Get Out Of Bed For HER

she so deserved a 4* oml

IF THIS GETS 3-5 LIKES/REBLOGS I WILL SEND PHRISTOPHER CIERRE TO MY FAVORITE GHOST BLOGS

Pt 2

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.

Fuck man I knew aai 1-4 had MVK being dismissive and abusive to the siblings but fuck man.

Actively saying that attending his 13 year old daughters courtroom debut isn't a priority for him

Then this exchange which is prompted by nothing beyond Miles asking to do his job even using the Von Karma framing of finding perfection only for Manfred to just completely shut him down and verbally abuse him

Miles then being completely unable to respond in shame. Even though this is God damn Bratworth were talking about and in the last scene he was saying this

And then Fran coming in to desperately try and deflect her father ire to protect him

Then when she finally does convince him to let them investigate he says this

Basically actively admitting to anyone with the context we have now that he's only making Miles a procecutor to sully Gregory's legacy.

Then Miles thanking her because he saw her defelcting Manfreds abuse for him.

Just absolutely heart breaking. It really shows the dynamic at play here perfectly. He doesn't care about Franziska. He is not putting this energy into her career and only putting it into Miles' because he is using it as an avenue to abuse and control him and further enact his revenge on Gregory. And she doesn't understand why. She doesn't get why Miles gets this attention and she doesn't. But she already knows that she has to deflect his attention to protect Miles. And Miles doesn't understand how he's doing everything he can to do the right thing but is still his target. Its such a genuinely interesting dynamic where both of them think the other is the favourite. Miles thinks it Fran because he's not constantly verbally abusing her and Fran thinks it's Miles because he actually bothers to give him the time of day and is properly mentoring him. She's 13 man. She's about to become a prosecutor at 13 and he still doesn't care about her in the slightest.

Ugh Von Karma siblings, my heart

Elluka: This is your fault, sad bitch! i'm gonna pluck you out melt you down and make a fucking necklace-

Margarita: Yeah, i probably deserve it...

Elluka: Wait, shit-

Elluka: You don't make this fun because you're sad!

Gumilia and Pere Noel: [burst out into laughter]

Margarita: I'm always sad! that's just my thing...i'm sorry i can't- be sad...that's just- my thing.

Elluka: Well now i just feel bad, dammit.

yeah sure i get ayin’s whole thing about angela because of carmen but also LOOK AT HER. SHES LIKE A KITTY. HOW CAN YOU LOOK AT HER AND HATE HER FACE. he might as well be one step off from kicking baby animals for his own entertainment

I wanna do this just bc I've watched AAI and AAI2

Kay : Agent Lang.

La : . . It's 2 am here, Kay.

K : Mr. Edgeworth is abducted again. Mind coming here–

La : Not fucking again.