#and what's more beautiful than that?

[thatradfailure]

Shoot man I just love langauges. All sorts of foreign languages. I love how they all sound. I can't understand a word of what's being said but they all sound so good and authentic and beautiful in their own rights and I don't understand people who claim xyz language is "aggressive" language is a neutral thing it cannot be aggressive. It can be spoken passionately, lovingly, softly, harshly, etc, but that's all about the speaker.

I like comparing languages to nature most. Sometimes something manmade comes into the picture, too, to help me express my feelings about langauges poetically.

Some languages sound like waves crashing into the rocky shore of a lighthouse, a nice sunset occuring just behind. It's harsh, but that's part of where the beauty lies, in the water slamming into the rocks, just to run off of them just as quick, the rocks always slick yet protecting the lighthouse above.

Others are tranquils spots in the woods behind the childhood home, a small stream running through it. The pebbles are colorful and bright, the tadpoles and tiny fish unable to camouflage against them as theh swim about, living their best life.

Still more are like a warmly lit cabin in the middle of a snow-clade mountain, smoke arising invitingly from the chimney, the path to it a bit rocky and untouched by other boots in a while, yet clear of any danger. It's a little home you know you'll be welcome to stay in for the night. Hell, you can even faintly smell something cooking. You know it's probably nothinf you've had before, but it'll certainly fill you with warmth and comfort.

Sometimes some langauges are like the striped rocks of a desert canyon, unmatched and unseen elsewhere, yet awe inspiring in its natrual beauty and magnificence. You can run your hands along its walls and imagine its past, its history, how it came to be exactly like this, but you may never know for sure. And that, too, it part of the appeal.

I love all of them, even if I may not be able to speak them. Sometimes just hearing something you can't understand is a good experience.

[noknowshame]

why is religious Christmas imagery all so joyful and pleasant? where is the inherent horror of the birth of Christ? A mother is handed her newborn child, wailing and innocent. Her hands come away sticky. Red. Simply by giving her son life she has already killed him. He is doomed from the beginning. Her love will not save him from suffering. Because the thing cradled in her arms is not a baby, it is a sacrifice: born amongst the other bleating animals whose blood will one day be spilled in the name of what demands it. the night is silent with anticipation. Mary, did you know? That your womb was also a grave?

[redpapercraness]

to lose you

[secondbeatsongs]

for anyone too young to know this: watching The Truman Show is a vastly different experience now, compared to how it was before youtube and social media influencers became normal

before it was like, "what a horrifying thing to do to a human being! to take away their autonomy and privacy, all for the sake of profits! to create fake scenarios for them to react to, just to retain viewership! to ruin their happiness just so some corporate entity could harvest money from their very humanity! how could anyone do something so evil?"

and now it's like, "ah, yeah. this is still deeply fucked up, but it's pretty much what every influencer has been doing to their kids for a decade now. probably bad that we've normalized this experience"

[loriache]

"I've been waiting for ages for somebody to unmask them."

This moment tends to elicit negative reactions in a first read through, and I've got some opinions about why where Kabru is coming from here actually makes a lot of logical sense. So I thought I'd elaborate on that.

I think people hear this and go, "He thinks they must be hiding something because they gave money to someone? What a cynic." Or "he dislikes them because they did charity?? What's wrong with this guy!". And obviously, a lot, a lot is wrong with him. But I think this makes more sense than it seems at first glance! What people evaluating this judgement miss is why Kabru is paying attention to Laios and co to begin with.

Kabru knows of the Touden siblings because (he's a little bit of a stalker-) he is keeping an eye on all the relevant parties in events developing on the island, in order to be able to guide them to his preferred outcome. This includes adventurers because they are the ones actually exploring the dungeon! He's well aware that something as minor as internal tensions between party members could be key to the historical events that are developing. (He would love the assassination of Archduke Franz Ferdinand.)

His desired outcome is that whatever the rewards are of breaking the dungeon's curse, whether that's kingship or the ancient elven secrets of dungeons, are claimed by:

A) a short lived person

B) Someone who will be a good, effective leader and/or use those secrets and the power they carry wisely, with foresight, and to establish a political bloc for short lived people.

The person he can best trust to do this is, of course, himself. But due to his PTSD regarding dungeons and monsters, he's not able to develop the necessary skills to conquer the dungeon. Once he realises this, he starts looking for someone else who he can support to that end.

But most of the adventurers don't have any intentions of conquering the dungeon, don't have the skills, or are unsuitable in other ways. In fact, it seems like some potentially suitable people are the Toudens. There are a lot of good rumours about them going around - they actually seem to have a very positive reputation! That's what Kabru means when he says "unmask".

So when Kabru is observing something like them giving money to an old comrade from their gold-peeling days, he doesn't consider it a problem because "they're giving money to this person who doesn't actually need it" or because they must have some dark secret if they act superficially nice. I think he actually understands this situation and what it implies about Laios (in particular) perfectly well.

Laios and Falin gave money to an old comrade who got injured and couldn't work. That person then healed up but kept taking their money. Then he used the money to start smuggling illicit goods to the island.

The key is that for Kabru, the problem here is the same as with the corpse retrievers - people using the dungeon's resources to fuel dangerous, selfish, or violent pursuits cause problems for the island, attract more criminals and people with motives other than breaking the curse, and increase the chances of the whole situation ending in tragedy.

Kabru is willing to work with the Shadow Lord of the island if it gets him to his goal - he isn't scrupulous - but the criminal element of the island increasing is something he sees as a major issue.

Also, when you're evaluating someone as a candidate for power, riches, secrets, potentially kingship - then being curious about how the money you give to people is going to be used is kind of a relevant trait!

Interpersonally, Kabru's actually very easygoing - I mean, Mickbell isn't exactly an upstanding guy, is he! But Kabru likes him and they get along well. These traits wouldn't be a problem at all in a friend, or a comrade, or someone Kabru was confident he could use. But he can't get a handle on Laios, and Laios is someone who has the potential to be a major player!

On Laios' end, this is the same as with the marriage seeker who joined their party. She kept asking for things and he gave them to her, because he tries to be nice to others. He even gives her money! It's the exact same thing.

That's fine, but it became a problem because he basically wasn't interested in her motives, didn't notice she was trying to manipulate him, and it also didn't occur to him that the other party members would notice or be affected. We can assume the situation with the gold peeler is the same. When Kabru says that "It's not that they're bad people, they just aren't interested in humans," he isn't wrong.

The extent to which this is true of Laios is linked to his autism imo, (because it isn't just disinterest - he genuinely isn't able to notice nonverbal cues that people are lying to him or have ulterior motives) but to a greater or lesser extent I think it's a very common trait. Most people aren't actually that interested in other people who aren't close to them. Kabru is the weird one here. It isn't an issue except as a leader - which is why we see an immediate comparison to the Island's Lord, because that's how Kabru is evaluating them.

And disinterest in/lack of ability with people to the extent Laios exhibits it, it does, actually, make him a worse leader... it's just that as we see in the story, people can help him out. The rest of the party tell him the marriage seeker is taking advantage of him so he tells her he can't give her special treatment anymore. They're pissed and it's a crisis point - he couldn't have recovered their trust without Marcille and Falin - but that's exactly the point. With Marcille and Falin, he was able to recover their trust.

And he has other good traits that make up for it, such as his intelligence, strategic knowledge, open-mindedness and sense of fairplay.

Kabru doesn't disqualify Laios as a candidate based on what he sees about him from afar, though - he still tries very hard to get close to him, obviously hoping that if he manages he can steer Laios to defeat the dungeon and make up for his lack of people-skills in the aftermath. (Which... he does eventually achieve that goal!) He completely fails until the events of the story, so... definitely I think "They just aren't interested in humans" could also partially be a stung reaction to Laios' complete disinterest in him.

Anyway, that's my read on what exactly Kabru's "issue" with Laios is. Obviously, once he does find out what Laios' true nature is like - about his love for monsters - he develops an entirely new set of fears about Laios' priorities. But since Laios kept that a secret until the start of the story, he has no idea of that yet.

Given all that, I think it's interesting that he says that he doesn't think that the Toudens are suitable to defeat the dungeon, and that he's hoping they'll turn out to be the thieves. As some of his few potential candidates, people who he thinks may play a big role in the island's future, you'd think he'd hope they would be good people!

I suppose it's better, in his eyes, because it means that he's involved in something "interesting". They haven't just had their stuff stolen by regular criminals (boring, puts them further away from his goal) - they've been caught up in the beginning stages of "a historic event". The desperate and dwindling group forgetting morals in their quest to retrieve their lost comrade probably appeals to his sense of melodrama. Because he also just... loves drama.

Despite it being "uglier than anything he was expecting", he still pursues Laios as the person he wants to conquer the dungeon pretty much as soon as it becomes clear that he won't be able to do it himself and they are out of time. That's because... well, to be fair, there aren't any other options. And he fits standard A: he's short-lived!

and Kabru still hopes he can fit standard B, too, and be persuaded to use the power he wins for good. No matter how many nightmares he has about Laios, or whether he thinks about killing him. He doubts him, but ultimately he puts his faith in him and seems happy after the manga's ending that he made the right decision.

[lgbtlunaverse]

"Marcille hates all of Laios' freak traits but loves them in Falin" is honestly a really good joke but... you guys do know it's a joke right?

It's such a funny one I honestly find it impossible to get mad at even when people mistake it for an actual truth about the characters but JUST TO MAKE IT CLEAR

THIS is how marcille reacts when Falin is predictably just as enthusiastic about eating monsters as her brother was.

That is not the face of a woman who thinks this trait is lovely and endearing as long as it's exhibited by the girl she loves. That is the face of a woman who is taking 7d8 psychic damage and yet knows deep in her heart she won't like Falin any less for it.

The way young Marcille reacts to Falin eating berries Marcille can't recognize but Falin knows are safe is pretty similar to how she reacts to eating monsters years later, albeit with more fear than disgust. The difference in her relationships with Laios and Falin isn't just that she's attracted to Falin, it's because the Touden siblings, while similar, are in fact different people. Not just genderswaps of each other.

Also, I think you all already know this, but just to say it: she doesn't actually hate Laios for any of his freak tendencies either. He's one of her best friends. She's just a lot quicker to be outwardly exasperated with him while she's quieter about it with Falin.

[munsons-mutiny]

I keep seeing everyone talking about Jayce being the only person capable of saving Viktor. How in every universe Viktor chooses him.

But I don’t see anyone talking about how that means in every universe Jayce breaks his promise to destroy the hex core. In every universe Jayce can’t let him die, can’t let him go, chooses him over his morals, his integrity, his common sense.

These boys are gonna be the death of me.

[medicalunprofessional]

never change, man !

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[canisalbus]

gothic lolita machete came to me in a dream

.

[fumifooms]

do you happen to have that page that talks about the beauty standards of each race?

Yeah sure. While scavenging pics for this I found this neat reddit compilation & chart & theory talk too. I had um, way more to say than I anticipated (I know you only wanted the one page. I have nothing to say for myself. Like most topics in Dunmeshi things snowball because they’re so interconnected. Mercy…) so, many races and observations are only mentioned near the bottom.

Beauty standards and race in Dungeon Meshi

Not pictured there’s also how elven society is harsh on visibly disabled people, and how the demon took away Mithrun’s silver eyes and ears to take away his pride. There’s also how Senshi might have fit in with the orcs more easily because of the dwarven wide body shape, and how they tend to have more body hair too I suppose. In the extra on orcs we see Senshi living with the orcs and he gets judged because of the hierarchy rather than his looks.

What is fashionable also differs from culture to culture, and there’s how tattoos only seem common with elves, though dwarves and others do also sometimes have some. They seem to not raise much brows, which makes sense since for many essentially they’re for professional (magical) purposes especially with elves. Gender roles also differ in type and importance, but generally they are similar to irl ones for the races we see. Elven society seems to be the least gendered, which would be an unsurprising logical outcome of having lesser sexual dimorphism aka they look more androgynous. Comparing fashions and gender roles and how they affect beauty standards would be a whole other compilation and conversation. Kui has great worldbuilding partially because she’s got such a good grasp on sociopolitics and geopolitics. History affects cultures and beauty standards greatly. Kui’s oneshot Distant Utopia was very eye opening on her way to worldbuild and the consideration she gives these things, I do really recommend reading it.

Out of the big 5, we know the least about gnomes, but their sheet does say both culture and region are similar to dwarves’ and they end up being confused together often, so we can imagine the beauty standards are similar to dwarves’ as well.

I wanted to touch on this in a post eventually, but how one daydream hour page said half-foots tended to be curvaceous like in the artwork below puzzled me for a long time, all the half-foot characters we see during canon are rather slender and lanky after all, Chil’s succubi also being more curvy than plump. Economics are for sure a factor in that I imagine, the half-foots characters we see are all implied to be some flavor of poor or malnourished, as are half-foots depicted as empoverished oppressed minorities in general. Even comparing the artwork with the half-foot sheet’s depicted average half-foot, the ones on the left seem bigger. Wouldn’t it make sense though, if unlike dwarves half-foots don’t have similar naturally wide bodies, yet due to idolizing dwarves they work towards having a similar body shape/type to emulate them?

It’s said half-foots tend to stick to pretty ethnically homogeneous regions (aka half-foots-only communities) unless they move to the big city with ambition to try and make it big (like Chilchuck and his wife & kids did), and that’s interesting imo because then that would mean that in a ton of half-foot communities, they rarely see or interact with dwarves whom they try to emulate. Of course, one thing about beauty standards is that when they get adopted, at one point it stops being "this is how dwarves look and so this is how half-foots should look" and just becomes "this is how half-foots should look", most people feel as though beauty standards aren’t learned but innate, so I figure the half-foots wouldn’t have any problem still seeking dwarvish traits when there are no dwarves around.

There’s also stuff you can glean here and there if you want to extrapolate more. Like how in the race swap artworks, Mickbell is only smiling in the dwarf portrait, and Rin’s elven portrait looks very close to her elven one- Rin who is stated to be beautiful in her profile blurb. Benichidori’s extra does teach us tallmen can definitely have harsh beauty standards, but also since the text portrays her as very dysmorphic that’s likely reflected in her thoughts to a much more intense degree than is common, not an accurate strict baseline to go off. Ah, Kabru’s blue eyes are also why he and his mother lived a rough life in Kabru’s hometown, but that seems to be regional. Good post here on the topic of Kabru’s blue eyes and ties to irl history. There’s a lot to be said about Kabru being a man that in many ways is close to elven beauty standards, and how that might have affected or been affected by his upbringing with elves + his persona as someone that can effortlessly charm most people. Marcille’s section here in this essay also goes into Marcille’s struggles to fit in with the ideal image of an elf.

Looking human

Also notable are beastkins and demihumans: Demihumans are all dehumanized which makes people treat them worse. So if you differ from the visual idea of "human" (an in-world subjective categorization just as much as demihuman is) most people do judge you negatively. Elves and dwarves get to fight about which type of human is considered the prettiest, but demihumans are below tallmen and half-foots, they are considered as simply below the beauty contest, incompatible with it.

Onis are perhaps the demihuman people we know of with the least cultural influence on the dunmeshi world, and with the least intensely different appearance than other demihumans—they seem to be technically categorized as human to people not from the eastern archipelago?— but even them are treated as lesser than human, treated as beasts to slain for reputation points or useful strength to have around and command. It’s said their "magnificient horns" and fangs are often shaven off when the oni lives in tallman towns, so you could easily make the argument that onis are denied the right to have their own beauty standards, having to conform to other people’s and going through mutilation to take away features they might otherwise have taken pride in. Inutade was bought by the Nakamotos from a dangerous sumo fighting ring that got one of Inutade’s tooth broken on her first and only fight, and kept as a low ranking servant ever since. Remember when I said different fashions existed in dunmeshi and how those could also affect beauty standards? Like the elves, if you look at the portraits pages which include a lot of characters that aren’t in the story you can see distinct cultures within the same races, for example one young elf is bald which is in sharp contrast with the usual elven long luscious hairstyles, and that’s especially true for onis I think. Maybe not only from different regions but different eras as well… They have a bit of population in the very north of the western continent, so I like to think some of the ogres live in very cold, maybe even subarctic or arctic conditions. The point I’m getting at here is that within a race, culture/ethnicity like with Kabru will also influence them it isn’t just tallmen as a whole, different communities will have differing beauty standards. The oni history blurb and third row first collumn portrait remind me of Mongolia (which historically was a lot of different nomadic communities with different cultural identities as well. Something something, the oni empire experienced a decline and then tallmen overpowered them, and now they’re governed and split apart by stronger social classes & slavers and the richness of culture was hurt for it especially if they have no real community left of their own), but obviously many of them are dressed and look rather japanese, makes sense considering living in/close to Wa, and first row second collumn portrait reminds me of ainus which again would be logical considering geographical placement, though I’m far from an expert. Interestingly, ainus are indigenous people both in Japan and Russia- Perhaps the northern western continent ogres are meant to be closer to Russia than Canada like I imagined? Ok tangent over.

The kobold sheet says they’re especially sought after as slaves because they’re "adorable", but locally in the western continent they’re repeatedly said to be seen more as ferocious and dangerous. The dehumanization is most apparent in the first comic below. The language barrier and conflicts no doubt worsen this by a lot, but I think it’d be hard to deny that their canine appearance makes the dehumanization worse. "They’re ferocious beasts, they’re demihumans, they can’t be communicated with". Most characters in Dungeon Meshi’s world are desensitized to slavery and most characters are prejudiced one way or another. Point being, kobolds are fully removed from human beauty standards, but no doubt for kobolds, other kobolds are more beautiful than humans are. They’re assumed to be an uncivilized bunch, but just like any other people they like to adorn themselves with nice clothes and jewelry and keep themselves clean and groomed; they too take care of their appearance and take pride in it.

And the orcs! This one we have the most contact with in canon, with not only there being foreigner characters from the ethnicity or hearsay of their homelands and culture but full on contact with a community. We get to see up close what they’re like and what they think, and of course in turn they’re our introduction to how demihumans are harshly looked down upon and seen as inferior, less human and thus less worth valuing and less dignified. It’s text that orcs are ugly to most humans and humans are ugly to most orcs. Since I judged they didn’t need accompanying explanation the pictures showing this are in the pictures dump at the top.

God forbid you sell vegetables to orcs my god- but then again they do basically mandate adventurers to kill any orcs they come across so yeah the world isn’t above that even a little bit.

So yes, my main point here is simply that orcs are yet another evidence of the physical ideal of "human" being an important beauty standard for human societies globally.

Izutsumi is our glimpse at how beastkins are treated in the world, and in Wa at least that’s ending up being caged and mistreated as part of a freak show. Izutsumi hates her appearance and wishes she could leave the feline part of herself behind to only be human. Interestingly, not that we have a lot of info on them so this is very much a take with a grain of salt situation, but there seems to be less stigma around artificial beastmen, those who can shapeshift at will. The main difference is of course appearance, that most of the time they simply look like average tattooed humans. Artificially creating humans is an illegal practice, and no doubt it’s not well regarded, but being able to hide that makes them less likely to be discriminated at any moment, or even just discriminated less intensely. Again, looking human is important, not only for belonging but for safety’s sake. Beauty standards rule the world with harsh hands.

Mermaids and fishmen

Ok we’re done now right? Right-! But wait… Wait…! Mermaids and fishmen are said to be demihumans too, special separate cases to the main three demihuman species however, which is also represented by how mermaids and fishmen both are in the Adventurer’s Bible chapter Monsters meanwhile ogres, kobolds and orcs are in the chapter World. They’re an interesting topic because they directly tackle this topic, not only in a meta way for the readers but also making characters themselves struggle to quantify their humanity with the goal of knowing wether they should be eaten or not, especially Chilchuck. Chilchuck’s "is it really just a matter of feelings?" mini arc.

The party asking themselves "Should we eat this?" is very common, and often they end up playing a little loose on morality, like eating the red dragon’s meat despite it having digested Falin. Not unsimilarly Marcille freaks out a little over the vegetables they harvested having been grown with fertilizer, aka largely human poo. Half of the motivation of "should we eat this perhaps sentient creature" is out of consideration and compassion, but more strongly and more often, the characters struggle with a sense of taboo at eating something too closely related to humans. Even, feel uncomfortable because of the deepseated impression that eating it would dirty them in some way. Cannibalism is an interesting and relevant topic in many ways, but what I want to mention is how there’s the more or less universal belief that committing cannibalism inherently taints you as a person and turns you more monstrous, morally but also literally depending on some myths such as w*ndigos and onis in some cases, like in Touge Oni. Marcille and Izutsumi both express a fear of eating monsters turning them monstrous. Maybe this is part of what Laios was hoping for, honestly. There are two fears here, if eating a demihuman monster constitutes as cannibalism or not, and so, will eating it taint you because it’s a human, or will eating it taint you because it’s a monster? You are what you eat, until it’s a little too literal. You morally are the means by which you get your food, and you physically are the result of your nutrition. Dungeon meshi manages to mix an exploration of humanity with the theme of food because our relationship to food is very deep and complex, psychological as much as physiological.

In the end, the characters sort of shrug and accept that they’ll never quite understand the world of mermaids and fishmen and how they operate, and what that means about them. Laios is the one always challenging these notions other characters take for granted, it’s not obvious to Laios why people are softer on mammals than other animals and plants, it’s not obvious to Laios why people would be afraid of eating a monster just because it’s a monster, it’s not obvious to Laios why some food is gross to Marcille but not fish testicles, it’s not obvious to Laios why you should immediately regard orcs and kobolds badly.

"Cows are probably closer to humans [aka closer to being human] than fishmen, though they’re clearly intelligent", dehumanization to lessen empathy towards them to be able to eat them. Meanwhile, mermaids seemingly have a less noticeable "civilization" or intelligence, they hunt in groups like fishmen, but they don’t use tools and such, they feel more primal and similarly instinct driven, and yet… Do they attract sympathy more? Mammals, humans, is it because of their nature or because of their appearance?

Both the nature and appearance of fish are ones people don’t typically sympathize with. "Fish don’t feel pain", "goldfish only have 5 seconds of memory", "it’s okay to keep fish in completely empty bowls too small for them until they die from it", so many lies and misconceptions exist that make people less considerate of them. The average lifespan of a goldfish is 10-15 years, the record is 43, but they’re not seen as lives that really matter, so a lot of goldfish die in a few weeks of bad aquarium conditions. There’s a lot of research on animals evolving to look cute and appealing to make some predators want to kill them less and parents want to care for them more, including humans. First good google research result gave me this credible short article on the topic. In Chilchuck’s weighing wether a fishman is far enough from being human or not to eat, "face is 100% fish" is his biggest argument for it being more acceptable. The face, the most important thing for empathy and recognition. The face, the decapitated fishman one that falls into his hands next chapter.

To quote @room-surprise: "Chilchuck can't explain why it's wrong to eat the merpeople, even though it's NOT complicated. But the problem is Chilchuck would have to accept and acknowledge that the merpeople might be people? And that's outside of the worldview he passively believes, so he can't just say that, because he doesn't think that's true. But that IS why he "feels" it's wrong. And it's all you'd need to say for Laios to understand! But it would require acknowledging that maybe the way they're treating and talking about the merpeople is wrong."

The idea of Chil not being able to grapple with how maybe some monsters are more humans than they seem, him who had been an advocate of half-foots rights, half-foots who get undermined and treated as inconsequential sacrifices… Grappling with how he could relate to the merpeople’s situation almost, and pulling away because it’s so existentially horrifying. I do not want to see myself into an hostile fish-faced warrior I can’t communicate with. In a way this also relates to Chilchuck being the only party member who doesn’t see Izutsumi as a cat in the relationship chart, the only one to treat her with full human dignity. He knows the struggle to be taken seriously, he knows being infantilized and he knows what it’s like to be treated as less than human.

Below, you will see Chilchuck draws the line of where they become not okay to eat as when "they already look like mermaids". Above, there’s speculation that the algae hair is partly to mimic "the mermaids’ beautiful female form". Is it because mermaids are their enemies and the ambiguity might give them extra seconds to attack or flee? Is it to trick adventurers instead? It’s striking to me that this is what works, with the adventurers. Sure the fishmen are intelligent, but explicitly here, what makes them no longer acceptable prey to Chilchuck is that they look close enough to a mermaid, close enough to human. Mermaids who of course themselves have this form to entice and seduce and charm the adventurers they prey on. Chilchuck considers the intelligence due to the tridents, but most of his internal debate centers around their appearance, and the image of a fishman skewered sickens him. The power of mimicry… Mimic being a beautiful human woman. Mimic being cute, babies being wired to make us feel protective and softened. Half-foots, sometimes pretending to be children for scams or help or avoiding trouble.

The mermaids are only concerned by their differences and not their similarities, and have no trouble treating the fishmen as food rather than peers. To an outside perspective like us, the audience, all these categorization of "more human" and "less human" between onis and orcs and elves and tallmen etc seem stupid and unfounded, but to the people living in Dungeon Meshi’s world, elves may as well be mermaids while onis are fishmen, not alike at all, unworthy of empathy and thus fine to eat.

Ultimately, Dungeon Meshi promotes unity. It’s about seeking to understand the unknown and the misunderstood, the dehumanized and the inhuman. It shows the good that comes from seeking to understand what you do not, even when that’s one another.

[starry-bi-sky]

Okay so this is almost a direct copy-paste of my earlier reblog but only the Xin Yuan parts, because its long enough to be its own post and i want to share it! It deserves it's own post <3 typical starry stuff to write a 2k word long reblog, unfortunately.

I say almost because I went through to proof read and ended up adding more stuff.

I've been cooking on this idea for the last two days since I saw the Xin Mo!Shen Yuan post but??? I can't find anything on Xin Mo's backstory or how it came to be -- which means that's free fucking plot right there baby. That's a sandbox and im making LIFE SIZED CASTLES. I'm so excited.

The idea of Shen Yuan transmigrating centuries before the events of PIDW as Xin Mo -- but when he wakes up, he's not the sword. He wakes up in the body of a young boy named Xin Yuan. Now it makes sense for this boy to be a demon, but the drama, the intrigue, the spice of Xin Yuan being a human child.

SY wakes up as a boy below the age of ten, and the System tells him where he is, and SY is excited to meet his favorite protagonist -- only to gradually realize that he's like, a thousand years or so before the events of the novel. The rant he gives the system is legendary.

Bc what's the point of getting dropped into PIDW if he's never going to meet his favorite character??? This is a scam! BUT he settles into his new life, he's like, some orphan street rat or some other tragic airplane-esq backstory.

The system gives Shen Yuan his first mandatory quest: become a righteous cultivator. Which was like, kinda his plan/hopes anyways, except! There's like?? No official cultivator sects anywhere? The Cang Qiong Mountain Sect hasn't even been established yet, and there are pockets of cultivators running around, maybe some groups or schools popping up and then sinking back down, but nothing's really taken root!

If he asks someone how to become a cultivator, there's no straight answer. No "oh you can go to X to do that". He's pissed! How can he become a cultivator if there aren't any schools around to teach him? Deus ex machina, that's how.

Out of sheer luck, SY manages to help save a rogue cultivator, and promptly gets adopted by said rogue cultivator, who gives SY the name 'Xin Yuan'. He is ecstatic. And you know what? It's actually pretty fun!

He's getting to travel the world of PIDW in its early stages, and gets to see the building blocks for the eventual main story. He's discovering all this local flora and fauna that are foreign to his old world and unmentioned in the book, and he's learning cultivation! Granted, its unsafe, newly(ish) discovered cultivation, but it counts!

Wistfully, he thinks about perhaps he'll do something grand and get his name carved into legend. Something that would eventually help the protagonist later down the line in his quest for revenge.

The system remains silent to his thoughts.

But Xin Yuan doesn't take much stock in that daydream anyways. It's nothing more than fantasy to him; wish-fulfillment. He does discover however, that he is positively brimming with spiritual energy. Overwhelmingly so.

It's both a blessing and a curse, as it puts a strain on his meridians if he's not careful, and leaves him prone to qi deviations for the exact same reasons. He already has a heart demon or two from a few traumatic experiences in the past.

(bc hey! angst a day keeps the writer sadism at bay, and all that)

I'll say he's about... eight when he gets picked up by the rogue cultivator, who I'm calling Lin Kai bc he deserves a name. They travel around PIDW up until Xin Yuan is twelve, where he goes through a traumatic experience that results in a heart demon.

It's after that that Lin Kai decides to put a stop to his wandering, and find a place to settle down to raise Xin Yuan in. Coincidentally! They settle down in a nice mountain region that's thriving with spiritual energy. The mountains at the time were called something different, but they will be eventually known as the Cang Qiong Mountain Sect

Coincidentally, the mountain Lin Kai and Xin Yuan end up on is Qing Jing Peak. XY does not realize that the mountain he's on is Qing Jing. The System does not tell him. But he likes it there, more than he was expecting. And as much as he's traveled around, he really does enjoy being in one place.

He has a tendency to go down the mountain and help the village setting up down there, and when he's a teenager he starts venturing out more and more.

Xin Yuan forgets sometimes that he's in a novel, especially after settling down on Qing Jing peak. The system becomes remarkably quiet since there's no quests for him to do and not a ton of opportunities to get B-Points. He cultivates with Lin Kai, helps tend to the garden they're growing, goes down to the village to play with the other kids.

There's one boy he's best friends with, a boy whose not all that good with words, named Liu Zhihao. He's got potential for cultivation though, so Xin Yuan drags him up the mountain when he can so that Liu Zhihao can sit in on lessons with Lin Kai. He drags him all over the forest at the foot of the mountain to go look at bugs and animals.

(One time, when they're fourteen and Liu Zhihao has been learning cultivation for a few years now, Xin Yuan drags him out of bed late one night to go look at the stars. Xin Yuan tells Liu Zhihao about ascension -- something that still feels like a far off dream to many in this time -- that night, while they're sitting on the wet grass.)

("We should ascend together." Xin Yuan tells Liu Zhihao, jade eyes gleaming. Never let it be said that Xin Yuan doesn't love deeply, no matter what kind of love it is. He was always so lonely as Shen Yuan, Liu Zhihao is his best friend. "We'll become immortals, and then we won't ascend until the other is able to.")

(Liu Zhihao stares at him silently, his face unreadable. Then, quietly, he asks; "Promise?")

("Promise.")

When he starts adventuring outwards, further away from the mountain and the village, Liu Zhihao sticks to him like rice. Not that Xin Yuan's complaining, that's his best friend after all, and Liu Zhihao has become a formidable cultivator. He deserves to show off his skills.

He starts making something of a name for himself by the time he's, like, 18 -- although that name is in its baby steps, along with Liu Zhihao. They're slowly growing renown.

Perhaps XY uses his knowledge of PIDW and cultivation in general to help make advancements in the cultivation field. Although the system prevents him from sharing too much, it doesn't mean he can't practice it himself. Perhaps he's one of the first cultivators to develop a golden core. One of the first known immortal cultivators. One of the first to have a spirit sword.

(Although I don't know the logistics of any of this since my knowledge on xanxia/cultivation stuff in general is all still pretty new and google wasn't all that helpful lol.)

Either way, its my excuse to eventually make Xin Yuan come across as ethereal to other people. Peerless beauty SY for the win. Hs wifebeam is too strong, Xin Yuan has a line of suitors following after him and he's completely unaware of it. The rest of history is not.

Demon realm stuff has been stirring up since Xin Yuan was a kid, but at the time it was rare and in the beginning stages. Its been steadily ramping up and the system is sending him on more and more treacherous quests -- some of them mandatory, some optional. SY doesn't often take the optional ones unless it comes with a sufficient B-point reward.

for all intents and purposes though, he's a wandering rogue cultivator with Liu Zhihao, going from place to place to either help a town or village, or to discover more creatures or artifacts (although there aren't that many). Just all around living his life. He participates in a few major quest lines that are sure to get him mentioned in legend, even if it's a background character way.

(Unbeknownst to him, rather than being a side character in these legends, he's named directly. You can't become one of the first immortal cultivators and NOT get name dropped for clout.)

He has a spirit sword named Shā Mó, (杀 shā - to kill/weaken/counteract/reduce) (魔 mó - evil spirit, demon, possession). He routinely goes back to QJP to see Lin Kai, or to rest when traveling has worn down on him and he wants nothing more than to sleep somewhere he knows he'll be safe in. It becomes more frequent as Xin Yuan becomes more famous. Liu Zhihao often comes with him.

it all comes to a head though when the rifts between the demonic realm and the human realm become too great, and the balance between both realms becomes unstable. A demonic emperor's influence, wanting to merge the two realms so he could conquer both to satiate his own greed.

Typical evil king stuff. This comes to a climatic head in a great battle between every cultivator available and the demon emperor's army. Xin Yuan was one of the many who helped lead the charge.

In the end, it was Xin Yuan who ends up defeating the demonic emperor, but the rift that the emperor used to cross between worlds is destabilizing as well. Except instead of trying to close, it's getting bigger and bigger, threatening to swallow the heavens and earth and demonic realm whole.

You know how Yue Qingyuan's soul is bonded to his sword due to a qi deviation? Let's take it a step further >:)

Xin Yuan uses himself and Shā Mó to close the rift. However, it takes all of his spiritual energy to do so, as well as him filtering the demonic qi into his body to redirect it back to the demon realm.

In the end, Xin Yuan and his beloved sword Shā Mó fuse. Xin Yuan's soul becomes trapped in the sword. His physical body is unable to handle the immense amount of power it takes to close the rift, and is destroyed. He is immortalized in legend by his grieving cultivators.

(Liu Zhihao ends up ascending alone. He ascends with the hope that one day he'll see Xin Yuan again, even if it's in the face of someone else. Lin Kai does not ascend, too weighed down by the grief of losing his son.)

Xin Yuan, now Xin Mo, falls into a stasis. He's very confused and disorientated when he regains 'consciousness'. The system has been silent for most of his life, only popping up to give him mandatory quests, hints, points, or to answer any questions.

But once he wakes up, it cheerfully pops up again, congratulating him on completing the origin story of Xin Mo. SY freaks the fuck out. he'd shake the system screen if he could, but he doesn't have arms. or legs. or eyes for that matter.

He can sense his surroundings, but its all like imprints to him. He can sense the energies, but he can't see anything. It's all very disorientating and horrifying after years of being human. Like a sensory deprivation chamber.

The closing of the rift and the cycling demonic qi tainted both Sha Mo and Xin Yuan irreparably, and it did some kind of damage that resulted in SY needing to feed in order to use the spiritual powers. Kinda like how Xuan Su uses YQY's life force for it's spiritual energy, but instead of feeding on his own lifeforce, Xin Mo feeds on others.

The rest is history. Xin Mo is originally tied to the story of Xin Yuan -- believed to be all that remained of the man after he sacrificed himself to keep the realms separate. It's believed that the force of the realms closing permanently infused Sha Mo with demonic energy, turning it into Xin Mo.

But, like many stories do when faced against the tide of time, things get lost; chipped off; changed. Xin Mo is steadily separated from Xin Yuan, especially once it becomes clear how parasitic the sword really is, until they are all but separate entities themselves and the origin of Xin Mo's creation all but forgotten.

The years blur together when Xin Mo is not being wielded, and at first Xin Yuan was agonized by the fact that he stole the lives of all his wielders. He knows it's only a novel, but his decades spent in this life have softened him, and he's grown attached to the world around him.

But time erodes the mind like water erodes stone, and he becomes numb to it, then eventually anticipating of it. He forces himself to remember what he knows of PIDW's plot, and kinda fixates back on his old obsession on Luo Binghe. But while PIDW stays in his mind, his memories as Xin Yuan fall to the wayside.

Not forgotten, per se, but... tucked away. The system prevents him from forgetting fully.

Xin Mo isn't fully a demonic sword either i think, but instead harbors an ugly cocktail of both spiritual and demonic qi. Special circumstances and all that. Everyone just assumes he's a fully demonic sword because that's usually at the forefront, his spiritual qi weakened from the initial fusion and from years of not being fed spiritual qi. It's part of the reason his wielders always end up destroyed by him, other than the whole, yk, 'overwhelming qi' thing.

Nobody would recognize Xin Mo's human form as Xin Yuan other than some truly ancient demons. Of which Meng Mo might. But even that's iffy because there's a lack of surviving paintings of Xin Yuan, but also because of XM's demonic appearance and supposed lack of connection to XY.

Xin Mo has never spoken to his wielders before, not in the same way he does Luo Binghe. He tells Luo Binghe this, and he also tells Luo Binghe down the line that he is both spiritual and demonic -- something he also never told his wielders because there was no point to it.

okay okay i've got to end it here because its already gotten ridiculously long -- of which im both apologetic and unapologetic for -- but i DO think the Shang Qinghua and Shen Yuan meeting (and reveal) would be fucking hilarious. Especially if SY has learned how to pop between sword form and human form by then -- although i guess it doesnt matter either way because SQH's reaction is still the same.

And that reaction is internally screaming and going "hey what the FUCK?? WHY DOES XIN MO HAVE A HUMAN FORM??? WHAT IS THIS??? SYSTEM??? EXPLAIN???"

meanwhile from his place on the sword hilt xin mo is squinting at Shang Qinghua in bewilderment and going "aren't you supposed to be dead" but doesn't pay too much mind to it because its not like its going to change anything.

...up until he catches shang qinghua going "WTF" silently from his little corner while all eyes are off him. One moment SQH is standing beside his king, and the next he's been tackled to the ground by one wild-eyed, human-shaped Xin Mo.

everyone, including SQH, thinks Xin Mo is going to kill him. It is a surprise to everyone when he does not, and instead dissolves into deranged, uncontrollable laughter after spitting out some phrase in some ancient tongue and watching SQH's eyes grow wide in recognition.

[the-judicial-assistants-notebook]

not enough discussion about the gavins' complicated relationship with feminine-coded/beauty products, i don't think.

[wyrmwinds]

Someone with a better mind for character design than me should redesign Vauthry because of how the fatphobic design makes idiots unable to read the nuance surrounding him and ALSO because I do feel like there's a good design in there.

The way he's stylized doesn't do him any favors but I think that the tie between his baby-like appearance and the whole concept of innocence surrounding him could be so good if they didn't do it like that. At the very least, I feel like he should have gotten childlike eyes.

I feel like it would have been interesting if instead of leaning heavily into "grotesque fat manbaby" stereotyped design they maybe made him look like. An actual child, to give off that air of innocence. Sort of like a padjali situation with him, which offers an interesting tie between the "pure" white mages of the Source and him. I also feel that it would offer a more visual parallel between him and Alphinaud. He can even keep the fat, with it even giving him a design aspect of angelic cherubs.

[ptieuca]

you almost went away today. we both did.

[ash-and-starlight]

modern au and esen’s honkers are haunting the instagram feed