#it used to be more common in the past

[crimsonbits]

This might be very petty and might ruffle some feathers but the Number One Touhou Fandom Sin I'll never ever forgive is the amount of content (which thankfully is much, much rarer these days) that takes characters whose appeal is that they are confident and egotistical loveable jerks, with as many flaws as unearned bravado, and turns them into lobotomized submissive and/or "moe" versions of themselves.

And honestly maybe it's because I'm not even attracted to women to begin with, but I feel like this is motivated by Very Specific reasons. And, let's be clear, there isn't really anything morally wrong with that or anything (maybe besides the weird sexist undertones of this being done to female characters all the time. Also we're assuming the characters are coded as adults to begin with, obviously) but damn if it doesn't make me viscerally uncomfortable. Especially when it's clearly done outside of NSFW content/not meant to be that. I do think it plays on very sexist tropes most of the time.

Like, taking away these traits from these women and not allowing them to exist as actual characters outside of the "anime girl" trope box. Reduced to an unrecognisable mirage of their canon self. Let them be the overly-confident pathetic assholes with a heart of gold that they already are, instead of just waifubait. I know the absurdity of saying that to Touhou fans is like speaking to wall, but I was put on this earth to complain so, lol.

[serpentface]

Tigran: launching into a story about a time when he was 7 and watched a guy get eaten alive by dogs, completely unprompted and unnervingly blasé about the whole thing.

Etsushir: not listening, warming his hands over the nightly allotment of yams, smoking.

Palo: this is the tenth time he's heard this story, not listening, wondering whether Etsushir is smoking tobacco and where the hell he got it and can he have some?

[thepersonperson]

Backstory theory for Sukuna? I wanted to say Kenjaku and Tengen too but let's just stick with Sukuna for the sake of your sanity

(Written as of JJK 262 using TCB scans and raws. Click images for captions/citations. I want to see how poorly or well this ages.)

I already kind of went into how I think Sukuna’s birth occured answering this ask, and we know for a fact he was born as an unwanted little wretch. But that's not really a full backstory. I was a conjoined twin truther before the reveal so I'm definitely deranged confident enough to propose something.

What is Sukuna's deal anyways?

When I say Sukuna and Gojo are twin flames, I'm referring to how their internal logic and their narrative framing are very similar. For this reason, I believe how they respond to trauma is also similar.

Much of early JJK is a different reread knowing Gojo's specific trauma. His use of the childish Boku as his personal pronoun, his obsession with sweets, having Infinity on all the time, his avoidant attachment style, and his fierce desire to ensure teens enjoy their youth...all these little trauma-induced quirks hidden in plain sight, sometimes as humor, are now depressing reminders of what Gojo went through. You also start to see how paranoid he is about another Toji incident with how he treats Miguel and Hanami...

Sukuna's backstory has probably been set up in the exact same way. It's likely that most of Sukuna's actions and attitude are influenced by some unrevealed/hinted at trauma. Since he and Gojo are twin flames, I'll try to piece it together using Gojo as the blueprint.

Sukuna's Way of Speaking

In the same way Gojo's manner of speaking is unusual for his age, Sukuna speaks really weird even compared to other incarnated sorcerers. If you're not aware, Japanese pronouns do not carry gender, but they do indicate how the speaker views themself and the person they're talking to. (This wiki summary table is quite helpful for this sort of thing.)

Sukuna's personal pronoun is 俺 (Ore) which is very informal, rough, and masculine. And he uses お前 (Omae) as the you pronoun for others which is either a casual thing amongst peers or indicates the speaker's higher status. (It's probably the later given how arrogant Sukuna is.) These are also the same pronouns Yuji uses for himself and others. But because of his personality, we can infer that Yuji uses Ore because he's a sporty boy from the countryside and Omae because he's friendly and views everyone as equals. Same pronouns, but completely different characterizations that get lost in translation.

Sukuna also uses 貴様 (Kisama) as the you pronoun for Gojo. Historically, this was a formal way to show respect and then it evolved into an ironic hostile insult sort of thing, much more rude than Omae. Since Sukuna is 1,000 years old, uses Omae for Yuji, who he hates, we can reasonably assume him using Kisama for Gojo is the formal version. (This would be another very funny instance of Gojo thinking Sukuna hates him but he’s actually trying to be nice.)

All of Sukuna's pronoun usage combined with his personality suggests a very tough and rude individual, which he is. However that rough speaking style is exactly why his frequent use of flowery language, double entendre, clever wordplay, art references, and puns is bizarre.

The weird way in which Sukuna uses words is most known by how he speaks to Megumi during their fight at the detention center. (I'm paraphrasing all this person's translation work for this.)

Sukuna uses the phrase "misetemiro" which is commonly translated as "show me/show me what you’ve got". The caveat here is that the "mi" of "misetemiro" can be written as 見 or 魅. When using 見, translating as "show me" is most accurate. When using 魅? The better translation is "bewitch me/enchant me/charm me/fascinate me".

Sukuna, of course, uses 魅, which means he's saying "enchant me" when he uses "misetemiro". It should be noted that this exact phrasing is used for Mahoraga before it cuts off Gojo's arm. (This is apparently what what Sukuna finds to be enchanting. Violence against Gojo Satoru.)

The thing is, Megumi heard Sukuna say "misetemiro", so he likely assumed the common meaning "show me". This is either a case unintentional misunderstanding or Sukuna making his true feelings dubious. That in of itself is the best example of the double-meaning wordplay Sukuna gets up to.

Sukuna seems to be really fond of puns in particular (very old man of him). He calls Yuji 小僧 (kozō) which can be translated as brat, but it also means young/novice monk.

He also uses extremely outdated words. (An example of which was provided by this user.)

You have all of these conflicting speaking mannerisms balled up into one character. It's as if a gangster/ruffian majored in Literature Arts. And that’s precisely why I think he was of low status at birth.

Sukuna's Upbringing

We all know Gojo's Limitless Cursed Technique (CT) is a literal and metaphorical barrier between him and other people. His technique is his isolation. And how it developed informs us directly of how his interpersonal relationships changed with it.

Back when Gojo only had Blue and Infinity had to be manual, it meant that he had downtimes where he was vulnerable. That physical vulnerability doubled as emotional vulnerability and Gojo was able to form a close relationship with Geto and befriend Shoko. After he awakened, Infinity could be on nonstop. Gojo became untouchable to everyone at all times and it destroyed his relationships.

In the same way Gojo's CT compliments his changes from child to adult, I believe Sukuna's CT does the same.

As we all know by now, Sukuna's Shrine or ��厨子 (mizushi) could be referring to a Buddhist shrine used for storage or a imperial palace kitchen. I think it’s both at the same time. To me Sukuna's CT indicates he initially cooked for the emperor and then became an object of worship at a shrine. But I have some additional caveats to this theory.

We know that Sukuna learns by mimicking others. It wouldn’t be a stretch to say he picked up on formalities while being near nobility if he was of low birth. But how did a lowborn like Sukuna get near nobility in the first place?

So historical Japan had a social caste system called Ritsuryō (you can read more about its application in the Heian Era here). The upper class was called Ryōmin (good citizens) and the lower class was called Senmin (low citizens). Amongst the lower class there are the following subcastes:

Ryōko (dedicated to the imperial family or guards of imperial tombs)

Kanko (dedicated to public ministries)

Kenin (servants of high-ranking families)

Kunuhi (slaves of the court)

Shinuhi (slaves of families)

I think Sukuna was a Kunuhi or court slave during his time as an imperial cook. That would give him access to the higher art forms directly or by listening in while also explaining why his speech appears to be a mesh of two completely different backgrounds. (If he were of noble birth, his personal pronoun would likely be Watashi, Waga, or even Ware-Ware like most snobby upper class characters in Japanese media.)

Another trait of the slave class is their forbiddance from having a registered family name. Both Sukuna and Uraume use full names as a show of respect. The fact they only use single names for each other suggests that they have no family names at all and fall under this low class category.

The other thing to note about this caste system is that class mobility in both directions was possible. To what extent I'm not sure (there’s not a lot of in depth literature in English), but this would allow for Sukuna to rise from a lowborn status and fall back to it as the Disgraced One.

In summary:

Sukuna is born and branded an undesirable. (Some of his tattoos match up with markings for both criminals and outcasts. Particularly the single band around the wrist labeled Hinin, a term that translates to non-human used for the lowest social class.)

Sukuna is taken into slavery where his talents start to show. (Durable, 4 limbs, and quick learning make for great labor exploitation.)

Sukuna, as a slave, eventually finds himself working in the kitchen for the emperor where he meets Uraume, who is there under similar circumstances. (Heian nobles were fascinated by commoner life and sometimes took peasants into the palace for entertainment/exploitation. Please read this entire thread on Heian commoner life it’s very good.)

They rise through the ranks together because of hypercompetence.

Eventually Sukuna becomes so strong that he becomes an involuntary saint/warrior monk. (Heian nobles mobilized monks for rituals and maintaining power.)

The court nobles start a smear campaign out of fear of his power and lowly upbringing, which causes Sukuna to have his Joker moment and start eating people. (Based on the mythological Sukuna stories.)

Sukuna's Theoretical Coping Mechanisms

After Gojo endured the fallout from Toji and Geto, he developed coping mechanisms to deal with it. They're all quite unhealthy to be frank—Gojo is very stuck in the past and seems to be in a near-constant state of trying to relive it, but better.

Those traits were all initially introduced as gags. It all made Gojo appear like a very strange, childish, and questionable adult. In retrospect it's all tragic. So with that in mind, I want to examine some of Sukuna's traits that could be a manifestation of past trauma.

It goes without saying that being a slave is traumatic. And the coping mechanisms developed to deal with that level of dehumanization don't go away if someone escapes it.

Sukuna's extreme aversion to being told what to do and self-centeredness reminds me of the ex-slave character, Izutsumi from Dungeon Meshi. She starts out as a slave paraded around as a circus freak after being experimented on before she's sold to a wealthy clan and forced to be a retainer. A curse is placed on her to keep her from escaping in the form of a tattoo around her neck. When she finally frees herself, she is very cat-like in her selfishness, poorly socialized, and abrasive. (Also she is canonically aroace!)

If you noticed, her personality sounds like a description of Sukuna's, so I'm left thinking he has some variation of that backstory (kind of like a combination of Toji and Geto's). It would fit with him being an unwanted child, explain his bizarre manner of speech, and give him a pretty good reason to be the way that he is.

In the same way Gojo used Hanami to relive his trauma but control the outcome, I think Sukuna uses Binding Vows relive and conquer his enslavement. The vows he constantly makes and breaks with himself are a show of control over thing that hurt him.

When binding vows are first introduced, it's by Sukuna and with chains. In the anime the chains constrict Sukuna until they destroy him.

This imagery is rather oppressive in nature. Similar to a prisoner's chains or a slave's chains. (And it's quite common for prisoners to be used for slave labor too.)

I've previously discussed how I view Kenjaku as someone who exists through nonconsent and causes others to relive their trauma. Gojo's sealing illustrates how this kind of manipulation works. And since Gojo's twin flame is Sukuna, I believe Kenjaku did something similar to him.

We've already established how much Sukuna hates taking orders from people and how much he wants to fight Gojo. Everything he has done for the past 6 months was for Gojo. And guess who stops him from obtaining what he desires? Kenjaku through a binding vow.

Sukuna also calls Yuji an 檻 (ori) which can be translated as cage. The type of "cage" ori can refer to is either one for animals or for criminals. Kenjaku pretty much created Yuji to contain Sukuna in this manner.

So we have 2 forms of restriction encroach on Sukuna's boundaries in a way that would be reminiscent of slavery. If Sukuna and Uraume are former slaves, their treatment of Kenjaku and each other makes sense.

With Uraume, Sukuna is gentle and reassuring. He faces towards them when speaking and will initiate conversations, going out of his way to praise their work. This seems a bit out of character given how harshly Sukuna treats others, even those he respects.

Uraume is constantly apologizing to Sukuna in a way that suggests in the past they were punished severely for the slightest mess up. Given their relationship and how little Sukuna cares when they're not perfect, I don't think Sukuna was the one to make Uraume feel this way. If they're ex-slaves, this constant groveling would read as trauma response, and Sukuna's reassurance would be him showing consideration for someone who went through something similar.

With Kenjaku, Sukuna never makes eye contact, often has his back turned, and only responds when spoken to. Uraume is constantly pissed at Kenjaku's presence and tries to keep the two separate as much as possible.

Whatever binding vow Kenjaku has wrapped Sukuna in is clearly upsetting to the both of them. I imagine those were the tools used to subjugate people within the Jujutsu hierarchy. Wait I don't need speculate on that point, Yuta already did this for me when he was forced to execute Yuji via a binding vow with the higher ups.

And you know who else might have suffered the exact same way? Uro.

And boy is Uro strikingly similar to Sukuna, enough for Yuta to notice. She had no name, was groomed into being a weapon by nobles, discarded after being used, and is now someone who toys with sorcerers as she tries to become her own person while scorning bonds/love.

And if you recall, Sukuna obliterated the Fujiwara Subjugation Clan and Uro isn't really mad at him for that.

Not just Uro, but Ryu is similar to Sukuna as well in his hunger and seeing others as meals to satisfy him.

These parallels seem deliberate and may hint of how Sukuna was treated in the past and what his true motivations are. Uro seeing the incarnation as a chance at a second life as her own person is probably how Sukuna feels. But you know. Both of them are beholden to Kenjaku so that “freedom” came with a steep price.

What separates Uro and Ryu from Sukuna is that they acknowledge exactly why they're here. They reflect on their old lives and take action to address their problems. Sukuna seems to be in some kind of state of denial.

I have no doubt Sukuna is serious when his ideals don't go beyond himself. What's troubling is how unaware of why he feels this way. He won't even acknowledge his hunger for an equal which is obvious to everyone else. He also doesn't seem to know why he incarnated, dodging Kashimo’s question on it entirely. It reminds me of Gojo, who despite being blatantly motivated by Geto and Toji, never shows it except in fleeting instances. And those instances are either internal or deliberately vague to whoever is hearing it.

I think this is because acknowledging he experienced weakness at one point in his life is admitting that he can be put in a position like that again. That can be a scary thing to confront. Gojo doesn't deal with the fact he can be made vulnerable and does everything in his power to prevent it while pretending nothing is wrong. Sukuna is doing the same thing when speaks of the past as briefly as possible and crushes anyone who might have power over him.

Uro herself kind of puts that motivating trauma in the back of her mind until Yuta's Fujiwara heritage and ideas trigger her. Not wanting to recall your life as a nameless slave and having it incidentally brought up by the phrase "live for others" kind of sounds like the beef Sukuna has with Yuji.

And imagine if Uro was trapped in Yuta’s body, where this lucky individual, born free, decides to become a Cog of his own volition. She would probably never stop hating him. (I think Sukuna is mad Yuji chose the life he escaped.)

This would also fit well with his initial view of heriarchies. As long as he's the strongest, he doesn't have to worry about becoming a slave again.

And in a way, this is also him showing concern for Gojo. You’re this strong and letting these fudgers push you around? Kill them.

I also think that's why this Yuji quote is going to age poorly.

I don't think Sukuna ever had the chance to live normally. This would also make this exchange really interesting.

Sukuna suggesting he has suffered more than Yuji fascinates me. Of all the things that could possibly be worse than what Yuji went through, I think existing as a slave and being subject to discrimination since childhood would make for a pretty compelling case.

Rejecting Love as Cope

I’ve been on about how Sukuna hates on love as a cope in other posts. I think the former slave angle gives a little more weight to this idea, his poor social skills, and general aversion to other people.

Love is a type of tethering to another person. Sometimes it results in marriage, a legal contract that binds you to another with a myriad of social expectations. If Sukuna is a former slave, his aversion to that sort of thing is only natural. Relationships of anykind are a bond that comes with restrictions.

I keep bringing up Yorozu because analyzing the ways in which she upsets Sukuna is useful for understanding him. Sukuna is most dead-eyed when marriage comes up and he sees losing as the same thing as death. The common problem here is Yorozu’s desire to control Sukuna’s life.

If you know anything about ex-slaves, it’s that they would rather die than go back to that.

Sukuna being the strongest means that no one can ever hold that kind of power over him again. And like Gojo, he believes human connections and love are a point of weakness that need to be discarded to obtain absolute strength. If Gojo is using that excuse to run away from others, Sukuna is using it too.

Despite rejecting all forms of love for the sake of self-preservation, Sukuna expresses cravings for it in very roundabout ways. Usually with how he mocks it.

Another puntastic bit of foreshadowing with Sukuna and Yuji’s binding vow, Enchain also doubles as a discussion about love.

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. (Kind of sounds like how Sukuna ruins Yuji’s life.)

Sukuna canonically reads literature about love and he will use that knowledge to torment people. That’s pretty interesting for someone who hates it. There’s also the underlying theme of exploitation and discardment in this poem that reflects how Jujutsu Society treats sorcerers. And in both cases, the strength to survive and love can’t be had.

Sukuna calls Kashimo greedy for wanting both. But much much earlier Sukuna warns Yuji that there are consequences for being greedy.

I really wonder why he believes that.

Jujutsu Society and Labor Exploitation

The other interesting thing about Izutsumi is how aimless she is after learning the modifications to her body are irreversible despite obtaining freedom. She simply doesn’t know what to do with this. And that makes sense. Grand ambitions take a backseat when all you know is surviving. Her development involves slowly learning how build relationships with others that aren’t exploitative and coping with the permanent changes to her body. And it only comes about because the people she finds herself with are other social weirdos who give her the space and time to change.

That’s what seems to be the problem with Sukuna. He doesn’t have a space within sorcerer or non-sorcerer society where he’ll be accepted and won’t be exploited. But I don’t need to tell you that, Nanami will.

He’s miserable as a sorcerer or not. Might as well pick the one he is good at.

Later he recounts exactly what made him come back.

And if you noticed, his listlessness after escaping Jujutsu and “I always thought that having a 'purpose in life' had nothing to do with me” is very similar to Sukuna’s boredom and “I'd never though about it. ...Ideals. Desires that go beyond oneself”.

It’s weird that Nanami and Sukuna have similar realizations about their place in society while arriving at completely different ways to deal with it. I think that’s intentional.

From an interview with Gege:

"If there was one thing worth mentioning, it's that no one has the ultimate truth. The “good guys” and the “bad guys”. Some seek to kill the hero out of pure selfishness, but others are led to this decision by logical reasoning. If no one is really right, then no one is wrong either. Each character is guided by their own ethics."

I've interpreted this quote as the author telling me to consider the characters as having similar motivations, but completely different methodologies and logic driving their actions. With that in mind, I have concluded the following:

Every single character that’s kind of insane has recognized the same problem. Japanese work culture sucks. It grinds you to dust, leaves you with no freetime, and even corrodes your identity under the guise of collectivism. “The nail that sticks out gets hammered down.” is the go-to Japanese proverb to justify conformity to this suffering. Uro calls it out exactly.

Toji and Maki are beaten into place, used as scapegoats, and isolated by their families for being born wrong and staining the Zenin reputation by existing. Toji decided the solution was killing sorcerers and leaving Jujutsu society. Maki decided the solution was killing her family (she did nothing wrong) and building a better Jujutsu society with allies.

Geto, Nanami, and Gojo all broke from overwork that isolated them and never allowed them to grieve. Geto decided the solution was killing non-sorcerers and leaving Jujutsu society. Nanami decided the solution was leaving Jujutsu society and doing non-sorcerer work. Gojo decided the solution was reforming Jujutsu society and eventually killing the higher ups (based).

So despite all these different solutions, some of which are indefensible, I understand exactly why they became that way. They’re dealing with labor exploitations and dehumanization without the theoretical framework to be productive about it. (Gojo is the closest person to discovering what a union is.)

Geto snapped from a single traumatic event coupled with the knowledge that his labor would be exploited until he joined the mountain of sorcerers’ corpses. Though he was introduced as a mass murdering lunatic, there were always hints of how badly he wanted sorcerers to be free of exploitation. (Karl Marx could’ve saved him.)

Sukuna experiencing the most egregious form of labor exploitation, slavery would fit into these themes nicely I think. It's the ultimate form of dehumanization—becoming a literal commodity for people to sell, trade, and break. (And him deciding to be this wild about it would be understandable to me at least because I truly believe in the John Brown solution for slaveowners.)

Sukuna is fond of Megumi, Maki, Gojo, and Jogo. Megumi was sold by his father to a clan, the Zenins tried to make Maki subservient for being female, Gojo was bossed around and run ragged by the higher ups, and Jogo was puppetted around by Kenjaku. All of these characters are powerful individuals that for one reason or another were shafted by societal constraints that had them exploited by others weaker than them. Since Sukuna likes people similar to him, it's not a stretch to assume he’s recognizing their hurt as his own.

And just like Geto, instead of abolishing the hierarchy that subjugated him, Sukuna has chosen to sit atop it to escape. But unlike Geto, Sukuna doesn't dream of a world where he enforces it. (The guy clearly hates having responsibilities and doesn't want to be a ruler. He just wants to do what he wants whenever he wants. You know, having freedom.)

Sukuna existed within a society where it was acceptable to own people if you were strong enough. The fact he treats Uraume, a voluntary servant, so well and refuses to keep slaves speaks volumes. Sukuna may live for himself but he clearly has some form of ethics about it.

Wait, what about Megumi’s subjugation?

Well, sometimes people are hypocrites. Nanami, Mr. Would’ve Loved Unions and outspoken labor critic, is content with pushing all the work onto Gojo, who has suffered in the exact same way he has.

Maybe it’s resentment for his Gojo’s birth making curses stronger and therefore harder to deal with. Maybe he sees Gojo as everything wrong with Jujutsu and is lashing out. The point is, I don’t know why Nanami made the exception to his rules for Gojo and that’s why I’m clueless on where Megumi fits into this theory.

I’m not sure if Sukuna intends to keep Megumi as a puppet forever. For the sake of his own entertainment, he’ll probably release him after ingesting his final finger if Yuji can’t separate them first. And in a very twisted way, his treatment of Megumi could also be seen as a cruel training regiment. Sukuna thinks suffering and isolation brings strength. That’s how he’s justifying whatever happened to him.

But on the other hand, maybe he won’t. Because now Megumi has the blueprint for surpassing him. Defeat means being a slave again and Sukuna can’t have that.

[aalghul]

I don’t think it makes sense to assume that Jason was mocking Mia’s past. At all. The thing that got jason painted as violent back in the 80s was his anger against rapists…how does that turn into mocking a victim? and that entire story was written by winick. Do we honestly think winick intended to communicate that? The same writer who made Jason’s first kill a man who was trafficking children? Who had Jason pause in his mission of madness to make sure those kids were found by the right people so they wouldn’t be in further danger?

[saturnniidae]

Thinking about my 'Nadders being able to mimick human speech like parrots' concept again but with a slightly darker take on it?

Deadly Nadders are a fiercely loyal species and are social, so what if when they perceive a threat to their flock they gradually learn to lure people away using human voices (likely the sounds of children or people calling for help) to either A) if you're lucky, just get tricked into walking to the edge of the forest/area so you don't find them, or B) get lost in the woods so the Nadder can spineshot you out of sight.

I also think Changewings could do something similar considering their gaze is hypnotic (in the comics didn't Hiccup get hypnotized by one and almost walked off a cliff?)

[grumpy-detective]

please, not to kinkshame or whatever the term would be, but if you are gonna post rpf fics, DO NOT post it in the main tags of the creator/person

[tiny-cloud-of-flowers]

"Oh, wow! So you're the one who has helped turn the tides of the town.. and you aren't even a monster! How fascinating!"

I made a render of the new self-insert I mentioned a couple of days ago, now that I've finally designed and constructed a reference model for her! This is Fioritura, or just Fiori for short - she's a siren inhabiting the waters around the town of Crop Haven, specifically being sighted near to the castle, for some reason. That "some reason" may or may not be a certain human servant who arrives there in the second year.. who knows?~

This render was quite tricky to get right, to the point that I actually had to try it twice with a different set of effects - but I was quite happy with how it turned out in the end. I hope it's therefore alright to use my tag list for this, even though it isn't explicitly a selfship render!

Tag list: @edencantstopfallininlove | @yoomtahsgf | @sunlight-ships | @dragonsmooch | @thatslikesometaldude | @kuroiikamen | @artificervaldi | @keyblade-ships | @seahydra | @dmclr | @neuvilline (To be tagged in things I create in the future, please see this form!)

(Anyone is welcome to comment on and/or reblog my work if they want to, as long as my DNI is respected!)

I also made a little mockup character reference for Fiori in the style of the ones on the wiki for the actual in-game characters, which is here under the readmore:

Tadaaa! Thank you to Chris (@sosawl, the creator of Crop Haven) for providing the information needed to assemble this~

(Fiori doesn't like being gifted fish because.. she lives underwater. She can already get fish by herself. Conversely, things she can't get by herself that are from above the water are things that she finds much more interesting!)

[nemesis-is-my-middle-name]

this is a tiny pet peeve but i think its kinda odd that people seem to like. forget, or maybe just neglect to take into account, that yellow, for whatever reason (whether he's an alt universe john or a fresh piece of this universe's KIY that kayne went and ripped off) has ALSO been trapped in the dark world prior to being with arthur and has exactly as many Feelings about it. this is a very load bearing character trait imo

[priafey]

things the US needs to address:

the collective psychosis that leads people to make posts like these

[variousqueerthings]

i do sometimes think about community histories that come from similar spaces, especially pre-certain-words-being coined, and while i do understand the drive to go "no you [x identity] go away, this one is for us!" because often certain queer communities are woefully ignored and talked over, i also have an instinct for wanting to bring communities together because they were often one and the same community, or the words were conflated in certain ways and there's almost never a "this one is for us" that is as neat as people like to pretend (flashbacks to "butch and femme are lesbian-only terms" although ofc sometimes it really is importantly a closed community term, like the word "stud")

sometimes historically you cannot neatly map a label onto a person/group/event/idea because that terminology was different, and we cannot go back and ask what would work best using today's terminology anymore than we can travel to the future to see what it'll evolve into that might work better than today, but also maybe it's important to find some middle-point between a lack of clear terminology and community spaces that are divided into their own, clear sections

but in order for people to not feel overlooked and mocked the work needs to be done from all facets of the queer community to go outside ones own personal identity to make a history queer rather than "just" [insert x here]. and i hope that one day that work will make us more unified as a series of political and philosophical ideals and less disparate groups without bleed-through or overlap, even when one personally may feel quite easily placed within an identity

idk, it's the idea of "personal identity" vs "political coalition" but it's also just quite sad to try and box us in again

[itspileofgoodthings]

also I had a breakthrough today that I had in fact overthought a Specific Problem to Death and that I had created a monster in my own mind and that’s why it felt like I was being eaten alive every time I tried to solve it.

[dazzle02]

Done with 911 for now. (Really depends what happens whether I'll go back to it, I think...)

For now, I'm going back to the show This Is Us. Where everything is well written, the characters make sense and sure I cry a lot, but I don't feel like I'm being used.

There's a few queer characters in the show, not like this, but still good.

Best written show I've ever actually watched.

Anyone else here watch This Is Us and wanna talk about it with me? And if you haven't watched it, I'll recommend it. Like I said, not loads of queer rep, but it's there and actually really well done. Just not really the main focus.

[coquelicoq]

been paying more attention to my r sounds in french lately and while i do default to the voiced uvular fricative /ʁ/ most of the time, in intervocalic contexts i'm doing what i'm pretty sure is a voiced uvular approximant /ʁ̞/ maybe half the time? i wasn't sure if it was a tap/flap or an approximant, but it does sound a lot like the audio clip for the approximant, and apparently the approximant is often an allophone for the fricative, while the tap/flap is an allophone for the trill (which makes sense since a tap/flap is basically an abbreviated trill), and i don't really do uvular trills in speech.

the fricative has always been difficult for me and at this point i doubt it will get much easier than it is now. it makes sense that as i learned to speak faster i would end up producing the approximant in at least some contexts, and i suppose that it makes sense that the main context in which that happens is intervocalic, since approximants are kind of like if you took a fricative halfway to being a vowel.

the reason i've been thinking about this lately is i've been listening to a lot of stromae and his r sounds keep jumping out at me. i mentioned in some tags the other day his r sounds in bonne journée (skip to 1:24):

Si l'bonheur [tap/flap?] des autres [elided] te rend [trill] malheureux [trill] C'est qu't'es un rageux [tap/flap?] Si l'malheur [trill?] des autres [elided] te rend [trill] heureux [approximant??] C'est qu't'es un rageux [tap/flap?]

that sound in heureux in the third line is really interesting because he pronounces that exact word (within the word malheureux) two lines before, but there he's clearly trilling the r, and here he is not, and it doesn't sound like a tap or flap to me either! it sounds like an approximant!

he does do the uvular fricative as well...specifically in consonant clusters (also in variation with trills) (skip to 1:37):

Tu profites [fricative] jamais vraiment [trill?] de ce moment présent [fricative] En fait t'es juste dépressif [fricative]

elsewhere in the song he seems to trill a lot of consonant cluster rs, so i think it may also be a function of syllables/second - in these two lines he's going really fast, and possibly fricatives are faster to pronounce than trills? they certainly are for me, but i'm not sure if that's because i'm not a native speaker or because of some fundamental property of trilling.

between a vowel and a consonant he's sometimes doing a trill and sometimes something else, i think an approximant but it might be a fricative. hell, maybe it's a tap/flap. (rs in this context are fairly difficult for me to distinguish with any accuracy if they're not trills or really emphasized fricatives, so fuck if i know.)

ultimately i think he (at least in song) trills every r possible and resorts to (not consciously, obviously) one of the other options when necessary. i am nowhere near that proficient at uvular trills and can pretty much only do them on extended notes (because they take extra time for me to pronounce) and on higher pitches for some reason. i'd love to learn the uvular tap/flap, and it's probably the fastest of all the options (citation needed but it feels right lol), so maybe a year from now, when my speaking speed has increased another incremental amount, i'll notice that i've started spontaneously producing those as well. i live in hope.

[juhotonin]

Zey's Top 10 Songs of 2023 ✨ (JULY-DECEMBER)

I was tagged by my sweetheart @hwichanis Thank you love for tagging me and I had fun doing this <3

In no particular order:

Lip Gloss - The Boyz | Fast Forward - Somi | Slay - Everglow | Crush - Zerobaseone | Guilty - Taemin | Do not touch - Misamo | Maniac - Viviz | Chasing that Feeling - Tomorrow x Together | Watch it - The Boyz | OOTD - Dreamcatcher

Special & Honorable Mentions:

Hear me Out by EXO (which came out on June the 30th that’s why it couldn’t make the list

Drive by Hwiyoung (SF9)

In Bloom by Zerobaseone

Chill Kill by Red Velvet

Love me a little by Shownu x Hyungwon (Monsta X)

Bona Bona by Treasure

Since I’m probably late to the party I don’t know who’s already done it or not and even if you don’t wanna do it, also fine but tagging a few in case IF you wanna do it @insoeng @okaysign @nfly5 @dengswei

[arolesbianism]

Hello miss Marker Bills can I help you…?

[ceramicbird]

fun fact! your singing will improve if you stay in your natural range