#umineko inspired

[amadeusgame]

"Amadeus: A Riddle for Thee ~ Episode 1 ~ Waltz" DEMO is OUT! (MacOS | PC | Linux)

Links here. Available on Steam and Itch.io!

Play as Amadeus, a young werewolf struggling to understand his condition, as he navigates a tale woven by Witches. He is equal parts desperate and determined—how can one reclaim agency over themself, when afflicted by a curse that steals it from them every time the moon Aska draws full?

Amadeus: A Riddle for Thee is a hand-drawn narrative game heavily inspired by Umineko When They Cry thematically, and Professor Layton aesthetically. Gameplay is a blend of pure Visual Novel scenes + Point-and-Click Adventure scenes. The story is linear, and will be told in 5 sequential episodes.

Episode 1 ~ Waltz will release Fall 2024. Please check out the demo in the meantime, and Wishlist on Steam to be notified when the full game releases!

All links: https://linktr.ee/amadeusgame

[fatestayyuri]

POST USHIROMIYA BUTCHLER WHEN THEY CRY LEAST EXPECT IT

[tinyfantasminha]

OC introduction

[Thank you @haryuwu, @stestylius-arts and @ai-kan1 for the templates they look so clean and organized and I love them 😋]

Personality:

At first glance, Vic comes across as reserved and ordinary, maintaining cordial relationships without actively seeking friendships. However, once she grows close to someone, her brighter, more playful side shines through—she’s witty, bantering, and a bit tomboyish. She dislikes feeling restricted and tends to rebel against rules she finds unfair or unreasonable. While she firmly denies being a "mom friend," (she repulses the thought even) her actions often tell a different story. She’s fiercely loyal, quietly looking out for her friends and always stepping in to support them when they’re in need, even if she doesn’t admit it outright.

Though Vic sometimes comes across as naive or a bit of an airhead, it’s often by design—she purposefully plays the fool, keeping others guessing about her true thoughts and intentions. Why does she do this? Well… whatever the reason, there’s more to her than meets the eye.

Backstory:

Vic was once a naive, pure-hearted child, eager to please and willing to follow anyone’s whims. That all changed after a traumatic incident during a school trip to the woods. A classmate told her, “Wait right here and don’t move. I’ll be right back.” Obediently, she stayed put, unnoticed by her teachers or classmates. Hours passed as she waited, terrified and alone, until she was finally found by school staff after her mother reported her missing. This event left a deep scar on Vic, and the phrase “I’ll be right back” still triggers a wave of unease in her. Afterward, her submissive tendencies only worsened. She believed that by doing everything people asked, she’d be liked and accepted, avoiding the risk of being abandoned or badmouthed. Throughout middle school, this behavior made her an easy target for manipulation and psychological abuse. By her final years of high school, something within her snapped. The years of mistreatment awakened a rebellious, sharp-edged side. Vic stopped letting people walk all over her, becoming grumpier, colder, and more distrustful. She built a fortress around her true emotions, frequently lying or feigning indifference to protect herself. Though she hated the version of herself her pain had created, she learned to survive in her own way.

After graduating, Vic celebrated the end of that painful chapter in her life and vowed to reinvent herself. But just three days later, her plans were upended when she was hit by a mysterious carriage.

After the events of the prologue and her enrollment at NRC alongside Grim, Vic was struck by the mortifying realization that she’d have to relive high school all over again. Adding insult to injury, she remembered that, at the time she was hit by the mysterious carriage, she had been on her way to celebrate her graduation with an açaí smoothie—a treat she never got to enjoy. To this day, she can’t help but lament the smoothie that never was.

Notable relationships:

Jack Howl 🐺

At first, Vic was intimidated by Jack, fearing he’d be as condescending and judgmental as her classmates from middle school. However, once she got to know him, his caring and loyal nature quickly won her trust. Because of her magicless status and petite stature, Jack’s protective instincts naturally kick in around her. He often escorts her across campus, which leads to them spending more time together and growing closer.

Vic admires Jack’s honesty and strong sense of justice—qualities she found rare during her school days. His loyalty and protective behavior deeply touch her, even when he tries to hide it behind his tsundere demeanor (which she secretly finds adorable). Around Jack, Vic feels safe in a way she hasn’t before.

As their bond deepens, they begin to pine for each other, turning what should be simple interactions into painfully awkward moments. Jack’s straightforward and genuine nature makes Vic’s carefully constructed mask of aloofness crumble in his presence, leaving her vulnerable and overwhelmed by her emotions. Her feelings for him force her to confront her fears and insecurities, often leaving her shaken.

"If only there was someone like you by my side back then… maybe I wouldn’t have…!”

Leona Kingscholar 🦁

Initially, Vic and Leona barely interacted. He seemed indifferent to her presence and quietly appreciated that she didn’t nag him or try to change his lazy ways. However, her frequent visits to Savanaclaw piqued his curiosity, and he couldn’t help but wonder if she was some kind of thrill-seeker. Her seemingly fragile, harmless appearance contrasted sharply with the boldness it took to linger in a dorm full of beastmen, leading him to nickname her “little mouse.”

Vic usually treats Leona with sweetness, but he sees right through her doe-eyed facade. Her true motives remain a mystery to him, and that intrigue makes him determined to unravel her secrets. To that end, Leona enjoys teasing and flustering her, just to watch her carefully constructed mask crack.

Leona is also keenly aware of Vic and Jack’s feelings for each other, which he finds highly entertaining. He takes great pleasure in cockblocking taunting them about it, using his sharp wit to nudge them closer to confronting their emotions. His teasing is particularly merciless with Jack, often warning him with sly remarks like, “You’d better keep a close eye on your prey, or she might just wander into the lion’s den.” What exactly does he mean by that? Who knows…

Ace Trappola ❤️ and Deuce Spade ♠️:

Vic’s first friends at NRC, Ace and Deuce quickly became two of her closest companions. The trio spends much of their time hanging out and bantering, creating a dynamic full of playful teasing. Her provocations often escalate with Ace, leading to occasional spats, though they’re always quick to reconcile.

With Deuce, Vic adopts a softer, almost sisterly demeanor, though she doesn’t hold back from teasing him—just not as intensely as she does with Ace. Around them, Vic maintains her cool, tomboyish exterior but will sometimes show emotional vulnerability when she needs comfort or support. Ace, however, never misses a chance to mercilessly tease her about her crush on Jack, much to her frustration (and embarrassment).

Idia Shroud💀:

Vic and Idia became friends through the Board Game Club, bonding over their shared interests and similarities. During club activities, they often team up to gently? bully and bicker with Azul, much to their mutual amusement. While Vic enjoys their camaraderie, their interactions mostly happen through DMs, as Idia’s shut-in nature makes face-to-face meetings rare—despite her frequent insistence that they hang out more in person.

Idia has developed a crush on her, which makes him even more hesitant to meet up outside of the club. He’s painfully aware (and secretly salty) about her preference for the athletic types in Savanaclaw, which makes his hopes—if he had any—practically nonexistent. For now, he keeps his feelings to himself, hoping to drown them. Vic, ever the supportive friend, often encourages him and occasionally flirts or gets touchy to tease him, delighting in his flustered reactions. Is she aware of his feelings? Who can say...

Azul Ashengrotto 🐙:

Vic initially had a strong dislike for Azul, finding his sweet-talking, calculating nature, and tendency to demand repayment for even the smallest favors uncomfortably reminiscent of her old classmates. She was openly hostile toward him, often meeting his charm with sharp-tongued, vulgar retorts. Yet, Azul remained undeterred.

Over time, as they spent more moments together in the Board Game Club, their constant bickering and competitive banter began to grow on her, almost without her noticing. She realized Azul was more "relaxed" during club activities, which made him easier to talk to. Vic now views him as a sort of rival, someone who challenges her wit and strategies, though neither likes to show vulnerability or weakness around the other.

If asked whether they’re friends, Vic will promptly deny it with a firm “no,” while Azul confidently responds with a smug “yes.” Despite their clashing personalities and opposing morals, they quietly look out for each other in their own way—remembering birthdays, exchanging souvenirs, and occasionally offering subtle gestures of support. Deep down, Vic knows Azul is an important friend, but she’d rather swallow a rock than admit it. Tsuntsun

Jamil Viper 🐍:

Vic harbors a superficial, puppy-like crush on Jamil, idolizing him and finding everything he does impossibly cool or impressive. Jamil, however, doesn’t seem to return her affections—or trust her, for that matter. He usually cuts her off with polite but firm indifference, which only seems to intensify her fascination, much to his exasperation. To Jamil’s dismay, Vic sighs dreamily whenever he’s cold or sharp-tongued with her (masochist much??) but gets utterly confused and flustered when he shows any hint of worry or care for her.

While Jamil would never admit it, he doesn’t entirely dislike her attention. Her admiration strokes his ego, and perhaps—just perhaps—he’s considering how he might use it to his advantage... t this doesn't seem very healthy...

Rook Hunt 🏹:

Like most people, Vic initially felt uneasy around Rook’s overly flamboyant and romantic demeanor. She couldn’t understand his fascination with her or his flowery praise, often responding to his compliments with pragmatic retorts or modest deflections. However, as time passed and she recognized the sincerity behind his words of encouragement, her wariness faded, and she began to trust him more.

Knowing it’s nearly impossible to keep secrets from Rook, Vic sometimes reluctantly vents her frustrations and insecurities to him. In turn, he offers thoughtful advice and unwavering emotional support. He nicknames her “Mademoiselle Fantôme” (ghost) and seems to see right through her composed exterior.

Like Leona, he’s aware there’s more to her than meets the eye and enjoys analyzing her hidden depths. Rook takes particular delight in evoking various reactions from Vic, describing her as a “kitten with hidden claws,” always intrigued by her blend of aloofness and fire.

Trivia:

While Vic appears tomboyish and sisterly with the first years, Jack is the exception. Around him, she’s notably sweeter and more bashful.

The more nervous or flustered she becomes, the higher-pitched (and more pathetic) her voice gets.

Vic used to be close with her older sister, a prosecutor. Her strong sense of justice and argumentative nature were heavily influenced by her sibling.

When heated, Vic becomes highly argumentative, delivering well-constructed, logical points to dismantle her opponent’s stance—a rare display of bold confidence.

Her dream is to become a detective/investigator.

Vic doesn’t get angry often, but when she does, it’s described as a “cold, merciless ire with sharp words that could make a grown man cry” (Ace’s words).

Though she’s a bit of a coward and dislikes confrontation, her quick thinking and improvisation often help her slip out of sticky situations. (Both Leona and Rook take notes on her sharp survival instinct.)

Despite her unassuming appearance, Vic has surprising leg strength and flexibility from self-defense classes she took as a child. She claims she’s rusty and fell out of practice for the most part, but her kicks prove otherwise.

Her birthday (February 4) is the same as Cater’s, so their celebrations are often combined in Heartslabyul. Cater affectionately calls her his “twinsie” and refers to her as “cute lil sis.”

Floyd nicknames her “Axolotl” and teases her relentlessly about her height. He especially enjoys being overly touchy with her in Jack’s presence.

Vic occasionally treats herself to Mostro Lounge visits to gossip with Jade, often about Azul’s defeats in the board game club. Jade uses this intel to tease and blackmail Azul later.

The Light Music Club adores pampering her and repeatedly begs her to join as a singer, but she always flusteredly declines.

Like Ace, Vic can be mischievous and a bit greedy. She shamelessly accepts Kalim’s generous offers of money (though she hopes Jack doesn’t find out...)

Vil intimidates her to no end with his sharp gaze, but she secretly admires him and dreams of having him give her a makeover someday. Rook frequently (and gleefully) tries to push her to approach Vil, much to her horror.

Malleus believes they are closer friends than they actually are, often due to misinterpreting her words and actions. Vic, too kind or maybe scared to correct him, finds herself roped into his gargoyle monologues during their awkward little outings.

[peachducy]

Umitober Day 8 - Gold

[fabulaescrita]

Alien Stage characters as bottles falling down stairs.

[distant-screaming]

I love media that is about parents. the way it always leads back to the way characters have been raised, been loved, been taught to love. media about about fathers and expectations and understanding and cultural roots holding it all together, about rekindling relationships that never had a chance to exist and letting go of grief over relationships that don't exist anymore. media about mothers, and burdens, and shelter. media about generational cycles and legacies and futures that are dictated by the past, and media about nature vs nurture and the way they have lived. media about the wealth and family and what is important and when. media about family of blood and family of choice and family of convenience. I love media about history and inheritance and, most of all, parents.

[big-royal-chicken]

RadioRose Week, Day 2: Meeting/Dance

It's just business between overlords.

And an excuse to draw Rosie in a frilly dress

@radioroseweek

Bonus: sketch

[kobitoshiningneedle]

Truly, one of the most wonderful and compelling aspects of beabato is how it was Battler who initially taught Sayo to see the heart of a story...

It's not that Battler himself is some unique or groundbreaking archetype of a silly-billy corny protagonist_with_heart_of_gold - but I like how believablehis genuine attempts to engage with everything in his life with care and give grace to it (okay, nevermind that actually in Umineko as we read it making Battler relearn these qualities were the meat of his arc, so it's not something he had from square one)

In any case, Sayo (through Beatrice) took this sentiment of his and multiplied by ten. She turned it into the red thread of any her struggle which resulted of the main motto of the VN itself. If it was just Beatrice teaching Battler to seek the truth with "heart" and it was just something Battler would understand through his journey wouldn't be as compelling - however, less tragic too, considering Battler's plotlines in both real world and meta. Which makes the whole thing more remarkable

Perhaps some degree of this vent about the importance of whydunnit was just his childish self-aggrandizing and flex in front of a meek cute maid girl, but there's still a good amount of ingenuity, especially if the receiving end was this same meek cute maid girl. His promise to return wasn't the only thing that made Sayo cling to Battler and his ideal image of her first love - it also his open mind and a certain courage to seek meaning in something that was important for them

Maybe it's no wonder Battler had to return to Rokkenjima at some point? He just could've left a piece of his own heart on Rokkenjima despite what the Ep7 flashback lead us to believe

[thepersonperson]

The Reproductive Horror of JJK Part 2 (Dealing with Trauma)

Part 1

Notes before we start.

1) This analysis deals heavily with topics of nonconsent, grooming, abuse, and reproductive manipulation. Please proceed with caution.

2) This post was inspired by @hermitw and @tangsakura

3) Read the light novels. They are the equivalent of Bleach's CFYOW for JJK. There is a fan translation (Book 1 & Book 2), but I will be citing the official translations from my own copies.

4) I will be mainly using the TCB scans for the manga because of their accessibility. 

5) Written as of JJK 265.

(Click images for captions/citations.)

Preface 

This was written with the assumption you've also read these other analyses:

Thoughts on Sukuna and Kenjaku’s relationship as of JJK 258.

Gojo's You Pronouns (Gojo's Relationship with Toji and Geto)

Please give them a quick glance at least.

...

Some of you may have found it odd that a discussion about bodies being irreversibly changed and used left out Mahito whose ability quite literally irreversibly changes bodies for them to use. That was deliberate. Blame Tumblr’s 30 photo limit.

The previous post was actually about Mahito. 

Mahito

For series that has a power system based on strong negative emotions, it is a bit odd that curses surrounding sexual trauma aren’t ever directly mentioned in this work. You could chalk it up to the series being Shounen and not Seinen. But that is precisely why I think JJK delves into the topic using abstract representations. It allows the topic to be explored in a way that connects well with those who’ve experienced it without being too graphic for the younger audience.

Though Kenjaku is a literal rapist, I argued the methodology and effects behind vessel creation resemble rape. Someone's body belonging to another through force, permanent changes brought about after experiencing immense trauma, being groomed into tolerating it as a natural part of this world…  When I think of a curse equivalent to this, there is no one other than Mahito that fits.

The transfigured humans Mahito creates are through nonconsentual touch that strips them not only of their autonomy, but their clothing as well. These people are in immense pain from the distortion of their bodies and can never be returned to their original state. In this way, transfigured humans can be read as a stand in for victims of sexual assault.

I didn’t propose this idea first. The Tumblr user that inspired this entire analysis, hermitw, did so in this post (please read it, it's very good). This person’s ideas will be reiterated in this discussion and I will expand upon them starting with how poorly other characters react to their Cursed Technique (CT).

Breaking Composure

Mahito sets themself apart from other curses by how they’re able to get under the skin of the most seasoned sorcerers. It’s not because of their words but the transfigured humans.

Nanami is heralded as the no-nonsense man. Nothing gets to him. He is always calm and professional no matter the circumstances. Mahito's first interaction with him immediately throws him off kilter.

We saw how much fun Gojo was having beating Hanami to death and tearing Jogo apart. That stops entirely when the transfigured humans show up. Yuji can see it coming too. This is the first time during the fight that Gojo’s composure visibly breaks. His reaction to Mahito isn’t any better. There are no smiles and he looks to be in shock.

Gojo’s Six Eyes allow him to see Cursed Energy (CE) to the point where he can infer someone’s CT at a glance. When he sees those transfigured humans, he’s probably seeing the extent of their pain in how the CE controls their souls.

I also want to point out that sexual harassment on trains is such a massive problem in Japan that they have special cars for women. There’s something to be said here about a train full of people that can represent victims of sexual assault.

This visceral disgust when it comes to Mahito isn’t limited to the protagonists either—the main antagonist, Sukuna, finds them to be repulsive after a few interactions. In this instance, Mahito's touching of Sukuna's soul is straight up compared to a patron harassing a hostess.

Just like Gojo, Sukuna goes from having fun to having a really bad time in an instant.

I bring their reactions to Mahito up because there is something off about it. These are all characters that hardly balk at the gore and death brought about by curses. It’s as if Mahito’s brand of violence needs to be categorized as something else.

If Mahito is seen as the embodiment of sexual assault, this is in line with how sexual violence is separated into its own category for treatment and study. When compared to non-sexual violence, the lasting effects are so severe it's not helpful to treat it the same way.

And that’s just what Mahito is. An exceptionally dangerous curse that Jujutsu Society deems needs to be exorcized before it destroys everything because barely anyone can deal with its effects. Likening that damage to something on par with natural disasters is significant.

Mahito as a Natural Disaster

Mahito is the leader of the natural disaster curses despite being born of humans. Hanami, Jogo, and Dagon are forms of wrath spawned from environmental damage brought about by humans. When nature, the ocean, or volcanoes cause mass death, people accept it as a part of living in this world. Sometimes they’ll go as far as to blame others for causing their own demise by living so close to it. 

Mahito doesn’t seem to fit into this category unless you consider how widespread sexual assault is. In the US alone 81% of women and 43% of men reported experiencing some form of sexual harassment and/or assault in their lifetime. These numbers are likely higher due to the underreporting of this crime in general.

In 2021 it was estimated that 101.8 million people were affected by natural disasters or about 1% of the current 7.9 billion population. By 2050 some estimate that 1.2 billion people will be displaced by climate change related natural disasters. That’s about 15% of the current population.

Compared to natural disasters, sexual assault certainly rivals their numbers. But when compared to reporting? It’s under discussed. People chase storms. Natural disasters are tracked extensively by the damage and cost. Nations build infrastructure and plan around them. They’re acknowledged as a problem that is to be dealt with. The victims of sexual assault get no such attention. Warnings against perpetrators are often ignored and the victims are something people would rather keep invisible.

Mahito is a lot like that. Able to go about unnoticed as they stockpile thousands of humans whose bodies disturb those around them. The transfigured humans are targeted first by sorcerers both because it’s easier and because the one creating them seems untouchable.

Mahito’s effectiveness as a curse is their ability to force people to reckon with the worst humanity has to offer. They mirror every little sin and exploitation committed by others, putting it on full display with their manipulation of Junpei.

Just like Mei Mei grooming Ui Ui with inappropriate but gentle touches and praise…

Just like Kenjaku manipulating the vulnerable to gain access to and use their bodies, only to betray them in the end… 

You might call Mahito Kenjaku’s protégé. Really taking after all the worst aspects of that bastard. However, I have read CFYOW. Mahito’s true source of inspiration comes from someone unexpected. 

Allegory in Darkness (JJK Summer of Ashes, Autumn of Dust, Chapter 3)

Before Mahito met Junpei, they met a blind homeless man living under a bridge. Their interactions with this man fundamentally change their view on humans and their approach to breaking them. This short story is one of the most harrowing things I’ve ever read. The quiet horror of JJK is on full display here. I’m not going to summarize all of what happens. Just read this.

This old man is so detached from himself and the world around him that he has essentially become nothing. He exists as a thing. This fascinates Mahito and they decide to observe them, forming a weird sort of companionship with him. Eventually, Mahito learns why the old man is this way.

Immense trauma. Abused and disfigured, the old man gives up on everything and in turn is freed from his suffering. Mahito likens his state to enlightenment Buddhist monks may achieve. 

They’re not wrong about this. Buddhism is centered around the escape from suffering via detachment. But there’s something greatly unsettling about this situation. Unfortunately that never gets addressed, the old man dies and Mahito oversees it.

And what’s this? Right at the end. The old man appreciates Mahito for being there for him. His “enlightened” state is revealed for the facade that it is, causing his soul to waver. He appreciates that his suffering has been acknowledged by another and dies satisfied, leaving Mahito both in a state of mourning and with the perfect way to manipulate someone before they pass.

What a human is to Mahito.

There’s a lot I left out in my summarization of Allegory of Darkness. Mainly the little discussions they had to build a relationship. They’re centered around movies and books because Mahito uses those to understand the humans around them. 

From their studies, they conclude the following. 

Humans are creatures that eat, sleep, and rape while curses are creatures that deceive, cheat, and kill. But I’d like to break down the kanji Mahito uses for their description of humans.

食 (ku) is usually read as "ta" which is in line with regular eating. The "ku" reading is more like devouring and it can be a sexual innuendo.

寝 (ne) means to sleep. And just like in English it can mean to have sex with someone.

犯す (okasu) is the tricky one. It can mean to commit a crime, to break, to violate, to contravene, to deflower, to rape.

Translating this as rape isn’t wrong, but it can overemphasize the sexual connotation. Okasu is more about the nonconsent. Doing something against another’s will. 

However in Mahito’s case, they’re most definitely drawing attention to that. The eat uses the ku reading and is next to sleep with heavy innuendo. Okasu implies an assault on a body that does not belong to them. With this in mind, I think eat would be best localized as consume to get across the greedy inconsideration.

This isn’t coming from nowhere. They watched such a thing occur first hand. That old man I mentioned? He’s killed by two random men on a dare because they see him as something for their consumption. His body doesn’t belong to him. It’s a thing for them to play with.

Kenjaku, a human, reinforces this behavior by having Mahito participate in death womb painting incarnations and other manipulative schemes. And in the end, Kenjaku causes Mahito to fall to the same victimization they learned from humans.

Mahito sees humans, not curses, as creatures that take without consideration. They’re beings that have made the violation of boundaries so commonplace it can be seen as natural. And he’s not really wrong about that in the context of this story. All the stuff I mentioned in the previous post—it’s both right there in your face and nearly invisible. 

The acts themselves are never depicted but always implied. It’s an insidious thing that goes ignored or is outright denied by fans. Anyone who has experienced these things, recognizes it, and points it out will be chastised for reading too much into it.

But can you blame them? The perpetrators are named. They’re goofy and strong and interesting. Their victims are footnotes with little presence and are sometimes outright denied names. And yet they’re always there, just out of sight, suffering in the background.

How horrific that this mirrors a victim’s experience almost identically.

Mahito vs Yuji

The first time Yuji kills a human, it’s as a mercy. At the request of the transfigured human, Yuji puts them out of their misery.

It’s a sin Nanami has been trying to protect Yuji from as a child and Mahito forces it on him with a cruel choice between leaving them to suffer or ending it for them. Yuji chooses to liberate them from suffering.

I think Yuji is able to see the outline of Mahito’s soul, not because of Sukuna, but because he is willing to see Mahito for what they are and face them head on. He doesn’t hide how the transfigured humans or deaths affect him. He cries over them and carries on with that hurt. 

And it’s painful. Yuji vomits and wails on the floor. But he deals with it. Unlike his mentors who bury their emotions and pretend everything is ok.

This is what makes Yuji fundamentally incompatible with Mahito. He is the exception that won’t allow Mahito to go unnoticed and slip away. He does it for their victims and himself. And still Mahito taints him. Yuji starts to see himself as a cog no different than Mahito.

He carries that mentality until he finally confronts Sukuna in JJK 265. Acknowledging why he started thinking that way in the first place, moving past it and onto something better. 

That’s what I love about Yuji the most. To him, anyone’s trauma will never be invisible.

And the horror persists…

Even though Yuji is this tiny beacon of hope in this rather depressing narrative, there’s still so much he can do as a 15 year old boy. The trauma he takes on and deals with is only for those he was witnessed or has been told of. This means a lot of the characters don’t have their grievances addressed in a way that gives me comfort.  

The old man under the bridge may have died satisfied, but I can’t stop thinking about him. His suffering and isolation masked by numbness went on for decades. The happiness he experienced at the end was for seconds. And the worst of the worst, Mahito, was the one to comfort him…

I can't stop thinking about the old man under the bridge.

There’s a lot I left out in my summarization of Allegory in Darkness. I really wanted to include more, but I found it to not fit into the rest of this discussion. Strange little bits of dialogue like these.

When I read these passages, a single question lingers in my mind.  

Why does this man resemble Sukuna? 

I lied. This post is actually about Sukuna.

Let’s go back to that homeless old man under the bridge. Mahito admires him as enlightened, but anyone can his state is mortifying. He has coped with the abuse, disfigurement, and suffering by becoming nothing. No different than a rock. He has no name. He’s not a person. He feels nothing. And the worst thing about it is how that’s technically better than being tormented by those memories.

JJK asks how does one cope with trauma? And repeatedly this question is answered by most characters in one of two ways:

1) You let it consume all that you are.

2) You become nothing as you detach yourself from it entirely.

The old man under the bridge is what Gojo tried to and failed to become. As much as he pretended otherwise, his attachment to grief and love controlled him. Sukuna mocks him for this. Calling him painfully ordinary in the English localization isn't incorrect, but it strips away that religious context. In Japanese this kanji 凡夫 (bonpu) can be read as Unenlightened.

The old man reached enlightenment while coping with his trauma. It worked for so long. But right at the end, when Mahito shows some semblance of care for him, those feelings he thought were shaved off cause him to waver. 

A new question plagues my mind.

What the hell happened to Sukuna? 

It’s presented as a humorous thing. Framing Mahito’s nonconsensual touching of Sukuna’s soul as a handsy patron ignoring the boundaries of a hostess.

Gege sometimes introduces character quirks as something funny before they’re revealed to be induced by trauma. Gojo Satoru is the biggest culprit of this with his sweet tooth and manner of speech and childish behavior that desperately tries to claw back the youth that was stolen from him.

Sukuna has such an averse reaction to having his soul touched by Mahito. He’s wearing women’s clothes when it happens. He’s likened to a hostess for it.

When we consider this and the quiet way misogyny and sexual assault is woven into this story… And how Gojo, the Strongest, was preyed on by older women. And how Yuki escaped having her body being used by someone much older than her by becoming strong. And how Rika, the Queen of Curses, is likely a victim of CSA by someone who was supposed to take care of her. And how Mai, a twin and a victim of CSA, creates a stronger twin by dying when she can no longer cope with her trauma.

I don’t like what this suggests for Sukuna at all.

Sukuna is willing to bond with all the other natural disaster cursed spirits, except Mahito. He himself became something akin to a natural disaster so it makes sense he liked the company of those like them. It’s him rejecting the strongest of the bunch because of how their CT violates others’ bodies is something I cannot overlook.

Jogo’s fire is so kind in comparison. The bodies he burns and the corpses he leaves cannot be defiled by anyone. It’s what would’ve prevented Geto’s body from being stolen. And hey! Sukuna returns the favor, burning Jogo in a way that prevents Kenjaku from absorbing him.

The easiest way for Sukuna to permanently scar and  traumatize Yuji is to inflict sexual violence on him or his loved ones. JJK does not shy away from having rapists like Noaya and Kenjaku do just that. A common complaint from fans is Sukuna not trying to manipulate Yuji into working with him. JJK does not shy away from having groomers like Kenjaku, Mahito, and Mei Mei (and to an extent Tengen) do just that.

Sukuna is strong and clever enough to do these things, but he doesn’t. I think there’s more to this than a disinterest in sex.

Choso’s mother faced ostracization for her unique body that allowed her to give birth to hybrid children. With nowhere left to go she wound up at a temple for sorcerers.  Kenjaku took advantage of her situation and body, partaking in her rape to satiate intellectual curiosity.

Sukuna faced ostracization as a child for his unique body that made him a great sorcerer. Just about everyone who knows him has tried to exploit his abilities for their benefit.

There’s a massive blank in this parallel. What happened to Sukuna growing up to make him this way? Every time I try to fill in that blank with the information we have now, I’m left with something deeply unpleasant. 

When Sukuna has flashbacks, it only ever goes as far back to his time as Yujikuna. He verbally recounts his time in the womb and there’s nothing else. The first time we see Heian Era Sukuna in full, it’s from Yorozu’s memory. And if you recall…this introduction is him being sexually assaulted. 

Sukuna’s fingers are scattered everywhere, fragments of himself are throughout the world and in a little bit of everyone. A curse that cannot be destroyed that only gets stronger with time. He’s something that was repressed despite everyone knowing he exists—a victim of sexual abuse.

Sukuna’s Backstory—Revised

Back when I theorized that Sukuna is an ex-slave, I deliberately withheld references to sexual abuse slaves are often subjected to because I felt it was too heavy for the post.

But seeing others theorize something that severe happened in part because of his CT’s name and spiritual pederasty practices at the time, makes me regret not including it. Please read the post by Tumblr user tangsakura that brought this to my attention.

Pederasty, if you do not know, refers to a boy having a sexual “relationship” with an older man sometimes as a form of “guidance”. The most known form of this originates from ancient Rome and Greece. I put “relationship” and “guidance” in quotations because children cannot consent to or grow from this kind of abuse. 

Such a thing was common, sometimes socially accepted, systemic abuse in the ancient world. (Though a form of it exists to this day.) Japan partook in pederasty, even in certain types of Buddhist temples, prior to the Meiji Restoration in 1868. (Here’s a video source on it. Be warned it's pretty upsetting.)

And in most of these societies that accepted pederasty, a relationship between two men of equal standing was frowned upon or not tolerated at all. The imbalance of power and exploitation of children was the socially acceptable thing. Despite, you know, the resulting trauma and suicides of the victims.

As discussed in the linked video, the children at these temples were seen as pure and therefore closer to Buddha. Since celibacy between human monks was expected, fetishizing these children as gods allowed for the mental gymnastics to justify molesting them. 

That’s not too surprising. Organized religion with massive followings all have it in common—the sexual abuse of minors and tolerating it or covering it up. What’s striking about this abuse is that it was considered important to or even necessary for enlightenment by some sects. Their suffering brought about enlightenment. 

Mini crash course for those not familiar with Buddhism. There are 4 Noble Truths that are foundational to this religion. (Copy and pasted from Wikipedia.)

1) Dukkha: Suffering exists: Life is suffering. Suffering is real and almost universal. Suffering has many causes: loss, sickness, pain, failure, and the impermanence of pleasure.'Dukkha: Suffering exists: Life is suffering. Suffering is real and almost universal. Suffering has many causes: loss, sickness, pain, failure, and the impermanence of pleasure.

2) Samudaya: There is a cause of suffering. Suffering is due to attachment. It is the desire to have and control things. It can take many forms: craving of sensual pleasures; the desire for fame; the desire to avoid unpleasant sensations, like fear, anger or jealousy.

3) Nirodha: There is an end to suffering. Attachment can be overcome. Suffering ceases with the final liberation of Nirvana. The mind experiences complete freedom, liberation and non-attachment. It lets go of any desire or craving.

4) Magga: In order to end suffering, follow the Eightfold Path.

Per the 3rd Noble Truth, enlightenment comes from the end of suffering, not its continuation. The idea that suffering is needed for enlightenment contradicts this Truth. But that’s not surprising either. I was raised Protestant and I’ve got a whole laundry list of how that branch of Christianity seems to have ignored the basic fundamentals of Biblical text. 

What I want to get into is the specific branch of Buddhism Sukuna appears to have been abused under—Tachikawa-ryū. Just as a heads up, information on this sect is limited as this person explains:

“Tachikawa practice became forbidden and the school’s ritual texts were destroyed. As a result, only a few original scriptures and rituals survived the persecution, which makes it very difficult nowadays to fully understand the teachings of the Tachikawa-ryū.”

(The wikipedia page is straight up missing citations so feel free to correct me if I get some stuff wrong.)

The destruction of records sounds exactly like what happened with Kenjaku and the Meiji girl. But the similarities don’t start or end there. This sect is accused of using human and animal skulls for rituals. And if you recall, Sukuna sits on a throne of oxen skulls. Other heretical acts included the consumption of meat, which at the time was forbidden. Another thing Sukuna loves to do. 

But what this sect is most known for are the bizarre sex rituals needed for enlightenment. You know the thing Sukuna explicitly has no interest in. More excerpts about that from the non-wiki source:

“Since the idea of a world, created by the union of male (yang) and female (yin) elements, is the essence of cosmology in Tantrism, sexual union serves as the “real life” version of this dualism. In other words, sex is an effective way to achieve buddhahood in a relatively short amount of time (best case scenario: this life, “becoming a buddha in this very body (即身成仏 sokushin jōbutsu)”). Furthermore, much ink has flown on the description and discussion of a human skull ritual that involved sexual intercourse and the use of seminal and vaginal fluids to create an object of worship.”

This melding of male and female elements is everywhere in JJK. It’s a massive component of the reproductive horror too. Everything with Kenjaku is self explanatory. But Sukuna, who wears women’s clothes, is currently pregnant with the Merger, and has a gender ambiguous servant… He’s a part of this too.

It should also be noted  that Tachikawa-ryū is actually a sub-sect of a sect. It originates from Shingon Buddhism. …Which was first introduced in the Heian Era.

Here are some quotes from the wiki article:

“The essence of Shingon practice is to experience the Dharmakaya, the ultimate reality, by emulating the inner realization of the Dharmakaya through the synchronized meditative ritual use of mantras, mudras (hand gestures) and visualization of mandalas.”

Oh hey that sounds like what Jujutsu Sorcerers do.

“The goma (護摩) fire ritual is an important and recognizable ritual in Shingon. The meaning of goma is to burn the firewood of delusion with the wisdom flame, consuming it completely.”

Oh hey that sounds like Sukuna’s fire CT.

“The most important Shingon mandalas are known as the Mandala of the Two Realms which are: The Womb Realm (Sanskrit: Garbhadhātu; Japanese: 胎蔵界曼荼羅, romanized: Taizōkai) mandala based on the Mahavairocana Sutra and the Diamond Realm (Sanskrit: Vajradhātu; Japanese: 金剛界曼荼羅, romanized: Kongōkai) mandala based on the Vajrasekhara Sutra.”

Oh hey that’s Kenjaku’s Domain.

I wasn’t raised any kind of Buddhist, so there’s probably a lot here I’m missing. My point here is that the symbolism and historical context are in line with Sukuna enduring some pretty horrific abuse as a child. It’s very likely that the way he behaves and thinks is one massive cope to rationalize what happened to him. 

Identity and Trauma

Sukuna is a difficult character to grasp because he’s so unforthcoming in personal information. He’s not once introduced himself by name and reveals fragments about himself in very cryptic ways. Most of what we know about him is from other characters. (Much like how the original writings of Tachikawa-ryū are lost and the remaining info is sourced from outsiders.)

To better understand him, I’ve been working under the assumption that other characters reflect fragments of Sukuna that will eventually fall into place.

Sukuna is like Maki. Consuming his twin to survive and becoming stronger for it.

Sukuna is like Toji. Discriminated against for the way he was born, he becomes strong enough to separate himself from Jujutsu Society only to be dragged back in.

Sukuna is like Geto. Falling from grace and procuring a cult-like following. 

Sukuna is like Todo. He’s completely self-centered and hates taking orders from those weaker than him.

Sukuna is like Mechamaru. Disfigured by birth, longing to connect with others, he finds himself at the end of a manipulative deal that promised him a second life.

Sukuna is like Kenjaku. He sees himself as above others and only wants equals for companionship. Other people are playthings for him to consume to stave off boredom. 

Sukuna is like Mahito. Endlessly curious about the humans he was born of, he consumes their art and lives in an attempt to understand them.

Sukuna is like Yorozu. Obsessively pursuing a single person, trying to teach them love through violence.

Sukuna is like Yuji. Adapting to any situation with battle intuition like no other by understanding his opponent.

Sukuna is Gojo. I call them twin flames since they have the most in common. If you noticed, that homeless old man from Allegory in Darkness resembles Gojo a lot too. For this reason I often use Gojo as a reference to infer how Sukuna is as a character.

Gojo’s trauma that helped him reach his self-proclaimed enlightenment was Toji. And that was just normal assault. But let’s reframe that battle as something a little more abstract…

As a teenager Gojo has his Infinity, a barrier that kept him safe, forcibly penetrated by a much older man. This both kills him and awakens him to immense power that irreversibly changes him. His loved ones can no longer recognize him and his relationships are destroyed by this. His ability to feel pleasure and his sexuality are contorted in ways that others find deeply perverse.

This is the plot of Baby Reindeer—an extremely upsetting semi-autobiographical recounting of how the creator’s sexual trauma ruined his life.

But that’s not how everything is framed at first. The main character, Donny is introduced as a man trying to report his stalker, Martha, to the police. 

Martha recognizes that Donny has been abused. Maybe not in the same way as her, but similar enough to the point where they become toxicly attached to each other. She stalks him and assaults him in what she believes to be acts of love. You both pity her for her circumstances and hate her for the destruction she causes. 

That sounds like Sukuna doesn’t it?

Sukuna saw something in Gojo he can’t recognize in anyone else. And I think it’s much more than the loneliness that comes with being strong—It’s having your body violated and no one recognizing or taking your trauma seriously because you’re supposed to be strong. 

Toji’s failed assassination attempt on Gojo resembles sexual assault in how Gojo reacts to the whole ordeal. He wants some kind of support but pushes everyone away. He craves touch but has a barrier to prevent it running 24/7. He both pities Toji and admires him, fears him and kills anything like him. His sexuality cannot be divorced from this incident, needing a good deal of violence to get off. It’s too similar to how Donny engages his own sexuality after his assault. 

But to my knowledge, Gojo hasn’t been raped. He went through something that resembled it and Sukuna picked up on that. During their fight, Sukuna essentially dealt with that trauma. He became a sort of Toji that satisfied Gojo’s perverse needs while tearing through the very thing that had him targeted in the first place—Infinity.

This is the source suffering Sukuna seemingly liberates Gojo from with extreme violence like some kind of heretical Bodhisattva. There’s also something to be said about him using Mahoraga to do this.The Eight-Handled in its title is a reference to the Eightfold Path that’s to be followed in order to obtain enlightenment.

And they both have this trait in common—using violence to guide others towards enlightenment, a perversion of the 3rd Noble Truth. Gojo just calls it tough love.

(And notice how Megumi recalls both Sukuna and Gojo's words as he grows from a difficult fight.)

I know that Gojo does this because of his trauma with Toji and his own “growth” coming from it. It’s one of Gojo’s many destructive coping mechanisms. He’s stuck in the past trying to relive what was stolen from him. Like I mentioned before, Sukuna calls Gojo unenlightened for this. And if they’re twin flames, I have reason to believe Sukuna is the exact same way.

Sukuna finds Maki to be the most compelling of Gojo’s students. And I think there’s more to this than seeing a  fellow monster in her. She’s what he wants to be.

Not only is Maki free of the sorcery that ruined their lives, she has confronted and dealt with her trauma. She killed the source of her suffering, the Zenins, and has accepted the death of her twin she was so dearly attached to. And unlike her mentors, Maki appears to be emotionally stable because she did this in spite of her trauma, not through it. The sumo guy's compassion is what guides her. In other words, she’s obtained enlightenment outside of violence.

Maki also succeeds where Toji failed. There isn’t anything left that would cause her to waver. She stays true to herself and remains enlightened.

That seems to be a recurring thing—characters deviating from their “enlightened” state through human connections that rouse their unresolved emotional issues and then dying. Toji’s projection of his trauma from Jujutsu Society onto Gojo gets him killed. Kenjaku’s desperation for companionship has Takaba create the perfect opening for Todo and Yuta’s ambush.

Sukuna has started to deviate from himself because of Yuji. And it’s probably because he’s projecting his trauma onto him. If that’s the reason both Toji and Kenjaku were felled, it’ll be the reason for Sukuna’s downfall too. Just like that old man under the bridge.

Sukuna and Yuji

Umineko no Naku Koro ni (When the Seagulls Cry) is a visual novel about a person who is fundamentally misunderstood by those around them. They desperately want to be loved without being perceived, believing themself to be unworthy due to trauma and immutable characteristics given to them at birth. Instead of telling anyone these feelings directly, they play games akin to torture. They torment the ones they love over and over in hopes they'll see through their actions and understand them.

I’ve always compared Sukuna to this character, but for this analysis I’ll be comparing him to another from Umineko—Rosa Ushiromiya.

The youngest of 4 from a rich conservative household, Rosa was subjected to physical and verbal abuse by her father and older siblings. As an adult around them she cowers. She shows her abusers respect they don’t deserve because of her social standing within the family and tolerates their jeering.

But with her little 9 year old daughter who can’t fight back? She beats her the moment she makes any mistake. As she beats this child she screams about how everything is her fault. Rosa projects her financial woes, her childhood abuse, and systemic misogyny all onto this child that never asked to be born. She blames this child for her own shortcomings that keep her tethered to her abusers year after year.

The sad thing is that Rosa doesn’t realize why she’s doing this. She is unable to come to terms with her own trauma and remains stuck in the cycle of abuse as both a victim and a perpetrator, unable to spare her daughter from it. 

Knowing that Sukuna and Yuji are blood uncle and nephew. And knowing that by technicalities, Yuji would be genetically recognized as Sukuna’s son…I see that kind of hurt in their relationship.

Sukuna is a very good liar. Most take him at his word. He says that he hates Yuji for his ideals—how he puts his life on the line in service to others. The things Megumi, Higuruma, and Gojo do as well. And yet Sukuna admires them. Todo sacrifices himself to prop up Yuji and save Hana. Sukuna calls him a true sorcerer for this. It’s not unreasonable to conclude that Sukuna isn’t being honest about why he hates Yuji. 

I think it’s because Yuji is somehow linked to Sukuna’s trauma through no fault of his own. And because Yuji is easier to target, Sukuna uses him as an outlet.

We’ve seen this scenario play out before in JJK. Mai lashes out at Maki instead of Naoya or all the other men like Naobito who enabled or partook in her abuse because it’s the safer thing to do. She doesn’t actually hate Maki. She hates what she has to endure at the Zenin Clan and sees it as inevitable. Fighting back is scary and she really hates doing that. If the manga didn’t make that clear, the CFYOW: Thorny Road at Dawn, Chapter 4: Advancing in the Face of Fear sure does.

Yuji isn’t a cage to Sukuna because he chose to be this way. Kenjaku made him for it and even manipulated him into ingesting the fingers. But you know, Yuji is someone Sukuna can attack without consequence. 

I do not know if Kenjaku is the person who abused Sukuna or if Kenjaku merely resembles the person who abused Sukuna. Kenjaku is older than Sukuna, has a fascination with him, and has manipulated him. There are plenty of other characters that have been traumatized by Kenjaku.

Whatever the true nature of their relationship is, Sukuna is choosing to attack a symptom of his restriction instead of its source. He’s behaving no different than Mai or Rosa which leads me to believe there’s something deeper to his hatred of Yuji.

Yuji’s Role

I think that Yuji is aware something terrible happened to Sukuna. He’s not really sure what. The type of abuse Sukuna likely went through is not common historical knowledge even in Japan.

For the longest time, Yuji regarded Sukuna as a curse and denied him his humanity. But as of JJK 265, Yuji treats Sukuna like a human. He takes him through his memories and plays little games with him. He rejects the cog mentality Mahito groomed him into and says this:

“I could very well be doing the wrong thing here. So I thought I should at least let you see the humanity of someone other than yourself.”

Yuji is admits that his approach to Sukuna may be flawed.

And flawed it is. This entire chapter and offer Yuji makes to Sukuna might be one of the cruelest things he has done so far and he isn’t even aware of it. Yuji is recounting a pleasant childhood full of love and quiet moments. That’s something Sukuna didn’t have because it was taken away for reasons beyond his control.

This accidental cruelty isn’t anything new. It happens right before Junpei dies to an ability that resembles sexual assault. Yuji reaches out to him and asks what’s wrong. He notices something is off and tries to console Junpei through it.

And here he apologizes for saying something so insensitive. He didn’t know, but he had to ask. Sukuna was there to see that.

I think that's what Sukuna wants from him. He wants Yuji to acknowledge he was hurt. To recognize that something happened to him and offer something like he did with Junpei. It’s a bit odd that he humors Yuji’s kindness towards him instead of immediately opening his domain as a counter. This could be an explanation for that.

Yuji hasn’t given Sukuna the same treatment yet. In fact he’s done the exact opposite thing he does with other people. Yuji usually lets his opponent yap at him and meets them as they are. This time, Yuji is the one who does the bulk of the talking and he doesn’t give Sukuna a chance to open up about himself.

That’s not his fault at all. He’s 15 and it’s not his job. The reason he thought Sukuna was a curse for so long is because everyone else told him he wasn’t human and Sukuna never denied it. But just like with Junpei, Yuji did something really insensitive.

Yuji showed Sukuna pity then told him to die or go back into his cage.

People picked up on Yuji being posed like the Fallen Lucifer painting. I think it’s deliberate this offer is being framed as villainous. If Sukuna is outright revealed to be a former slave or a victim of CSA, on reread this would come across as wicked.

It wouldn’t be the first time a scene goes from hype to depressing on reread. I loved watching Yuji and Nobara grow as they killed Eso and Kezichu. After Choso? That fight breaks my heart. Yuji has been manipulated into killing his own brothers and he didn’t even know it.

Yuji’s status as a cage is likely reminiscent of whatever bound Sukuna to the abuse in the first place. And that’s what he’s offering. Death or existing in that state you could argue is much worse than death—a state where his body does not belong to him. Where he is forced to watch a normalish life he can’t have play out for the one tormenting him.

The anger Sukuna displays at Yuji for this is something we’ve only seen him lob towards Mahito. Hell, it’s the same kind of face Yuji makes at Mahito.

I think it’s also telling that Sukuna couldn’t feel anything towards the small things in life. That’s common for anyone who has undergone immense trauma. He was rather cordial about trying this stuff out until Yuji gave his ultimatum.

I’m sure Yuji would give Sukuna more grace if he’d just be honest with his feelings. But this guy is no different than Gojo. He bottles everything up and gets mad at others for not intuiting he’s about to explode.

Strength and Masculinity

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’ve brought this series up before when discussing how fights can be used as a dialogue between characters. In Baki, many of those combat convos ask the following:

What is strength? What does it mean to be strong? 

What is a man? What does it mean to be a man?

Various characters will answer in their own ways. But I want to focus on the man who seeks to challenge death.

This is a man, who after being raped feels like he’s less of a man. And he thinks that others will see him as less of a man if he ever admits to it. (This happens in Baby Reindeer too.)

In a misogynistic society, women are expected to tolerate sexual assault. Their identity is often linked to experiencing it. Men are expected to be perpetrators of it, not victims. This is why this character calls his rape being shown “the woman within him”.

Echoing this sentiment, Sukuna, in women’s clothing, is quite literally referred to as a girl when Mahito touches him without permission. It’s also treated as a joke. The Baki character doesn’t fare any better in fanspaces. If you mention his name, someone will eventually reply “Yujiro Rapes Mid Diff”. It’s got an abbreviation too: “YRMD”. A little in-joke since the fandom at large refuses to take his assault seriously. 

This is probably why Sukuna refuses to even hint at his abuse. It fundamentally conflicts with his identity. He’s the strongest sorcerer in all of history who would be mocked for being a victim. After all, he did just that to Junpei and torments Yuji over his helplessness. He perpetuates the cycle of shame to protect himself even though he’d benefit more from dismantling it.

And there’s another reason Sukuna wouldn’t be forthcoming with his trauma—predators will take advantage of this vulnerability and revictimize people. It’s often why those who escape abusive relationships find themselves in another. Straight up, that’s why it’s considered safer to not list out your traumas and mental illnesses on dating apps. It’s safer not to trust.

But still, this is something you eventually have to disclose with anyone you’re trying to connect with. Otherwise they won’t understand you or why certain things send you into a panic. And that’s the problem. When is it safe to do that? When can you tell someone of this thing that makes you so vulnerable? It’s not like you can show up to a first date and go, “Hi, I was abused as a child. I need to make sure you’re not going to hurt me. If your voice rises above a certain pitch I’m going to cry on the spot.” If that somehow doesn’t sour the mood, they now have the exact tools to hurt you with. That’s scary as hell.

Sukuna has been destroying absolutely anyone that can have power over him, despite him craving companionship from those of equal strength. Gojo did this same song and dance with anything that resembled Toji until it killed him. It’s a consequence of a coping mechanism this toxic. As long as they are strong, they can’t be hurt like that again. And because they are strong they must endure solitude. The loneliness is worth being safe.

Yuji’s approach to trauma is the polar opposite. He faces it and deals with it. In the same way Mahito forces sorcerers to see the worst of humanity they’ve been overlooking, Yuji is forcing Sukuna to reckon with something he’s been repressing for centuries. This is why Yuji can strike at his soul.

Outliers

This section is for characters I don’t know how to fit into the rest of this analysis and should be considered because of their direct relationships to Sukuna.

Megumi

Sukuna is rather merciful with his kills compared to other characters like Kenjaku. When he’s done playing with someone, they die. He’ll even be respectful about it in his strange little way. Megumi is the sole exception to this, putting him in a very weird spot with the rest of this analysis.

Sukuna forced himself into Megumi’s body through incarnation and has subjugated his soul. And though this has been better for combat as he wanted, Sukuna is noticeably more miserable. Yujikuna before the Culling Games is still the happiest we’ve seen Sukuna. Whether this is from Megumi’s gloominess influencing him or Sukuna no longer having a goal to work towards or Sukuna incidentally retraumatizing himself by repeating the cycle remains to be seen. Maybe it’s all of this at once.

This is probably one of those things that will make more sense to me with more information. For now, I’ll focus on how Megumi’s name means blessing. Sukuna stole Gojo’s Blessing and destroyed it. And if Sukuna is Gojo, he has also destroyed his Blessing.

That kind of makes sense. Mahoraga, a representation of the path to enlightenment, has been destroyed by Sukuna’s actions as Megkuna. Adaptation is something that could’ve kept Sukuna entertained for a very long time since it would evolve with him. It could’ve also killed him and set him free. But he squandered that blessing when used it to satisfy Gojo instead.

Uraume

Uraume is also in a weird spot. They can gauge Sukuna’s mood by his CE and anticipate his needs in an instant. And yet Sukuna doesn’t feel fully understood by them. 

That’s mostly Sukuna’s fault. He didn’t disclose he was a twin to them for over 1,000 years, so it’s unlikely they know the extent of his trauma. However, Uraume dresses like a monk and has the androgynous features considered desirable in the child acolytes that were abused in historical Japan. This could mean they went through something similar to Sukuna and share that connection. It would explain why Sukuna is so gentle towards them compared to other characters. 

In other words, Sukuna should be able to trust them of all people with his trauma. They’re loyal and have always been there for him. So why won’t he do that? 

Looking at Gojo's relationships for an explanation, this kind of reminds me of how Gojo blew off Shoko’s friendship after Geto left. If someone that close to Gojo could betray him, why would Shoko be any different? Plus he’s stronger the more alone he is. And strong people don’t need help with their emotions. (Cue increasingly contradictory and destructive behavior stemming from a combination of trauma and toxic masculinity fuelled by questionable practices based in religion.) 

Yuji differs from Uraume in how he has directly shown Sukuna time and time again that he is a person who can be trusted. Everyone who has admitted their trauma to him has been taken seriously. Sukuna sat there and watched Yuji’s soul never once stray from compassion. He may hate this about him, but Sukuna seems to know he is the safest person to be open with. I think this is why Yuji is being framed as the one to guide Sukuna towards true enlightenment. (Aka addressing your trauma instead of burying it until you no longer understand how it is influencing your actions.)

In conclusion…

I want to emphasize that I am trying to explain why Sukuna is the way he is. To do so I’ve been rather assertive about his trauma despite it remaining unrevealed.

I’m certain something really awful happened to Sukuna. Exactly what I don’t know, but it’s likely something worse than what all the other named characters have experienced. I can say this with relative confidence because of this:

Sukuna himself suggests he has suffered more than Yuji.

Gege has been very careful not to show extreme instances of child abuse outright. If any of this gets confirmed, it’ll likely be vague.

But as it currently stands, I think you can read Sukuna as a victim of CSA. This sort of thing has always been in the manga, it’s just hard to see it.

[finelyagedlemons]

been thinking about protag jessica au again..............i wanna give lady JESSIE a proper witchy outfit one of these days for her game master look but here's her in a cool cape at least

[captain--poseidon]

See, see, seeeee, Battler? There weren’t any presents in your room when you went to sleep, but what was awaiting you in the middle of the floor when you woke up? The room was locked after you entered it, and after you woke up! Admit it, there’s only one person possible who could’ve put them there!

You think you’ve got me cornered? It was obviously one of the servants! One of them used their master key to enter my room in the middle of the night and secretly place that present on the floor while I was sleeping! Give it up, Beatrice! There’s no way I’ll accept that it was anything other than a human who put that present in my room!

……………..Battler…………..you really are a fool…

Do I need to remind you……all of the servants were granted time off for the holidays!!! None of them are currently on the island!

Not only that, but nobody else in the Ushiromiya family knows where the master keys are stored!!! Meaning, it was impossible for anyone on this island to have opened your door with a master key!! *cackle**cackle**cackle* Hahahahahahahaha!!

Admit it! There’s only one person who could’ve put that present in your room, and that is the great wizard of jolliness, Santa Claus!!!

[hopelessbaddays]

my line of thought for this atrocity was "golden land -> umineko -> beatrice -> gbtrice"

[machinavillage]

shannon umineko and the stickers i found at the store

[grassoftunnel]

Natsuhi/Kumasawa Manifesto

Yes shipping. No not even straight crack, I’m like actually serious! Though I’ll be frank this is mostly going off the wall insane and just doing what I like for fun and profit rather than serious analysis! But if you’re interested…walk with me!

I wish there had been more Natsuhi and Kumasawa interactions. Lesbionically charged ones even. I was thinking about how Kumasawa really stands apart from the rest of the servants as the lone person in Japanese clothes and who also doesn’t really gaf about the Ushiromiya’s like that (and the Ushiromiyas likewise are either really rude to her and/or dgaf). She also is always talking about the original Rokkenjima mythology. It got me thinking about what Natsuhi thinks about her, and if she took special notice of her in the sea of Western things associated with the Ushiromiya’s. Kumasawa is also a seriously minor and under-utilised character considering everything, and I think that’s a shame.

I constantly think about how Natsuhi was supposed to have an affair with Gohda, and I assume it would have gone more into her own desires as an individual outside of her really pitiful life on Rokkenjima. Since here is a guy who is her social lesser, who adores her, and has a distinctly servile nature around her. Like this is a dynamic that is going to appeal to her. I really want to push back against the whole Natsuhi as a tradwife characterisation because I think it ignores that it’s literally a mask that she’s constantly trying to convince herself she’s okay with. She’s a deeply conservative woman, but she clearly yearns for power and respect of her own. Which I think plays well into her conservatism with gender, like how she’s takes such pride in calling herself the representative to the head, and in her fantasies of a supportive Kinzo, he talks about how she would have made a wonderful son-in-law. Like she WANTS to be the one with power, the “man”, even if she’s still an extremely traditionally feminine woman. Like she wants to be of course seen as steady and reliable but also to be supported and doted on (by people beneath her i.e what I think an affair dynamic with Gohda would have been). For her knowledge and contributions to be admired and recognised and seen as valuable. It’s also interesting to contrast her to Eva who is like, outside of family conferences, living as close to her best life as is possible with a husband who respects and defers to her, even if she’s nominally taking the position of his supportive wife. Like everyone recognises her place as the matriarch of her own family. Which is NOT the case with Natsuhi. Who is taking Ls left right and center every single day of her life, emotionally and literally. However I feel like Gohda is too much of an incompetent clown to make her feel like that in an actually successfully or especially compelling manner. I also think he perhaps appeals TOO MUCH to Natsuhi on the surface level, like she’s not exactly questioning that deeply if she likes this refined and servile guy who is around her own age.

And so…enter Kumasawa. Her senior by like 30+ years, lowborn, boorish, vulgar and insubordinate, and with no (visible) special standing (unlike eg. Genji) outside of her long service. But also…BECAUSE of these things Natsuhi would feel very comfortable being, ugly, raw, needy, unreliable around her. Because why should she be ashamed to be those things around someone like Kumasawa! Natsuhi is so far above her it’s inconceivable that she would ever feel unworthy in front of her! It’s just a given! She should be happy to even be spoken to by someone so far above! But the thing is…I think Kumasawa would run rings around her. And has every reason to dislike and look down on Natsuhi, for her cruelty to the servants, her posturing, and clear failure to command the respect of the true master of the house, or even her own husband and daughter. Kumasawa is a very minor character but I like the small insubordinations that peek out, and while she’s generally sympathetic to the suffering of women, Natsuhi can be a real piece of work to the servants eg. Shannon. This can create a fun dynamic where Natsuhi can be needy and unreliable, and be outwardly cruel to Kumasawa but also have a condescending affection to her. And she’s too shortsighted and up herself to even realise Kumasawa feels the same. Or if she does it’s in a I can see you hate me, but that’s okay, because you have no choice anyway. Like a dark reflection of her own entry into the Ushiromiya family. And Kumasawa could see her as this pathetic young (hilarious to write about a 47 year old) thing who is fun to toy with, especially since Natsuhi is always throwing her weight around with the servants. The way that class and gendered dynamics intertwine would be so delicious with these two as well. Natsuhi is the social better, and the Man. Kumasawa is the woman, but not in any way to actually threaten Natsuhi in regards to conventional femininity (she’s an unrefined old biddy after all). Like it’s okay and not conflicting with her conservative values for Natsuhi to act like this because Kumasawa is so beneath her. But also…Kumasawa has 30 years on her and those 30 years are not nothing…I kind of want to see her indulge Natsuhi a bit and spoil her even if (maybe especially if…) condescendingly🙈 especially since Natsuhi’s had to grow up so fast and been forced into this wet blanket wife role. I want to see her be annoying to Kumasawa like Krauss is to her.

Also would be funny since Kumasawa’s personality and habits probably irritate her so much lmfao. Like imagine the phantom thread scene where Alma is chewing really loudly and Woodcock is going insane. Also Kumasawa is the one with real control over the servants, like it’s all Natsuhi has but it’s not even real. I want to see Natsuhi take out her pain but also try to assuage her guilt about The Child Who Would Be Sayo via her. Which is so yummy because Kumasawa’s sins are so much worse! Lol and this affair might be like literally the main outlet for Natsuhi to escape her life, but for Kumasawa who has a whole ass life and family and kids, it’s nothing. This is all not to be uncharitable to Natsuhi but I personally like to see women behaving badly and being flops in their romantic liaisons. I think there’s a fun dark version of Natsuhi where she give into her selfish desires more and kind of channels Kinzo. Like making the choice to position herself with him as a way to escape the miserable pitiful life of a housewife of an unworthy man. Usurp Krauss as Kinzo’s heir instead of trudging along the path to becoming the pitiful perpetually disrespected figure of the person who was Kinzo’s wife/ Krauss’ mother. Anyway now this is making me think a lot of a NATSUHI-Beatrice Forgery where she gets masc’d up and Kinzo-like HAHAHAHA.

[dumbasswhatever]

coming up with ideas for fictional lesbians is so easy to me it's like breathing. watch this. two girlfriends who are bored with life go to random small towns and take turns being the "murderer" (who murders a few people and tries to cover it up) and the "detective" (who tries to prove it was her) and they have a blast every time pretending they don't know each other and making the mysteries more and more intense each time. bam. like breathing. now watch this. a mad scientist type woman and her girlfriend surviving a zombie apocalypse and miss mad scientist keeps getting distracted with studying the zombies and needs her girlfriend to remind her that it's a life or death situation, and then she uses some fantastical chemicals or a wild gadget to save them. oh you don't want it to be that intense that's okay i can do calmer stuff too look at this. a lesbian struggling with comphet decides that she has a crush on some guy in her school, but it's apparent to everyone that that guy likes a very cool, tomboyish girl who doesn't like him back. so she asks the tomboy (who explains that she's a butch lesbian, excuse you) to help her masc up her style a bit so maybe the guy will like her instead. but instead she finds herself fixating on her masc mentor while simultaneously feeling more comfortable in her new clothes. there we go that's a ya romcom in the making. i can do this all day. there's so many potential lesbians out there

[ampersandra]

i just did this for fun but i do want to put it on my blog so here's a bunch of comparison photos of the kyu-furukawa gardens (mainly the museum/historical house) and the location for the mission movie production in idolish7 third beat! and also it's the design for rokkenjima in umineko and it was in episode 1 of jetman

in real life, there's more garden between the house and the lawn, which you can kinda see in the satellite photo, but the actual exterior of the house is pretty much spot on! most of the photos are full of people checking out the park so its almost funny to imagine yamato sitting out here alone by this huge lawn having a breakdown.

to the right of the sun room on the lawn side is the main entrance! i found an okay photo where you can see the windows that match on the side where yuki talks with the director, and i did find a good one one to compare to the establishing shot, so you can see where it connects to the sun room.

to the left of the lawn is the rose garden! the steps were very easy to find similar pictures for, but i had a hard time finding wide shots of the garden from a similar angle as the show. the closest i got was one from the opposite side, since the layout is pretty much mirrored down the middle!

overall, the exterior is almost an exact match which is very cool to see :) i was gonna say that i didn't think they referenced it as heavily for the interior, but i just found a picture with a floor plan for the first floor and i can identify exactly which rooms they referenced now lol. anyway. the wikipedia page for the gardens mentions the first floor has western style rooms while the second floor is japanese style with tatami mats, so all the rooms in the anime are on the first floor. i mostly found pics of the interior that didn't match any room in the anime, so ill just compare what i can see in the floor plan & its small picture for each room.

okay so i'm rewriting this now that i know which room it is, aka the study! while getting screenshots, i realized all three of these scenes were in the same room, and the floor plan confirmed that for me. the picture for the study shows its fireplace with the large mirror over it, as well as the built-in shelves along the wall opposite the windows, something i think is unique to that room. the chandelier and pattern on the wall also match.

another one i'm rewriting now that i know exactly which room it matches! before i had any pictures, all i could figure out was where it was located on the outside (and i was correct!) based on the bay window placement. this is the only scene in this room and they never cross the 180 line so we don't get to see the other side, which is the only side i have actual pics of, but there's still some stuff i can check. the chandelier is a match and the doors/windows/fireplace match up with the floor plan! the floor plan photo is too bright to see how well the wall matches, but i did eventually find exactly one photo from inside the room. there is wallpaper over white square wood panels but its not exactly the same as the anime. i'm guessing they changed it bc a darker, blue color matches the scene & yamato's issues better.

OKAY THAT'S A WRAP. this was all for me, so if you aren't me and you just read this: thank you i hope you enjoyed :)