#you two are absolutely insane | Explore Tumblr posts and blogs

autisticlancemcclain · 11 months ago

Text

this is how it continued

———

This is how it ends.

———

This is how it ends.

———

This is how it ends.

———

This is how it ends.

———

Lance tries for weeks to make it end.

The words crawl up like bile in the back of his throat. Keith, he tries to say, time and time again, we need to talk. And when he manages to push through the stinging burn and say them, breath turning to dust in his lungs, Keith crooks his finger under Lance’s chin and meets Lance’s eyes and replies, just as quietly, Of course, sweetheart. What’s wrong?

And every time Lance is faced with the softness in his dark eyes, the steady way he holds his gaze. And every time something inside him cracks, desperate and howling and selfish after being deprived so long, and his bravery dries up like a tiny stream in the summer heat. And instead of saying When did you start loving me, Keith, ‘cause you woke up one day and decided we’d been together for ages and everyone thinks you’re crazy his chin trembles and his eyes burn and he cries, again, and tells Keith of the months without him.

Every day I’m sorry I left you behind, Keith whispers into the heat of Lance’s skin, and every time in response Lance knows, I do not deserve this from you. And the desperate howling selfish part of him grows stronger and stronger.

Lance needs to make it end.

———

He cannot make it end publicly.

It’s too…messy for that. It has been too long now. He hasn’t counted the days but he knows what it looks like right before Keith screams himself awake, now, knows how to press his cold hands to the side of his neck and the curve of his ribs to startle his dream-self into thinking kinder thoughts. He knows how the chip on Keith’s right front tooth feels on his tongue, his knuckles, his shoulder. He knows that Keith showers with his eyes shut out of years of habit of showering in the dark and fearing the sting of the soap.

Rarely do they stop at a hotel. Usually they sleep in shifts, staying in space for days at a time instead of resting every night. It’s horrible and cramped and makes everyone cranky, but it brings them home faster. After everyone is fed up of air travel, which never takes long, they often stop somewhere small and uninhabited and out of the way – a moon, a burgeoning planet, a long-abandoned one. Whatever is closest. On those nights, the nine of them, plus the animals, will stretch and enjoy the fresh air, if there is any, maybe watch a setting sun. And then they will make a fire and cook rations or a real meal, if they can find ingredients and Hunk or Lance have the energy. And after everyone has eaten and conversations have long begun to slow, after teeth have been brushed and faces have been washed, after their friends have nodded off one by one, Keith will push their bedrolls together to make one, spread a blanket over the two of them, and hold Lance close; without question, without hesitation. And he will be out in moments, gently snoring along to whatever alien crickets are crooning into the night, and Lance will trace the shape of his face under the light of the dying embers and forget to be guilty. He will feel safe in Keith’s hold like he does not feel anywhere else and his feet will be warmed between Keith’s thighs. He will fall asleep with a smile on his face.

———

Five months into their journey, Coran says: “I have an announcement to make.”

“What’s up?” Pidge asks, swinging her feet from where she sits sideways in her chair, hair a mess, face buried in the not-quite-DS they found a few planets back. Lance smiles and rolls his eyes.

“In the next quintaint, we will be approaching Deruyn. The Deruy were close friends of the Alteans, eons ago, and the Chancellor has extended to me an invitation to reacquaint ourselves. If you’re all amenable, my dears, we have been invited to stay in the guest wing of her royal quarters for a week.”

Lance straightens up, rubber band ball he was toying with slipping from his grasp. He hears it bounce several times behind him before an abrupt stop, and then a very angry moo. He winces.

“Sorry, Kaltenecker.”

She huffs, clearly still miffed.

Everyone is talking over each other, eyes bright and excited through their video connections. Coran looks pleased, watching them all chatter. Lance catches his eye and smiles at him.

A whole week in a royal wing…and a real royal wing! Nothing like the paladin quarters they lived in on the Castle. They bedrooms will be huge, probably; fancy and ornate. Maybe a canopy bed and pillows comfier than Lance can even fathom.

And baths. Lance hopes there are big, deep baths he can almost swim in.

“You look dreamy.”

Keith’s amused voice startles him out of his daydreaming, although he can’t bring himself to be embarrassed. Everyone else is still chattering on, bubbling with excitement — no one is looking at him.

“I am,” Lance admits. He puts a hand to his forehead and sighs, more dramatically than necessary, pleased when it brings the expected reaction of Keith’s fond little smile. “There might be baths, Keith. Real baths. And oils and soaps and soft towels. And pillows! And a queen-sized bed!”

Keith’s smile turns teasing. “What you need is an Alaskan king.”

“Oh, shut up.”

Keith’s laugh has gotten rumblier since his space whale growth spurt, that’s the only way Lance can explain it. It’s softer and darker and suggests smile lines around his eyes he didn’t have before. Every time Lance looks at them he imagines them getting deeper and wider.

“Been a while since we’ve been somewhere with a real bed, huh?”

“Yeah.”

“Gotta make sure they don’t book us two separate rooms again,” Keith huffs, crease appearing between his eyebrows. “I still don’t know what that was about.”

Lance’s mouth goes dry.

I do, he should be saying. I know exactly why there were two separate rooms booked for us. In fact I can guarantee it will happen again.

But he is a coward. And the words die somewhere in his belly, before they can come anywhere near his throat.

———

It takes time to reach Deruyn. Some of this is because Shiro read the map backwards and set them back two days. (“I’m dyslexic!” he had defended, to their booing and whining. “There is not booing and whining to dyslexia! Do you boo and whine a lisp? No! Let me live!”)

By the time they finally manage to drag their poor, exhausted Lions to the sizeable planet, everyone’s excitement is so palpable Lance doesn’t need an emotional bond to feel it.

“Fresh air,” sighs Allura.

“Good food,” seconds Hunk.

“People to talk to that aren’t you fools,” agrees Pidge.

“A mattress,” Keith adds, and shoots Lance a wink.

Despite himself and rolling mess of feeling in his stomach, Lance flushes.

Coran accepts a call as soon as they’re within radio range, greeting a narrow-faced, pink-skinned woman who must be the Chancellor. Immediately they delve into a conversation that Lance doesn’t even pretend to follow. He recognizes Coran’s tone from the many times his mother would strike up a conversation with an aunt or uncle or any guest at all as they were leaving the house — this conversation could be hours long. His eyes glaze over, sliding away from his Lion’s display to take in the planet in front of him.

Deluyn is large, that much is obvious. It’s hard to scale something with such magnitude when it’s so close to your face, but if Lance had to guess, he would place it somewhere between Jupiter and the Balmera. It has no rings but the whole planet seems to glow, slightly, although Lance can see no clear source for it. The colours visible from orbit are entirely alien to him, so he’s not sure what is water, if anything is, but from the angry look of the planet’s poles, the dark green things are clouds.

What feels like a million hours later, but it probably only around fifteen minutes, there’s a click as the Chancellor and Coran end their call, and they are urged forward into landing. As they get closer to the landing strip, Lance notices dozens of children sprinting along the barrier, holding signs and flags and cheering. He grins, twisting his hands tighter around Red’s controls, hanging back just slightly from formation to give himself space to move. Then he yanks the controls to the side, feeling Red roar as she whips around in a tight circle, flames rolling down her back. The children jump up and down, fists raised, mouths open in shouts of joy. Several of their grownups watch with wide grins, too, necks craned to watch Lance spin around.

He pulls back into formation after a couple of tricks, sliding smoothly in between Black and Blue. His heart rate ticks up, and suddenly his undersuit feels tight, itchy. He squirms in his seat. When Shiro’s face pops up to relay landing instructions he flinches, and immediately hates himself for the hurt look that eclipses his friend’s face.

“…Lance?” Shiro asks softly, confusion lining his voice. He looks like a kicked puppy. Lance is a monster.

“I’m just jumpy, I’m just jumpy,” he assures, forcing a smile and holding it there until Shiro’s shoulders relax. “You know. So excited to see where we’ll be staying.”

“Yeah, me too! Coran even said they have this massive sauna they’re really famous for. I can’t wait. I miss what saunas do for my skin. And, plus, having our own rooms will be nice.” His excited grin turns sly. “Well, most of us will have our own room.”

Lance’s heart pounds for a totally different reason. “Okay thanks Shiro bye —”

He reaches to cut the connection but Shiro stops him, laughing.

“No, no, wait, I’ve got landing instructions. Their staff is limited so we gotta go one at a time, okay, stay in your Lion once you’re parked in case you need to adjust…”

Thankfully it’s nothing too complicated. Keith lands first, and Lance next to him, then Pidge, then Allura, then Hunk. Once they’re all parked and confirmed by ground control, they’re cleared it exit, none of them taking their time.

Well, everyone else disembarks pretty fast. Kaltenecker remains and stubborn pain in the ass as usual, and Lance is stuck trying desperately to drag an 800 something pound cow that has absolutely no desire to work with him. “Kallie,” he begs, tugging uselessly on her leash, “you dumb ass fucking animal. Please. I am begging you. I put up with your farts in the cabin for days on end, which has got to be shaving years off my life. The food I feed you could be better but in all fairness, I’m getting the same slop you are, so. Maybe cut me some slack.”

She doesn’t even moo at him.

Lance tries bribery.

“Say, you want good food? I bet they have good food on this planet. Nice, sweet, fresh grass. You love grass. You want grass? Please come on, Kallie. Everyone else has already left and I’m going to die of embarrassment if I’m the last paladin left, doing the walk of shame with his stubborn cow behind him. The jokes will write themselves. I’ll have to quit and join a travelling circus, and then who will put up with you? Remember that Allura wants to turn you into hamburgers.”

Clearly hamburgers were the wrong thing to mention, because if cows can glare, Kaltenecker does. She even has the audacity to huff her cow breath at him and drag them both further into Red. Red, who is a traitor, does absolutely nothing to help and is in fact laughing herself sick, loudly, in Lance’s mind.

“I shoulda left you in that damn mall,” Lance grumbles, not meaning it. He sighs and collapses against his cow’s side, closing his eyes. Just his luck. The rest of his friends are gallivanting about a fancy-dancy castle as guests of honour, and Lance is babysitting a methane machine. “I’m gonna have to sleep here tonight, aren’t I.”

“Well, I hope not.”

Lance yelps, jumping to his feet. Unfortunately, in his haste, his boot hooks around Kaltenecker’s hoof, and since she is still unmoving, he goes sprawling. Fortunately, Keith got stranded in a space whale for two years and took Prince Charming classes, or something, so he catches him.

“You’re such a nervous wreck,” Keith says fondly, leaning down to kiss him instead of letting Lance stand like a normal person. (Not. That Lance. Is necessarily complaining. But for prosperity’s sake, and everything, keeping a man in a dip for too long is just undignified, Keith, you should know that, you graduated top of your class from Fairytale University. So. Pull yourself together.)

“Am not,” Lance protests. He sighs as Keith adjusts his hold on him, patting around blindly until he finds the edge of Keith’s braid and undoing it. He slides his hands in that thick hair with a relish as soon as it’s free, making Keith chuckle (but, wisely, not say anything, because the one and only time he commented Lance avoided him for two days out of pure embarrassment).

“I sent the rest of the team on when you didn’t come out. Figured Kaltenecker was giving you trouble.” He meets Lance’s eyes and grins, dark eyes mischievous and sparkling, and Lance is seriously going to walk off a bridge because who authorized that, who, who approved the combination of big dark eyes and a crooked grin and a face that promises trouble. Huh? The fuck’s up with that. “Figured I could help.”

Lance manages to find a shred of dignity within himself and steps slightly away. “That’s great, Noble Kent, but last I checked you couldn’t drag an 800 pound heifer either, so.”

Keith nods. “‘Course not. Brought Kosmo. Here, boy.”

The wolf poofs to existence at Keith’s side, barking excitedly. He bounds up to Lance first, expecting his usual barrage of kisses and head scratches (which he gets), then gets all shy as he walks over to his crush. Kaltenecker looks over at him and no lie rolls her eyes, looking away again. Kosmo, however, is undeterred, barking happily before blipping them both out of existence.

“She is never gonna love you, dude,” Keith says, shaking his head.

Lance snorts, taking Keith’s offered hand and heading down Red’s ramp (finally). “Wouldn’t it be weirder if she did? I think we’d have to break them up. Like, ethically.”

“Could be a Donkey and Dragon situation.”

“Shut up. It ruins my perception of you every time I’m reminded you’ve seen Shrek.”

“You’re perception of me,” Keith repeats, musing. His right eyebrow twitches, and it’s too small to see at arm’s distance, but Lance knows a tiny scar ripples there, from when he was fourteen and got it pierced in defiance of Shiro. “What is your perception of me?”

Lance keeps himself steady. He puts one foot in front of the other and keeps his left hand held in Keith’s. There is nothing interrogating in Keith’s tone, he reminds himself, although maybe there should be. When he looks up Keith’s eyes are open and curious and something else he doesn’t know how to name.

“You’re honest,” he says quietly. He means to say more, has a list he could probably recite bullet by bullet, but he doesn’t.

“Honest,” Keith mutters to himself. “Huh.”

Lance swallows. He doesn’t know how he could possibly explain the weight to that. Keith is committed and brave and talented and beautiful. But more than that he is truthful. Does he see? Does he know?

An empty landing pad passes remarkably slowly when two people walk in silence. There are crafts of all kinds and tarmac upon tarmac. Eventually, though, they start walking somewhere a little more crowded; thin, reedy people resembling the Chancellor waving to them as they pass. Lance would stop to ask for directions, but the giant castle is kind of hard to miss, so they just walk in the direction of it hope their armour will do the talking for them.

Keith catches a richly dyed ribbon blowing by as they pass through a crowded market, trapping the fine thing between his fingers as it passes between them. It’s a strange and familiar colour, walking the line between indigo and deep violet. He glances around for a stall that might be selling them, and when he can’t find one, he turns to Lance and says, “Hold out your arm.”

Lance does. Carefully, Keith unlatches his vambrace, tucking it under his arm, then peels up his undersuit to lay bare his wrist. His tongue sticks out of his mouth slightly in concentration as he ties it among Lance’s dozens of string bracelets, right above his blue Moana watch still counting the hours back home.

“There,” he says proudly. “Looks good on you.”

Lance reaches up and kisses him until neither of them can breathe.

———

They know they will be teased when they finally meet with their friends at the castle.

“Let’s not,” Keith suggests, nodding at the guards who move to let them past.

“I’ll find out where our room is?” Lance says.

Keith nods. “Yeah, we’ll need that.”

“‘Kay, wait here. Don’t be obvious, or Allura will smell drama and come running.”

He’s jinxed them by saying anything at all — no sooner do the words leave his lips does Keith tense up, screwing up his face in an attempt to appear neutral but resembling instead someone who is trying very hard not to sneeze. Lance manages not to laugh, squeezing his hand once before darting off, choosing a random corridor and going with it.

Thankfully, he manages to find a person who holds a clipboard and walks with a purpose, so he assumes they know what they’re doing. Double thankfully, they do, and not only direct him to their rooms but press a labeled map into his hands. It even has a schedule on the back for mealtimes and room cleaning, which is something Lance totally forgot existed. He runs back to Keith quickly, careful to avoid the kitchen and the armoury — places he’s sure his friends will be.

Keith is earnestly inspecting a mounted sword on the wall when Lance returns. His nose is maybe an inch from the polished blade, probably less, honestly. Lance bites his lip to hold down a snicker and takes a picture, intending blackmail, but it ends up being the perfect shot — his hair is slightly wavy from the braid he wore earlier, and there’s a cute scrunch to his nose, not to mention his squinted eyes like he’s wishing for reading glasses. It becomes Lance’s background almost without him meaning to.

“C’mon, nerd,” he calls, smiling as Keith startles. “I got a map and someone is gonna meet us there with a key. I wanna check it out, get a move on.”

Keith does indeed hurry over. “I’m so glad they got it right this time. One room! No need to debate over it.”

Lance falters. He’d been so caught up in the excitement of the room and then Kaltenecker and then…Keith, he forgot. They’re not what Keith thinks they are, what Lance has been pretended to be.

“Right,” he manages, mouth suddenly dry. He desperately tries to shove the enthusiasm back in his voice, forcing his face into a smile when Keith looks back. “Right, yeah, that’s so much less of a pain.”

There is indeed someone with a key when they get to the room. The door is light, in both colour and material, and although his feelings are still heavy and conflicting, his excitement wins out. Keith takes the key, thanking the attendant, and a small voice in the back of Lance’s mind whispers this could be them some day, on Earth, with a key of their own. He does his best to ignore it.

“Ready?” Keith asks.

“Please oh please let the bed be bigger than Red’s cabin,” he responds.

Keith snorts. Slowly, out of what must be a desire to torture Lance, he slides the key into the lock and turns it. Lance doesn’t hesitate before shoving it open.

“It is bigger than the cabin!” he shouts, and wastes no time running up and onto it.

He practically sinks into the mattress, so soft it’s like it’s made of hopes and dreams. The blankets are the fluffiest things he’s ever felt in his life. And the space — he stretches out as far as he can, fingers to toes, and not a single limb comes even close to the edge of the bed.

The mattress dips beside him, and a hand slides along the back of his neck.

“This is you before you notice the big canopy.”

Lance lifts his head immediately. He fights back a very undignified squeal when he does, indeed, see a gossamer blue canopy hanging softly from the high ceilings.

“And the windows too, sweetheart. Floor to ceiling, like you like ‘em.”

Lance scrambles to his knees to check. They are. And the view is breathtaking.

“And the bathtub? Is it huge and clawfooted?”

Keith ducks his head, smiling, and presses a lingering kiss to his cheek.

“I’ll go check, you grandma. You take your armour off.”

He listens for Keith’s footsteps, waits for them to go from carpet to tile, waits for the “Yep! Claw foot!”, waits for the sound of rushing taps even though he didn’t ask, even though Keith didn’t offer. He turns on his back and stares as the canopy, inspecting the padded wooden roof structure from which the gauzy curtains hang, tracing its sturdy edges and even corners.

Keith makes him feel so warm.

He’s felt a lot of cold, in a lot of places, for a lot of his life. Part of it is the stupid anaemia that he gets to live with. Part of it is stuff he doesn’t like to think about. But Keith comes in with his warm hands and warm smile and stupid big warm heart, and Lance is thawed in every frozen inch of him. It’s good. It’s so good.

He wants it so desperately.

He comes when Keith calls, stripping his armour along the way. Keith is waiting for him in the bath when he gets there — and it is huge, close enough for them to both sit comfortably without brushing so much as a toe against each other, but of course Lance settles his spine against the curve of Keith’s chest the second he slips inside the steaming water. The room smells of sandalwood and lilac.

“You are so important to me,” Keith murmurs, seemingly at random, pressing his lips along Lance’s stretched neck, following the arch of it as he tips his head back to rest on Keith’s shoulder.

Lance’s breath sighs out of him, rising and mixing with the steam. He lifts a shaking hand to twine it to Keith’s, squeezing. Their joined hands are wet against his chest. Together they rise, up and down, up and down, up and down, with every shaky breath.

———

They giggle like teenagers, sneaking into the kitchen well after dark and well after most of the castle has finally gone to bed.

Neither has wanted to face the team’s teasing just yet, or even the team at all, really. Their room can’t be called a room so much as a small apartment — bookshelves lining the wall that Keith had been eyeing for hours, a massive wardrobe, a beautiful velvet sofa, even a small icebox. Neither of them have said it but it feels, implicitly, like their own little space, their own little commune, beyond the privacy of a hotel room. It feels like somewhere they could live. They’re billions of miles away from Earth and anywhere Lance could consider home, but it’s nice to pretend, and neither of them is ready to hop back into reality — or Hunk’s roasting — quite yet.

(It is not what Lance’s mind is pretending. In no world could they ever live in a castle like this. It is foolish to spend his time fantasizing about a future they will probably never have, a home they will never build. The guards stationed at every door should break Lance’s fantasy. But he has always been very, very good at pretending.)

“Just grab some of everything,” he whispers to Keith. “We have actual room cleaning, remember? We can have some dirty dishes, no one will mind.”

“There’s certainly space for it,” Keith agrees.

In minutes the two of them have piled almost more than they can carry. They’re much slower on the walk back, but no less giddy. As soon as the door is locked shut behind them, they’re sat on the bed, even though eating on a bed is disgusting and usually Lance would never permit it, and stuffing their faces.

“Oh my God, this thing tastes like strawberries. Here, try.” Keith holds up a juicy looking silver fruit, Lance leans over to bite it. It does taste like strawberry. He dusts off his hands and crawls over to chase the taste off Keith’s tongue.

“Strawberries get you going?” Keith mumbles, and Lance grins and says, “Something like that.”

They have more food than they can possibly eat and they eat until they can barely move. The rest they wrap up and stick in the icebox.

He can feel Keith falling asleep, head getting heavier, so he pats him gently on the hip and whispers, “Come on, get up, at least get ready first. Wash your face.”

Keith groans. He squishes his face further into Lance’s belly, making him squirm and laugh, and mutters something he can barely here. “Hnnngh. You first. I’ll catch up.”

“You’ll fall asleep,” Lance scolds, but he gets up first anyway. When he glances behind him he sees that Keith has at least managed to put one foot on the ground, so maybe he really will get up and put some pyjamas on.

Lance snorts. Yeah, right.

He takes his time and pokes around the bathroom, having been too preoccupied to do so beforehand. There’s a stack of fluffy towels and cloths on a shelf, and even a couple rough ones for exfoliating. In a cupboard lies dozens of soaps and oils and creams and a million other things, labelled in that same holographic translator stuff the Olkarions use so Lance can read them easily. He is impressed by the wide range of selection — he’s been slowly rebuilding his skincare collection, and will indeed be looting at least half of these bottles to complete it. There’s enough stuff here to do a whole soak. Nice.

Then he turns towards the sink. And he stares.

And he starts to cry.

Laid out exactly as he likes it is his stuff from his pack. His toothbrush, his primary face wash, his hair brush, his lotion, everything. In order of how he uses it, with the sink in the middle, and everything an appropriate distance from the sink so he doesn’t soak the whole counter trying to reach for whatever comes next in his routine. A setup his has perfected over many years and has had genuine conniptions over misplaced steps and wrong orders. Something inane and stupid and that only matters to him.

Of course Keith has noticed, of course Keith has memorized, of course he has replicated.

Lance is a horrible, horrible person.

This is has to be how it ends.

“Keith!” he shouts, and the man comes in running, half groggy and robbing the sleep from his eyes. He’s in a t-shirt and boxers.

“Lance?”

“My brush is — in the wrong place.”

Keith inspects him carefully. “You’re crying.”

“Because the brush is in the wrong place! I keep it in the same spot, I like it here, you know I like it here, why is it —”

He interrupts himself with a great, heaving hiccup, so large it shakes his whole body, and he’s furious with himself, with his shaking hands, with the careful look on Keith’s face.

This is how it ends.

“This is not where my brush goes,” he insists again, desperate to keep his voice steady, desperate to make it angry.

“Okay,” Keith says simply. He walks over and pulls the brush gently from Lance’s hands. “Where do you want it?”

Lance tries to breathe in. His chest shakes and shudders, poking holes in his voice. This isn’t working. Why isn’t it working?

“No, you’re supposed to — I’m being unreasonable.”

“You’re upset about something.”

“Something stupid.”

“Okay. I’ll fix it. I can fix it.”

“No, you can’t — I’m not —”

The rest of his strength leaves him.

This is how it ends.

Why can’t he make it end.

Slowly, Keith reaches out to grab his hands. Lance lets him, like the coward he is.

“Come to bed, sweetheart. You’ve had a long day. You need to sleep.”

“Okay,” he whispers, defeated, squeezing his eyes shut. He keeps them shut as Keith guides him to the giant bed, as he pulls back the covers, as he crawls in and waits for the sound of the light switch to be flicked off, of the tiny creak of Keith’s weight as he joins him.

For a long moment Keith is quiet. Long enough that Lance would assume he’d fallen asleep, except that he still sits upright, except that his hand has slid under Lance’s shirt, and his thumb traces a line across the small of his back, over and over again.

“There’s something you’re not telling me,” he whispers.

A new tear slips hot down Lance’s face.

This is how it ends.

He knows, or at least he must suspect. Maybe he realized his mistake some time ago, and has been waiting for Lance to fess up, to explain why he went along with Keith’s mistaken affection in the first place. Why he used Keith, confused as he was, for his own selfish needs.

“I’m sorry,” he says hoarsely. He can’t bring himself to turn around, to sit up, to meet Keith’s eyes.

Keith’s hand doesn’t so much as twitch. “What for?”

“For leading you on.”

That certainly gives him pause.

“Leading me…on?”

“Yeah.” Lance sniffles, dragging himself upright and away from Keith’s affectionate hands, huddled against the massive headboard. “You came back…confused. I don’t know. You thought we were in love. I wanted it, so I let you. I’ve been manipulating you.”

“Lance…” Even only in the silvery blue moonlight streaming in from the windows, Keith’s face is unmistakable, obvious; strong brow creased in worry, head tilted in confusion, face pulled with something like desperation. “Lance, we are in love. Aren’t we? I love you. And you love me, I know you do.”

Lance shakes his head. His tears make his face crumple and he knows how ugly that makes him look, so he hides his face.

“No, I made you feel that way, I didn’t correct you back then and it’s habit now so…”

He trails off. Keith doesn’t respond. He wonders if he’ll stay the night, bed surely big enough for him to sleep without touching Lance at all, or if he’ll have to go get a new room.

A tiny, tiny part of Lance’s brain recognises the irony in that and wants him to laugh. But the steady breaking of his heart keeps it at bay.

“…Back at the tarmac,” Keith says what feels like hours later, startling Lance out of his skin. He looks up at the man with wide eyes, having half-convinced himself he was already gone, and Keith meets his gaze determinedly. “Back at the tarmac, you said I was honest. Did you mean that?”

Lance swallows.

“Yes.”

Keith holds his gaze, looking for something, then nods, having found it. “Believe me then, sweetheart.” He crawls forward, slowly, as if he is afraid Lance will startle away from him. That fear is what startles Lance out of his stupor, out of his guilt, out of the dread that has been building in his stomach for months. He hasn’t seen that kind of fear — the fear of getting too close — on Keith face since he came back. And never does he want to see it again. He throws himself into Keith’s arms, too hard, hard enough to hurt, but Keith catches him and holds him and squeezes just as painfully tightly. “I love you, star of my skies.”

“That’s cheesy as hell,” Lance croaks, and Keith laughs, wetly and beautifully. “I love you too.”

“Good.” Keith kisses the top of his head. “Good.” He exhales, long and shuddering; relieved. “God, I spent two years waiting for this exact moment.”

The statement strikes Lance as odd. “This exact moment.”

Keith tenses. Lance tenses, too, and immediately he relaxes again, breathing steadily until Lance matches him.

“On the space whale, time was…stretchy.”

“You mentioned.”

“Two years I lost.”

Lance tightens his hold. “I know.”

“Most of it was survival camping, really, but there were these visions, sometimes. For Krolia and me. Our pasts. You guys, in the present.” He takes a breath. “Our future.”

Somehow, Lance gets the feel he’s not talking about his and Krolia’s.

“Our future?”

Keith’s breath tickles his neck. Lance doesn’t dare move. Goosebumps pimple his skin and he lets them, shivering, warmed.

“Yes. So much, all the time. More than anything else we saw. Just — tiny snippets, here and there; your face when you sleep, your fingers on a bow, you dragging me on a surfboard and a million other places I woulda followed you to anyway.”

One of his hands slides down Lance’s ribs, fingertips light enough to make him shudder, and rests, cupped open at his hip. “I saw this,” he admits. “Not — the whole conversation, or why, but my hands on you, in this bed, in the moonlight. It kept me going.”

Lance closes his eyes and tries to imagine. Stuck in a strange place where days don’t seem to pass with a stranger who claims to be his mother, watching visions of himself in the future, over and over again.

“No wonder your head was all wonky.”

“Yeah.”

“You’d already been with me. For two years.”

“For twenty. Thirty. Seventy.”

“…That’s a long time, Keith.”

“God, I hope so.”

Lance smiles. “You gonna stick with me that long, hotshot?”

“Like glue, darlin’.”

Lance looks up and, sure enough, Keith’s eyes are closed, face slack. He’s clinging onto consciousness with every bit of strength in his body, things like keeping his accent in check losing priority. Lance settles again against him, guiding them gently so they lie comfortably against the pillows, and breathes out, slow and long.

“Tell me about our future.”

“House on th’beach,” Keith murmurs. His words are slow and pulled apart. “Stone’s throw from your mama’s.”

Lance traces sleepy circles on his skin.

“Yeah?”

“Yeah. Little boy with hair like yours followin’ every little thing you do.”

His breath hitches. He hadn’t thought about that — hadn’t let himself think about it. It’s dangerous, for more than one reason.

But tonight they’re safe. Under the silvery moonlight, with a bed three times bigger than they are, nothing can touch them.

“What about a little girl with your smile?”

“You got it.”

Lance’s smile is warm and giddy, tucked into Keith’s arm, etched there like it’s permanent. “Good. Goodnight, mi alma.”

“Night, baby.”

This is how it stays, forever and ever and always.

449 notes · View notes

thepersonperson · 5 months ago

Text

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

Part 1 Part 2 Part 3

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.

#cactus yaps #I need to have my weeaboo license revoked.#How on earth did I miss this?#GEGE WHAT DID YOU MEAN BY THIS.#Hi yes I will dress as a traditional groom on Dec 24th the most romantic day in Japan after someone else called the arrangement a date.#Is this even subtext at this point?#Why can’t these men use their got danged words instead of Umineko levels of psychological warfare.#Sukuna: ''Gojo is clearly driven by lust. How do I have s*x with him without actually having s*x?#Fighting and death are basically the same thing as s*x so I’ll do that and hopefully he sees that I love him.''#Gojo to Geto: ''Sukuna gave me the best *rgasm I've had in years. I think he hates me.''#Geto: ''Huh.''#Absolutely fascinated by girlfailures Sukuna and Geto horribly fumbling Gojo in completely different ways.#I want them to fight over him in the most passive aggressive way possible.#Gojo was meant to be a romcom harem protagonist.#Though Sukuna should be way more ok with poly given Heian rules on relationships.#But you know Geto was also ok that someone else was able to make Gojo feel good.#I like that prioritization of his pleasure. Even if it came a little too late.#Much to think about.#Consider this my Sukugo manifesto part 2.#Update 8/14/24: One of these days I'm just going to have to make a new post.#Update Cont: Sukuna calling Gojo his mid unenlightened husband wife spouse all at once using two kanji is truly insane.#Update 8/19/2024: All according to Keikatsu.#sukugo #ryomen sukuna #gojo satoru #jjk spoilers #jujutsu kaisen #lemons

235 notes · View notes