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shouyuus · 2 months ago

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violet; 4,988 words; hurt/comfort, fluff, slightly suggestive moments, no "y/n", wlw (duh), self-indulgent to the point of lunacy, lots of kissing, mentions of bodily harm (not self-inflicted), teeth-rotting fluff mostly, popstar!reader x vi au

summary: when vi shows up at your door, what to do but to let her in?

a/n: bc nothing bad is allowed to happen to vi in my fictional world(s). and also im literally cackling ofc the fic that ppl r the least interested in posted first is the one that i post first; i guess i just like to be contrary but also i want to spoil vi and this is the only way i know how

─── Ⅵ SHE SHOWS UP UNANNOUNCED, split lip and bloody knuckles, leaning against your doorframe on a thursday night; you answer the door in your sheer pink nightgown and fluffy slippers, a bottle of rose chilling in a bucket on the table.

“vi?”

“hey princess —” she clears her throat, her smirk going lopsided as she tries to hide a clear wince. a bead of blood seeps out the corner of her mouth as she sucks in a shaky breath, “miss me?”

your lashes flutter with worry as you step aside to let her through — there’s a distinct limp to her gait that she can’t quite hide with her usual swagger.

“what happened?” you ask, letting the door click shut, following half a step behind her as she drags herself into your penthouse flat, letting out a low whistle as she looks around.

“nice place you got here. fits though, pretty castle for a pretty princess —”

“violet…”

you reach out with delicate fingers, taking slow steps forward; she hisses out a breath, her eyes sharp and wild as a wounded lion’s, her mouth a blunt-edged slash as she swallows, gaze flickering between your fingertips and your face as if she’s unsure what you might do.

she winces as you rub a light thumb along her cheek; your finger pulls away red.

“sorry —” the word rips from her at your touch. her eyes drop, her whole body shakes. “i — i didn’t know where else to go — and i — i remembered seeing that stupid 100 questions video you did here for —”

“for the fashion magazine, yeah,” you say, your voice soft as a baby’s breath. your hand lingers, a palm against her cheek. she leans into your touch, the movement small as heartbreak, but just as heavy.

“c’mon, lets get you cleaned up.”

you let your hand trail down her arm till your fingers link, and you lead her to you expansive couch, pressing her down firmly even as she frowns at her grime-covered clothes against your pristine white sofa.

“i’d offer to pay for dry cleaning but —”

you cut her off with a sharp look.

“don’t you dare. and plus, i’ve been meaning to change up the upholstery forever.”

you grab a bottle of vodka from the top shelf and a box of cotton balls, plopping down across from her on the couch in a flurry of pink-colored satin, inching forward till you’re nearly parked in her lap.

vi’s eyebrows hike as you pop the top off the vodka bottle, a grin twitching at her lips.

you roll your eyes.

“it’s not for drinking —” you soak a few cotton balls in the vodka even as vi’s expression falls. you lean in; vi’s hands find their way to bend of your waist, settling there as you daub gingerly at the blotches of drying blood on her face.

“ouch —” vi winces dramatically as you press down on a particularly deep cut, her lips pushing up into a pout, “not even a little bit? might help dull out the pain —”

she cuts off as you swipe a thumb along her bottom lip, breath hitching as you frown slightly, making to tug away for a fresh cotton ball.

“don’t — don’t leave —” her voice comes out harsh, desperate. you still, expression softening impossibly.

“i’m not,” you say, patient. she finds her fingers digging into your hips but you only smile. “i’m not going anywhere. promise. but i do need another cotton ball.”

she worries at her bottom lip, and already, you can see the fresh blood collecting in at the corner of her mouth. you press back into her space, wiping the blood away. her entire body slants towards you, her shoulders tight, her arms flexed, as if she’s bracing for a punch or a kiss.

you nudge her nose with yours, lifting up ever so slightly to press your lips to her forehead.

the dam breaks — all the pieces falling, her head tipping forward onto your shoulder, her hands wrapping around you tight, and then tighter. you feel yourself being hauled into her lap as she buries her face in the crook of your neck, a sound caught halfway between a gasp and a sob wrenching from her throat.

“f-fuck — shit —”

there’s heat to her skin, the roughness of her bandages, fraying at the edges, the worn-in material of her pants, the damp streaks of her hair tickling your cheek. her breath is uneven as it splays out against your collarbones, and when she finally tugs away to wipe at her face with the back of her hand, looking anywhere but at you, her lashes blink away wet.

“sorry — god this must be real sexy, right? mm — fuck —” she sniffles, shaking out her hand, her other one coming up to caress your cheek. her gaze is unfocused even as she skims her fingers over your skin. “god, you’re so soft. it’s like you’re made of — of marshmallows or something —”

you catch her hand with a tiny sigh, letting your gaze flicker over the bloodied bandages before you rub a thumb along an unmarred patch of skin.

“and you can be too. if you ever wanted to learn.”

she goes quiet then, the bravado bleeding from her as you continue your quiet work of cleaning all her varied injuries, disinfecting the cuts and bandaging the bruises. for the most part, she stays quiet, offering up the bloodied parts of herself for your perusal without resistance. it’s only when you shift back or make to tug away for a second that she jerks forward, resolute in her all-consuming need to keep you close.

“there. that’s about as much as i can do right now,” you say, heaving a sigh as you brush away several strands of black-pink hair from her face, letting your thumb skim over the tattoo on her cheek.

“thanks.” her voice comes out slightly hoarse, her eyes cutting away from you for a second before flickering back.

“i’d say it’s nothing but…” you let your thumb trail down the line of her jaw, tracing over her fluttering pulse as you work your slow way down her neck, “i mean —” you let out a soft laugh, hiccupping slightly as she takes the chance to tug you even closer, pressing you to her, chest to chest, so that you have to brace both your palms against her shoulders just to keep steady. neither of you mentions the fact that her arms are shaking.

“it was a bad night,” she says. and it’s all she offers for a few minutes, but you don’t push her, content to rest against her, let her run circles into your skin with her fingers against the small of your back, her breaths evening out till she looks back up at you with a wry grin.

“let me guess,” you say, linking your fingers behind her neck, “you should see the other guy though, right?” you drop your voice in a mocking imitation; it sounds nothing like her but it manages to draw out a laugh, the sound ricocheting between the pair of you like an echo till it dissipates, leaving the air somehow slightly warmer than before.

“yeah. somethin’ like that,” she murmurs, leaning forward to nudge your nose with hers, eyes going dark.

you cup her cheeks and let her kiss you, lips on lips and gasping breaths, till her fingers are inching up the thin material of your night dress, bunching it up, her thumbs tracing the ridges of your ribs, the weight of her body pressing you back into the plush couch, far too big for the pair of you —

“v-vi — wait —” you gasp away from her, fingers tangled in her oil slick hair, her mouth trailing hot and wet down the side of your neck. she makes a grumbling sound, nipping at your collarbones before resting her chin on your sternum, her hands still grazing further and further up your nightgown.

“c’mon princess — you got to play doctor, so now lemme pay you back proper —“

“vi.” the sharpness to your voice jolts her, and a frown creases her forehead as she blinks up at you with her gunpowder eyes, her fingers now still against your skin. you puff out a breath, pushing yourself back up to cup her cheeks, squeezing them slightly between your palms.

“i don’t want you to ‘pay me back’ for anything.”

hurt and confusion chase each other in a butterfly-wing flutter of emotions across her eyes before she pulls back.

“you don’t want this?”

you fight back the urge the roll your eyes as you sigh, reaching out to tug her back, this time, it’s you crowding into her personal space, leaning in to kiss her solidly on the lips. you feel her go soft against you, her hands cupping the ridges of your ribs once more.

“of course i want this,” you murmur against her lips, “but i — i don’t want it as ‘payback’ for anything. i…” your breath catches as vi leans in to nip at your bottom lip, heat pluming up the back of your neck, cresting into your chest as you blink at her, “i want this… if you want to give it. and — and i want it because — because i want you.”

she makes a strange, pitched noise in the back of her throat as she crushes you to her, her mouth slotting over yours so desperately that your teeth clack, but when she pulls back, she’s shaking her head, resting her forehead against yours with a sigh.

“shit princess — you can’t say shit like that and not expect me to lose my fuckin’ mind — fuck —“

you let out a tinkling laugh, fingers now massaging the cords of muscle at the nape of her neck. a shiver runs through her, her lashes a sweep of ink and shadow.

“relax… i’m not going anywhere. promise,” you remind her even as she tips into you once more, a whine working from her throat into yours as her fingers dig into the supple skin of your waist, dragging you down the length of the couch till you’re pinned beneath her thighs.

she pulls away panting, your own chest a staccato rise and fall. but your eyes are steady when she finds them again and you reach up to trace her cheek.

“when’s the last time you’ve had a bath?”

the question catches her off-guard, making her jerk back slightly, a frown ticking down between her brows.

“what?”

you giggle, “a bath. like, a proper one.”

one of her eyebrows kick up, “you sayin’ i smell or something?”

you sigh, yet again fighting the urge to roll your eyes as you push yourself up onto your elbows, your pink nightgown rucked up to your thighs, your hair falling out of the messy bun you’d twisted it up into earlier that evening.

“no,” you let your voice linger on the word, pinning vi with a look, “but you do taste like the inside of a paint can so.”

her eyes narrow but she lets you wiggle out from beneath her, your fingers trailing down her arm to tug her behind you as you lead her into the master bathroom. the light clicks on and vi scoffs.

“wow.”

“pick a bubble-bath, any bubble-bath — my favorite’s the —”

“rose one?” she finishes, lifting up the nearly empty bottle of light pink bubbly water displayed on a white marble shelf full of multi-colored liquids.

you allow yourself a blush as you shrug, twisting on the taps and testing the temperature, drying off your hand before turning back towards her.

“so i know what i like. sue me.”

vi smirks in honest this time, uncapping the bottle and wafting it beneath her nose.

“mm, delicious.”

you don’t miss the licentious lilt to her voice, nor the flicker of dark, hungry light in her eyes.

you turn away, leaning across the vast bathtub to grab a white can.

“if you think that’s delicious — wait till you see the sugar scrub — oh!”

a pair of arms snakes around your middle, pulling you back against abs and a bandaged up chest. vi’s voice is hot by your ear as she noses into the side of your cheek.

“yeah? is it gonna make me taste less like the inside of a paint can?”

“mhm,” you say, letting your free hand rest naturally over both of hers, the other hand dipping into the sugar scrub to swipe a dollop of sticky white crystals onto her nose. she gasps, jerking back for just a second, going slightly cross-eyed before a mischievous expression eclipses her features and she hoists you up into her arms, holding you suspended over the slowly filling bathtub.

“don’t play this game with me, princess — there’s only one way it’ll end.”

you let out a bright peal of laughter that echoes around the soft marble walls, looping both your arms around her neck.

“try me.”

for a second, she makes as if to drop you, but she pulls you back into her chest at the last second, cradling you against her.

“alright princess, let’s see how good this bath is,” she says, her voice soft as she sets you back down on your feet. you lean up to give her a quick peck before taking the rose-scented bubble bath and pouring it into the swirling water.

by the time the tub is filled, the room is filled with a thin gauze of steam, and when you turn, you find vi standing awkwardly behind you, watching with one hand on her opposite elbow, rocking on the balls of her feet.

“in general,” you say, pushing to your feet, “people take baths with their clothes off.”

vi’s cheeks go blotchy, and her eyes skitter about the room.

“what, i’m just supposed to strip here and —”

her words cut off abruptly as you turn your back on her and tug your night gown from your body, stepping into the bubble-filled water, glancing over your shoulder.

“you coming?”

vi nearly trips out of her tight-fitting pants, tugging haphazardly at the bandages wrapped around her torso. when she finally steps into the water opposite you, she drops down with a soft splash, a loud groan rolling from her as her eyes flutter shut.

when she forces them open again, it’s to find you watching her with your round doe eyes, a sweet, knowing smile perched over your very kissable lips. she wonders at the heat in her cheeks, at the way it prickles at her skin, thinks to herself that it must be the steam, must be the hot water currently melting away at the knots that had braided themselves into her muscles the past few weeks, but she when she feels your calf nudging against her’s she can’t help the way her breath skids inside her chest.

“c’mere,” you motion, and vi blinks at you for a second before shifting till you’re face to face, her hovering uncertainly between your legs before you jerk your chin for her to turn around.

the bathtub is more than big enough to fit the both of you, and for a while, a comfortable quiet settles as she leans her back against your chest, your fingers dancing up the length of her arms, trailing warm water along her shoulders, tangling in the rapidly lightening tips of her hair.

the dark dye runs off her, pluming in the water like spilled ink. you steadily work your fingers through her tresses, smoothing out the knots, occasionally letting your nails scrape against her scalp.

“holy fuck that feels nice…”

you smile, washing as much the dye out as you can before rubbing your thumbs into her shoulders, feeling the tightness coiled there like springs. she grunts, shifting beneath your touch.

“y-you don’t have to do this y’know —” she tries to pull away, only to have you click your tongue impatiently and tug her right back.

“lemme know if i’m hurting you, okay?” is the only thing you say as you continue to massage her shoulders.

she softens, letting out a long sigh and a small chuckle.

“you’d have to try real hard to manage that, sweetcheeks.”

you puff out a tiny breath before digging your thumb into a particularly tender knot, her entire body buckling away from you.

“ow!” she twists around, eyes wide, even as you cast her a look that has her turning back again, but not before she flicks a bit of water at you, her other hand resting easy on your knee, bent next to her hip as she leans against you once more.

“this is the first thing they teach you how to do in a brothel,” you say, your voice light as you slowly work the tightness from each of vi’s muscles, applying gentle pressure, using the bubbles as lubricant.

“wait what?” she tries to turn around again, only for you to pinch lightly at one of her loosening knots, tutting.

“stay still and i’ll tell you the story.”

she stills, though her breath is still short, and the hand that had so recently been lolling against your knee is now stiff, her fingers wrapped around your limb as if to brace herself for what you’re about to say next.

“most people don’t know this, but i’m actually from the undercity — all my earliest memories are of the brothel, the girls there braiding my hair, or letting me sit on their vanities, smearing bits of lipstick on my cheeks as rouge. i think my mother must’ve been one of those girls once but… i never knew her. and it didn’t really matter anyway — i think… i was one of the lucky ones. at least i always had water and a hot bath when i wanted it.”

vi’s fingers tighten on your thigh before she lets up her grip, sighing as she presses her back more firmly against you.

“i’m sorry.”

you shrug, shifting a bit of hair from one shoulder to the other as you continue to dig your meticulous fingers into her weary muscles.

“don’t be. like i said, i was one of the lucky ones. but… i always knew that we were living a hard life. sometimes, one of the girls would vanish and… we’d never know where she went. sometimes, a guest would get a bit too rough and —” you let out a tiny laugh, “well i got pretty good at patching up cuts and bruises.”

you flatten your palms against her skin, running them along the expanse of her shoulders before pushing down her arms to squeeze at her firm biceps.

“there. how’s that feel?”

vi sits up, rolling her neck and shoulders with a loud groan.

“damn. that feels amazing but —” her expression softens as she reaches for you, running tender thumbs along the bend of your cheek.

“you — you don’t have to tell me this if you don’t want to.”

“i know.” you catch her hand in yours, fingers curling in. all around you, perfumed mist hangs light in the air, hazing out the already diffused lighting. “but i want to.”

vi smiles, nodding.

you take another breath. your interlaced fingers sink into the murky water.

“when i turned thirteen, they started teaching me the ropes — massages first —”

“thirteen,” vi’s voice is harsh in the mist-hung room, the syllables cracking as they reverberate against the slick tiles.

you lilt your head, “how old were you when you ran your first job?”

vi stares, her mouth agape, “b-but — that’s — that’s different!”

“is it?”

she sputters for a few more seconds before deflating, shaking her head, tugging her hand from your grasp to splash water into her face, running both hands over her eyes with a groan.

somehow, she could picture it perfectly, you with your sweet smile and darling eyes, running deft fingers over the shoulders and necks of the unnamed girls at babette’s as they talk you through how to press just so, how to lull someone into your lap, and later, into your bed.

“but like i said… i was one of the lucky ones. really, really lucky — because one day, while i was refilling the water and tidying up the rooms, a guest heard me singing and… he offered me a gig topside.” you let yourself sink into the slowly cooling water, your hair flowing in a soft halo around your shoulders.

vi watches you with an inexplicable expression on her face — half-sadness, half-wonder.

“and the rest, well —” you flick a bit of water towards her; she blinks it away before pulling you into her chest, “you know the rest. or, i mean, i don’t know if you watched that entire 100-questions video —”

“i did.”

vi loops her arms around you, hooking her chin over your shoulder.

and once again, the quiet settles around you both, hanging solid in the air like so much dissipating steam.

“all that to say…” you murmur, turning slightly to face her, searching her eyes with your own, “you don’t have to pretend with me. not with me. not when it’s just the two of us.”

you watch her eyes widen ever so slightly, watch as her lips part and she hesitates over the words hanging at the tip of her tongue.

“thanks,” she finally manages, “for… for telling me this.”

you smile, pulling back to reach for the white can, unscrewing the top.

“okay. sugar-scrub time.”

by the time the pair of you leave the bath, the water’s cooled to a tepid chill at best. you offer vi a fluffy towel, wrapping one around yourself as you pad from the room in search for some clean loungewear.

you return with a large t-shirt and some shorts, which vi eyes for a second before pulling on, her cheeks darkening as she sees you watching her.

“quit looking at me like that…” she huffs as you tug on a loose shirt yourself, pulling on a pair of pink, lace-trimmed panties.

“like what? like you deserve to be looked at?” you ask, voice even as you run a towel over your damp hair. vi crinkles her nose, frowning down at her dirty clothes, piled in a lump on your bathroom floor. you shrug.

“leave it. that’s a tomorrow-problem. c’mon, bed-time.”

vi sighs, ruffling at her hair with the white towel, staring at the gray streaks she leaves behind. she glances up to find you standing by the bathroom door, a hand outstretched behind you, waiting.

she licks her lips before tossing the towel over her pile of clothes and reaching out to take your hand.

your bedroom is dark, lit only by the scatter of city lights from beyond your windows. through it, the city is a pulsing maze of tiny lights and spectral towers. you pause, glancing towards the skyline with a sigh.

“it’s a beautiful view,” vi says, coming up to stand behind you, looping an arm around your waist. you lean into her touch, her warmth, turning slightly to find her eyes just as faraway.

“yeah,” you grin, reaching up to touch her cheek, “you are.”

she turns, blinking at you for a second before your words register. she groans even as you laugh, the sound fizzling through her till her skin prickles with warmth and goosepimples.

“c’mon. bed.” she says, and you grin, allowing yourself to be led to your own bed, pulling back the silken covers, slipping beneath and watching as vi inches in next to you, pillowing her cheek on her arm. you angle your body towards hers, letting out a long, steadying breath.

she mirrors you — one breath, then another, then another.

“thanks, princess,” she says, after a few long moments.

you shuffle forward beneath the blankets, reaching out to wrap an arm around her waist. she closes her eyes, bending her head till you’re nose to nose.

“for what?”

vi lets out a puffed laugh, her lashes fluttering open again.

“for… letting me in.”

you press you lips, your eyes searching her’s. and here, in the dim moon-lit night, her eyes shone like twin stars, bright as firelights. you inch just a bit closer, letting your foreheads press as she shifts an arm to slip around your waist as well.

you hook your ankle over hers, shimmying till you’re hip to hip, your bodies arched into each other, bend for bend. she bites down on her lip, if only to stop it from quivering. you graze your hand up her arm to rest on her cheek.

“you know you’re always welcome here.”

vi laughs, the sound strangely watery as she blinks away the hot prickle biting up the back of her throat. it’s been so long since she’s had anywhere to come back to. and here you are, offering it up to her on a gold-gilded platter.

“yeah?” she says, even though her voice shakes and she has to swallow hard over the lump in her throat as she coaxes your chin up, angling your lips towards hers, “careful… i might actually take you up on that.”

“whatever’s mine is —” your breath hitches high as vi tugs you into her, crushing your lips to hers, a thick groan working it’s way through her chest. you taste salt on your tongue, even as she trails her mouth along your jawline to suck a dark, blossoming hickey into the side of your throat.

“— yours.” you finish, spearing your fingers through her hair to pull her back, your eyes soft in the gathering darkness. vi lets out a tiny, pitched whine as she buries her face in your chest, her body curling in on itself. you rock her against you, letting her grapple her fingers into your nightshirt, clutching you to her even as you sooth your palms over her head and neck, shushing her gently.

“fuck, princess…” she says, her voice slightly muffled, “you’re tryna spoil me rotten, huh.”

you smile, letting her pull back just far enough to catch a glimpse of your face.

“well, someone’s gotta do it.”

vi chuckles, the sound rumbling from her chest to yours.

“yeah well… i’m glad you’re the one angling for the job, sweets.”

you hum, letting your eyes fall shut as vi’s grip on you loosens, and the pair of you sink into the liquid warmth of each others bodies.

vi shifts, tucking you deeper into her arms as you content yourself with sighing into her skin, and it’s an almost automatic spin-click of both your bodies, your limbs settling into and against each other, your torsos turning to just the right spot, just the right angles to fit against one another.

you settle, and feel the world settle around you — time itself seems to breathe and slacken, the evening-shaped seconds and minutes ticking each into its own place, like the teeth on a set of cogs, catching one rung into another, spinning one after the other till everything starts to hum into place.

sleep slips its gossamer gauze over your eyes and vi shifts, her lips ghosting your forehead.

“whatever gods up there that put you in my life…” she whispers, her voice tight, you make a soft noise, like a question, or perhaps a confirmation, leaning up to level your faces once more. your eyes open and vi finds her own reflection staring back at her, the shape somehow softened by your gaze, and she wonders, not for the first time, what you see in her, what you’ve always seen in her, that makes you so…

“there’s already a shrine set up for them in the living room,” you murmur, and for a second, vi stares, her own mind quiet for the first time in a long while. you smile sleepily at her confusion, nuzzling her nose with yours, “what, you didn’t know? i’d been thanking them for you since the first day we met.”

vi makes a sound like a hiccup, shaking her head as warmth bubbles through her, a champagne-colored shake-fizzle-pop of emotions welling up behind her eyes, making her head spin.

“well shit —” she grins, tugging you ever closer, “you’re always one step ahead of me, aren’t you princess?”

you hum, carding your fingers through her hair as she settles against you once more.

“mhm,” a tired little yawn, “and maybe tomorrow morning, if you’re feeling up to it —”

“yeah?” vi’s voice is soft, is sweet, is almost reverent as she kisses the skin of your sternum, her lips lingering right beneath your collarbones.

“i could show you some of the other things i picked up at the brothel.”

vi groans, her fingers digging into your hips at the tantalizing thought.

“mm, you mean other than giving people amazing shoulder massages?”

you laugh, and outside, a large neon sign flickers off, tossing the room into a deeper, richer dark.

“yep. but for now…”

“sleep?” vi asks.

you nod, watching as her eyelids flutter shut, and you let yours do the same. your fingers find hers beneath the blankets; your palms press and she gives you a tiny squeeze. you squeeze back and smile.

“sleep.”

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thepersonperson · 8 months ago

Text

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.