#ren’s characters

[rendoesstufff]

Decided i needed a new lock screen so here’s alphie ^^

[v-3-rdure]

phantom thieves u are so important to me

closeups 👇

[lotus-pear]

11/20

[ellemisc]

and this is actually how tros ends! wow trilogy finished what a happy ending

[eelektrossfan]

royal trio

[tempo-takoyaki]

Happy Birthday Shizun! I hope you'll enjoy your gifts!

[trifon002]

"Why can't you just leave me alone?"

[axoqiii]

pony thieves 💥💥

au notes ⬇️

[megaderping]

Something a lot of people mistakenly believe is that Akechi enjoys the work he does for Shido and that he takes the orders to kill without any resentment or regret. These text messages shed some light on the way he thinks and show that this is not actually the case. Unfortunately, these texts are entirely missable if you finish the treasure route to Sae's Palace too early. As a result, this crucial characterization is often overlooked and people take what they know about characters like Persona 4's culprit and Persona 3's traitor and assume that Akechi is playing it straight.

But even without these obscure texts, it's not like the game is subtle about this. Akechi's lack of freedom and agency is a recurring aspect of his character that people will often cast aside because it's much easier to boil him down to "crazy serial killer" than actually look at the complexity of his situation and his own victimhood.

Throughout his Royal confidant, Akechi's perfectly crafted mask cracks several times. Moments like this show him offering an out, even if he's MUCH happier if you don't consider it.

He doesn't WANT Joker to change. As much as he claims to hate Joker, he admires his convictions. Wishes he had what Joker had. Wishes he could have been more like him. See: the Gun About rank up where he mentions how he used to want to be a hero of justice.

The creepy smiles and shit you see on 11/20 and in parts of the engine room are another mask Akechi wears. Akechi ALWAYS swaps out his masks to best serve his situation. Yet he still tells Shido not to kill the thieves, that Morgana is just a cat, and is perfectly content to leave them alone, and after his fight in the engine room, when the mask literally breaks...

We see his regrets on full display. He isn't proud. He's done making excuses. All those little times the mask broke in the Royal confidant were ways to set up this moment. He genuinely cares SO much about Joker, but that caring was dangerous to his objectives, so he HAD to hate him. He HAD to want to kill him to achieve his objective, and yet...

He still cares. He's putting out spikes in third sem, no doubt because he suspects his own fate should they destroy Maruki's world, but...

[dkettchen]

she would've told them unlike her canon! version who decided not to be an ally smh

[rendoesstufff]

What do you got there?

[renrenkaaa]

"Kakavasha"

[sparrowmp4]

Do you ever just-

“If you can escape this, Sect Leader Yue, get far away, as far as you can. From now on, never again, involve yourself with a thing like Shen Qingqiu.”

Augghh I’m doing an animatic in my head.

[phantom-chirp]

[eelektrossfan]

everything goes away.

[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.