HE LOYST HIS FUCKING MELANIN
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@loneearl
HE LOYST HIS FUCKING MELANIN
me when I remember I have free will
i saw an incredible post on tiktok and i wanted to expand on it, because it's genuinely amazing. all the credit to @noesbf on tt for the idea that inspired these thoughts.
geto's character is threaded through with motifs of consumption. he takes things in, whether they be curses or daughters, and is spurred by intense empathy that ends up going in the "wrong" direction once he takes the entire jujutsu world under his wing.
when we're introduced to him in hidden inventory, our first glimpse is of him consuming a curse. he's also alone, in a dark alleyway, a symbolic image that parallels his journey throughout the story. he's a consumptive force, a facet of his being that ultimately leads to his undoing because he consumes the responsibility of "saving" the strong, who are burdened by the weak.
gojo, on the other hand, repels. he's an outward force, extending out a physical barrier that creates distance between his body and the world. where geto invites, gojo rejects. their abilities are constructed as diametrically opposed to one another's.
through the motif of gojo's abilities, this image captures their consume/repel dynamic in a singular shot. after riko's death, gojo leans into red, which repels. he focuses on growing stronger and in doing so, isolates himself from the world (and subsequently, geto). on the other hand, geto leans into blue, which aligns with the consumptive nature of his character. he harbours riko's death inside of himself and it festers, like a curse.
black holes are all-consuming vacuums. they subsume everything around them and create an inescapable vortexâ once you're pulled in, you're never getting out. it will literally eat you and in doing so, makes you an everlasting part of it.
white holes, on the other hand, function in opposition to black ones along the same axis. where black holes pull, white holes push. nothing can enter them; they're doomed to a lonely eternity because of the force that holds the universe at a distance. nothing outside of it can affect what goes on within, yet it affects everything around it.
however, white holes can be subsumed by black holes. while nothing can enter them, if a white hole were to cross paths with a black hole, its consumptive force is so powerful that it would eat them too.
after geto and gojo experience a rapture in their relationship, gojo withdraws from the world, holding everyone at a literal and figurative distance. yet, even while he's alone, he's endlessly drawn towards geto. his eyes are bound but his soul isn'tâ it's tied to the piece of him inside of someone else, and gojo visibly feels the pull.
white/black holes also correspond to the colours associated with gojo and geto's characters (they align with their yin/yang dynamic, where yin (black) symbolizes darkness & the moon and yang (white) symbolizes light & the sun).
yin/yang are more than two halves; they form an indivisible whole. they become one another: light turns to dark, the moon replaces the sun in the sky, life transitions into death only to be born as life again.
if two celestial bodies exert oppositional forces upon each other, they function in equilibrium. geto's consumption was growing alongside gojo's repelling, reaching an event horizon when he took the lives of 112 villagers and forcing the two of them out of equilibrium. he continued to consume (curses, money, vulnerable people through his cult) until he died and took gojo's soul with him.
consumption can only exist if there's a repellant force pushing back. geto and gojo are not opposites, instead, they each contain the otherâ every yin has yang within it and vice versa.
they are borne of each other, they are unknowable without the other. they are more than matching; together, they are complete.
the op of jjk season 2 is rife with symbolism. there's one particular motif, however, that foreshadows the trajectory (and tragedy) of gojo and geto's love story.
almost immediately, we see geto running through the rain. the stylistic choice to portray him holding his bag over his head is deliberate, because it emphasizes what he conspicuously doesnât have but so clearly needs: an umbrella.
gojo, on the other hand, is not operating with the same sense of urgency, seen through him taking his time looking at a cat. gojo has what geto needs, but he's not rushing. their behaviour is incongruous; geto is hurrying to get out of the rain, and gojo remains still, because heâs absolutely not hurrying at all.
the sense of urgency is compounding, seen through geto bouncing his leg. heâs waiting impatiently in the rain, and he's not using his bag to cover up his head anymore. geto knows gojo is coming; that's why he's impatientâ because he's waiting for someone who has what he needs that hasnât shown up yet.
geto needs him, yet gojo doesnât pick up the pace. this is despite the fact that he needs to because itâs raining and geto doesnât have an umbrella. we, as the audience, feel geto's impatience and we're urging gojo on, yet he still doesn't go any faster.
sharing an umbrella is an established trope in japan. itâs widely recognized and practiced enough to have its own designated terminology.
gojo is bringing an umbrella for them to share. that's why itâs repeatedly reinforced to the audience that geto doesn't have one. thatâs also why the shots cut between them; it highlights what gojo has that geto doesnât, and in doing so, ties the narrative together through the umbrella.
by the time gojo finally shows up, the sun has come out. gojo lowers the umbrella and smiles sheepishly, rubbing the back of his neck. contrarily, geto almost seems resigned, like heâs accepted the fact that gojo took too long. they canât share the umbrella anymore because they missed their chance to use it.
we can see that geto is saying something to gojo when he finally shows up with the umbrella. you know what i would bet actual money it probably was?
âyouâre late, satoru.â
from 8 months ago
animated by mee :)) watch the full thing heree
No one waited, but I'm back
too much stuff about satosugu angst and whatnot i need more brainrots where it's just gojo hanging upside down off of geto's bed on a hot summer night, testing to see how long he can go before he gets dizzy as geto plays something on the ps3. an abandoned magazine splayed out over his chest as he blows in geto's ear to try and distract him, occasionally sitting up to pop the strawberries geto gets him from the convenience store every afternoon after classes into his mouthâ they're lukewarm now. an orchestra of cicadas singing louder than the soft music coming from the screen, blue light pooling on geto's face.
to me satosugu has always felt like sticky summer nights, closed eyes, open windows with curtains rippling in an occasionally cool breeze. raspberries blown into sweaty skin when gojo thinks geto is asleep, but geto wants to hover in this stasis just as much as gojo does. two dragonflies, two koi fish, two hearts, twin flames.
i like to imagine gojo realising that geto is the only one in the world who has ever understood him earlier. they are two parts of a whole, the right and left atriums of a heart that cannot function without its adjacent side. so in this timeline, gojo sees geto getting haggard and pries just that tiny bit more, holds onto him just that tiny bit harder, in between his endless stream of solo missions post riko's death. sleepovers become regular again; there are whispered conversations veiled by the whirring of geto's obnoxiously loud ceiling fan about grief and purposelessness and isolation and regret, but the cicadas chirping through his open window are a constant reminder that the world continues to turn with them, around them, in spite of them. this was still the happiest summer of both their lives.
"are you the strongest because you're gojo satoru, or are you gojo satoru because you're the strongest?" geto asks at some point, and this time the conversation isn't laced with the cyanide of a bitter almond, and there is no shinjuku crowd to keep them split apart like a river from the sea. instead, they are connected by a blanket and barely brushing fingers, hanging in the delicate balance gojo is battling to maintain. he forbids the iron of the world from sharpening geto's golden heart into a knife's edge; gojo himself may be a perfectly polished weapon, but he'll be damned before he allows geto to become void of his gentility and morality, his unwavering humanity.
"i'm okay with righteous bullshit as long as it's coming from you," gojo murmurs, just a minute before they fall asleep. the vulnerability in his voice seeps into the inch of space between them like blood on his hands, which he will soil time and time again if it means he can preserve the pearl of their youth for which he will die before it loses its lustre.
"and one day we'll change the worldâ because we're the strongest, and i can't do it without you. so we're stuck together from now on, 'kay? let's go kfc tomorrow, fuck yaga."
and just like that, it is not hard. it has never had to be hard. how sad that it ended up so.
I cannot stop thinking about this part of the JJK opening credits for the Star Plasma Vessel arc. It is SO SUGGESTIVE.
Gojo just chilling as he plummets off a skyscraper, because he trusts that Geto's shikigami will catch him...
Then Geto does this FLIRTY 'COME HERE' GESTURE/FACE (and Gojo smiles like the fcking simp he is)...
THE WINK AND SMIRK?????
(P.S. don't get me started on the symbolism of Gojo/Geto being literally each others' 'other half')
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