rewatching csm season 1 in 2025 was an interesting experience for a multitude of reasons, but mainly in realizing just how good of an adaptation it is.
Back in September of 2022, when I had started watching anime proper and was just getting acclimated to my tastes and preferences in the medium, there was one show on the seasonal horizon that immediately caught my eye. This lavishly animated, hauntingly beautiful looking series that was so unlike anything I had seen back then. The muted score, naturalistic color palette, the volume of the character designs, it all felt so novel to a younger me who barely had an inkling of the breadth of the medium. Fast forward to the show coming out, and it was everything I could have hoped for and more. I adored the direction, the emphasis on quieter moments, the frenetic and visceral fights, the horror of the world and the toll it took on its characters, all rendered with exquisite character animation, and a beautiful presentation to boot. I liked it even more so narratively, since I went on to read the entirety of the manga and rest of Fujimoto's works right after. But there was something odd going on... An undercurrent of unpleasantness in the discourse surrounding the anime. At first while the show was airing it was a few loud voices but over the course of the next year, this growing sentiment of the first season being an adaptation not suited (to put it gently) for the kind of story Chainsaw Man was, grew increasingly loud. It made me question whether my feelings towards the adaptation were flawed since I watched it at a time when I was so new to anime, if it stemmed from being introduced to the series with the anime first, or if it really was a justified criticism towards creative choices that are admittedly quite at odds with the pacing and tone of the source material.
It was an interesting discussion at the very least, because the Chainsaw Man manga, revels in its blistering pace, mastery of tonal dissonance and a generally crass sense of presentation that makes the world, its character, their interpersonal dynamics and the narrative at large feel simultaneously more absurd and yet so deeply human. In contrast, the anime takes a rather grounded approach to the whole affair. Its love of cinema is apparent, but I would argue it's more so a commitment towards the dreary setting, emotionally resonant character moments and abject horror of the devils (among other things) that form the foundation of a lot of the choices it makes. It's this focus that allows them to elevate a lot of the quieter character moments, but it's the same double edged sword that unfortunately sacrifices just how deeply funny CSM is, as a series. It succeeds at hitting this delicate balance of levity alongside those incredibly dark and melancholic moments, which I find to be a genuinely difficult parity to pull off effectively. But is an adaptation necessarily worse for choosing to focus on specific qualities of a material, instead of trying to recreate that same magic? And more importantly, how effective even is the anime adaptation of Chainsaw Man at accomplishing its vision?
The short answer is, I don't know. The longer answer comes with me deciding to re-watch the whole series in the eve of the sequel Reze film dropping digitally a couple of days from me writing this. Maybe at the end of it I will come to some sort of a conclusion about my feelings regarding this adaptation. To be clear, this is not a review of the show and I won't be writing it as such. Consider it closer to my appreciation or gripes regarding the choices made by the adaptation, and just my general vibe check regarding the episodes.
#01
SB/ED - (中山竜) Ryuu Nakayama
They will never make me hate you Nakayama (just please stop making bad Roblox horror games).
A presentation drenched with the kind of atmosphere you can taste. The character acting, shot compositions and general framing of the whole episode, paired with such a self-contained narratively cathartic structure makes for a perfect introduction to the series. I will say, the 3DCG stuff is definitely less seamlessly integrated than I remember it being, but I am appreciating the realist animation fundamentals even more now. The drawing quality in the fabric and line work is so fucking cool. Also, Ushio's OST... I think the reason why I didn't appreciate it last time around was mainly because of how low-key it is most of the time. The show lingering in the silence works to emphasize the moments where Ushio does underscore them. One of his more subtle works, for sure.
#02
SB - (谷田部透湖) Touko Yatabe
ED - (谷田部透湖) Touko Yatabe, (中園真登) Masato Nakazono
Feeling myself at least understanding a bit about why some people were put off by the direction in the series, in context to the radical change in style, tone and pacing. Yatabe's board isn't bad by any means, it has some wonderful ideas and the way she plays with processing and lighting in this episode is really good. But it's also distinctly unlike Nakayama's approach to layouts, shot composition and general tempo. It feels more... conventional, for a series that is anything but. Still, the presentation of the series is strong enough to outweigh my criticisms most of the time. It's just something I feel now in hindsight to reading the manga.
#03
SB/ED - (田中宏紀) Hironori Tanaka
TnK's episode really has some of the best drawings he has done for... anything really, genuinely drops your jaw when you realize how wildly different his designs are compared to Totos' which are generally a lot closer to the manga. He is such an animation driven director though, more than anything this episode is a showcase of that because on a boarding level I don't find it to be too much of a standout outside of the action direction, which in undeniably sick. I think my only criticism is that Nakayama's episode is pretty much perfect at handling those tonal shifts between the loud and quiet moments, and only Yoshihara's episode (coming up next!) really comes close to matching that sense of tempo and control over the material. Tanaka's board is good, but it lacks the gentle touch that makes the contrast between the two story threads flow really well. It's something the manga does superbly, so it makes the more erratic pace of the episode stand out. Even if it's something fairly minor in the grand scheme of things.
#04 SB/ED - (吉原達矢) Tatsuya Yoshihara
Yep, that's the best episode.
Yoshihara's tonal range and idiosyncrasies as a director have always been something I am fond of, but his action direction is genuinely a class of its own. Very few people out there who are able to craft such kinetic, readable and constantly engaging setpieces that utilize the world space and feel so incredibly visceral. Especially when it's realized in such a lavishly animated episode, with gorgeous smears, processing, drawing quality and layouts. Yousuke Yajima's work on this episode is especially striking, having become familiar with his drawings throughout JJK S2 and his design work for the upcoming S3. This is absolutely the best the series ever looked. Also, I am sorry but Yoshihara really does have an even better handle on the source material compared to Nakayama. Any amount of feelings I had prior about Nakayama not coming back have completely evaporated.
#05
SB - (神谷友美) Tomomi Kamiya
ED - (高田陽介) Yousuke Takada
There's a lot to like about Kamiya's board, but coming right after Yoshihara's- the erratic pacing, tonal dissonance and fairly bland framing to a lot of scenes stand out more. It's an episode with really strong scenes punctuated by that mundanity. The way he taps into the eroticism and nauseatingly intimate atmosphere and the lack thereof for the scenes with Denji fondling Makima's and Power's boobs (we can be adults about how I phrased this, right?) is masterful, especially with how much it plays with close up shots and tight angles. I also find Aki's backstory to be really effective tonally, if a bit awkwardly stitched into the ongoing backstory conversation. That feeling extends to Himeno's introduction and flashback scene. I just wish it all flowed better, and the choice to linger in silence for a lot of the scenes, instead of complimenting it with Ushio's tracks feels like an odd decision.
#06 SB/ED - (榎戸駿) Shun Enokido
I really, really like Enokido's work on CSM.
I also think it's distinctly not in line with the rest of the series, in terms of animation fundamentals, character acting, the general tempo and the way he boards key moments- notably, more of Himeno and Aki's backstory, and the quick cutaways showcasing Himeno's personal anxieties, and the fears she hides behind that playful mask of hers. Both of these things can be true, I believe. Because this is genuinely a perfect episode in a very Enokido way, and yet so at odds with the overall series direction. It makes you wonder what a show led by him would have looked like (well actually, you don't need to- Fate Strange Fake comes out in a month, and this episode only reinforced to me how amazing of a director he is). It's interesting to think about really, because for a project that appears to be so stringent to its own vision, the sheer width of ideas each director brings to the table really adds a lot to the viewing experience. But I don't know why something like this worked so well when it came to JJK S2, but just... doesn't feel right here. Perhaps because despite everything, it's never truly free from those original ideas that remain in each episode in this threadbare, ethereal shape where it still feels like Nakayama's CSM, but never really is.
#07
SB - (中園真登) Masato Nakazono, (渡辺啓一郎), Keiichirou Watanabe, (中山竜) Ryuu Nakayama
ED - (中園真登) Masato Nakazono
#08 SB/ED - (御所園翔太) Shouta Goshozono
Shit. Fuck. Shit. Shit. Fucking hell Gosso, you make it so difficult for me to talk about your work because all I want to do is point and fangirl at every single choice for framing, layouts, boarding techniques, the lingering silences, the erratic cuts, a sense of tension you can cut with a knife and the fragile stillness that accompanies the gentle skies. Even down to the way this episode is edited, and the way Ushio's score is utilized is a fucking masterclass. The blocking shot for almost all of Himeno's scenes, the usage of reflections, the rotoscoped character animation work, the oppressive intimacy, that sense of things being wrong even within those layers of perversion, the city lights leaking through the window enveloping Denji in flickers and shadows, a budding friendship, the calm before the storm. So many moments in this episode happen wordlessly. Communicated purely through the power of Gosso's incredible direction. And that's just the first 5 odd minutes. Makima's assassination is boarded with such an eerie atmosphere, but in the moment when the triggers are pulled and shit breaks loose, Gosso still finds a way to pronounce that loud bang with the quietude of melancholic tunes- portraying not the act of dozens of guns being shot, but implying it. It signifies the beginning of the end.
I adore the entire Katana devil fight in this episode, not because it's the most spectacular action sequence, oh no, in fact it is quite broken. The corrections for some of the drawings are pretty out of sorts, and a lot of sequences rely on shoddy looking CG which threaten to cheapen the impact of those scenes. But it also kind of doesn't matter. Because the action direction, framing and lethality of the fight is so, so very well portrayed and it makes those production shortcomings ultimately meaningless to me. The choice of music, the constantly building horror of it all, the insurmountable loss Aki suffers and the painful demise of Himeno. The sheer hopelessness of this world comes to light in this episode and who better to drive a stake through my heart than Shouta Goshozono. #BiggestFanEver
#09
SB - (田中宏紀) Hironori Tanaka
ED - (金子貴弘) Takahiro Kaneko
Great moments, mired by production issues and broken drawings. The unfortunate reality of this whole adaptation is that it was produced with less than a year of time, and even the most talented people in the world are incapable of achieving the impossible. Let alone ones who are this ambitious while fighting the inherent constraints of TV anime. The prior episode signaled the beginning of the end in more ways than one. Still, I will be remiss not praising Tanaka's work for complimenting Gosso's episode to the fullest and crafting something quite remarkable despite the obvious constraints. The ambition behind the Katana devil fight may be gimped a bit by the usage of stilted CG, but Tanaka's action boards are as impressive as ever and paired with Ushio's incredible score, it's a brutal, frenetic fight full of gore and viscera. Makima's "resurrection" at the train is equally well done, and her actions in the shrine thereafter remain one of the most horrifying and gruesome segments of the whole series. The constant build up and release throughout the whole episode is super engaging, and I love how much the narrative fundamentally shifts at this point tonally. Kobeni's breakdown is but a microcosm of that, and portrayed deftly. Good stuff.
#10 SB/ED - (吉原達矢) Tatsuya Yoshihara
Yoshihara, I love you. Wonderfully poignant follow up episode dealing with the aftermath of the mass shootout incident. The aesthetic appeal of the whole episode is sumptuous, but especially the first long form scene with Aki processing Himeno's death is so very well done. The wonderful color scripts, flat shading, thin line work, strong character acting, and exceptional shot composition... Some of his finest work, and I would love to shout out Ligton's work in here especially. She always personally handles the color scripts for her KA cuts, and this is no exception. Closest the series ever gets to the Reze film on an aesthetic level. This extends to some of the scenes later on when Aki is en route to meet the Future devil. Strong compositions for the whole scene, but especially when it cuts back to Aki reading Himeno's letters. The tangible feel of paper is so well captured in those shots. Hammers home the impact of the scene even more. Aside from that, Denji and Power's training "arc" is a lot of fun. Seeing these two goofballs bounce off of each other's stupidity is much needed levity after the prior episodes.
#11
SB - (中園真登) Masato Nakazono
ED - (中園真登) Masato Nakazono, (佐藤威) Takeru Satou
Fairly unassuming episode as far as Nakazono's body of work goes. A self-imposed restraint perhaps, to ease the workload of these final few episodes. It's still chockful of his penchant for naturalistic character acting, close up shots, horizontal compositions, and fun blocking techniques. The pacing of the episode is equally enthralling, moving from scene-to-scene with ease and Ushio's more ambient tracks are used to great effect here. Very fun action cuts at the end, and while this is not the strongest the drawings have looked, it's still a pretty decent showing before the finale.
#12 SB/ED - (中山竜) Ryuu Nakayama
I can't really look past the fact that the back half of S1 falls apart in a lot of ways compared to how exceptional the first 6 episodes look, but when the bar is so very high, it still manages to be an exceptional looking TV anime for the most part. That is to say, Nakayama's work on the episode is so very impressive. Such a wonderful grasp over the tone and pace of the episode, weaving in emotionally resonant moments into the otherwise frenetic tempo of the narrative. As an aside, I was always surprised by the number of people who started talking about the Katana Devil fight at the end of the season and how it was "poorly done", for some reason. Now, after re-watching it I am even more confused, because this is genuinely the best the CG ever looks in the whole series. Wonderful smear and effects animation from Yoshihara, Yen BM among others- it's such a spectacle of a fight. Broken as it may be.
I also found Aki's character conclusion, in regards to Himeno very well done. Especially in those final moments, where the show lingers in this warm silence. Easy revenge, the writing on the cigarette that Aki lights up. The warm glow of the lighter. The wisp of smoke floating into the cold night. The bright hues of the chaotic life he now lives, flooding into the balcony.
And of course, a glimpse of Reze at the end.
That was Chainsaw Man. Chaotic, silly, weird, horny, terrifying and at times, rather brutally sad. I think the most important thing this re-watch affirmed for me is how much I still adore CSM as a series. Everything about its story, world, characters, thematic motifs and oddities are perfectly attuned to my taste in media. A lot of those emotions I felt reading the manga are present in this adaptation in some form or another, but only occasionally elevated to a degree that hit me like a freight train. The biggest thing it loses compared to the source material, is just the absurdity of it all. In adopting a more grounded tone for the world, it establishes a compelling base for its character moments, but loses the tonal dissonance that made a lot of Part 1, this intentionally whiplash inducing read at times. However it's less a matter of something being lost in the transition, and more just a natural conclusion of the choices made here and the priorities being set. I suppose I would lament the loss a little less if they had actually managed to achieve their vision fully, because outside of Yoshihara and Gosso's episode, I would be hesitant to call this a transformative adaptation.
There is often a discrepancy between "episodes with content I enjoyed the most" and "episodes that were sound production wise", and for me that divide is partly why I feel more favorable to the adaptation as a whole, despite it being quite the mess in a lot of ways. Because for all the pitfalls of the back half of the show on a production front, they are all episodes with content I really, really enjoy. And it can be hard distinguishing between those feelings at times for me. Still, I find myself feeling glad that I decided to go on this journey and re-familiarize myself with the world of Chainsaw Man, before I watch the Reze film. Because despite everything, this is one of the most spectacular TV anime adaptations of the decade so far. Even if it could have been so much more, I am still so happy that it exists the way it does.
"Denji, do you prefer the country mouse or the city mouse?"
Thank you for reading.
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