My Dearest Deaf,
It remains that Mistress Centipede is in fact the best girl in “Dogqueer” [sic].
You missed understand the complexion of the latest research on monstergirls. The hidden degeneracy is not so much in the form of the monstergirl itself but in the epistemological phenomena undergirding their popularity in contemporary Cambodian cinematography. The problem is how monstergirls are metaphoricized to support the expansion of non-aristocratic renter classes. This is not the case in “Dogqueer” [sic], which is set in the innately principled era of Japanese feudalism where all renter classes are thus aristocratic and therefore principled. Thus we find in such an environment that time-traveling women are far less principled than monstergirls, because the monstergirl is native to such a society whilst the time-traveler is not and represents a breach of the space-time rectum.