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sugar-grigri · 6 months

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Fujimoto has never talked so much about love as in this chapter

This chapter is incredible, not only for the multitude of answers it offers but also for the beauty of its writing on first reading alone.

It opens with a man who appeared in chapter 101 of CSM, as passers-by passively walked past him, this stranger was actually right: humans, one of whose major causes of death are demons, are leading to a cold war (ironic to talk about a Cold War for a manga set in the 90s)

But it's as if the whole of society refuses to notice, that everyone hides behind Chainsaw Man and consumes all these derivative products like lucky charms. Chainsaw Man embodies a demonic anomaly, a demon at the service of the people who make them forget this war.

And that's exactly why Yoru has a grudge against him. Chainsaw Man is an instrument of peace, wielded in times of peace and sacrificed in times of war. Chainsaw Man is there to make us forget the conflicts or become the scapegoat, in either case, he is there to make us forget the war in which humanity is trapped.

A machine into which all hopes are projected, cries of suffering directed, whose childlike quality is seen only by the predators who exploit him constantly.

What we need to see in this dialogue between Nayuta and Fumiko is a struggle for domination. As we have seen, Fumiko is someone who, despite her aggressions, drowns them in a constantly contradictory protection: she wants to protect a child, but moleste Denji, plays a game in which she places him as older in order to hide her predation, and has saviour syndrome.

Fumiko thinks she's easily understood the nature of weapons, she's sensitive to Quanxi's bodily sacrifices and only repeats to the one she's abusing like an unrestrained fan of a child. Fumiko is the symbol that even when she belongs to the same camp as those she intends to protect, she still can't understand them.

She thinks it's either Nayuta who finds humans weak, or the fact that Barem supports Denji's demonic quality, that they are threats to his well-being when they are the ones who know him best. This is normal, because the strategy of public hunters is to bank on Denji's human side, but this strategy is not enough.

In chapters 136 and 137, Denji is mistreated when he's playing as a human being, getting into fights at school, being treated badly by his teachers, molested when he was thinking about a date at the cinema, and the closer he gets to normality, the more he suffers.

She symbolises not only Denji's sexual trauma, but also the paradox of the hunter system: a system that intends to offer Denji a family framework, but which is not only failing but also traumatising.

Nayuta says she wouldn't kill humans because they're weak compared to demons anyway. It would be as boring as killing ants! It's a continuation of Makima's point that the demon of control isn't interested in things that can be mobilised or easily controlled, it's powerful demons like Pochita that she wouldn't be able to control. Because the only way to establish a link for this demon is to find a demon as powerful as her, of her rank. Nayuta's superiority complex is always balanced against Denji's inferiority complex.

While the demon of control is only interested in demons, the demon who was martyred by humans cannot conceive of himself without them, but we'll come back to that later.

I just want to point something out: isn't it paradoxical to reproach Denji for the education he gives Nayuta when Fumiko is supposed to regard him, as she claims, as a child? Once again, Fumiko is in constant contradiction, protecting by controlling and attacking, conceiving of a child as an adult, she is the hold over a child she can't help but see as a weapon while vouching for his condition.

What's more, Fumiko's thinking is purely human, not universal like Denji and Nayuta. For them, feeding the dogs and their cat is a mission of the utmost necessity, it's like acting to protect one's family, whereas Fumiko refutes this.

Denji has been considered a dog for part of his life, and has bonded and merged with a demon in the shape of a dog, which is the first form of love he received: it was not humans who first gave Denji love, but animals. In the same way, the demon of control likes to form a relationship with dogs who take pleasure in their domestication, either as a form of denunciation or as a clearly established hierarchy.

Fumiko proves that human sensitivity only stops at their peers, while the rarer demonic sensitivity is more universal and intense, whether it's treating animals as precious beings or forgiving unforgivable acts like Denji's continued love for Makima.

The fact that Denji and Nayuta appear to have no moral barriers is what allows them not to be prisoners of their own, and to conceive of love more extensively, whether it be harmful or inter-species.

All this just goes to prove Barem's point that, as a weapon, he has a very good understanding of the different species and what they have in common: death is what binds us together.

When humans no longer find interest in a figure, it is destruction that attracts them. In other words, it's intrinsic to them. Even when they have been spared the demon of fire, they intend to spread it. Isn't it ironic, then, that Fumiko intends to protect two demons at the expense of their animals? Humans only see the world in terms of hierarchy, whereas demons and animals recognise that there is more to it than just a food chain.

Nayuta's emphasis on the exhilaration that comes from abusing and killing demons is spot on. In chapter 137, Denji had fun beating up all those men, even concluding that "this" normal life wasn't so bad. Why was that? Because it's the daily life of a demon.

Denji, who belongs to both camps, has human needs just as much as he has demonic needs, so Nayuta has a point. But just as living solely as a human doesn't satisfy Denji, acting solely as a demon doesn't work any better.

Denji works through the concrete, through sensations, and what he materialises through his senses, the fact being that he's had at least one kiss without any major damage with a human his own age.

Just a harmless touch is what allows Denji to connect with humanity as a whole, to be sensitive to their plight, even though he has no morals and takes pleasure in human suffering.

It wasn't until Denji struck up a relationship with Aki and Power for the first time that he was able to feel human and stop feeling like an animal. We are empathetic to the fate of those who resemble us, Denji is a universal being, animal, human and demon, he is the one who brings these different worlds together. Barem is right: death is what binds species together. But Pochita and Denji are the symbol that love can also be a common denominator.

The fact that he thinks of Asa is symbolic because, without knowing it, she is the one who understood the plurality of species in Denji. She began by dehumanising him, Denji's animal phase, placing him below the cat (proof that she too places animals before men), then she had budding feelings for Denji before being disturbed by Chainsaw Man.

That's why Chapter 101 is so important to understanding this chapter: because in it, Asa makes friends with both humans and demons, getting to know Yuko just as she does Yoru. She is not outraged by the idea of killing, as Yoru asks her to do, having put aside her human nature and accepted the world as it is, which is ruled by death.

But she is no fatalist, and in the face of a demon, she protects Yuko, continuing to love despite her mistakes "as long as her heart is in the right place". What matters is not so much our actions as the cursor through which we place ourselves to apprehend the world.

Relationships are full of mistakes, imperfections, misunderstandings and a game of dominance. Denji doesn't realise it, but the one who kissed him wasn't Asa but Yoru, and it was for a bad purpose: to turn him into a weapon. Paradoxically, in wanting to make Denji a weapon, Yoru conceived him as he was, a hybrid being, a weapon. It was the first kiss in which he was seen for what he was.

But not only that, just as Asa loves the different natures of the multi-species being that is Denji, so Denji loves Asa's dual nature, what holds him together is as much the memory of the human in the aquarium as the physical contact with the demon inside her.

While Asa, in her desire to protect Denji, was distancing herself from him, hurting him and making him doubt himself, it was paradoxically the demon, with evil intentions, who gave him some peace of mind.

The chapter is called Devil's choice, an expression which means that we only have two choices, that we can't have everything. In this case, that would mean choosing a species, a side. But what Asa and Denji still represent in this Shakespearean symbolism is not belonging to any side, but loving in a universal way.

The rejection of men has opened up other perspectives for both of them, be it the animal or the demonic connection.

Once again, the answer lies in plurality, in what begins with two: Asa and Denji decide, on the contrary, to have it all, there is no Devil's choice.

By deciding to bond with animals rather than humans when they lost their parents, Asa and Denji forged a destiny guided by love without barriers.

Their bad experiences - sexual harassment for Denji and bullying at school for Asa - at the hands of adults have naturally created a distrust of humanity that is rekindled by contact between the two of them. It's when Denji and Asa come together that they regain hope, because they are the definition of loving each other fully.

Those who stand in the way of this universal love are the public hunters who avoid this natural crossing.

The public hunters are there precisely to fuel the fight against humans and demons, the link they carry is not love but the other common denominator, death, destruction. Even if it means crossing the moral barrier to exploit children with Yoshida by forcing them to harm other children like Asa, Fumiko being once again the symbol of this danger.

Denji has both human and demonic needs, so he's destined to love Asa because she's both human and harbours a demon with a thirst for violence. Chainsaw Man was used to make us forget the war, but by loving the demon of war, they both unravel.

Only Chainsaw Man and the demon of war can conquer death, because love is the second common denominator that links the species. Why? Because everyone has a heart. Even demons. Who not only have one, but become one.

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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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