Poison

The alraune monstergirl has seduction via a language known to the makers of intoxicating nectars over the generations. Images of falling back in languid stupors after smelling vaporous emissions from the hookah pipe or burning incense, as the oriental vapors which cause Alice to enter the Campbellian journey section of Madness Returns. It’s no wonder then that the most intoxicating perfumes all have the most direct names. Dior’s Poison, Yves Saint Laurent’s Black Opium. This state of desire, symbolized by the alraune, is worthy of deeper investigation. The kunoichi uses her image cynically to make a “honeypot”, the forbidden sweetness which arouses male passions to fall into her traps. These images all tie back to the floral kingdom, where the alraune finds her inspiration, the curvaceous body emerging from the seductive petals of a flower. No wonder then, does Zizek consider tulips to be an obscenity, to be forbidden from the eyes of children.

As commentators have pointed out, the male drive is excited not by whole bodies, but by assemblages of parts. Linked to the autistic typology of men, which dictates that all things be seen in differences of kind and never degree, desire is for parts as if they were nations. Hence, the common male struggles within each other, tits vs ass men, the object-type of the nation and the desired object being the same in this phrasing.

The monstergirl emerges from the flower, from the body of the scorpion, from the bestial limbs, as a torso and head, as the most essential parts of the assemblage of womanhood. That monstergirls are always imagined as superior in every way to human women is based in the same mechanics of this design. Their physicality is in every way amplified, their limbs symbolic of their incredible powers to excite and draw-in men, superior strength, poison, hypnosis, and once inside, they have abilities to draw out excitation long past its natural span, keeping men in a state of eternal pleasure, artificially supported by various pseudo-medical narratives about nectars and venoms and magic.

That the man has to imbibe to enter the honeypot is the nature of desire. It’s well known that drunkenness excites the self in the same way that desire does, a liquid force sliding one down into an abyssal end. Metaphors of “descent” abound for extremes of sexuality.

What man obliquely recognizes here is that desire is not only present, but a liquid. The second part of this teaching is only recognized by woman however, aware of her own essential emptiness. Taking for granted his presence, the man has no capacity to realize that this liquid emerges from within himself, it being the male essence. Desire is this liquid of male essence being excited, drawn in, by the negative, empty space of woman.

Thus the relationship of the White Tigress and her Jade Dragon. The male, the present, must preserve his own selfhood by restraining from expulsion of his essential force, while the female, the absent, must create her selfhood by drawing-out the essence of man. The two species of male are revealed here, the male open to be drawn out, the male becoming-empty, the Green Dragon (Bull), and the male pure and still fully human, the Jade Dragon (Cuck).