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#Denji's thoughts
klauswalz · 1 year
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I'm so glad to have xem in my life and I hope we can see you one day. You truly have made us the happiest person on Earth ~ 🗝️ Denji
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sugar-grigri · 11 months
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yes, the shojo / shonen / seinen genres no longer have any real meaning as such, and are understood above all as editorial branches.
but that doesn't stop me from loving to think in terms of symbolism
we have a manga, considered a shonen, published in JUMP, whose graphic identity is gory and whose themes are deep and traumatic, all in an offbeat form.
who could have predicted that Fujimoto would take on the case of teenage girls?
YES Chainsaw Man, this slightly bizarre, extremely popular and sometimes divisive manga is now aimed particularly at teenage girls.
I mean, what really resonates with me is the fact that at last a work of art, in all its horror and violence, is tackling the hell that teenage girls can be.
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littleholmes · 1 year
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things I didn’t expect to learn from from chapter 119: Denji and Nayuta tally their farts each month and Denji is winning for March
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mncxbe · 1 month
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I love how the csm fandom calls Denji anything but his name♡
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orobeori · 6 months
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nobody should hear me out
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hwangbastard69 · 1 year
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Mean girl besties
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iridescentscarecrow · 5 months
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what frustrates me about fandom interpretations of makima as a one note Source of evil, apart from the fact that the manga itself refutes this, is that her character haunts and ties together so much of part two that it's impossible to fully understand without understanding her.
makima isn't ever a unilateral antagonistic force. she's an agent of the institutional evil that looms over all of CSM. she's in as much a commentary on gender and performance of gender as denji is.
and fjmt in part two enacts the "haunting the narrative" trope in such an interesting manner because you see flashes of makima in every female character. you see elements of her diluted into, most visibly, the characters of asa, nayuta and fumiko.
in asa, i see makima in that yearning for connection. i see her in the way that asa herself is fundamentally unable to approach the relationship of equals that she so desperately desires, partly due to her own social awkwardness but also because of yoru's threat: everyone she gets close to turns into a weapon. the fundamental inequality to human relationships that makima is unable to overcome.
during the aquarium date, you see asa echo makima again and again in lines that evoke makima's purposing of denji. that weaponising. "i'll grant you any request / save me chainsaw man! / you don't have to think about a thing."
and her connection with denji also founds itself upon this. yoshida talks to asa about parasocial relationships -- rerendering makima's idealisation of the CSM in how asa sees denji as a love interest. asa and denji parallel each other so organically in their gendered suppression and portrusion of desire. it's a punctuation of denji's search for intimacy that's mirrored by makima's in part one. exploring how asa is different from makima is perhaps the most intriguing part of this reflection though: an example being the way asa overthinks her outfit for her date with denji while makima seamlessly models herself into an Effortless woman.
[it's not like asa borrows just from makima. for example, there are things to be said about the way she views her Body (as compared with reze and quanxi) but examining how mkm's character bleeds into asaden is quite compelling.]
nayuta being the most visible remnant of what makima was is also interesting because makima herself appears so little in nayuta beyond the surface. nayuta's role as the control devil is hinted at frequently as is her appearance resembling makima's
but her and denji's dynamic more often echoes the hayakawa family and pochita than anything else. consider: aki giving up his goal (his 'easy revenge' that he finally sees for what it is) for the sake of his family, that warmth of blood and platonic bodily intimacy that power embodies--
it's all referenced to again with nayuta and denji, in direct panel callbacks and the plot itself! nayuta is The Family that makima constructs for denji in part one to pull him along the plot she prepares. i'm thinking about how makima is an allegory for capitalism. and what the family unit means in a capitalistic structure. the propagation of an ideal that hinges on birth and descendancy, about narrative and reproduction of narrative, about how nayuta births herself from makima and denji's relationship.
and this is also why nayuta herself exerts so much control over denji in the plot, as well as why she's used as a piece to control him. in part one, family was used to create the Chainsaw Man from denji. in part two, it's used to make denji abandon the Chainsaw Man, this icon that the church and the public now take possession of. [something something alienation of the worker from the product. from the collective. from the self.]
fumiko is perhaps the hardest to pin down here because her role evolves as the fandomisation of the Chainsaw Man evolves too. in fact, as a denji fan, she represents not just makima but multiple people who see something in and want something from denji! (think of how she references reze in her highlighting how denji is just a child; how reze uses her commentary on denji to engage with her Self. it's fandomisation,,, and what is makima but Chainsaw Man's fan?)
fumiko most obviously calls back to these wants and their conceptualisation of denji in the raw sexual violence that the events in the theater scene moving into the karaoke scene embody. the undercurrent of sa that runs through p1 and p2 is brought to the forefront in this scene -- denji falling back into these cycles of abuse, him slipping into habitating the wants of others (his initial horrified expression and then his grin during the fight. his initial inner monologue and then the cut to him licking the tentacle.)
so much of CSM rests on this fandom of denji, this theme of what production and idealisation means, one you can trace through fjmt's body of work. and this fandom reaches its crescendo in p2. what's even more interesting about fumiko is her pathos under this layer. her seeing denji as denji at some level but in the end, her handling of him is so selfish. her echoing makima's uninhibited laughter at the horror of denji's situation, her predatory cruelty. denji simultaneously humanised and dehumanised through her fandom.
fjmt's characters exist as foils, as parallels and ideas. makima's character has such a stranglehold over part one and these ideas run over into part two naturally -- as a consequence of denji being a reciever of these themes, but also deliberately in fjmt evoking the Thing that is makima repetitively -- to underscore the forever re emerging structure that denji and now asa are trapped in. the same structure that makima produced and was simultaneously caged by.
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sioboi · 9 months
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miri watching chainsaw man part 1:
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voxxxel · 2 months
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tender asaden
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pockethep · 3 months
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Nayuta's goal to find out who she is ended up with her unintentionally starting to fulfill Makima's true dream of forming equal relationships with others and finding happiness.
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musicalfevr · 2 years
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Denji my boy....
my SON...ヽ(゚´Д`)ノ゚
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blueish-bird · 4 months
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Chainsaw Man is about self-destruction. It’s about self-destruction as a means of reclaiming your autonomy in an environment where you are consistently denied it. Chainsaw Man is about denial of autonomy. Chainsaw Man is about how, when you are in an environment where you are denied your own autonomy, you learn to view interpersonal relationships as interactions you have no control over unless you find a means of controlling the other members of that relationship — whether that be through methods of fight, flight, freeze, or fawn. Chainsaw Man is about how denial of autonomy is framed as love. Chainsaw Man is about how love that denies autonomy is violence.
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sugar-grigri · 1 month
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How is Chainsaw Man the scariest without being the strongest?
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It's still a very succinct analysis, but I find it fascinating how this whole chapter is irrigated by an idea that will only be verbalized at the very end.
How to make a decapitated teenager fearsome: by placing him in the demonic hierarchy.
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Demons are closer to the animal kingdom than to the human, or rather, humans are merely the demons' prey, placed after them on the food chain.
But this food chain still exists within the demons themselves, and the law of the strongest naturally prevails.
So this chapter very effectively places us in this hierarchy by means of a key element: reminding us just how strong Guangxi is.
This is most effectively established by the arrogant nail fiend, who flatly submits to Guangxi's plea for mercy before she attacks.
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More classically, this is underlined by the speed with which Katana Man was sliced open. The discrepancy being made by the fact that Katana man was transformed when she is not, even in her human form, she remains stronger.
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Third element: the relationship with death. Guangxi has the same nature as CSM, weapons that know no finitude. This gives the impression that they're both in the same category and, given her power, puts her above Denji's more chaotic, instinctive abilities.
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Which she recognizes. She's obviously stronger than CSM. But this one is more frightening.
Even in his most vulnerable state, human and decapitated, Denji acts like a malevolent totem, pushing an overpowered weapon like Guangxi to bend.
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But all this seems confusing because CSM's golden rule is that the scarier a demon is, the stronger it will be. So if Quanxi is scared of CSM, why isn't CSM logically stronger?
The chapter answers this: Guangxi allows Yoru to kill her. In other words, the most logical conclusion to a physical and combative power struggle : death is not what frightens Guangxi. So what is it that frightens Guangxi?
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Chainsaw Man is bad luck. When Guangxi faces the more vulnerable Denji, she remains stoic, as if she doesn't want to awaken a curse.
Once again, the answer is in the chapter. What's more frightening for beings who aren't afraid of the logic of the food chain because they don't know death? The death of their loved ones.
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The food chain does not allow us to identify the hierarchy between several individuals of different species. How can such a miserable human be the superior of such a strong weapon? Because he holds something precious in his hands: her loved ones. Chainsaw Man is just as much a threat to them, so Guangxi, however strong, doesn't go near him.
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Symbolically, this man who had little empathy or respect for his wife doesn't understand the reaction of a demon who refrains from offending Chainsaw Man : Guangxi who clings to the bodies of her lovers like lost treasures.
Seeing Chainsaw Man is a painful memory for Guangxi, as he is the mark of the mission that cost her the lives of her girlfriends.
Even if Chainsaw Man is not the direct result, he is an abyss around which stronger demons sometimes gravitate, but above all a black hole into which loved ones sink.
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Denji himself is proof of this, isn't he? He's merged with this curse. His relatives have all paid the price.
Guangxi is actually in the same state as Denji. Decapitated, her lace bandage symbolizing a false scar, a false scar for a being who can't have one, an unhealed mourning.
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Denji is once again subject to this curse. For a clue was slipped last time that this one had a bottom of conscience.
What did Denji want to do? Helping Nayuta, no? What stopped him?
Pochita.
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When we see Chainsaw Man, we see the scariest thing of all.
Loneliness.
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littleholmes · 1 year
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oh denji…
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izuku · 1 year
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@animangacreators alphabet challenge: d ↳ ✦ DENJI ✦
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