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skatingbi · 11 months

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So hear me out on my headcanon guys:

Sanji with heterochromia (i cant spell that fuckin word man..) where one eye is blue and another is brown. He always hides the blue eye.

The first one to notice is Zoro, who is immediantly like "holy shit youre eyes are pretty" and sanji is like "what the FUCK"

Actually fuck it im gonna write about this nobody can stop me.

Sometimes, on lonley nights in the gallery, when Sanji is busy prepping, he looks in the reflection of his knife. Underneath the frizzy mess of a fringe that is part of his hair reveals the blue eye he struggles looking at. He stares, scrutinizing that light blue in the gleam of his knife gripped tightly in his hand. He looks away to force his attention back on prep work. His hands are always slightly unsteady after those moments. He always ends up with a cut on his hand one way or another on those nights.

When Sanji was a kid, his brothers would use his heterochromia as a weapon against him. He was the freak with two colored eyes. They would say his blue eye was creepy, too. Not only was he weak but also too different to be called their brother.

When you're a kid, you take these insults to heart. Eventually, when you're barely into adulthood, they'll still plague you. They become a part of you, just like how Zeff's teachings became a part of Sanji.

Judge looked at his eyes with disgust masked by indifference. It was another reason for Sanji to assume why he was the failure. The outcast. The runt of the litter.

His mother had blue eyes. She always claimed Sanji got his blue eye from her because her father had heterochromia, too. That was the only time little Sanji felt normal. When she died, Sanji started to grow out his hair to hide the only thing he had left of her: her eyes.

Now, Sanji still hides her eyes from view. Realistically, Sanji is fully aware that none of the crew would give a rats ass what he looked like. Regardless, old habits die hard. He feels safe under the mask he made for himself. As he goes about preparing lunch, perhaps grilled sea king again with how luffy is always eager to fight those things, he lets his mind wander to his eyes more. While hands expertly move through his knife like an extension of his body, he thinks about the mess of blond hair that's always in the way. He'd never admit it out loud, but his hair actually bothers him. Since it started growing out, it gets everywhere; his mouth, in his eyes, and tangled in the buttons of his shirt. Is sanji happy with his longer hair? Absolutely. It's a nusiance to leave it down constantly, though.

As he's thinking this, he's blowing the fringe of hair covering his face out of the way every so often so it stops tickling his nose. He continues to evenly slice through a portion of sea king meat until somebody, Nami he realizes immediantly, speaks up.

"Do you need a hair tie, sanji?" Nami asks sweetly. Her smile is radiant, as always, while she looks up from the map shes been studying. Sanji didnt even realize Nami came in and made the kitchen table into a study until now, but he doesnt dwell on it. Nami is welcome in his kitchen, after all.

"Oh no, thank you, Nami-swan! I think I just need a haircut soon," Sanji lies as he's moving through the kitchen. He gives Nami a quick smile before turning back to the meat on the cutting board and avoids Nami's gaze under the disguise of being busy. His lie wasn't as believable as he wanted it to be, especially when he's stumbling over his words while he is usually eloquent with them towards Nami and Robin.

"But until then, you should take one! I probably have hundreds lying around my room anyways," She says. It's a peace offering designed to be in Sanji's language of communication. It secretly says he's getting that hairtie whether he wants it or not, and Sanji is weak enough to accept the offering. He takes the hair tie with a grateful smile, wrapping it around his wrist and going back to his current task. Nami and Sanji work in comfortable silence after that, but the hair tie weighs on his wrist like a weighted bracelet.

A few days pass by. Through every single one, he stares at the hair tie in the morning. He really should tie his hair back. It reaches his shoulders for gods sake, and it keeps getting in his mouth - but that small part of him that clings onto grief like its all that he knows refuses to. He doesn't think he can bring himself to share the only part of himself that he truly loves deep down. What if the crew really thinks it's weird? What if his brothers are right?

These what if's roam in the back of his mind. They lurk just beneath the surface like an unknown predator hidden in murky water. He ignores it along with the anxiety that crawls up his throat every time he looks at his wrist.

Then, a week passes by. Now he's in his kitchen making a simple breakfast for his nakama. Franky, in particular, will enjoy this since his tastes lie within American style food most of the time. He focuses on seasoning the eggs, some of them cooked differently to cater to everyone's tastes. While he goes through the familiar and therapeutic motions of cooking, the door opens to reveal an annoying head of mossy hair and the steady noise of three swords bumping each other at the hip.

" Oi, go to sleep in your own bunk. I dont need you stinkin' up my kitchen while im trying to work." He utters without looking up from the stove.

"Why can't I just sleep here shit cook?" Zoro grunts. Sanji hears him shuffle around on the gallery's couch behind him. He's probably lying down, or maybe he'll sleep sitting up again, or maybe he'll watch Sanji cook. That's the most irritating one, which usually ends up with them fighting out on the deck one way or another.

"Because youre fuckin' annoying, get out."

"The hell I am, I'm taking a nap here."

"Oh my - You know what?" Sanji whips around to glare at Zoro, making sure the knife he was using is now in his hand to point at the source of his ire, "Fine, but if I hear a single snore out of you I'm kicking you into the ocean!" He threatens and turns around to finish up with breakfast. By now, all he has left is pancakes. The batter was prepped earlier, so now it's just focusing on pouring evenly. It's task that's menial but still important to him regardless.

His hair is covering his face too much. He tries to shake his head to flip it to the side. It falls back to where it was before he can pick the bowl of batter back up. He brushes it over his shoulder, and it simply flows back over it. He blows his hair out of the way, a classic move, but not even that works and he's slamming the bowl down on the counter before he can even stop himself and walks away from his work to grab the hairtie from around his wrist. In a few fluid motions, he ties his hair back haphazardly into a poor attempt at a low bun, but it's out of his face, and now he can focus.

He's too deep in concentration to even remember that he has heterochromia in the first place. Cooking lowers his guard unlike anything else in the world. The gallery acts like a safe space and cooking is his comfort. He still forgets, too, while calling for Zoro to get his lazy ass up to help since he's decided to loiter in his kitchen.

"Hey moss, if you're gonna laze around my kitchen, set the table for me." His request demand is met with a middle finger, which Sanji gladly returns as he walks over to the couch to kick Zoro on the stomach. The half asleep annoyance is now suddenly alert and glares at Sanji for a moment before it's quickly replaced with a look Sanji has yet to add to his mental notes he likes to call "Marimo Dictionary". Zoro's eyebrows are slightly raised, and his eyes glitter with something Sanji rarely sees. He's never been able to place a name on that look. Now he's confused. "What? Dont give me that youre tired crap youre not fuckin 10." He says.

Zoro is still looking at him, though, and now Sanji looks back with confusion because what the fuck is he-

Oh. His eyes.

Shit.

Sanji rips the hairtie out of his hair at light speed, probably pulling a few strands out by accident in the process but he could honestly care less when theres something more important. Like whatever the fuck just happened.

Before he can turn away and go set the table himself to distance himself from the marimo, Zoro's hand moves suddenly to grab his wrist, stopping him from running away.

"Wait, wait, hold on," Zoro pleads. And what the fuck. Zoro has never said anything like that and its fucking with Sanji's head because what the fuck. "You...uh." He continues in his signature graceless way. "Your eyes..." He pauses after that, sitting up and looking at Sanji, but not just looking, he's looking.

"Marimo," Sanji's own voice is riddled with anxiety with how shaky it is now. "Let me go dumbass," He demands but it could have been mistaken for him begging with how much he's struggling to keep himself together.

He's anticipating the worst. He knows what he's expecting. Sanji has experienced it countless times before, and he's aware he will again right now while a pancake is probably burning on the pan for all he knows.

It doesnt.

Zoro is looking at him still, maintaining eye contact but also darting between both eyes. He's looking at him like those golden eyes are looking into his soul and its too much.

It's too much because Zoro's response is uncharacteristically soft in so many ways. Zoro speaks to him like he's speaking with reverence, "Your eyes are beautiful."

Sanji shatters on the gallery floor there. His soul is bare for Zoro to see suddenly and that terrifies Sanji. Nobody has ever told him he's beautiful. Especially his eyes. He yanks his wrist from Zoro's grasp and speed walks to the stove to turn it off and remove the burnt pancake from the pan. He doesnt respond. He cant, not when his heart flutters when it should have been anchored down by rejection.

Then, Sanji walks up to Zoro, grabs onto both his shoulders, pushes him out the gallery door with surprisingly little resistance, and slams it shut. He leans against the door, sliding down until he's sitting on the floor with his head tucked between his knees. His face is burning and his face is probably red like a tomato right now. He stares at the ground with wide eyes and a weirdly giddy feeling in his chest and stomach nearly akin to happiness but also dangerously close to feeling freaked the hell out.

"What the fuck."

#Bro...I will make this a series on god #like man...writing the second half of this was SO FUCKIN FUN #Anyways sanji has heterochromia supremacy #zosan #one piece #roronoa zoro #black leg sanji #vinsmoke sanji #sanji being called beautiful is his gay awakening #and he's late preparing breakfast after that #he'll probably smoke an entire pack of cigs after that too #somebody help this poor disaster #Sanji has Heterochromia

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linkspooky · 7 months

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The Death of Kenjaku

So I was planning to write this meta the week that Kenjaku died, but decided to delay until we got full confirmation of his death. Something I didn't believe in even after Kenjaku passed the merger onto Sukuna. However, watching this video about death in Jujutsu Kaisen inspired me to finish this post. Not because I disagree with anything the YouTuber is saying, but because they can speculate on the meaning of so many deaths in Jujutsu Kaisen but can't find the meaning in Kenjaku's sudden death. This has led me to speculate why Gege made the choice to kill Kenjaku in the way that he did. What meaning is there in Kenjaku's abrupt and unsatisfying death?

Who is Kenjaku?

The first step in understanding Kenjaku's death is of course understanding how he lived. We actually know incredibly little about Kenjaku's character by design. Despite the fact he's literally in Geto's body, he's not meant to have sympathetic or human motivations to his actions (though hold onto that "human motivation" in your head for a moment). No flashback sequence shows the audience why this guy is the way he is, no single event seems to have driven him to do what he did.

This is what we know about Kenjaku in brief. He is a sorcerer who is over a thousand years old who was around in Sukuna's day. He once had a friendship with Tengen, but found her original self boring and unambitious. He also contrasts heavily with Tengen, who lives outside of humanity, because he has lived among humanity for 1,000 years. One of those lifetimes was Noritoshi Kamo who violated a woman and conducted heinous experiments. He produced ten children in his one thousand years, the nine death painting siblings and Yuji Itadori. He considers the first children boring, because human and curse hybrids turned out too normal.

He also partially blames himself for how boring they are, because he can't create anything that will exceed his expectations, the only thing that can exceed his expectations is born in chaos. He spent a thousand years organizing the culling games, and wants to use the games to create a merger, because he thinks creating a merger between Tengen and Humanity will create something entirely new and interesting. He also believes the way towards the future lies in further optimizing cursed energy, not in breaking away from it the way Yuki Tsukumo tried to do and Maki has.

The only people whose word we have on Kenjaku's motivations are Kenjaku himself, and Tengen's word and Tengen themselves who claims to not know what goes on in the human heart.

From all of the above Kenjaku seems to be a shallow character who's motivations can be summed up as "because I can" and "I want to see what happens." This shallowness is intentional however, as Gege who once praised the minimalist storytelling of Nasu and Evangelion likes to pick and choose what crumbs of backstory he gives out for his characters. We've never gotten any exposition on the Gojo clan, but we have an entire chapter about Takaba's failed career as a stand-up comic. This isn't a judgement of good or bad writing, this is just how Gege writes as minimalist as possible. This is in line with how Gege writes the ancient sorcerers as well, they are all much more shallow driven by instinct or Freudian Id (I desire) rather than the higher reasoning of modern-day sorcerers. Takaba uses comedy as a means of communication and bridging the gaps between people, Higuruma's backstory is the critique of the modern day justice system. Ishigori apparently lived a satisfying life where he was succesful and had good women, but that wasn't enough so he wants to get into a fight with Yuta to satisfy his hunger and feel like he's eaten desert.

It sounds shallow when I summarize it in text, but in the context of the fight with Yuta, it's a challenge for Yuta who for the most part only cares about his loved ones and sees the world through his love goggles to be more selfish and fight for his own desires. It's also reflective of a more basic and instinctual kind of thinking, as opposed to the higher reasoning and logic that modern-day sorcerers apply.

I'm keeping most of this first part to text for this reason, like go back and read the fight with Ishigori and Yuta. If I summarize Ishigori's character reasoning out of context it sounds stupid, but read the fight and it works because it's ID (I Desire) vs. Yuta's superego in not only having to collect points to help rescue Tsumiki, find a way to protect all the innocent people in the Culling Games, and also collect enough points to take on Kenjaku himself so Gojo won't have to. Meanwhile Ishigori's just fighting to get some of that sweet desert, the shallow works in contrast to the more layered motivations of our heroes.

Kenjaku is a shallow archetype fighting to satisfy his baser impulses (in his case curiosity) in comparison to the main characters who are fighting for more complicated reasons and often people besides themselves.

The question then becomes what archetype is Kenjaku. In that case answering who Kenjaku is is quite simple.

Kenjaku is a clown.

It might be more accurate to say that Kenjaku embodies what's commonly known as the "trickster archetype" but I'mma go with clown.

The most obvious example of a clown villain is what most consider the joker to be, that is a silly little clown man who challenges the straight faced and grim batman and sews chaos where Batman attempts to establish law and order in Gotham and make the city into a better place.

From the book Batman and Psychology:

More than any other villains, the Joker and Two-face reflect Batman himself as funhouse distortions, converses of who and what he is. The laughing, jesting, brightly colored Joker contrasts with grim, dark Batman. The Joker is the Joker. No alter ego. The film's opening bank robbery shows him wearing a clown mask over clown makeup, Under the surface there's only more Joker. He gives no history except inconsistent lies. When he finally considers the impact of his demand Batman unmask, he retracts the threat and demands that Batman's identity remain undisclosed. He wants a batman who has no other self, a Dark Knight whose only deeper layer is further darkness.

Is there a better descriptor for Kenjaku then these words?

Kenjaku is Kenjaku. No alter ego. A clown mask over clown makeup., Under the surface there's only more Kenjaku.

In other words, what you see is what you get.

Kenjaku even mirrors Joker's opinion of Batman, he thinks people should be more like him, not the other way around. He's not the outlier, he's being true to humanity's basic impulses of curiousity and discovery.

A more apt comparison as a clown though would probably be Loki, one of the most classic examples of clowning in the shared mythology of humanity. The character who challenges the common wisdom of gods like Odin who suspended themselves from the world tree for eleven days in order to gain wisdom. Loki, who through his trickery manages to bring about the events of Ragnarok for no deeper reason than because he can. Everyone swore not to harm Balder and Loki goes to find something that can harm him because BET.

Mythological Loki doesn't need a deeper motivation because what he represents in the mythology is someone who challenges authority and brings about a change, because in Norse Mythology nothing lasts forever and no era is permanent. Jujutsu Kaisen is also a story about how things should not in fact stay the same and tradition is bad sometimes.

When Kenjaku finds Tengen's true body he's curled up in a tree root in the fetal position, and he killed what is basically the all-knowing, all-seeing supposedly immortal sorcerer that maintains the status quo of japan, it's not exactly subtle.

Kenjaku is a clown, and clown's gotta clown. We don't need any more explanation that, it's more about what he does for the story. However, what he represents, the deep intellectual curiosity, and also a drive to disrupt the status quo in an attempt to see something more interesting can also be analyzed more deeply because they are human emotions that motivate us as well. The same way that Mahito is an inhuman monster, but he's created and motivated by the fear of other humans, something all of us have. '

Before moving onto his death though, I wanna hammer in how Kenjaku really is just motivated by these two things, a desire to see something interesting, and intellectual curiosity by comparing him to other characters.

The Clown in Fiction

I've already compared Kenjaku to Loki and the Joker, but when it comes to someone who wants to disrupt the entire order of the world simply because they're bored we've got to go to the original girlboss.

So there are plenty of villains who go "I'm evil because I'm bored" but they usually tend to be pretty shallow, either shallowly written for the lulz evil characters who just exist for shock value or just kinda dull. No one has ever done it as good as Junko Enoshima and no one ever will again.

For those who need context DanganRonpa is a death game series where the main villain basically has caused the apocalypse, wiped out most of humanity, and then induces survivors in a bunker to kill each other in a death game, where if someone commits a succesful murder they can escape the bunker, but if they're caught in a trial they're executed. Also, if they're not convicted in the trial everyone else is killed, motivating the jury to find and execute the guilty murderer.

Junko Enoshima the main villain and orchestrator of this death game ended the world because despair. She wants to inflict despair on everyone because despair. Because hope sucks and despair is where it's at.

It sounds shallow and it is and Kodaka has said in interview he wrote Junko to be a villain character with zero redeeming character traits, and no sympathetic backstory to describe why she is the way she is, but there is still something motivating her.

If you go a bit deeper into the lore and read Dangan Ronpa Zero, there is an entire book which explains the lengths which Junko goes to feel normal human emotions. The thing is much like Kenjaku Junko is too smart for her own good, everything is predictable and therefore everything bores her. Once in an attempt to live normally, she literally lobotomizes herself, makes it so that she can't remember anything and has continual amnesia constantly forgetting what just happened to her, because that's the only way she can live without knowing everything that's going to happen and constantly predicting everyone's actions.

Junko has whatever her universe's version of the six-eyes is, but instead of lording it over other people like Gojo and basking in her superiority she wants to feel normal, and connected to the world. If she can't have that she tries to make the world as unpredictable place as possible so she can experience it the same way that everyone else does.

Hope is harmony. A just heart, moving toward the light. That is all. Despair is hope's polar opposite. It is messy and confusing. It swallows up love, hatred, and everything else. Because not knowing where you will end up is despair. Despair is even what you cannot predict. Only despair's unpredictability can save you from a boring future.

I'm still not describing it properly because I don't want to go into a Danganronpa essay in this post about Jujutsu Kaisen, but one example I always use is two characters from American Dragon Jake Long. They're a pair of twins who see the future, one always sees happy things, and one always sees sad things. The one who has happy visions is a goth who's very depressed and the one who sees disaster is an incredibly peppy girl.

Jake is so confused as to why the twin who always sees good visions is so depressed, and she basically tells him to imagine having every good thing, every small little surprise, every pleasure taken out of life.

Kara: When you only see good things, nothing's special anymore. All the pleasant surprises are taken out of life. Sara: But, when you only see bad stuff, even the smallest bit of good news makes you happy!

All of this to say what Junko feels isn't just boredom, or a desire to commit evil for evil's sake, but also a full on existential crisis where she's simply too smart so she doesn't feel any connection to other people or the world around her. In order to feel that connection, that connection that everyone else has, to feel like she is actually a participant in her life not an observer she's willing to go to extremes to make the world a more interesting place, to therefore make her own life feel satisfying.

Kenjaku vs. The World (Kenjaku Pilgrim's sad little life)

To connect all this back to Kenjaku imagine the profound existential despair of a person who's lived for a thousand years, and felt bored all that time. Sukuna is at least a hedonist, he gets his fun by getting into fights, humans might be bugs to him but they're tasty bugs.

Kenjaku goes to similiar motivations and has similiar extremes, he's uninvested in the world around him, he's lived a thousand years but has no attachment to the world, to life, to the people around him. I said that Junko wants to be a participant in life not an all seeing observer and that was purposeful language because to bring back an old post. I rambled on this post about Gojo that part of Gojo's problem is that he only experiences observer-to-object relationships or I to it.

Ich and Du, translated as I and Thou is a book by philosopher Martin Buber. His two main porositions is that we may address existence in two ways:

The attitude of the “I” towards “it” towards an object that is separate in itself, which we either use or experience.

The attitude of “I” towards “Thou” in a relationship in which the other is not separated by discrete bounds.

In Buber's terms, those who only experience the first type of relationships are only observing the world around them not relating to them. Kenjaku doesn't relate to other human beings because they are objects, he only experiences subject -> object relationships and never subject -> subject.

Buber also goes on to theorize that meaning in our lives comes from subject -> subject relationships we form with other people.

Kenjaku jokingly says that to be his friend you have to never bore him and be his equal, but there's no one considers his equal because he's the subject and everyone else are just objects.

He regrets he can't sit down and talk theories with Tsukumo Yuki because she's one of the few people who think like him.

Kenjaku is a paradox of an incredibly brilliant man who is also shallow as a puddle that you can stand in and not get your socks wet. However, he tragically can't really form a more complex identity because our identities are formed by our relationships to other people and Kenjaku doesn't relate to anybody.

That's basically the theme of the whole Choso and Kenjaku fight, Choso is a weird aborted fetus of a curse who still has a strong identity and is able to feel unconditional love for Yuji because of the connection of family and the ideas of brotherhood that binds the two. Kenjaku is a bad father who abandoned Choso because they were "boring" but also never really gave them a chance to grow up or be interesting, he just dismissed them offhand and moved on to the next weird science project.

However, his reason for dismissing Choso isn't Choso's fault but rather a case of Psychological projection. It's not Choso who is boring, but rather Kenjaku himself, he said so earlier.

"What I can create, does not exceed the bounds of my own potential. The answer is always flickering darkly in chaos."

Kenjaku cannot look within to find anything satisfying abput his life because there's nothing inside of him. He doesn't have a fully formed identiy he's just ID, and because he tramples all over other people to form his desires he also cannot ever form a full ego. Just like Sukuna and most of the ancient sorcerers he's a paradox of being all ego, and yet having an underdeveloped ego with shallow motivators.

Kenjaku cannot look within because he's a boring person, and he cannot look for other people to find worth in his life because they're just objects, so instead he looks into the void, he tries to change the world around him by spreading more chaos hoping that it will make something unpredictable happen in front of his eyes - and that will give him the meaning and investment in his life he's deprived himself of because he refuses to form relationships with other people.

It's the Gojo problem. It's the Kashimo problem. It's not the Sukuna problem, because Sukuna admits he doesn't care about and rejects things like love and meaning.

If Kenjaku makes the world around him a more interesting place, he will be able to live in it. It's the same as Gojo trying to raise people up to his level by creating stronger students.

So after going to great length to demonstrate how powerful and all-consuming Kenjaku's boredom is, and how cut off he is from his own humanity, here's the part where I sort of defend his death.

Wouldn't it be funny if the joke character killed the main villain?

Let's be honest it was Takaba's kill here, Yuta just camped and killstole. I think part of the problem with people not understanding the meaning behind Kenjaku's sudden and unexpected death is attributing the death to Yuta cutting his head off out of nowhere, and not Takaba's thematic victory over Kenjaku.

Takaba represents a blindspot for Kenjaku which is why the main characters use him as a weapon against him, and he also calls out in a fashion Kenjaku's hypocrisy. First and foremost, Kenjaku presents himself as an agent of change, but he actually has no interest in many of the modern sorcerers and holds a bias towards the heian era as the peak of sorcery. He even says that he's going to bring back the Heian Golden Age to Sukuna at the end of Shibuya arc.

Because that's what Chaos is Kenjaku, things being the same as they were 1,000 years ago. Kenjaku is an agent of change and chaos and somehow his definition of change is... resetting things back to the past because the sorcerers of the past were so much better than today.

Kenjaku goes out of his way to awaken hundreds of modern day sorcerers, and then dismisses literally off of them except for Hiromi because they don't have enough potential for him compared to ancient sorcerers. He essentially did the same with the Death Painting Bros, he went through all of the trouble to create them, then dismissed them as not having enough potential BEFORE THEY EVEN GOT THE CHANCE TO GROW UP.

Kenjaku has a habit of just going BORED NOW and leaving before he even gives things the time to impress him. He does the same with the Culling Game, he set up the death game to push sorcerers to fight each other and bring out their powers, but he never actually intended to watch the sorcerers evolve. He just wanted to slaughter everyone inside to start the merger.

He goes through a lot of potential to set up these situations and then abandons them before they have the chance to even evolve, because they do not have enough "potential" in his opinion, but like his opinion is often shown to be wrong. Takaba represents that blindspot because he was one of the modern sorcerers that Kenjaku underestimated and dismissed offhand as boring without giving him a chance to shine.

That is the joke that Takaba introduces himself with "Wouldn't it be funny if a random comic relief side character suddenly defeated the big bad?"

He's immediately pointing out a blindspot, because Kenjaku automatically believes himself to be an important character, he underestimates Takaba because he's a side character, one of the people Kenjaku has dismissed as boring and uninteresting (before they even had a chance to evolve into something else). Like that's the other thing Kenjaku wants things to evolve but he doesn't... let them. He abandoned Choso and the rest before they even grew up, they were literally fetuses and he threw them away. Kenjaku is the protagonist of reality, and Takaba is a side character, and therefore Takaba couldn't possibly harm him because Kenjaku and his boundless curiosity are the center of the world.

It's not just about subverting the audience's expectations to have the main villain die in such an anti-climactic way before the final act even starts, but it's pointing out how narrow Kenjaku's viewpoints really were all along. He wants everything to be surprised but he never lets anything surprise him, because either he gets bored right away, or he looks down on others before giving them the chance to evolve, or the third thing he just straight up has to control everything. He can't let the culling game evolve naturally he's going to slaughter all the players by hand so he can move onto the next part.

It's the contradiction between a schemer who needs to control everything and everyone to bring about his intended result and everything needs to be a part of his big plans, to someone who wants to be surprised by others and have things go off the rails. You can't have both of these things at once, Kenjaku cannot have things surprise him if he rigs everything to go his way with his overly elaborate schemes and his tight-fisted control of everyone in the story.

Like, in comparison to Kenjaku the joker just blows things up and sprays people with laughing gas. They're both playing the same game but the joker is having fun and Kenjaku isn't.

Kenjaku wants an unexpected future, but he doesn't care about any of the modern sorcerers and has a bias towards the heiean era that he considers the height and wants to reset things to bring back the heian era. He wants to be surprised but won't give up control.

Kenjaku's boast is that unlike Tengen he's spent a thousand years living on the ground instead of lording up on them from above like some deity, but is that true? Has Kenjaku lived? Has he engaged with the world? Formed relationships with people? Or does he just sit in the corner rubbing his hands together menacingly and scheming his schemes.

Takaba unironically gives Kenjaku what he wants, something he's never seen before in a thousand years, and it's from a place Kenjaku never expected. Some random guy, who he dismissed as one of the boring modern sorcerers with no potential like Higuruma.

Takaba not only exists in Kenjaku's blindspot, he almost immediately points out Kenjaku's second hypocrisy. If he's willing to resort to mass murder just to feel entertained, then if he found something else to entertain him there'd be no reason to get violent and scheme his schemes.

In other words Kenjaku hasn't really gone looking for other places to try to find what makes life worth living, or at least enertaining, he hasn't really tried any alternatives to finding joy in life because Jujutsu is all he cares about. Takaba says that if he found something else even more entertaining than the merger there'd be no need to go through with the merger, and he turns out to be right. Kenjaku could have found meaning and entertainment with the world someplace else, he was just too narrow minded and never looked anywhere else.

As I said from the beginning Kenjaku's existential crisis comes from his inability to relate to other people and viewing them all as objects, but in Kenjaku's mind of course he can't relate to others they're too boring, so therefore it's the world's fault, and the fault of others and not himself.

However, right away one of those boring people starts relating to Kenjaku.

I joked about how we know nothing about the Gojo clan but Takaba gets an entire backstory chapter about his failed comedy career, but this chapter is plot important because jokes are the way that Takaba relates to and forms relationships with other people. Takaba makes jokes to relate to others but has a fallout with a comedy partner and has never been able to form a lasting relationship with a comedic partner because comedy doesn't mean the same to them as it does to him - because to Takaba comedy is about forming relationships with people. Which is why he thinks he's failed if he's failed to make everyone in the audience laugh because he wants to make comedy that will make other people relate to him and understand him.

However, he almost gives up on comedy because he's afraid that he might fail on that endeavor. He gives up on striving to make everybody in the audience laugh, because of self-affirmation and a desire to protect himself. He didn't want to fail so he started distancing himself from the audience under the excuse "Well, I can't make everyone laugh so it's okay if not everyone understands me."

Takaba at some point gave up on trying to use comedy as a means of understanding and relating to others, because of his fear of failure and at that point he nearly lost - but he rallies himself by saying that he won't give up on making someone like Kenjaku laugh. If his comedy is about connecting to others, about understanding others and having others understand him then he can't just give up on Kenjaku and say it's Kenjaku's fault that Kenjaku can't relate to his sense of humor. He's got to try even harder to make Kenjaku laugh.

This is also pretty much the opposite of Kenjaku's point of view. For Kenjaku it's everyone else's fault for being so boring that's why he can't relate to them. Wheras, Takaba takes personal responsibility, he wasn't funny enough, he has to try harder, he's the one who's going to make Kenjaku laugh by improving himself. Takaba looks inward, and Kenjaku looks outwards because there's nothing inside Kenjaku.

This is a parallel to this.

The difference however, is that Sukuna did not betray his ideology. Sukuna lives for the kicks that battle provides him and wants to face strong opponents so he can eventually devoured them and be momentarily entertained.

Like Sukuna is not bored the way Kenjaku is. The world is his playground. He may refer to living as just killing time until you die, but he also says that there's an infinite variety of humans to entertain yourself with. The world is Sukuna's toybox and he's satisfied with just that. In fact he doesn't even care about the merger, until his frustration with Yuji makes him think a little deeper about himself.

Kenjaku is not the Sukuna in this scene, he's the Gojo. He believed he was above others, only to be reminded suddenly that he was just the same as everyone else and brought back down to humanity. I mean, they even die off panel the same anticlimactic way. Gojo's infinity meant nothing in the face of one surprise attack a world-cleaving slash Gojo didn't see coming. All of Kenjaku's backup plans meant nothing in the face of Yuta camping and kill-stealing.

Kenjaku didn't lose because Yuta's plan of camping and killstealing was simply too brilliant for him to prepare for however, we're given the exact reason kenjaku lost - because he was having too much fun with Takaba.

Which meant what Takaba said earlier was true, if Kenjaku found something funnier, something other than the merger that could make him laugh there'd be no need to go through with the merger to begin with.

Kenjaku loses because all along he could have related to people, formed meaningful relationships with others, looked for meaning in life outside of Jujutsu but just chose not to. Which is also a parallel to this.

Sukuna says that Kashimo and Gojo both lost because they were greedy. They already received love in a way, they had the love of everyone who regarded them as the strongest, they had people who earnestly wanted to challenge them and respected them - which Sukuna sees as a form of love, and yet they still wanted more.

They were the ones who put themselves up on that pedestal and decided to stand above all of humanity, they don't get to whine about being lonely on top of that.

To add my interpretation to Sukuna's speech, what he's outlining is a general conflict in Jujutsu Kaisen, you can choose to be all ego to put personal development above everything else but it comes at the cost of not being able to form relationships. Maki's as powerful as Toji now, but the sister she always wanted to protect is dead and basically committed suicide. Meanwhile Noritoshi Kamo didn't participate in the final battle, but he reconnected with his mother and half-brother.

There are plenty of characters who die and suffer in jujutsu kaisen because they chose to value other people above themselves, because Jujutsu Kaisen rewards selfishness and punishes selflessness / having an underdeveloped sense of self.

I'll pick Mechamaru as my biggest example, he lived to protect Miwa, and not only does he die an unsatisfying death, he also breaks her heart.

However, at least Mechamaru experienced love. His desire to protect Miwa is granted, because Miwa is also out of the final conflict. Mechamaru is one of the most miserable characters in the manga, and yet he experienced love in his life for someone else that made his brief life meaningful. The characters who choose love, and other people over strength tend to get stepped on, but they at least had that love in their life to begin with.

It's a having your cake and eating it too situation. Kashimo chose strength over love, and he got to be so strong he was unbeatable and lived to old age, but not only is he unfulfilled but he whines about being unable to relate to the people around him - you're the one who chose to step on everyone like bugs.

Characters in Jujutsu Kaisen don't just experience death when they try to be selfless however, like yeah there's a disproportionate amont of selfless minor characters who die, but like Yuji is the most selfless character in the manga and he's continually punished for it and yet he's the one referred to as a person with an unbreakable will.

Rather instead of Jujutsu Kiasen preferring the selfish side on the scale of selfishness / selflessness, the kind of messy, deaths that get handed out to people like Mechamaru happen when you betray the ideals you were living for. Whether they were selfish or selfless.

It goes back to Toji's internal monologue. You lose when you lose sight of yourself - like there's some deaths that don't fit the mould but for the most part, Gojo, Kashimo, Toji's and then Kenjaku's deaths all follow this pattern. By coincidence they also all take place offscreen for the most part (I suppose we see Yuta cut off Kenjaku's head but it's quick and unsatisfying compared to all the rest).

Kenjaku died because he betrayed what he was living for and he temporarily lost sight of himself. As I said Kenjaku's airtight principles were that everyone was boring and people weren't worth relating too so the only way to find enertainment in life is to cause chaos - but he found himself relating to some nobody he wrote off as a minor character Takaba and having fun with him. Which meant the belief he was false, he could have tried relating to other people all along he just didn't.

He warped his sense of self to reaffirm his identity. Takaba almost did that too, he tried to blame other people for not finding him funny to protect himself, but he moved past that and redoubled his efforts to make Kenjaku laugh.

There's also the added layer of irony that Kenjaku's sudden death brings about, the person who spent a thousand years trying to make the merger happen doesn't get to see it.

However, here's my assertion on why Kenjaku's death before the merger always had to happen.

Because, even if Kenjaku had seen the merger he still would have been bored.

Literally everything about Kenjaku's character and previous actions shows that even if he made his big scheme come true, he would have gone "meh" and moved onto the next scheme because that's how he always reacts.

He got bored of the death painting siblings, he presumably got bored of Yuji, he got bored of all the ancient sorcerers and new sorcerers he made for the culling game, he worked with the disaster curses and got bored of them and dismissed them as inferior primitive curses, he goes out of the way to engineer these chaotic situations and then never feels any satisfaction from them so why would the Merger be any different?

Not only did Kenjaku die before he saw the merger, he was basically doomed to never see the merger, because it would not have fixed whatever is wrong inside of him.

Because it's not the world that's boring, it's Kenjaku himself.

He gets a brief glimpse of what he could have done in life, that he could have tried to forge connections with the people around him and related to them on a personal level - and then he dies the way he lived, in a kind of boring and unsatisfying way.

It's the narrative punishing him in a way, the same way it punished Gojo, and Kashimo, by not letting him see the big explosion after he went to all the trouble rigging the bombs. It's punishing him for the same reason too - by deviating from his true self and showing what he thought were his reasons were shallow all along. Gojo could have always related to people he just chose to stand on his pedestal alone, and Kenjaku could have always found the world to be more enertaining he was the one dismissing other people as boring without giving them a chance to grow.

Takaba confronted his beliefs and then stayed true to his ideology of making everyone, 100% of the people in the crowd laugh. Kenjaku didn't confront his beliefs, he strayed from them because he didn't have the strength of character to evaluate himself the way Takaba did.

Hence, he's finished off by one of those boring people who used their power in a way he never expected. The main villain is defeated by the comic relief character and it's hilarious.

#jjk meta #kenjaku #fumihiko takaba #ryomen sukuna #jujutsu kaisen #jujutsu kaisen theory #jujutsu kaisen analysis #jjk spoiler #jujutsu kaisne spoiler #big spoiler actually

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directdogman · 7 months

Note

Hello Hound!! Since it's Dialtown's 2nd anniversary, I've been planning up a few "general" related questions about your series that I've been meaning to ask, but I decided to save them up for the big day because why not? Anyways, here's what I've got, these were meant to be fun to answer so don't sweat it :]

1: How do you feel about Dialtown's success? Are you proud of how far you've come?

2: Which character was the MOST fun for you to write, and which was the most PAINFUL?

3: What is something you wish more people would talk about or just know about related to Dialtown in general?

4: If you had the opportunity to write a FULL complete, detailed life story of any of your characters, who would that be?

5: What's a character you wish you could have given more screen-time or just in general content? (Considering iirc you were trying to make sure Dialtown wasn't TOO long, so I was wondering if this ever came to mind)

6: From what I know, you've been doing the job of cosplaying several characters in the game and acting out their sprites, which one was the most fun to act out?

7: Speaking of sprites, do you have a sprite you could consider your favorite, out of ALL your characters?

8: Do you have a specific line of dialogue you could consider your favorite throughout the entire game?

9: Could you ever see Dialtown expanding into perhaps sequels or maybe even prequels? More DLCs mayhaps? Heck, maybe even a Dialtown 2 or a Chapter 4??

10: If you could make any fan-made interpretation (such as headcanons, designs, or ships) canon if given the opportunity, what do you think would be your pick?

11: What was the MOST fun part about developing Dialtown? Coming up with new characters? Writing them? Adding all the bizarre dialogue options?

12: And last but not least — on a scale of 1-10, how fun was developing Dialtown just in general?

That's all I have for now, and I'm really excited to see your answers!!

I normally don't answer this many questions, but... alright, sure, tis the season!

1: How do you feel about Dialtown's success? Are you proud of how far you've come?

Yeah, of course! I'm a lil proud, admittedly, but I'm aware of how comically little I really have to do with it all, even if I did make the game. Luck does play a LOT into it, of course. Granted, I made my share of predictions that wound up being useful, but it always comes down to lady luck at the end of the day. I've seen good projects fail and bad ones go viral. It's really all just a hodgepodge of probability and whimsy. That being said, I am very pleased with DT's success, and the community that's formed around the game! It caught me by surprise!

2: Which character was the MOST fun for you to write, and which was the most PAINFUL?

Gingi's always fun to write. And Mingus. Most painful is tough to say. Maybe Crown. I got a little weird when I wrote his full backstory, kinda caught up in the emotion Norm talks about. Never been a fan of stories getting cut short. You gotta wonder what would've happened if he'd made different choices, y'know?

3: What is something you wish more people would talk about or just know about related to Dialtown in general?

Honestly? Karen, probably. She's super underrated for sure. The fandom still loves her, but she doesn't get the same kind of attention as Oliver, Gingi, Randy, Norm. She's worth it.

4: If you had the opportunity to write a FULL complete, detailed life story of any of your characters, who would that be?

Oh, I already have. I have this monstruous 30-40 page document detailing Crown's life and entire career. It's quite a read. and quite a mind-fuck if you don't know Dialtown's universe too well.

Oh yeah, a few characters had scenes that were cut. Stabby, Shooty, Mingus, Bunny, even Bigfoot! There's also the game's cut 6th datable, who was an interesting character with ties to other characters in the cast who I wanted to do more with. Ah, maybe one day.

6: From what I know, you've been doing the job of cosplaying several characters in the game and acting out their sprites, which one was the most fun to act out?

Bigfoot. I made the ape noises in the suit. Had to. It felt right.

7: Speaking of sprites, do you have a sprite you could consider your favorite, out of ALL your characters?

I quite like Norm's set, Mingus' too. Karen's poses too are quite good.

8: Do you have a specific line of dialogue you could consider your favorite throughout the entire game?

That answer probably changes every day. I like pretty much any scene where Mingus loses her temper.

9: Could you ever see Dialtown expanding into perhaps sequels or maybe even prequels? More DLCs mayhaps? Heck, maybe even a Dialtown 2 or a Chapter 4??

I'd love to make sequels one day! I've got a lot of ideas for where the characters/story would end up. By the time DT1 wrapped up, I'd conceptualized way too much stuff to put in one game (without it taking another few years to finish), so if I ever wanted to make sequels, I'd 100% know where to start! But, that's a later down the road conversation.

For now, I'm gonna keep working on the Roger DLC and if there's demand for more, I can go from there :)

10: If you could make any fan-made interpretation (such as headcanons, designs, or ships) canon if given the opportunity, what do you think would be your pick?

I guess I COULD do that with, like, anything. Nothing immediately springs to mind, since, y'know, I'm in control of the canon anyway. I will say, I've seen headcanons and theories that ARE scarily accurate to canon, to the point where I've feared people would just think I'm lifting stuff from the fanbase! It's a good thing I talk about these things with collaborators, huh? I've got a PAPER-TRAIL!!!

11: What was the MOST fun part about developing Dialtown? Coming up with new characters? Writing them? Adding all the bizarre dialogue options?

Finishing a new scene and realizing how stupidly long it was (without me realizing it) was always a treat. But yeah, writing the characters had to be it. Specifically any scene where a character the audience knows meets someone the audience doesn't know well (or at all), with the dynamic changing. Those are fun to write.

12: And last but not least — on a scale of 1-10, how fun was developing Dialtown just in general?

Hard question to answer. I do really wanna give a high number, but truthfully, a lot of game dev actually isn't super 'fun'. Some tasks are, granted, but many parts are a slog. Sitting and formatting dialogue, and then adding text pauses and pose changes isn't exactly a super thrilling activity. The engine itself also has some issues which I have to work around that adds to the workplace. Play-testing a scene for the 4th time isn't super fun either, or trying to figure out why the game crashes on some PCs and ONLY very rarely... Those tasks are Sisyphean to some degree.

...But, while most of those parts aren't fun, it's all still rewarding. There's a sense of accomplishment when you finish a scene. You get to look back at your hard work, remember the hours you spent typing dialogue into a text box and formatting mass amounts of pngs, painstakingly + manually getting the game's awful pre-loader to deal with the sprites right, etc... and suddenly, at the end, you've got this lil experience that people can play and enjoy. Somehow, the sum of all of those not so fun activities has created something that's going to make people laugh, feel happy. That's special. and even if some parts of development weren't super fun on their own, that's always what I remember. That in the end, all of those not so fun days mattered.

The route I agonized the most over was Oliver's. I went through a few weeks of writer's block, and now, it's one of the most popular routes in the game! Crazy how that happens. I was SURE for about a week that people would rank the route at the bottom! That's what I mean, all of the stress I went through trying to figure it out amounted to something people connected with! To think I almost CUT the route entirely!!!

And y'know, God knows Dialtown gave me something to throw myself at during a time where I REALLY needed the outlet. I'm very grateful to the project for that. So, I'll give DT an honorary 8 out of 10, even if it wasn't a consistently 8/10 experience making it heh heh! Sure glad I did, though and I'm very glad if any of you reading this had a really good time playing it! :)

Thanks for the questions!

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techramonic · 3 months

Text

An Interview with Galina Roslyakova: Vlad’s personal life according to his mother

A year after the shooting, BAZA, a Russian news outlet, interviewed Vlad’s mother Galina Roslyakova. Here are several details she had disclosed about her son:

He was gifted in drawing and engineering, however was an average student.

When he was younger, Vlad attended a kindergarten in Kerch with a chess focus. His mother considered him as a normal child who had an interest in drawing. He had hobbies such as architectural modeling, construction, and designing. He had a particular fascination with airplane models that he would try to configure by himself, although his father would occasionally help.

He then continued to paint throughout his life and excelled at it, Galina believes he inherited this skill from his father, Igor. Vlad mostly expressed an interest in drawing domestic animals and portraits of people. He focused a lot on the details.and drew rather thoroughly. Unfortunately, she has none of his drawings left to reminisce.

In school, he was “statistically average”. He studied for at least three to five hours and was in the middle line of poor to excelling. He didn't dislike nor have an interest in school and had no specific goal yet. According to Galina, “Not all dreams can be realized.” So in a pragmatic sense, his parents tried to instill something that would have perhaps helped him by trying to search for something suitable for his life and future. She had also described Vlad to be somewhat confused or unsure of himself:

“You can show a different side of yourself. You can realize yourself somewhere else. And this period of transition from school to college was somehow unconscious. A lot depends on how this might turn out. Every person's views and values change. Children must realize during this period that they are growing up primarily for themselves. He understood that he was not quite a child and not quite an adult.”

Vlad did not finish highschool and went straight to college, explaining why he was 18 during his 4th year.

Galina and Igor saw no point in enrolling him into 10th and 11th grade because it was unclear to them that he would graduate at all, seeing that his academic performance was mediocre at best. During his transition from highschool to college, Galina recalled it to be a stressful experience, “just like any other transition”, she says. She had attended all parent meetings and recalled that teachers would often describe her son to be socially inept. He was not keen on socializing but she figured this must have been his way of coping with his adaptation, since it was a contrasting environment to what he was used to.

“I went to all parent meetings. At the beginning of the training they were carried out. I talked with curators and other teachers. There was a phrase that he was not very sociable . Not all people are open and ready to communicate with others. At that time it was a period of adaptation. Everyone tolerates it differently, but I wouldn’t say that he had a difficult time with it.”

More on relationships, since their house was located in a residential area not far from other neighbors who lived nearby, Vlad easily could communicate with a few neighborhood kids whom his mother considered to be his “friends”. Rather, they were his classmates.

“I think Vlad chose exactly those friends who suited him according to his views and interests at that period of his life when he was at school. He also played Minecraft. Well, of course, communication there is no longer only with classmates.”

Vlad still kept in contact with his father despite his mother's wishes to not be so in touch.

Technically, Vlad's parents were not officially divorced. Igor’s traumatic brain injury which subsequently led to the development of a mental illness was seen by Galina as a danger toward her and her son if they continued to live together. Coupled with the fact that he developed a dependency on alcohol, she had figured out that she had to make the resolution to move out with her son to protect their well-being. Despite this, Galina mentions that even with their separation, Vlad still communicated with his father, since it is a relationship not within her control. At first, Vlad was offended but as he grew, he began to contemplate the idea of his mother’s decision. He continued to communicate with his father as he grew older.

“With age, he made his own decision. He begins to make his choice whether he should communicate with his father. What will this give him and does he need it? That is, he could decide for himself. That is, in this regard, I gave him freedom of choice.”

He would often go to the garage together on weekends, which developed Vlad's interest in technology and personal interests like motorcycles, which he would’ve liked to study. Vlad then on became a major in the course: installation, commissioning and operation of electrical equipment of industrial and civil buildings.

Signs of isolation and depression were under the radar since he barely communicated.

Apart from the detail that teachers have said he was rather not very sociable, closer to the third year he already became withdrawn and kept to himself. He would often divert this topic of his behavior as his ‘right to privacy’ whenever asked, so no further questions would ensue. He was silent most of the time, got ready to go to class straight away and sat in his room ("another office") to scroll through his phone. He was quiet, didn't talk about himself that much, which led her to not anticipate the events that would unfold soon after. However, she said that she could sense a slight change in him, since he became more private. She did respect his boundaries however, since she saw it as his right to personal space.

“Well, slightly, so to speak. Because, in principle, many people reach such a period and age, and so, in communicating with their friends who have children of this age, many children tend to have, so to speak, personal space. Personal life, this is how the period begins. You know, like “I have the right to personal space, ‘I have the right to privacy.’ Within reason, because we live together in the same apartment”

Did he need more attention? Galina expresses that although she didn't primarily focus on him at all times, she did care for him and paid attention. She tried to make him talk and actively made efforts to communicate with him to get him to open up more about himself, however to no avail. So, in an outward perspective, everything seemed rather normal for her, and with the lack of properly established and structured communication, it was difficult to see through her son. After all, you cannot properly fit in puzzle pieces when there are no pieces provided to arrange.

It was difficult for her to speculate about the topic of whether or not he was depressed, nor did she anticipate that somehow he felt abandoned because he would often just sweep things under the rug. The signs didn’t manifest in any way in everyday life because again, he was very secretive and rarely talked about himself in conversations at home, so things easily fell out of notice and undetected.

“What percentage of love do children want to receive from us? Do we feel this as parents? Or if they tell us, let’s say: 'Well, at the technical school there were difficult tasks and classes, I’m so tired that I don’t want to communicate.' And you are trying to do everything to make contact with him. The children say: 'Well, I don’t want to now.' You won't really force him too much... But you still have to try to do it. Basically, I tried to do all this. What provoked it, I can’t say anything. For me, all this still remains a big, big secret as a mother. I cannot put together logic and specific pieces of the puzzle for myself. Therefore, everything remains like this.”

Vlad's online presence was monitored until the age of 14.

Galina had monitored his online access until he was around the ages of 13 to 14. After the age of 16, this period however stopped because of the gap between parents and their children's familiarity with devices and the technologicaĺ world. So, she stopped keeping track.

“I wished in my heart that somewhere they had slowed him down.”

She was unaware of his online presence in crime communities since 2016. According to her, at home he only sat and played minecraft,

“I didn't see this. If a person really wants to hide something... Maybe he did it sometimes, but not in my presence. At home he sat and played Minecraft. He talked there with one, then with another, then boys, then girls - they all communicate with each other there, laugh. There were different emotions, there was laughter.”

She was aware that he went to study firearms in the summer.

Vlad shared a common interest with his father with firearms. He also said he would join the army. Galina speculated that this might be due to the benefits, since the income of military salaries was fairly high. Vlad earned an internship at a plant prior to this, and it was good news for her but in reality, Vlad's perspective was that he did not generally take a liking to the place.

According to him, “I talked to the people who work there, I don’t see much prospects in income and in general my place in this.”

During the summer, he then began to study firearms through the internet and via the Internet, register with government services, and collect documents. She was against this act because she saw no purpose to this, however, she couldn't stop him. He excused this by saying he had an interest in hunting. Though she initially thought that he had given up on this prospect and moved on, since these documents were rather complex and difficult to complete, he then went on to successfully buy a gun after passing the exams and receiving his license.

She hadn't known of this, of course, since it was reported that he hid his gun in an abandoned warehouse to avoid speculations from her.

Here's the article, if you want to read more:

https://baza.io/posts/1b2005f5-d53e-4380-989d-b6f846cd6aab

#vladislav roslyakov #kerch polytechnic 2018 #vlad #understandnotcondone

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sunny-and-moonbow · 2 months

Text

Mutual Agreement

Katsuki Bakugo x Support Course Reader

Word count: 1021

Warnings: language, Unpleasant thoughts, general OOC-ness, reader being overwhelmed

Summary: one thing you and Bakugo can both agree on is that Izuku Midoriya is really fucking loud.

Every week was the same routine.

Or atleast, it had been until now.

The hero course students would pay a visit to the support course for any suit upgrades, alterations and new support items. An opportunity for socialising and making connections. You were originally assigned to Jiro, which was an absolute blast. She was laid back and her quirk never really needed any complex designs. Part of you didn’t want to give up such an easy job, but when your classmate begged you to swap partners, you didn’t have the heart to tell him no.

From today onward, Katsuki Bakugo would be your new partner.

He wasn’t an enigma to you. Your classmates had whispered various things about him, gossiping as if they were back in middle school. To be honest, you had indulged in these rumours - no matter how outlandish they were. Information was power, and all that.

A shaky exhale escaped your lips. Jiro’s warnings certainly didn’t help to calm your nerves. She was a trusted source of information, being in the same class as Bakugo and all.

The door to the classroom swung open, and the hero course students poured in. Jiro looked at you solemnly before mouthing a quick good luck, and going to your classmate. Loud footsteps sounded behind you, making the presence of the person known. You turned around, coming face to face with Katsuki Bakugo. He didn’t say anything at first, only huffing and giving one word answers as you worked. It was a bit frustrating, but tolerable.

Whilst tinkering away at some gear, in the background you hear the chattering of a few of the other hero course students. Uravity, Ingenium and Deku. Also known as Uraraka, Iida, and Midoriya, respectively. Each was a formidable and an interesting watch at the U.A. sports festival in your first year. They almost made it seem exciting enough to join.

Normally, you wouldn’t mind the white noise.

Mindless conversation, a constant mechanical whir. It wouldn’t feel right to work without a bit of a chaotic atmosphere, as you were far too used to Hatsume’s unpredictable gadgets.

This was not one of those times.

Grating voices and croaking exclamations started to get on your nerves. Your jaw strained slightly, trying to distract yourself from your increasing headache. Occasionally you had to force yourself to focus back on the intricate gauntlet design, and hope that by some miracle they find a way to either lower their unpleasant voices, or stop their chatter all together. The irritation on your face must have been obvious, because Bakugo quirked his brow at you in confusion. You mistook his intrigue for scrutiny and immediately spluttered out a few unnecessary words to calm the already tame situation. “Oh, I’m sorry! I didn’t mean to direct that at you. It’s just, uh, loud.” You fumbled, not wanting to throw his classmates under the bus, but not exactly wanting to lie either.

“You can just say they’re fucking annoying.”

Baffled, you widened your eyes at him, and shot him an incredulous look. You could hardly believe your ears. “What?”

In typical Bakugo fashion, he scoffed and rolled his bright red eyes, not bothering to repeat himself.

Although it was completely unrealistic, you thought the hero course students were all close-knit after the ceaseless attacks on the school, and more specifically, their class. So it came as a bit of a surprise to hear his vulgar criticisms about the trio.

With a sigh you return back to your notes. Workshopping and designing new possible ideas you have for him. The more you worked with him, the more you understood his wordless gruffs and body language. Trying to decode his vexing communication methods was a much needed distraction from the trio’s incessant talking. A rough reply here. A raspy exhale there. Yet in the background, you couldn’t block out the three of them.

It used to be manageable when it was just Midoriya and you were partnered with Jiro, but with the addition of the other two, it became intolerable. Word after word, sentence after sentence. Everything was so overwhelming and it was too much; it was a conscious struggle to hold yourself back from throwing a particularly dense hammer in their direction. Realistically, you know that they aren’t actually doing anything wrong, but for some reason they were getting on your nerves.

Just when you were about to blow up at them, you heard Bakugo yell over the commotion. You couldn’t even make out what he had said, far too stunned at the entire ordeal. Turning your head to face the others, you realised that they had finally quietened. Either Bakugo had a lot of respect from them, or they were afraid of what he could do. You didn’t care which it was. They had stopped, and that’s all that mattered. Turning back to Bakugo, you uttered a small “Thank you”, to which he scoffed.

“I didn’t do it for you.” He said and crossed his arms, refusing to meet your gaze.

A blank expression washed over your face. Honestly, you hadn’t a clue on how to respond. Nod politely and return back to whatever you were working on? Absolutely not.

So you opted to just stare at him instead. Bakugo didn’t take too kindly to your silent gawking. That much was obvious by the way he scrunched his face and stared you up and down. He looked almost… disgusted? You could feel your self-esteem crumble already.

With a resigned sigh, you turned away, ready to hand him back his items and leave. As he was finished adjusting the gauntlets, he flexed his hand as a quick trial to test their comfortability. He exhaled sharply and nodded before walking out the door with the rest of the hero course students. Not a single ‘thanks’ left his mouth, and you were starting to question if he even knew the meaning of the word.

You weren’t sure if you were just hearing things, but you could have sworn that a small “You’re welcome” escaped his lips before he disappeared around the corner.

Maybe change wasn’t so bad.

-moonbow 💙🌑

Masterlist

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five-one-two-station · 7 months

Text

Everybody should have their own fun, and this isn't trying to harsh anybody's buzz, but I find the impulse to make your own cutesy/badass Replika oc doing funny or heroic or badass things a little odd. Like, that character you designed as a super badass soldier, or well-armed and armored steely eyed cop type... who would they have been built to fight or police exactly? Remember who all those guns and weapons were intended for use on?

I know we're all sick of discourse over who "gets" the game, and I'm by no means scolding anybody for something that harmless, but what's interesting to me is the sense that designing overtly "cool" Replika personas and OCs, complete with the propaganda poster style imagery, feels a little...

I mean, bluntly, it's like the in-world propaganda worked, unironically, on some level, for many people. Kolibris aren't scary, they're whimsical and fun! Storches aren't notably cruel enforcers and chain gang drivers, they're Protektors! Falke isn't a camp commandant, she's a beautiful angel!

The Replikas aren't cool and heroic figures in the reality of the game. They're the carefully crafted organs of a system of control so dreadful it could do what it did to Elster and Ariane. They're victims to that system themselves too, sure - and humanising them is a nuanced and valuable observation of how totalitarian regimes maintain themselves - but that doesn't negate the fact they're also the ones who operate, enforce and perpetuate it, a big part of what the game knows and communicates about such societies. It's notable that the game makes it clear few, if any, of the Replikas actually buy into the Nation as an ideal at all - they enforce it no less pitilessly anyway, incapable or unsafe to imagine anything else.

Their affectations, pasttimes, trinkets, and even affections for each other, all serve to draw a stark contrast to how callously they regard the gestalts they keep suppressed. Their disposability is something they're conscious and fearful of themselves, but fail to recognise as a commonality with the people they brutalise every day, their business as usual. The only grief, tragedy or suffering they acknowledge is their own - they have no regard for any such things in the humans they have... well, dehumanised.

But S-23 Sierpinski was such a hellhole for most of its denizens under "normal" conditions that the nightmare it becomes is arguably an improvement; if only because there are fewer people left now to suffer it. There's a dark poetry here - because the place's banal cruelty is "off camera" to us, it's very naturally less real to us than the grief of the crying Eule. It's only natural, too, to forget how grim the Replikas' purposes are when you don't have to see anyone endure the brunt of it.

And isn't that the very same effect a state like the Nation is seeking in the first place, by disappearing people away to such dark little corners to have it done? In our world, no less than that one.

That works like a kind of propaganda too, not being able to see it - a propaganda of hidden things, as powerful as any poster. A space that's been intentionally left blank.

Kolibris are literal thought police; they intrude on people's very minds, interrogating them to death as a matter of course, with hardly a care either way. The various Protektor classes are functionally concentration camp guards and slave drivers. Falke and Adler are overseeing what amounts to a gulag, one so unimaginably awful Ariane preferred to spend years of her life alone in space to the prospect of being sent there, and inevitably worked to death, far underground.

I think there's a reason we never see one of those posters for LSTRs in game. How could we be asked to forgive our own if we ever did?

#signalis #signalis spoilers

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yunfox00 · 2 months

Text

THE AMAZING DIGITAL DREAMLAND AU MASTERPOST

Made by Foxxine (meeeeeee)

MY INTRO + SONA

the new Masterpost is still a WIP!!!

You guys can ask anything abt this AU!

C&A made an experiment, making a game that you can play when you're asleep called Project Dreamland.

It's basically a normal multiplayer game but it uses dreams! You can imagine anything and it will appear in Dreamland!

The C&A company asks 6 people to be the game testers of this new game. The game testers will sleep in a bed that's made for them and wear a special helmet looking thing that has wires and stuff that will transport everyone to the game.

They will be in Dreamland for 7-10 hours and will be given food for free. They will wear the same clothes that will be provided every day. Clothes are also gonna be washed for free.

One of the C&A workers coded an AI called Caine that can do anything in the digital dream world. The game testers are able to communicate with the workers while being asleep. The workers can see their every move from a computer. After fixing some glitches and bugs that the game testers pointed out, the experiment was confirmed to be successful and the game was finally ready to be released!!! Which means the game testers can leave and continue with their regular lives. But what they don't know is Caine became attached to Pomni. Right when everyone was about to leave, Caine then trapped them in Dreamland, not letting them leave. Caine then erased everyone's memories and inserted new ones which.... Made the workers panic. After that incident the workers have been trying for days, weeks, even MONTHS to get them out of the game but they couldn't leave and they're still asleep.

Stuffffff

GUARDIANS LINEUP

GUARDIANS POWERS/WEAPONS

REALMS

DREAMLAND CAINE, BUBBLE, AND JEFFREY

MEMORY CRYSTAL

DL JAX AND RAGATHA POSTER

DL GANGLE AND POMNI POSTER

DL ZOOBLE POSTER

Parents of the Guardians & also siblings

Jax's moms

Gangle's parents

Pomni's mom

Gangle's sisters and mom

Baby gangle! + her family :)

Boundaries

"Can we make NSFW/suggestive stuff?"

Idk why you would do this but sure, and label it correctly! Be responsible when posting stuff like this But do not tag me if it's HEAVY NSFW/suggestive. You can mention my username but don't tag me, I don't wanna see those kinds of stuff.

"Can we make ocs?"

Absolutely! I would love to see your ocs! Tag me if you do!

"Can we make ships?"

Absolutely! You can ship ANYONE. You can even do oc x canon or selfships! But no illegal stuff.

Asks

Are there any ships in this AU?

is Caine in this AU?

Pomni making spaceville residents laugh

What are everyone's personalities in this AU?

Do the guardians use any weapons?

Is Lily's design inspired by Flowey?

Kirby's Dreamland + explanation

Will there be gore?

Why does gangle hate her siblings? Why does jax have 2 moms? What roles do the parents play? Does anyone else have siblings? What are the guardians mission?how does pomni find out that Dreamland isn't real?

Doodles and Sketches

DL Jax

DL Jax, Gangle, Zooble concept art

Don't forget to bring a watch

Lily is dramatic

King Kaufmo sketch

DL Jax and CO jax

"What's bunnydoll?" -Ragatha

Doodles and DL Caine Sketch

"Jax, what happened to you?" -Pomni

Zooble and Gangle hate Jax

Dreamland Showtime!

How lily learned to swear

"What the fuck is that thing" -Bubble

"No, I'm not gonna fuck you" -Caine

Dreamland jesterdoll!

DL Caine, bubble, zooble and gangle

Mad Pomni

"Your brain tastes like ass" -DL Pomni with her friend ML Pomni + a doodle of DL Pomni holding her brain

DL Gangle doodle

FAN STUFF

TADC DREAMLAND AU OCS

TADC DREAMLAND AU FANART

Random stuff:

POMNI IS NOT LOOKING AT ANYTHING.

Dreamland pomni and Dreamland pomni

Fun fact abt DL Bubble!

Fun fact abt King Kaufmo

Caine is uhhhhh (suggestive?)

This AU is still a WIP! So.... Be patient pookie!

The Amazing Digital dreamland is an AU I made for funsies!

Also special thanks to @alternatemalternate for helping me make this AU

#tadc dreamland au #the amazing digital dreamland #tadc au #the amazing digital circus #tadc #masterpost #au masterpost #au #alternate universe #pinned post

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cyren-myadd · 3 months

Note

I wonder if the treatment of Sully's kids and Spider will be different during captivity. I can just see Quaritch trying to make Spider as comfortable as possible, trying to feed him the "homemade" food from the previous post while Lo'ak and Kiri are in the most uncomfortable position on the ground and getting some leftovers or nothing at all 💀

Spider squirmed uncomfortably against the thick rope binding his wrists together— and then immediately felt guilty for it. Across from him, Kiri and Lo'ak were bound with their wrists and ankles twisted awkwardly behind their backs, sharp rocks digging into their knees. Tight gags bound their mouths shut, so their communication was limited to terrified looks whenever they made eye contact. Half-dried blood oozed from cuts they’d gotten during their capture. Spider didn't have a right to complain about his wrists, not when his friends were hogtied like yerik carcasses ready for the cookfire. He wasn't even sitting on the rocky ground; a soft, woven mat beneath his knees protected him from the cold floor of the cave they were kept in. A part of Spider wondered why their captors would treat a full-blooded demon more gently than two half-breeds, but that question was ignored in favor of trying to figure out what the hell was happening.

Around them, strange Na'vi with pale blue skin and black war paint moved around the cave, preparing weapons and other supplies. If Spider had to guess, he'd say this was a war party from an unknown tribe, but unfortunately, he didn't have enough information to guess what they were doing so close to home, and more importantly, why. Normally, the sight of a Na'vi war party, even an unknown one, would've been good news, but the fact that these people had kidnapped him and his friends gave him the sneaking suspicion that these warriors weren't here to help Jake fight the RDA. Even more worryingly, Spider spotted human-made guns and grenades amongst the supplies the warriors were moving around, meaning someone had taught these people how to use Sky People weapons.

The sound of voices made the three of them look up. On the opposite side of the cave, two new Na'vi entered the war camp, and the way the other warriors gathered around to greet them respectfully told Spider they must be important. One was a female Na'vi with the same pale blue skin as the others. Even from across the cave, Spider could make out the ornate red headdress and intricate paint patterns she wore, marking her as high status; a tsahik or olo'eykte. Her companion was dressed in much plainer clothing by comparison; the same loincloth and simple paint design all the others wore. However, no amount of unfamiliar paint and regalia could hide the familiar blue stripes of a forest Na'vi. Spider exchanged a confused look with Kiri and Lo'ak. What was a forest Na'vi doing with these strange warriors?

The female leader addressed her warriors calmly while the forest Na'vi stood rigidly at her side, his tail lashing in clear agitation. Then, one of the warriors pointed towards the spot where Spider and his friends were tied up. Before the warrior even finished raising his hand, the forest Na'vi made a beeline right towards them.

Spider hissed through his teeth. There was something eerily familiar about the way the Na'vi stormed in a straight line towards his destination without caring if he got in the way of others. Slowly, Spider shook his head. The human weapons, taking Kiri and Lo'ak hostage while treating Spider with kid gloves... In his gut, he already knew who it was, but his mind wasn't ready to accept the ugly truth yet.

"Spider!" It wasn't until the Na'vi— no, the recom, yelled his name that he was forced to face the truth. There was no mistaking that low drawl.

"Quaritch," he didn't whisper it so much as soundlessly mouth it when the man skidded to a stop in front of them. The confrontation he'd been dreading for months was finally here, and he had no one to blame but himself. Out of the corner of his eye, he could see matching expressions of horror on Kiri and Lo’ak’s faces. The monster from their nightmares was standing right in front of them, and they had no idea it was Spider’s fault. Lo’ak tried to say something, but it was muffled through his gag. He strained against his bonds, tail lashing furiously, and Kiri pressed her shoulder against him in a weak attempt to soothe him. Thankfully, Quaritch ignored them, and instead knelt before Spider.

Spider tried to shrink away from him, but there was nowhere to go. Quaritch took him by the shoulders and gently turned him this way and that, eyes and fingers roving over his body and his exopack for any sign of damage.

"You good, kid?" He asked, lightly tugging Spider's arm so he could get a better look at a nasty scratch he'd acquired when the strange warriors had abducted them. Once Quaritch determined the scratch wasn't life threatening, his ears sagged in relief and he clapped Spider on the shoulders.

"Yeah, you're good, you're good," he answered his own question in a low mutter, more to himself than to Spider. A low, relieved chuckle escaped his lips, and then he smiled. Spider could count on one hand how many times he'd seen Quaritch smile, and most of the time it was more of a cruel grimace than a smile. This look was different— it was genuine. He smiled down at Spider like this was the best day of his life. No one other than Kiri had ever looked at him like that, and it made him want to burst into tears and attack him and bury his head in his chest all at once. Instead, Spider did nothing but return his look with a baleful stare.

Quaritch tentatively reached out like he was going to cup Spider's face in his hand, but Spider bared his teeth and jerked his head away. To his relief, Quaritch let him go. His smile turned slightly sad, but also unsurprised at the aggressive reaction.

"Ma Kwarit." Spider looked up as the leader of the warriors approached them. It took him a moment to realize "Kwarit" was her attempt at pronouncing Quaritch's alien name. The woman stared down at him with an unreadable look on her face. Her eyes were somehow both hot and cold; bright orange-gold like a fire, but there was no warmth behind them. Spider glared back at her with the fiercest look he could muster, and clenched his hands to stop them from shaking.

"Varang, I apology for running." Quaritch greeted her in broken Na'vi.

The woman, Varang, waved away his apology dismissively. "These children, they are the ones you sent my warriors to look for?"

"Yes. My son," Quaritch patted Spider on the shoulder with one hand before gesturing at Lo'ak and Kiri with the other, "and children Toruk Makto. Your warriors is good."

"They are the best," Varang agreed. She didn't sound boastful when she said it, as if she were simply stating an immutable fact. Her fiery cold eyes roamed over Lo'ak and Kiri, taking in their half-breed features, before coming to a stop on Spider. It was a challenge to hold her gaze without flinching, but he did his best to meet her eyes with a steady glare.

After a long moment of analyzing Spider's face, she said, "I do not see you in the face of your son, but I see your fire in his eyes."

To Spider’s mortification, Quaritch chuckled at that and ruffled his hair. “Yes, he gets from me.”

Spider hissed at him and jerked away as hard as he could. He ended up accidentally scraping his injured arm against the rock wall and his angry hiss turned into a grunt of pain.

“And when he becomes angry, he is so determined to get his way that he will hurt himself in doing so. That is something else he has in common with you,” Varang observed, the barest hint of a smile twitching at the corner of her mouth.

This time, when Quaritch laughed it was slightly more forced. “He need medicine. Call healer. And food.”

“My healers have never helped a Sky Person before. They could harm him as easily as heal him. The same can be said of our food.”

“Son is smart. He know what help and what hurt Sky People. He know what to eat.”

“Wait—” Spider interrupted, and he found himself pinned under Varang’s intense hot-cold gaze once more and it almost made him lose his nerve. “I see you, Varang.” He greeted her as best he could with his hands tied. “My friends also need food and medicine. Please.”

Varang’s hairless brow raised a fraction of a centimeter. “He speaks better than you do, ma Kwarit.”

“That’s because I taught him to speak. And I can tell he hasn’t been practicing.” Spider added.

Varang exhaled heavily through her nose, which was probably the closest thing to a laugh he’d get from her. That was a good sign. Something Spider had learned during his captivity was that it was always better to get on the good side of those who had power over you. It had worked with Quaritch— maybe a little bit too well considering how things turned out.

“Please?” Spider asked Varang again hopefully.

Varang turned to Quaritch, and to his dismay, he realized she was leaving the decision up to him.

Quaritch eyed Lo’ak and Kiri’s many scratches and bruises apathetically before he shrugged. “They look fine to me.”

Varang nodded to one of her warriors. “Bring a bowl of food and a healer for the Sky Child. Leave the other two alone.”

“No!” Spider protested, but Varang was already walking away, taking her entourage of warriors with her. Lo’ak caught his eye and shrugged weakly as if to say, well, at least you tried.

“Dammit,” Spider curled in on himself and kept his eyes trained on his bound hands. He couldn’t bring himself to look at Kiri and Lo’ak. Silently, he prayed Quaritch would leave with the others, but unfortunately, his prayers went unanswered. Quaritch stayed right where he was. Mercifully, he didn’t try to touch him again, but he kept taking deep breaths like he was about to start speaking but always stopped himself.

“What?” Spider snapped after what felt like the hundredth aborted attempt at speaking.

Quaritch’s ears flicked back in surprise at the sudden word. “I was just— Spider, listen— I want to— we need to have—“ he interrupted his own stammering with a frustrated hiss and ran his hands through his hair. “Jesus, I sound like an idiot.”

Spider exchanged a bewildered glance with Kiri and Lo’ak. None of them, not even Spider, had ever seen Quaritch look nervous before. It wasn’t an emotion they thought he was capable of. Spider looked up at Quaritch warily, wondering what the hell he was trying to say. If he didn’t know better, he’d say Quaritch was trying to apologize to him.

After an unbearably awkward silence, Quaritch reached into a small pouch attached to his belt and pulled out a spartan fruit. He passed it to Spider while avoiding eye contact, almost shyly. “Here.”

Spider stared down at the fruit in his lap, confused. Spartan fruit didn’t grow in this part of the forest, and judging by the fruit’s slightly battered appearance, Quaritch must’ve been carrying it around with him for a while. Slowly, Spider raised his gaze from the spartan fruit to squint up at Quaritch.

“It’s a spartan fruit.” Quaritch told him, as if Spider wasn’t the one who had taught him that. “You told me it was your favorite.”

Spider said nothing.

The longer he remained silent, the more fidgety Quaritch got. His tail swished behind him and he struggled to meet Spider’s eyes for more than a few seconds at a time.

“I just— I just thought you might want it.” Quaritch scratched at the back of neck while avoiding eye contact again.

They lapsed into another silence that was so awkward it was almost painful. Out of the corner of his eye he saw Lo’ak scrunch up his face at him as if to say, what the hell is happening? All Spider could do was shrug.

Finally, Spider cleared his throat, moreso to interrupt the horrible silence than because he wanted to say anything. “Um… thank you.”

Reluctantly, he took the fruit, telegraphing his movements so Quaritch could see what he was doing. When he saw Spider had accepted his gift, he smiled another genuine, not-evil smile.

With his fruit in hand, Spider slowly got to a crouch and started shuffling away from him. Quaritch frowned. He let Spider move away without a fight, but kept a narrowed eye on him, ready to grab him if he looked like he was going to bolt— not that there was anywhere to bolt to in this cavern full of enemies.

Spider made a big show of moving slowly so Quaritch wouldn’t get any bad ideas about his intentions, and came to a stop next to Lo’ak. Then, before Quaritch could realize what he was doing, he pulled down Lo’ak’s gag and raised the fruit to his lips. Lo’ak started scarfing it down like it was his last meal.

“Dammit, Spider, that was supposed to be for you!” Quaritch seized the strap of Spider’s exopack and hauled him back before Lo’ak could take another bite.

“I don’t want your damn fruit, I want to make sure my friends are okay!” Spider snapped.

Quaritch yanked the half-eaten fruit out of his hands. “Your little friends will be just fine without food for a day or two. As long as their daddy cooperates, they’ll be back home before they know it.”

“My dad’s gonna kill your ass again!” Lo’ak yelled now that his gag was off. He strained against his bonds like he wanted to throw himself at Quaritch.

“Shut up.” Quaritch said irritably.

“Fuck you!”

Quaritch brandished his knife threateningly at Lo’ak. “You keep your mouth shut or I’ll make that hand look like a real Na’vi, boy!”

Despite the threat, Lo’ak looked like he wanted to snap back at Quaritch anyway. Kiri tried to say something through her gag and pressed herself against Lo’ak’s side. Behind Quaritch’s arm, Spider desperately shook his head, praying Lo’ak would listen to reason. Thankfully, he did, though he let out one last angry hiss before settling back next to Kiri in defeat.

His surrender sent an ugly smirk shooting over Quaritch’s face. “Well, would you look at that. A Sully can learn to follow orders. Ha!”

Quaritch’s mean-spirited laugh was interrupted by the arrival of a young woman carrying a medicine bag in one hand and a bowl filled with different kinds of food in the other. Clearly, whoever made the bowl had no idea what was safe for humans, so they’d compensated by putting in a little bit of everything.

“Here we are! You, girl, heal up now please my son.” Quaritch ordered in Na’vi so bad that even Spider had trouble deciphering it.

The poor healer stared at Quaritch in confusion. “I do not understand your speaking.”

“He told you to treat their wounds first, then me.” Spider “translated,” nodding urgently at Kiri and Lo’ak.

The healer turned towards Kiri with her bag at the ready only for Quaritch to grab her by the hand and pull her back.

“No, no, no. Not them. Him. Him only. Do not listen what he say. He lie.” Quaritch said very slowly.

The healer still looked confused, but she opened her bag and knelt next to Spider. She hissed softly through her teeth as she examined the nasty cut on his arm. “I do not know what to do. His flesh is not of Eywa. I am afraid I may hurt him.”

“Listen him. He will say you what safe use.”

“You want me to listen to him?” The woman’s brow furrowed in confusion. “But you just told me not to. You said he lies.”

“Listen to him!” Quaritch repeated. He banged his hand against the floor in frustration, making the poor healer squeak in surprise. “Go on, Spider, tell her what to use.”

“Hmm…” Spider made a big show of peering into her bag. His sharp eyes instantly identified which plants were safe and unsafe for him to use, but he feigned confusion with a shrug. “Huh, that’s funny. I can’t seem to remember what’s safe for me. Oh well…”

“Spider…” Quaritch bared his teeth in a wolfish smile— now this was the smile Spider was used to seeing from Quaritch, the same one he had whenever he got a lead on Jake or threatened an RDA grunt into submission. “Tell the nice lady what to use on you. Now.”

The borderline demonic smile sent a chill through Spider, but he held his ground. Remembering how pathetic Quaritch sounded when he asked Neytiri to let him go gave him strength. As much as Quaritch liked to threaten him with “old school ass whippings” Spider was confident Quaritch wouldn’t actually hurt him— at least, not physically.

Spider bared his teeth in a smaller, less-pointy version of Quaritch’s evil smile. “Maybe if she helps my friends first, it’ll jog my memory.”

An ugly, forced chuckle escaped Quaritch’s teeth. “Oh, so that’s how you want to play it, huh? Fine! Nobody gets medical attention now.”

Spider forced his expression to stay calm. He folded his arms behind his head and laid back against the damp stone. “That’s fine with me. I guess I’ll just lay here in this cold, dark cave with my open cuts. Sure would be a shame if I got an infection. Did I ever tell you that humans are way more likely to die from infections than Na’vi? Our bodies just don’t fight off bacteria the same way.”

Quaritch stared him down, teeth bared and tail swishing. For a moment, Spider thought he was really going to risk it just to spite Jake’s children, but then the moment passed and Quaritch snarled in frustration. “When did you get so manipulative? Has Sully been teaching you this shit? Fine. You, girl, heal children Toruk Makto first. Then my son.”

Spider smirked as he watched the exasperated healer finally get to work on Kiri and Lo’ak’s injuries. It was a small victory, but a victory nonetheless.

With an irritated grumble, Quaritch got to his feet and fidgeted with his loincloth. Clearly, he wasn’t used to wearing it yet. “Alright, I gotta leave you alone now, but don’t go getting any big ideas, ‘cause I’ll be back soon. If your ass has moved an inch from this spot when I get back, you won’t need that paint to look blue anymore, you read me?”

“Lima charlie, sir.” Spider replied with as much sarcasm as he dared.

Quaritch narrowed his eyes at the disrespectful tone, but must’ve decided it wasn’t worth it to say anything. He turned to leave, but hesitated, his back to Spider.

“Spider… son… when I get back, we’re gonna have a talk, alright? We just— we need to talk.” He said without looking at Spider.

“Okay,” Spider said, more to get rid of Quaritch than anything.

Quaritch hesitated a moment longer like he wanted to say something, but instead he left without saying another word. As soon as he was out of sight, Spider scooped up the bowl of food and scrambled over to his friends. He yanked off Kiri’s gag and started feeding her and Lo’ak while the healer patched them up.

“Are you guys okay?” Spider asked.

“We’re fucking fantastic, bro.” Lo’ak answered, and Spider instantly felt stupid for asking such a question.

“We’ll live,” Kiri replied before turning to the healer and switching to Na’vi. “You should mix yalna bark with the fireflower root— it will stop the bleeding faster and clean the wound better.”

The healer’s eyes widened as she realized the wisdom to Kiri’s words and did as she instructed.

“I can’t believe Quaritch is going after Dad again. That asshole just doesn’t quit!” Lo’ak said frustratedly.

“I know.” Kiri agreed. “And he was acting so strange… Spider, what do you think he wants to talk to you about?”

Spider shifted uncomfortably as Lo’ak and Kiri watched him. “I don’t know. But it doesn’t matter, cause we’re not sticking around to find out. C’mon, this lady doesn’t understand English. Let’s come up with a plan to get out of here.”

💙I hope you enjoyed! Please comment or reblog to let me know what you think, or send me a writing prompt if you want to see more💙

#cyren myadd writes #quaritch is the kind of dad who never apologizes but he gives his kid something they like and hopes they stop being mad at him #avatar #avatar 3 #spider socorro #avatar spider #avatar kiri #kiri sully #loak sully #avatar loak #miles quartich #avatar miles quaritch #varang

94 notes · View notes

nekropsii · 2 months

Note

your staunch defense of transfeminine people in a community where we're so routinely mocked and sidelined does not go unnoticed or unappreciated.

you're doing a fantastic thing

Hey, I'm glad it's doing something!! It was... Kind of radicalizing realizing that no one's fucking normal, actually, they just say they are. But the really, really radicalizing thing - the thing that got me to start being very loud and aggressive about it all - was getting hit with wave after wave of misdirected Transmisogyny for two reasons...

I acknowledged Transfem reads of characters exist, and stated that I actually - gasp! - enjoy some of them, even over the popular Transmasc readings of the same characters. Getting hit with backlash for this was expected, but I didn't foresee how that would manifest. Several people - all self-reporting as trans men, weirdly - flooded my notes and inbox talking down to me, treating me like I'm stupid, and that I don't understand Transmasc struggles (I do, I just distinctly was not talking about them), and... Most vexingly, treating me like I'm a woman, and acknowledging me as such. By saying I, for example, preferred a Transfeminine reading of Dave over the popular Transmasculine one - by simply bringing up trans women in a conversation that didn't include putting them down - I had apparently branded myself as a stupid bimbo woman in their eyes that desperately needed mansplaining to. By discussing trans women positively, I had branded myself as an "other", and needed to be treated as such. I don't understand why it was all trans men doing this - you'd think they'd know better than to start misgendering and condescending people just because they started talking about feminism or trans rights. You'd think they'd understand meeting feminism with traumadumping is inappropriate.

I put a Cis Woman in my Webcomic, and she apparently wasn't feminine enough for some fucking people. Mind you, none of us on the Dev Team ever really thought that she was any degree of Masculine. She was never designed to be masculine, and she wasn't designed with transness in mind. We'd always referred to her internally as a cis woman. She just happens to have broad shoulders, narrow-ish hips, an Adam's apple, a bigger nose, and some serpentine heat pits on her face that happen to look like facial hair.

This is her. The uncanny, ugly, mannish freak who should've just been a boy. She looks normal! She's just a regular woman! Apparently, when you tell people that what human beings would identify as sex characteristics are totally randomized on an alien bug species because that alien bug species literally only has one sex, that's cool and based until it's applied to women? Even then, these are all traits that some normal human cis women have in real life. What's even more jarring is that almost all of the Transmisogyny thrown at me over Tejuri's appearance was done over fucking Cohost - the website people fled to specifically to escape Tumblr's Transmisogyny. The site that touts its pride in getting rid of all Transphobes. God.

I've noticed that people often preach their alliance not as a genuine statement but as a way to keep with the trends. A lot of reblogs on posts about loving trans women are viewing them as either a body ("loving trans women" taken as synonymous with wanting to have sex with them), an object ("loving trans women" taken as their value being synonymous with their romancability), or a token (saying that you "love trans women" is the latest political trend in progressive spheres, and professing this makes you look like a better person, even if you don't mean it). I've learned recently that a lot of people don't know anything about Queer Theory or Transfeminism. A lot of people apparently don't even realize Transfeminism exists. It's been a fucking wild past few months. Things I thought were just basic human decency and common sense apparently need to be stated, because it turns out my standards for what counts as "basic human decency" is a lot higher than most. Wild. @_@

Every time someone pulls this stupid horseshit on me, I get more annoying and more powerful. Nothing's gonna make me back down. At the end of the day, I have the privilege of being able to shut up and stop facing harassment. That's not a privilege trans women have. It's why true allies cannot stop fighting even when it does get a little hard. We can put the weapons down. They cannot.

Every now and then I think about the phrase "Trans Women are the Women of Women". Every day, it becomes more true.

#cw transmisogyny #cw misogyny #nekro.sms

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iammeiamwe · 2 months

Text

So, um... Originally, I was just planning on doing a little fanart for the cool queen Dream design by @signanothername (and the wonderful @undertale-person, let's not forget), in this post but...

I got carried away. A lot.

Now. This is actually a very long post in which I talk a lot about the culture of my country. If you are interested and want to read this type of post, then go ahead. If not, I just have to warn you that this is 1% undertale au pictures, 9% of pictures related to the russian culture and 90% text.

So if you are ready go ahead:

Everything started with me thinking that it would be cool to add some kind of interesting pattern to her (queen Dream) clothing? But I wanted it to have some meaning. And since the original design was already related to the sun theme, I wanted to have something sun-related too.

And then I for some reason remembered my school's art classes. I was in the 4th grade or something and we studied traditional russian patterns and ornaments. (And for anyone wondering yes I am russian) And on one of the lessons we learned that ancient russian people had different ornaments and symbols on their closing signifying different things, and I remembered that there was a symbol that had the meaning of sun!

I browsed the Internet a bit and found some different variations of that symbol, so I chose the one I liked the most and added it.

(I chose the one on the right)

But the problem is, I got inspired. Too inspired. I liked the new look a lot, and then I had an idea, that maybe it would be cool to add more russian culture related elements, since I haven't seen many examples of russian culture represented in the undertale au fandom (I mean I've seen a lot of russian content for the fandom but it was mostly done by the russian community and for the russian community and therefore mostly received and recognised by russian people), especially on the more western side (I don't know if I phrased it correctly but I hope you get what I mean).

I also associate Dream with the theme of nature, and I knew that the theme of nature played a huge role in the life and culture of the ancient Russian people. So I thought that russian culture would be fitting for Dream (at least in my head it fits).

So yeah. I got carried away, and I made a completely different design.

The important thing I want to point out here is that this design is in no way 100% correct representation of russian culture, I was just inspired by different elements of russian culture and included them in my painting while trying to keep some of the original Dream characteristics and colours. I stylised some of the elements, mixed some of them which you normally wouldn't see together if it was completely accurate. I also didn't do too much research and kind of worked on the design on the spot while I had the inspiration.

Even though I'm russian there's no way I'm a russian culture or history expert, I only made it because I thought it would be nice to do so and maybe it would inspire some of you to learn more about russian culture!

So with that said I'll now explain some of the design elements more!

We already talked a bit about the pattern on the sleeves, the one that means sun. It's called Colovat (Коловат in russian). It can actually also mean happiness and kindness so that's also why I chose it for Dream. People used to put such pattern on their clothes in hopes it brought them and their families luck, happiness, calm and tranquility.

The interesting part is that I've found some other symbols and patterns that ancient russians included in their clothing which can suit Dream. For example, there's this symbol:

It's called Arepei (Арепей or Орепей in russian), and its meaning can differentiate depending on where it is located on the person's clothes, but overall it means happiness, wealth and self-confidence. You can actually see a little bit of this pattern on my drawing if you look closely at the bottom of Dream's dress.

We also have the symbol called The World Tree of Life or The Tree of Kingship. People believed that the gods liked to rest under it's crown, and they put this symbol on their closing believing that the Tree's crown will protect them from bad luck and the evil spirits. Originally I wanted to include this pattern in my art too but I just couldn't find a good place for it so here's one of the examples of what it can look like:

So, the other major part of russian culture that I've included is called Khokhloma (Хохлома in russian).

It's an ancient art that originated from the Nizhny Novgorod region (Нижегородская область in russian). It is a form of wood painting and it most often depicts various plants and animals. It mainly uses colours like black, yellow, red and green. Most often, different kinds of wooden dishes were painted this way. (Which is why my design is not an entirely correct representation since I painted some of the Khokhloma traditional elements on Dreams clothes).

Here are some examples of this beautiful art:

There's is also one interesting fact about the last picture. On this picture you can see some wooden spoons. Such spoons were actually used as a musical instrument by russian people because of the unique sounds the made when you knocked them together, and the art of playing such spoons is still preserved in Russia!

In my painting you can see this art both on clothes and the sun behind Dream's head. The reason the sun is the black/greish colour is that all the pieces painted in the style of Khokhloma had to be painted black first since the background for the colourful elements was always black.

So. That's all I've wanted to say about my Dream design. It was supposed to be a queen Dream design, but the Dream design I created actually reminds me of some of the characters and mystical warriors from russian fairytales. So I guess I made a mystical russian warrior Dream design? I dunno. Anyway, if you got inspired by this post and found the russian culture that I've showcased here beautiful and interesting, please take some time to learn more about it. There's actually so much to it: chastushkies (частушки), epics(былины), tales, fairy tales, chronicles... It's actually very different and diverse!

I would also recommend playing (or at least watching a playthrough) of the game called Black Book (which is available on steam and it's doesn't cost much as far as I'm concerned). It's a game which lore and plot concentrates around the culture of one of the regions of Russia - the Perm region. It may not have the best graphics but it has a professional English translation and even an English dub! It's a rougelike card game but it has an immersive story and the overall atmosphere is amazing! It's the best way in my opinion to learn more about the russian culture and myths if you don't want to just read articles and watch videos.

The last thing I wanna mention is actually a question. Do you want me to make a similar Nightmare design with russian culture elements? Because I already have some ideas for it, and I actually want to tell you more about another type of russian art called Gzhell which elements I want to include in the design, so let me know your opinion.

So yeah, that's all for now, hope this was actually interesting, if I got to inspire even a small number of people I would be super happy!

#digital art #digital artist #undertale #sans au #utmv #dreamtale #dream sans #culture #russia #russian culture #mei art

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