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Sep 30, 7:35 AM
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| Do you think Makima loves Denji? Is Makima's feeling for Denji love or obsession? Is it that Makima only has eyes for Pochita (or say the chainsaw demon) and not Denji? Between Makima (including her Nayuta form) and Reze, who loves Denji more? Or, among all the characters who have appeared, who do you think loves Denji the most? The above are some of the most widely discussed, controversial and divisive issues among readers and viewers in the Chainsaw Man Chinese community. Regarding these issues (or other issues arising from them), I would like to see everyone's discussion and listen to everyone's thoughts and opinions. The following are my personal thoughts and opinions: Makima "loved" Denji, but at the time, neither Makima nor Denji knew what true "love" was, or how to achieve and receive it. Therefore, you could also argue that she didn't "love" Denji, because she didn't even "love" herself. Objectively, Makima cared about Denji. The simplest proof is that if she didn't care, she wouldn't have gone to such great lengths to hurt his feelings—this is a form of caring, but a negative one. From the character's subjective perspective, before the final arc of Chainsaw Man Part 1, Makima was constantly trying to separate "Denji" and "Chainsaw Man," believing "Chainsaw Man" was the perfect, ultimate form Denji would achieve after developing in the flawless way she envisioned. That was the "Chainsaw Man" of her dreams. What Makima ignored was that Chainsaw Man is Chainsaw Man, and Denji is Chainsaw Man, even if he didn't match her imagined ideal. This is similar to how many people, when idolizing or having a crush, pursue and love only the partial, imagined version of the other person in their mind, not the real, complete person. When they find the reality doesn't match their fantasy, some try to change the other person, guiding them to their ideal state, completely disregarding their true feelings. Furthermore, one of the central themes, points, and plot threads of Chainsaw Man Part 1 is to express that "Denji is Chainsaw Man." Here’s an imperfect but easy-to-understand analogy: A and B are classmates or colleagues, but in real life, they seem oblivious to each other. They both secretly date online, and no one can connect their online personas to their real-life selves. These two chat online for a long time—they're an old flame—and, by chance, their internet crush is the very person they interact with every day, only they don't realize it. Online, they're madly in love, extremely considerate of each other, wanting the other to be happy and well. They share their thoughts and feelings to the point where a day without communication feels unbearable. Yet, in reality, they ignore each other, seemingly uncaring about what happens to the other, with no actual physical contact. In this situation, objectively, can we say A doesn't care about B (or vice versa), that they don't like or love each other? Just because they don't know, aren't aware, or don't believe that the person they talk to day and night online is the other? Just because the person they're able to contact, or temporarily want to know, isn't the complete, real person? Clearly, no, or at least that statement would be inaccurate. While they are only enthusiastic toward the online version, their online selves are still them—the same entity, consciousness, and soul. Their online selves are one expression of their core, true self, a way of manifesting and practicing a part of their life. The internet is just a tangible layer of life. They are still themselves; even if their online persona doesn't show their complete appearance, it is still the real them, their genuine emotions. The person they are online is them. Subjectively, perhaps they would believe they don't care about, like, or love the other person. Now, if we apply this mindset back to Chainsaw Man, it becomes much easier to understand. Actually, the author pointing out Denji's line, "Makima-san will always only look at Chainsaw Man, not me; she never truly looked at me from the beginning," isn't meant to say that "Makima didn't love or remember Denji." Makima wanted to love everyone in the world equally, so how could she not want to love Denji? She simply reversed the order on her path to achieving "love." "Love," even if you haven't received it yourself, requires you to first understand what it is before you can give it to others. Makima, however, tried to give "love" to the world before she had received it (Pochita had essentially given her love, but she didn't know what "love" was, so she never noticed) or understood what true "love" was. Consequently, her goal and ideal of "love" became an empty form without substance. "Equality" is clearly a prerequisite for and one of the expressions of "love." However, Makima hadn't found the justification for "equality"; she only knew that "love" required "equality" and was constantly striving toward that goal, even hoping that the Chainsaw Devil would eradicate her to achieve it. Yet, how can you love others if you don't even love yourself? But she truly was attempting to give others "love" and seeking a way to achieve it, which is where the reversal of order occurred. Makima was hollowly pursuing her ideals and goals, yet she lacked the driving force from those very ideals. The very desire for herself and the world to receive "love" is an expression of love. But because she didn't know what "love" was, hadn't received or perceived it—having the vessel but not the content—she didn't start with herself, she didn't "love" herself—and this is what stripped "love" of its essence. This is why Pochita said Makima actually wanted a hug, and why Denji should hug Nayuta. Returning to the original point, Denji's true intention and function in the manga when he said, "I bet Makima only remembers the Chainsaw Devil's scent," were threefold: To indicate that Makima, Pochita, and Denji are three kindred spirits who recognize each other; they are all essentially "dogs." "Dogs" recognize each other through their five senses and six roots, especially smell, taste, and touch. That Denji and Pochita are, to some extent, one entity—a point hinted at as the plot progresses. Initially, Makima referred to Pochita as the "Chainsaw Devil" and Denji in his transformed state as "Chainsaw Man." Later, especially during the final battle, Makima told Denji, "After all, you're not Chainsaw Man." This suggests she felt he wasn't just the "Chainsaw Devil" but also not "Chainsaw Man." Makima then said things like, "What do I have to do to make you turn back into Chainsaw Man?", "Chainsaw Man wouldn't spit," "Chainsaw Man wouldn't wear clothes or know how to talk; he should be making a terrible mess," and "Yet, you were chosen by Chainsaw Man even though you know nothing." The consistent term here is "Chainsaw Man," not "Chainsaw Devil." Makima spoke as if she understood the Chainsaw Devil (Chainsaw Man) intimately, like a close confidante. However, this very understanding and description closely resembled the Denji who was treated as a "stray dog" before his fusion with Pochita. Makima even said, "If you dare interfere with us, you can die"—knowing full well that Weapon Hybrids can't die, or at least not be defeated in that manner. Such a statement makes one wonder if she was losing her mind, unable to distinguish between the Chainsaw Devil and Chainsaw Man, and unsure if her words were for Denji or Pochita. It's precisely because Makima couldn't distinguish the scent of Denji and Chainsaw Man, believing them to be the same, with only one distinct smell, that Denji's final feigned attack plan succeeded. Otherwise, Makima, upon the start of the fight, should have immediately detected two different scents—one of Chainsaw Man (or the fully transformed Chainsaw Man) and one of Denji—and would have preemptively realized Denji's strategy: that he had removed Pochita (the Chainsaw Man's heart) from his body, allowing Pochita to generate a body to fight Makima on its own. It's crucial to remember that Makima's sense of smell is extraordinarily keen, and her sensory and control abilities are exceptionally powerful. Even as Denji guessed, Makima might not remember the specific smell of a particular person or thing, but she would certainly be able to temporarily detect and distinguish a difference in scent and know that different smells were present at that moment. This is like a "dog." A dog's brain isn't as capable as a human's, and its memory might not be strong enough to recall the scent of a stranger or thing, but if a different, unfamiliar scent suddenly appears, a dog will immediately notice, become alert, and trace the source. If that were the case, Denji's plan could never have succeeded. Alternatively, Makima knew Denji's plan all along but pretended to be unaware, going along with the script to allow Denji to finally eat her. However, either possibility confirms that in the final moments, Makima could not distinguish or separate Denji and Chainsaw Man; she accepted and acknowledged that Denji is Chainsaw Man. After this, Makima, who never smoked, smoked a cigarette for the first time. She then said to Pochita (the heart): "This is the second time I've defeated you. Chainsaw Man... this way, you'll belong to me. We can be together forever now. We can eat well and sleep well together and live a happy and joyful life." This was immediately followed by the famous scene where Makima sensed Denji's sneak attack but couldn't react in time. First, the detail of smoking is telling. In this work, every time a character tries smoking, smokes a special cigarette, or smokes in a special context (especially a character who doesn't normally smoke), it is associated with the character realizing that a permanent separation may be imminent—it's a narrative device set up specifically for this scenario. This contradicts Makima's verbal statement that they'd be together forever. The first time smoking brings on a strong, bitter discomfort, nausea, and dizziness, alongside the temporary excitement and euphoria from the nicotine. The nicotine temporarily relaxes mental and psychological stress and momentarily masks suppressed emotions and feelings, which perfectly corresponds to the title of the chapter containing this scene—This Kind of Taste. Clearly, for Makima, this was not a "good taste." Second, Makima's long-standing ideal and goal were for the Chainsaw Devil to eliminate her and achieve "equality." If she is eliminated, how can they be together forever, let alone "eat well" and "sleep well"? Are these things the Chainsaw Devil (not Pochita in dog form) would desire? They seem much closer to the needs of humans, especially the empty, hollow needs of someone like Denji. So, was Makima mentally unstable? Did this speech reflect a knowledge of the future? Furthermore, Makima failed to react when she sensed Denji's attack, which is baffling, as she had previously reacted to Denji's Chainsaw Man form's attacks with her bare hands. And she was injured but didn't transfer the damage to recover. (This is explained the same way as her lack of recovery after being eaten: Denji's attack came from a place of "love" and was therefore not considered a "harmful attack," so Makima didn't recover. Also, as Denji stated, using a chainsaw made from Power's blood caused the blood to circulate within Makima, inhibiting her recovery. But this is Denji's perspective.) The underlying reason for this phenomenon cannot be singular. Makima, in the barbecue scene, was already dismembered, which could explain her inability to autonomously transfer damage and her reliance on the contract's passive recovery, which Denji's "love" wouldn't trigger. However, after the "sneak attack," there was ample time and space for Makima to act. Was Power's blood really so potent that Makima couldn't just not recover but also was immobilized? In previous battles, Makima had her head cut off and her body severed, yet her limbs continued to move. Does the contract's damage transfer only work on those directly connected by the chains? The narrative was structured this way for: 1. A nod to the concept of "crappy movies," a motif that runs throughout the story. 2. To serve as a bookend and echo the brilliant title of the first chapter, aligning with the central theme that "Chainsaw Man is Denji, and the Chainsaw Devil is Chainsaw Man," and introducing the underlying theme of the "Holy Trinity." One of the authorial purposes of this part of the plot was to express that Pochita and Denji are one entity; Pochita is Denji's heart and foundation, an indispensable physical and spiritual component of Denji. This also means Makima finally accepted and acknowledged the fact that "Denji is Chainsaw Man." Makima once told Kishibe: "(If I'm consumed by Chainsaw Man), that would also be fulfilling my wish; it would be the ultimate honor to be eaten by Chainsaw Man and become a part of him." Based on this statement, and the fact that Makima's body didn't regenerate after being cooked and eaten by Denji, whose action was filled with "affection" and motivated by "love," we can deduce that Makima ultimately accepted and acknowledged that "Denji is Chainsaw Man." She also accepted Denji's action as an act of "love" (using the perspective and feelings of the actor and the recipient as the standard of judgment; otherwise, how can one determine if an action is "love" subjectively and objectively?). She accepted Denji's "love," grew closer to understanding true "equality" and "love," and considered it an honor to be eaten by Denji and become part of him. If this weren't the case, she should have regenerated. After all, "love" isn't just words; for an act cloaked in the name of "love" to bypass the pre-rule, undercurrent, primary reaction, and deep logic of "damage transfer," this "love" couldn't just be self-declared to be valid. Otherwise, anyone wishing to attack Makima could simply deceive themselves and label their action as "love." Moreover, objects consumed by the full Chainsaw Man form (Black Chainsaw/Chainsaw Devil) do not become part of the Chainsaw Man's body but are sealed into an alternate dimension that can be tentatively understood as the "Chainsaw Man's stomach." This stomach acts as a conduit connecting different worlds, a passage between the other world and reality. Ultimately, Makima's failure to control Chainsaw Man must have been her realization that she hadn't defeated him. Or, perhaps her control ability was inherently incapable of controlling Chainsaw Man. It was all just a lie she told herself. Otherwise, she should have made her move from the beginning, when Denji (Chainsaw Man) was weaker, as the chances of success would have been much higher. If she had to first force out the Chainsaw Man's complete transformation (Black Chainsaw/Chainsaw Devil form) and then defeat him to achieve control, then what was the point of defeating the (what she perceived as) non-fully transformed Denji (Chainsaw Man) and pulling out Pochita (Chainsaw Man's heart)? This would still not meet the condition for controlling Chainsaw Man. Furthermore, as the Chainsaw Man, Denji could always regenerate and revive, centered on Pochita, as long as conditions were met (sufficient blood, pulling the cord). Or, perhaps Makima never intended to control Chainsaw Man; instead, she wanted to be controlled by him—she was simply saying the opposite of what she meant. Otherwise, why did she stop talking about her seemingly "noble" and "great" ideals and goals, such as, "I want to use Chainsaw Man's power to erase all obstacles to human happiness in this world and create a better world," and instead switch to the "sweet" talk of a couple or family: "Chainsaw Man, you're mine now; we'll be together forever, share delicious food, sleep together, and live a happy life"? Makima must have known that Pochita, as the heart of Chainsaw Man, couldn't directly respond to her. She also must have known that as long as the "contract" between Pochita and Denji existed, no matter how many times Chainsaw Man was defeated, he would always regenerate and revive as Denji, centered on Pochita (Chainsaw Man's heart), once the conditions were met. Therefore, her words to Pochita were essentially spoken to Denji, whom she believed to be unconscious (but who was actually awake); Denji heard it all. Again, either possibility leads to the same conclusion: Makima ultimately accepted and acknowledged the fact that "Denji is Chainsaw Man" and willingly accepted being eaten by Denji to become a part of him, finally unifying with him. This is actually easy to understand, and the story is full of the author's hints. When Denji says, "Makima-san, she distinguishes us by our smell," the manga panel shows a Husky. Denji's subsequent remark, "She doesn't remember people's faces one by one; she only remembers the scent of people she cares about," echoes Denji's past and future actions. Denji certainly remembers Makima's "scent"; he immediately recognized the reincarnated Nayuta, who didn't look like the original Makima, based on feeling alone. The first time Makima bit Denji's finger, it had sexual undertones in the context of that scene. Nayuta's first line after being recognized by Denji was "Woof woof." Later, the reincarnated Makima, who had no memory and hadn't been to school, answered "Nayuta" when Denji asked her name. When Denji asked Nayuta what she wanted to eat, her reply was "Bread"—the very thing Denji, in his "stray dog" phase, often ate and what he most wanted when he first became a Devil Hunter. Therefore, Denji's statement speaks not only of Makima but also of himself. In the end, Denji, hugging Pochita in a dream, has a conversation with him: Pochita says: "Denji, my dream was for someone to hug me. You might think that's simple, but I was too strong, so it became difficult. But you, Denji, fulfilled my dream. Denji, I hope you'll fulfill the Control Devil's dream." "The Control Devil always wanted to establish an equal relationship with others. She could only form relationships through the power of fear, so she deeply longed for a family-like relationship. She used the wrong method, but she actually wanted to create a world like that. So, you should help her build that world." Denji: "Pochita, how should I do that?" Pochita smiles and says: "Hug her a lot!" Then the scene shifts back to the real world, where Denji and Nayuta are sleeping soundly, holding each other. The author's hints here are extremely obvious. Not only do they suggest the correspondence and similarity between Pochita and Makima, but also the similarity between Denji and them. This conversation shows that Pochita understood Makima all along (corresponding to the earlier question about whether Makima understood Pochita, and the author's hint at the answer: and why Makima couldn't distinguish Pochita and Denji by smell during the final battle—Pochita and Denji are identical in all respects from a "dog's (Makima's)" sensory perspective, so they could only be differentiated by speaking habits, clothing, and behavior, which again emphasizes the unity of Pochita and Denji). Pochita wanted to help Makima achieve her dream, but disapproved of her methods, knowing they were wrong. So, Pochita wanted to use the right way to help Makima achieve her dream—which is also Pochita's and Denji's dream—which means Pochita loves Makima. Conversely, this indirectly shows that Makima loves Pochita and Denji, and Denji loves Makima (Denji and Pochita are one entity). Makima's feelings for Denji cannot be simply summarized as "bad," "dislike," or "not love"; they are far more complex. After all, she brought the utterly destitute Denji, who was hovering between life and death, home. She transformed him from a "stray dog" into a "house dog" and then used torment to force him to resist, stand up for himself, and become a "(Chainsaw) Man" who sought the same "equality" she did. Isn't this "possession" and "assimilation," which are forms of "liking" and "love"? However, Makima's "love" was formal and procedural, an empty shell without essence or root, without a heart or soul. This stems fundamentally from Makima herself not knowing what true and correct "love" and "equality" were, nor what a good "family" was. Yet, she desperately sought these things, which is why she always walked the wrong path. It's not that she knew the difference between right and wrong and deliberately put others on the wrong path. She was sincere and treated others as she would treat herself; it's just that she herself was fundamentally wrong, so she led others astray too. An imperfect example is that of many "parents" in real life. Some genuinely don't love their children and families, even though they understand what "love" is; they only love themselves and refuse to give "love" to others. But some "parents" may appear to others as unloving toward their children and family, yet from their own perspective, they are trying their best to love. However, they themselves don't know what true, correct "love" is, which is why they keep making mistakes. They possess flawed tools, so what they give others is also flawed, not because they don't want to give. The very act of "giving" shows they are trying to achieve and practice "love"; the moment the idea is conceived, they are already "loving." This is the difference between "having many good apples one cannot eat and not giving them" versus "having only one bad apple one is reluctant to eat, yet giving it to the other person." Can we say that "giving a bad apple indicates the giver doesn't want to love the other person?" Of course not. However, "giving a bad apple" is a fact, "making the recipient sick" is also a fact, and "having only one apple but giving it to the other person" is still a fact. The truth is simply that they only had a bad apple in their pocket, and the giver either didn't know it was a bad apple or didn't think it would cause harm. Makima's treatment of Denji is more like a twisted psychology of "tormenting oneself by tormenting the other." She believed that torment and pain, in any form or by any means, were a form of "love"—a driving force and necessary means to "help" and "motivate" the other person to break free from their current predicament, achieve growth and transformation, and become stronger. Fundamentally, this is because she is "pathological," with an incomplete and unsound personality, having been in an unhealthy mental and physical state for a long time. Her cognition is incorrect and incomplete; she didn't grow up in an equal, safe, healthy, happy, and loving family, life, or social environment. She doesn't know what true, correct "equality" and "love" are, yet she constantly and painfully seeks them. This is why we say Denji, Pochita, and Makima (Nayuta) are the same kind of "people (dogs)," deeply similar, connected in spirit, and a "Holy Trinity" in terms of character concept, design, and creation. They are similar, like looking into a mirror, and they complete each other. This is also why some say Chainsaw Man is saturated with shadows of "family," "parent-child relationships," and "emotions." Makima's emotional journey and progression with Denji are somewhat similar to Reze's with him: initially approaching Denji for a certain goal, then gradually accepting and acknowledging him, and by the time they realize it, it's too late to change; the outcome is sealed. For Reze, she initially approached Denji to get the Chainsaw Man's heart, claiming a false "liking." Slowly, she was drawn in by Denji's charm, their similar experiences and shared feelings bringing them closer. She became dishonest with herself, unwilling to face her true feelings, saying, "It's for the mission." Finally, she was honest and accepted her inner feelings, wanting to go to the rendezvous, wanting to run away together. But she found it was too late, which is why she said, "Denji, I haven't been to school either" (a line with three meanings: 1. I haven't been to school; 2. I lied to you before; 3. I am just like you—I like you, just as you like me). For Makima, after learning that Pochita (the Chainsaw Devil) and Denji had fused, she believed that getting close to Denji was the only way to approach Pochita. Then, she gradually started to blur the distinction between Pochita and Denji, confusing Pochita's actions for Denji's, and vice versa. (In fact, the entire story revolves around the transformation and fusion of these three, and Makima's changing attitude toward Denji and her evolving understanding of the Chainsaw Devil and Denji is a hidden plot thread, so readers can easily spot the constant shift in Denji and Makima's feelings.) Finally, she woke up, realizing what she truly wanted and had been searching for; she understood that the Chainsaw Man of her heart was Denji. The ending of Chainsaw Man Part 1 focuses on the core idea that "Denji and Pochita have fused" and "they are a single entity." Here is a simple principle: if the recipient of "love" doesn't recognize the giver's act, labeled as "love," as their own genuine "love," then can it truly be considered "love"? So why was Denji eating Makima's body considered "love" and not "harm"? If Denji unilaterally thinking his action was "love" made it genuinely "love," then wouldn't Makima's actions toward Denji, Pochita (the Chainsaw Devil), and even the world also be genuine "love"? What would be the difference between Denji and Makima then? A person without their own definition and concept of "love," who doesn't know what "love" is, cannot receive and accept "love" from others. If someone gives "love," but the recipient doesn't know what it is, can't describe it, they still won't recognize it or believe they've received genuine "love." It's like talking about a "persimmon." A understands it as a "tomato," while B understands it as a "red persimmon." When A asks B for a "persimmon," B gives A a "red persimmon," not the "tomato" A wanted. B gave A exactly what A said they needed, but A still feels B didn't give what was truly desired. Finding the wrong answer for oneself will lead to giving others the wrong answer. Therefore, we can easily deduce that Makima approved of Denji's action; Denji's act of "love" matched Makima's own definition and concept of "love." Furthermore, based on the answers to these questions (regardless of "yes" or "no," both sides lead to the same conclusion), Denji, Pochita, and Makima are all the same kind of "people" ("dogs"); they are similar, identical, and even one entity. The relationship between Reze and Denji, moving from a false liking to a genuine one, is like a naïve and bittersweet first love. The relationship between Makima and Denji, moving from a mistaken love to a true one, is like family members who gradually understand and support each other. "Denji" is "Chainsaw Man," and "Chainsaw Man" is "Denji"; they are the same, just different names and appearances, but the core entity remains the same. Think about it: why is the work titled Chainsaw Man when what we see are Denji's experiences? And why is the first chapter titled Dog & Chainsaw? Even changing "likes Chainsaw Man" to "likes Chainsaw Man's heart" still holds true; it is still "likes Denji." For example, some people like Bruce Wayne, some like Batman, and some like Batman's inner self (or soul)—it's all the same. "Bruce Wayne" is "Batman," and "Batman" is "Bruce Wayne"; they are the same entity but different names. The only difference might be that the varied descriptions show different groups prefer and promote the manifestations of the same entity on different aspects and levels. Some might prefer the gentlemanly man in a suit, with his true face showing, sitting elegantly in his mansion or office. Others might prefer the justice-seeking figure in the Batsuit, masked and black, flying through the skies of Gotham. But every version of him is him; they are merely different ways his core self expresses itself to the outside world. These manifestations are always intertwined, influencing and forming each other: the gentlemanly man in a suit, with his true face, is always filled with justice; the justice-seeking figure in the Batsuit, masked and black, always displays a hint of sophisticated elegance. "Liking Bruce Wayne," "liking Batman," and "liking Batman (Bruce Wayne)'s inner self (soul)"—all three statements have the same meaning, significance, and essence, as Bruce Wayne doesn't suffer from multiple personality disorder. This is analogous to the difference between a person's surname, given name, courtesy name, pseudonym, and various pen names: they are all different symbols for the same person. Perhaps different symbols are used in different settings to face different audiences and needs, but when a specific symbol or code name is used in language with a specific object and context, they all refer to the same person, the same core entity. For instance, some people are only familiar with, only know, or have only heard of a certain author's pen name through a particular work, so when introducing this author, the pen name is used first, not their real name. Conversely, some authors prefer to keep their real name private, or use different pen names for different genres of work, or in real life, some people know the author and only use their real name, unaware they are a writer. In these cases, when an outsider uses a different symbol, code name, or address belonging to them in a specific context and toward a specific person, they are all referring to the same person. We cannot say that "some people like Zhou Shuren, some like Xunxing, some like Jiajian Sheng, some like Shuren, some like Zhou Yuchai, some like Lu Xun, some like Xun Ge'er, some like the author of Dawn Blossoms Plucked at Dusk, some like the inner self of Call to Arms, and some like the soul of A Madman's Diary; these are different groups, and they like different people," because these are merely Lu Xun's symbols—they represent the totality of "Lu Xun's" consciousness and the essential elements that compose and constitute this totality. Denji and Pochita (Chainsaw Devil) have combined to form an entity, which is referred to by the outside world as "Denji" or "Chainsaw Man." Pochita (Chainsaw Devil) has become the heart of Denji (Chainsaw Man), an essential and indispensable part that constitutes and forms Denji (Chainsaw Man). In the work's universe, since there is no second Pochita, using "Denji," "Chainsaw Man" (Denji's other form), or "Chainsaw Devil" (Chainsaw Man's deeper form) to describe the entity all refer to the same whole, but the emphasis can differ based on semantics, context, and the scene of dialogue. For example, "Jiajian Sheng" and "Lu Xun" are both "Zhou Shuren," but when "Jiajian Sheng" is used, the emphasis is on Lu Xun's early works, while "Lu Xun" emphasizes his entire body of work or his middle-to-later periods, and the discussion revolves around "works" and "periods." When "Zhou Shuren" is used, the emphasis is on "life," and the discussion revolves around "affairs" and the "actor/subject." However, unequivocally, in a specific context and toward a specific person, "Jiajian Sheng," "Lu Xun," and "Zhou Shuren" all refer to the same person. To express liking for him, one can simply use one of his well-known, commonly used titles in a sentence to express it. Bringing it back to Chainsaw Man, saying "only wants Pochita (Chainsaw Devil)" or "only wants Chainsaw Man's heart" means only wanting "Denji's heart" and wanting to isolate "Denji's heart" as a separate part from the whole. But saying "likes Pochita" or "likes Chainsaw Man's heart," without a specific qualifier and outside of a specific context, is a double entendre that means liking both "Pochita" and "Denji." This is because "Chainsaw Man" is "Denji," and "Denji" is "Chainsaw Man"; "Chainsaw Man's heart" is an indispensable part of "Denji." They are an inseparable and indivisible whole, unable to realize self-expression or affect the outside world solely through the consciousness of a part; the whole acts together. Here is an imperfect example: someone tells you, "I love hearing you speak right next to me. I feel awful and can't sleep if I don't hear your voice all day, to the point where I wish you could always be near me, and we'd have endless things to talk about." On the surface, they are saying, "I like the things you say; your voice is pleasant." In reality, they are saying, "I like you very much; I can't live without you." Using an example from Chainsaw Man, one of the most classic examples is Reze's line, "Denji, I haven't been to school either." This line is a triple entendre with three meanings: 1. "(I'm like you) I haven't been to school either"; 2. "I actually lied to you"; 3. "I genuinely like you (I'm like you), just as you genuinely like me." The surface meaning is about "school," but it's actually about "life experience and personal feelings," and the underlying message is, "I am like you, I know, and (I think) you know that I genuinely like you, just as you genuinely like me." Similarly, the movies Denji and Makima watch, and Makima's line before the final battle in Chainsaw Man Part 1, "This world doesn't need crappy movies." On the surface, they are talking about "movies" and "films," but they are actually talking about "people" and "life," "feelings" and "love," "feelings" and "outcomes." The underlying message is also about "liking" and "love," concerning "truth" and "falsehood," "good" and "bad." This is why Makima, who rarely shows emotion, and Denji, who combined with Pochita, grew up with a lack of love in an unhealthy environment, feeling as though he was gradually losing his human emotions, both shed genuine tears when they saw the scene of a "hug" in a movie that was neither highly rated nor popular, and which the outside world and the masses unanimously and generally considered a "crappy movie." This "crappy movie" is only superficially about film; in reality, it's about "people" and "life," "feelings" and "experiences." Thus, Makima was likely similar to Reze in her initial unawareness and unconsciousness, not recognizing her true feelings and what she genuinely wanted. Later, she gradually became aware and noticed, yet she was dishonest with herself. Makima, too, believes this world needs "crappy movies"; "crappy movies" are rational, necessary, and must exist. After all, the ending of her own life (Chainsaw Man Part 1) is the ending of a "crappy movie." Her life, experiences, and emotions—her actions, the path she chose, and the result she saw at the end of the road—were all a meaningless "crappy movie." So "crappy" that when faced with the Chainsaw Man's heart, which she had gone to great lengths to obtain (and could have gotten more easily and directly from the beginning if she had truly wanted it), she didn't know what expression to make or what to say. After all, all she did was pull the Chainsaw Man's heart out of his body (form). If this were the ending she wanted, merely obtaining the Chainsaw Man's heart in a physical sense, she could have done it from the start when she first met Denji, and with much less effort. So "crappy" that she sat by a grave, facing such a "happy" event—having achieved her "long-cherished" and "dreamed-of" final goal—and yet she took a puff from a cigarette she had never touched before. Who would spontaneously think of trying a cigarette for the first time when they are extremely happy? Who has their first smoking experience in a state of extreme joy? Not to mention that the joy was short-lived, and she was then "counter-killed" by Denji, whom she thought she had defeated. Or perhaps that was her real happiness? This seemingly nonsensical, illogical plot and character journey—isn't this precisely what others call a "crappy movie"? Therefore, Makima likely lied to Denji, too; she, in fact, likes "crappy movies." Perhaps what she was thinking was, "Denji, I like 'crappy movies' too." In the end, she finally understood the unity of "Chainsaw Man." In the work's various plot stages, especially the early ones, not all characters realized and acknowledged the unity of Chainsaw Man's parts and the whole. Some characters attempted to cut and separate the parts and the whole, believing the parts and the whole were never consistent and unified, and that such a method of cutting and separation was feasible and effective. This unity, as revealed by the subsequent plot and the story's constant progression, is necessarily established and existent. The most typical character who initially failed to realize and acknowledge the unity of Chainsaw Man is Makima. Makima initially believed she could differentiate between the Chainsaw Devil, Chainsaw Man, and Denji. Later, she began to blur the distinction, and in the end, she could only differentiate them through external appearances, demeanor, language, and behavior. However, the criteria and conditions, methods and means she used to distinguish them were applicable to the "Chainsaw Devil," "Chainsaw Man," and also "Denji"—they could not be separated, because they were inherently inseparable. This is one of the work's central themes and core messages: different parts and periods of "you" are all "you." The verbal expression of "loving only a part of you" is merely an unconscious, vague awareness and recognition of "loving the whole of you." It wasn't until Makima was defeated by Denji, being betrayed by her own blindly confident, supposedly accurate, and precise standards, conditions, methods, and means of distinction based on external appearances, demeanor, language, and behavior, that she suddenly realized the truth. She finally understood that the person she had been chasing, liking, and loving all along was the same person. She finally understood that "Chainsaw Man" is "Denji," and "Denji" is "Chainsaw Man." Pochita (Chainsaw Devil) is "Denji's heart," and no person's heart beats in a different direction than their own. She finally understood that what she had always wanted was "Denji's heart," true equality and love, a loving hug, and a family filled with love. Returning to the topic, the title of the Chainsaw Man Reze Arc movie's ED, "Jane Doe," literally means "an unnamed or unknown female person." Similar to "someone" or "so-and-so," "John Doe," "Jane Roe," "A," "B," "C," or "D"—a simple placeholder used when the exact identity is unknown or not to be revealed. Interpreting this in the context of the plot, it has three meanings: 1. It hints that the male and female leads are "Jane Doe" to each other's lives, mere fleeting passersby. 2. They only left behind some very important traces and memories. 3. They are no longer a vibrant, present person by the other's side. "Chainsaw Man" is currently composed of Pochita's heart on a physical level, Power's blood (Power also has Chainsaw Man's blood, a mutual blending), and on a mental and ideological level, Denji's soul and Makima's (Nayuta's) love (emotions and experiences). Pochita and Power offered their heart and blood, respectively, to Denji. Makima and Nayuta, in their pursuit of true "equality" and "love" in their hearts, gradually helped Denji find the answer to this question. Since Reze and Power have been mentioned, let's talk a bit more. Reze's feelings for Denji cannot accurately be called "love"; at the corresponding point in the plot, Reze hadn't developed the awareness or feeling of "love." It was merely pure "liking." However, she was indeed the female character in the early plot who genuinely liked Denji the most deeply and was the first to consciously realize and acknowledge this feeling. As for "love," Power, Pochita, and Makima (Nayuta) are perhaps more fitting. These three characters, especially Power and Makima (Nayuta), resolutely chose to sacrifice themselves to save Denji, even though they knew they would likely, or definitely, face misfortune. For Reze, she was not 100% certain that her choice and action to go to the rendezvous would lead to misfortune. Although she knew there was a great risk, that risk was not a certainty. She made that choice because she wanted to, but without knowing the cost and consequences. Furthermore, her motivation and purpose were half for "Denji"—to make Denji happy and joyful, to allow Denji to live a happy life and fulfill his dream. But the other half was equally for herself—to make herself happy and joyful, believing that this action would allow her to live a happy life. She was acting for both the other person, "Denji," and for herself. She felt this was mutually beneficial and good for both of them. As for the outcome, it's not certain that if Reze had successfully made the rendezvous, she would have provided Denji with what he truly wanted and needed, or satisfied his future needs, or that Denji would have been saved or achieved any fundamental change or improvement as a result. In contrast, the choices and actions of Power, Pochita, and Makima (Nayuta) genuinely and tangibly saved Denji in the context of the plot and his situation at the time. They provided Denji with the necessary essentials and strength to continue living, and satisfied his need to survive, both in terms of motivation and outcome, even if their methods were not always the best or most correct. In this regard, Reze's starting point and motivation, her determination and resolve in executing her choice and idea, and her sacrifice and dedication for "Denji's good," for "loving Denji," for "love," and her understanding, perception, recognition, and consideration of "love," may be slightly lower than the other three characters. However, after the final battle, Reze, upon realizing that Denji had not treated her as an enemy but had gently dressed her, and after facing her true inner feelings, refused Denji's request to escape with her, to protect her, and to elope. This was indeed an expression of "love." (Though part of this was a practical, rational consideration: taking Denji along would lower the chances of a successful escape. Reze knew from her conversation with Denji that Makima was Denji's superior, meaning she knew Makima was constantly monitoring Denji and would not allow him to leave her side.) But this was truly an act of wanting "Denji's good," unwilling to see Denji become a co-conspirator to murder, a wanted man, living a life constantly on the run, like a hunted "rat." Wishing another well and trying one's best to achieve it is "love." Good "love" always requires loving both oneself and others equally and loving each other mutually. However, some "love" starts with "loving oneself" and then extends this to others to "love others." Other "love" starts with "loving others," then learns to "love oneself" through "loving others," and then understands that "loving others" requires "loving oneself," which is also "loving oneself," and conversely, "loving oneself" also requires knowing how to "love others." The difference lies in the starting point. But in practice and manifestation, if the positive cycle is close and sufficient, both types of "love," despite their different origins, will appear consistent, equally good, and worthy of praise to an outsider. "Dating," "adoration," and "love" are all emotions. Reze's relationship with Denji, or their feelings for each other, focus more on expressing "adoration" and "feeling." The feelings of Power, Pochita, and Makima (Nayuta) for Denji, or their relationship, focus more on expressing "love." "Adoration," "feeling," and "love" are three different inner emotions, and "dating," "adoration," and "love" are all distinct. I've also seen the question, "Is Denji and Reze's relationship a Bad Ending?" The outcome of Denji and Reze's relationship can be considered both a Bad Ending (BE) and a Happy Ending (HE). In the context of the characters' present, at that specific time and stage, it's a BE. In the long run, it's an HE. For example, a young high school romance is intervened and broken up by teachers and parents, ending prematurely. For the young couple and their romance at the time, that is definitely a BE. But if the person later meets a partner with whom they can grow old together, cherish each other, and live a life of mutual respect and affection, then the breakup at that time is actually an HE for their entire life. After all, if the young couple had stayed together, they certainly wouldn't have had the chance to meet and be with the later, more suitable partner. And their young relationship might not have led to the same happiness they each found later. If this is considered a BE, then what would the later relationship, the person they spend their life with, be? An even greater BE? Is that a word that should be, or can be, used to describe the person they truly love and the relationship they share? If he truly loves the later partner, would he be willing to describe their relationship that way? Therefore, they are both HEs, but the later one is just a more HE one. The Control Devil is likely a very jealous and "tsundere" devil in private. This may be because the Control Devil has always controlled others and everything. Although she seeks true "equality" and "love" internally, and sometimes pathologically hopes to be controlled by a specific person, such as "Denji," in reality, she is still unaccustomed to being controlled by others and other things. Compared to the feeling of being led, she is still more accustomed to and prefers to hold the dominant position and advantage. At the end of the movie version, Reze, despite being severely injured and having lost a lot of blood, still tried to use her remaining left hand to pull the cord. This wasn't because she thought transforming would allow her to defeat Makima. She knew from their fight that the power gap was too large to win, and escape was impossible—Makima wouldn't let her run if she didn't want her to, and Makima wouldn't let her run once she knew Reze's goal. Her true purpose was to transform and make some noise (instead of quietly leaving) so that Denji would know she had been there, that she had come to the rendezvous, so as not to disappoint and sadden him. It is precisely for this reason that Makima finally, with a sense of "sympathy," grasped Reze's left hand that was trying to pull the cord, as if to tell Reze that she understood and knew what Reze was doing, but Reze should give up. This is also a form of "rival recognition," "love-hate rivalry," and "mutual appreciation" between competitors. Makima would never allow Reze to achieve her inner desire, nor would she allow Reze to make the rendezvous, meet Denji, and have her influence overshadow Makima's, potentially stealing Denji—the object Makima found, wanted to guide and nurture into the ideal and envisioned "Chainsaw Man," the one she thought about day and night. An imperfect analogy is a mother refusing to let anyone take her son, or a wife refusing to let an outsider steal her husband. That's why Makima spoke those meaningful words that revealed her inner thoughts and hinted at her intentions before taking action. Let's analyze them line by line: "Actually, I also" - This indirectly points out Makima's grasp and knowledge of the overall situation, especially the conversations and interactions between Denji and Reze, and even Aki and the Angel Devil. In other words, Makima was likely using her ability to monitor the actions of everyone around her; everything was within her control and plan. "I also like country mice" - Similar to and echoing Reze's line, "Actually, I haven't been to school either." This shows that she and Denji are the same kind, that she shares similar thoughts with Denji and Reze, and expresses, "I like you, admire you, and understand you too." "I have a friend" - The "friend" here refers to both Denji and the Public Safety Bureau, the organization, the higher-ups, and the state. "Who has a few fields in the country" - The "fields" refer to assets and property, or treasures, or precious things and qualities, especially assets that are expected to yield a rich harvest in a specific timeframe after a long period of cultivation and nurturing. This refers to the fact that "Denji is Chainsaw Man, or will become Chainsaw Man after being guided and nurtured." "Every autumn I go to help out" - "When the harvest season arrives, I go to help ensure the harvest is not stolen." This means Makima constantly monitors these fields and the results they yield (referring to "Denji"). "The fields are hiding many mice that destroy the crops" - "There are many mice around the crops trying to destroy the crops and steal the fruit." This means that Denji is surrounded by many organizations and individuals who are coveting him, trying to prevent him from smoothly growing and developing, interfering with Makima's arrangement for Denji, and destroying Makima's envisioned and ideal plan. "I have to drive them away before the snow falls" - "I must drive them away before the harvest is gathered, and before the mice, using the cover of winter snow, hide and burrow into the ground around the grain, constantly chewing and consuming the fruit." This means Makima can no longer allow people and factors outside of her control and arrangement, such as Reze, to run amok. She must discover and expel these people and factors before they delve deep into Denji's heart, occupy an important position in his mind, exert a major influence on him, and before the next phase of her plan arrives and is implemented. "So I turn the dirt over and have the dogs bite the mice inside to death" - "I turn everything upside down to find the mice and have the dogs bite them to death." This means that no matter how much resources, manpower, and material are spent, no matter how grand the mobilization or how much noise is made, she will activate her subordinates, and even take action herself, or even go further and have Denji do it himself (because literally, "dogs" refer to Makima's subordinates, but Makima herself is the Chainsaw Man's "dog," and Denji is the specific, special, and exclusive "dog" of Makima. So, when it's time for the "snowball fight," Denji is the one who ultimately acts, but this is a later event. Here, it also hints at the future plot). She must eliminate these people and factors that are outside of her control and plan. "I don't know why, but every time I see that scene, I feel very relieved" - "When I eliminate those who interfere with and affect, obstruct and destroy my plan, I feel secure and at ease." This means that if Makima guards her treasure and drives away the "mice" like Reze who would destroy her plan and steal her precious possession, Makima will feel relieved and secure. This also, from another perspective, reflects Makima's jealousy toward Reze, showing the insecurity and unrest that naturally and unconsciously arose in her heart because Reze gained Denji's affection. It expresses Makima's pathological desire to possess, control, dominate, and protect Denji, and her care, concern, liking, and "affection," which she realized and practiced through mistaken understanding and methods. Then, combined with Makima's seemingly contradictory line at the beginning—"I also like country mice"—we can accurately and effectively understand and deduce Makima's inner thoughts, genuine feelings, and her view and attitude toward Reze. It's similar to: "Although I like you too, I must stop you from going to the rendezvous and prevent you from liking and loving each other, at any cost, using any means necessary." If Makima's intention was merely to say, "She likes mice because she feels relieved when she sees them dead," meaning "she feels relieved and likes the state of things dying," then if that thing (e.g., "mice") didn't exist or appear before her, she should feel even happier and more relieved, which would contradict and be inconsistent with her previous statement, "I also like country mice." If that were the case, her statement should have been, "I don't like country mice; I feel relieved when I see them dead." Furthermore, considering her background and personality, Makima doesn't like killing and death. Otherwise, she wouldn't need to pursue "equality" and "love," nor would she want to find a "family filled with love," nor would she utter lofty, grand, yet pale words like, "I want to use Chainsaw Man's power to erase all obstacles to human happiness in this world and create a better world." After all, "death" is equal for everyone; as long as "death" exists, everyone will eventually face the same equal end. So why would Makima need to use the Chainsaw Man's power to erase the existence of "death," "war," "hunger," and even her own "control"? It's clear that Makima doesn't love "killing" and "death." However, to achieve her ideals and goals, she will resort to any means, not hesitating to use the means and power of "killing" and "death" to clear all difficulties and obstacles from her path. I once saw someone say that "Denji could have lived his life as an ordinary person, without becoming Chainsaw Man; it was Makima who forced him and caused him to become Chainsaw Man." Actually, the story shows that this is not the case. Denji's destiny was always to become Chainsaw Man, and he would only become Chainsaw Man; the difference lies only in which kind of Chainsaw Man he would become. Denji had the power to choose what kind of Chainsaw Man he would be. What Makima wanted to interfere with was simply Denji's choice of direction for the Chainsaw Man he wanted to become. After numerous experiences, Denji gradually realized that he needed and wanted to become Chainsaw Man. What he lacked was a driving force, a convincing, rational, and correct reason and purpose for doing so—the reason for becoming Chainsaw Man, and the self-awareness and judgment of whether this was right or wrong, good or bad, for the overall outcome. It wasn't a question of "should I or should I not become Chainsaw Man." This question is also one of the central themes and plot threads that runs through the entire story of Chainsaw Man. Later, in the School Arc (Manga Part 2), Denji laments, "I realized I always wanted to be Chainsaw Man," but at the same time, he is confused and lost, wondering why he is becoming Chainsaw Man and whether it's a good or bad thing. Every time he becomes Chainsaw Man, bad things happen, or bad things have already happened, which causes him pain. But on the other hand, after transforming into Chainsaw Man, he possesses power and can punish evil and reward good, correcting those wrongdoings, which he finds liberating and satisfying. Was he becoming Chainsaw Man to save humanity and expel devils? Yet, seemingly powerful devils ultimately couldn't harm him in the slightest, and some devils protected and loved him more than they loved themselves. Conversely, the seemingly weak humans he tried his best to protect, for selfish reasons, went to great lengths, using every petty reason and excuse to persecute him. They tried to harm him and his family, even burning down his most precious home right before his eyes—the place filled with memories of Aki and Power, where the only things they left in this world were kept—and then took away the last person he had finally found to hug and love. He fell into this contradiction and self-doubt. This discussion of ideology and theme is also present in Batman. Indeed, Bruce Wayne chose to don the black suit and become Batman because of a series of childhood traumas, including the death of his parents, and his desire to punish evil and reward good. And certainly, if Gotham no longer had crime, he would be very happy and relieved, and he would no longer need to be Batman. However, over time, did he enjoy the feeling of becoming a friend and embodiment of justice, upholding justice, punishing evil and rewarding good, saving others from suffering and danger, galloping through the city, and flying through the sky? He must have. For him, it would be best if he could be Batman while simultaneously having a world without crime, where no one suffered. He dislikes the elaborate formalities, doesn't want to be constrained by secular views, and doesn't want to be limited by backward and antiquated social standards. However, this clearly cannot happen simultaneously—if there is no crime and evil, then he no longer needs to be Batman, and the world no longer needs a Batman. At that point, if he were still Batman, he would be the world's greatest evil. After all, Batman operates outside the law and morality, doing things that the law and morality cannot do, completing tasks and work that the law and morality alone cannot achieve. People will not allow an individual who is superior to them, far stronger than them, and who can potentially determine and influence their interests and survival, to exist and appear—unless there is an absolute necessity. Who would casually want a master placed over their heads? That black suit has been so tightly bonded to Bruce Wayne for so long that it has become his true nature, his true face. The person wearing the mask is the one who has taken off the mask of the secular and reality—that is his true appearance. Even he can't distinguish whether he is Bruce Wayne or Batman; or perhaps Bruce Wayne is Batman, and Batman is him. He is both, or neither is complete—both Bruce Wayne and Batman are merely one of the many faces he exhibits on his underlying nature to the outside world. And Batman needs a Gotham, even a crime-ridden Gotham. Therefore, Batman will not ultimately be confined to that Gotham. If Gotham is gone and crime is eliminated, he will seek the next Gotham. He must find a place where he can realize his ideals and goals—and if he cannot find a Gotham, he will create one himself. This is why he is the "Dark Knight." This is also one of the ultimate questions that all superhero-themed stories, including Superman, will face and explore. |
Sep 30, 7:38 AM
#2
Therefore, Denji's experiences and personality, and the abilities and power he possesses, are bound to guide and push him onto the path of "Chainsaw Man." Denji's becoming "Chainsaw Man" is a certainty, just like Bruce Wayne's becoming "Batman" is a certainty. Similarly, their choice lies in which kind of "mask" to wear, and which kind of "person wearing a mask" to become. In Gotham, and even in the world, there are countless people who wear masks. Some take off their masks and put on a façade of surface hypocrisy; some appear to wear a mask, but it is actually their inner truth. But not every masked person will be a "Dark Knight." More often, they are simply "Jokers" who walk in the sun and light, openly committing vile, petty, or even evil acts. I even saw someone say that "Reze is the only one who liked and only wanted the 'ordinary' Denji." However, the most obvious and undeniable point in the story and plot that contradicts this statement is that if Denji were truly "ordinary," just an "ordinary" person or bystander, Reze probably wouldn't even look at him, let alone think of getting close to him. If she did approach him, Denji would likely be killed inexplicably by Reze, just like countless other genuinely ordinary people in the work. Why did those truly ordinary people in the work have to be killed by Reze? Why couldn't Reze get close to them, like them, as she liked Denji? Or at least spare their lives? Was it because they weren't good enough? Was it because their past wasn't painful enough, or because they weren't trying hard enough now? Was it because they weren't interesting enough, or lively enough? Was it because their souls weren't deep enough, or their personalities not solitary enough? Was it because they couldn't do magic, or because they couldn't say funny things or flatter Reze like Denji? Was it because they hadn't been rained on and visited a phone booth? Was it because they hadn't drunk coffee and visited a coffee shop? Was it because they weren't willing to secretly sneak into a school for a thrilling adventure with Reze late at night? Was it because they didn't want to swim naked in the school pool with Reze out of nervousness? Was it because they refused to watch beautiful fireworks together with Reze on a high slope? Was it because they didn't think Reze was pretty enough, or because they didn't want to kiss Reze? Was it because they had never met Reze? Was it because only Denji discovered and perceived Reze's beauty and uniqueness? What was the difference between them and the "ordinary Denji"? Were they less "ordinary" than Denji? Conversely, why did Reze like Denji? Was it because of Denji's "ordinary" nature, the fact that he was nothing beyond the Chainsaw Man identity? Did Reze like people who had nothing, and that empty, hollow feeling? There are countless people like that in this world. Moreover, before two people understand each other and know any information about the other, they are essentially unknown to each other. In other words, from the other person's perspective, they are starting with nothing, empty, and only gradually, through the process of getting to know each other, are more colors added and painted onto that blank space, either subjectively or objectively. Wouldn't that imply that Reze could like anyone? Is that true? If Reze had that kind of personality, behavior, and attitude, would her romance with Denji be so deeply unforgettable for readers? On the contrary, it is precisely because Reze wouldn't genuinely like just anyone, because she constantly hid her inner self and had never met anyone who could truly make her open up, take that step, or even run toward him, revealing her true self and wanting to say, "I haven't been to school either"—it's because she met Denji, and as their understanding and recognition gradually deepened, and they went through those setbacks, hardships, and pains, she slowly realized her inner feelings and emotions, constantly opening her heart, undergoing a dramatic emotional and cognitive change and reversal, that their relationship makes readers feel such deep sighs. To say that Denji is "ordinary," to think Denji is "ordinary," and to believe that Reze liked the "ordinary" Denji, is merely wishful thinking and hypocritical self-deception. Even by backward deduction from the actual outcome, it's not hard to see that Denji, who could be genuinely liked to such an extent by Reze, could absolutely not be ordinary. From the most core and fundamental logic and thought process of literature and language, based on the definition and explanation of the word, and on the level of expression and communication, this already fundamentally contradicts and clashes with "ordinary." Even more broadly, when a subject is connected to predicates, adverbs, or adjectives like "genuinely likes," "loves each other," etc., which express an extremely positive conscious color on the subject's subjective level, and are paired with an object noun, then that object noun will never be "ordinary." The object noun's attributes will never include "ordinary" and will certainly be opposite to "ordinary." At the very least, while this might not be objectively true or hold from another's perspective, it is necessarily true from the subjective perspective of the person initiating and causing the thought or action. Simply put, if someone is "ordinary," why would they be especially and genuinely liked? If someone is especially and genuinely liked, then how can they be "ordinary"? Isn't this an obvious flaw in language, a contradiction and clash, a logical and cognitive fallacy? If there is no "comparison," or even a "comparison" with the "majority of individuals," how can one conclude "special" and "genuine"? If a comparison exists, and an individual wins the comparison, then how can they be called "ordinary"? It is clearly evident that such an individual cannot be "ordinary"; at the very least, they cannot be absolutely "ordinary." Here's an imperfect but easy-to-understand example. A person falls in love with another who, objectively, is full of virtues—for instance, they are talented, morally upright, good-looking, and have a high income. When asked why they like this person and why they are with them, they only reply, "Because I find them ordinary; I just want to be with an ordinary person." Isn't this self-deception? If the person is so ordinary, why choose them specifically? Why not choose someone else? Isn't this being dishonest with oneself and self-deception? The answer is obvious. Finally, let's look back at the crucial, opening, and guiding title of the first chapter of this work, and we can find its brilliance. The first chapter's title is Dog & Chainsaw (or Chainsaw & Dog). On the surface, this title is easy to understand and seems to have no other meaning or purpose. But after reading the entire story, it's easy to discover the hidden foreshadowing. The "Dog" superficially refers to Pochita, as he first appeared in the form of a pet dog. The "Chainsaw" can be extended to mean "the person holding or using the chainsaw," which refers to Denji. The content of the first chapter corresponds to the story of a small Devil-Dog meeting a boy cutting wood with a chainsaw, and the two living together, relying on each other. Later, "Denji" became "Chainsaw Man," so the "Chainsaw" in the title can also refer to "Chainsaw Man." As the plot develops, we discover that this interpretation is inaccurate or incomplete. After all, the entire work revolves around the three main characters: Pochita, Denji, and Makima. The most obvious part is that since "Denji" became "Chainsaw Man," and "Pochita" is the "Chainsaw Devil," and Denji said when he first met Makima that he wanted to "hug" and "be Makima-san's dog," and Denji's various behaviors are very much like a "dog," wouldn't the title's meaning become "Dog & Dog" or "Chainsaw & Chainsaw"? We know the first interpretation was derived from gradually substituting the characters into the corresponding nouns, and then extending and inferring the meaning. For example, if "Dog" refers to Pochita, then "Chainsaw" refers to Denji as Chainsaw Man, because Pochita, who is always by Denji's side, is always in the image of a cute little dog. By the same logic, if we substitute Pochita into the noun "Chainsaw," interpreting it from this perspective (since Pochita is the Chainsaw Devil), then who would the "Dog" be? Clearly, in that case, the "Dog" should be Makima. Makima, who constantly chases the shadow of the "Chainsaw Devil" and wants to be consumed by him, is like a "dog." Furthermore, Makima's various behaviors and characteristics also correspond to a "dog." Thus, if we substitute Denji into the noun "Dog," we can conclude that Makima corresponds to the "Chainsaw." This suggests that Makima and Pochita are similar kindred spirits in all respects, and Pochita and Denji are also similar kindred spirits in all respects. The significance and function of this title is to hint at the "Holy Trinity" in the design and creation of these three characters, in the plot structure, and in the story's development. And as a bookend that corresponds to the first chapter's title, Dog & Chainsaw (or Chainsaw & Dog), the title of the last chapter of Chainsaw Man Part 1 is I, Love, Chainsaw (or Love, Love, Chainsaw). In the final moments of Chainsaw Man Part 1, Denji is seen tightly embracing Pochita in a dream (consciousness world). After his conversation with Pochita, he sleeps soundly while tightly embracing Nayuta (Makima) in the real world, filled with love. The titles of these two chapters are extremely clever. In the first chapter, when only Denji and Pochita were relying on each other, the title was Dog & Chainsaw (or Chainsaw & Dog). After Denji and Pochita experienced everything, Denji gradually understood what "love" was and knew what he should do. Then, three people were relying on each other and living together. The title corresponding to this plot point is I, Love, Chainsaw (or Love, Love, Chainsaw). The previous "Dog" became "Love," and an additional "Love" was inserted in the middle. The "Love," "Love," and "Chainsaw" here refer to Pochita, Nayuta (Makima), and Denji—it is the "love" in their hearts, as well as the actions taken out of "love" on a physical level, one hidden in the heart, one expressed externally. It implies that they are all "Chainsaw" (i.e., people who appear sharp, have teeth, are not easy to approach, are prone to hurting those around them, but are gentle and kind-hearted, unable to receive or give hugs, like Edward in Edward Scissorhands). It also implies that they are all "Love," that they have all become aware of and recognized true "love," that they all possess and have received "love," and that they have all received and embraced each other. And it is no longer "and," but "multiplied." They are a complete entity, a family full of "love." It is like the story of two people who came together at the beginning but had not yet formed a family, and through everything they experienced, they finally became a loving, complete family of three. At the beginning of the story, Denji was more like a child, a homeless child—his father killed by him, his mother having died from illness. By the end of the first part of the story, Denji is more like a parent, a parent who has established and possesses a family, who manages and develops the family with the other person, and who cares for and raises a child. The title also hides a homophonic meaning, a meaning spoken by the characters to each other in the play, by the readers to the characters and the work as a whole, and by the author and editors to the readers, supporters, and enthusiasts: "I (Love) love Chainsaw!" |
Sep 30, 9:48 AM
#5
| the characters I'd say that actually loved denji were aki, power,nayuta, and for intimate id say reze |
Sep 30, 10:18 AM
#6
| pretty sure the manga makes it clear that she likes Chainsaw man, not Denji |
Sep 30, 10:51 AM
#7
| the manga already made it clear that makima loves chainsaw man aka pochita and not denji |
Sep 30, 10:57 AM
#8
| Im guessing you didn't read the manga. She was never in love with Denji. In fact she never really saw Denji in general. She only saw Chainsaw man. So to your question, the answer is No. |
Sep 30, 11:00 AM
#9
| For Reze, she started out the same as Makima wanting to control him for the benefit of chainsaw man. It was only toward the end she realized that she likes the person Denji is and thefore why she tired to run away with him at the end of the arc. |
Sep 30, 11:08 AM
#10
| No. She only loves Pochita. Hell she mainly only recognised and acknowledged Pochita, she’s basically a Pochita fan girl. |
Sep 30, 5:13 PM
#11
| gjgghgggtyufdddt675bbbb |
Sep 30, 7:59 PM
#12
| Its like gov love all of us😂😂 |
Oct 1, 2:09 AM
#13
| Easiest poll question ever! I assume the yes votes are people who have not read any Chainsawman. |
Oct 1, 5:02 AM
#14
| You know how you can tell nobody has clicked on the spoiler tag and the original post? Because nobody else has commented on how fucking insane that rambling manifesto is. |
Oct 1, 6:35 AM
#15
| To those six people who chose yes: Did you guys actually READ the manga or just looked at the pretty pictures in it? |
Use your brain before using your keyboard!  |
Oct 1, 8:04 AM
#16
| You must be very early on if you believe that lol because I haven’t even finished part 1 and it’s very clear she doesn’t |
Oct 2, 12:45 PM
#18
bahimiron said: You know how you can tell nobody has clicked on the spoiler tag and the original post? Because nobody else has commented on how fucking insane that rambling manifesto is. Like yeah , I was two paragraphs in, and he practically contradicts himself by imagining an idealized version of Makima and rambling about it |
Oct 2, 2:28 PM
#19
| The whole point was that she never loved him, but on top of that, never even saw him in the first place. |
Oct 2, 5:35 PM
#20
| manga reader here, she does not |
Oct 4, 11:19 AM
#21
| makima love chainsaw man, not denji, and at the end of the first arc, we understand that makima don't really see the people but smell them and when denji is with she, she don't smell denji but the chainsaw man's Heart and its thanks to that that denji success to kill makima. |
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