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.
3K notes
·
View notes
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.
491 notes
·
View notes
Nayuta is NOT Makima
I may be optimistic, but Fujimoto likes to give us false ideas at the end of his chapters: the fact that Nayuta has the same haircut as Makima clearly serves to show their resemblance (after all they are the same demon) and to make us believe that Nayuta is a "mini-Makima"
What I hope she won't be: she's just a kid, who maybe given the rules she sets (rather normal really, it just seems like she's almost educating Denji), wants to play the big sister despite her age
From a narrative point of view, it wouldn't make sense to remake the same character because not only would the end of part 1 lose its meaning (if Nayuta becomes Makima again, Denji didn't save her), but the reader would be bored of finding the antagonist just in another version
The way the dogs are hooked at the leash also want to remind the power of the domination demon, and for me it's a false lead, to make believe in Nayuta's evilness
Nayuta is as cruel as a little sister who would be afraid that her brother (her only family) would move away from her, obviously since she is a demon it must be amplified
I still hope so, but the whole of part 1 serves precisely to demonstrate the other facets of love, such as that of a family, which is represented by the supreme act of platonic love: the hug. On top of that Denji really carries Nayuta in a brotherly and cute aura in the preview of part 2
In short, Nayuta is a demonic little girl who is still looking for her bearings, she won't become Makima again since what she was missing was a home and a family
5K notes
·
View notes
barem wants denji to be chainsaw man just like how makima did. but barem doesn’t understand makima. not like how pochita did. pochita knows that deep down, what the control devil wanted was an equal. someone to love her
it is so so wicked how he insults and belittles nayuta, makima’s reincarnation. nayuta is the control devil raised in an environment where she could be loved, where she could go to school, eat all the food she wants. however that isn’t the version of the control devil that barem loves, and so he hates her for it.
the parallels between makima and baremmm ugh. the way they both hurt and use what they view as a lesser, incomplete version of the thing that they worship. it’s so evil and so fascinating
103 notes
·
View notes