People Often Use Snow’s Experiences With Lucy Gray As An Explanation For How He Engages With Katniss,

I think @runabout-river makes some really excellent fucking points and I wholeheartedly agree. Particularly,It is 100% accurate that JJK is more plot driven than character driven. I want to talk about the characterization a little bit though.

Now I'd like to preface this by saying, I'm actually new to anime and manga on the whole. This is the first time I've gotten into either (I am enjoying myself thoroughly). So maybe this approach to characterization is fairly typical in the genre. Or maybe its a Shonen thing, idk.

From what I've seen, characterization is a really really interesting thing in this series and it's Fandom. If I were to go on canon material alone, I would say there's not much actually characterization so much as an employment of tropes. Characterization often involves creating complex layers for your characters that aren't just generic nobility/villainy or expected set of traits for a certain archetype. I would like to clarify here that archetypes are not a bad thing. Used right, they're awesome. But creating tropes is different from creating characters. Characterization needs to go beyond the trope.

Some might confuse giving a character a backstory with characterization. And that's not necessarily the case. You could give the longest backstory but still have your character be rather predictable and typical for their trope, often the backstory is in order to play right into a certain trope. Now, this isn't an absolute throughout the series, it is relative. Some characters definitely have slightly better characterization than others.

I am NOT saying that the series has bad characterization. Because firstly, it's largely plot driven. And secondly, bad characterization is a whole different ball game. Bad characterization is if you could make a certain character do pretty much anything and it works because there isn't an established sense of "that person would never do that" (example- Black widow from Marvel). Good characterization would be where when you see a characters course of action and in hindsight you have no doubt in your mind that that is exactly what that character would do, no other way of acting would have seemed as right. Exercising tropes instead of in-depth characterization falls somewhere in the middle of the two.

Now here's where things get interesting. There is actually really cool characterization for jjk, but it's not what happens in the series, it's what happens in the fandom. The fandom consumes this content and then read and interpret these characters and often create content and/or discussions surrounding these representations. I think the best example of this is often when people in the fandom read into and create content about Gojo and his grief and trauma and how he chooses to process by suppression. The series does not do this at all because they need to keep Gojo within his trope- the cool, suave, overpowered mentor/man-child. And so we in the fandom often rely on these characterization and think of the series as one that has really good characterization when in reality, it's we the fandom who brought out that aspect.

One thing that bothers me about jujutsu is that the author doesn't know how to develop some characters. 1 Shoko Ieri is an interesting character but I find her apathetic without a cold and superficial personality. 2 itadori yuji doesn't seem to be a protagonist he seems more like a tool than the protagonist of the work. 3 nobara had no development dry and emotionless death. and many other characters. There were only 2 characters that really had development, which was gojo and geto, for me, they were the only ones that had it. Why do you think the author did this, is it because he didn't want to develop the characters that's why he killed many important characters? I would appreciate it if you respond.

This is a lot to answer so sorry if it gets confusing a little.

1.) and you really have to keep this in mind, is that the manga isn't finished yet. It's also not about to finish. We have just reached the beginning of the end and we have at least another 6 months to go if not more. Without the last panel drawn, we can't really talk about the stuff Gege hasn't put into the story yet.

Still, many of your points can be addressed.

Shoko: In both the present and the past storylines, she is a side character without her side of the story being shown too much. Her being cold and apathetic can be a fitting description of her in the present but in the past she was more open and easy-going.

When you say she has a superficial personality that's where your interpretation is a little off. For one, her personality changes and for two, her current personality reflects the cost that living as a sorcerer has on people. We are also shown her inner thoughts on occasion but interestingly, one of those thoughts kind of comments her role in the story.

(This thought also establishes that she has trouble understanding Gojo's point of view on his godlike status)

The thing with Shoko is that we're never shown what she does: heal and save people. That's an aspect of her character that has been completely, and deliberately I say, missing until this point. But she has saved the lives of: Geto, Ino and Angel (plus some others) and she has therefore shaped the entire plot of the manga extremely.

But this I think will change in the most impactful way possible: with her saving Gojo's life by showing us for the first time what her CT is and how she heals people.

On Nobara, you're right. She had little character development and no reflection on her thoughts and beliefs. To this I say, read my post about her coming back because I believe that she will get that character develepoment and reflection when she re-enters the manga.

The same thing goes for Tsumiki. I was really disappointed when Yorozu died and Tsumiki basically disappeared from the story with her role never being more than that of a prop. But it was pointed out to me, that Tsumiki actually had been shown in an active role in the manga 70 chapters ago and that role will definitely be revisited when Megumi gets the spotlight again.

Now to Yuji. Did you realize that you contradicted yourself? You said that Yuji doesn't feel like a protagonist but you also said that Geto and Gojo had the best character developement. You're definitely talking about Hidden Inventory here but HI is and arc where Yuji is removed as the protagonist.

So the main protagonist being removed from the story temporarily has a purpose. You could say that that was a flashback and doesn't really count and that you mostly mean the 4 mini-arcs in Culling Games where Yuji wasn't present + the Sukuna/Yorozu fight + the Gojo/Sukuna fight.

Gojo/Suku we don't even count in this, that's a given, Sukuna/Yorozu is character showing plus setup for the future and Yuki/Choso/Tengen vs Kenjaku we don't count either, because that's a plot progression plus villain fight.

In my experience when people talk about Yuji not being a good protagonist because he isn't present often enough, they mean the arcs where Yuta, Maki and Hakari take centre stage. (The three other mini-arcs add to this)

Why would a mangaka do their story like this?

For world building. To be more precise: for plot building. Yuta, Maki and Hakari have important roles for the endfights and for that they needed character development (Maki), a show of their powers (all) and setups for the future (eg alliances with Kashimo and Uro).

Right from the beginning, JJK always moved the plot forward first. That's why the pace is so fast. The story is plot driven and not character driven, but that doesn't mean that the characters aren't given their time, just that that time isn't an entire chapter.

You can critizese this of course, I too would've liked small character scenes to have been expended on. That Yuji is taken off the picture for world building isn't sth I would critizise though. That's what happened in parts of Attack on Titan, and it also happens constantly in One Piece with Luffy albeit in Flashbacks.

It simply adds to the story when we can see other characters act on their own and while Yuji is back in the centre now, he will most likely take small steps back again to let other characters shine like Megumi eg. It also adds to his personality, but for the end of the manga he will be the centre of attention.

I get up and eat breakfast

The people in Gaza are starving

I sit and browse the internet

She was trapped in that car for 2 weeks

I take my medication and pain killers

Every hospital in Gaza has been bombed; there is no medicine

I go out and run errands

They were told the South would be safe

At night I sleep in my bed warm and safe

At night Israel is bombing Rafah; there's no where left to go

Protests Resources

Operation Olive Branch - adopt a Palestinian family to help them cross to Egypt, it costs thousand of dollars per person in order to leave. It's ok if you do not have money to donate, but please please keep reblogging

You know what's really ironic when it comes to Coriolanus Snow? It's the fact that according to The Ballad of Songbirds and Snakes, he garners attention and approval and finally mentorship under Dr. Gaul by pushing the idea of balancing humanity and spectacle in the hunger games. Make the tributes human enough to get attention and get people invested in the games. But make them spectacle enough that people don't look deep enough to question the games themselves. Make the competition human enough that people will pick sides and pour money. But make it spectacle enough that they don't protest their side losing.

It's the idea that paves his rise to power. But it's also the same thing that brings about his downfall. The spectacle of the hunger games gave a front and center platform to a naive but defiant girl from District Twelve to become the face of a revolution and the ultimate weapon against him. The measured humanity that he urged into the games got people to trust her word, trust her very image in ways that Snow had never anticipated. The balanced wielding of humanity and spectacle that Lucy Gray used to win her games is what Katniss used to end them, both enabled by Snow.

And here's the final kicker- the reason his brutally brilliant plan failed him in the end was because of the one thing Snow never took seriously enough to consider. The Districts. Snow had keen insight into how the people of the Capitol worked and thought. It allowed him to manipulate many of them. But he dismissed the role of the districts as inconsequential in the larger play of things. As long as they were kept suppressed, it didn't matter. And that's where his oversight cost him. He didn't consider the effects of the same humanity and spectacle when perceived by the districts. He didn't see how he was giving them the spark they were always looking for until the match had already been lit. The girl was already on fire. The Capitol was already burning. The snow was already melting.

Hunger Games fanfic blurb:

I sipped the last of my water, slow as I could, hoping it would tide me awhile through the heat of the Hobb. Business was slow today. Not that we make much on other days, selling trinkets and scraps of metal and cloth in a district where most people could barely buy bread. But we scrape by.

But today, I hadn't a single body come by to look at the wares. Although, I s'pose, when you've got a Reaping tomorrow, you're probably not in a buying sorta mood. Even Greasy Sae is selling her stew for half price today for the youngins that usually come around to her corner.

Speaking of the youngins, one of them walks my way. The one with stern eyes who brings fresh game from the woods. The butcher's wife says she hunts 'em with a bow and her arrows never miss the mark. Must be nice to have a useful trade like that. Sometimes, she trades me berries for balls of yarn. That's probably what she's making her way over for.

Never got her name. I call her "Stern Eyes" and word around the Seam is she sings like a songbird. My Gammy Maude would've liked that. She gives me berries wrapped in cloth, and I give her the yarn. But she doesn't walk away.

She reaches her hand into one of the boxes, the one with old pins for hair and clothes that might've been pretty once but had gotten rusty and dusty since. Then she pulls out that pin. Gammy Maude's pin that used to belong to her friend. The friend with bad luck in love and even worse in life. Some say she ran away, and some say got shot in the woods by her lover. Gammy said her friend used to sing too. Like a songbird.

Gammy never liked that pin much. Said it never brought nothing but bad luck. I think it just reminded her too much of her friend and the lover who might've shot her. But she still kept the pin till she died. Guess reminders are still reminders.

It's a mockingjay pin. Might be gold, but it's too old and grimy to tell. Could've sold it for scrap metal, but after hearing Gammy's stories, I could never bring myself to melt the damn thing down. And it's not like I could just walk up to the fancy parts of town with a mockingjay pin to sell. The peacekeepers would have cuffed me before I could quote a price. Probably really is bad luck anyway.

Stern Eyes is holding the pin and askin how much. I think of asking for a couple of coins, and then I remember the Reaping. She's probably young enough to have her name in the bowl. More than a couple of times, like every Seam kid. I wonder if it'd bring bad luck to her too. Or maybe it'd bring her good luck. If I'm being honest, I just want the pin gone. Can't keep holding on to a thing like that.

I tell her she can take it. No charge. Can't ask people to pay you for what could be bad luck. Don't know why she picked that one, but I wonder if she knows anything about the last songbird who had it.

I really hope it brings her better luck than Gammy's friend.

Writer's note: I know this isn't accurate to the books where Katniss gets the pin from Madge and the pin isn't really mentioned in TBOSAS. But I remember she gets it in the Hobb in the movie and it does make an appearance in the prequel movie as well. Soooo, that's where this idea came from!

I don't know how many of you have paid attention to the JJK 0 opening song "Greatest Strength" but if you haven't, you're missing out. The song itself is beautiful and it becomes even more emotional if you think of the song from not just Yuta's but Gojo's perspective and interpretation. In my interpretation of this song, the first half that is slower and more intimate is about Gojo and Geto and the second part where the rock elements kick in is Gojo addressing his students (listen to the song that way, you're never going to unhear it).

But what I really wanna focus on is this line from it:

"Your weakness if your greatest strength"

I think this line is incredibly interesting (read: heartbreaking) when interpreted in Gojo's context. Gojo's weakness, proven beyond a shadow of doubt by the series, is Geto. Well, less of a weakness, more of a vulnerability, but for the man expected to bear the weight of the jujutsu world and the title of The Strongest, those two are virtually the same thing.

So how is Geto both his weakness and his greatest strength? Well, if I were a cornier, less character focused person, I'd say "love is the greatest strength" or some shit like that. But anyone with the least bit of familiarity with Gojo's character knows that that's not something he would say. He's not one for sentiment. That being said, what I think is meant by "greatest strength" is the effect that Geto had on Gojo. Geto was Gojo's only friend. His influence brought out a softer, more humane side of Gojo. It was Geto slipping through the cracks that inspired Gojo to take on the herculean task that is changing the jujutsu society from the ground up by becoming a teacher. Making sure what happened to Geto never repeats with another kid and building a world that is kinder and better than the ones Geto and Gojo had to face becomes Gojo's purpose. And in that way, Geto is both his source of vulnerability and the foundation of his ideals.

But let's take this even further. I mentioned earlier that I think the first part of this song is for Geto and the second for his students? Well, this line falls in a place kind of toward the end of that first part. So I believe "greatest strength" refers to more than just Satoru - it refers to his students. Gojo wants his students to be on par with him, to dismantle the hierarchical notion of power and strength in jujutsu society. And he's kind of succeeding. Not only are they extremely powerful, but they also stand united and understand the problems of the system. They are Gojo's trump cards. To sum it up, he forged the trauma he and Geto (his weakness) went through into a will to affect change, and his students became his greatest strength in that pursuit.

Part of why I dragged my feet on ever checking out JJK was the reputation I heard was that it's a BRUTAL grimdark story where ANYONE can DIE in a snap and the author says FUCK you. And after finally catching up with the anime that just... Isn't the tone at all?? Like, Game of Thrones, Gantz, Attack on Titan, etc other cornerstone grimdark reference points, I think one of their defining hallmarks is not just that characters die suddenly and violently, but that human life is nasty, brutish, and meaningless, and it's your own fault for being stupid enough to get attached.

Jujutsu Kaisen on the other hand, I don't know how you can look at one of the most recent casualties circa S2Ep20 of the anime where that character gets a full entire episode reminiscing about their childhood, and the moments and people that meant most to them, and come away thinking the author's intent was to treat life as meaningless. The amount of screen time devoted to the following character who gets badly maimed, the audience gets enthusiastically shoved neck deep into their insane kaleidoscopic passion that is never once undercut or subverted. Both of these characters, far from being callously snuffed out and dumped in the trash, were shown immense love. What we got was not a statement of their life being disposable, but a celebration of life, a reminder of who they are, what they cared about, what made them special, who they loved and who loved them and will remember them in turn.

This is a story about curses born of misery, hatred, and malice. It is also a story deeply concerned with dualism, especially when it comes to attachment and desire. Misery stems from worldly attachments, but it is not weak or foolish to become attached to things in this world. To love something is to set yourself up for the pain or anger of losing it, or sadness of having it denied. But that love is what makes life worth living anyway, and what makes it worth it to keep fighting. We as the audience are sad because we are attached to these characters who have met terrible fates. We see enough of them to be able to clearly picture the whole rich life they could have lived surrounded by friends and feel the sting of that path cut short. It is a story about how it was worthwhile knowing them well enough to be attached anyway, even if it meant unavoidable heartbreak.

This is true of both the human protagonists as well as the curses! Volcano Man and Mahito are ruthless killers who cruelly take lives without a thought. They also have hopes and dreams that they earnestly try to protect and follow through on, and face heartbreaking despair upon defeat. They feel pain just like we do, but must nevertheless be killed. Humans face pain through the very act of living, but nevertheless must live.

In true grimdark fiction there is rarely anything good in life for characters to return to once the battle is over. In Jujutsu Kaisen, on the contrary, there is enough good in life that we see it even amidst the battle. I can see that no other way than an expression of genuine affection. Truly bleak fiction leaves me wondering why everyone involved doesn't just put a gun in their mouth and be done with it. JJK provides an answer--because you'll get to laugh about ruining an expensive shirt, because you'll meet an acquaintance's hot mom, because the next human earthworm movie is coming out, because your favorite idol is doing a meet and greet this weekend, because maybe someday you'll finally go to Malaysia. There are many answers, and none of them are stupid.

there was a moment when the people in the movie theatre and the capitol audience in the stands were laughing at the same things, having the same reactions to the games, to the deaths, to flickermans jokes, to the doctor's announcement...i wonder aren't we watching it for entertainment too

suzanne collins' books may exist in popular culture as "dystopian", but they have always been a meticulous and startlingly close social critique of our world. at what point does our own idolization of the movies and the books repeat that story? we watch just as the capitol audience does.

all dystopia eventually crosses a line from realistic futurism to current relevancy. how long will it take us to realize we've already crossed that line with these books? and the very people who need to realize this are the ones in that audience...real or fake, we're the same: consuming and consuming.

the hidden inventory