Monster Musume Killa Porn
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Monster Musume Killa Porn
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Vol. 1 (ch. 1–5): モンスター娘のいる日常 1 (in Japanese). September 2012. ISBN 978-4-19-950306-1 . and Monster Musume, Vol. 1 . October 2013. ISBN 978-1-937867-90-4 . Vol. 2 (ch. 6–10): モンスター娘のいる日常 2 (in Japanese). February 2013. ISBN 978-4-19-950324-5 . and Monster Musume, Vol. 2 . January 2014. ISBN 978-1-626920-03-3 . Vol. 3 (ch. 11–14): モンスター娘のいる日常 3 (in Japanese). July 2013. ISBN 978-4-19-950347-4 . and Monster Musume, Vol. 3 . May 2014. ISBN 978-1-626920-31-6 . Vol. 4 (ch. 15–18): モンスター娘のいる日常 4 (in Japanese). November 2013. ISBN 978-4-19-950362-7 . and Monster Musume, Vol. 4 . August 2014. ISBN 978-1-626920-46-0 . Vol. 5 (ch. 19–22): モンスター娘のいる日常 5 (in Japanese). March 2014. ISBN 978-4-19-950386-3 . and Monster Musume, Vol. 5 . November 2014. ISBN 978-1-626921-06-1 . Vol. 6 (ch. 23–26): モンスター娘のいる日常 6 (in Japanese). September 2014. ISBN 978-4-19-950412-9 . and Monster Musume, Vol. 6 . March 2015. ISBN 978-1-626921-20-7 . Vol. 7 (ch. 27–30): モンスター娘のいる日常 7 (in Japanese). March 2015. ISBN 978-4-19-950441-9 . and Monster Musume, Vol. 7 . August 2015. ISBN 978-1-626921-60-3 . Vol. 8 (ch. 31–34): モンスター娘のいる日常 8 (in Japanese). August 2015. ISBN 978-4-19-950465-5 . and Monster Musume, Vol. 8 . February 2016. ISBN 978-1-626922-13-6 . Vol. 9 (ch. 35–38): モンスター娘のいる日常 9 (in Japanese). February 2016. ISBN 978-4-19-950492-1 . and Monster Musume, Vol. 9 . August 2016. ISBN 978-1-626922-78-5 . Vol. 10 (ch. 39–42): モンスター娘のいる日常 10 (in Japanese). July 2016. ISBN 978-4-19-950513-3 . and Monster Musume, Vol. 10 . December 2016. ISBN 978-1-626924-39-0 . Vol. 11 (ch. 43–46): モンスター娘のいる日常 11 (in Japanese). September 2016. ISBN 978-4-19-950535-5 . and Monster Musume, Vol. 11 . April 2017. ISBN 978-1-626924-66-6 . Vol. 11 (ch. 47–50): モンスター娘のいる日常 12 (in Japanese). April 2017. ISBN 978-4-19 9505-60-7 . and Monster Musume, Vol. 12 . August 2017. ISBN 978-1-626925-17-5 . Vol. 11 (ch. 51–54): モンスター娘のいる日常 13 (in Japanese). October 2017. ISBN 978-4-19-950590-4 . and Monster Musume, Vol. 13 . March 2018. ISBN 978-1-626927-04-9 . Vol. Uncollected chapters (ch. 55–):
This is a list of fictional characters appearing in the Japanese manga series Monster Musume , which is serialized in the magazine Monthly Comic Ryū , published by Tokuma Shoten .
Kimihito Kurusu ( 来留主 公人 , Kurusu Kimihito ) is a normal Japanese student living in Asaka, Saitama in his parents' home while they are temporarily working abroad, with a part-time job and all the dreams and feelings that young people have. However, through no fault of his own, he is literally thrown into the world of the Interspecies Cultural Exchange Accord and becomes a "host family" to a group of liminal, or "monster", girls, and can only watch helplessly as Ms. Smith has his house remodeled over and over again to accommodate each newcomer. He seems to excel at certain household chores and activities. Kimihito's cooking is so good that the liminal girls living with him put on weight and he proves to be quite skillful with needle, thread and sewing machine. Another talent (instinctively but unwillingly acquired and later eagerly demanded) is his skill at and technique of milking Minotaurs and Pans by hand [ ch. 56 ] (a skill that later makes him a target for the Satyr girls who also work at the farm). [ ch. 58 ]
Almost none of the other characters call Kimihito by his actual name, except for Ms. Smith in the first chapter and Manako as of Chapter 42. The girls seem to fall in love with him simply because he is nice, friendly and modest, and because he treats the "monster" girls as ordinary, real people — not as exotic or dangerous creatures; he is so unconsciously adept at this (perhaps because it is part of his personality) that he seems to become friends with other liminals with astonishing ease. He is also not afraid to unhesitatingly put himself in physical danger to protect or save his liminal house-guests, whom he thinks of as family, as demonstrated on several occasions such as bodily shielding Centorea from a sword attack [ ch. 4 ] , trying to save an injured Mero [ ch. 38 ] or nearly being absorbed by a giant-sized slime liminal while trying to save Suu. [ ch. 55 ]
Considering everything happening to him and going on around him, he has a very patient but long-suffering nature, and he accepts being put upon by Ms. Smith (and later the girls of the MON squad) with good grace, but he does care very much about his house-guests' well-being. He rarely shows any anger towards anyone, especially the girls, but when he does he demonstrates a surprisingly strong assertiveness, two of the most notorious examples occurring first because the Couple (see "Supporting Characters" below) insulted Miia [ ch. 2 ] and second because Lala was playing with her food instead of eating it - which prompted all the others to ensure that they clean their plates from then on. [ vol. 6 : before "Secrets of Lala"]
In Yoshino Origuchi's light novel Monster Girls on the Job (2020, Seven Seas Entertainment, ISBN 978-1-64827-559-3 ), he accompanies all of his homestay girls and the MON members on their various jobs as part of the new Interspecies Cultural Exchange Work Program.
Miia ( ミーア , Mīa ) is a lamia (part woman, part snake), [ ch. 1 ] the first liminal to live with Kimihito. She is about 8 meters (26 ft) long, but always moves with her front upright, so she appears to have normal human height. She has red hair, golden eyes with vertical slit pupils and pale human skin, and her snake part has copper scales with a pinkish-cream underbelly (the tip of her tail is particularly sensitive). Her standard accessory is a pair of D-shaped hair clips, which are a standard fashion statement among her people. Unlike snakes that have no visual outer ear, Miia has rather large triangular, scaly ears. She is a poikilotherm , which makes her drowsy in mornings or cold weather and can be considerably dangerous for her if she enters cold water.
She has a pleasant personality and harbors a very strong crush (both figuratively and literally, considering that her species is a constrictor) on Kimihito — actually on the brink of the obsessive: all lamia are female — they need a human male for procreation and are very passionate about their partners. In Chapter 27, it is revealed that Miia's original reason for studying abroad was to find a "tribal husband" for her home village: the lamia custom was that a human male would be "coerced" (taken against his will) and brought back to be shared among all the lamias, but when the Interspecies Exchange Accord was enacted and laws were passed protecting humans from liminals, that method had to be abandoned. However, after getting to know Kimihito, Miia fell madly in love with him. [ ch. 27 ] It's also revealed (by Miia's mother) that at some point Miia's father escaped from the lamia tribe. [ vol. 7 : "Meeting of the Mothers"]
As she sees herself as the primary marriage candidate for Kimihito, she is often in conflict with the other girls. She is not a good housekeeper and an abysmal cook; on several occasions, she accidentally gives the other household members food poisoning, due to her sense of taste being far weaker than a human's and her frequent use of "alternative" (but inappropriate) ingredients.
In Chapter 43, thanks to a recommendation from the priest for whom Ils Nineta (see below) works, she gets a part-time job as a shrine maiden at a shrine near Kimihito's home, where (thanks to snakes being considered extremely lucky in Japan) she is an instant success. [ ch. 43 ]
In Yoshino Origuchi's light novel Monster Girls on the Job (2020, Seven Seas Entertainment, ISBN 978-1-64827-559-3 ), she works as a waitress (with some surprising success) at Bar Zerro N as part of the new Interspecies Cultural Exchange Work Program.
She refers to Kimihito as Darling ( だぁりん , Dārin ) .
Papi ( パピ , Papi ) is a harpy and the second housemate. She is petite and physically appears to be much younger than the other girls, even though she is actually the same age as them (harpies have evolved with smaller, slimmer bodies to enable flight and generally have a much less mature manner than other races).
She has a human body, but halfway down her upper arms they turn into feather-covered wings. Her wings and hair are light blue, and her eyes are brown. Like a bat, she has a free thumb with a claw, so she can to some extent use the wing as a hand, but she always has trouble in maintaining a secure grip. However, she has gained considerable skill with the controller for Kimihito's Nintendo Wii ; [ ch. 8 ] sometimes she gives up and uses the controller with her feet. Her legs start to get covered with light brown scales by mid-thigh and her elongated feet have only three toes that end in rather impressive talons like a bird's feet.
She is good-natured, happy and playful, but she is unfortunately a "birdbrain" with a very short attention span (taken to an extreme as she will sometimes forget anything she was doing after only taking three steps and even less long-term memory [however, in Chapter 28 after being carried by Kimihito for a distance she was able to remember a great deal about her past]), [ ch. 28 ] so she has trouble learning and remembering any kind of rules. [ ch. 3 ] This gives her quite a childlike personality, and she actually enjoys playing with the local children. Despite her small frame, she is able to get considerable loads airborne—she can carry Kimihito for a decent distance [ ch. 24 ] and even Miia for a short trip. [ ch. 5 ] . Throughout the manga, Papi has also shown to have very strong maternal instincts, be it caring for Suu, the local children she interacts with or a batch of chicks at a farm outside of Onsen Town. [ ch. 33 ]
In Chapter 28, it is revealed that harpies are a migratory species that do not remain in one place (or, in the case of personal relationships, with one person) for very long, so in the case of finding a human male to mate with, they "mate with lots of human males. That way, [they] bring all kinds of new blood into [their] tribe." [ ch. 28 ] In the Volume 7 Epilogue, Papi's mother's husband is revealed to be the local chief of police, but whether he is Papi's actual father is unknown at this time. Originally, the harpies were reluctant to take part in the Interspecies Cultural Exchange Accord program; however, Papi ran away from home "to give it a try" and seems to be the first of her species to want to remain permanently in one place with one human male. [ ch. 28 ] However, at the end of Chapter 28, Papi's mother revealed that she's always been faithful to her husband because firstly, as a "birdbrain" like Papi, she immediately forgot the rule to not to stay with the same man (Papi's father) for too much time, but especially because harpies don't follow any rules, so there isn't any problem for Papi in staying with Kurusu. [ ch. 28 ]
In Yoshino Origuchi's light novel Monster Girls on the Job (2020, Seven Seas Entertainment, ISBN 978-1-64827-559-3 ), she works as a " pop idol " along with Mero and Tionishia at the Tomas Theater as a warm-up act for the liminal music group ANM48 as part of the new Interspecies Cultural Exchange Work Program. At the climax of her act, while she is flying around the theater, she becomes blinded by the stage lights and loses her sense of direction, but thanks to a bird call-like homing whistle from Kimihito she is able to return to the stage safely, demonstrating that possibly harpies, like birds, have a special sense of directional awareness.
She refers to Kimihito as Boss ( ご主人 , Goshujin ) (due to Ms. Smith's telling her that Kimihito was "the boss") in the official English translation of the manga and Master in the English dub of the anime.
Centorea Shianus ( セントレア・シアヌス , Sentorea Shianusu ) is a centaur and the third girl to join the household, and allows only those people closest to her to call her by the nickname "Cerea" ( セレア , Serea ) . Her name comes from the cornflower ( Centaurea cyanus ). She is the stereotype of a Nordic person: she has yellow-blonde hair, pale blue eyes, and a very large bust which is a complete norm among the females of her species (an evolutionary trait explained by the fact that centaurs have large bodies from infancy and therefore require lots of milk while growing up). [ vol. 1 : "Monster Musume Extra"] Her "horse part" appears to be the size of a small horse or a large pony, with an even, light chestnut coat, no mane and small hooves and she seems to have two "sensitive" areas: the area around her tail [ ch. 8 ] and the tips of her ears. [ ch. 36 ] She is a herbivore (with a special fondness for carrots).
Like all centaurs, Centorea is a warrior, living in a nearly bare, authentic Japanese room with her Western-type armor and weapons, pretty much in samurai style (unfortunately, her room has acquired an unpleasant odor that some have likened to that of "a barn"). [ ch. 26 ] [ ch. 60 ] Her usual style of clothing is a sleeveless white blouse and a full-length black skirt (although she has on occasion worn a skirt whose hem is just above the knee). [ vol. 9 : "Monster Musume Technicolor 'Kemomo' Side Story"] Her demeanor and language is that of a medieval knight, and she has sworn herself to be Kimihito's servant through a series of misunderstandings after they crashed into each other by accident and later chased a motorcycle-riding purse snatcher together. [ ch. 4 ] Although she is haughty and aloof, in cases when she perceives a threat towards Kimihito, she instantly becomes his ferocious defender. She has secret dreams of absconding with him and bearing his child (even though there are male centaurs), showing she has feelings for Kimihito; however, she can at times be somewhat insecure and sometimes feels unworthy of being Kimihito's "servant", but Kimihito assures her that he does trust and rely on her and has so from the beginning. [ ch. 21 ] The only other girls that manage to shake Cerea are Rachnera, whom she hates and fears yet she ultimately trusts, and Mero who gives off an aura that makes Cerea believe she stands before royalty; when she finds out that Mero is royalty, she is completely floored. [ ch. 35 ]
In Chapter 29, during her mother's visit, it was revealed that since male Centaurs aren't exactly "likeable" or even remotely attractive; in modern times, even female Centaurs have now come to utterly dislike and are repulsed by the males of their species and have recently become more interested in human males. Female Centaurs have a tradition of finding male humans to use as " teasers " so they can breed; [ ch. 29 ] "Teasers" are selected from human exchange students (emphasizing that the more attractive they are the better so that the female centaurs would become "warmed up"). [ vol. 7 : "Meeting of the Mothers"] However, her mother defied this tradition and bred with her "teaser" instead (making Cerea a centaur-human cross-breed).
In Yoshino Origuchi's light novel Monster Girls on the Job (2020, Seven Seas Entertainment, ISBN 978-1-64827-559-3 ), she works as a "maid" at Café Marsha, a Maid café in Akihabara , along with Manako under Ren Kunanzuki's supervision as part of the new Interspecies Cultural Exchange Work Program.
She refers to Kimihito as Master or Milord ( 主殿 , Aruji-dono ) .
Suu ( スー , Sū ) is a Slime, an amoeba -like creature that can change shape and color without effort, and the fourth to join the group. Her basic shape is a glob with two dark eyespots that tend to glow like cat's eyes when backlit, and with a single pseudopod on top, which she can use to read peoples' thoughts and feelings on contact. [ ch. 13 ]
Her race is a type of liminal currently not fully classified under the Accord (making her an "illegal alien"), and she enters Kimihito's home without permission or Ms. Smith's knowledge; the rest of the household (mostly Papi) take pity on her and want her to stay. Ms. Smith rejects any connection with her (thus avoiding any and all responsibility) but leaves her in the house anyway, reasoning that dealing with Suu will not add to her salary and is therefore a pointless endeavour.
It is impossible to determine her age or if gender actually applies to her. In her first appearance, she took the appearance of a young woman and mimicked the other girls' behavior in a successful attempt to show friendliness. Her size varies with her water content; when holding only a small amount of water, Suu will have the appearance of a young teenager, and will become taller and more mature looking as she takes in more water, although contact with too much water can result in the dissolution of her body's cohesion and possible death. Different types of water affect Suu differently: Hard water makes her super-intelligent [ ch. 31 ] and sea water makes her super-maternal; [ ch. 361 ] if Suu wears a special waterproof full-body suit, she is able to enter water. [ ch. 35 ] On two occasions she has grown to giant-size, with a corresponding increase in her intelligence, by accidentally ingesting certain chemicals: first when she was knocked into some illegally dumped nutrients by a rampaging Kii, [ ch. 20 ] , then after she was injected with liminal Royal Jelly while being trying to protect Kimihito from another giant-sized slime liminal. [ ch. 54 ]
Suu usually wears a yellow rubberized raincoat and boots (given to her by Kimihito) out of necessity as any other clothes will get soaked in slime, and all small objects will pass through her membrane skin and stay suspended in her body fluid. [ ch. 9 ] The only time when Suu can be dangerous is when she is severely dehydrated—then she will attack anybody to gather their sweat and other fluids; this will usually end up as some kind of sexual assault on the other girls [ ch. 10 ] (later, she learns to use these assaults for her own advantage, and her favorite assault target is Rachnera). Any "attacks" on Kimihito seem to be more affectionate rather than out of actual need for water, and ever since her nursing of him when he caught a cold, Kimihito has become very fond of Suu as well.
At first she didn't speak, usually using her top tentacle to determine feelings (showing either empathic or telepathic ability), and there was some confusion about her ability to understand spoken language, but later she speaks coherently, and under the influence of toxins gets downright chatty (and even venomous). [ ch. 25 ] While Suu remains silent or speaks on monosyllables (copying the other girls) most of the time, she has on occasion had quite lengthy and intelligent conversations with Kimihito.
Suu often plays with Papi, and their combined energy can leave the others completely out of breath. She and Papi are schooled by the others, on a daily basis, with a different member of the household teaching each day. They rank Rachnera first, as she not only teaches well and knows a lot, but she is easy and fun to interact with; Kimihito and Mero rank second, as they are simply counted as 'nice'; Centorea is ranked third due to her strict nature; and Miia falls dead last due to her inept teaching methods and lack of enthusiasm combined with her own lack of knowledge.
In Chapter 54, The President of Black Lily Innovations (see below) states that slimes "are a species that split up over and over...Apparently [dividing] into nutrient and gathering individual slimes. Then their strengths and experiences are mixed to produce further offspring. They keep dividing to produce stronger individual slimes [and that] even amongst other slimes...Suu has gained an extraordinary amount of e
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