[puppppppppy]

The garment, worn by those in good standing with Hyrule royalty, has been reworked with the latest improvements, such as a new shoulder guard.

[daily-crowley]

Crowley Of The Day: gorgeous 😍

(I used up all my hashtags that I couldn’t do my usual GO tags that I always do lol I don’t care)