Latest Posts by gojosusedthong - Page 6

DESCRIBING THE PHYSICAL ATTRIBUTES OF CHARACTERS:

Body

descriptors; ample, athletic, barrel-chested, beefy, blocky, bony, brawny, buff, burly, chubby, chiseled, coltish, curvy, fat, fit, herculean, hulking, lanky, lean, long, long-legged, lush, medium build, muscular, narrow, overweight, plump, pot-bellied, pudgy, round, skeletal, skinny, slender, slim, stocky, strong, stout, strong, taut, toned, wide.

Eyebrows

descriptors; bushy, dark, faint, furry, long, plucked, raised, seductive, shaved, short, sleek, sparse, thin, unruly.

shape; arched, diagonal, peaked, round, s-shaped, straight.

Ears

shape; attached lobe, broad lobe, narrow, pointed, round, square, sticking-out.

Eyes

colour; albino, blue (azure, baby blue, caribbean blue, cobalt, ice blue, light blue, midnight, ocean blue, sky blue, steel blue, storm blue,) brown (amber, dark brown, chestnut, chocolate, ebony, gold, hazel, honey, light brown, mocha, pale gold, sable, sepia, teakwood, topaz, whiskey,) gray (concrete gray, marble, misty gray, raincloud, satin gray, smoky, sterling, sugar gray), green (aquamarine, emerald, evergreen, forest green, jade green, leaf green, olive, moss green, sea green, teal, vale).

descriptors; bedroom, bright, cat-like, dull, glittering, red-rimmed, sharp, small, squinty, sunken, sparkling, teary.

positioning/shape; almond, close-set, cross, deep-set, downturned, heavy-lidded, hooded, monolid, round, slanted, upturned, wide-set.

Face

descriptors; angular, cat-like, hallow, sculpted, sharp, wolfish.

shape; chubby, diamond, heart-shaped, long, narrow, oblong, oval, rectangle, round, square, thin, triangle.

Facial Hair

beard; chin curtain, classic, circle, ducktail, dutch, french fork, garibaldi, goatee, hipster, neckbeard, old dutch, spade, stubble, verdi, winter.

clean-shaven

moustache; anchor, brush, english, fu manchu, handlebar, hooked, horseshoe, imperial, lampshade, mistletoe, pencil, toothbrush, walrus.

sideburns; chin strap, mutton chops.

Hair

colour; blonde (ash blonde, golden blonde, beige, honey, platinum blonde, reddish blonde, strawberry-blonde, sunflower blonde,) brown (amber, butterscotch, caramel, champagne, cool brown, golden brown, chocolate, cinnamon, mahogany,) red (apricot, auburn, copper, ginger, titain-haired,), black (expresso, inky-black, jet black, raven, soft black) grey (charcoal gray, salt-and-pepper, silver, steel gray,), white (bleached, snow-white).

descriptors; bedhead, dull, dry, fine, full, layered, limp, messy, neat, oily, shaggy, shinny, slick, smooth, spiky, tangled, thick, thin, thinning, tousled, wispy, wild, windblown.

length; ankle length, bald, buzzed, collar length, ear length, floor length, hip length, mid-back length, neck length, shaved, shoulder length, waist length.

type; beach waves, bushy, curly, frizzy, natural, permed, puffy, ringlets, spiral, straight, thick, thin, wavy.

Hands; calloused, clammy, delicate, elegant, large, plump, rough, small, smooth, square, sturdy, strong.

Fingernails; acrylic, bitten, chipped, curved, claw-like, dirty, fake, grimy, long, manicured, painted, peeling, pointed, ragged, short, uneven.

Fingers; arthritic, cold, elegant, fat, greasy, knobby, slender, stubby.

Lips/Mouth

colour (lipstick); brown (caramel, coffee, nude, nutmeg,) pink (deep rose, fuchsia, magenta, pale peach, raspberry, rose, ) purple (black cherry, plum, violet, wine,) red (deep red, ruby.)

descriptors; chapped, cracked, dry, full, glossy, lush, narrow, pierced, scabby, small, soft, split, swollen, thin, uneven, wide, wrinkled.

shape; bottom-heavy, bow-turned, cupid’s bow, downturned, oval, pouty, rosebud, sharp, top-heavy.

Nose

descriptors; broad, broken, crooked, dainty, droopy, hooked, long, narrow, pointed, raised, round, short, strong, stubby, thin, turned-up, wide.

shape; button, flared, grecian, hawk, roman.

Skin

descriptors; blemished, bruised, chalky, clear, dewy, dimpled, dirty, dry, flaky, flawless, freckled, glowing, hairy, itchy, lined, oily, pimply, rashy, rough, sagging, satiny, scarred, scratched, smooth, splotchy, spotted, tattooed, uneven, wrinkly.

complexion; black, bronzed, brown, dark, fair, ivory, light, medium, olive, pale, peach, porcelain, rosy, tan, white.

if you write a strong character, let them fail.

if you write a selfless hero, let them get mad at people.

if you write a cold-hearted villain, make them cry.

if you write a brokenhearted victim, let them smile again.

if you write a bold leader, make them seek guidance.

if you write a confident genius, make them be wrong, or get stumped once in a while.

if you write a fighter or a warrior, let them lose a battle, but let them win the war.

if you write a character who loses everything, let them find something.

if you write a reluctant hero, give them a reason to fight.

credit:@aj-eddy

Good Traits Gone Bad

Exploring good traits gone bad in a novel can add depth and complexity to your characters. Here are a few examples of good traits that can take a negative turn:

1. Empathy turning into manipulation: A character with a strong sense of empathy may use it to manipulate others' emotions and gain an advantage.

2. Confidence becoming arrogance: Excessive confidence can lead to arrogance, where a character belittles others and dismisses their opinions.

3. Ambition turning into obsession: A character's ambition can transform into an unhealthy obsession, causing them to prioritize success at any cost, including sacrificing relationships and moral values.

4. Loyalty becoming blind devotion: Initially loyal, a character may become blindly devoted to a cause or person, disregarding their own well-being and critical thinking.

5. Courage turning into recklessness: A character's courage can morph into reckless behavior, endangering themselves and others due to an overestimation of their abilities.

6. Determination becoming stubbornness: Excessive determination can lead to stubbornness, where a character refuses to consider alternative perspectives or change their course of action, even when it's detrimental.

7. Optimism becoming naivety: Unwavering optimism can transform into naivety, causing a character to overlook dangers or be easily deceived.

8. Protectiveness turning into possessiveness: A character's protective nature can evolve into possessiveness, where they become overly controlling and jealous in relationships.

9. Altruism becoming self-neglect: A character's selflessness may lead to neglecting their own needs and well-being, to the point of self-sacrifice and burnout.

10. Honesty becoming brutal bluntness: A character's commitment to honesty can turn into brutal bluntness, hurting others with harsh and tactless remarks.

These examples demonstrate how even admirable traits can have negative consequences when taken to extremes or used improperly. By exploring the complexities of these traits, you can create compelling and multi-dimensional characters in your novel.

Happy writing!

BREAKING NEWS: Writer discovers for the millionth time that they can write whatever they want. Join us now to see if the lesson will stick.

Tag your blorbos 😂

Original artist : @_ADWills on Twitter

Wild.

Satoru: is the strongest sorcerer but can’t hurt Suguru no matter what he’s become

Suguru: knows he’s Satoru’s only weakness but doesn’t use that against Satoru, never raises a hand against him even when he’s dying

Satoru: so guilt ridden for killing Suguru because it’s the last thing he ever wanted to do so he doesn’t dispose of his body the way he should have, causes Kenjaku to overtake Suguru’s body

Kenjaku: inherits Suguru’s memories and understands the depth of the bond between Suguru and Satoru, becoming aware that Suguru is the only weakness Satoru has, launches the Shibuya Prison Realm sealing plan

Satoru: kills thousands of transfigured humans in almost 300 seconds, kills Hanami with minimal effort, uses a Domain Expansion in attempt to exorcize the curses he’s fighting

Kenjaku: uses Suguru’s voice and face to call out to Satoru

Satoru: stops dead in his tracks, the fight leaves his body, happiness fills him for the split second he thinks Suguru is alive in front of him

Kenjaku: successfully traps him and renders him incapable of using his technique

Satoru: realizes that the man in front of him is not really Suguru because Suguru would never have actually hurt him and that’s why his soul knows it isn’t him despite his Six Eyes telling him it’s his cursed energy, calls out to Suguru and tells him to wake up

Suguru: is dead and yet at the sound of Satoru’s voice tries his damnedest to kill Kenjaku with the control he has over his arm

Kenjaku: is amused because no one has ever tried to fight back from beyond the grave before, concludes that the soul is part of the body, and the body is part of the soul

So much language involving souls and their significance. Satoru’s soul recognized the absence of Suguru’s, yet somehow believed he was still there enough to call out to him, and Suguru’s soul answered in spite of all logic.

I really hope things work out differently in the manga so that we can get a fitting culmination to the way things were built up here, Suguru couldn’t have just come back for a split second for nothing. I’m holding out hope.

the best thing about creating is you get to create :) unfortunately the worst thing about creating is that you have to.. create

i hate loving characters bc im so bad at talking about them so i just scream for 12 hours straight having said nothing of substance.

be cringe about your interests!! be embarrassing about the things that matter to you!! be unashamedly annoying with regards to the things that make your world go round!! the world is a better place because of it!!

a fun fact that people may not know about me is that i’m regular about media. i’m so normal about things i enjoy. i never ever get weird or obsessive about them and I consume and enjoy them completely normally. also im a fucking liar

Expanding a thought from a conversation this morning:

In general, I think "Is X out-of-character?" is not a terribly useful question for a writer. It shuts down possibility, and interesting directions you could take a character.

A better question, I believe, is "What would it take for Character to do X?" What extremity would she find herself in, where X starts to look like a good idea? What loyalties or fears leave him with X as his only option? THAT'S where a potentially interesting story lies.

In practice, I find that you can often justify much more from a character than you initially dreamed you could: some of my best stories come from "What might drive Character to do [thing he would never do]?" As long as you make it clear to the reader what the hell pushed your character to this point, you've got the seed of a compelling story on your hands.

Hi, would you recommend some satosugu fics please? thanks

ooh, i deep-dived into my bookmarks for this! let’s start with some series. cielelyse’s “caesura” series is an obvious rec, of course. dami’s “midnight rendezvous,” too!

as for stand-alone fics:

✧ qualia by lyrebirdswrites

✧ apis by juuchan

✧ a canary in a coal mine by surveycorpstddk

✧ carry me home by valleykey

✧ companionship by zuppetta

✧ bang bang, kiss kiss by bunkuto

✧ thursday night comedy hour by goneagon

(god, that last one…that last one had me in my bed for three days.)

oh, yeah! don’t forget to check the tags and ratings before actually reading! make sure you’re actually interested in what you’re about to read!

"Maybe from today onwards, I'll be better".

(I don’t like putting watermarks so, PLEASE, if you want to post these gifs somewhere GIVE CREDITS! Also, don’t use them in edits/videos. Thanks~)

Gege Akutami, You Do Not Understand Gojo Satoru, and Here is Why

I was reading this article to help me cope with the traumatic events of Chapter 236 when a certain portion didn’t sit right with me.

Long post, click to read the full analysis:

(this is probably the most important post I've made so far)

Now, we all know that Gege doesn’t like Gojo. They don’t make it a secret in the slightest. Which is fine in itself, as an author you are 100% within your right to hate a character you created, and I respect that—it gives dimension to the dynamic of a story.

What I don’t care for is the reasons Akutami lists for their dislike of Gojo.

Reason #1 as stated in the above blurb of the article: Gojo doesn’t have depth.

To me, this is a wild statement to make as an author, but especially as the one who wrote Gojo. Where does he lack depth? Genuine question.

I believe he is an incredibly complex character.

He is the first sorcerer in centuries to be born with the Six Eyes and Limitless techniques, which automatically sets up so many nuances. Coupled with the fact that Akutami has stated that he grew up spoiled, that right there should tell you some things about why he is the way he is. He has a bit of an inflated ego when it comes to his powers. And why wouldn’t he? From the time he was born, the people around him treated him like some sort of God. How else was he supposed to grow up? He’s told his whole life he possesses unparalleled power, and he’s going to believe that.

Even still, it really isn’t as unchecked as Akutami seems to believe it is. Despite his distaste for authority, Gojo still reports to the higher ups, goes on missions, exorcizes curses, and works collaboratively with his fellow sorcerers. If he was really the giant egomaniac Akutami argues that he is, he’d say ‘to hell with authority’ and run off to do whatever he wants like Yuki. I mean, COME ON, this guy is the most powerful modern sorcerer and he still attended all four years of high school. He could have easily never attended—who was going to stop him?

He has a peculiar sense of humor that can get inappropriately timed in certain moments, but it’s obvious that it’s a deflection and a coping mechanism for the horrors of a sorcerer’s reality. He doesn’t just joke about death and dying because he doesn’t care. He cares too much and he doesn’t know how to deal with it, so he suppresses and laughs it off. Moments like this are seen after Suguru dies in JJK 0 when he was clearly crying afterward, but had to put on a cheerful facade for Yuuta and the other students.

He is a very good teacher. It’s hard for a naturally gifted prodigy to effectively teach things which come automatically to them, and somehow he finds creative ways to do it. Teaching Yuuji to control cursed energy by using one of Yaga’s dolls and giving him a movie marathon? One of Yuuji’s favorite hobbies? Genius and so considerate for Yuuji. He’d just been thrown into the sorcerer world, learning all these new things, and Gojo decided to introduce a foreign concept to him through something familiar and comfortable to him. That is amazing, and the mark of a very kind, understanding teacher. He’s also really patient with his students. Yes, he gives them tough love sometimes by throwing them into missions, but it really is to make them strong. How else will they grow if they aren’t put under pressure?

His motivation for being a teacher is very selfless. He himself has stated that he isn’t suited to be a teacher, but that he has a dream to raise a generation of strong allies to prevent isolation from occurring like what had happened to Suguru. He felt guilty about growing apart from him, didn’t see the warning signs before he snapped, and regrets not being there for him more. His entire purpose now is dedicated to making sure the new wave of sorcerers have a tightly-knit network so that no one ends up alone and on a dark path like Suguru.

He constantly sticks his neck out for the helpless even when it’s far from his benefit. He paid off the Zenin clan to save Megumi, the child of the man who ruined his high school years and nearly killed him. He then raised him. He threatened the higher ups to keep Yuuta alive, and then did it again for Yuuji. He does this to preserve their youth, because his own was taken away from him. His whole life he’d been controlled by the higher ups and people around him because of who he is in the sorcerer world, so by waving his own status in front of authority to hold them back from his students, he acts as a sort of shield to take as many burdens off of their shoulders as he can so that they can remain carefree. As much as he can within his power.

With all of that being said, I really don’t understand where Akutami is coming from with lack of depth, but another argument I say to that statement is: well, you’re the author, give him the depth you think he’s missing. (Personally, I believe he’s one of the best-written characters in any anime I’ve seen).

Reason #2 is that according to Akutami, he doesn’t have a likable personality.

What about his personality is unlikable?

He is cocky, but not to the point where he stops caring about others, not to the point where he never considers how other people feel or how his actions affect other people, and not to the point where he never feels guilt and remorse about his shortcomings. Like I said, he lives his life trying to prevent his past from repeating itself, to save the fates of others.

I really don’t get it. In JJK 0, after Nitta gives her report on the shopping mall, Gojo thanks her and praises her. Would a cocky asshole do that? No. If you wanted to characterize him as unlikable, you could have made him dismiss her, or ignore her.

He makes pop culture references, he has endearing flaws like not being good at drawing, being a lightweight drinker, and overdoing it on the sweets. He’s funny, he’s kind, he’s considerate…he is a very likable character.

Honestly, the self-absorption he displays when he’s fighting is probably a result of his upbringing. Being told you have so much power you have so much power you have so much power over and over again instills this belief that yes, he’s needed by Jujutsu Society to fight curses as a weapon. As. A. Weapon. The Six Eyes & Limitless user is a formidable weapon, but what about Satoru Gojo, the person? The only time he feels useful is when he’s fighting curses. That’s where he gets his self-worth. We can see that expressed in this panel, from Chapter 236:

In the second half of Gojo’s second text bubble, he says, “でもどこかで人としてというより生き物としての線引きがあったのかな”.

This translates to: “But I wonder if somewhere there was a line drawn between being a creature rather than a person.”

Rather than having drew the line himself, being constantly treated like the strongest, being handed over the difficult missions, being relied on so heavily pushed him away from other people. It distorted the perception everyone had of him, and it distorted the perception he had of himself. He also believed he could never lose because he let his human side fade into the background. The world didn't need human Satoru Gojo, they needed sorcerer Satoru Gojo, the one who could bend rules to his will with his might, the one who could exorcise any curse and save the day no matter how bad things got. Why would he remain human when that part of him was treated as non-existent? The only person who did treat him as a person with weaknesses and flaws has been dead for eleven years. Of course that voice of reason is going to fizzle out.

How can you possibly vilify him for that? It would be a disservice to everything he has had to endure his entire life.

Reason #3 and the last point I want to touch on is when the article says, "Akutami believes that much of this adoration is based solely on his striking appearance, overshadowing his more abrasive personality traits."

Okay. Where to start?

Honestly, and I know this is probably not Akutami's intention, but that comes off as so condescending. It's so presumptuous. It's as if to say we're all going "ooh look at pretty man, pretty man do no wrong because too pretty" mindlessly with dilated pupils and drool coming out of our mouths. Uh. No.

Yes, Satoru is a good-looking character, but no, that is very far from why we like him so much as a character, and it's also very far from why he's so popular. Aside from all of the points I've made above explaining why he's so universally loved, I'll make another one that isn't superficial and tired.

He's so relatable.

This is a man so incredibly traumatized by his high school years that he is mentally and emotionally unable to move on. Suguru Geto was his very best friend, and for reasons he took too long to understand, chose to abandon their friendship for his own goals. For anyone who has grown apart from a best friend, this hits so hard.

Because of his upbringing it was hard to become close to anyone. But somehow, Suguru was able to break past his walls, and for that, he became entirely too dependent on him. This is common for anyone who finds it hard to make friends and get close to others. Once someone is allowed in, you cling so hard to them and imagine them being there for your entire life. So, when they leave, you take it entirely too personally.

Everyone has a right to live their own lives, and as we see with the divergence of Suguru and Satoru, sometimes our paths aren't leading to the same place. It's not personal. But Satoru took it personal, and that's so beautifully human. When you lose a best friend who was important to you, you think "I like being around this person, they put me at ease in a way no one else does", and you assume they feel the same way about you. So when they leave and show you that no, they didn't feel the same, it hurts. It's almost as if they're saying "I actually do think you're unlovable like everyone else, that's why no one likes you, you are too much."

Someone you thought was safe, isn't anymore.

That is such a relatable thing to watch a character go through! Especially someone as awe-inspiring and charismatic as Gojo! As an audience, we think, "he's just like me!" and we like him for it.

So, as I stated in the title, Gege Akutami, you don't understand Satoru Gojo at all. I commend you for writing such an amazing, iconic, universally loved character, but I will never understand nor respect the superficial way in which you perceive him.

my love mine all mine

Thoughts on Geto Suguru's Psychology Pre-Defection

There's something that I've been meaning to talk about for a while now, and that is Geto's apparent tendency to conceal his negative impulses that allows for, in my view, faulty interpretations stating that he was faking his righteous beliefs all along just because assuming high moral ground gave him a sense of superiority and fed his ego. Meanwhile I would argue that, on contrary, this habit is more indicative of Geto's insecurities and heightened sense of self-awareness.

My thoughts on this underneath the cut, but beware: it's going to be long!

To begin with, I think there are two major factors playing into the misconception that I mentioned. The first one boils down to prejudice forcing people to look upon younger Geto through the lense of a person he would go on to become. The kind of cautious logic that says that a deeply empathetic, caring highschooler couldn't have turned into a murderous cult leader preaching the merits of genocide, and thus seeks ways to dehumanize him from the very beginning (because that's a terrible concept to wrap your mind around, I agree). And the second factor being... well, that Suguru's behaviour really does come off as fake at times.

We experience 'negative' emotions as naturally as 'positive' ones, and despite some of them are conventionally accepted as 'good' whereas others are painted as 'bad', no emotion is inherently harmful or invalid; they all are a part of what makes us human. While it's undoubtedly a chilly and ominous concept for someone to be completely devoid of any positive traits, just as unnatural it is to display positive responses only. Perfection is stored away at museums, no living breathing human being can go through their life without being affected by negative impulses or thinking. But more often than not negative emotions are condemned and stigmatized (in the end, we still refer to them as 'negative'), and self-consciousness can make one ashamed or guilty of experiencing them. The end result of this would be trying to hide your feelings under one more appealing appearance, creating a warp between what's intuitive and what's manifest, an inadequate emotional response.

Gojo (at least in his teenage years) is widely outspoken and doesn't hesitate to outwardly express himself, whether verbally or via body language. It probably takes root in Gojo's upbringing: he was spoilt rotten, revered for being born with a silver spoon in his mouth, his every whim indulged and tended to. There simply wasn't any need for him to try and make a good impression by faking docility and emotions that are more pleasant and easier to digest. Gojo may be boisterous and bratty and obnoxious, but he isn't trying to 'trick' anyone into thinking he's better than he really is, and this paints a more sincere, believable picture to the audience.

On the other hand, Geto's emotions, partly due to his more solemn demeanour, are often toned down or consciously concealed. For instance, when Riko manages to strike a nerve in him, his response is to immediately plaster on mawkish 'customer service' smile to not give away his annoyance. This scene is especially interesting to me because of how Amanai's reaction gives voice to the audience's concerns. Referring to Suguru, she says, 'You look like a liar!' -- and by doing so calls him out on his tendency to mask negative emotions. Intuitively, she can still read his feelings in his body language, in the delay in his expression rearranging itself into a smile, and so can the viewer. We know he's annoyed, and his words about having no intention to harm Riko don't exactly align with how he behaves (even if in a playful manner) a moment after saying them. It creates a tangible contradiction between what he says his intentions are and what his actions speak of, between the appearances and what lies behind them. And this contradiction raises suspicion, in a way that if somebody's making an effort to hide something, then there must be something to hide.

In retrospect this doubt might seem reinforced and justified. I see how it's easy to fall into thinking that Geto, having become a criminal who's done unspeakably cruel things and who backs up his delusional ideals with bigoted reasoning, should've been hiding darker parts of himself behind all those fake smiles and talks about righteousness. But pinning the blame on Geto alone by claiming that he had violent tendencies to begin with is essentially disregarding systematic issues that the story strives so much to convey to the audience. Holding innate individual qualities accountable for the catastrophe is basically the sort of thinking that the higher-ups display, whose main strategy for dealing with problems is public scapegoating and disposing of every single threat to the current order by giving out one death sentence after the other. I don't think we as the viewers are supposed to reach the conclusion that Suguru is at fault for what happened, which is not to say he's faultless, nonetheless the narrative goes to great lengths to make us sympathize with him, not the other way around.

Now, there's really a handful of ways in which Geto's character seems to contradict himself. He shares overspilling empathy for the people around him, that is his character's core trait, but that very empathy spells out his downfall when it degrades into resentment and hate. He displays a largely considerate and sympathetic demeanour, but he's first introduced to the audience as someone who backhandedly bad-mouths Utahime for being weak. He's one half of the strongest duo, but whereas Gojo is a natural-born genius, Geto evidently struggles with his powers. His entire career as a curse user is based on the mentality which justifies the means to an end, but reaching the end goal is impossible for him as he is, Geto himself as much as admits to it during his last conversation with Satoru. He sets on his wild-goose chase for power, but ends up stagnating to the point where his use of Curse Manipulation in the Hidden Inventory Arc is much more inventive and creative than in Jujutsu Kaisen 0. The list goes on, but you got the gist.

To live for the purpose of being yourself. And for that goal, Geto could only continue to pursue his twisted dream, drowning himself in a curse that lies in the gap between ideal and reality.

I believe this to be such a poignant phrase when it comes to Geto's characterization because of how well, in my view, it encapsulates the conflict of his character -- or, if you will, the contradiction of it. It succinctly expresses his outlook on things, where he views the world how it's ideally supposed to be rather than how it realistically is. I've actually somewhat already elaborated on this in my very first rambling on here:

To me, Geto seems to be a type of person who needs something to guide him, some clear-cut ideal to make it possible for him to navigate through his life. He is pedantic in that sense: the sharp outlines of his views define his surroundings, the very way he looks at things and perceives them. He needs everything to fall precisely in line with his own set of ideals, which seems to be quite verified and well-adjusted within his mind, like a strict and refined concept he constructed for himself, like a routine he's used to following out of pure principal. His own belief system being so defined, it's that which makes him indulge in excessive discourse on the subject of morality and responsibility, like he's patiently laying out the basics in front of a disobedient child to help them wrap their mind around some fundamental truth that is so obvious and natural for him.

In a way, Geto concealing his negative emotions is not a false front put up against scrutinizing looks that could reveal his 'true nature'. Quite the opposite, I think it speaks more of his well-meaning intentions. When trying to change the way things are, start at yourself, and I guess this is the principle Geto's trying to apply here. By following through his own ideal, Geto does his best to be an upright person he believes himself obliged to be, whether that means forcing himself to absorb curses or putting on a customary smile. It might be juvenile and wishful thinking on his part, probably akin to 'fake it till you make it', but it's important to keep in mind that at that time he was still but a teenager. Moreover, he was put on par with somebody as praised within jujutsu society as Gojo, he must've felt on top of the world, too entranced by their warm spring of youth to care too much about the occasional slips. With Satoru by his side, I imagine Geto could afford to cut some slack and participate in the mischief. Later we see post-defection Geto drop his frivolous facade only when he's entirely alone -- another hint at how Gojo was really the only person Suguru allowed himself to confide in, that is untill the SPVI put uncrossable distance between them.

While I do say that Geto's intentions are well-meaning, the way he positions himself actually reveals some quite problematic aspects of his mindset. Namely, his attitude towards non-sorcerers, whom he clearly sets into a different category from himself and his fellow sorcerers. Regular people lack crucial understanding, they are weak because they are helpless, therefore they have to be shielded from the source of harm. This is a largely patronizing concept of empathy, since it's based on the notion that the 'weak' are inherently inferior to Geto himself and others involved in jujutsu society. It's interesting how it's reflected in Geto's insistence on the necessity of curtains. The use of curtains furthers the extent of non-sorcerers' ignorance, they never learn how to stay out of harm's way as they are deprived even of as much as their perception of the existing danger. It reminds me of how a parent would brush a child's concerns aside because they're too young and naive and do not need to be aware of adult life's hardships. Just like Geto's paternalistic outlook, it does not come from malice or negligence, it's just an attempt to keep someone less experienced and skilled safe. Nonetheless it's harmful as it puts that person in a position which denies them agency.

In my view, Suguru's fake smiles are an extension of his acute sense of responsibility. In front of those over whom he assumes responsibility, he presents himself as calm, collected and dependable as if it's supposed to reassure them. It's his job to protect them and make them feel safe, so there's no need showing them his own struggle. Even if such thinking is condescending, it's not in any way malicious. Geto's entire character arc would be simply non-existent if he wasn't completely genuine in his sentiments.

So why do I talk about Geto's insecurities when first introducing the topic of this post? Well, I'm about to take a deep dive into the field of speculation and theories and finally get to the point why I'm writing all this in the first place (took me long enough, lmao). There's also a reason why I brought up Gojo's upbringing when talking about his personality and how it contrasts Geto's. You see, like Satoru's way of dealing with his emotions can be linked to his childhood experience, Suguru's behaviour might also give us some clues about the circumstances he grew up in.

The more I look into it, the more convinced I become that Geto was in one way or another exposed to emotional trauma in his childhood. Remember when I mentioned inadequate emotional responses? While being one, smiling in reaction to stress may act as a defense mechanism of sorts, shielding the person from the chronic nature of the unpleasant experience. It also may serve as a way to avoid alienation by others who are not privy to the source of your distress or are not comfortable with it. Affiliative smiles are motivated by social factors, it's a tool used to create and maintain social connections. Human beings are hardwired to connect with others, feeling alienated by the people around us causes us great pain.

The thing us, we must assume that Geto is relatively new to the jujutsu world in the flashback arc. Given his non-sorcerer background, chances are he was the only one in his immediate surroundings with the ability to see and exterminate curses. There couldn't have been a way for him to confide in someone with his concerns and fears born from interacting with something only he could see. So I assume that eventually that resulted in Suguru developing an unhealthy habit of masking his emotions before the ones he cared about. And as over time he grew more aware of his abilities and got a grasp on how his CT works, I imagine Geto committed to exorcising curses in order to protect ordinary people from them -- all by himself. This, in turn, must have solidified that conception in Suguru's head which ultimately othered him from the people around him and put them in a position inferior to him since they were the ones depending on him and his powers.

As Geto should've mostly kept to himself, I also see how he might have grown heavily reliant on his analytical mind. Overthinking is a habit developed early on in life as a way to wade through feeling uncertain or unsafe. It's an attempt to make sense of confusing reality by applying an analytical lense to it and compartmentalizing it into neat, easily understandable categories. And also a way to regain sense of self when you find yourself in a situation you otherwhise have little to no control over. And while over-analyzing can create a sense of security, it may also interfere with a person's emotional responses. I guess it's something that could be applied to Geto, too, because for such a self-reflective character he always struck me as someone with oddly little regard of his own feelings.

As a side note, I like how Geto's tendency to over-analyze things is shown in that one scene when Yaga's briefing him and Gojo on the upcoming mission. Suguru's clearly presented as someone who's very mindful of how the world around him works. Understanding helps him assign meaning to different aspects of life, and he relies upon it heavily. Also, as someone who's been uprooted from his former society and introduced instead to an entirely different world, I guess it's important for Geto to fit in. Him being highly knowledgeable about such essential details is, in my view, indicative of such effort on his part. Whereas Satoru simply does not care about such details, the reality makes sense to him as it is as he was born perfectly fit into it.

Last but not least, Geto's infamously guilty of a dichotomous, or black-and-white, outlook on things. This is the all-or-nothing mentality that leaves little to no room for nuance and does not allow two opposite statements to be true at once. It's a common cognitive distortion that manifests immature thought; a rigid mindset more often than not bordering on extreme. Meanwhile the very foundation of Geto's downfall is the inability to adapt to the complicated reality which doesn't align perfectly with his idealistic vision. He ultimately failed to wrap his head around the world with grey areas, his black-and-white thinking thinking prevented him from doing so.

The development of such maladaptive personality traits has been repeatedly linked to the effects of childhood trauma. If the environment which a person grew up in was traumatic and chaotic, black-and-white thinking might have given them a sense of control through rationalization. That's why a mentality which doesn't allow for nuance and doesn't reflect life in its intricate complexity comes off as childishly simplistic. Seeing the world in all-or-nothing terms in some way means reverting to your inner child. And this is actually something that Shoko accuses Geto of during their brief conversation in Shinjuku. In his thinking Geto doesn't grow past his traumatic experience, whether it was his parents actively abusing his abilities for their own gain or the ache of being alienated at such an early age.

If the nature of Geto's relationship with his parents was abusive, it would also explain his altruism. Suguru goes out of his way to express his concern for well-being of those around him, and he does genuinely care, but all the while it could be a way for him to tend to his own unsatisfied needs by helping others. He seems to be highly attuned to others through his empathy, but also somewhat has trouble advocating for himself, resulting in harmful patterns of self-sacrifice or self-neglect.

It's true, there is a lot of contradictions housed within Geto's character, which are evident in his mindset and his actions. But I don't believe this to be due to sloppy writing, on contrary -- it's the kind of writing that speaks through detail and nuance and invites the reader to ponder why is this or that character the way they are.

"Tell me, what is it you plan to do / with your one wild and precious life?"

-"The Summer Day" by Mary Oliver

I love reading my own writing like wow this story has everything I want in it it’s almost like it was written for me or something damn that’s so crazy

Saw a post about the reading order of a beloved author and how their early books are a bit rocky and mediocre. Imagine if we created a writing environment that believed in and supported people, so that they could start with a slightly dumb story, and be given the connection/resources/validation/support to grow over the course of a lifetime. They wouldn’t have to hit the ground running with a splendidly workshopped series, an mfa, and an audience of TikTok followers who have promised to buy it, so that all a gatekeeper needs to do is collect the money. They could just be a chicken shed cleaner, or a mediocre small-town journalist writing one column a week (which is a job that people used to have and support an entire family - imagine writing 500 words a week and having that be your whole day job lmao) with a bad book, and forty years later they’d be a Great.

I’d like to live in a world with more Greats. There are a lot of chicken shed cleaners who are Greats and we’ll never know them.

I do not want it to be like “back in the old days” where it was only men (with housekeeper wives) writing mediocre books. I want secure material circumstances for people, and I want time for them to do something that may never “pay off.”

Twist for your story

Ever wondered why a well-crafted twist is crucial in a story? It's like the element of surprise that keeps you engaged, challenges your expectations, and ultimately makes the narrative memorable. A great twist is the heart of intrigue in storytelling. Here are some you can use!

Certainly, let's explore even more creative twists for your writing:

The Sentient Object: Twist: An ordinary object, like a book, a mirror, or a piece of jewelry, is revealed to be sentient and possesses its own consciousness. It becomes a key player in the story, guiding or manipulating the characters.

The Collective Memory: Twist: A group of characters, seemingly unrelated, share a mysterious collective memory or dream that connects them in unexpected ways. They must work together to decipher the meaning behind these shared experiences.

The Language of Magic: Twist: Magic in your world is governed by a unique language or code. As the story unfolds, characters discover that the language itself is sentient and can influence events and outcomes.

The Eldritch Revelation: Twist: Characters stumble upon ancient texts or artifacts that contain forbidden knowledge about cosmic horrors or eldritch beings. The revelation of this knowledge threatens their sanity and forces them to confront incomprehensible entities.

The Mythical Betrayal: Twist: A character believed to be a mythical hero or savior turns out to be the story's true villain, deceiving everyone around them. The actual hero must rise from obscurity to confront this unexpected antagonist.

The Reverse Time Travel: Twist: Instead of traveling to the past or future, characters unwittingly bring historical or future figures into their present. They must adapt to the challenges and paradoxes this brings, all while trying to return these displaced individuals.

The Living Ecosystem: Twist: The entire world or ecosystem of the story is revealed to be a living, interconnected entity, and the characters' actions have profound consequences on its well-being. They must make choices that protect or harm this sentient world.

The Forgotten Prophecy: Twist: Characters initially believe in a well-known prophecy, only to discover that the true prophecy has been hidden or forgotten, and its revelation drastically changes the course of their journey.

The Inverted Morality: Twist: A society where good is evil and evil is good is introduced, challenging characters' beliefs and forcing them to question their own moral compasses.

The Quantum Reality Shift: Twist: The story shifts between multiple parallel realities or dimensions, and characters must navigate the complexities of these shifting worlds to achieve their goals.

The Manipulative Reader: Twist: It is revealed that a character within the story has the ability to influence the actions and decisions of the other characters, essentially "writing" the story's plot from within.

The Protagonist Swap: Twist: Midway through the story, the perspective switches from the original protagonist to a secondary character, offering a fresh viewpoint and challenging readers' assumptions about the narrative's focus.