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sugar-grigri · 5 months

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What would happen if we killed death ?

Here we are, Chapter 150, so let's not waste any more time and get straight to the analysis.

This chapter is rich, incredibly rich, both in what it says and in the way it is presented. This time I'm going to tackle the visuals directly in the first part of the chapter.

As you've probably gathered by now, this chapter deals with the evolution of Denji's dream, as the title clearly indicates.

What's interesting is to see how it plays out visually. The alleyway is a visual element that has been used several times by Fujimoto to signify a period in Denji's life, his childhood.

It metaphorically represents not only an unhappy childhood and loneliness, but also the gap between a needy child ignored by society. Worse still, he is excluded. When Denji emancipates himself, the focus is on passers-by, on others. As Denji symbolically leaves the alleyway, he realises that he is now part of society. His dream of a normal life should be understood as a desire to live in a community, among others, and to make friends with them.

In other words, getting out of the alley is Denji's lifelong dream, the key to his self-fulfilment and to a certain path forward.

It's a metaphor that Fujimoto loves once again. In this illustration, for example, Aki and Power are heading towards the light while Denji is still in the shadows. Bathed in light, Aki and Power represent both a key to Denji's happiness and fulfilment, just as the light represents the end of a journey: their destiny, the end of their own lives.

This illustration is extraordinary because Denji's gaze is fixed backwards, towards the alleyway, focusing on his flaws and his past. He is unaware, because he is not looking at them, that the key to his fulfilment has already been found, that he is in the process of leaving the alleyway. What's more, even if this means the end of Power and Aki's existence, they are serene, as if they know that happiness, even without them, will await Denji.

That's my first comment, so let's move on to what's happening in terms of action and dialogue.

Nayuta focuses on ordinary life, which helps Denji realise that he has reached it. It may seem odd that Denji is only just realising this now, but he is someone who operates by the senses. Moving away from the alley visually helps him realise his emancipation, as does seeing these ordinary people.

But above all, if Denji didn't entirely realise it, it's also because he wasn't happy in this ordinary life, as the last arc showed. Torn by the fact that he was no longer Chainsaw Man, Denji didn't realise that he was ordinary because he thought that was what would make him happy, and as he wasn't, he didn't think that his dream had been achieved for some time. It may sound complex, but once again it makes a lot of sense when you realise that Denji is someone who functions by sensation.

But it's even more subtle than that: Denji had realised that he was getting closer to his dream, but that wasn't why he allowed himself to dream about something else. And that's precisely where the power of this chapter lies: it's by starting to dream of something else that he reconnects with his identity, because the contract between him and Pochita is the pursuit of a dream. In other words, Denji was not only Chainsaw Man to protect Nayuta from the public hunters, he was no longer Chainsaw Man because he no longer allowed himself to dream. Until then, Chainnaw Man was an empty shell.

When Denji says he wants to become Chainsaw Man, he means he now wants to dream.

We come to the figure of the raven crushed by Denji as he runs: what does it mean?

One possible interpretation is that we don't know. I'm not saying this to clear my name, but because I think that's its real symbolism. In the West, the raven is generally a sign of bad omens, whereas in other cultures, such as Japanese or Celtic, the raven is the symbol of a god, the sun in Japan. Even if we could associate the raven with the metaphor of light coming out of the alleyway, the fact remains that it is not an animal that is appreciated or venerated in Japan, notably for the fact that it is a vulture that picks through rubbish.

It's this ambiguity that the raven represents, something that can't be pinned down. It's interesting, because by trampling on it, Denji turns to another dream, is it a good omen or a bad one? No one knows whether claiming to be Chainsaw Man will help Denji find happiness.

That would be one possible interpretation. But for the sake of completeness, there is one last one.

When I say that symbolism is hard to establish, it's only when I refute an obvious one. Let me explain: whether it's Bucky and his death, Yoru and Asa's death, the birds and Yuko being killed by Fake!CSM, and finally that raven. It's obvious that not only the raven but the bird in general represents death but also the end of a period, an era, a cycle.

Not only do the birds mark the end of one cycle, they also signal the beginning of a new one. Bucky's death opens Part 2, Yoru marks the beginning of Asa's second life, and Yuko's death ushers in the arrival of the most mysterious character in Part 2: Fake!CSM. The Raven marks the beginning of a new dream.

I think we need to be more subtle in this analysis and see it through to the end. Asa and Denji both do the same thing, they either crush birds or they give death to death.

It seems impossible but just as the bird that is supposed to fly in the skies is rarely found under our feet to be crushed. Asa and Denji are the two champions, the two candidates to prevent Death, and little by little the birds mark the cogs in a mechanism that is being put in place: the confrontation with Death.

My various interpretations can add up, and when they do, they lead to one question: when we give death to death, what happens? Is it necessarily a bad thing ?

The fact that the birds symbolise a link with death is correlated with the fact that Denji loses his family and his dogs when his flat burns down. The destruction of his home represents the erasure of Denji's landmarks, what he had built up, returning to the cause of departure, since we are at the beginning of a new era, a new cycle.

The relationship with death is correlated by Barem, who not only intends to fight it but also sees it as a common denominator for all species.

I love the play on words that the flamethrower hybrid introduces: "I figure killing Asa wouldn't fire you up that much", it really supports Barem's desire to arouse Denji and get him to react.

But all that aside, there are other things to relate. Not least with our other protagonist: Asa.

To return to the metaphor of the alley, visually and symbolically, she's the one who joined Denji in the alley. She's not just a symbol of Denji's step towards others, but also a symbol of others' step towards him.

Fujimoto encourages us to reread the chapters using the key vectors of the dog and the cat.

This line is the centrepiece.

Not only does Barem support the death once again of Denji's family, his dogs and his cat, but it's much more subtle than that. They are the key to a love that is not only universal, but also the key to Asa and Denji's happiness, and to their ability to bond with other species. When Denji wanted to save Asa from the falling devil, he told her straight away to think of cats and dogs.

They are also a symbol of progress, Asa bonding with her cat after the death of her mother, while Denji bonds with Pochita after the death of his father.

They are also what unites the two protagonists of Chainsaw Man: a cat with Asa and a dog with Denji. Just as Fujimoto likes to emphasise the influence they have on each other, whether it's Asa who places Denji between the criminal and the cat or how Yoru will behave like a dog because of Nayuta.

So what does Barem's line clearly mean? What I find incredible is that every time Barem tries to put Denji against the wall, he always unconsciously provides an element of the answer.

At their first meeting in chapter 140: Barem tries to present Denji with a dilemma. Asa Mitaka or Chainsaw Man? The answer is unconsciously found in the two fingers he plunges into Denji's nose: both.

Here again, Barem thinks he has Denji pegged, it's not Asa that matters to him but his dogs and cat. But note the plural, Denji only has one cat, Meowy. Now we make the connection: Asa represents the cat. She's also important to Denji.

If you're not convinced by Barem's unconscious response, then here again you can see a parasitic gesture in the fact that he knocks Denji down. Who else always falls at the wrong time? Who fell when their family was also dying? Well, yes. Barem's only point here is that even if Asa and Denji don't know each other very well, they don't really need to, given their similarities.

Once again, Barem thinks he's cornering Denji when he doesn't realise that he's just included Asa in what he's saying. Once again this is symbolic writing, with elements of foreshadowing and denouement of the characters subtly placed in Barem's lines. Barem likes to make prophetic announcements, as he is also a believer, but his message escapes him because he is not aware of the work in which he finds himself.

But that doesn't help us to understand what happens when we kill death ?

The characters can't guess at the omens that lie ahead. Just as their own message eludes them.

The only thing we know for sure that these birds are announcing is the end of an era and a new era.

The answer is so obvious that it escapes us. We have seen the resemblance between these two protagonists, their families, their losses, the destruction of their homes, their landmarks. We could say that this would be mourning.

But moving on despite the end of all these cycles, without knowing what lies ahead. Isn't that just growing up?

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sugar-grigri · 6 months

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An overlay of games

Two injured arms? What are you trying to tell us, Fujimoto ?

The interesting thing about the first part of the chapter is this page in which Denji hesitantly answers. It's another way of accentuating his existential crisis, even when he's called an impostor, Denji can't defend his position firmly and confidently.

It's normal, he's still bound by the dilemma of the public hunters who have forbidden him to reveal and be Chainsaw Man himself, and above all he's competing with the impostor for his own identity.

Denji isn't THAT scandalized by being pointed out as a wannabe CSM because he is one now, he's been so robbed of his identity that he's almost willing to become himself.

This chapter also hints at the fact that the public hunters don't agree on everything, probably because of a hierarchy or unity game. For example, some hunters only thought that the church was having fun playing CSM, not knowing that it was fighting against the prophecy of Nostradamus.

However, this information was gathered by Yoshida through his interview with Fami, but it remained highly confidential. Here again, this public hunter doesn't know that Denji is CSM. In short, information isn't leaking out of the Special Division 7.

Yoshida is the mediator between the public hunters and Denji, but also with the church with Fami. Katana, Quanxi and the possessed man with the dripping brain are the henchmen. Fumiko is the one in charge of preventing any temptation on Denji's part to get closer to the church.

But there's something else that I find even more interesting that follows this point. If we try to untangle everyone's role. We end up with Yoshida; Quanxi; Katana; the possessed one with the overflowing brain; Fumiko; Denji and on the other, on the church side, we have Fami, Barem, Miri, the weapon of the whip, the bow and finally Asa. That's six against six.

Asa's room is 606. And as I've explained several times, Fujimoto tends to play with numbers in this part 2. So I'm going to try and give you an explanation.

When I saw that not only Quanxi had her arm bruised but Yoshida had sliced Asa's arm, the first thing I thought was "a tie". On one side we have Quanxi losing her arm to protect while on the other we have Yoshida attacking with a slice. The fact remains that an arm has been lost on each side, so there's a certain balance.

Let me remind you that there are six against six in this game, and nobody has won any points yet, which makes 0. 6 0 6, ball in the middle.

I sincerely believe that what Fujimoto is setting up is a form of game, a war in which we're going to have to keep score. Barem is called Barem BRIDGE, a card game of 2. against 2. This time it's not just a game about the clan war but the whole manga: Fami and Barem on one side, the demon of Death and maybe Fake! CSM on the other

Did you know that one of the players called himself the dead man? ;))))))

I think the human usurper and fake!CSM are two different entities because the demon has twice interfered with Fami's plan by eliminating the fire demon (Yuko) and saving Denji and Asa.

But it doesn't stop there, so let me come back to a few bridge rules (I don't know how to play, so if I'm wrong, please correct me). The game opens with the "contract", i.e. declarer commits to making a given number of tricks. Just like the beginning of the game in CSM started with Barem announcing his contract with the fire demon.

A game of bridge is played in several moves, each move corresponding to a deal. Each player holds 13 cards, which they have arranged in a row to form what is known as their "deck" or "hand". Again, this is not to say that game 2 works exactly like bridge (and its horribly complex rules) but rather to emphasise the symbolism.

Every time one of the sides moves, an injury occurs, a limb is neutralised or even pulverised.

I wanted to end this analysis with the "strong" part of the chapter, Yoru's return in force. I was stuck on the symbolism of the arm, its symbolism in art and its relationship to war. So much so that I forgot to read the line: Yoru is a team player, she speaks as "we".

And then everything fell into place. There's a contrast between Yoru's exaltation and the fact that she's still missing a member. But everything makes sense with this fusion introduced by the "we".

Yoru is missing nothing, not even an arm, and Asa has become the perfect continuity of her being and her limbs.

Asa may have transformed her flat, her home, but she hasn't lost her bearings, because each of these girls has become the home of the other.

While Denji denies the duality of his being, Asa is embracing it.

While Yoru, even without her arm, feels her strength reaching its peak thanks to her completeness with Asa.

Now, don't you think that making room 606 a weapon whose number symbolizes the status quo is just the beginning of hostilities?

To be obsessed with victory, even if it means leaving your mark, isn't that the definition of waging war?

Or is it just playing a card game ?

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