Video essayist F.D Signifier has made various videos about what he calls edgelord movies—media featuring cool lone-wolf heroes—and the way they interact with the portion of their fanbase that consists of a male, mostly white viewers drawn to their depiction of masculinity. Fight Club, The Matrix, Joker, and even something like Attack on Titan all count towards this. They’re fascinating watches, and well worth checking out.
At the end of his most recent video (see above), he comes to a striking conclusion: Attempts to address edgelords through edgelord media are probably in vain because there will always be a part of that audience who will just remember the badass stuff and ignore (or not even notice) the criticism. To make an edgelord movie, you need edgelord moments, and that is what a particular type will gravitate towards. If you make violence look cool, that’s what some people will remember above all else.
I can definitely see where F.D Signifier is coming from. But despite my sense that he might very well be right, I’m going to toss in my suggestion for an edgelord title that I think is the most likely to reach that audience and drive its criticisms home: Chainsaw Man.
Fujimoto Tatsuki’s manga Chainsaw Man centers around Denji, a destitute boy who does menial tasks for gangsters and dreams of 1) losing his virginity 2) eating bread with jam. Through an odd confluence of events, he gains the power of the Chainsaw Devil and becomes Chainsaw Man, with a chainsaw for a head and chainsaws on his arms…and also he can just make chainsaws come out of his body. The series is crass and ultra violent, and Denji acts as this powerful hero who breaks all the rules.
Except, where other edgelord fiction might leave any revealing commentary about its protagonist to the end (Fight Club, Attack on Titan), or couch its transgressive politics in imagery and metaphor (The Matrix), Chainsaw Man constantly juxtaposes the “sigma male” qualities of Denji with his own pathetic nature. Rarely does a badass scene or arc take place that isn’t immediately cut at the knees while the series questions that badassery in the first place. While it’s still possible to ignore Denji’s sadder qualities, Chainsaw Man really throws it in the audience’s face over and over again. There are even times where Denji himself explicitly expresses frustration over how shallow he can be, and how he often wishes he wasn’t that way.
I don’t have any empirical evidence that Chainsaw Man has reached anyone in the manner I’ve described. In fact, I often see the opposite, as parts of the Chainsaw Man fandom concentrate on refracted pieces instead of the whole: the brutal violence, the character Makima’s domme aesthetic, general wackiness, etc. But while at least a chunk of that audience might never learn, the series itself continuously pulls apart its own power fantasy only to put it back together and then tear it up again in a continuous cycle. It never relents, and I think that persistence could pay off.
Ishikawa Hideo is a veteran voice actor who has been in anime since the early 1990s.His famous roles include Ryouma in the Getter Robo franchiseand Uchiha Itachi in Naruto.
I know you best for the role of Ryouma in Getter Robo, and you’re only one of two Japanese actors to play the character of Ryouma in the Getter Robo series. What was it like auditioning for the role, and did you look to the performance of Kamiya Akira for reference or inspiration?
Initially, I took this audition for the role of Hayato. I didn’t get Hayato, but I was asked if I’d be interested in Ryouma, and I accepted it.
In that very first anime I was in, Change! Shin Getter Robo, Kamiya-san was involved as a narrator. We already knew each other previously, but when I got the role and I met him again, Kamiya-san said, “You’re playing Ryouma? Good luck! I’m entrusting it to you!” so I was very nervous, having had that initial conversation with him.
I knew Kamiya Akira-san’s Ryouma well, of course. His yells when launching special attacks left a lasting mark on my childhood. Naturally, I was conscious of Kamiya-san’s version in mind when playing Ryouma, but one of the staff told me to forget about Kamiya-san’s. Still, there’s no way I could forget his Ryouma, so I still had it in mind when I was performing.
Do you have any advice for voice actors that have to scream a lot, given that the role of Ryouma requires a lot of yelling?
I can only say, “Take care of your voice and throat.” Lately, I’ve been seeing an increase in anime that require more screaming; looking at that, I get a little worried. “Are they taking care of their throat and voice?”
You’ve played many different Ryoumas as a result of your involvement with Getter Robo. Is there a version of Ryouma who’s your favorite?
I was a part of Shin Getter Robo, Shin vs Neo, New Getter Robo, and Getter Robo Arc—four works in total. Of them, my favorite is New Getter Robo.
Did you ever get to meet Nagai Go? If so, what was it like getting to know him?
I met him on a job unrelated to Getter Robo, which was Re: Cutie Honey. At that time, I told him that I had played Ryouma previously. It was a real honor. I told him that I’ve been a fan of his since I was little.
Did you also get to Ishikawa Ken as well?
Yes, Ishikawa-sensei came to the recording.
I’m going to pivot a bit, since you’re here for Final Fantasy. You’ve played different roles throughout the series: How does it feel to be associated with so many different characters in Final Fantasy?
For me, I think it’s a positive thing. It’s great that I can represent so many roles and the lives of so many different characters. That has been the biggest joy and also a challenge, and a lot of thought goes into it.
I want to go back to the topic of Ryouma again. You said the New Getter Robo version is your favorite. Why is that?
To be honest, it’s because Ryouma is the main character in New Getter Robo. In the previous works, he wasn’t. Because Ryouma was the lead, I had a very different approach to the work, and really enjoyed the fact that the story proceeded with Ryouma as the core.
I want to ask you about another character of yours: Itachi in Naruto. He’s one of the most popular characters I’ve ever seen in anime—you can see it among the cosplayers. I even told an Itachi fan yesterday that you’re here, and he was so surprised.
When did you learn the truth about Itachi’s character, and how did it inform your performance as a result?
Actually, I wasn’t told anything about Itachi’s past and how he cares for his brother—I was just asked to play this scary villain. Then, during Naruto’s run, the chapter that revealed the truth was released, and I was shocked just like others when I read it. “Whoa! Itachi was a good guy all along?!” From there, what I had in mind when playing the character of course had to change. Even so, all the way through, I still went with Itachi as performing the part of the villain because of how that fuels his little brother Sasuke’s hatred for him and desire to live on.
Is there any role of yours that you’re proud of that’s lesser known that you want fans to know about?
That’s a tough question! I don’t know if this is considered “lesser known,” but I saw an Otakon staff member who’s wearing a shirt from Senki Zesshou Symphogear, and I was wondering if it’s been streamed more and is more popular in America.
I know the fanbase isn’t large, but it’s very loyal. On social media, I see people who say that it’s their favorite show ever—that it’s their favorite anime, period.
On Nov 29, 2024, hololive Japan VTuber Sakamata Chloe announced on her third anniversary that she would be ceasing her streaming activities with hololive at the end of January. As a Day 1 fan of her generation, holoX, I wanted to give her a proper send-off with a nice farewell post on this blog.
Then the next day came, and with it a second major bombshell: Ceres Fauna of hololive English’s Promise announced that she will be graduating from hololive at the beginning of January.
So as much as I would have preferred to write two separate pieces that shine the spotlight on each of them separately, these two departures feel so closely linked together that talking about one inevitably brings thoughts about the other. Consequently, I write this in the hopes that it can be both a celebration and a thinkpiece.
Looking at the Orca and Kirin
Sakamata Chloe and Ceres Fauna lore and approaches to VTubing are different.
Chloe is an orca, and has been the “cleaner and intern” of Secret Society holoX, an organization ostensibly aiming for world domination. Based on her initial design, she seemed the most serious and mysterious of holoX, only for her to debut in the silliest way possible.
She’s known for her amazing and versatile singing voice that can switch from cute to sultry, her cheeky banter, her aversion to bathing, and her lack of prudence when it comes to things like fanservice (which her fans obviously love).
Fauna is a kirin and the “Keeper of Nature” for a Council of primordial forces, before engaging more directly with humanity as part of hololive Promise. At first, she seemed like a nurturing “mother nature” type, but almost immediately revealed a mild, yet noticeable yandere undertone to her personality that eventually gave way to a cursed sense of humor.
She’s synonymous with ASMR aided by her incredibly soothing speaking voice, serious gamer attitude that pops up at unexpected moments, and an Extremely Online Millennial sensibility that makes her ramblings endlessly entertaining.
But despite their differences, the two have some things in common that make their decisions to leave almost parallel each other. Their respective generations both debuted in 2021, a little over three months apart. Although Chloe was the fastest in holoX to hit one million subscribers on Youtube and Fauna still hasn’t hit that milestone, both are known for having an impressively large and consistent viewership, with very few peaks and valleys. Both have a knack for “piloting” their virtual selves in ways that make them feel more natural too. Also, in my opinion, their character designs are among the most beautiful in hololive, and were the ones I initially gravitated towards prior to their debuts.
I bring up their similarities and differences not simply to compare the two, but to emphasize that both of them feel like consummate ideals of VTubers in their own ways, to the extent that their decisions to leave have been real shocks. Granted, one of hololive’s strengths is the way that each and every one of their talents feels like a pillar of the company in their own unique ways (be it through content, longevity, reach, support behind the scenes, etc.), which makes every exit feel like a big loss. In addition to having two back-to-back announcements, there’s also the issue that three years is both an eternity and a drop in the bucket in internet years. They’ve been around long enough to become part of viewer’s lives in significant ways, but then it feels like their careers were only just beginning.
Circumstances
Chloe mentioned having to deal with ongoing health issues, the workload, and wanting to go a different direction than the one hololive is taking. Fauna cited disagreement with management as her reason, and specifically stated that she liked singing and dancing for the crowd as if to kill the idea that she hated doing idol stuff. Almost inevitably, there’s been a lot of catastrophizing and speculation as to what exactly this all means, and in response, a number of other talents (like Bae, La+, and Shiori) have given their own thoughts, reassuring fans that they are relatively happy and comfortable with being in hololive currently.
My feeling is simply that there’s one priority above all else: making sure these people behind the VTubers can live in ways they don’t regret. They are the core and backbone of hololive, and to neglect them would damage everything, including but not limited to their bottom line. Whether that means allowing talents to leave on good terms or changing things within the company to keep them from burning out or damaging their health, everything in their power should be done to make sure hololive is not the end of their careers for the wrong reasons.
In this regard, I can’t help but also express concern over Kazama Iroha, who has had to go on hiatus because she’s completely lost her voice due to stress. A part of me worries that the increasing expectations for hololive members— regardless of whether those expectations might be from the company or externally from viewers—risk encouraging a form of ableism in VTubing, a field that has been great for people with disabilities and other health problems. The concerts are among my favorite parts of hololive, but I don’t want them to happen at the expense of the talents’ wellbeing. If safeguards are in place already, then great. If not, I hope they get some.
Cheering ’til the End
I come away from all this largely with fond memories of all the great times I’ve had watching both Chloe and Fauna. For Chloe, the first things that come to mind are all her 3D specials. There’s her getting pelted with fish during her 3D debut, her duet with May’n, and her performance of “Jouya Repaint” with all of holoX at 4th fes, among others. Chloe’s voice is one in a million, and I hope she keeps it safe for her own sake.
For Fauna, the personal highlights are a bit more varied. Of course there’s all the excellent ASMR, but her April Fools 2009-era Minecraft stream (complete with crunchy audio/video quality, awkward mannerisms, and up-angled webcam) is an all-time great. I also can’t say enough about her performance with Shiori and Nerissa at Breaking Dimensions, as well as how Fauna’s “Stay with Me” showed just how much training she’s put into singing.
Something else Chloe and Fauna have in common is that their respective lore each allows for goodbyes that create interesting stories. Chloe could move on from her holoX internship to a bigger “job” elsewhere. Fauna has implied that she’s actually an usurper of the true Keeper of Nature (her mascot character Nemu), and maybe Nemu could take back her rightful place.
I hope that wherever they land, it’s someplace they can thrive and do what they want at a pace comfortable for them.
Delusional Monthly Magazine feels like a show that, by all rights, shouldn’t exist.
When I was first getting into anime, one of the selling points was simply the way it contrasted with American cartoons. Instead of cartoony mascot characters, it had cool-looking humans and fantasy races. Instead of silly stories that resolved more or less in one episode, anime featured ongoing epic storylines. And instead of incompetent antagonists, you could see villains who took lives and struck terror in their victims. While this is not an accurate description of anime as a whole, it was definitely a common sentiment at the time.
But Delusional Monthly Magazine is like an anime homage to 80s–90s American cartoons, the kind of thing you’d see on a weekday afternoon or Saturday morning. If you put it next to He-Man, Teenage Mutant Ninja Turtles, some version of Scooby-Doo, Bionic Six, Mummies Alive, Road Rovers, or any number of shows that typically get reviewed by Secret Galaxy, it would hardly look out of place. And I don’t even mean that the show is reminiscent of these series at their best, like when they have magnificently animated openings. Rather, Delusional Monthly Magazine often calls to mind the sillier episodes where the budget wasn’t so hot.
Warning: Spoilers for the entire series.
In the world of the show, the eponymous Delusional Monthly Magazine is a periodical dedicated to exploring the occult, and its entire staff consists of a bunch of weirdos. Their newest recruit is Goro, a researcher who’s obsessed with the long lost continent of Mo (not Mu), and who sets them on a path to discovering relics that may be clues to finding the Mo Continent. They have to compete with the mysterious White Pegasus corporation, who’s also looking for Mo relics called MOParts (a play on OOPArts), but when one relic comes into contact with Taro, the girl-starved perpetual slacker on the team, he transforms into a massive tiger man straight out of Thundercats. Not long after, allies and enemies alike discover the ability to turn into these “Motarian” beastmen, and they clash in varied and often ridiculous ways.
When I say ridiculous, what I mean is that the plots are straight-up Shredder-and-Krang affairs. They even have two Motarian beast goons not unlike Bebop and Rocksteady, albeit with more effeminate features. The bad guys set up a fake cruise ship dating service to steal the MOParts. The good guys try to deal with an actor possessed by a relic that makes him ruin every performance he’s in, and Taro in tiger form does a doubles’ figure skating routine. One of the characters, a 10-year-old with healing powers, turns out to have been a bull-form Motarian prince. A sudden dog show that’s more of a dog triathlon includes a dance section, where the crew’s weirdly anthropomorphic shaggy dog (and not in the furry sense like with Taro) busts a move. Also, the dog is actually a reincarnated Motarian human bard, and there are some mild BL elements too.
Given all the above, it’s as if Delusional Monthly Magazine is a Japanese animation that embodies all the qualities that anime was supposed to stand in contrast to. Is that good? Is that bad? It almost doesn’t matter because the mere fact that we have a show like this to watch is like a miracle in and of itself. I constantly found myself questioning how any of this could be real.
Even the climax of the series itself feels like the way a long-running and episodic TV cartoon or a 90s anime that got popular in the West would do a season finale. The mostly frivolous stories make way for a very sudden and dramatic double-triple twist. First, we discover the quiet boss lady who owns the magazine was once a scientific prodigy who was ostracized for declaring that the Mo continent was real, and that she is actually a reincarnated Motarian. Second, she was very close friends with the leader of White Pegasus, who was also a scientist. Third, she’s actually the villain of the series, and wants to revive the Mo continent to use its doomsday weapon to wipe out humanity. The heroes win the day, and the show gets to provide some basic closure that works both as an ending (should it not be renewed,) and leaves open the possibility of continuing.
Delusional Monthly Magazine has a very intentional retro feel, to the extent that the show itself makes a joke about how its episode titles are reminiscent of the dramatic and sometimes spoilerific episodes titles of older anime. But it’s one thing to call back to a previous era, and another to structure your entire show in a way that not only leaps back in time but reaches across the ocean to capture the attitude of a certain era of American animation. In anime fandom, we throw words like “weeaboo” around to describe people obsessed with Japanese culture, and this feels like the other side of the coin.
The creator of Delusional Monthly Magazine, Umatani Ichigo, is credited with just one other work: a property called Remote ☆ Host, which seems to be about rival host clubs that broadcast remotely? I’m not entirely sure and would be interested in knowing more about it. The reason I looked this up is because I was hoping to get some insight into whatever mind brought this to fruition. I couldn’t find any answers, and I don’t know how much the director and writer played a part in making such a bizarre work. Whatever the reason, we have an anime that defies expectations.
To say I’m disappointed in the direction the world is going is an understatement. But this is the position we find ourselves in, and I hope that we can fight for and support marginalized communities who risk having their human dignity (if not their lives) taken away. I vacillate between hope and despair, but I want to believe that I and others can both endure what’s to come and take action to make things better where we can.
I sometimes wonder if I should be more out front, if only to counter the caustic image of anime fans that has entrenched itself on social media. There are a lot of willfully ignorant people out there who want to present anime and manga (and by extension Japan) as this purely conservative (if not outright fascistic) wonderland, and I just hate the fact that “anime profile image” has become synonymous with “rank asshole.” Maybe it’s too little, too late, but still.
As a reminder, if you’re supporting me on Patreon, you’ll save by not subscribing on iOS. The fees are not small, and I hope you don’t get cheated out of your money.
The one-two lunch of Sakamata Chloe and Ceres Fauna leaving hololive brings a lot of thoughts to mind. I want to write about them both, but I’m not sure exactly what I want to say, or how to say it.
I want to preface this month’s Kio Shimoku Twitter Highlights acknowledging the recent exodus of Twitter users. There’s always a chance that the site might go under, which would make a lot of these posts hard/impossible to read. While it would make sense to take screenshots, a lot of Japanese artists are not comfortable with that, so I’ve been using quotes all this time to avoid any potential issues (and also to save time).
My compromise has been that I try to make my tweet summaries useful to read even if the tweets themselves disappear. Hopefully it’s enough.
Kio really likes the new Ranma ½ anime. It’s not a total copy of the original manga, but it captures what makes the series interesting.
He recalls how Ranma came out after Takahashi Rumiko had achieved her “perfect form” from working on Urusei Yatsura and Maison Ikkoku, and that Ranma was good from the start.
Kio decided to start re-reading the manga Pandora in the Crimson Shell: Ghost Urn because the series ended. He remarks that the satisfaction he gets from reading manga is amazing.
The author of Pandora in the Crimson Shell, Rikdo Koshi (of Excel Saga fame) thanks Kio, and talks about how he was inspired by the cosplay in Kio’s work. Kio says he’s the grateful one because he got to read Rikdo’s work.
Kio’s art is included in a illustration collection to celebrate the 15th anniversary of the manga magazine Rakuen: Le Paradis. It will be on sale at Comitia 150.
Kio went to VOTOMS Model Exhibition 2024. To him, nothing beats seeing this stuff in full three dimensions, and he particularly admired the work of modeler Aihara Yoshiyuki.
Kio had to do a factory reset on his PC last month, but when he tried to re-download his saved assets for Clip Studio Paint, it didn’t work for some reason.
For the Rakuen artbook, Kio went back to using analog tools after 17 years away from them. This is why he was looking for his old supplies back in September.
The Part 2 DVD for the Vietnam special of How Do You Like Wednesday? Kio did not originally watch this as it aired, but because this was seen as the final HDYLW special at the time, watching it now brought tears to his eyes.
When he was little, Kio used to draw overhead diagrams of his own model hobby shop that included all the Gunpla he wanted but couldn’t buy. He would then pretend that his Kinnikuman and kaiju erasers were customers for his shop.
Kio elaborates on his childhood dream of owning a model hobby shop in his art book interview. He then calls the tweet an advertisement that happened naturally.
I’ve been thinking more about one peculiar quality I see in the VTuber community: the extremely insular humor from the fans.
Sometimes, humor is meant to be broadly accessible, such as how a good stand-up comedian will deliver a joke with proper setup so that even a first-time audience can understand it. A lot of actual VTubers are also skilled in this regard because part of their goal is to grow their community by appealing to new viewers. However, from the fandom side, many things considered funny begin with what is the common refrain of the in-joke: “You had to be there.”
As a hypothetical example, a VTuber might have a four-hour stream, where halfway in, they mispronounce a word in a humorous manner. This might then get clipped into a concise form. From there, it becomes the subject of a hastily photoshopped image, and then another, until it’s so abstracted from the original that it’s nearly impossible to understand for anyone who isn’t in the know.
That’s not to say that this makes such humor objectively bad—there are plenty of VTuber memes that I myself find hilarious. But I also understand that I had to have been watching enough to attune myself to the wavelength of that humor. Unless something is general enough, it’s hard to create new fans when everything looks strange and obtuse.
The interesting thing about all this is the fact that it’s like a marriage between two popular forms of nerd humor—references and image memes—without fully possessing the traits of either. References are often practically reverent to the original source, either some combination of a knowing nod to a quotable line or perhaps a show nudging and winking while essentially saying, “Hey! Remember THIS?” Image memes are often so divorced from their original sources that they take on a life of their own far removed from however it began. But VTuber fan humor is both reverent and transformative, combining the best and worst of both worlds. It’s like Simpsons “steamed ham” memes, only restrained in specific ways to make it grow back in on itself and create an insulated shell.
Take all this as a very light criticism of the fandom. Humor is subjective, after all, and there’s nothing inherently wrong with jokes only understood by those who have the proper context. Ultimately, I think it just means that the VTubers themselves are the ones to bring people down the rabbit hole. Maybe that’s not such a bad thing.
Streaming is the norm now. Many media works even exist solely on streaming platforms. And as more of them get removed without any physical media, I start to think about how late Gen Z/Gen Alpha will remember the shows and movies they love. In fact, I wonder if history will repeat itself, and whether the kids of today will feel similar to how I felt as a 90s kid on the internet.
When I first began going online, downloadable video was not especially common, and stable streaming in the vein of YouTube or Netflix was simply not a thing. In this environment, it was a dream to find fellow fans of the things I loved, and I have fond memories of those days. It also meant that when it came to older cartoons and other works that failed to make a big splash, fandom was experienced indirectly—through fragments, memories, and derivative works like fanfic. Over time, as sharing video became more feasible (better quality, larger storage space, faster internet, etc.), we started getting to actually see these things we might only vaguely recall having watched as children. Sometimes, there might actually be an official release.
But now we have an industry de-prioritizing physical media. We also have a generation that apparently doesn’t know how to search for things, and search engines that are increasingly useless. And even the literal Internet Archive is constantly under fire. It feels like everything is being fragmented again, as the children and teens’ favorite shows become inaccessible to them. Perhaps they will have to work off memories within fan groups to share and express their passion.
Granted, the internet itself is very different from 25 years ago. People are perpetually connected, and kids grow up in a world where easy access is the norm for much of the world. Instead of screenshots of questionable quality, clips are the norm. They might be able to retain the visual memories much better as a result. Even the struggle over dealing with apocryphal information might occur in a new context, given how easy it is to proliferate falsehoods.
Nostalgia is always powerful, but it might be especially strong for a generation whose visual record is being restricted to the point of complete obfuscation.
A part of me can’t believe that I got to watch an all-new Kinnikuman anime in 2024.
While I didn’t really get into the series until the late 2000s, I became engrossed in the eclectic mix of ultra violence, slapstick silliness, surprisingly compelling characters, and sheer unpredictability, all couched in the aesthetics of pro wrestling and heroics. When the original manga started up again in the 2010s after concluding pretty definitively three decades ago, I entertained the thought of reading the new volumes, but I put the idea off with the intent to get around to it eventually. Having an anime adaptation come out worked out in my favor.
So here we have Kinnikuman: Perfect Origin Arc, which takes place shortly after the end of the original series, where Kinnikuman defeated his rivals for the throne of Planet Kinniku. In this new universe, members of one of the three main factions, the Perfect Choujin have emerged to stop a peace treaty on Earth between their side and the Justice Choujin and Devil Choujin. More powerful than the previous Perfect Choujin that Kinnikuman and his allies had previously faced, they’re eager to prove their superiority in the ring. With most of the strongest Justice Choujin severely injured from previous bouts and Kinnikuman himself attending to his kingly duties, the Perfect Choujin have a seemingly overwhelming edge.
Kinnikuman is actually a very influential Shounen Jump series, to the extent that many of the things it popularized are now part of the fabric of battle manga. It predates Fist of the North Star, JoJo, and Dragon Ball, while being the series to put tournament arcs on the map. It features a silly hero with a heart of gold who continually turns fierce enemies into loyal allies. It literally has characters talking about Friendship Power as an actual source of strength, and it’s such a big deal that the Perfect Origin Arc opening theme (by the band FLOW) has lyrics that go “Friendship Power! Super Muscle!” But as much as its influential tropes are taken for granted nowadays, that doesn’t necessarily mean Kinnikuman is eclipsed by its many descendants. It actually doesn’t matter how many shounen works you’ve experienced over the years; nothing actually prepares you for the Calvinball-esque nature of Kinnikuman.
For example, something that is incredibly hard to tell is whether a character is meant to be a serious winner or a comic relief jobber, not least of which is because sometimes you have comic relief winners and serious jobbers. Is that muscular dalmatian man a bigger threat than that giant baby? Who can know? Regardless of wins and losses, it can be rather surprising who the most compelling characters are.
The battle logic is equally ridiculous and unpredictable. If you’re accustomed to the outwitting/out powering one-upmanship of other Jump titles, Kinnikuman has a more raw version that will twist itself into any and every shape. Logic is a game of improv, and it manifests in supremely goofy yet dramatically engaging storytelling.
Getting into Kinnikuman this late isn’t really an issue like jumping into a much later arc of One Piece might be. However, that’s simply because starting from the beginning wouldn’t make much of a difference. In fact, it might be even worse because the emphasis on pro wrestling wasn’t even there from the start. Instead, viewers can suicide dive right into a world where the 80s never really left, where one wrestler is a giant cassette player, and Spinning Toeholds are the most awesome thing ever. And if you want to see the actual Muscle Buster, watching the Perfect Origin Arc is the easiest way to do so.
Look Back is a one-shot manga by Fujimoto Tatsuki, author of Chainsaw Man. It’s an excellent work about a young girl driven by a love of drawing and petty jealousy, and it was recently adapted into a beautiful film that does the source material justice. I’d rather not spoil Look Back, so I highly recommend anyone go check it out, but I also think it’s a very accessible work that can help those who are skeptical towards or hesitant to look at Chainsaw Man in understanding Fujimoto as a creator.
I find Chainsaw Man to be one of the best things to come out of manga in the past five or so years, but I understand well that its reputation and image can be off-putting. Between the less-than-noble hero, the gore, and the amount of fans who want to call Makima “Mommy,” Chainsaw Man can appear on the surface to be rather paper-thin and rely too much on gratuitous violence and sex appeal.
But Look Back is about as far removed from that kind of content as you can get, and consequently makes it crystal clear that Fujimoto is a very capable and compelling storyteller. While Chainsaw Man is indeed generally grotesque in a variety of ways, it doesn’t use those things to cover up other deficiencies. What both works have in common is interesting characters with a lot of actual mottled grayness and depth to the their shallowness (and vice versa), as well as the continuous upheaval of expectations. It’s just that Look Back is something of a cleaner package that feels more down-to-Earth.
So if you’re someone who’s felt like Chainsaw Man isn’t for you, you might very well be right. But even if you are, I think Look Back can help to clear up some of the misconceptions about Fujimoto’s work in general, and can provide a path to appreciating the author’s violent mega-hit as well.
