Hi guys!! As I said, I was rereading Boruto TBV, so I’ll be posting things I find. First was Jura reading “The Gun” by Nakamura, you can find that post if you're curious, here!!
Now, I’ve noticed the most probable real reason behind Hidari choosing Sarada as his target.
Everything starts here, in ep 5. We are introduced to the Divine Tree clones properly and learn about their targets and objectives.
We learn that Jura is the leader and, from what we’ve seen, the most intelligent and curious of the group. Since he is the clone of the Ten Tails, it makes sense that he is the most objective, trying to understand humans from a purely analytical perspective. Thought this perspective will change into something more personal the more he learns about humans and love.
So we have Jura here announcing he wants, NEEDS, to devour Naruto to fill his void nature. As he says, it is an “instinctual desire”.
What is important in this scene isn't just the declaration, it’s the fact that the authors placed Hidari in the foreground without showing his face.
By hiding his expression, they signal that his reaction to Jura is significant, yet they keep the audience in the dark about his true feelings. This framing is intentional (and something that Kishi used a lot in Naruto), it creates a sense of mystery and emphasizes that Hidari is processing Jura's words in a way we aren't meant to understand yet.
After this, we see the other clones having no problem choosing their targets, and Jura congratulating them on WHY their choices are good.
But suddenly Hidari, who initially seemed fine, appears to be experiencing an existential crisis. Jura notices this shift, making him hyper-aware of Hidari and curious about who his target will be.
Then, after Jura explains again to Hidari how he will discover his target, the tension builds up and culminates in Hidari’s tense and menacing silence. He doesn’t even bring up Sarada until later, after Bug chooses Eida and Jura congratulates Bug. But…
By the way “ゴ” in Japanese manga is used to represent a low, rumbling sound effect used to visualize an intense, menacing aura or a heavy atmosphere. Seems that Hidari is not really happy…
As you see, at the moment Bug chooses Eida, she is using her Senringan to spy on them. Jura comments on her EYE POWERS.
And only then, does Hidari out of nowhere say “UCHIHA…”, like remembering the Sharingan. And by this you can tell Sarada is an after thought since she is the last Uchiha.
That is why Jura doesn’t really congratulate him (his face is half hidden. Is he smirking or pouting??) and why there is so much tension between them, he knows that she is not his “real” target.
All this explains Jura keeping an eye on Hidari and bringing him, specifically, to look for Naruto + his reactions to Hidari.
And the lack of instinct Hidari shows for Sarada.
Bonus
I’ve talked about this in previous posts, but I’m bringing it up again because I think it’s really important.
First, Hidari in Japanese means “Left-hand”. This is the hand Sasuke lost in his fight with Naruto, but also the one that connects them.
Second, Jura mentioned that targets are visceral and the clones are guided by instinct. However, Hidari didn’t react to Sarada based on instinct alone. I talked about it here.
Third, every clone has a color that if we analyze represents their original/true nature or identity. But Hidari has “YELLOW”.
Fourth, Kishimoto started watching Harry Potter because of the fan comparisons. And he talks about Harry Potter in some interviews, he clearly likes it. And then we have Sasuke who acts and looks a lot like Snape. He even says that Boruto has “his father’s eyes” before getting sealed!!!
Fifth, in an interview, Ikemoto describes the clones as their originals' true face. And we have to remember that the sealed Sasuke thinks Naruto is dead, so Hidari is also living with that even if he doesn’t remember. I talked about it, here.
I’ve brought up these points before in other posts, so if you're interested in more context, feel free to read and comment!!🫶
By the way, this doesn’t mean Sasuke doesn't love Sarada. Of course he loves his daughter with all his heart!! But his bond with Naruto is just different. It’s the deepest connection that defined his entire life.
Yes, Some of the JJK Fights are Gex (An Exhaustive Look at 2 Homoerotic Fights in JJK.)
1) Discussion of historical sex pervert stuff occurs.
2) I will be mainly using the TCB scans because of their accessibility. Officials are indicated by the caption. Raws are from nihonkuni(.)com.
3) This was written as of JJKM 25.
4) Special shout out to @sulky-cabbage whose cross-posts from other social media sites spurned this abomination.
(Click images for captions/citations.)
Preface (I've Lost My Mind)
Hello, dearest reader! Have you ever wondered why so many male-male relationships in Japanese media seem to resemble this?
Have you ever wondered why JJK seems to be blatantly doing this? Have you ever wondered why when you point this out, the dudebros deny it for Geto/Gojo and Doula/Dabura, but not Sukuna/Gojo and Mahoraga/Dabura?
I'm here to explain all of that and give you the tools to convince others you aren't delusional! I only request that you buy into my objective and completely unbiased opinions.
Recommended Pre-Readings
Historical Heian vs JJK's Heian [Just the Sexuality and Courtship section.]
Sukuna’s Loneliness Part 4 (Sukuna’s Negative Rizz) [The whole thing.]
Citations
Academic articles not directly linked can be accessed by using Sci-Hub.
Step 1: Select a "Sci-Hub Available Websites"
Step 2: Paste DOI url or document title into the search bar.
Step 3: Profit.
The Origins of Homoeroticism in Japanese Media
The proper citations for what I'm about to say can be found in the Historical Heian vs JJK's Heian post. The key points relevant to this discussion I want to summarize are:
Men of equal standing loving each other was taboo.
Male-male love was socially acceptable if it was kept private and had a power imbalance since these relationships were a way to reinforce social positions.
Men would create metaphorical power imbalances by either taking the role of a man (dominant/above) or a woman (submissive/beneath) to court each other.
Though these ideas were mostly established in the Heian, they never really went away. You can see echoes of them the 攻め (seme)/受け (uke) dynamics of yaoi where the seme (top) is often portrayed as an older hypermasculine dorito while the uke (bottom) is so feminized that some argue they might as well be a woman. The 攻 in seme meaning to attack and the 受 in uke meaning to receive. For Japan, that idea of top=man=dominant and bottom=woman=submissive comes from historical sexism.
In the Heian, sex was more of a casual social activity so it functioned as a way to reinforce the social hierarchy. Women were below men socially and penetrated by men during sex, therefore someone bottoming socially signals that the person topping them is above them.
Yes this is reductive and unfortunate, but this is the foundation male queer-coding in Japanese media stands on. In Japanese yaoi fanspaces, this is why the order of the M/M ship name matters when tagging things. Take for example 宿儺 (Sukuna)/五条 (Gojo). If you want to find content of Gojo bottoming, you use 宿五 (Sukugo). If you want to find content of Sukuna bottoming, you use 五宿 (Gosuku). The leading kanji is the top. Fans of a ship who don't really care about who tops or bottoms will use リバ (Riba) when tagging things. Riba being a loanword of reversible and the English equivalent of versatile.
(Did you know? Putting 受 at the end of a male character's name is how you find miscellaneous bottom art of them. Putting 攻 at the end of a male character's name is how you find miscellaneous top art of them. Though top-specific art is rather rare. The gd top shortage extends to fanart too.)
It should be noted that this does not really apply to sapphics. Also due to sexism. Since historically sexuality was defined around men's desires and experiences, the very idea of sapphic relationships (aka relationships not involving men) were not documented properly. (Probably the historical basis of modern Class S lesbophobia too. Where F/F relationships are seen as practice for a man.) Women were seen as passive participants to sex due to their innate inferiority to men, so the widespread legal and social rules around how men were to reinforce their position to other men with sex were not necessary for sapphic sex. This sentiment seems to be echoed in Japanese yuri fanspaces which are barely concerned with who tops/bottoms. From what I can find, ネコ (neko) is used for sapphic bottoms while タチ (taichi) is used for sapphic tops. You could use seme/uke but that's seen as kind of weird.
As you can see, sexism and rigid hierarchies influence expressions of sexuality in very interesting ways. And unfortunately that means I have to address the consequences of socially conditioning people into believing that men having sex with women or men as equals is degrading. If you are sensitive to discussions about historical pederasty skip to the Samurai vs Sorcerers section and do not read the Disclaimer section.
Disclaimer
For the most part I am ignoring pederasty entirely because 1) it's depressing and 2) JJK as a text has no interest in romanticizing it. For the discussion of that in the Heian refer to this post. The equivalent for that with Samurai is Wakushu and it functioned pretty much the same way socially with additional legal enforcement mechanisms and a stronger emphasis on how the child should not hesitate to die for their groomer. (Like Ui Ui with Mei Mei.)
Gege however, applies certain elements of those dynamics to characters of similar ages—a modernization that would be considered socially unacceptable historically. This is how you get the homoerotic "friendships" that appear to be romantic. Gege is using the historical language of male-male romantic/sexual love, but on characters that need to hide it.
When characters like Kashimo, Sukuna, and Kenjaku (and to an extent, Yorozu) seek no one or equals for their intimate relationships, they are by de facto rebelling against the historical structures that encouraged this kind of child abuse (which I think is pretty neat). Gojo and Geto are influenced by historical ideals as fighters, but are repressed by modern forms of homophobia since pederasty is now outright illegal and seen as morally wrong.
This is all to say that I'm going to modify the quotes I borrowed from Through the Looking Glass: Reflections of Differences in Samurai and Kabuki-Prostitute Male-Male Relations in Ihara Saikaku’s The Great Mirror of Male Love by Miranda Liu. When the text refers to a child, it will be replaced by an adult equivalent since JJK uses this romantic framing between characters of similar ages.
The Gay of Samurai (All About Homosexuality, Buddhist Monks, Samurai, and The Tokugawa Middle Class) by Koichi is linked here for similar reasons.
Samurai vs Sorcerers
The following excerpts are taken from Samurai, Masculinity and Violence in Japan by Constantine N. Vaporis.
"Through education, both formal and informal, samurai learned about their special role in society, their monopoly in terms of their birthright to bear arms and the social expectation that they would be able to use them effectively. In fact, samurai were compelled to exercise violence in certain circumstances in order to maintain their honour and position as retainers in the daimyo’s political organisation, his retainer band...
...Samurai also learned that their monopoly on the use of violent force was not unrestricted. In the interests of civil peace and to regulate the actions of their samurai retainers, political authorities imposed social and political controls on the samurai’s ability to use the weapons that helped define their status, a long and a short sword (collectively known as daishō). These controls can be seen as concessions by state authorities to the samurai’s martial spirit and legacy as warriors. (Pg 239)
Sounds exactly like how Jujutsu Society conducts itself, especially the clans. Though sorcerers are venerated as warriors with ample access to violence when compared to non-sorcerers, they have regulations they must follow. This also applies to the Simurian warrior culture that most blatantly draws from Samurai. Tsurugi makes the link further work by comparing the Reiwa Era sorcery (Modern Japan 2019+) to the Simurians' current sorcery.
I would like to draw attention to how the use of daishō (1 large and 1 small sword) was integral to defining the status of Samurai. Their use of daishō and their extensively documented relationships with both men and women are why the term 両刀遣い (ryōtōzukai), aka wielder of 2 swords, is slang for bisexual. (Swinging a sword both ways was simply the default way of the Samurai.)
I would also like to draw attention to how Dabura, the warrior who dual wields ■■■■ and Light, and Gojo, the Sengoku Samurai warlord enthusiast who can dual wield Red and Blue, are associated with the Camellia flower—a symbol of love, devotion, and Samurai. (Blooming in the winter, the entire flower head falls to the ground at once when it dies, like a samurai's head being severed.)
I'm pretty sure you're picking up what I'm putting down. By Rule of Samurai, Gojo and Dabura are bisexual. (Is it really a coincidence that Red, Blue, and Purple are also colors in the bi flag?) But back to how the Samurai mentality existing throughout JJK.
"Samurai were able to demonstrate their collective superiority over commoners, in effect over male commoners, through their legal right to execute a person of lower status, such as a commoner or a servant, for rudeness, an act known as burei-uchi (‘disrespect killing’) or kirisute gomen (‘permission to cut down’). The ostensible purpose of such violence was the enactment of justice and enforcement of respect for the status system." (Pg 244)
Though this screams Sukuna, he is from the Heian which came before Samurai. So here's Kashimo doing a disrespect killing and Dabura considering one instead.
I do not consider Gojo killing the higher ups and Dabura killing the patriarch instances of disrespect killings. Disrespect killings are heat of the moment disproportionate reactions. The deliberate, more personal kills are categorized differently.
"More frequently than was the case with ‘revenge killings’, violent fights between samurai took place as a result of private disputes, which were known as kenka (literally ‘fights’)." (Pg 242)
According to The Gay of Samurai (All About Homosexuality, Buddhist Monks, Samurai, and The Tokugawa Middle Class) by Koichi, which cites books I do not have access to, "the number one cause for revenge killings during this period was discord between two male lovers." (See the Disclaimer section for the actual link.)
If it's not obvious, by Rule of Samurai, these revenge kills serve as proof of Dabura's love for Doula and Gojo's love for Geto.
Are they really that gay?
Not convinced yet? Consider the following excerpts from Through the Looking Glass: Reflections of Differences in Samurai and Kabuki-Prostitute Male-Male Relations in Ihara Saikaku’s The Great Mirror of Male Love by Miranda Liu. (See the Disclaimer section for the actual link.)
"The [experienced] man was expected to “provide social backing, emotional support, and a model of manliness for the [inexperienced man],” while the [inexperienced man] in turn would prove he was “worthy of his lover by being a good student of samurai manhood...
...These relationships were often expected to continue...as a bond of samurai brothers, who support and care for one another even outside of a romantic or sexual relationship. Additionally, according to Paul Gordon Schalow, a scholar in the field, relationships...often began with an exchange of spoken and written vows of love and faithfulness, not unlike a marriage ceremony." (Pg 12)
As you can see Dabura puts himself in the position of a student for Doula. He creates a metaphorical power dynamic where he takes the role of woman, pining after Doula, and uses the vow he made with him as inspiration for his growth. This is how the ideal Samurai loves.
You can apply this coding to Gojo and Geto. From Gojo's perspective, Geto is above him in strength and he pines after him like a woman, using the morals and advice Geto gave to him in youth as lifelong guidance. There are plenty of other arguments others have made for them (they've got white boy youtubers making video essays), but I think this is enough to confirm it was was love. What's up to debate for me is whether Gojo acted on it or not.
How to Communicate Love You're Not Allowed to Openly Express
Refer to Sukuna's Negative Rizz where I establish that fighting is a form of communication and that fighting can be sex by Rule of Baki. What I failed to elaborate on is why Baki uses this philosophy in the first place. Itagaki did not create this idea in a vacuum—non-verbal communication is a key component of Zen Buddhist tradition.
This comes from the Flower Sermon where the Buddha holds up a white flower and says nothing. Of the disciples present, only one understands the sermon and smiles. The flower is taken to represent the beauty in impermanence while the silent comprehension of the Buddha's teaching emphasizes that knowledge is passed mind-to-mind without words rather than studied. Doula says as much when talking with Dabura about warriorhood.
In this post about what Toji meant to Gojo, I pointed out how Gojo seems to believe some form of violence is needed to awaken a sorcerer to greater power. This aligns the Japanese Zen Buddhist idea of Keisaku—a strike or series of strikes used to disrupt ordinary thinking and trigger sudden awakening/enlightenment (Dunwu). I also pointed out that Gojo's awakening has a sexual component in the form of "la petite mort" or the little death used to refer to an orgasm. The Japanese equivalent of this is Sage Time 賢者タイム (kenja taimu): “The post-orgasmic period when a man's thoughts are no longer impaired by his sexual drive; he is thus likened to a "sage" of clear mind. A term that directly references Buddhism and implies that orgasms can lead to enlightenment.
This is why men fighting each other is the exact same thing as sex. Since they cannot openly express their love, they do it mind-to-mind through violence.
Mahoraga and Dabura
These are my 3 criteria for telling if a fight is homoerotic:
1) Suggestive phrasing.
2) Facial expressions or bodily interactions that seem to be lifted straight from hentai.
3) The author straight up telling you the fight is sex. (Either by having a character say it or having a character literally getting an erection from it. Yes this happens in Baki, Beastars, Hunter X Hunter, Gachaikuta, Kengan Ashura, and here's the fightsexual TV tropes page.)
Gege uses all 3, Yorozu being his mouthpiece for communicating that some fights are sex. Since Modulo is the direct sequel to base JJK, her words can be applied to certain fights. That being fights with romantic framing.
The first sus moment in the fight occurs when Dabura flashes back to Doula as he trembles before Mahoraga. He's covered in blood going, "It hurts! I'm scared!" This is a very common sentiment when it comes to people's first sexual experiences, especially if they're unprepared. During penetrative sex, someone not sufficiently lubricated can bleed, resulting in the association of blood with the loss of virginity. Dabura is essentially losing his fight virginity here (hence the poor performance he apologizes for) and it takes a little bit for him to really get into it. And when he does? Oh boy.
All that "hot" and "heavy" fighting has him sweating. He's dancing with Mahoraga like a Shojo protagonist, taking the smaller and more effeminate role. His third eye is wide open with that Sage Time bliss. Everyone who reads JJKM 19 immediately understands that Dabura is a little fruity.
I would like to draw attention to the throb sound effect ズギッ (zuki) used in that panel where it looks like he's biting back a moan. That particular throb sound effect is used in hentai. Like when the blood rushes straight to a character's genitals from being super turned on. To an agonizing degree even, since this sound effect also indicates pain. Don't believe me? Here's an example with some other comparisons.
(Note: ズギッ=ズキ❤︎=zuki rather than ズギッ=zugitsu for several reasons. The dakuten or dots " above the キ in ギ usually make ギ=gi. But in this case, we read ギ=キ=ki because the dakuten in sound effects can be used to exaggerate/intensify the sound. Additionally the small ッ (tsu) at the end indicates the sharp and abrupt ending to a sound. The English equivalent is ! or —!. ズギッ and ズキ❤︎ are the same sound just stylized differently. Hentai is pretty fond of making glottal stop ッ=❤︎. Also the numbers are in the captions and thematically relevant.)
You're probably wondering; is the cropped hentai really necessary? And yes, I think it is. You know who reads a lot of hentai? The dudebros. More than you can probably comprehend. When they read the Mahoraga/Dabura fight and go yup that's sex, it's because of this hentai-coding. Their brains are doing subconscious pattern recognition with all those anime girls getting railed.
This is also why Doula/Dabura goes unnoticed by them. Their relationship is emotionally homoerotic—something conveyed more with words that JJK fans can't read.
Still, there is an emotional component of the Mahoraga/Dabura fight even the dudebros noticed. Throughout the fight Dabura speaks to Mahoraga like they're a person and wants to understand them. Mahoraga reciprocates in turn by literally adapting to Dabura's existence. The dudebros were primed to see the romantic nature of this symbolism via the hentai-coding. See this incredible take from Twitter user @Miles_265.
Yorozu is used as the base. Showing a domain is showing someone your heart. And like this user said, that makes the Sukuna/Gojo fight "homosexual as fuck".
Sukuna and Gojo
Modulo, the never ending blessing that it is, functions as a sort of cheat sheet for interpreting base JJK. Themes that are made more blatant in Modulo can and should be retroactively applied to base JJK. The main reason I can apply to framing of the Mahoraga/Dabura fight to the Sukuna/Gojo fight is that Yuji makes the comparison for us.
If the Mahoraga/Dabura fight is overtly homoerotic, then so too is the Sukuna/Gojo fight. Most of the dudebros already agree with this interpretation. They in their wonderful fubroshi minds, however, came up with something more insane than me. See TikTok user 's saltyshomudro's take on Domain Expansions (DEs).
This made the narrative function of DEs click for me. I've begun to think of them like Steven Universe's gem fusions, which are a visual representation of character relationships. Not all of these relationships are romantic, sexual, or healthy, but they are relationships nonetheless. Showing someone your DE is showing someone your inner self. The effect of a DE cannot miss as it targets the soul. Therefore DEs are a metaphorical heart-to-heart where those caught in a domain experience how its user feels about them. What a domain interaction says about character relationships depends on the context, and for Sukuna/Gojo, all those DE clashes absolutely were mutual jacking off.
Refer to Sukuna's Negative Rizz where I establish that wedding imagery exists between Gojo (groom) and Sukuna (bride). The Sukuna/Gojo fight begins in the morning, the typical time marriages would occur in the Heian. If we borrow TikTok user saltyshomudro's idea that DEs are a form of jacking off and combine it with the idea that Gojo and Sukuna a dressed for a wedding, their first domain clash becomes a consummation of their marriage. Since Shinto weddings are performed at a shrine, and Yorozu recognizes Sukuna using Shrine as an act of love, it seems that Sukuna is very enthusiastic about taking Gojo as his husband.
Shortly after this, Sukuna and Gojo begin positioning themselves in very interesting ways. (Blowjob/Fera フェラ, Piledriver/Mangurigaeshi マングリ返し, and Suspended Congress/Ekiben 駅弁) Gojo eventually referring to that encounter as a "pain in [his] ass".
The hentai-coding doesn't end or start here. There's just so much of it. Sukuna going "wow" from an implied ball tap, the way he bashfully rubs his head to Gojo's "you can go bigger than this," Gojo just letting Sukuna grab his thigh??? to keep Unlimited Void from hitting, the fact Sukuna chose to grab the thigh, the phrasing.
Every instance the intensity of the fight renders them immobile, it reads like they're mocking each other for their impotence. Sukuna criticizing Gojo's performance as ordinary with a word that contains the kanji for husband. Calling an additional round sloppy until Gojo hits him from behind and the front so hard that his eyes roll back like he's seeing God. How long are you going to rest for? When are you getting it back up? Come on, let's keep going!
As discussed in Sukuna's Negative RIzz, the typical phrase used for an orgasm in Japanese is 行く(iku). It translates as to go or to die. (To die and go to heaven if you will.) There’s also the term 心天 (tokoroten), which in slang refers to prostate orgasms, comprised of the kanji for heart 心 (kokoro) and the kanji for heaven 天 (ten).
Did you notice how Gojo's heart punch is what makes Sukuna see heaven in the previous image? He quite literally summons the Divine General Mahoraga to bail him out while he's there. Thanks to saltyshomudro's assertion that DEs are jacking off, I don't think it is a stretch to read this as Gojo metaphorically giving Sukuna prostate orgasms. Most of the DE clashes end because Gojo hit Sukuna's heart too hard.
And Sukuna seems to really enjoy it (except when the overstimulation makes him summon Mahoraga). He smiles so handsomely while Gojo is full-hog goblining it out. When compared to how he looks for the rest of the fight you have to wonder if Sukuna's doing it on purpose.
There's this historical idea in Japan that women are most beautiful in the morning (the time of day for their fight). This phenomenon is called morning face and is associated with the Morning Glory flower. Sukuna tells Yorozu that he likes Megkuna's face better and Yorozu agrees it's better for their purposes (fight sex/marriage). To Gojo and most others, this could only be antagonistic—a deliberate strategy to torment him and keep an incarnation backup heal (which it definitely was). But if we hearken back to Sukuna, who is first and foremost a fraud, there could be something more to this.
He incarnates into his "uglier" form for Kashimo, whose proposition he rejects. After that, he stops thinking about love. His heart stops working too. His expressions become more monstrous and his DE no longer has a shrine. Would it really be that strange for someone who was rejected for his looks since birth to put his best face forward during courtship?
Sukuna's fixation with cutting through Infinity using Shrine is also pretty sus in the context of Heian Buddhism. Spilling blood and having sex for pleasure are considered sinful. Infinity prevents Gojo's blood from being spilled and is the reason he doesn't pursue close relationships with other people, working as a metaphorical hymen that protects Gojo's purity. (It should also be noted that a phallic object, the Inverted Spear of Heaven, is one of the few things that can pierce it.)
In Sukuna's Negative Rizz I establish that the phrasing of Sukuna satisfying Gojo is extremely suggestive. I also establish that wordplay with Enchain gives you Spousal Sex Activities. Now refer back to how Mahoraga adapting to Dabura's existence itself is a romantic gesture. Sukuna uses Mahoraga as a guide and adapts to Gojo's existence, piercing Infinity and satisfying Gojo by making him the center of his word.
Kitsune no Yomeiri (狐の嫁入り), which translates to the fox's wedding is a metaphor that refers to rain falling from a clear sky (sunshower). It is snowing when Sukuna says Gojo cleared his skies.
If you noticed that I'm conflating sex with romance, yes I'm doing that on purpose. Sukuna is the more romantic of the two. He's out here communicating his feelings with poetic violence and Heian-specific courtship signifiers while Gojo, according to Twitter user @ soukaktsu_, is saying stuff like this:
尻捲 (shirimaku) being comprised of the kanji 尻 (shiri) for ass and 捲 roll up (maku). A fitting insult since Gojo is calling Sukuna out for technically breaking his promise to him. Something Samurai take very seriously. (If you remember: "...relationships...often began with an exchange of spoken and written vows of love and faithfulness, not unlike a marriage ceremony." )
The 間抜け (manukee) or idiot Gojo uses following the "you showed your whole ass" literally means out of rhythm, which seems like an additional dig at Sukuna's age. (He's out of line and out of touch.) Making it all the more sus that after hearing this, after watching his totally not-child get sent to the shadow realm and being called Kenjaku's binch, Sukuna thinks about love.
(Note: Since Gojo is making fun of Sukuna's inconsistency more than his cowardice, I think "Coming with your tail between your legs is pretty pathetic!!" could be changed to "Showing your whole ass like that is pretty pathetic!!")
I would like to draw attention to this post by @tangsakura that points out some interesting things about Yorozu's proposal. How marriage in the Heian was 3 nights of sex then a small ceremony. When Yorozu says they should destroy 3 villages for the ceremony, she's implying that each night their sex should be so violent that it destroys an entire village. Sukuna, that fraud, stole her idea and blew up Shinjuku with Gojo.
Sukuna being in Yorozu's position for Gojo isn't unfounded. In the Historical Heian vs JJK's Heian post, I already went over how Sukuna is functionally a Heian noblewoman. When Sukuna approaches Gojo with his student's face, he creates a metaphorical power dynamic that positions himself beneath Gojo (master). When he wears mostly white like a bride, he again positions himself beneath Gojo (groom).
Gojo, despite being completely unaware of the symbolic nonsense going on, is somehow able to communicate that he's down almost just as bad. Sukuna metaphorically shows his whole ass and Gojo declares that he will win, calling Sukuna the challenger for the title of The Strongest. By positioning himself above Sukuna (wife), Gojo effectively signals that he's accepting the role of husband. Aka that he's topping. Which he screws up through sheer incompetence.
For Sukuna, killing Gojo is an act of love. For Gojo, Sukuna killing him is an act of hate. They both mutually engaged in fight sex. Sukuna thought they were making love while Gojo thought it was hate sex.
According to Yorozu, if Gojo had won, Sukuna would've given him everything.
Regardless of miscommunication, the text suggests that the love is mutual. Mutual enough for them to know exactly when and where the fight would be without talking. Mutual enough for Sukuna, who has next to zero interest in normal sex, to find the most unhinged way to get Gojo off.
Conclusion (Very Biased)
You should assume all Samurai and Samurai-coded characters are bisexual until proven otherwise.
You should assume all homoerotic fights are abstract depictions of gay sex.
You now have the historical documents to prove it. Please apply this twisted logic to any and all Japanese media. If some guy whines about being The Strongest and gets really excited by the idea of someone topping them, you have my full blessing to point at them and go "bottom."
This means it is completely reasonable to read the Sukuna/Gojo fight as an argument between two bottoms over who tops.
gaygay akutami i fear i have to respect your pen no matter how much i hate what it writes... modulo is so good and such a good sequel but can you please drop a megumi mention so i don't go fucking crazy please thanks
Isn't it interesting that Sarada awoke her Mangekyo "out of love" (even though that's true for all Uchiha that awakened it)? She broke the curse of hatred, guys! Isn't that great? She just happened to be completely isolated from the culture of her people, and assimilated in the "normal" majority of the village! Her dad doesn't even carry any Uchiha traditions or ideals anymore! His only purpose, at this point, seems to be to serve the village! Isn't it so interesting that she's an "good" shinobi, that she is loyal to Konoha, that she has acceptable aspirations like wanting to be Hokage (leader of the village that enforced the discrimination and genocide of her forefathers)? Isn't it so cool that she knows nothing about the history of her clan or the truth of how they were killed in the middle of the night, in the safety of their homes, by one of their own?
Isn't it so interesting that an Uchiha that "breaks the curse of hatred" is one that is stripped of their culture and loyal to the village?
Un truc que je kiffe avec foot2rue c que c super en avance pour son temps, rien que le fait que toutes les equipes ou presque ont une meuf c genial et en grandissant je pense que ca m'a aide a ne pas voir le foot comme un truc propre au mecs. Par contre je dois dire que le style d'animation original me manque, j'ai jamais reussi a regarde f2r extreme a cause de ca. [ps mon clavier est qwerty c pour ca que j'ai pas d'accent]
"Le véritable voyage de découverte ne consiste pas à chercher de nouveaux paysages, mais à avoir de nouveaux yeux". Proust
I believe this applies to engaging with art and media as well, it allows us to view new perspective, interpret new things or a different way. While it is easy to stay within the comfort of our beliefs, challenging them and challenging ourselves to "have new eyes" is truly beneficial and in my mind enhance the experience of art
While I can appreciate it if it's a good fanfic [I really like Royals by Kryzanna check it out on AO3], I am truly a kagaao truther to the end. I am not sorry, Kagami is not a bottom yall and I believe Aomine is a fake freak/perv, like he is not the same when intimate.
Otherwise, i am honestly a switch lover but there are almost no switch fics which kinda sucks but if I have to choose a dynamic then it's Kagaao!
something that makes Aokaga particularly compelling is how they are a foil for one another which is shown through their relations with Kuroko. I also love the fact that Kagami [with kuroko] saved Aomine, like, how dramatic. I wish we saw more of them and their burgeoning friendship. As much as I hate the current trend of sequels I wouldn't dislike a movie or short series showcasing moments in the future or shit.
Hey I am adressing this to anyone who comes across this post. I am part of the editorial team for one of my University's journal and we are looking for creative submissions [it is not paid but credited and we are striving to be recognized officially as an academic journal next year :) ].
link for submission :
Access Google Forms with a personal Google account or Google Workspace account (for business use).
By creative submission, I mean art, sculptures, photos, poems...
The UHURU journal is the McGill Journal of African Studies and is dedicated to challenging misconceptions about African affairs and uplifting student perspectives on the diverse realities of the continent and its global communities.
This year's Theme, inspired by Chimamanda Ngozi Adichie’s TED Talk: “Beyond the Single Story: Africa’s Diverse Realities”, focuses on showcasing Africa’s multifaceted realities beyond common stereotypes.
Suggested Topics: Economic Innovation, Artistic Movements, Technological Advancements, Political Transformation, Regional Diversity.
Submissions close officially on the 9th of March but message me privately even beyond that I can try to make it work :D !
If you don't have anything that would fit our criteria please spread the link/messages to your peers or your own university's African student association or non-profit! Or send me their contact info !!!
Please reblog and share on all your profiles if you can !!!!!!!
