HII I have a request👀 what bout a smau where reader is arguing with the jjk men and in the middle of arguing they send a pic of their titties or butt to make reader shut up LOL and reader just gets all shy and flustered and they tease her
Shut Up
In which the jjk men send you a spicy fic to stop an argument
bro gojo was so unserious that he didn't even say ごめん (gomen - sorry)
he said めんご (mengo)
but can we also talk about the word gojo uses for "father"
he uses 父親 chichioya which is a general societal term for father meaning he attaches no politeness or feelings towards the word. basically saying "person you would call your dad since he technically made you"**
**edit : user @/iliketobrowse has given a more in depth and accurate translation for chichioya in the reblogs! my current wording attaches a negative connotation while its usually a neutral term like a title of "father." sincerest apologies for my misinterpretation, that was completely my mistake! i will do better as to not make this mistake again. thank you so much! ♥️
is this the gyaru talk gege was talking about 😭*
* it's come to my attention that gojo's gyaru talk may not have come from gege. idk enough about the jpn language/culture to confirm or deny if gojo always talks cute/like a gyaru. im just actively learning japanese and i make posts like this to share the cool things that get lost in translation - thank you!
i do not claim to be a translator - lost in translation disclaimer
The Details You Missed & The Context Behind Yorozu's Marriage Proposal to Sukuna
WARNING: This post contains content beyond JJK season 3 (cour 1) episode 3. Please DO NOT INTERACT if you don't want any more spoilers. Very long post; unedited
Note: I am tagging this under sukuna x reader and related tags for girlies' inspiration (marriage and proposal) for historical fics.
JJK Chapter 217 (Raws)
I'M BACK FROM THE DEAD!!!
To start off my resurrection, we will dive deep on Chapter 217, the infamous marriage proposal to Sukuna by none other than the legendary simp of Heian era - Yorozu.
In this post, you will learn about:
Heian Marriage Customs (Nobility)
Deep dive of Yorozu's proposal (+ marriage life in Heian era)
The one translation mistake both by Viz and unofficial scans (+ a bit of poetry 101)
So, without further ado, let's go.
Dividers by @/uzmacchiato
Marriage of Nobles in Heian Era
With the exception of arranged marriages, here's how the aristocrats in Heian Era usually get married:
Man courts the lady via intermediary
The lady (and her family) accepts the man's courting and proposal
Wedding Ceremony: Man will visit the lady and spend the night for three nights
Wedding Reception: The families will celebrate the marriage
#1 & 2: Courting & Accepting the Proposal
The man will send an intermediary (usually a servant from his household) to send his poetry to the woman he wants to wed. Then, the woman's mother (and her besties) will judge the man's character through the poetry he sent [or if the woman is independent, divorced and/or working at the court as a lady-in-waiting or what not, the woman will personally judge]. Is the poem beautiful? Is his calligraphy impeccable? Is the paper high quality, and does it smell good?
Genji's son Yūgiri (夕霧; "Evening Mist") reads a letter. Genji Monogatari Emaki, 12th century handscroll, Gotoh Museum.
If he fails in one of these criteria, forget marriage - the family (or the woman) dumps him. Hey, but if they see that those three are at least satisfactory enough and they approve, then they give the poem to the woman who is the intended recipient so she can see and if she likes it, she or a female member of the family will send a reply via her servant from her household. If the man sees the reply to be satisfactory, then he will continue courting the woman.
This courting period can last for months or years. Once the woman accepts and all parties agree to the marriage, the wedding ceremony goes through.
#3: Wedding Ceremony: Spending Three Nights Together
Once the proposal is accepted, they move to the next step - the wedding ceremony. At this time period, the ceremony isn't something like the Shinto wedding that we see these days. The wedding is basically unceremonious and doesn't need any documents to register it.
So, the man visits the woman at her home - almost always her family's - at night, goes to her room, and spends the night with her. This is basically a 'secret' visit [both families of the groom and bride are aware lmao]. The first night is the first opportunity for him to see what she actually looks like because now, there's no screen or blinds hiding her from him.
(Also, the man uses his hakama or whatever the outermost jacket part of his kimono is called as the futon for the two of them)
So this goes on for three nights, with the man leaving the woman's home at dawn in the first two nights and sends a morning-after poem to her through a messenger. The family, then, offers wine and presents to the messenger who delivers these poems.
During these three nights they spend together, they...... indulge in passion..... and have sex........ at least that's what was expected of them...... yeah.......
You can basically say that the ceremony is mostly...... them having sex and doing the lewd things like making out........ unless you also count talking while holding hands????
Anyways, so on the third night - called tokoroarawashi or "exposure of the event" - the he stayes by her side until daylight, where he would be 'discovered' by the woman's parents. Then the couple would be offered breakfast with rice cakes called mikayamochi or "third night cakes", which the family prepared during the night. These mochis represent the married gods Izanami and Izanagi.
And that's it for the wedding ceremony.
#4: Wedding Reception
Even though everyone in the streets should know about the marriage between the man and the lady because word travels very fast, the couple (with the help of their families, mostly the lady's side though) would tend to host a feast some time over the few days after the ceremony just to show off. That is, if they can afford it.
So a wedding reception includes a simple Shinto rite conducted by a Shinto priest, and other rituals related to marriage. The man, the groom, 'officially' meets his in-laws in this occasion.
So pretentious
That's it for the most part..... aside from the food, I can imagine they would also have group poetry session, dances, music, games, contests, archery, or whatever the families could afford.
That concludes the marriage of nobles in Heian era.
Sources: [1], [2], [3], [4], [5], [6], [7], [8]
Chapter 217 - The Marriage Proposal of Yorozu to Sukuna
Now, I'll start actually translating and analyzing, using our knowledge of Heian era and the info you just learned above.
#1 & 2: Courting & Accepting the Proposal
So we know that Heian marriage starts with courting initiated by the man.......... but we know that's not the case here because Yorozu took on the role of the man for this role.
Yorozu: It's love. Love. [Refers to Yorozu recognizing Sukuna in his vessel instantly] Within the precepts and the loathing that comes from it, nothing could surpass love.
Yorozu: Say, Sukuna. I want to be the one to kill you, I want you to be the one to kill me. Even so, if you are still alive after I win, what will you give me?
Sukuna: Everything. It's an impossible occurrence, but if it's the case that I lose, I might as well be dead.
Yorozu: *pauses* Then, then. Even something like ma- ma- ma- ma- ma- marriage?
Sukuna: Do what you want.
Basically the courting is a battle to the death, and the condition of the marriage is if Yorozu and Sukuna are both alive, which both parties have agreed to.
I mean Yorozu's love goes back to Heian era in the year 1000s, as depicted in chapter 219, so who knows if she had proposed to him or sent letters to him sometime after this:
JJK Chapter 219
I won't be surprised if this was the culmination of the years Yorozu courted Sukuna in their lifetimes and the 'revitalization of love after more than 1000 years of separation from each other' (-Yorozu, probably).
Also, she also has another condition in her marriage proposal:
Yorozu: I'll be the primary wife!! Concubines or anything similar are not allowed (ever or else)!!
Yorozu wants to be the only wife and the primary wife at that. Being the primary wife means she will be the priority in his visits. You see, in the Heian era, the wife doesn't move into the husband's household.... they live separately for a long time. They live in their homes where they grew up in. The husband usually visits the wife/wives (whether primary or secondary) and his lovers at night in their households, then leaves at dawn.
As the primary wife, the husband would have to visit her the most out of his wives and lovers, and if the time comes when they decide to live together (usually years after their marriage), the husband either: moves either into his primary wife's residence, or to a separate residence that's usually provided by either the wife's or husband's family (or the husband himself if he is rich, which is rare). Very rarely the wife moves into her husband's home. If not, they can choose to live separately until the end.
So if Yorozu was, hypothetically speaking, the primary and only wife, then Sukuna would have to visit her very often, and obviously would have to eventually move into her house, if we're going to follow the nobility customs. As his primary and only wife, Sukuna's clothes would have been made by her, and economically he would be dependent on her (not that it mattered).
But knowing Yorozu, she'd be the one visiting him and moving into his home....... if he has one. [did Sukuna even have one, though, when she met him in Heian era?] And clothes? Forget it - Sukuna is a minimalist and Yorozu loves being naked.
And no concubines meant no secondary wives, so that meant his attention to her won't be divided and he won't need to leave her, worry about whether he'll visit her at sunset, nor would she have to kill to maintain her place as the primary wife.
#3: Wedding Ceremony: Spending Three Nights Together
Now this is where it gets........ disturbing.......
Yorozu: For our wedding ceremony, let us destroy three villages at the very least.
We still remember the traditional Heian wedding, right?
They would have had to spend three nights together. So, while in this panel, Yorozu proposes that they destroy three villages at the bare minimum, it has disturbing implications.
So for one, as part of the wedding ritual, they would have to destroy one village per night. BUT, Sukuna is the strongest jujutsu sorcerer in Heian era and Yorozu is a strong one, too, so destroying villages won't take long at night. So for the rest of the night after........... you get the gist.
This is the one time where I'm so, so glad Sukuna clocked her and beat her ass up. The fact that their vessels are step-siblings makes this interaction pseudo-incest.
So.... yeah..... glad it didn't and will never happen.
That One Translation Mistake by both VIZ & Unofficial Scans
Remember that we are still looking into Yorozu's marriage proposal.
#4: Wedding Reception
This is a bit of a feature because I need to clarify what Yorozu was talking about. The translators, both official and unofficial, have made mistakes.
So let's first look at the English translations:
JJK Chapter 217Left: Viz Translation (Official ENG TL)
Right: Unofficial Scans (Unofficial ENG TL)
These are both the right in that Yorozu was talking about the fun part of what would be their wedding reception, that they'll have the shrunken head or decapitated head of the handsome man, and that they'll write poem. But here's where they messed up: that they would only take the most handsome man in the village, and that they'll write Haiku, which is what annoys me the most.
Here's the translation of this panel - I will feature MegKuna's face because it's so funny:
Yorozu: For the entertainment part [of the wedding reception], we should make shrunken heads of the most handsome man in those villages, and write poetry with everyone about their appearances that gradually changes.
It's funny how the unofficial scans captured almost the entire meaning/translation of this panel better than the official translations, but yeah, there are just a couple of mistakes.
So first off, one thing that you have to keep in mind is that the Japanese language relies a lot on context, and ir almost always don't indicate plural words in their sentences. Also, when the context is obvious or people know what they're talking about, they can omit stuff like in this panel - they omitted three either for villages or the handsome men (三つ for villages, 三人 for handsome men).
We know that Yorozu was talking about destroying three villages for the wedding ceremony, so we should already know that when she started talking about the shrunken heads part, we readers should have already understood that she would take the heads of the most handsome man in each of the three villages for the poetry session.
Which is why the illustration of Yorozu's poem featured three human heads:
Speaking of poetry, both translations said 'write Haiku'. Haiku DID NOT exist in the Heian era. It didn't become a thing until hundreds of years later.
So in Yorozu's dialogue, we see the kanji 句 (pronounced as ku). which literally means stanza. So Yorozu literally says 'make stanzas' and I cleaned that up to writing poetry. Because she said, 'write poetry with everyone', this means that the second [the first being decapitating heads] fun part of the wedding reception would be a collaborative poetry session with the guests. There's only one kind of collaborative poetry that is popular in Heian era.
It's called Renga (連歌), the predecessor of Haikai, which was the predecessor of Haiku. Basically the grandparent of Haiku.
Originally, it began as a two stanza poem that involved two poets or writers, which is categorized as Tanrenga. The first writer writes the first stanza in a 5-7-5 form then the second one writes the last stanza in a 7-7 form. As Tanrenga became more and more popular, it became more complex and intricate that it gained popularity as a game, and events were held to create the best ones. Eventually, because there were more participants, other forms like Chourenga (Long Renga) and Hyakuin Renga (100 stanza Renga) were created, with the 100 stanza Renga eventually becoming the basis for what we know as Renga today. [basically this is the summary of the Wiki page]
In this collaborative poetry, the first to write poem has one job - write the first stanza (called Jouku 上句 in tanrenga and Hokku 発句 in Hyakuin Renga). The first stanza has to be the only verse in the entire poem that can be considered to be a stand-alone poem. It also must illustrate the ba, which is the location (e.g. garden), the season, and so on. The structure is basically the same as Haiku - a 5-7-5 verse with a cutting word (Kireji, see the Reddit post here for some examples) and a seasonal word/reference (Kigo, see this site for examples of Kigo used in Haiku). It is the hardest to write, so usually the most experienced and talented poet starts it off.
Which makes Sukuna's face even funnier:
Yorozu was basically proposing that the most entertaining part of the wedding reception would include doing a Renga session with the guests, where they would write about the three shrunken heads of the most handsome men from the three villages destroyed. Then she wrote this verse and showed it to him:
Even handsome men
If dried out, becomes flaky
Truly exquisite
– Yorozu
It is in the 5-7-5 form and has a cutting word (し) at the very last line. It sets the topic. Also, I love how most of the vocabulary are modern Japanese words except いとおかし, which are Heian-era words with いと meaning 'very, truly' and おかし holding various meaning like 'beautiful, funny, interesting, awesome, marvelous, cute, lovely, amazing, and so on'. Though she should've written the sentence as いとをかし, the original way it was written back then.
BUT it doesn't indicate the location (e.g. garden) and IT DOESN'T HAVE A SEASONAL WORD.
The word that would've illustrated the season and would've allowed the participants to determine the words they should use [Yes, there are rules in poetry that all the nobles follow].
That's why Sukuna is alarmed that there's no seasonal word because what Yorozu wrote would have been the first stanza of the Renga poem, and it's a disaster!
Also knowing how people judged others' poems during this era, as you've seen how poems of men sent to the lady he was courting in the Heian marriage section, I don't think Sukuna was only horrified at the lack of the seasonal word.
This man must've been judging her poem. He'd be looking at her penmanship [she must've used a pen not ink], the vocabulary she used, and the substance of what she wrote........ and safe to say, he doesn't like what she wrote at all. It's funny to us, but at an objective standpoint, it's crap. Basically, brainrot in Heian era standards.
So you can't blame Sukuna's expression here.
But given what we know about Yorozu, I'm not surprised she's breaking all the rules even in writing poetry. What's surprising, though, was that Sukuna, the most hedonistic man in JJK, respects tradition and rules (in the arts and jujutsu, at the very least).
That's about it. I'm glad Sukuna killed Yorozu or else we'll see some pseudo-incest sh*t going on even though the ones inhabiting Megumi and Tsumiki aren't related at all.
Plus, we don't need to eat Monkey Brain Potage at a wedding reception..... can't believe Yorozu chose this as the main dish for a wedding reception:
Yorozu: Let's have them [Uraume] be responsible for cooking. Monkey Brain Potage is a must (no matter what)!!
It would've been hilarious if Kenjaku in Geto's body had eaten this, ngl.
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 doesn’t 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 he’s absolutely not hurrying at all.
the sense of urgency is compounding, seen through geto bouncing his leg. he’s 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 impatient— because he's waiting for someone who has what he needs that hasn’t shown up yet.
geto needs him, yet gojo doesn’t pick up the pace. this is despite the fact that he needs to because it’s raining and geto doesn’t 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. it’s widely recognized and practiced enough to have its own designated terminology.
gojo is bringing an umbrella for them to share. that's why it’s repeatedly reinforced to the audience that geto doesn't have one. that’s also why the shots cut between them; it highlights what gojo has that geto doesn’t, 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 he’s accepted the fact that gojo took too long. they can’t 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?
i saw a post about how modern tv suffers from the death of filler and it got me thinking about how it's exactly one of the problems i have with jjk: we didn't spend enough time with the characters.
and don't get me wrong, i love them all, but i would have just liked to see more of them interacting besides when they're fighting for their lives, because there ARE tidbits of it and they're so good and they also enhance the story because you get more attached to the characters and the emotional stakes are higher.
the flashback to where yuuji, nobara and megumi mess up gojo's shirt? hilarious, and it makes the scene of nobara's death even more heartbreaking. the part after yuuji is presumed dead, and the room goes dead silent when megumi mentions yuuji taught him how to cook the food they were eating? imagine how much harder that would have hit if we actually saw it.
i want more! i want to see megumi being forced to give nobara and yuuji a tour of tokyo, i want to see them making a mess in the kitchen while attempting to cook something, i want to see hakari and kirara being bad influences on their underclassmen, i want to see choso and yuuji bonding via usual siblings shanenigans, i want to see gojo convincing inumaki to use his cursed technique to pull a stupid prank on nanami, i! want! more!
Kenjitsu and Iaido: Katana and katana-drawing arts, learned from Maki Zenin. Performed here by Naganuma Noriaki Sensei and his students, as well as Seki Sensei.
八极拳 (Bajiquan): Chinese close-range art style. Yuuta uses this when he's fighting in the shoulder, elbow, and grappling range. Likely learned from Maki and Gojo. Performed here by 李剑鸣 (Li Jianming) and 李敬德 (Li Jingde). Yuuta performs a cross-elbow and a tie shan kao.
Wrestling: Yuuta uses this to close the distance and do damage after realizing that it isn't worth it to take more damage in the punch trade against Ryu. Here, he performs a rear-naked choke and a suplex. Demonstrated here by Craig Jones and Jeremy Waldner.
南术 (Nangun): Chinese staff, mostly Southern. Yuuta's grip being at the end of the staff rather than the middle, as well as the overhead strike and bent-knee stances he utilizes, are characteristic of this style. The sweepyness of his strikes gets a little closer to contemporary staff styles as opposed to Southern, but he's probably learned both. Learned from Maki Zenin. Performed here by 李剑鸣 (Li Jianming).
Japanese Public Transit.
Japanese kickboxing with influence from Capoeira, because I have no idea where else you'd learn this freaky ass cartwheel kick. He squares up using mid to close-range boxing and spinning wheel kicks. Performed by Professor Aventura and Yoshinari Nadaka.
Tuck them elbows in, lil' bro.
Analysis: Yuuta's melee fighting style mirrors his character as someone with layers of facades. His body does not scream "power fighter," but his CE allows him to adopt an in-the-pocket striking style mixed up with longer spinning kicks. He uses his CT similarly deceptively. If all sorcerers are frauds and conmen, Yuuta stands as the greatest liar of them all.
Similarly, his surface-level impression as a "power of love and friendship" character is a deception that hides his willingness to get down and dirty. Indeed, even his aptitude towards friendship and empathy is, as Geto pointed out in JJK0, an ultimately selfish attempt at self-affirmation. Yuuta values his friends because that is how he can affirm his sense of self, and even if his love can be "giving," it has a motivation and nature for "consuming." Yuuta is kind and attempts to be understanding, but this perspective alone is a deception for his selfish lack of self-interest, just as his technique and fighting style lie and lie again.
TL;DR: Yuuta is a liar, and that makes him an interesting take on the power-of-love trope.
To all the people who argue againts gojo's last words to geto being "I love you" (aishiteru), just to be clear the other options are also gay as fuck bro😭
Wdym "we'll meet again", "my one and only" like that's equally as gay, it does NOT help your cause trust me
i cannot stop thinking about megumi's absolutely NANOSCOPIC little smile in this scene oh my god. how did the animators even do that. the end of his mouth moved like 2 pixels upward and yet it conveyed SO much? this has got to be the first time he's genuinely had the urge to smile in god knows how long, but he probably can't afford to do that in front of his enemies without potentially arousing more suspicion, and yet he's just so damn happy he can't stop himself from letting it slip, just the tiniest fraction of a fraction, anyway? my sweet, sweet boy???
i mean, all at once he'd simultaneously learned three things: 1) yuuji was alive, 2) yuuji was safe, and 3) yuuji had won. in fact, this was the first time he'd heard anything about yuuji at all since getting separated. and after unexpectedly losing him, promptly getting lured into a trap, ambushed, having literal bombs detonated on him, escaping with severe burns on his skin, and having to put up with remi on top of it all? this was a sorely-needed win for megumi — and a significant one at that. i can only begin to imagine the sheer amount of relief he felt in that moment, however brief. it's wild how you can practically feel the anxiety evaporate from his body in a matter of seconds, despite how fantastically minute the difference is in reality.
i find this animation decision especially striking on the studio's part considering even the very manga panels this scene was adapted from portray megumi with a more visible smile in comparison:
don't get me wrong, there's absolutely nothing wrong with gege's own depiction of the scene; however, i can't help but feel like there's something singularly gorgeous about the particular subtlety they're able to tap into here through the medium of animation. it's blink-and-you-miss-it moments like these that can tell you the most about a character sometimes; jjk season 3 has been positively chock-full of them (i seriously owe these animators my life), but this one might very well be my favorite. it's a 1-second-long masterclass in effectively communicating extremely subtle emotions through facial expressions in animation — a feat that is nowhere near as easy as it may seem. as always, the ridiculous quality of animation this season has been delivering episode after episode continues to floor me.
at this point, i would be remiss not to mention how the smile is also a lovely little visual reminder of just how much megumi cares about yuuji. like, i don't know if this is just me, but there seems to be a certain nuance to this restrained smile that perhaps a wider one may not have so accurately related. the subtlety of it seems to almost convey this sense of secrecy between them — this special knowledge that only he and yuuji share, an exclusive understanding that keeps them tethered to each other even when they're colonies apart. it's honestly a really touching way to represent just how much these two characters have come to trust and depend on each other over time without ever saying so explicitly. and coupled with the intensity of that look in his eyes, it really does feel less like a "oh sweet, we added the rule we wanted to the game" smile and more like a "oh, yuuji did it. he's alive and he did it. he's out there somewhere, and he's fighting, and he hasn't given up, and he did it, and maybe we're gonna be okay" one.
ultimately, though, perhaps what's most enjoyable about this scene is not necessarily the smile itself, but how us viewers get to watch in real time as a switch seems to flip in megumi's brain — taking him from cautious, primarily defensive combatant to full-blown, unapologetic killer. it literally takes him all of two seconds from hearing kogane's message to start swinging on his enemy like the guy owes him money, and from then on that unfortunate soul proceeds to receive an ass-beating from a fifteen year old so vicious, thorough, and one-sided it's borderline insulting. it's the epitome of megumi saying "fuck it" in visual form, and by god, did it give us one of his best and most memorable fight scenes to date.
i don't think it's a coincidence that it was only after that point that megumi was able to succeed in taking his first life, either. it was as though the overwhelming relief of yuuji's victory had signaled to his brain the following: if yuuji was safe, and negotiation of points with his enemies was no longer a priority, then that meant there was nothing left to stop him from discarding all inhibition and simply doing to his enemies whatever he felt the situation warranted — even if that included slightly more imaginative strategies such as... straddling them in midair, grabbing them by the ponytail, and bludgeoning their face in repeatedly with the blunt end of his sword. (but what do i know?)
and, perhaps most importantly: without yuuji there to see him do it, without him there to remind megumi of his humanity — he could finally follow through with his real intentions for the first time without holding back.
but to be fair, after the day that boy had had, who could blame him?
