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bingus-enjoyer · 9 months

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fami ice cream doodle

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ez0dex · 1 month

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famine

#fanart #my art #digital art #chainsaw man #csm #csm art #csm fanart #famine devil #csm kiga #csm fami #shes adorable methinks

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canetteto · 2 months

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"It's my turn to save him!"

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kisslatr · 10 months

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i know she took yoru’s loaf of bread with her after

#chainsaw man #csm 135 #csm spoilers #famine devil #csm fami #csm kiga #csm pt 2 #my art #csm #chainsaw man 135 #fujimoto

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emballs69 · 1 year

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#chainsaw man art #csm #csm art #chainsaw man #yoru chainsawman #yoru #yoru csm #yoru art #fami art #fami #famicsm #fami chainsaw man #csm kiga #kiga #kigachainsawman

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lady2nope · 11 months

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Soooo... what is the plan now?

#chainsaw man #csm #csm art #asa mitaka #yoru chainsawman #nayuta #csm kiga #csm 131 #asa csm #yoru csm #myart #fanart #yoru

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lazychimken · 11 months

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How is this girl even sane rn

#chainsaw man #csm #csm pt 2 #chainsaw man pt 2 #csm spoilers #csm fanart #csm asa mitaka #asa mitaka #csm denji #denji #csm fami #csm kiga #famine devil #csm famine devil #csm yoshida #yoshida hirofumi #hirofumi yoshida #denasa #asaden

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victiny-14 · 2 months

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The best trio is BACK

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peterquillstarlord616 · 24 days

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#chainsaw man #kiga #csm kiga

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aszles · 1 month

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my life story tbh

#chainsaw man #csm #chainsaw man spoilers #csm spoilers #asa mitaka #mitaka asa #csm fami #famine devil #csm kiga #my stuff #toki pona #sitelen pona

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masterbrn · 4 months

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Fami or There Is Nothing

#chainsaw man #csm fanart #csm #fami #famine devil #csm kiga #diner room or there is nothing

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iridescentscarecrow · 29 days

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the yoshida inside cover is so interesting to me because so far i've found that all the part two inside covers so far lean very hard into the texture of the city to create this atmosphere of claustrophobia and obvious tension.

it's a lead in from the chapter 98 scene with asa & the class president looking up at the buildings spanning the sky, the palpable lack of nature/plant/greens or any sort of reprise from the grittiness of the city & commenting on how corrupt the city is.

which is why the way the city & the lack of it manifests in the part 2 inside covers reveals so much about each character's reaction to this. i don't think i got at the meat of this though when i initially considered it – the way greenery then sets itself against the city in various instances. i'd got an anon about plant symbolism in part 2 a while back which set me off thinking about it. unfortunately, i am in no way well versed in plant symbolism intricacies so this discussion will only pertain to the way this works re: the narrative.

and the yoshida cover [the first cover to not feature the city at all, the first cover to be set within the wildness of the forest] is so meaningful when it comes this.

ASA & YUKO: UNOBSCURED CITY

all the covers very purposefully do not show the eyes of the characters in question. fujimoto's use of this detail in panels before [the bomb devil arc, the yoshida syringe scene] can be considered to reveal the interiority/obscured thoughts of which jarr with their actions.

here in asa's case the city shadows her. her eyes are bled out of focus, almost by its corrupted grit. yuko, though is different. she's turned her back to us, her eyes can concievably visibly exist in frame but she's looking away/at the city: assigning it its values & ultimately getting swallowed up by it in her quest for justice.

asa dominates the frame & her face is featureless / yuko's figure in contrast is small & diminutive when set against CITY.

i think specifically a lot about the asayuko encounters & the potted plants in their wake. they're set in moments that are potently releases of tension [an anti claustrophobia] which stems directly from them resolving their internal contradictions.

in comparison the leadup to the "don't come to school tomorrow" scene (chapter 105) is full of tension & also plantless: there is no shade, no intersperse. they're sitting in the glaring sun, their conversation occasionally cutting away to CITY attributes: telephone wires/buildings. later, yuko lights a bonfire. fire burns away plants and the fire devil is also the presence that burns down denji's house. the same house with the potted plants nayuta & denji grow.

ASA & KIGA: SHADOWED [] & FEATURELESS SELF

the movement of shade here is genuinely so impactful when considered alongside asa & kiga's covers. for kiga the classroom itself is dim. outside, the sky's light peels back the room's darkness and renders kiga within it.

kiga's setting within the classroom is i think extremely important. during the sisters' public safety breach, kiga makes asa & her keep their school uniforms on. she's never appeared outside it, in fact. she's so settled within this particular role that for her the grittiness of the city is instead manifested by the classroom. more on this later but:

what strikes me is the featurelessness to both of them. they're both horsemen & their faces are bled of indicators – the ringed eyes & the scars that portray their status. you are left with their hollow schoolgirl bodies. it's a very specific flavour of contextualisation, one that offsets the decontextualisation that is [removing families|ripping off uniform/clothes|turning the hybrids into weapons]. asa's power functions through context, through a thing's history, through the guilt of its weaponisation. kiga's appearances always occur at moments where asa is struggling with context (the fight with yuko & her mother's uniform, the aquarium date, her feeling things for the CSM).

KIGA & MIRI: OBSCURED CITY

> the grittiness of the city is instead manifested by the classroom for kiga.

but the miri cover is not that. its shielding (through the potted plants) works against the CITY so much to that the tension to it is almost invisible. the potted plants here are in a way indicative of miri's self illusion of agency and it's something i have a lot of fun comparing to miri's actual cover, with the lucky clovers & that grin on his face as he holds onto the beautiful butterfly of a sword that he materially is.

the nature of the CITY in these two covers is also something to be commented on: for kiga, as i said – the city is miniscule (the sky dominates). miri's presence in his frame is more visible yet simultaneously the city threatens all the background & the angle both emphasises his smallness & enlarges him.

i do find it interesting how miri's eyes are specifically cut out frame. they're visible: he has his own interiority occuring outside this narrative, his own story of himself, but it is inconsequential to the pawn that he is. yuko's eyes while also obscured by framing are within frame. her motivations are essential to the narrative she operates within.

MIRI & YOSHIDA: THE PLANTS

while the [potted] plants grant a reprise from the claustrophobia for miri, the forestry punctuates yoshida's inside cover's tension.

i've already talked about yoshida as a framer for part 2 in an earlier thread of mine (chapter 156, if i'm not wrong) but bringing this into light next to how yoshida excludes himself from the city is interesting. this exclusion is what brings him claustrophobic tension, this abnormality. he is not participating in the city.

i think a lot that surrounds yoshida's character right now is speculation but balancing this with the syringe/head pat scene & the theater scene does bring out a picture of very potent pain (self enacted) when it comes to his own circumstance. the plants around him are wild, undomesticated & unlabelled (his existence as the framer) – in sharp contrast to the potted things grown within cities as hope.

KIGA & YOSHIDA: STANCES

kiga & yoshida's postures mirror each other. they're both faced down, towards the ground, arms held limply at their side. they're both stagesetters: yoshida framing for us the narrative with his two choices, parasocial relationships dialogue / kiga pouring her hunger into the world of part 2 & directing asa's weaponisation.

they're both in areas that are NOT city & CITY is not what inspires their respective tensions. kiga is working within the classroom, education – feeding into people what hunger is and what it means and teaching them what to want. yoshida dons the school uniform to adopt his role before reverting to the public safety suit!

their conversation too, set into perspective for us the overarching plot of part two.

Afterword:

there's so much to tease out from these covers and specifically the urban and urban lifeforms presented to us in part two. there definitely can be analogies drawn to part one's city mouse/country mouse metaphor (*) but i also think that the way autonomy is written at this stage of the story makes this particular play of tension a far more nuanced iteration of (*) and it's one i'm particularly interested in seeing explored in future covers.

thank you for reading!

#crow.txt #chainsaw man #csm meta #hirofumi yoshida #miri sugo #asa mitaka #csm yuko #famine devil #csm fami #csm kiga #yoru csm #chainsaw man part 2

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canetteto · 1 month

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