Manga

Whilst the series "Chainsaw Man" has much in common with other shounen action series, it also appears to be trying to make some sort of spiritual point. The frequent invocation of devils and the Four Horsemen, for instance, seems to be drawn from Christian theology. It is also possible to read Denji as a Christ figure (whose friendship with others causes them to become better versions of themselves) and Makima as a Satanic figure (who wants to bend the entire world to her will).

On the other hand, Christianity does not appear to be the only influence in "Chainsaw Man." For instance, Denji may be less a Christ figure per se than a generic "savior" figure, similar to Neo from "The Matrix," who has his roots in multiple religious traditions. Moreover, there are actually some interesting parallels between Makima and the way certain atheists understand the God of the Bible: namely, as a sort of controlling, wicked stepfather.

What spiritual dimensions can be found in the characters and setting of "Chainsaw Man?" Is there any influence of traditional Japanese spirituality, such as Shintoism or Buddhism, and if so, what does it consist of? Are any of the spiritual references in the series deliberate, or are they purely aesthetic?

The successful manga Death Note by Tsugumi Ohba is about what if one person (the main character Light Yagami) could kill anyone they wish by simply writing down a name.

Since that’s how the Death Note works, *spoilers* it isn’t surprising that Light loses not only his life but also any compassion he had towards the people he personally knew, including his own family.

As a result, the story of Death Note shares possible connections to the philosophy of nihilism by Friedrich Nietzsche.

Analyze those connections in the Death Note manga to nihilism’s definition and practice. Include also how Death Note has been mistaken like nihilism (link) as something to literally follow in real life (link)

Please note that this topic doesn’t focus on the Death Note anime/show but the original Death Note manga only (i.e. where Light was told early on that there is nothing after death by his Death Note’s shinigami owner.) Therefore, that aspect of the Death Note manga connects back to nihilism as an example since nihilistic belief is also about there being no afterlife.

Taking a look at manga, the most striking feature is the art style of the mangaka. It’s often quite impressive to see how some mangaka are able to put up with weekly/monthly publications while still keeping their art consistent. One aspect of manga, or any graphic novel, that is often overlooked is how a page is paneled, or laid out. Good paneling is striking, and it elevates what is being depicted in the art. I think of Tatsuki Fujimoto, author of Chainsaw Man. Despite only having a limited number of pages a week for part one’s run, he wasn’t afraid to dedicate so many panels to the mundane, which is ultimately the core of Chainsaw Man.

Happiness is a vampire manga by Shūzō Oshimi. While on the surface it is a supernatural story it delves quite readily into not just other genre conventions such as science fiction body horror and coming of age romance, but examinations on the very concept of humanity, the nature and purpose of suffering and if meaning can ever truly be garnered from horror.

The protagonist is spared from death on the whim, his friend and his friend’s lover, not to mention her family, are much less fortunate. The protagonist and his love interest are subjected to grotesque trials for 50 years only for them to escape and resolve to live apart from humans, which begs the question, both textually and metatexually, what was the purpose of this?

Japanese manga in particular has cultivated a global fanbase while pushing creative boundaries regarding representation. Pioneers like Takemiya Keiko and Yamaguchi Ryoko crafted yuri narratives in the 1970s that tenderly portrayed girl-girl affection, cultivating an early queered fandom. Meanwhile, boys’ love genres like shonen and yaoi emerged independently, generating unprecedented gay male visibility. Works like Junjo Romantica continue building international audiences by frankly engaging queer themes formerly taboo.

It would prove illuminating to analyze narrative and stylistic choices within such genres, tracing artistic evolutions alongside shifting sociopolitical climates. For instance, one could investigate changing visual vocabularies surrounding gender non-conformity and transitions in works like Wandering Son or My Brother’s Husband (Satonaka, 2015; Kizu, 2019). How do illustrations of intersectional identity negotiate complex subjectivities in sensitive yet nuanced ways?

Considering cross-cultural reception and fandom practices could reveal much about globalizing queerness. Platforms like Tumblr incubated vibrant transnational online communities thriving on manga appropriations and translations. Exploring community formations through this digital lens may untangle dynamics of inclusion, gatekeeping and cultural exchange that broaden representation’s reach.

Manga provides a rich unconventional text through which to interrogate identity categories’ fluidity. I hope unpacking its stylised disruptions alongside real-world activist campaigns against increasing intolerance proves a thought-provoking avenue for collaborative study.

Analyse the advent of "fast media" that has become so popular in recent years – especially in fast moving societies like South Korea. I live in South Korea, and one thing I have noticed is when I get on the subway people are scrolling EXTREMELY fast as they engage in a media called "Webtoon (웹툰)". This media is like a comic book that has been specifically designed for fast digestion and optimised for access on a mobile phone. You could write an article that explores why people are interested in this kind of media (Webtoons, Youtube Shorts, TikTok etc). How does this type of media differ from longer and "slower" forms of media? (E.g. Books, traditional ways of engaging in media like with a TV or at home). You could even briefly discuss the effect this "fast" media has on the brain or mental health (stress, instant gratification and high dopamine). It doesn’t have to be only on South Korea, I’m just emersed in the unique culture and think there is enough for a case study (Think about high work hours, education system – Hagwons, generally a fast-paced society etc).

Though I am personally unfamiliar with the larger catalog of examples available, there seems to be a hit-or-miss quality to Manga transitioning to live-action shows and movies. It seems on average the live-action shows that are not action based are able to capture the essence of the original work. As an example, Netflix’s "The Makanai" is based on a Japanese manga named Maiko-san chi no makanai-san, first published in 2016 by Aiko Koyama and has been praised for its accurate representation. In contrast, Oldboy and Dragonball flopped both with critics and the original fans. Is the ability to transition these works to screen dependent on the source genre, the director/script, or on trying to reshape it to appeal to a western audience? It seems the more gentle, low-risk mangas succeed in adaptations whereas action mangas fall short. Is this a cultural failing or an industry failing? And if they were adapted more accurately, would they succeed to a global audience?

Shooting the shaggy dog refers to a bleak ending at the end of a drawn out story. Doing so can create a sense of realism as seen in movies like Chinatown but can also create a sense of apathy in the audience if every turn makes the world worse and the the stories conclusion is just more of that.

For the writer, the Manga Gilgamesh is a pure example of shooting the shaggy dog. The plot is a world of darkness and depravity and the story’s conclusion leaves off with the question what was all of the suffering for? What was the purpose of the story if the ending doesn’t just drive home the point that the world is bad, but makes it clear that it can never be good?