Content material warning: physique horror

Spoilers for Vol 1 – 14 of the Scrumptious in Dungeon manga and Season 1 of the anime

Eat or be eaten: that is the mantra that propels the heroes of Scrumptious in Dungeon via their adventures into the depths of the titular dungeon, eating on monsters of their quest to avoid wasting their social gathering member, Falin, from being digested by the mad sorcerer’s pink dragon. Meals and consuming are unmistakably an important a part of the manga and its anime adaptation. Whereas I may ramble for aeons in regards to the varied dishes used via this collection, the meals on this essay will discover a unique set of elements—the characters themselves, and the way in which consuming and consumption are tied into concepts of identification and intimacy.

Julia Kristeva’s theories of abjection might be used to additional discover how direct interplay with the taboo, or that which is instinctually “horrific” could be a technique of pushing the self into inner confrontation, or for characters to confront each other. In Powers of Horror, Kristeva defines the abject as “what disturbs identification, system, order” and fails to “respect borders, positions, guidelines.” The abject is linked to our confrontation with loss of life and bodily breakdown, evoking each horror and fascination because it “attracts (one) towards the place the place which means collapses”. In Scrumptious in Dungeon, Kui Ryoko displays this idea as characters blur the road between human and monster, difficult the boundaries between life, loss of life, and humanity, thus participating with the abject in a literal and visceral sense.

The plot of Scrumptious in Dungeon isn’t inherently abject; although features of horror akin to cannibalism, necromancy, and even loss of life are used via the collection, they usually platform comedic and comforting developments for the characters. How is it subsequently that Kui is ready to make the most of that which is probably repulsive to each characters and readers alike to as a substitute convey concepts of development and love?

Manga panel showing Laois, Marcille, Falin, Senshi and Chilchuck gathered around a dinner table about to eat their meal of dragon

An abject adventuring social gathering

The characters of Scrumptious in Dungeon embody concepts of the abject via their interactions with the dungeon and its monsters. It might be argued that the dungeon itself serves as a illustration of the abject by appearing as a liminal house the place the boundaries of life, loss of life, humanity, and monstrosity collapse, forcing characters to straight confront the taboo inside themselves and their atmosphere. In keeping with Kristeva, the abject evokes horror by revealing the fragility of societal buildings and perceptions of the self; the dungeon exemplifies this as it’s each a spot of alternative and destruction, the place the standard binaries of “order”—human versus monster, alive versus lifeless—are destabilized. Furthermore, the dungeon challenges the primary social gathering’s sense of humanity; by consuming monsters and incorporating their essence into their very own survival, they metaphorically and actually confront their very own “monstrous” potential, crossing the border between self and the Different. The dungeon forces this confrontation by inserting them in conditions the place their ethical frameworks and private boundaries are examined, whether or not that’s via early comedic scenes of Marcille’s revolted refusal to eat monsters, or later, extra emotionally heavy moments such because the flashbacks to the self-destruction and lack of Senshi’s dwarven social gathering. Thus the dungeon acts as a bodily manifestation of the abject, confronting characters and readers with the visceral collapse of boundaries and welcoming them to query the steadiness of identification and humanity.

Not solely can the primary social gathering’s descent into the depths of the dungeon be symbolic of this exploration into the taboo, the characters too develop extra entangled with the abject because the reader is uncovered to extra of their backstories and internal workings. Although seemingly unusual at first, maybe even completely mirroring an archetypal Dungeons and Dragons-esque adventuring social gathering, Kui regularly teases the methods wherein every character is “irregular” and probably even monstrous inside their up to date world. Because the central protagonist, Laios lays the premise for the primary solid’s personal relationship with the abject all through the collection. Whereas initially established as a method of survival, Laios’ fascination with the consumption of monsters reforms this motion into an energetic breaking of taboos. His “love” of monsters isn’t merely an mental curiosity however a problem to the inflexible societal guidelines that view them as inherently evil or lesser beings. Sick comfortable with social mores in human society, Laios is freed to indicate his experience and passionate information of monsters within the dungeon setting. Moderately than consuming out of necessity, the bodily ingestion of their monstrous elements could also be stated to change into a metaphorical incorporation with that which is abject—Laios confronts concepts of humanity and the self by interacting with the abject so enthusiastically, symbolically difficult perceptions of the self and what it means to be human. Himself abjected by the world above, he’s free to embrace pleasure in what many take into account a daunting house. 

Panel of Marcille standing in the middle of a magic circle running one bloody hand through her hair

Marcille’s relationship with the abject emerges not from a fascination like Laios’, however from a deep-seated concern and ethical rigidity. At first look, Marcille embodies the archetype of a noble, rational excessive elf mage, difficult the social gathering’s taboo behaviours and habits, even at the price of going hungry by refusing “bizarre” meals. Kui in a short time subverts this—Marcille’s obvious inflexible morality bends within the face of her need to avoid wasting somebody she loves, whether or not that be via un-ladylike, explosive spells, or defying loss of life itself with historical magic when Falin returns in a couple of piece. That is, nonetheless, a facade altogether, as Marcille was already engaged in finding out the advantages of taboo magic earlier than the story begins, a pursuit she is free to place to make use of within the liminal world of the dungeon. Her very existence is itself abject, caught between two worlds as a half-tallman-half-elf, creating a really literal isolation via her extremely lengthy lifespan. The dungeon forces Marcille to confront her personal liminality and embrace the mutability of the supposedly immutable borders and binaries of the world above.

As a residing ecosystem, the dungeon’s cycle of consumption and decay mirrors the abject’s affiliation with bodily breakdown and loss of life as described by Kristeva, and Senshi maybe understands this extra carefully than any of the opposite characters. Senshi’s liminal existence as a member of this technique—an individual who lives within the dungeon, reasonably than merely visiting it from above—alienates him from basic society. Chilchuck too initially holds an ambiguous identification, constantly on the periphery of these near him and, it seems, equally alienated from the normative buildings of the world aboveground by him breaking (the fantasy equal of) the nuclear household construction. Rounding out the adventuring social gathering after her introduction in Quantity 7, Izutsumi’s chimeral identification exists as a bodily manifestation of an irregular identification, paired along with her twin nature and changeable persona. The principle solid all cross, blur, or sit exterior of social norms in a roundabout way, participating in some taboo or one other—heroes on the margins who’re uniquely positioned to have interaction with the abject horrors of the dungeon and remodel them into one thing else via their distinctive, outsider views.

Panel of chimera Falin seen from the back, her wings emphasised. Text reads:  In that case, if we ate all the dragon parts... could we drive the soul away?

Confronting a dragon

The central plot drive of Scrumptious in Dungeon is rescuing Falin, first from the stomach of the pink dragon, and later from her transformation right into a chimaera who serves the collection’ villain. Falin is launched initially as an object of need; within the quest to rescue a trapped social gathering member, as a beloved buddy, and as an object of romantic curiosity for characters akin to Shuro. But within the face of abjection, this need turns into remodeled. Her consumption by the “Different,” the pink dragon, instigates a break inside Laios’ social gathering. Marcille crosses the fragile boundaries between life and loss of life by resurrecting Falin, utilizing darkish magic that’s explicitly marked as horrifying—abject—throughout the story’s world. When Falin is remodeled by the mad sorcerer, Laois’ social gathering continues to be decided to avoid wasting her, although different people vastly protest towards her rescue when her new type is made recognized to them; even Shuro, who claims to have liked Falin, expresses specific distaste with their mission. In changing into entangled with the abject, Falin herself turns into abject, and in flip what Kristeva would name “repellent and repelled.” This nonetheless doesn’t deter Laois and his social gathering, who, with renewed willpower, discover a new resolution to avoid wasting Falin—consuming her. 

Initially, Scrumptious in Dungeon proposes consuming as a mechanism for survival and bonding. Readers are given a break from intense lore explorations and conflicts via the  slice-of-life-style interludes the place the social gathering cooks and bonds over shared meals. Every meal showcases a brand new aspect to a personality: Marcille and Senshi bond via the usage of kelpie meat, Izutsumi learns belief via mushroom risotto, and even the notoriously guarded Chilchuck opens up in pursuit of a bicorn. All through this, readers are launched to the thought of the dungeon as an ecosystem that consumes and repurposes every part inside it, with Senshi emphasizing that travellers should solely take what is required. Consuming is a method of sustaining the self reasonably than for pleasure. Likewise, the meals gathered should adhere to a way of recognition and morality and the social gathering should keep away from slaying and consuming humanoid creatures. Laois questions this largely unstated boundary, for instance when he factors out that fishmen are extra fish than man by way of organic make-up and intelligence. Chilchuck tries (with restricted success) to clarify the deep-seated ethical impulse (“It simply… feels nasty!”) to not eat one thing human formed. On this change, facilitated by Laois’ distinctive and taboo perspective, Kui evenly foreshadows the ethical quandary of the permeable border between monster and human, “us” and “Different.” 

Panels showing Laois contemplating cooking a fishman, then Chilchuck hitting him in the face

The hunt to eat chimaera Falin juxtaposes all of what we now have been launched to thus far—together with Falin’s nature as a candy, softer character now being that of a rampaging beast, saving a celebration member now entails destroying her within the course of. Consumption right here turns into a method of indulgence and need, reasonably than necessity, and the traces between meals and buddy, monster and mortal, change into blurred totally. 

Kui’s use of cannibalism is unconventional in that consumption has change into an act of giving Falin again her company over her physique reasonably than taking it away. To eat one other turns into an act of affection and group, subverting conventional energy dynamics and expectations in general fiction but additionally throughout the ecological legal guidelines of the dungeon. On this sense, it could be stated that cannibalism turns into a metaphor for an emotional consumption; to be able to separate the self (Falin) from the Different (the pink dragon), a direct, uncomfortable, and visceral engagement with the abject should be undertaken. By this act, the narrative reframes Falin’s abjection not as an endpoint, however as a conduit for intimacy and restoration. As a substitute of benefiting the buyer, consumption turns into empowering to the consumed. 

Panels of Senshi talking. Text reads: Wealth, knowledge, fame... the dungeon responds intensely to human desires

The social gathering’s final resolution to eat Falin encapsulates this concept of transgressing societal boundaries—it’s Senshi, in spite of everything, who’s the primary to suggest cannibalism after soothing his deep concern of it from his previous. Every social gathering member, marked by their “monstrous” traits, finds solidarity of their shared otherness. This collective marginalization fosters a bond that empowers them to defy societal norms and embrace actions deemed unthinkable by typical requirements. If they’re already taboo, why not embrace the abject totally? 

Kristeva defines the abject as that which is “repulsive, and but nurtured,” embodying each rejection and improvement of—maybe even enjoyment of—the taboo. The social gathering’s encounter with the abject reshapes their relationship to it; having confronted these transgressive components earlier than, every of them develops a singular resilience, enabling them to face such challenges once more with resilience. This familiarity with that which can at first be horrific unlocks options that elude others certain by societal conventions. Kui reveals a extra hopeful aspect to “confronting the abject”—in efficiently doing so, people are capable of emerge stronger.

Panels showing Marcille and Falin in the bath together, close up on their interlocked fingers and Marcille's gaze

Queer themes and physique horror

Fantasy gives a platform for enjoying with (and making literal) metaphors about identification and intimacy. Cannibalism in fiction could be a means by which one can mirror on the character of need, closeness, and the self. It may be seen to characterize each the intimacy and necessity inherent to like, in addition to the lack of self and “consuming” tendencies it holds. The give attention to cannibalism as the primary type of abjection might not solely be constructed from the culinary targeted plot, however present a deeper exploration of real-world struggles and bids for connection. 

Marcille’s relationship with the abject is intertwined along with her relationship with Falin. It involves a head when the social gathering reunites with Falin—or reasonably what’s left of her. Falin’s resurrection serves because the thematic and emotional crux of Scrumptious in Dungeon, marking a profound turning level in each the characters’ and readers’ relationships with the abject. This pivotal act not solely transforms their private arcs but additionally establishes the narrative’s broader exploration of morality, identification, and survival. Her resurrection signifies the final word breach of ethical and pure legal guidelines. Marcille’s use of necromantic magic to revive Falin’s life—an unlawful breach of each regulation and societal expectations—isn’t a lot an motion Marcille feels pressured into as a lot as one thing she will be able to justify beneath the identical morals that forbid her from consuming “humanoid” monsters. Within the face of abjection, Marcille willingly engages with loss of life and monstrosity to avoid wasting somebody she loves. By bringing Falin again in a state that’s neither absolutely human nor totally monstrous, Marcille symbolically collapses the boundaries she as soon as upheld, reshaping her understanding of morality and selfhood. 

Panel showing Marcille resurrecting Falin, chanting while flesh reforms on Falin's body

The interactions between Marcille and Falin are graphic—the revival is the primary occasion of true abjection readers are uncovered to within the collection, the primary trace of the darker world that exists throughout the canon universe. This fixation on saving Falin isn’t one of many needs simply consumed, however reasonably the one used to later propel her into the Winged Lion’s palm (paws?), the place she too maybe turned half monster via their shared deal. Kui reveals an overwhelmingly sturdy expression of emotion via Marcille, to the purpose she not solely engages with the abject alongside the social gathering in consuming Falin, however as a person, she is ready and willingly turns into, herself, abject. 

Past this connection between the characters, additionally it is simple to attract a connection between the abject in fiction and inside actual world contexts. Whereas the connection between Marcille and Falin isn’t canonically romantic, studying their dynamic via a queer lens opens up dialogue in regards to the themes of otherness, the taboo, and probably “monstrous” needs that may be repressed exterior the context of this fantasy component. The place the “abject” in Marcille and Falin’s relationship (romantic or in any other case) is rooted within the fantastical components of monsters and magic, it may be interpreted as a mirrored image of the real-world abjection confronted by queer communities in up to date society. Marcille’s devotion to Falin and her willingness to defy ethical and pure boundaries highlights the lengths to which one may go to within the pursuit of a forbidden or marginalized love. This dynamic, when seen via the lens of the abject, speaks to the rejection and othering that queer people usually face in heteronormative societies.

Panels showing Marcille and Falin lying next to each other in bed. Text reads: It's good to see you again / Same here

In communities the place love and intimacy is commonly seen as irregular, Kui gives validation for struggling via visually exemplifying these traits, offering a fantastical but extra tangible illustration of the difficulties usually confronted by queer people. The in-universe “otherness” of Dungeon’s predominant solid opens the chance for resonance with quite a lot of marginalized readers, making it a part of a grand literary custom of fantasy and horror which can be ripe for queer readings and welcoming to the true world’s so-called outsiders.

Panel showing the party embracing Senshi

Conclusion

Kristeva describes literature as a “technique of purifying the abject”—fantasy turns into a didactic software used to rationalize these usually disturbing confrontations in methods which can be palatable, and no less than within the case of Scrumptious in Dungeon, even comforting. Kui portrays the abject not as an impediment, however as a supply of empowerment, showcasing a world the place survival and love defy the bounds of conventional morality. Her use of fantastical characters, ideas, and plotlines permit for an in-depth exploration of the abject, and a tangible illustration of the opposite, thus readers can interact with these ideas straight and safely. 

Kui brings readers on an journey in confronting the abject when it invades that which we love. Falin isn’t “consumed” within the conventional sense, however reasonably “consumed” by love; cannibalism turns into mimicry for closeness, consumption that of a metaphorical wholeness. In Scrumptious in Dungeon, confronting the abject is a union between self and Different, reworking one’s notion of the true and popping out stronger, and even perhaps nearer to these we love.