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[mizushidokoro]

"Ryuurin, Hanpatsu, Tsugai no Ryuusei" -- the incantation for World Slash, and an epitaph to Gojo Satoru.

In JJK, incantations are supposed to boost power of a particular technique. When Sukuna used World Slash to kill Gojo, he imposed a binding vow that allowed him a single-use activation without the requirement of a hand sign, in exchange for using incantations and directing the attack for all subsequent uses.

In this post I'll examine the specific phrases in Sukuna's incantation and argue that each phrase of the incantation corresponds to an application of Gojo's Limitless technique. Then I'll briefly relate this to the binding vow requirements to argue that Sukuna's promise to never forget Gojo for the rest of his life is one of the conditions of that binding vow.

1. "龍鱗"

First, "ryuurin" (dragon scales) describes the basic application of Limitless, a strong defensive barrier like the scales of a dragon. This one is the most obvious, hinted at by Sukuna's words at the beginning of the fight, telling Gojo he plans to "strip away his scales." More will be said about the dragon references, in the discussion of the third phrase.

Less relevant but still interesting - there’s also a Buddhist reference here, according to this forum post:

At surface, straight value, it is just the literal scales of a dragon. The word can also be used to mean "a large quantity of things". Ryurin is also a metaphor for the power/authority/influence of heroes and of the Heavenly People (the residents of the Japanese version of the Devaloka, where devas and gods reside. Just a heavenly realm, basically.) Lastly, Ryurin means a dangerous condition/situation or a dangerous thing. So. For Sukuna, its basically 'dangerous divine power/authority'.

2. "反発"

Next, "hanpatsu." Hanpatsu means recoil, which is the equal and opposing force of an action. This describes Purple, which is the rebounding damage created by the collision of Red and Blue. At first I thought hanpatsu described Red, because Red is a “repulsing” force. Except “recoil” is not the same thing as repulsion. Another possibility was that hanpatsu described the relationship between Red and Blue — Red as the “equal and opposite” of blue, and vice versa. But we know the two aren’t equal in power, and neither technique is accurately described as the “recoil” or rebounding force produced by the other.

3. "番いの流星"

Finally, "tsugai no ryuusei." A few things here. First, the wordplay and translation. Like ”Ryuurin”, this term references dragons. Here Ryuusei, meaning meteor or comet, is also pun on the word dragon, ryuu (which isn’t novel, see the Japanese word for Pokémon move Draco Meteor, et al.). So a plausible English translation could also be “Twin Dragon Meteors.” Second, how dragons are relevant to Sukuna’s mythology. In Hida, there is a temple Senkoji said to be founded by “Ryomen Sukuna … approximately 1,600 years ago. A central architectural feature of the temple it Dragon Ceiling, a portrait of two dragons painted by Kano Tansetsu on the ceiling of the main buliding. From the website,

According to temple legend, a general of the Sengoku period committed suicide there by seppuku, staining the floor with blood. For the repose of general’s soul, the floorboards were incorporated into the ceiling of the main temple. Some time later, Kano Tansetsu visited Senkoji and painted the dragons on the ceiling. At Senkoji, the objects of worship include not only the main temple and the priest’s quarters, but also the entire temple complex.

According to this Reddit post, the temple’s founding tale describes how Sukuna fought off a dragon god living in the mountain and built a shrine in its place. So — from the fact that dragons are the mythological enemy of the figure Ryomen Sukuna, we may infer that the words of the incantation refer to an enemy or target of the World Slash technique.

What could "twin meteors" refer to other than the related techniques of Limitless, the twin floating spheres Red and Blue?

Another potential connection to Red/Blue rooted in dragon mythology is the tide jewels — the tide-ebbing (a repelling force, like Red) kanju and tide-flowing (an attracting force, like Blue) manju, possessed by Ryuujin, the Sea King.

The final reason I think the incantation refers to Gojo’s technique is because of Sukuna’s explanation in 236 for World Slash — he describes the process of developing the technique as figuring out how to target Limitless with Dismantle. So it makes sense that the incantation to power World Slash operates by describing its target, not World Slash itself.

It also lends significance to the order of the incantation — first visualizing the most generalized application of Limitless (ryuurin), then passing through Purple (hanpatsu) to finally arrive at two separate applications, Red and Blue (tsugai no ryuusei) — a conceptual "bisection" of Limitless into two discrete components.

4. Binding Vows

Isn't this pretty romantic? But wait there's more. We know now after Chapter 255 that in exchange for unleashing the World Slash that killed Gojo without using the hand sign, Sukuna now has to recite the incantation every time (+using the hand signs and directing the attack with his palm) he uses World Slash.

Assuming what I've previously argued is true (the incantation describes Gojo's Limitless), this gives Sukuna's last words to Gojo another layer of significance. When Sukuna tells Gojo he will never forget him, it's not just an expression or a promise, but a statement of the binding vow Sukuna has to make in order to land the killing blow. In other words, the cost of killing Gojo is having to remember him forever, to integrate him into Sukuna's own technique through a verbal invocation that must be made every single time Sukuna uses the world bisecting slash. Yeah, that's pretty romantic.

[gojoed]

your eyes didn't need to be open to know that he was looking at you. deft and lean fingers carded and twirled with the strands of your hair that were splayed over his lap. the soft wind that blew through the gojo estate drove the smell of summer to you.

satoru's fingers would sometimes wander to your face, tracing your features, following your jawline where at times his lips replaced his fingers. his lap was comfortable, sleep worthy even. not to mention the extra plush the traditional clothing he had on that helped guide your head to its place.

you also didn't need your eyes to be open to know that any minute now he would say something stupid.

"hey babe?"

"mm?" your eyes still closed.

"did you hear about the italian chef who died?"

you furrowed your brows, you haven't heard that one before.

"what italian chef are you talking about satoru."

"cmon just answer the question." you could practically hear the pout in his voice. which if you didn't listen, would turn to a tantrum. in turn it would turn into satoru proclaiming that you didn't love him anymore, that if you really did you would have just answered. you decided to save yourself the hassle.

"no satoru, i haven't heard about the italian chef who died."

"really? cause he pasta-way."

"..."

finally opening your eyes, you could see small wide pools of blue staring down at you. observing you as if he were a cat watching someone from across the room. except you were lying your head on his lap, and he picked up a strand of your hair and started tickling your face with it.

when he reached your mouth, you blew at your own hair. earning yourself a 'so mean' from your boyfriend. but that didn't stop him from continuing to draw unknown shapes on your face.

he looked handsome, you thought. although he was a teenager he still held his baby face within his features. but you could tell within a few short years the subtle baby fat still residing in his cheeks would soon fade to be replaced with a sharp jawline, maybe a more striking smile. the pink however, that always seemed to dust his face whenever he was with you, you hoped it never went away. and you hoped that the look he gave you with his eyes, you hoped that that stayed as long as you lived.

"why're you lookin' at me like that, pretty? you in love with me or something?"

satoru was such a tease.

"mm, with your money maybe."

satoru knew you were joking, but that didn't stop him from dropping that strand of hair he was playing with and releasing a sharp gasp from his pink and smooth lips (you suspect he was using your chapstick, satoru respectfully disagrees). he laid a hand over his chest, as if he was in pain.

"i knew it! you're just like the rest of them! maybe i should've listened to the old geezers when they told me you were bad news."

that made you laugh, a sound coming from deep within your abdomen, making your body slightly quake. that sound never failed to make a smile appear on satoru's face, so much so that he even smiled with his eyes. his skin crinkled at the edges.

lifting your arms, you placed you hands on his cheeks, pulling him in a little.

"baby, you're the one who's bad news. not me."

satoru hummed, enjoying the way you were slightly squishing his lips together and stroking his face. "the baddest, they just can't get enough of me." that put a smile on your face, satoru was so stupid.

"why did they even summon you here anyway, satoru?"

the question made satoru scoff slightly and roll his eyes. stupid, he could have made that look less hot than it was.

"stupid old farts wanna know how i'm doing at jujutsu high. i'm their dear 'satoru-kun' who's the face of the clan and that i need to act like it. i swear most of them probably have something stuck up their ass so deep they'll probably die with whatever's in there."

he huffed, nuzzling the side of his face with one of your palms. you always calmed him; your presence, your smell. everything about you made his mind calm but at the same time you made his heart race so much that he feared it would jump out of his chest — leaving him to chase after it only to give it to you on the palm of his hand. satoru gojo was the strongest, ever since birth. but he swears you made him the weakest man alive.

satoru pouted when he felt you lift yourself from his lap, ready to whine before he felt you guide his head to yours.

"you don't look so young yourself satoru, you might as well be an old fart."

"hey! i am young and beautiful, thank you very much! the white hair just adds to my charm, it's all natural. guys wish they could be me."

you smiled, leaning down to softly peck his lips.

"that's all they'll ever do then. you're one of a kind. my satoru."

satoru grinned, grabbing onto your forearms as you stared down at him while he stared at you. "all yours."

[friendcrumbs]

herbert's biologization of death and humanity (including objectification of the human body) results in a repression of grief and the cultural around death. this, in turn, spurs on dan's projection of meg onto gloria/the bride in a return of the repressed, but the result is uncanny/unheimlich – like the familiar but permeated with trauma, made weird and exposed (like in the case of meg's literalized heart). in this essay, i will

[tangerinelabyrinth]

I had to do an outline for the essay I'm writing on why Martha Jones deserved better and its only supposed to be an 1000-word essay, but I can already tell you mine is going to be so much longer than 1000 words, I already got to 2000 with the outline, and I was just using bullet points towards the end.

[itsclydebitches]

I woke up this morning thinking about how Trent's "I'll leave you be" is textually him leaving Ted alone to read his book in peace. However, subtexually through the lens of him being in love with Ted -- and notably as their last face-to-face interaction -- this can be read as Trent acknowledging that his feelings are not returned. The season is coming to a close, I have no reason to stay at the club any longer, you're heading back home to Kansas, and if my book -- the one I'd intended to make you laugh throughout the first 43 pages, the book named after you -- hasn't landed and changed your mind about leaving, nothing will. At least, nothing at this point will help you see/reciprocate my romantic affection, especially now that your decision to leave is impacting your reception of my "dorkiness." What was once something you embraced and celebrated is now something you want toned down. I get it. So this is me finally backing off. I'll leave you be, Ted. Goodnight. So long, farewell.

In this I will--

[sheridan-le-fanu]

since I stopped being Catholic, it's harder to do work without the guilt, so I just started picturing Leorio being disappointed that I'm wasting my education, and it has a similar effect to "Jesus died for your sins."

[tsoral]

I have determined that Heathers is just American Psycho for gay teens. I will be writing an essay on this.

[absolutely-not-my-main-blog]

[readingwriter92]

Make your essay notes pretty to distract you from the horrors of not knowing how to write an essay!

[queen-lucy-the-valiant]

Each of the seven Narnia books has a moral message or theme at its foundation. Every major beat of the story is centered on and refers back to this theme, so if you take away or alter the theme, you alter the entire foundation of the story. Obviously these themes/messages align with Christian principles because this is Lewis we’re talking about. So, my interpretations of the themes are the following:

 Magician’s Nephew is about taking responsibilities for your actions, LWW is about being selfless but also about forgiveness, Horse and His Boy is about the golden rule, Prince Caspian is about belief without proof, Voyage is about conquering temptation/evil within yourself, and Silver Chair is about trusting in God’s plan even when it doesn’t make sense, and Last Battle is about hope and doing what you think is good even when it seems hopeless. 

Which I think is one of the reasons the Voyage movie falls flat when compared to the other two. One explanation is that it changes many things from the book, but Prince Caspian does that too. Both movies make drastic changes from their source material, but Prince Caspian doesn’t feel (at least to me) as drastically changed as Voyage, because Voyage’s changes go down to the very foundation of the book’s theme. Lewis is saying that there is ‘evil’ in everyone that we all have to repeatedly overcome while the movie is saying that evil is outside of us and that we can overcome it once and be done with it, which drastically changes the central theme of the story. Prince Caspian on the other hand adds a lot of the story but all of the changes stay true to the central theme of belief without proof (or they correct some of Lewis’ inconsistencies). You can change the details all you want for the most part, but the core theme of the story has to remain the same otherwise it’s just not the same story so it won’t feel the same.

So there’s this really big essay I want to write detailing all the changes and how they alter the theme or go along with the theme etc.

[gooseclarinet]

Some people have said that epic Odysseus' character arc in act 1 is about him learning to embrace ruthlessness and that you can't always show mercy. In actuality, he already knows these things at the beginning of the story and he has an Eren Jaeger-type arc of going off the deep end after taking too many L's. In this essay I will

[averlym]

ghostwriter (their grandma would tell them she'd lose half her soul)

[seiwas]

just had my medical done today and i was anxious all month for it but the results look okay so i am Relieved 🥹

[theygender]

It doesn't need to be perfect it just needs to be done it doesn't need to be perfect it just needs to be done it doesn't need to be perfect it just needs to be done

[willowcrowned]

i think at the end of group projects you should have the option to kill anyone in your group who made your life actively worse. this would increase murder rates by five thousand percent but it would also increase me being happy rates by ten million percent