chainsaw man is sooo Tokyo ghoul inspired it's insane, but he cut the filter and made us realize Denji was being manipulated by Makima relatively early, instead of the soft book connection between Sen and Kaneki before dropping the bomb that Eto was what we thought were like four characters (and that clearly, Kaneki didn't become a ghoul by a simple doctor's mistake).
... TG is so melancholic and literary and serious and polished, but to it's detriment. I'm glad there's a dryer version that simplifies and sticks to the themes it wants to portray and doesn't drown in the profundity of it's world.
Maybe because everyone dies, not like TG, were almost no one dies but everyone comes back wrong.
I'd say though that the TG first ending was good, the same as CSM, so maybe I'm giving CSM too much credit, we'll have to see how it develops in the second part.
The door thing will obviously come up more, and the door design from hell also resembles Kaneki's chess unconscious. In a sense, that's what the devils hold onto, too; collective (unconscious) fear.
It's very easy to put a Jungian psychoanalysis read on CSM, for the very reason the devils exist and some have power than other. (Ishida also used it, so Fujimoto could use it by proxy, he doesn't have to read Jung lol).
Of course, Fujimoto is more direct, so he represent it directly in the collective unconscious reason of Devils existing, instead of outright archetypically like Ishida did. It's the same but with a slightly different approach. I don't know if he's doing it on purpose, in which case I think i would like it to see how he handles it more explicitly. Probably will not happen, but it's fun to think about!
It'll be the best moment, since Denji is finally being a teen, and a teen is someone who's developing his personal identity, that comes from the collective unconscious too (according to Jungian psychoanalysis, at least).
I don't think Fujimoto has ever listed TG as inspiration but c'mon.... It totally is ajsjsj
(i mean, maybe they both have the same inspiration, that too. Which in that case, someone tell me what is it).
I think if Fujimoto went a bit deeper I could grasp a lacanian reading, but till now anything psychological is via doing a story with high impact, sex and gore, and fantastic concepts, that lend itself easily to psychoanalytical reading.
(as an aside, I think it's good that Fujimoto took a waaaay longer break from one part to the other so that the Burnout didn't eat him alive, like it happened with Ishida).
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TOKYO GHOUL SPOILERS
touka and nishiki (especially nishiki) determined to go save kaneki from the aogiri after all the shit they gave him
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TG見た時いまいち腑に落ちない点があって、
1つはマヴェがアイスの援護に行かないといけないのにまだ怖くて行けない状態で、手の中のグスのドッグタグをジッと見てそこから意を決したようにアイスの援護に向かって無双するシーン、もう1つは
最後洋上でグスのドッグタグ投げ捨てるシーンなんですけど、TGノベライズ読んでようやく理解した。空で自分の本来の力を取り戻したのは、グースならどうするかを考えたから。訓練でハリウッドとウルフマンの僚機だったのにヴァイパー追うことを優先して(彼らなら大丈夫だと思って)僚機を見捨てた時、グースはずっと僚機を援護すべきだと言ってた。だからアイスを援護しなきゃって。マーリンはほんと気の毒だけど、マヴェにとってあの時後ろにいたのはグースだったんだよね。
飛んでいれば、後ろにグースを感じることができる。後席にいるのでドッグタグは必要ないから捨てた。そこにグースはいない。あくまで空にいる。
功績を讃えてなんでも希望することができると言われた時にトップガンの教官を選んだのも、教官なら毎日でも飛べるから。飛べばグースを乗せられるから。
でも2カ月で教官クビになって、まだその頃はアイスも出世してなかったろうから、飛べない時期はめちゃくちゃ不安定になってたりしたんじゃないだろうか…(ヴァイパーとジェスターが空に戻してくれたのかな)
アイスが飛ばし続けたのはマヴェだけではなくグースもだった。30年間ずっと、あの子は全然吹っ切れてなんかいなかったんだよね…「ぼくの手、ぼくの頭、ぼくの責任」でずっと背負ってきた。自分を赦すことはグースを手放すこと。そんなのできっこない。
��〜マジで拗らせすぎてるから、ルースター後は頼んだよほんとに!!!
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