#mithrun texts

[mithrunsiphone]

technology advancement does nothing but give everyone new problems

hi everybody this is a semi joke rp blog for Mithrun. semi because I do like writing and will maybe make some serious genuinely serious and good writing in between the shitposts but I’m doing this for fun and enrichment in my enclosure.

only one rule: it’s a joke, laugh.

[poorly-drawn-mdzs]

The squad of all time has arrived on scene.

[shadowtraveled]

"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.

but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)

mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…

the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.

every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.

first, the snake part of the chimera appears to be modeled after some species of coral snake mimic

which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.

which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.

the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.

walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?

well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.

you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?

it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.

when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.

and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.

kui laid it out in three panels better than i could hope to.

yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.

[deermouth]

i didn't realize Mithrun was doing push-ups here at first and i was like hey man i know you don't have the motivation to seek out comfort but there's a bed right there, you don't have to family guy death pose on the rug.

[sualne]

mithrun sketch to celebrate

[astronomalyy]

i love how mithrun's reaction to laios threatening to expose classified military information that could forever alter humanity's understanding of the structure of the universe is to continue eating his kebab

[deaddriv]

Translated with permission! Artist on Twitter (@achu_0u0) and original posts.

[artisfaction]

Dungeon Meshi Manga Text Posts [ beware light spoilers ]

.

.

.

.

.

.

.

And there was no caption that would have been be funnier than the original manga panel, so this is a BONUS, because I think everyone should see it.

[fieldsofvarley]

the gentleness in being told you can keep your past to yourself. how it feels like a gift of dignity and a new stepping stone on your way to living again.

​the gentleness that comes not from the absence of violence but despite the abundance of it of it all.

[elkian]

So I never really questioned Kabru and Mithrun's dynamic given what's coming up, but that episode really emphasized some stuff to me. We know already that long-lived races, particularly elves, have a tendency to dismiss the other groups as being childlike. But the sheer infantilization that everyone, and specifically Kabru, have to deal with in that episode really hammers it home.

When Kabru mentions his adoption, pretty much all of the Canaries start immediately treating him like a toddler. And we know from flashbacks in the manga that he received pretty much the same treatment from his adopter - I wouldn't say he was quite treated like a favored pet, but it's much closer to that than any kind of healthy relationship dynamic.

So when Mithrun stands up, gets in his face, looks him eye-to-eye and says: "You're plotting something. I'm going to find out what.", that? That is the first time in this scene - maybe in his life - that an elf takes Kabru seriously. Mithrun has his own thing going on, but regardless of his reasoning, he addresses Kabru as a person and an adult. As someone with complex motivations who could potentially trip him up. I don't doubt Kabru has in the past used that infantilization to his advantage, but it's blatantly obvious that he doesn't enjoy it. Who would? So Mithrun starting their relationship by treating Kabru as a peer explains a lot about their dynamic down the line, in my opinion.

Kabru doesn't have to prove his humanity, his personhood, his adulthood to this man, one of a group infamous for how they treat younger species. It must feel like one hell of a paradigm shift.

EDIT: I've seen it pointed out on this post and others that Kabru also shows Mithrun understanding and decency and sees him in a way that others haven't been and I think that's a very important parallel and good point.

[edlucavalden]

Man one of the most important things to me in dunmesh is when kabru cuts down mithrun's story to be more digestable

Not only does he cut things out to make it more coherent, but he also cuts out the personal parts

it shows that kabru not only listened to him but empathized with him to know that he was being unnecessarily vunerable for his own good. And by doing so, he gives mithrun something that makes you human, back; his privacy

He understood him enough to know which parts were personal and which parts should be said. Twisting it enough so that mithrun can get the benefits of opening up while also keeping things private. You dont need to say everything in order for them to understand. It's ok to protect yourself.

Kabru really didn't need to do that. He really didn't. He was only given the role to take care of Mithrun, but he chose to be more. Him helping mithrun wasn't one out of responsibility or obligation but one of choice. This subtle act is proof of that.

People who love you take care of you. even when you dont ask for it, even if they didn't need to. They do it because they want to, and they choose to take care of you. Thats whats so important to me

I love the meta touch to this too. While thistle's and Marcielle's intentions for being the dungeon lord (and by proxy, their personal motivations) were explained in the narrative in detail.—

Mithrun didn't. His fears, wants, insecurities are never explicitly said to us the audience throughout the entire story, even in the extras. (The only reason we were able to understand is bc of subtle hints and context)

The scene where Mithrun fully opens up. It cuts to Kabru's thoughts and starts talking over his monologe, only leaving the parts we need to know. This is the narrative's way of respecting mithrun's privacy. And by proxy, the audience respecting mithrun's privacy. Again, the narrative couldve easily gone more in depth, it couldve shown more—it will change literally nothing. But it chooses to do that instead.

We arent immune to boundries just because we are an omniscient reader. Courtesy is not conditional.

Which is really telling when you realize the most direct personal information we receive out of mithrun was from the information page about the winged lion

How violating...

[mithrunsiphone]

Hello Mr man

My name is shroomy shroom

Legally I am the adopted son @realcourtjester and puckpattichils (tumblr won't let me @ for some reason) I'm an acquaintance of @flekisquestionplace

I run a shop over at @shroomysshop where I sell alchemy and magic item related goods and services!

I'm well behaved and very responsible

- @ask-walking-mushroom

Are you accepting any more adoptions? Or more hands at your alchemy shop?

[dancers-7]

Dungeon Meshi by Ryoko Kui

[starstrike]

Mithrun's desire as an SA analogue

TW discussion of SA and detailed breakdown of aesthetics evoking SA. The way I discuss this is vivid in a way that may be triggering, though there is no discussion of actual sexual assault. Just survivor's responses to it.

People relate to Mithrun and see his condition as an analogue for a few different things, like brain injury or depression. And I think all of them are there. But I also see Mithrun's story as an SA analogue, and Ryoko Kui intentionally evokes those aesthetics. I think it's a part of Mithrun's character that a lot of people miss, but I very much consider it text. This is partially inspired by @heird99's post on what makes this scene so disturbing; so check out their post, too :)

So to start off with, the demon invades Mithrun's bed, specifically. There's even a canopy around it, which specifically evokes this idea of personal intrusion; the barrier is being pulled apart without consent or warning. The way the hand reaches towards Mithrun's body from outside of the panel division makes it almost look like the goat stroking over his body. It's an especially creepy visual detail; similarly, the goat's right hand parts into the side of the panel as well. It's literally like it's tearing the page apart; but gently. So gently.

Mithrun is in bed. It is his bed that the demon is intruding on. He's in a position of intimacy. The woman behind him is a facsimile of his "beloved" that he left behind; the woman who, in reality, chose Mithrun's brother. He is in bed with his fantasy lover, who is leaning over him. While this scene isn't explicitly sexual, it is intimate. And it is being invaded. The goat lifts Mithrun gently, who is confused, but not yet struggling.

The erotics of consumption and violence in Ryoko Kui's work(remember that the word 'erotic' can have many different meanings, please) are a... notable part of some of her illustrations. I would say she blurs the lines between all forms of desire: personal, sexual, gustatory and carnal, in her illustrations in order to emphasize the pure desire she wants to work with and evoke to serve her themes. Kui deploys sexual imagery in a lot of places in Dungeon Meshi, and this is one of them.

In this case, horrifically. The goat's assault begins with drooling, licking, and nuzzling. The goat could be enjoying and "playing with" its food. But it can also be interpreted as it "preparing" Mithrun with its tongue as it begins to literally breach Mithrun's body. The goat also invades directly through his clothing; that adds another level of disturbing to me. There's nothing Mithrun can do in this moment of violation. Mithrun is fighting, but he is fighting weakly, trying to grip on and push away when he has no ability or option to. All he can do is beg the goat to stop. And it doesn't care. This all evokes sexual assault.

The sixth panel demonstrates a somewhat sexual position, with Mithrun's thighs spread around the goat's hunched over body. In the next, the goat pulls and holds apart Mithrun's thighs as he nuzzles into him. The way the clothing bunches up looks a bit as if it has been pushed up. It has pinned Mithrun down onto the bed, into Mithrun's soft furs and pillows. It takes a place made to be supernaturally warm and comfortable, and violates it. It's utterly and intimately horrifying. To me, this sequence of positions directly evokes a rape scene. I think Kui did this very explicitly. These references to sexual invasion are part of what makes this scene so disturbing; albeit, to many viewers, subconsciously.

This is also the moment the goat takes Mithrun's eye. Other than this, the goat seems exceptionally strong, but also... gentle. It holds Mithrun's body tightly, but moves it around slowly. It doesn't need to hurt Mithrun physically. But in that moment, it takes Mithrun's eye. Blood seeps from a wound while an orifice that should not be pierced is penetrated. This moment, the ooze of blood in one place specifically, also evokes rape. That single bit of physical gore is a very powerful bit of imagery to me.

Finally; it is Mithrun's desire that is eaten. After his assault, Mithrun can find no pleasure in things that he once did. He is fully disassociated from his emotions. This is a common response to trauma, especially in the case of SA. It's not uncommon for people to never, or take a long time to, enjoy sex in the same way again; or at all. They might feel like their rapist has robbed them of a desire and pleasure they once had. I think this makes Mithrun's lack of desire a partial analogue for the trauma of sexual assault.

Mithrun's desire for revenge was, supposedly, all that remained. Anger at his assaulter, anger at every being that was like it; though, perhaps not anger. Devotion, in a way. To his cause. I don't know. But the immediate desire to seek revenge is another response to SA. But on to Mithrun's true feelings on the matter.

This is... So incredibly tragic. Mithrun feels used up. Like his best parts have been taken away. Like he's being... tossed aside. This certainly parallels the way assault victims can feel after being left by an abuser. Or the way assault victims feel they might be "ruined" forever for other partners. These are common sentiments for survivors to carry, and need to overcome. In the text, it's almost like Mithrun feels the only being who can desire him is a demon who might "finish devouring" him. That that's his only use. It's worth noting that Mithrun trusted the demon. Mithrun's world was built by the demon, and Mithrun, in that way, was cared for by the demon. I think this reinforces Mithrun's place as a victim.

There's also something to be said about Mithrun as a victim of his own possessive romantic and sexual desire. The mirror shows him his beloved just dining with his brother, and it infuriates him. He doesn't know if the vision is real, nor if she has really chosen his brother as a romantic partner. The goat then creates a whole fantasy world where she loves him. As Mithrun's dungeon deteriorates, she is the only person that continues to exist. Mithrun continues to have control over her. And that is the strongest desire the demon is eating, isn't it? There's something interesting there, but I don't know what to say about it.

In conclusion, I think Mithrun's story is an explicit analogue for sexual assault-- though, certainly, among other things! The way the scene plays out and is composed explicitly references sexual violation and invasion of the body. His condition mirrors common trauma responses to sexual violence. And, at the end, he finally realizes he can recover.

Let's end on a happy Mithrun, after taking the first step on his journey to recovery :) You aren't vegetable scraps Mithrun. But even if you were-- every single thing in this world has value. Even vegetable scraps.

[mel0njooce]

[thatsnotbeautiful]

thinking about this again, and i think the factoid about Utaya gives credence to the theory that Mithrun has always been capable of forming new desires

like, yeah, he wanted to get revenge on the demon, but his thoughts here aren’t about that, they seem to be about /protecting others/ from the demon. presumably this wasn’t something he cared about before he became a dungeon lord, bc when he was first sent to be in the Canaries he just wanted out

tbh, Milsiril is the one who theorized that Mithrun’s only desire left was to get revenge on the demon too. there could have been other desires left that weren’t as strong, so they didn’t grab Mithrun’s attention quite as much