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I think I’ll do a live reading of Witch Hat Atelier here too.

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"I think there's going to be a sex scene in the next chapter", if you think that's the logical consequence of what was shown in chapter 166, then it's NEVER going to happen like that !!!

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Mother and I.

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*slowly turns back to the camera* WHAT A MASTERPIECE.

Butterflies. There's no better way to represent Miri, a boy struggling against his instrumentalization, the end of a cycle.

But butterflies also symbolize immortality. What a great way to represent weapons!!!!! AND THIS PREDOMINANCE OF GREEN I LOVE THIS COVER

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Another very interesting thing to note is that weapons have a perfect capacity for regeneration, not only in terms of longevity and eternal youth, but also in terms of wounds, which heal without scarring.

Yet one of the most powerful weapons, Quanxi, wears a ribbon around her neck. But why? I'm sure her neck is still intact.

It's quite simple, she's already wearing this ribbon embroidered with lace, and it's also black, which to me symbolises mourning.

Quanxi is an unrivalled fighter, and scars are supposed to symbolise the failure of a battle. As she can't have any, she marks her points of vulnerability in this way, and this ribbon is tied around her neck in memory of her girlfriends, as if to force herself to ensure that this mistake doesn't happen again.

This follows the other point of vulnerability, her eye, which is her point of activation that she doesn't want to reveal.

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Quick thinking!!!

But I was thinking about Nayuta. The way she was lively and noisy compared to Makima's cold, distant nature.

I'd already suggested that they were fundamentally different and I still think so. Nayuta won't be coming back Makima, etc...

But who's to say that Makima didn't look a lot like Nayuta when she was a child too?

I mean, when you imagine a domineering, authoritarian child, you imagine a child who talks loudly, points fingers easily, is capricious, who operates without concession.

When you imagine domination as an adult, you have in mind something more controlled, calculating, frightening because it's imperceptible and cold.

I find it interesting to imagine that the demon of control, as it grows up, simply controls better? And that's down to his inherently domineering personality.

Her personality adapts to the fact that her targets are now adults.

Which makes it all the more complex. The difference between Makima and Nayuta would not be seen in their behaviour or even in the depth of their personalities.

Fujimoto makes it clear that there is only ONE demon of domination and that Makima and Nayuta are reincarnations of the same entity. They share the same tastes: aesthetic (braids), love dogs and have an ingrained, natural fascination with Chainsaw Man.

They will simply evolve differently because of their environment.

In itself, the change in the control demon might not even be observable at this stage?

It is deeper and more complex.

And maybe it can still wobble.

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Kofi request. I have lost control over my life

Bonus;

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BRO if to join the church you have to get married and have sex with a member does that mean asa....?!!

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The Tatsuki Fujimoto urge to have people start a cult around an image of the protagonist without said protagonist identifying with the image being worshipped in the slightest

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I can’t wait for Kobenis sibling to somehow survive all the horrors about to go down in the manga in true Higashiyama fashion.

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Miri does the chair as much as Denji

The chapter confirms the suffering of the hybrids who turn out to be the "weapons" (thank you Fujimoto for confirming at least one of my theories).

But let's go into a bit more detail in this chapter, which only talks about alienation and never about freedom.

What better title than 'A Chair's Feelings', which is a perfect antithesis.

I have the feeling that something specific has happened, let me explain.

Firstly, Fumiko Mifune plays her role as Denji's guard perfectly. She's not protecting him as a person but as the property of the public hunters.

How does she do this? Firstly because she sticks to Denji, but more importantly she seriously disrupts the discussion between Denji and Sugo.

Every time Miri puts an advantage on the table, she questions it. A high position in the church? Chainsaw Man deserves to be guru.

Steak every day? We're getting tired of it, other dishes would be preferable.

The public hunters represent the opressor who uses Denji as a tool. In other words, the entity that Miri is trying to remove Denji from.

But what's particularly interesting is that Miri doesn't demonstrate free will and spits out someone else's arguments.

What's even more fascinating is that Miri thinks he's going to convince Denji with his own arguments, which turns out to be in vain.

Miri seems like someone who operates on principle and has taken on board concepts such as dignity and freedom, which he now intends to protect. Denji doesn't think like that; he needs concrete arguments to engage him.

For example, Miri presents Denji as his liberator. This has no effect on him, as he was unaware of it because it was Pochita who was fighting. Once again, we're projecting onto the figure of Chainsaw Man the image we'd like him to represent here: the first weapon to free himself from the oppressor that was Makima.

But Miri is far from imagining that not only was Denji not conscious, but that he consciously 'saved' Makima by allowing her to become a new version of herself who would be cherished and loved. Because Makima was never the oppressor, she was merely the object of the Japanese government, which surely also used a few weapons.

That's why I think Miri's way of presenting himself is a step backwards. I don't know if it's intentional, but the way his name appears in the dialogue bubbles and the suspension points…… The syntax is important. Miri knows that his name is just a number given to him by his former oppressor.

In fact, that's why he calls Fumiko "sushi-woman" or refers to the students as rubbish; he doesn't think of them as they never thought of him.

Sugo has no intention of forming a relationship with the humans, whom he seems to reject, which clearly shows that weapons are used by humans, not demons.

But Denji grimaces when he sees that he is so easily popular and integrated, and that he would prefer to be rejected.

Miri rejects humans, wanting only to make friends with weapons, while Denji continues to define himself only by humans. One holds a grudge and wants revenge, while the other still prefers integration. Which already demonstrates a fundamental difference.

Swordman's arguments move from the abstract to the concrete. He starts by talking about abstract concepts such as gratitude (Denji saved him), freedom and having a community, and then starts to integrate the concrete.

He already includes food by using the precise line that Denji had used, namely steaks.

Miri isn't interested in the debate about food, deploring Denji's interest in it, and reiterates in a cruder and more brutal form what he was saying before, "being used by bastards", instead of talking about instrumentalisation and freedom. And again, he has to push Denji to confirm this.

It's obvious that Miri, who presents himself as the messenger of the church, either sent by someone or is carrying out someone's order, is contradicting himself and is not yet free. As Fumiko points out.

When Miri confronts Denji, who is still in the chair position, Denji has a more interesting response than it seems: being a chair suits him because he can feel buttocks against his back.

Being a chair means contact, and physical contact with girls. Even if it's a rather perverse line (and far from the most poetic), it shows that Denji is once again interested in being a chair if it allows him to make contact with his own kind. That he has no abstract concept built in like self-esteem or claiming his dignity.

Even becoming a friend is too abstract for Denji, who doesn't react. He will only react when new physical contact is mentioned, reacting unusually comically.

Miri mentions this last argument as a last resort, leaving as if he was already sure it would be pointless. It's as if someone had told him to mention low, childish things like steak and sex because they were the only things that would convince Denji.

There's a clear dichotomy in Miri's speech between the arguments that convinced him (surely used by the church to hire him) and the other kinds of arguments that would convince Denji, whispered to him by someone in the church who knows Denji.

Who knows Denji? No hybrids, they don't have any memories, so surely not Reze.

I like to imagine that it's Kishibe, since the steak and sex with several girls are explicit things that Denji mentioned in front of him when he proclaimed his dream.

He was also the only one to observe the fight between Pochita and Makima. So he's the only one who can tell us about the hybrids' past. If we support his link with the hybrids through Quanxi...

It all ties together!

If we go back to the title... "A Chair Feelings". It takes on a whole new meaning.

Note the use of the indefinite article "a" and not "the" when only Denji is doing the chair? Wouldn't a chair be a broader metaphor and category? The chair would be the form of alienation accepted by the weapons. Still not freedom.

In short, Fujimoto questions one thing: is the man who claims to be free so far removed from the man who makes the chair ?

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ASADEN TRUTHERS WE RIDE AT DAWN !!!!

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We can always count on Fami to have her priorities straight.

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Fujimoto did it, he actually managed to sum up the appeal of Chainsaw Man in a single manga panel.

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Feral Denji from chapter 137... *catch their pencil*

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