If Fumiko is monstrous then Fujimoto should start presenting her as such
Fumiko is written to remind us that Denji is a child, and I repeat, she is the symbol of a child's sexual trauma in all its horror and "paradoxes".
Touching Denji without his consent, catching an adolescent who hasn't yet discovered himself off guard, is the most obvious way of proving the link between the theme of sexual assault and Fumiko, but it doesn't stop there.
The fact that Denji accepts only proves this point: it shows just how much he's someone who needs boundaries and protection. He passively listens to what he's told without question simply because Fumiko has the upper hand.
She has one, but spends her time pretending she doesn't, in particular by disguising her age like a predator, calling him "senpai" when she's 22, and playing up her protective role as a "bodyguard" when she's only there to stop Denji thinking for himself
As can be seen in the dialogue between Miri and Denji, she positions herself as an interlocutor, standing in Denji's shadow, influencing his decisions and distracting the boy from the substance of Miri's message.
But she's a complete paradox, still trying to make Denji believe she's protecting him, she refers to Chainsaw Man as a "child", which rather than demonstrating a good intention shows that she's well aware of what Denji is and that she's abusing him head-on.
Who protects a child by attacking him?
Once again, I insist, these are two pages from the same chapter. Dare you tell me that Fumiko doesn't present any contradictions?
Above all, she makes it seem as if she only wants what's best for Denji, even when he hasn't responded to her pleas for help. Once again, there's a paradox: the predator blames her victim for not having seen her own vulnerability, whereas she’s only abusing those of her victim.
Fumiko is a metaphor for the very dangerousness of sexual assault, gentle on the surface but insidious, its violence only made clear and felt after the event, rising like a tide.
When Yoshida convinces Denji to give up his normal life, he leaves him in the hands of Fumiko, a public hunter, who symbolises the extent to which, despite the monster in front of them, danger also exists among men, and that the milieu of public hunters is a harmful world for a child.
I think the reason Fujimoto doesn't immediately place Fumiko in a position of condemnation is to instil a feeling of frustration and powerlessness at seeing Denji unprotected, to make it clear that "he's missing something", a parental figure.
But I think that for the writing to be complete, the author has to take a clear stance on the subject, in his own way of course, but explicitly
Seeing Fumiko next to Denji makes me anxious, it's such a common form of violence that it pulls me out of my reading.
Fumiko is a monster, so I pray that Fujimoto will have fun explicitly detailing her dark side and her horror.
If he doesn't, then she'll remain an unfinished and confusing chimera, the result of lazy writing and a fear of commitment.
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oh god oh jesus she literally burned alive she was literally just a girl she must've been in so much pain my god i hate this life oh god she died thinking she could never get to heaven because that's impossible unless your body is intact Oh jesus christ what the fuck she died alone in pain on FIRE after being imprisoned and threatened with torture and rape for over a year after spending half a decade going insane and fighting for a country that would sell her out as soon as it became convenient for them politically. I'm going insane someone dunk me underwater i'm literally staring god in the face and asking what she did to deserve this shit Jesus christ oh dear golly gosh her ashes are literally in the wind and the water she is still here around somewhere that fucks me up so bad
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Vaguely reworked the drawing I did! I'm enjoying the vibes it's giving.
I'm tempted to draw a comic for this crime drama AU, but it would require me to ignore the other projects I've got so we'll see, maybe it'll be a fun little side project that inevitably takes my full focus.
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so I'm sitting my ass here recovering from cleaning and I have House of Asmodeus on loop lol. I like to think Angel is Stupid Popular there, like yes he's known but he's treated like a real celebrity and even recognized as such at the lounge. more than his normal day to day. Angel is like that unofficial celebrity. he's on a pedestal until demons decide they wanna try and knock him down a peg and use his occupation as a way to do it.
going back to the Lovely House, he doesn't like going when Val has him scheduled. but when he does go, he tries to make it worth his while. but man... I like to think that's also how he meets Fizz and kind of gets to know his side of life. and the comparison.... god, the comparison.
Angel getting into that demonic temptation to do some reckless shit because he's jealous with some of the things he sees; how Fizz lives n shit and can't help but think "wow, must be nice." he probably doesn't know about Mammon, though. so. there's always that grey area to write about.
but yeah Angel being an icon at house of Asmodeus. he likes Ozzie. tries to get sweet with him at one point lol probably got into it with Fizz and that's how shit started spilling and their chemistry started... maybe.. bc Angel probably saw Ozzie as an escape. too bad that role is occupied :/
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Is there any Essek scene in particular you’re hoping is included in the show?
Oh man oh god oh fuck. This list could go on SO long.
To be fair, the thing with Essek is that there are a lot of very small and fun but not narratively load-bearing scenes, and then a few major scenes that have a decent amount of narrative weight to them. For instance, the first study scene (the second is important but could be combined into it if that the pace required it), the Scourger incident, the dinner, and most of episode 97 have a lot of narrative impact, either for Caleb's arc or for the plot as a whole. I've already suggested I need to see the ninth floor tower conversation animated like a fish needs water to breathe, and I'd love both the times Essek physically pulls Caleb out of danger, of course.
There's also a lot of wiggle room in how you pace the Nein and break up their arcs (which I think was more rigid translating campaign 1 to LoVM—even when arcs are shifted around, the sequences of events are kept somewhat orderly) which means that speculation is pretty hard, particularly when it comes to Essek, who meets the Nein so far into the campaign. Basically, any of these things might not be as narratively necessary by then, depending on what they choose to cut or focus in on. I could speculate on that, and I'm sure I will extensively, but at a certain point I might as well just write a series worth of scripts as a fun side project.
That being said, I do really hope the Scourger scene remains, because it is so cinematically interesting, and I do consider it a major turning point between the wizards, regardless of either of them realizing it at the time or not.
And I also really want to watch him have a panic attack over whiskey cocoa. It is in no way load-bearing, but nonetheless, I would like to see it, and I think I deserve it.
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