#thinking I should make a part 2

[dirtytransmasc]

I'm just imagining Sevika charging into battle not knowing where her girls are. she hears whispers from the battlefield that Isha is dead and that Jinx is gone. taken. captured. surrendered. she doesn't want to accept either. she almost refuses. and it's in the back of her mind that she has to live so she can find her girls, and at the very least, remember them.

and she almost dies. she thinks that there might not be anyone to remember them. to find them.

and then she doesn't. she doesn't die. and one thing leads to another, and she's on the council. and....

she still doesn't know what happened to them.

and then Vi, the girl who, justifiably, hates her guts, comes back. and the look on her face all She needs to know Jinx is gone. but she can't accept it. she can't.

she demands to know what happened, in a clipped, gruff manner, not displaying much care, but her eyes are teary and her gut is churning.... and Vi just says they're gone.

and all Sevika can do is whisper "... both?"

and she doesn't wait for an answer. the face is enough. "how?".

the answer kills her.

she walks away. murmurs an apology over her shoulder.

she doesn't know what to do with the feeling in her chest. her fingers trace over the carving in her arm.

[allthepandasintheworld]

tonight's mood is listening to disease by lady gaga on repeat (i probably wont finish this sketch but like. guys)

[quadrantadvisor]

Pairing Off, in which the Waynes meet the Fentons, just not all at once. 2,443 words

-

Damian feels less than positively about the new girl in his grade.

Danielle Fenton has already garnered a bit of a reputation. Her uniform is clearly second hand, and rumors abound about whether she has joined them at Gotham Academy on a merit scholarship or as “one of Wayne's charity cases.” Neither is true; Father has offered no fiscal support to the Fentons, and yet both she and her older brother attend the Academy, leading Damian to believe they've somehow paid their own way.

Her lower class status and midwestern accent ought to make Fenton a target, but her response to being cornered or talked down to by other students was an unsettling combination of cheerful and aggressive. She is now mostly left to her own devices, despite her notoriety. 

Damian has no interest in the girl. While it is true that she excels in both mathematics and social studies, her performance in English and science are unremarkable, and she poses no challenge to his rank at the top of the class. If he finds himself pushing harder in certain classes this semester in order to maintain the edge, it's no one else's business.

Now if only she would leave him alone.

Damian preemptively slams his sketchbook shut, just as a brash, inconsiderate, annoying girl hops up to sit on his desk. “Hey Dami, what're you drawing?”

“It is none of your business,” Damian seethes. “Remove yourself from my personal space before I-” he isn't allowed to threaten classmates with bodily harm, imply that he has brought weapons to school, or use words that are derogatory to women “-do so myself. By force.” He would avoid her altogether if he could, but Fenton is annoyingly (suspiciously) sneaky. He can only ever seem to sense her when she's just about on top of him.

Fenton merely laughs, high, bright, and joyful, and Damian grits his teeth. “Did you draw me yet?” she asks, and doesn't move an inch.

“No, I have not drawn you. I never said I would, and I have no plans to. Stop asking me.”

She shrugs and kicks her feet. “Maybe you'll change your mind. Can I see what you're working on?”

Damian pulls the sketchbook a tad bit closer to himself (a protective reflex that shows his weakness, he should be better than that by now.) “Never, imbecile.”

Fenton sticks her tongue out at him like a child. “Mean,” she says, still smiling. “I wanna see your art. It's so good!”

Damian tilts his nose up at her. “Of course it is, plebeian, I have standards-” he starts, but is cut off by the teacher entering. Fenton slides off his desk and heads to her own seat. Damian stows his sketchbook in his bag and tries not to think of the unfinished work inside, featuring a girl with dark hair, light eyes, and a mischievous grin.

-

There's this brownstone on the outskirts of Crime Alley, an old townhouse recently converted into commercial space. There's a coffee shop on street level, a tattoo parlor down the stairs, some sorta wine emporium on the second floor, and on the third, a little second hand bookshop

It's outside the border of Jason's territory, but he feels sorta responsible for it, given that he frequents the place.

It's a little out of his way, but the atmosphere is nice, alright? Clean, with soft lighting, but not sterile or corporate like the bigger places downtown. The owners are an older couple who Jason has met a couple of times, and they seem pretty happy with the new location. They're collectors, really, who run the shop to make ends meet.

Mostly, Jason talks to their employee. Jazz.

Jazz works in the afternoons and evenings, after her classes. She goes to Gotham U, double majoring in pre-med and psych, on top of a full time job, because she's almost as insane as a bat. She assures Jason that she does alright, gets a little downtime to study on her shifts.

She always makes time to talk to Jason.

Jazz is an interesting person to talk books with. She cares less about plot and literary themes, and more about diagnosing every character with their own personal malady of the mind. She dissects their thought processes and behaviors, ruthless in her analysis.

She's gonna be a brain surgeon someday, open people up and see what really makes them tick. Jason doesn't doubt it for a second.

So maybe Jason is a little bit in love with her.

It's not a big deal. Obviously it's not going anywhere. It's just nice to have something normal, to talk to someone normal, about normal stuff like books and college and sibling antics.

Jazz's stories about her sibling, Danny, rival Jason's own, and his family is fucking disastrous. Jason isn't actually sure if Dan is older or younger than Jazz is, or, for that matter, what pronouns he should use for them, since Jazz mixes it up pretty regularly. He knows that Jazz absolutely adores them, though, and it's heartwarming, the way she smiles as she talks.

All of that to explain why Red Hood is keeping an eye on a brownstone that technically falls outside of his territory.

There's a girl inside that he needs to keep safe.

-

“Hey bud, late night?” Dick asks the man lying prone in an alley, a block away from the Iceberg Lounge.

The response is slurred with sleep and muffled by a cheek pressed hard into asphalt. “S'at you, Dick?”

“Sure is. We've got to stop meeting like this,” Dick tells him, and means it.

The guy's name is Dan. No last name offered, which was fair, since Dick hasn't mentioned his.

What was weird was that Dan didn't give Penguin his last name, either, when he signed his employment contract. Just Dan.

Penguin has been trying to expand his influence into Bludhaven, and Dick's been trying to figure out why. Cobblepot is a very Gotham sort of gangster, all wrapped up in the city's ideas of style and respectability; Dick honestly would've thought that Blud was beneath him. He needs to figure out who he's contacting and what they're offering him, and he needs to do it before Penguin can get a foothold on his turf.

Running into Dan was a side effect. Dick didn't mean to keep doing it. It's just that Dan has this weird habit of completely disregarding trivial concerns such as his own health and safety, and doing weird shit like, as a random example, getting tired, laying down, and passing out. In the middle of the street. In Gotham.

The main part of Dan's job seems to be bouncing at the club. It makes sense—if you wanted to hire a guy as muscle, you couldn't do much better than Dan. He's at least 6 and a half feet tall, with a chest wider than Jason's. 

But Dick has also seen Dan traveling with Penguin before. Add in the fact that it's almost impossible to dig up info on him, and that tailing him is somehow even harder, and a picture starts to come together. A very vague, very suspicious picture.

It's too bad that Dick sort of likes him, and that he's incredibly hot.

Dan has removed his face from the alley floor, and is in the process of pushing himself up. “Not your business, man,” he retorts. “What are you, a cop?”

Dick can't help a wry chuckle at that. “Not anymore.”

“No shit?” Dan asks, hauling himself to his feet. He towers over Dick like that, but it's hard to be intimidated by a man whose cheek is red and pockmarked by little bits of gravel. Dick is legitimately embarrassed that he finds it charming. He needs to get better taste in men. “Yeah, no, that makes sense,” Dan continues, looking Dick up and down. “No way they could keep your ass on the force.”

“Oh yeah?” Dick asks.

Dan snorts. “I can smell the idealism on you from here.” He starts walking, heading straight past Dick, who falls into step beside him. “You remind me of this kid I know.”

Dick gives an interested hum, hoping that if he doesn't interrupt, Dan will elaborate, but no dice.

“So, where're you taking me this time?” the big man asks, still leading, and Dick stifles a grin at how silly the whole thing is.

“Maybe if I take you out for coffee, you won't faceplant onto any more concrete,” he says, reaching up to brush off some of the little rocks. Dan stutters to a stop as Dick touches his cheek, letting him, then strides off again as soon as he's done.

“Don't care, as long as you're paying.”

Dick stops him with a tug to his arm. “Coffee shop's this way,” he explains, pointing, and Dan doesn't hesitate, pivoting to take the lead once again. Dick rushes to keep up with his not-date, a criminal who he literally picked up off the street and who has no idea where he's going. He can't see his own smile, but he knows from experience that it is both delighted and a little manic. He admits to himself, begrudgingly, that he likes his men with something wrong with them.

-

The biggest reason that Tim played so much Doomed with Ghost_Boy, a couple of years ago, was that they were the only player he knew who kept hours as weird as his were. There were worse reasons to form a friendship. Ghost_Boy was a great player, and was always funny in chat. They were upbeat when things went well, and they were sarcastic but not bitter when things went poorly. Playing for the game's sake eventually changed to booting up the game to hang out with Ghost_Boy. They talked about how different their lives were, with Ghost_Boy in the midwest and Tim in the crime capital of America, and they talked about the things they had in common, like falling asleep in class. It was Tim's favorite form of stress relief, back then, when being Robin was new and overwhelming.

Then Tim got busy. No, that wasn't true—Tim had always been busy. More like, Tim's life fell to shambles, over and over again, and he stopped making time for stress relief when the very concept seemed out of his reach.

That was over dramatic. Tim fell off the game, and didn't keep in contact with his friend. That's all there was to it.

That was all there was to it, until a few nights ago, when he booted up his old Doomed file for nostalgia's sake and found a message from Ghost_Boy, sent a couple months back, that said he was planning to move to Gotham and, if Tim wanted, he'd be happy to meet up.

Tim immediately replied in the affirmative, and then he freaked out that he'd done that and started cyber stalking the guy. He couldn’t be bothered to pretend to be embarrassed by this behavior. He knew who he was.

Daniel Fenton was, in fact, a real teenager from a real midwestern town (Amity Park, Illinois.) He had moved to Gotham right when his message said he would, and lived with his older sister, Jasmine (who had custody over him,) and his younger sister, Danielle.

And that was where Tim was planning to stop his research, for the sake of his friend's privacy. Once he confirmed that he wasn't being catfished by either a supervillain or a run-of-the-mill creep, he was going to stop looking.

But Danielle Fenton's situation was incredibly weird.

Apparently, she had never lived with Daniel, Jasmine, and their parents before. Instead, after she was born, she'd been adopted by the kids’ godfather, eccentric billionaire Vlad Masters, and he was still her legal guardian. It was only after the Doctors Jack and Madeline died that she moved in with her siblings and started attending Gotham Academy, states away from her adoptive parent.

Vlad Masters was a man of eclectic tastes. The stories about him in the news were always covering some weird investment he had made, like purchasing a cheese castle in Wisconsin, or buying up property in Green Bay just to have a stake in the Packers, or pouring money into experimental forms of alternative energy. He was always refined in his public appearances, but he had the desperate edge of new money wanting to fit in with the old. Tim knew of him, but had never given him much thought before. He'd never made a move into Gotham, after all.

But the whole story was bizarre. Masters had gone to college with the Fentons, the three of them creating their own field of study in “Ectology,” before Masters had been contaminated in a lab accident, bedridden and unable to finish his degree. Jack and Maddie had continued their research, garnering just enough interest in their work to receive the funding needed to keep afloat, until some sort of breakthrough a few years ago added validity to their theories. They were practically celebrities in the niche forums Tim skimmed through. Masters, meanwhile, stopped working directly in the sciences and instead turned to networking, gaining some generous help from the friends he made and playing the stock market like a fiddle, until he was one of the most well known and lucrative investors in the world. He owned a few companies publicly, and managed some others under the table (Tim had to snort at the ridiculous naming of Dalv Co.) 

And then the Fentons had kids, and they raised two of them (seemingly quite happily, if the photos on their memorialized facebook accounts meant anything.) And then, for some reason, they named the third one nearly identically to their second child and gave her straight to Vlad. Masters raised the girl in Wisconsin, until suddenly relocating to Amity Park and becoming the town's mayor. There he stayed, until the Fenton's recent passing in a lab accident of their own.

Tim doesn't know what it all adds up to. But there was something going on, with both Vlad Masters and the Fentons, and if there's something nefarious in Masters’ actions or his wealth, it could be entirely possible that Daniel was a plant—a way for him to get an in with the Waynes. Tim has to be cautious, and he has to get to the bottom of this.

That's why Tim is waiting in a coffee shop, pretending to be engrossed in his laptop while keeping an eye on the door, waiting for the appearance of a teen with black hair and blue eyes.

Tim idly thinks that Bruce had better not adopt this one.

[himexyandere]

I can't stop thinking about the typical hero vs villain trope, but this time, the villain gets infatuated with you, the heroine, and it starts to show.

You're informed of the villain's whereabouts as he wreaks havoc throughout the city you protect. You confront him as normal, only to find out that the reason he started blowing up empty buildings was to purposefully draw your attention.

"This was the only way I could get in contact with you, little hero. It's not as if I have your personal number... We could change that now, actually~. Will you give me your number?"

You're beyond confused, assuming at first that he was just messing around and trying to throw you off your game. You engage in battle and exchange blows before your sidekick shows up. The villain clicks his tongue and complains about how your "date has been ruined" before taking off, promising that you'll continue at a later date. Your sidekick is just as confused as you are once they spot the villain flying away, asking you what happened. You have no idea either.

He wastes no time getting back in contact with you, this time, through a private number. You thought it could've been a call from another hero, but no, it's that damned villain again... You, of course, question why in the world he would be calling you, to which he replies with a light chuckle and: "I just wanted to hear your voice. It's been a while since our last rendezvous, sweetheart."

You better believe he won't allow another villain to take up your attention either. He'll get rid of them and then leave a love note for you, bragging about how he's helping make your job a tad bit easier so that the both of you can finally go on a long overdue honeymoon, uninterrupted.

...This man is absolutely insane.

[thepersonperson]

Sukuna’s Loneliness Part 4 (Sukuna’s Negative Rizz)

Part 1 Part 2 Part 3 Part 5

Some warnings before we start.

1) This analysis deals with sexual topics.

2) I will be mainly using the TCB scans because of their accessibility. Raws are from mangareader(.)to.

3) This was written as of JJK 262 266. (I'm just going to keep updating this until I stop finding things I should've noticed earlier.)

4) The raws broke me in ways you cannot possibly imagine.

(Click images for captions/citations.)

Fighting as Communication

Baki the Grappler. This is a manga where men destroy each other’s bodies as a test of strength. It’s poorly written but the art is terrifying and I love it so dearly. Between fights of extreme violence and body horror the characters eat. And that’s it. That’s the manga.

I bring Baki up because Gege is a huge fan of Fujimoto Tatsuki, the creator of Chainsawman. Fujimoto is a fan of Gege too, but more importantly, he is a huge fan of Itagaki Keisuke, the creator of Baki. (His daughter made Beastars btw.) In a way, this means Jujutsu Kaisen has been influenced by Baki. But that’s not a surprise, a lot of manga is.

Itagaki’s work is so massively influetial on Japanese media that it’s kind of hard to grasp since it’s not as popular overseas. When listening to interviews from various Japanese creators, Baki will often be cited as a major influence. And the thing is, you can tell when a creative has read Baki. There’s nothing quite like it. If you’ve read Baki and consume Chainsawman, you will see its bones everywhere. I feel the same about Jujutsu Kaisen.

The main antagonist in Baki is Yujiro Hanma. He is the strongest creature alive. So much so that he has no one to call a rival. He’s bored. He causes trouble. He kills his wife to motivate his son, Baki into becoming stronger. His son, Baki, who he grooms into becoming a fighter that might beat him in combat one day. Kind of sounds like Sukuna, right?

But that’s not my point here. My focus is how Baki doubles as a discussion about strength and manhood. It’s aggressively bisexual. Men love each other with their fists. Straight up the main character says having sex with women is the same thing as fighting men.

And it just doesn’t stop there. The homoerotic nature of the fights is never shyed away from. Here’s an example of my favorite.

He grabs his balls and compliments their size. That’s pretty gay, right? Well there’s this reanimated prehistoric caveman called Pickle that fights Baki’s brother Jack. And how do they fight? They kiss.

I didn’t call it a kiss. Itagaki did. I didn’t say they melded together. Itagaki did. This mangaka overtly calls attention to the homoerotic nature of men fighting men, and how men communicate their love for each other through violence. And yes, it’s sexual. Itagaki wants you to read it that way.

But sometimes he doesn’t want you to read it that way. Sometimes the fights are a dialogue, an emotional conversation. Like one between father and son.

Itagaki is a master of narrative framing. When he wants you to feel a certain way, you will feel it. He also tells his readers that there’s more to the fights than just fighting.

Those are the ideas that help me see the bones of Baki in other works. Men loving men with violence. Men communicating with men through violence. I see these ideas in Jujutsu Kaisen too.

Jujutsu Communication

I’ve gone over how Yuji commucates with other people on their own terms. And a lot of it is through fighting. A conversation without words, learning how someone works. Yuji is good at using fights as tool of communication.

But he’s not the one who tells you that there’s more to the fights than just fighting. Maki does in her spar with the sumo guy.

Just like Baki. Fighting is a means of communication. Gege has told you that there can be more to the fights than fighting. It's a tool used to understand the self and others.

With that in mind, I want to reexamine a particular fight under the lens of Baki rather than Umineko.

Sukuna vs Gojo

Baki tells you that homoerotic readings of its fights are intentional. If you ask me, this probably stems from historical stances on masculinity and homosexuality in ancient Japan. Men loved men and women differently, but both were ok. That’s how Baki can have a girlfriend and his gay fights. Peak bisexual optimization.

What does Jujutsu Kaisen have to do with this? Well it has been extremely queer friendly. We have a multidue of canonical trans characters, non-binary characters, and other flavors of queer characters not disparaged for their identities, Gojo Satoru included. It may not be stated outright, but Gojo and Geto do love each other in a gay way. The subtext is so persisent it’s basically text.

In other words, Gege has already told us, yes please have queer readings of this text. It’s the same way Baki tells you, yes this is straight up convoluded gay sex. So that’s what I’m going to do. I’m going to reread the Sukuna and Gojo fight as some ridiculous mating display between two men who are fighting over can miscommunicate their intent the hardest.

Framed as Courtship

Let’s start with the framing. The pre-fight set up. How does text tell you queer readings are allowed?

Kenjaku does. It’s romantic. It’s a date. This reading has been made valid explicitly. And if there’s room for doubt because of the sarcasm? There’s still additional support for it.

We already know how badly in love Gojo is with Geto. The fight is on the 24th of December, the most romantic day in Japan. And in a fun little Geto parallel, who declared the start of war on this day, violence underlines this new romantic venture.

That doesn’t include Sukuna who recalls Yorozu’s words about teaching love in the context of marriage.

Gojo never heard that conversation which is why the next point is absolutely insane.

The outfit Gojo initially is in resembles that of a groom at a Shinto wedding.

Shinto weddings were implemented after the Heian era. Part of the ceremony includes a priest and a shrine maiden who respectively stand to the right and left of the altar. A purification ritual will occur, lead by the priest, to cleanse the shrine before vows are exchanged. Gakuganji is the priest and Utahime is the shrine maiden. To the right and left of Gojo respectively.

The bride at a Shinto wedding wears mainly white. After the 200% Hollow Purple cleanses the area, the dark shawl is removed and Sukuna remains in mostly white.

How interesting that this battle has been framed as one between groom and bride.

The thing is, marriage in the Heian era was far more lax. There were no major ceremonies. If a man was interested in marrying a woman, he would visit her for 3 nights after receiving approval from her father. Upon the passing of their 3rd night together, the family would have an informal celebration of their union in private. Even after marriage, multiple partners were allowed and sometimes encouraged.

Yorozu’s big celebration proposal to Sukuna and banning of concubines was quite improper by Heian standards. Though it is in line with modern marriages. If Sukuna did not consume any Shinto wedding literature, he probably didn’t recognize that Gojo was dressed as a groom.

But did Gojo dress this way for Sukuna intentionally? The Toji fit served an entirely different purpose. It’s the robes and pre-fight ceremony that catch my attention. So I propose the following:

1) Gojo dressed up as a groom to die and be wed with his one and only Geto in death.

2) Gojo dressed up as a groom in part as an offering to Sukuna. And because Sukuna is from the Heian era it went over his head entirely.

3) Gojo intended for both of these things at the same time and left who he would end up with to fate.

Regardless of what Gojo was going for here, it’s a visual cue combined with the knowledge of it being Dec 24th that encourages the reader to perhaps consider the fight as something other than just a fight. A date perhaps? Kenjaku made the connection and neither Gojo or Sukuna really denied it. Gojo gave the weak excuse of a death anniversary confusion. But much weirder, given how hostile he was to Yorozu, Sukuna did not object to the romantic framing in any capacity.

Am I reaching? Is this reading intentional?

When I start getting this confused by how a translated work wants me to read it, I try to refer to the original language text and anyone who knows it for missing context. Sometimes localizations add things that weren’t there or push readers towards one interpretation. So for the rest of this analysis, I’m going to be focusing on the raws.

I’m going to be honest. My Japanese fudging sucks. I can barely read kanji and can’t reliably translate anything. Feel free to correct me if I got something wrong. That being said, with what little I do know, I have discovered something interesting.

In this post I talked about how weird Sukuna’s manner of speech is. I focused on his you pronoun usage of お前 (Omae) for everyone else and 貴様 (Kisama) for Gojo since this is a strong indicator of how a character views their relationship to someone.

Here's a summary of the two points I made in that post:

1) Omae is informal and either a casual thing amongst peers or indicates the speaker's higher status. Since Sukuna is arrogant, we can reasonably assume he's talking down to people.

2) Kisama historically was a formal show of respect, but in modern times it is a hostile insult, much more rude than Omae. Since Sukuna is 1,000 years old and hates Yuji (who he uses Omae with), we can reasonably assume Sukuna was being friendly to Gojo when he used Kisama.

With that pronoun usage in mind, while examining the raws for the infamous “You Cleared My Skies” speech I found this:

Kisama. Sukuna is very happy and lavishing Gojo with praise. The assumption it was formal from the start seems to be correct. It's hard to read this any other way.

Though Japanese can easily be dubious in its interpretation, there are instances where context can cut off all other readings. I truly believe this one of those cases.

Now, to confirm Sukuna is still only treating Gojo this way I started looking at his you pronouns as he got excited post-Gojo death. Maki is the person he seems to admire the most.

He’s still just using Omae. What does that mean? Gojo is in his own fudging category for Sukuna and he has been there since the start of the manga. (For more on why this is significant, refer to this post.)

Wow ok. That’s pretty intense! We’ve got Gojo dressed up as a groom on December 24th and Sukuna treating Gojo different from anyone else. I read their fight again under the lens of explicit courtship and focused in on these specific panels.

Satisfaction. Now that’s a word that can easily carry a sexual connotation. Love as well. The parallel syntax fascinated me in English. So I decided to look at the raws and see how close they are.

Pretty much the same except for "the one who will teach you love" and "the one satisfying him now". Since the one being satisfied is Gojo by Sukuna, it really seems we can assume the one being taught love is Gojo by Sukuna.

Time to learn some Japanese again!

Kanji has multiple readings. Most have at least two. The Onyomi (Chinese) reading typically used for nouns and the Kunyomi (Japanese) reading typically used for verbs. (This is not always the case but it’s the basics.)

That’s probably why 満 is read as まん (man) when Gojo and Geto are talking about “satisfaction” using the On version and み (mi), the Kun version, when the narrator is talking about who “satisfies” who.

However 満 on its own does not mean satisfaction. It means full. To be filled. Or fullness. 足 (zoku) is added as a modifier after 満 to be read as satisfaction 満足 (manzoku). 足 usually means feet, but it can also mean to be sufficient. Manzoku therefore has a direct translation of being sufficiently full. It’s not a surprise a lot of food places in Japan use Manzoku in their names or advertising.

But what’s this? Why is this sentence written as 満たして or Mi(tashite) instead of 満足して or Manzoku(shite)? The addition of Zoku is what transforms Man into "satisfying". Without the Zoku, it’s just "fill". The means this sentence can be read as “The one filling him up now is—”

We’ve already established that the blank is Sukuna. The new problem is that he’s filling Gojo up. And boy, does that sound homoerotic to put it lightly. But perhaps I am reaching.

So I did what any sane person would do in this situation. I read hentai.

Surely if the phrase 満たして (mitashite) can carry a sexual connotation I will find it in hentai.

...

I immediately found a yaoi doujin called Fill me with your Big Love aka おっきな愛で満たして (Okkina Ai de Mitashite). Honestly, I found too many doujins about creampies specifically. (You have internet access verify this yourself.) When you search Manzokushite the results are much more in line with life satisfaction than sexual satisfaction. ...So Gege decided to use the more frisky phrasing.

Manzoku is also the name of an active sex toy manufacturer (I’m not linking them use a search engine.) and a discontinued adult entertainment news company. So the satisfaction Gojo and Geto talk about, along with Geto using 妬 (ya), the jealous kanji often used between lovers, is definitely probably carrying a sexual connotation too.

So, I’m not reaching. What the fudge did Gege mean by this?

Now that we've established that I am NOT reaching. What do we do with this information?

Well, we ruminate on the fight with the knowledge that Sukuna, of his own volition, decided to get Gojo off, probably.

I have forgiven Nanami for calling Gojo a pervert. If I watched someone bust a nut after being cut in half by his sworn enemy instead of saving the country, I too would be like what the fudge.

Anyways, the typical phrase used for an orgasm in Japanese is 行く(iku). It translates as to go. And yes it can mean to die, as in going to the other side. To die and go to heaven if you will. Which is what Gojo did with a big old smile on his face.

There’s also the term 心天 (tokoroten). It refers to a dish were a semi-opaque white substance is pushed through holes to create noodles. Literal translation using the kanji for heart 心 (kokoro) and the kanji for heaven 天 (ten). (Don’t ask me why them being smack together turns the Koroko into Tokoro. I don’t know.) Which in slang refers to prostate orgasms. This has nothing to do with this analysis I wanted to drop this fun fact in here. …And this image of Sukuna clutching his heart while looking at someone he sent to heaven.

(This is a reach but the idea of this being an elaborate gay pun amuses me greatly.)

I have another fun slang term: 賢者タイム (kenjataimu) which directly translates to sage 賢者 (kenja) time タイム (taimu). This refers to post-nut clarity sending someone into a meditative-like state.

Oh that’s a bit familiar. Sukuna was giving sagely advice to Kashimo and reflecting on satisfaction and love.

And what’s this? Mitashite has made a reappearance! Sukuna is saying “I’ve never thought about needing another person to fill me up.” Which 1. further supports the 'The one satisfying/filling him (Gojo) now is—Sukuna.' reading and 2. suggests Sukuna is a top suggests Sukuna really doesn’t have sexual interest in people. (Since the context of this convo is relationships and love.)

By the way. Acts of eating in Japanese can be modified to carry sexual meanings. It’s a bit more suggestive than English, but it carries over pretty well I think? 肉食系 (nikusokukei) refers to someone who aggresively pursues romantic or sexual relationships. Composed of the kanji 肉 (niku) for meat, 食 (ta) for eating, and 系 (kei) class. If you noticed, 食 isn’t usually read as Soku. It becomes Soku when paired with Niku for some reason. (I don’t know why someone please help me.) Side by side the kanji 肉食 (nikusoku) means meat-eater.

食 is still interesting on it’s own. The 食べる (taberu) reading is normal eating. The 食う(kuu) reading is an innuendo. It can mean to devour someone, like a cannibal, or devour someone sexually.

Sukuna has made it very clear that his eating of people is literal. There’s no innuendo. In fact, if you read into it, he’ll kill you (rip Yorozu and Kashimo).

Gojo, however, appears to be his sole exception to this rule. When Sukuna tells Kashimo not to spoil his pleasure he uses the kanji 興 (kyou). This of course can be directly translated as pleasure, but the Chinese reading of it can also indicate intense excitement or sexual arousal.

Sukuna is pretty good at double-entendre wordplay if his earlier stunts with the kanji for Enchain doubling as Megumi Activities if read a different way is anything to go by. He's a fan of Chinese literature. It's not a stretch to assume there's more going on here.

And if notoriously homophobic Reddit dudebros are posting things like this. Maybe there's a lot more merit to this reading than I can currently grasp.

I’m still pretty convinced Sukuna is aroace. That of course doesn’t bar him from pursuing romantic or sexual relationships. Sometimes there’s the one exception. Sometimes the desire to be with and please an allo partner allows for engagement of activities they aren’t into. Sometimes the actions are pursued without the emotional attachment because they physically feel good. There’s also the gray-scale and demi labels to consider.

With that in mind, I want to emphasize this all points to how important Gojo is to Sukuna regardless of sexuality. He tried to engage with and understand Gojo on terms he won’t for anyone else. And he’s been pursuing this connection relentlessly since the start of manga.

Sukuna’s Negative Rizz

Ok I established that reading the Sukuna vs Gojo fight as unhinged courtship is supported by the text. That doesn’t really say anything about Sukuna sucking at it.

But, my dear reader, that in of itself is proof of his negative rizz. I had to sit down. Learn about Heian era and Shinto wedding rituals, learn more Japanese, splice seemingly unrelated manga panels together, read hentai, and know that Gege is into yaoi to come to this conclusion. I had to rip every little shred of characterization and context apart and rearrange it into something comprehensible.

You know who can’t do that? Gojo.

As far as Gojo is concerned, Sukuna hates him. Kisama is an extremely hostile you pronoun in modern times. And if Gojo can’t tell Shoko (his closest friend after Geto) is stressed over him being used like a meat puppet by her visibly falling back on her addiction, he’s going to default to the assumption Sukuna hates him just as much as everyone else.

And Gojo does just that. He assumes he failed to reach Sukuna. Despite how often they did hand to hand combat and weaponized their knowledge of each other, Gojo believes they never had proper conversation through fighting. He dies not understanding Sukuna, convinced the other was not trying to communicate with him at all.

And if you recall, all of this fight occurred while Sukuna was wearing Megumi’s face. That boy is pretty much Gojo’s adopted child. From my experience, most single parents do not go looking for clones of their kids as partners.

If someone wore the skin of my family member I would assume they were trying to torment me. And torment Gojo Sukuna does. He draws attention to Megumi’s soul being used as collateral and attacks him with the 10 Shadows. We as the audience know this is all for the sake of getting past Infinity using his Shrine. Gojo doesn’t know that. He’s fighting an evil dude who is puppeting the body of his son for god knows what reason.

Seriously, Sukuna sucks at communicating intent.

In Part 3 of my examination of Sukuna’s loneliness, I said Dismantle is a tool Sukuna uses to understand. And that him upgrading it by making Gojo the center of his world was indicative of his desire to reach him. I also said his refusal to use it on Yorozu was him expressing how little interest he had in her.

Yorozu is pissed by this. She sees it as Sukuna rejecting her and I don’t think she’s wrong. Sukuna saved his special Cursed Technique (CT) for Gojo while turning Yorozu down. If we’re considering all the wedding imagery and references that started with Yorozu, I’m certainly allowed to read that as him saving himself for Gojo. (Think of how he lied to Gojo about being the first one he killed.)

There’s also the fact that Yorozu saw their battle as an expression love and lust—that the usage of CT is a type of foreplay under certain circumstances since it is an extension of the self. Combine that with the established premise that fighting is a type of a communication thanks to Maki vs Sumo Guy and you can start to see the courtship logic behind Sukuna’s treatment of Gojo.

If we are to read “The one who will teach you love is…Sukuna” there’s another adorable caveat. Yorozu uses the you pronoun あなた (Anata) for Sukuna.

It’s an informal you pronoun used by people learning Japanese. Native speakers try to avoid using it as it can come across as rude. But in the context of love? This is colloquially called the wife pronoun as its often used by a wife to her husband.

If you wanted to localize its usage in the way Yorozu means it, Anata might become “you, dear”. So here we have Sukuna dressed in white, like a bride to Gojo’s groom, thinking of him as Anata.

The problem is, Gojo doesn’t know that. Sukuna never bothered to open his mouth and say this was an act of love. Sure he told Kashimo in the most roundabout way possible, but Gojo was the one who needed to hear that. If a courtship is going to be this diabolically complicated, there has to be clear hints for the other party. JJK is not Umineko where there’s a witch that can revive the dead over and over until the idiot finally understands this was all for them.

Gojo also doesn’t have access to the kanji Sukuna uses to describe certain techinques or words. He hears the phonetics and runs with whatever best fits the context. This means there’s no way for him to catch the double-meaning unless he’s a certain type of lingust, which he is not. His manner of speech and personal interests don’t line up with the flowery language of the Heian Era. The types of written works Gojo is into are historical war politics from the Sengoku period (known for violence more than the fine arts), Shonen manga, and physics/math.

And what's this? According to CFYOW (the canon light novels): JJK Thorny Road at Dawn, Chapter 3 Asakusabashi Elegy, Gojo doesn't even like ancient poetry. You know, the thing Sukuna enjoys and tries to communicate with.

The Kokin Wakashu Gojo off-handedly disparages is a compilation of Hiean Era poetry known as Waka. This was the primary means of communication amongst the noble class and spiritual leaders at the time. And the thing is, this poetry is supposed to be read into. Down to the quality of stroke and paper, not just the kanji written. Especially for courtship.

It’s not that Gojo is stupid. He just doesn’t specialize in the studies that would give him a more critical ear to Sukuna's words. And Sukuna doesn’t seem to understand that no one in the modern era communicates like this anymore.

If you didn’t know, this is why Japanese characters introduce themselves they often describe what kanji their name is spelled with. Take for example: Satoru. He uses the kanji 悟 meaning enlightenment. This kanji can be read as Go instead of Satoru. Additionally, the name Satoru can be written in kanji as 聡 for smart, 智 for wisdom, 知 for knowledge, 了 for understanding, 哲 for philosophy, 聖 for virtuous, or 暁 for daybreak. That’s 8 different kanji possible if you hear the name Satoru.

This is why Sukuna’s wordplay for everything else can be easily missed by other characters. They hear the words and cannot read the kanji like us. Context decides what Sukuna means for them. And since Sukuna’s context for most is violence and insults, it’s very hard for them to think about his words in any other way.

And boy howdy does Gojo miss it. Sukuna straight up calls him his husband and it took me several rereads to catch it. While mocking Gojo for being unable to open his domain, Sukuna calls him "painfully ordinary". This is localized from the word 凡夫 (bonpu) which can also be translated as unenlightened. (A layered insult! Sukuna is pretty much saying Gojo's sorcery is so boring he shouldn't even call himself the Honored One.)

The thing is...Bonpu is comprised of the 2 kanji 凡 for mediocre, and 夫 for husband. (Please note that there are many other ways to call Gojo a ditz without using the kanji for husband.) And an update from the Replies: Turns out there's layers to the gayness too.

It's come full fudging circle. Gojo came dressed as a groom for a wedding and Sukuna thinks they're already married. The miscommunication is off the rails.

But wait! There's more...

Earlier I mentioned that the kanji for Enchain doubles as Megumi Activities. Let's break that down more. (Unfortunately the Twitter account of the person I referenced may or may not be nuked so here's this screenshot I've doctored.)

So we have the translation of Enchain from 契闊 (Keikatsu), which might be better localized as Separation.

This term comes from a Chinese poem about lovers who are husband and wife in The Book of Odes, Section I (Lessons from the States), Chapter 3 (The Odes of Bei), Poem 31 (Banging the Drum). (Here's a link to the full poem and context of it.)

In summary, it’s about a soldier who is on the brink of death, having lost nearly everything after being abandoned by those in power, lamenting the happiest days of his life with his love are ones he can never get back. (Hey that sounds just like what Sukuna did to Yuji!)

Keikatsu specifically comes from this passage:

“Our vow is beyond death and life”, I and you are together I always remembered. I will hold your hand, And together we grow old.

Too pitiful we are faraway apart, The distance separates us to meet again! Too miserable this takes forever, And it does not let us fulfill our vow!

Keikatsu is used to exemplify how the physical distance between the husband and wife prevents them from fulfilling their wedding vows. And that's just what Keikatsu/Enchain does to Yuji and Megumi, it causes painful separation neither of them wanted.

Keikatsu also tells Yuji exactly how Sukuna plans to do it. 契(kei)闊(katsu) can be written as 恵(kei)活(katsu). The kanji 恵 can be read as Kei or...Megumi. (It's the literal kanji used for his name.) The kanji 活 (katsu) can mean "activities", which is how we get Enchain=Megumi Activities.

A two for one special! Sukuna mocks Yuji for being so close with Megumi while telling him exactly how he's going to destroy their relationship.

It seems this has nothing to do with Gojo until you consider the 3rd possible reading from wordplay with 契闊 (Keikatsu). The kanji 契 when read as Kei refers to a promise, pledge or vow. When 契 read as Chigi? It can refer to sexual intercourse, especially between husband and wife.

So we have 契闊(keikatsu, separation), 恵(kei Megumi)活(katsu, activities), and 契(kei chigi, spousal sex)活(katsu, activities). It's no wonder he erased Yuji's memory of it.

Keep in mind, that when Sukuna uses Keikatsu, the only vow that he has made at this point is his promise to kill Gojo. He eventually does that using Megumi's body during a fight framed between groom and bride. And for reasons beyond their control, Sukuna and Gojo have been unable to fulfill that vow through lengthy separation.

Notes from poem "Banging the Drum" Sukuna references include the following:

"And during the operation, he lost his horse, which was a desperate situation (horses in ancient time carried soldier supply and weapons, are life companion for soldiers in advance or retreat), he lost his horse, his supply, maybe his armor and weapons, and the road he was facing that we may lose his life so he may never go back. In all these mess, he started searching, and somehow at this hopeless moment he started to revisit his happiest moment, when he together vowed in marriage ceremony with his wife, and he was even afraid that he might never see his love again."

"And His last statement for his true value is his home, his love, his fulfillment of his vow is his true duty. Hero's duty is to pursue love."

In Buddhism, which JJK is heavily influenced by, horses are a pretty big deal. Horses can represent the path to enlightenment, especially since The Buddha's horse is what takes him on this journey away from his wife and children. They separate in the end though, the horse dying of a broken heart.

Remember how Sukuna called Gojo unenlightened? He sort of guided Gojo to enlightenment using Mahoraga, whose Eight-Handed title is a reference to the Eightfold Path to be followed for enlightenment. Buddhist enlightenment is centered around liberation from suffering. (Just check the wiki entry to verify this.) Infinity was the source of Gojo's suffering and Sukuna cut right through it.

Sukuna has been running around with a broken heart for a good chunk of the post-Gojo fight. And if you take that into consideration with this poem and all the other symbolism, he's somehow a Buddha, a Bodhisattva, the dying husband, the widowed wife, and the heartbroken horse all at the same time. Not unlike his wordplay taking on every possible meaning at once.

But my point here is that Sukuna might’ve seen his fight with Gojo as consummation of their marriage. (There's probably a joke in here about the husband reaching climax while leaving his wife unsatisfied.) Remember in the wise words of Itagaki Keisuke, "Fighting and sex are exactly the same!"

In Conclusion?

This is possibly one of the most bizarre and elaborate expressions of love I have lost my mind over. Sukuna gave everything Gojo ever wanted from Jujutsu violently. He did it in such an unpleasant and cruel way that the target of his affection thought there was nothing between them. Sukuna also hid his intent under social norms that no longer exist. Unless Gojo happened to be into ancient literature, there was never a scenario where he would catch onto this. Sukuna's failure is critical on multiple levels.

It’s impressive. It really is. No one knows how Sukuna’s strange little brain works so he’s stuck being loner without anyone that fully understands him. (I’m still thinking about how Uraume didn’t know Sukuna was a twin for over 1,000 years.) He’d have to let people in and tell him outright, but he’s just like Gojo so I guess that’s never happening.

[starryluminary]

Ridonculous Race but Noah is friends with Owen part 9: Teamwork makes the dream work!

Don't you LOVE IT when Noah gets to play the stupid game? Don't you LOVE IT when Noah and Owen work together and Owen isn't left to do everything himself? Don't you LOVE IT when they mutually support each other and care enough about each other to give it their all??? Personally I love it when that happens

No transcript cause there's no dialogue. Instead have scrapped doodles for this part that I refuse to leave in the jail of the IbisPaint canvas

[rockdrop]

Thinking about that one anon who warned me about twitter 😰 well after half a year of experimenting, its safe to say that it really isnt worth it

[achillean-knight]

Part 2

[skullzy20]

New Ordis dialogue in the drifter camp for all those Ordis enjoyers out there

[slavhew]

toodeee

everything is transient. only an easy to draw guy is forever

[sandreeen]

"I'm just Ken a mere S-class." ーSung Hyunjae, The S-Classes That I Raised

[nevvn]

one year ago, i told myself, "what if solomon was a barista?"

[tempestmothstorm]

crazy how the sanshee plush is one of the few actual direct confirmations on what a non-act 2 Natsuki’s home life is like because of how cagey she is on literally everything. Like this isn’t anything surprising or something you wouldn’t be able to extrapolate from the games but unlike everything else we know about her the implications are right there on the tin.

They literally did the character bio trope where where all the likes are normal but the dislikes are about their very specific trauma it’s just so funny they did that on the plushie card

[fumifooms]

"Marchil? I guess I can see it on Chilchuck’s end, but what about Marcille’s? What makes you think she could develop feelings for him?" I’m glad you asked!

The first thing to note is that she does think highly of him

In the page on the right, literally defending his virtues and literally comparing him to Dalclan. And oh…

She does love a brooding mysterious guy who closes himself to love. But surely, Chilchuck isn’t her type at all, right? He’s not princely or knightly at all. In apperances certainly not, both looks wise and demeanor wise, but then that’s why she seeks to know him on a deeper level, to not only look shallowly.

And hmm. Chilchuck really is quite selfless isn’t he? Always looking out for others, and saving specifically her often, always making sure himself and, staying in or even running towards danger for her sometimes. Modesty is often considered heroic…

And can we talk about that drowning one… You can definitely frame the special attention as him knowing she tends to hesitate or be clumsy, and then his insistance on pulling her out of danger that she’s the healer aka the most important to keep alive, but. From the one who says that he just keeps his ass out of fights and won’t help this is a lot of risk to take, and he does die trying to pull her to safety in the dungeon rabbits chapter. And the drowning bit??? That’s when the dungeon collapses. The only reason they DON’T die of drowning here is that the water then gives way to outside. There was NO hope of pulling her to safety here and resurrections would likely not work either, he truly preferred to die with her than try to survive himself.

Sit your ass back DOWN you are in no state, self-sacrifical hero much damn

And Marcille definitely noticed this imo, after all she loves learning all she can about him, remembering things like how he hates waiting on people too. She pays attention to him and what he does and what he says. This to say that it’s notable, whatever reason for it you may think (though we know by this point at least she was already aware he was an adult though it wasn’t internalized), out of everyone it’s Chilchuck’s bed that she wants to sleep in during the Golden Kingdom stay. He’s safe and comforting to her: dependable, the defining trait in her view of him as is shown by the relationship chart in the Adventurer’s Bible.

^ Lending handkerchiefs is a romance trope btw and handkerchiefs have irl history of being used for courting. Especially in old English literature and plays like Shakespeare’s Othello, and personally I do see a lot of Shakespeare in Dalclan (nobility political drama with some romance). There’s how his cowl is a dearly beloved souvenir from his family too, there’s a lot of aesthetic tropes you can apply to him.

All this to say you can 100% romanticize Chilchuck into a princely noble guy if you try and that’s exactly what Marcille does with the wife roleplay. She doesn’t need much in the first place, she latches onto crumbs and makes aesthetic narratives out of details, give her an inch she’ll take a mile.

But what’s interesting about the shift throughout the arc of her and his relationship is that she starts out idealizing him into a little angel of a kid (shapeshifter), and she ends it idealizing him as a virtuous husband and family man instead.

And what’s doubly interesting is that in the former, she’s actively warping who he is personality and demeanor wise to fit the aesthetic, he doesn’t have that bitter pride of not asking for help and the edges have been smoothened. But what she does during the wife roleplay is something else, she acknowledges the flaws and just… Accepts them, rolls with them. She’s aware of his flaws and implements them into the narrative, but the reason why his wife left doesn’t capitalize on them even, rather Chil is chilblivious and his wife loves him very much still, she’s just testing him after having had a night of feeling out of place at his side.

And this is what separates the idealization vs romanticization, she’s not twisting him into someone else she’s just uplifting what he is and focusing on the good sides.

Marcille: "he has a shitty personality sometimes but if he was my husband I’d still cherish him" "If I were your wife I’d be overjoyed to go out with you and would get myself prettied up while you complain about me taking a long time, your friends would tell me that I’m nice and that’d make me happy, but I’d also be sad because you wouldn’t tell me that you love me enough"

He’s angry and his wife left him, he’s *flawed*, but he’s still worth hyping up, still worth having his own romance story, still has a shot of winning back his beloved. She sees him for what he is, human and real and not a carefully scripted character that fits an aesthetic, and she thinks it’s still worthy of love and admiration and fighting for

And what’s funny too is that you might expect her to cool down on him once she learns more about him but actually she only gets increasingly into his business. You tell her your age and next thing you know you promise to introduce her to your family. Give her an inch she takes a mile. And too the thing is, Senshi is equally mysterious but she doesn’t pester him like at all, asks him ONCE about his succubus and he doesn’t even answer and that’s like… It. With Chilchuck it starts off innocently enough with her wanting to know his age, hometown, the stuff she mentions having asked pre-canon. But it just keeps and keeps going and escalating. Think she’ll be satisfied now knowing you have a wife and kids, maybe she’s disillusioned now? Wrong! She wants to know their names and ages and occupations and hey how did you propose to your wife? Do you think she’ll stop after meeting them? What’s next? What will she want to know next????

She’s… Like it’s not a reach that Marcille is all over him. Like it doesn’t mean it’s romantic but she just is. She is not normal about him idk. Can you not ask him about what tongue technique he used when first kissing his wife, give the man breathing room

Marcille could literally go "if I was Chilchuck’s wife" having deeply pondered and thought out the hypothetical and people would still ask where anyone sees any romantic potential between them. Oh wait

There’s a platonic explanation for everything (almost?) in Dungeon Meshi don’t say I’m saying otherwise, but it’s definitely not like there’s nothing here to read into lol

Going off a bit more under read bc it’s my fave topic

Marcille has a whole theme with the charming prince trope with her idealization and storybook motif and Chil is kinda the "Well someone perfect like that isn’t very realistic and romance is usually more complex and that’s ok and good and flawed people can still be ✨virtuous✨" catalyst

Do you see do you see she starts canon thinking the most romantic thing is a prince charming but her arc in the end has her romanticizing an average, flawed, real and realistic family man, who’s on the poorer side and is on the verge of divorce. And that’s what he needed, too, seeing the positive of himself and the situation instead of focusing on the negative is explicitly what inspires him to hope that he might be able to reconcile with his wife, gives him the courage and self-esteem to shoot his shot.

He IS a prince figure instead that now it’s not about idealizing the grand and overt it’s about romanticizing the small things in real life!! About finding joy and beauty in things that seem normal or mundane and uplifting them to make the world feel kinder!!!!

He’s the devoted virtuous man that she wantsss not the storybook prince that’s unrealistic and could crumble like a script at any time. He’s the perfect example of a flawed realistic but virtuous & devoted & loving man. Far from a prince charming, but not fully detached from it either. Something worth fighting for despite the flawed cracks. Like literally, flawed romance being worth fighting for is literally the finale of Chilchuck and Marcille’s arc on the matter, where their separate arcs and issues intersect at the most crucial moment.

Marcille is important to Chil’s arc not only because of her optimism, but also because of her interest and knowledge in romance & matters of the heart, and that’s what he needs to both open his heart up to hope and to try to reconcile with his wife, like idk sounds gay

Their arc together is literally learning to 1) see each other for how they are and not undermining their qualities capacities etc etc while still not leaving flaws unchecked either and 2) opening up to people. Marcille LITERALLY makes Chil open his heart up to hope like idk man. What do you want from me. He’s literally the guy helping her through deconstructing novels and fantasy and rose tinted glasses and like. Deconstructing the prince charming figure into something more real but still romantically beautiful like KUI KUI STOOOOP STOP I’M ALREADY HOOKED I’M ALREADY-

 Ok fine that’s me reading into the tropes too much forgive me for being storybook brained but like. Speaking his heart out to a lone woman on a balcony, Romeo and Juliette shit, asking if she, too, doesn’t want to meet his family, madly blushing. And like she’s learned with Chilchuck it’s all in the little things, all the implications he cannot speak aloud. She does reciprocate, does blush madly back, and the first thing she does is shower him in flowers and jewelry and what in her heart is coded as romantic gifts

A lady, stashed away in a high tower by her lonesome, waiting for someone to call out to her from below… Romeo courting type shit with an offer, a heartfelt spiel, implicit confession from underneath her balcony. Offering him flowers because he succeeded in calling out to her heart…….. And they have to climb to her too…. Crazy

Doesn’t it sound like a proposal. One that’s both so storybook-like and not, contrastedly real and grounded, all about the implications rather than in your face grand gestures, "Don’t you want to meet my family?". They literally have an arc about the topic of romance and this is the climax/pinnacle of it like god?? This is @ the woman who said "Chilchuck is a shy/bashful man so I know he wouldn’t tell me he loves me, but…" btw

To quote a friend, truly the shiny secret unlockable dating sim capture target : THE DUNGEON LORD BIT WAS SO FUNNY BECAUSE HE KNEW SHE'D TAKE IT HOOK LINE AND SINKER HES THE ONE WHO GOT HER TO TURN AROUND COMPLETELY SHES LIKE. WIDE EYED FLAG RAISED???? FLAG RAISED WITH CHILCHUCK 👀👀👀‼️👀👀‼️👀

And the way that this is the culmination of their arc together… Like people are not ready for the ‘Chil calling out to dunlord Marcille on the balcony has Romeo and Juliette romance novels imagery’ take. Or the ‘their arc is about growing to see beauty even in the non-idealized, in the flawed and in the real’ take which makes it so so perfect if she were to lower her ideal from a charming elven prince to a virtuous halfling man (which she does end up romanticizing)

So there, you got to witness in real time what happens when I think about marchil for longer than 2 minutes, there are so many layers it’s a deranged rabbithole. I saw the necronomicon of subtext and it’s driving me to madness with forbidden knowledge that no one else sees

……. Like what if I told you she implicitly picked Chilchuck over a "unrealistic prince charming who’s actually disingenuous" much earlier in the story already. If she was given the choice to think through going with a guy that seems perfect and chivalrous like her succubus she’d pick Chilchuck over the other actually. If I sound insane rn tune in for my full analysis on them coming this month hopefully thank youu. Interwoven arcs of fantasy vs reality and idealization vs pessimism I love youuu

So now you know the general thesis of my planned analysis about the importance of the prince charming figure in Marcille and Chilchuck’s arc, where she romanticizes things to a sometimes worrying degree or idealize people into something easy and digestible and poetic (like Chil being a kid, and then him being a virtuous ✨✨✨husband), and how she needs to value aesthetics less and actual acts and facts more, be more grounded (like seeing people for what they are flaws and all, and accepting that people need money and not pulling through on principles of honor or unity shouldn’t get Namari shamed) and a part of that is accepting that Chilchuck is BOTH flawed and virtuous, a loving husband that still has shitty moods and fumbled his marriage so bad etc etc. So it’s like, her image of perfect prince charming that will whisk you away on an ethereal romance -> realistic flawed middle aged dad with personality issues and a failing marriage but he still is worthy of love and having his cute grand romance story and his happy ending. Ik I keep repeating the same point through this but I need it to be burned into everyone’s brains it has its grip on me I can’t do this. They are so special……

[writeshite]

Nothing Do Us Part

Summary:

The bastard smiled at you before picking the lock and forgoing any caution. “You shouldn’t be here,” You argue weakly. Astarion huffed, the cell door now wide open; you had yet to reach out in any manner, “Neither should you,” he counterargued, “you’re filthy, bloody and thin as a rake.” He took the first step and grabbed at your hand, staring disappointedly at the cuts and bruises lining your skin. “I’m taking you home to Hells with the Harpers and whoever else thinks they can take you from me.”

Pairings:

Astarion x Male!Reader

Tags:

Long-Haired Astarion | Bhaalspawn Reader | Ascended Astarion |

Words: 1828

Author's Note:

Guess who's not dead lmfao (ﾉ◕ヮ◕)ﾉ:･ﾟ✧ I found out there's a Bhaalspawn ending where they turn themselves in, and I was like, Ascended Astarion would not be happy about that.

The spawn came at first light, walking into Crimson Draughts with a curt smile; the curly mop of white that Araj had once hopped to brush her cheek whilst her life danced on the edge was now long curled trusses of hair reaching past his shoulders to his mid-back. “I need you to find someone.” His words went in one ear and out the other as Araj examined him; he was different from when she’d first set eyes on him and his intriguing companion in Moonrise.

“I’m surprised to see you alive, spawn,” she remarks. “I’d thought you dead in Moonrise.”

“Oh, hardly,” he laughs, “but I’m not here to discuss past adventures. As I said, I need you to find someone.”

“I heard you the first time, and I’m not a bloodhound,” she corrected.

“Hence my request, an expert of the sanguine arts, I believe is what you called yourself,” he fished a vial from his pockets, “I will reimburse you in as much gold and whatever equipment you require, as long as you find who I’m looking for and place an unerasable tether on said person. Understood?”

“Whose blood is it?” 

“Hardly any of your concern, is it? Now, will you take the job, or shall I pursue Sorcerers Sundries to find someone more willing to take my commission?” 

Araj huffed, “My, my, aren't we touchy? I’ll take your commission.”

The blood was intriguing. It radiated malice and murderous intent—as odd of observation as that was—the red would bloom darker colours before shifting back to red, and the odour was equally as odd, smelling too much like blood, a sharp, strong iron that piqued her interest. A godling’s blood? An Aasimar, perhaps? Though Araj wasn’t certain if such creatures bled, regardless, she had no doubt the spawn had brought her the blood of someone divine; whether said person was of the holy or unholy persuasion, she remained uncertain.

The Upper City was abuzz when Astarion returned; artisans, sages, pole-carters, and all manner of people traversed the streets of the Upper City. Astarion weaved through the crowd to his home in Manorborn, Ancunín Castle—his haven of estates he’d parted from a few patriar families—he’d spent quite some time hunting down artificers to add to his horde of spawn; he'd set them to work and rebuilt the castle from the grounds up to better suit his needs.

“Welcome home, Master Astarion,” Harette greeted him, a small bow accompanying her words; she took Astarion’s coat and folded it away as she caught him up on the morning’s events, “The artificers finished installing the sun-sift glass over the courtyards and atriums, and have begun casting warding glyphs per your instructions. The dungeons have been refurbished for the Rillyn’s children's stay, and you’ve a new bundle of invitations from other patriar families arrive this morning.” She finishes her morning catch-up as they reach his study.

“Thank you, Harette,” Astarion sat at his desk, dismissing her; he sifted through the invitations on his desk—Belt, Hullhollyn, Tillerturn—letters to their parties, brunches, and whatever else Astarion read through. He replies to them, declining their invitations with kind apologies and half-felt promises to join the next festivity; far more pressing matters needed Astarion’s attention. The Fist and Harpers had done a better job than expected covering their tracks whenever they moved you, but Astarion had come close a few times before, hence the need for the Drow, much to his displeasure. He may have been impervious to sunlight now, but the harpers had enlisted the help of Lathandernites and Selûnites, and Astarion wasn’t going to chance his resistance to sunlight, much less holy light. Astarion had been greatly against you turning yourself in; the stubborn persistence he’d usually find adorable became annoying, “If you’re worried about rampaging, you shouldn’t. I can keep you in line; I’ve done it before.”

“I wasn’t Bhaal’s Chosen then, just his progeny,” you’d corrected him, “I barely managed to hold myself back from harming you in the Shadow-Cursed Lands; I can’t—”

“I’m not some runaway spawn anymore; I’m a Vampire Ascendant.” Astarion had corrected bitterly, but despite his reassurances, he hadn’t been able to deter you from the decision, but it didn’t deter him. Some coin in the right purse and spawn or two in the right place, and he could visit you whenever he pleased, “You should leave.” You’d clung to him regardless of the venom in your words, desperate for some semblance of comfort; your initial prison had been some small nook under Wyrm's Rock Fortress, illuminated by torch and what bioluminescent fungi managed to break ground.

“I told you, pet,” he’d dug his nails in your back, later carving his name along your spine “lovers forever.” He absentmindedly traced the gauntlet you’d torn from Gortash’s body and had modified for Astarion, “I’m not sure if I should be honoured or revolted in some manner,” he’d joked then, yet the gauntlet still held its powerful magic and had been a constant presence on Astarion.

“I don’t remember much; I think I tore this from some patriar’s arm or stole it from a wizard before giving it to Gortash, I don’t know. What I do know is that I love you more than anything.”

“I’m meant to be a fearful Vampire,” he’d huffed, softening for a moment, “you make it quite hard to do so, pet.” Even as Bhaal’s murderous lunacy consumed your mind, a minuscule part of rationality remained, just enough to leave Astarion unharmed during his visits; the same could not be said about the Harpers tasked with guarding you. Astarion’s last visit was met with an empty prison and no Harpers in sight. Clever bastards had a headstart; he was almost offended by how well they predicted him following after them, but not surprised as Jaheira and Minsc had involved themselves in your transfer elsewhere before their expertise and skill were requested outside Baldur’s Gate.

The Drow asks for quite a hefty sum and a new plethora of equipment to complete her work, but she does manage, creating a tether as he’d requested; Astarion pays her for her service and prays he never needs it again. The tether leads to Myth Drannor, in the Dalelands, south of the River Tesh and some distance from Shadowdale; Astarion sneaks himself under the guise of a Harper, replacing the one he’d fed on some time prior, while he may have found where you were he now needed to find where specifically in Myth Drannor you were.

Everything was bloody. The floors of your cell were smeared in blood and dirt; the effigy you’d built yielded no response from your father. Nothing did. Pleading, crying, screaming, and tearing at your meat suit did nothing but elicit silence from the Lord of Murder. Your breaths were rugged and short, coming in quick succession as you fought to keep yourself in control of your person; Bhaal’s silence drove your mind to wander, to sing for blood; you shook your head and screamed, whacking the piled rats and punching the nearest wall. You repeated the action until you felt less like clawing at your meat suit.

You were quick to notice the pale elf approaching your cell, and you shook your head as your eyes widened when you recognised Astarion. The bastard smiled at you before picking the lock and forgoing any caution. “You shouldn’t be here,” You argue weakly.

Astarion huffed, the cell door now wide open; you had yet to reach out in any manner, “Neither should you,” he counterargued, “you’re filthy, bloody and thin as a rake.” He took the first step and grabbed at your hand, staring disappointedly at the cuts and bruises lining your skin. “I’m taking you home to Hells with the Harpers and whoever else thinks they can take you from me.” 

“How did you find me?” You stared at him desperately, holding his hand for dear life. 

“That drow we met at Moonrise has her uses,” he responds, tugging at your arm, “we can catch up when we’re far from here.” 

You followed without resistance, shuffling along the dark narrow corridors, it was luck that you didn’t bump into anyone on your way out, or the journey back to Baldurs Gate. It’s another miracle Astarion sneaks you through to the Upper City without spilling any blood. He led you to a large set of manors lumped under one estate by the looks of the courtyard, a handful of people moved about tending to said courtyard—sweeping, trimming the hedges, polishing the statuettes, and cleaning the fountains.

“Nice home,” you commented.

“Thank you, pet,” the elf is cheerfully proud of his home. The servants stop in their work when they spot Astarion, and all bow, returning to their work respectively once the elf walks past them. The interior is as lavish as the exterior—a richly coloured rug drew a path along the floor; at each side, paintings and columns alternated along the walls as chandeliers lined the ceiling above. More servants are also busy at work here; they bow the same as the ones outside and only continue their work once Astarion has passed them. 

The servants give you uncertain glances, confusion and fear in their expressions. “Ignore them pet; they should know better,” Astarion hissed, and their gazes darted away.

“Are they spawn?” you inquire.

“Most,” he shrugged in response, leading you through the halls to a room devoid of anyone else close by. His room, no doubt. “Some outsiders from the Outer City looking for a new life.” He led you to a tub and ran it with water and just about every perfume and soap he had at his disposal and all but begs you to step into the tub. It takes five cases of andanthe and shampoo to clean your hair thoroughly and two pitchers of a strong-scented liquid wash soap to wash out the dirt from the skin. Astarion picks up the skin and food between your teeth and shoves a whole stick of tooth powder down your throat.

“Is this necessary?” you cough at the strong, minty taste as the tooth powder turns to foam in reaction with saliva.

“If you want my cock and tongue down your throat,” Astarion scrubbed your second set of canines, “then yes.”

The water is dirty brownish-red when you step out of the tub; it’s strange to be without grime after so long, you look at yourself in the mirror. Despite everything, it was still you. 

Astarion draped a fluffy towel over your shoulders, “Tomorrow, we’ll get a tailor and cobbler in here for you.”

“You want to doll me up?” you snort. 

Astarion rolled his eyes, “You need to blend in,” he lightly chastised, “and I have an appearance standard to adhere to.” He huffed, drawing a chuckle from you. “After the tailor and cobbler, we’ll take care of your hair.”

“Hmm,” you nod as he dried off your body. ��Whatever you say, starlight.”

End Note:

This started off as a Drabble but then we ended up here with another AU 🤪💀. The way I had to go look at a map of Baldurs Gate and was reminded how shit I am at reading maps lmfao 😭 I have read the Forgotten Realms wiki on so much for this fic. Stay Hydrated.

[cervinae-canine]

It's always fascinating to compare Sniper's relationship with his parents in the 'Meet the Sniper' short with the comics. Personally, it's because of how it evolves from a brief mention to a sincerely satisfying character arc.

"I'll be honest with you. My parents do not care for it [it is him being a mercenary]."

In the short, it shows that either one or both of his parents disapprove of his decision to be a mercenary. Which no doubt, would cause strain in any relationship; regardless of the closeness. It doesn't particularly mean they're distant, however, as we see Sniper talking to his dad on the phone. (though it is shown via an argument).

I can argue that this was a subtle display that they both still cared about him enough to not completely cut him out of their lives, despite the understandable reason if they were to. I've seen some that suggest his parents might've disapproved of his mercenary work because they fear having to attend their son's funeral. Regardless of the reason, they kept contact with him, but their dynamic was strained.

Of course due to the short amount of time, this point was skimmed through and was fairly quick in pace. His complicated family issues were established and for a very long time, this was not explored until in 2014 with "Blood in the Water".

Sniper's specific arc in the comics revolves around wanting to find his birth parents after his adoptive parents passed away, or in his words; his "real parents."

Even in just the establishing scene with his birth parents, it already showed them mainly caring about themselves over the baby Sniper. And him ending up in the rocket that gave him safety was completely unintentional, as the two were bickering over who should use it.

By contrast, we see Mr. and Mrs. Mundy going to the crashed rocket and later implying to raise Mick as their own.

Throughout what we see of his birth parents, they're shown to be bumbling and drunken respectively; with neither really caring about each other. Let alone Sniper. Firstly in Bill-Bel's case, where he asks for money right after showing the rocket that ultimately saved Sniper's life.

And then in Lar-Nah's case, where she took the rocket to escape and abandoned both Bill-Bel and Sniper to potentially die as a result (excluding soldier and miss pauling).

Their presence doesn't have to be constant to infer that both of these characters are self-absorbed; only caring about oneself, anyone else be damned.

Despite the consistent displays of disrespect from both parents, Sniper still very much cares about them. Where he's completely willing to put his own life in jeopardy in order to get his dad to safety.

And to have that care be thrown in Sniper's face.

But despite even that, Sniper held hope and kept his expectation that he may potentially care in some capacity. He just wanted anything; any shred of assurance that his "real" parents cared about him. Something to call 'home' after his adoptive parents passed. Something to make this search for his ""real"" parents feel worth it.

You can see the genuine happiness on his face when under the impression that his dad came back; to save him. Only for it to dim when...

This part is not directly stated but after having his trust be disregarded multiple times by his ""real"" parents, he concluded one important thing: His adoptive parents are his real parents. He was their real son. He was a Mundy.

On top of that, it shows that his parents seem to develop as well. The disapproval, the arguing in the 'Meet the Sniper' short; is nowhere to be seen here. What we see are two parents that genuinely want the best for their son, even calling him a 'professional' and focusing on him staying alive rather than staying in heaven with them.

These were the exact words that Sniper needed to hear. There is no debate: Mr. and Mrs. Mundy are his parents.

I think his arc of finding his "real" parents already stood on its own but with the additional context that his relationship with his adoptive parents were tumultuous at best, it made the emotional impact of both, stronger in hindsight.