Gojo Satoru visiting Kugisaki nobara while she is in coma, sitting next to her, and talking to her. Gojo Satoru swapping souls with Yuta okkotsu, teaching him everything he knows about his cursed technique. Gojo Satoru hiding Sukuna's last finger to indefinitely postpone Yuji's execution. Gojo Satoru who bore the burden of being a monster, killed all the higher ups alone because he refused to let his students watch such gruesome sights. Gojo Satoru who believed he would win right til the end. Gojo Satoru who died knowing his students had got it from there, that they would be able to save Fushiguro Megumi. Gojo Satoru who let his body be used as puppet after his death. Gojo Satoru who died knowing all his students would be saved.
i’m sorry but the mischaracterization of satoru gojo sometimes makes me wanna scream into the void. people really love to take one scene, one line, and twist it into a whole narrative that doesn’t even align with his core. like… are we even watching the same man??
HE DID NOT NEED A MORAL COMPASS. satoru’s been repressing his own desires since he was a child. a literal kid born with a power that could’ve destroyed everything around him—and yet, he didn’t. he never misused it. not once. not even out of spite. not even when he had every right to feel angry and lash out.
and people still act like he was this walking weapon on the verge of snapping if someone didn’t hold his leash. no. this is someone who’s been raised with expectations no one else could ever comprehend, who’s constantly chosen restraint, duty, and control even when it’s agonizing. and he makes those choices alone. over and over again.
i think people overlook how deeply internalized satoru’s moral compass already is. his “should we kill them?” moment wasn’t a breakdown of ethics. it was frustration, grief, anger. it was a TEENAGER who just saw someone he was protecting die in front of him, asking a friend for perspective. he wasn’t lost. he wasn’t about to burn the world. he was trying to process in real time. but people latch onto that line like it’s some confirmation that he needed someone to “save” him from becoming a monster.
no, actually. he saves himself. again. and again. and again.
he chooses to teach. he chooses to protect. he chooses to carry the weight of reforming a broken system—and yeah, he does fail sometimes. but that doesn’t make him any less righteous. if anything, it shows how much he shoulders on his own.
like idk. maybe it’s just me but i’m over people reducing him to “a time bomb that only didn’t go off because someone held his hand.” no. he’s the one who defuses himself. every single time. because he wants to do better. because he knows how powerful he is. because he cares.
satoru gojo isn’t dangerous. he’s the strongest—not just in power, but in how fiercely he holds himself together. he’s been alone at the top his whole life, forced to carry the weight of a world that only ever demanded from him, never asked how he was. he didn’t need saving because he was the safety net for everyone else. and even when it broke him, even when it hurt, he never turned cruel. never lost himself.
THAT’S WHAT MAKES HIM SO SPECIAL.
not just that he could’ve gone dark—but that he chose not to. again and again. that he stayed soft, and kind, and hopeful, even when he had every reason not to.
he deserves the world. and it kills me that he never got it 😔
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?
While reading through JJK, I couldn’t help but notice that Geto and Kenjaku both fit pretty well into the monstrous-feminine trope— think the Queen Xenomorph in Aliens, the ghost mother in Dark Water, or the wife in The Brood. This post will be an attempt to argue that they are, in fact, examples of the monstrous-feminine, and to talk a tiny bit about what that means for the story overall.
Before going into the actual meta, I want to point out that (Source: interview in 2024 JJK exhibition) Gege didn’t decide on Kenjaku’s true identity until the Shibuya arc, even though it was always going to be fake Geto. I take this to mean that Kenjaku and Geto as characters are more intertwined than we previously or usually thought, with Kenjaku for at least the first arcs existing as “Geto that is a bit strange”— someone that resembles Geto in appearance and mannerism but is not quite him, whose true identity is blank (for now). This is why I’ve decided it’s best to analyze them together, especially in terms of monstrous-feminine symbolism (as to me in this regard they are even more so extensions of one another).
This analysis will be based on Barbara Creed’s “The Monstrous-Feminine: Film, Feminism, Psychoanalysis”. In this book, Creed defined the concept of the monstrous-feminine and discussed how its representations speak to deep patriarchal fears about (what has historically been regarded as) female bodies and reproductive processes. The book draws heavily from Julia Kristeva’s theory on the abject, which is defined as what does not “respect borders, positions, rules”, what “disturbs identity, system, order” and thus elicit within us the feeling of disgust and horror. The abject is what used to belong to or were us, that we must continually throw away and draw borders against in order to form and keep stable our identity. Excrements, bodily fluids, and corpses are all examples of inherently abject things.
The archaic mother:
According to Kristeva, a huge example of the abject is the maternal figure as all individuals experience abjection when they attempt to break away from their mothers in order to form their own identities. As such, many horror films feature mothers as the female monster (Psycho, Carrie). Kenjaku through possessing Itadori Kaori and giving birth to Itadori Yuuji is quite literally a mother.
Geto can also be viewed as a maternal figure within JJK. His curse technique - Cursed Spirit Manipulation - functions like a womb. It takes in cursed spirits who remain separate entities from Geto with their own curse energy, and because CTs all cost CE it’s as if through CSM Geto is feeding these spirits CE and nurturing them in exchange for their obedience, making Geto into somewhat of a mother figure to his curses. Geto is also written with an emphasis on his protective, nurturing side— he is often seen caring for other people (checking up on Gojo, telling him to go easy on Riko, taking MimiNana to the crepe shop), his entire ideology is based on protecting the weak (even after he becomes a villain he still holds this idea, it’s just that who he considers weak and in need of protection changes), he’s family-oriented and in his cult family he is the heart, the emotional center that binds everyone together so that after he died they all splintered off.
This is not to say that these traits are inherently feminine, but rather in culture they are usually given to female, maternal characters, yet we are seeing them in Geto. There may be a reason why Toji’s worm called him “Mommy” (lol).
The maternal figure within horror can be represented in a number of ways, one of which is through the archaic mother, who is “the parthenogenetic mother, the mother as primordial abyss, the point of origin and of end”. She can be seen within mythologies of several cultures around the world as the Mother-Goddess who alone created Heaven and Earth (Nu Kwa in China, Gaia in Greece, Nammu in Sumer). As the monstrous-feminine, however, she is reconstructed in a negative light as “the abyss, the all-incorporating black hole that threatens to reabsorb what is once birthed”, “the blackness of extinction - death”. She is a force that threatens to reincorporate what is once distinct into the original oneness, to the mother’s womb. She represents the fear of (and desire for) dissolution, non-differentiation, and death.
Cursed Spirit Manipulation absorbs once-autonomous beings and submits them to the user’s authority. Its Maximum Technique is the dissolution of these beings into a single, non-identifying black mass (Uzumaki). Kenjaku's master plan is to merge the Japanese population into one entity. Both Kenjaku and Geto can be seen as maternal figures within JJK whose powers are destructive in their ability to absorb and dissolute.
The monstrous womb:
From fear of the mother’s generative power comes fear of the womb. In horror films, the connection between the womb and the monstrous is often invoked through womb-like spaces and objects or female characters capable of giving birth to monsters. Creed gave an example with the film “The Brood”, in which the central figure is a woman who through her rage manifests strange and dangerous creatures that resemble disfigured infants— the climax of the film is her revealing under her dress bulbous sacs hanging from her side from which she took out a fetus. Here, the womb is taken outside of the body, the birthing process made apparent. It is horrifying because we are confronted with the nature of reproduction and the maternal body— the alterations and even disfigurements caused by housing a life form.
Geto and Kenjaku have the ability to store and “give birth” to monsters (given that CSM functions like pregnancy). Geto’s domain expansion is called “All-enveloping Garbhadhatu”, officially translated into English as “Womb Profusion” (because Yuuta in Gojo’s body has Unlimited Void as his domain, we can conclude that Womb Profusion is Geto’s even if we’ve only seen Kenjaku use it). In Esoteric Buddhism, Garbhadhatu (Womb Realm) is where compassion leading to salvation is born and sustained like a fetus being nurtured by the womb. The domain itself features headless pregnant women.
In the Vol. 0 movie we can see images of pregnant bodies and babies in Geto’s Uzumaki while he’s summoning it.
The manner in which Curses are summoned by CSM is also reminiscent of birth, through either a portal or an incision into space, accompanied by dark liquid pouring out (at least in the manga).
When Kenjaku died and the cursed spirits were about to burst out of Geto’s body, we can see that his belly became swollen or convulsed. Afterwards, it was seemingly transformed into a womb-like structure carrying the Tengen fetus, which Kenjaku had absorbed and incubated prior to their death. In a way, Geto’s entire body after death has become a monstrous womb.
Fear of the womb is also tied to fear of a loss of boundaries, between the clean, proper body and the natural world, the abject. “…the act of birth is grotesque because the body’s surface is no longer closed,…rather the body looks as if it may tear apart, open out, reveal its innermost depth.” In the birthing process, new life forms travel from inside the womb to the outside, carrying with it blood, afterbirth, feces,…what is meant to be banished from the human domain in order to establish and preserve its identity, system, order.
Within JJK, Geto or Cursed Spirit Manipulation exists with a similar ambivalence. In order for Geto to add a cursed spirit into his ranks, he must first ingest them. Cursed spirits are hyper-condensed negative emotions/curse energy that spilled out of humans— they’re basically human waste (and so naturally they taste like “rags used to wipe up vomit and excrement”). Yet, they reside within Geto, their curse energy adding to his own. With Geto, the border between the clean, proper body and the abject - cursed spirits in this case - was blurred. This makes Geto’s body uniquely abject within the narrative. He knows “the taste that no one knows”.
So what does this all mean?
The monstrous-feminine threatens the integrity of patriarchal order. In JJK, both Geto and Kenjaku aim to disrupt the patriarchal Jujutsu world: Geto, scorned by how the system treats him and people like him, tried to violently dismantle it (however flawed his plan and ideology was) while Kenjaku’s plan plunged the Jujutsu world into complete chaos. In a way, Kenjaku is an escalation of Geto’s monstrous-feminine, from Geto’s vengeful, misguided acts of violence in an attempt to disrupt the system, to Kenjaku’s meaningless, blanket chaos. In Kenjaku and their possession of Geto’s body, Geto’s righteous motives (his will, his autonomy) are gone - there remains only the monstrosity, destruction for its own sake.
Still, Geto’s actions, misguided as they were, did eventually create real change. Gojo’s goal of raising strong allies and creating a better Jujutsu world was inspired by Geto. Although at first he opposed violent actions as he believed they wouldn’t be able to change anything, eventually, he came to the conclusion that violence was necessary, and in the moment where he massacred the higher-ups, he thought of Geto.
