#dandadan analysis

momo was assaulted, and almost cut up by the serpoians, much like the other victims turbo granny appeared around. this is an intentional parallel. turbo granny goes to momo because that is what she does. again, SUPER unclear how that factors into turbo granny's assault of ken, but if we keep the video's interpretation of cynicism in mind, it could be related to that; maybe turbo granny has a cynicism toward men - similar to momo in chapter/episode 1 - and this is why she chose to attack ken. unfortunately, it's still too early to really understand and explain a lot of her motivations.

A major reason people don't like Dandadan and/or are willing to dismiss it outright is because of the SA scenes. More specifically, a lot of people believe these scenes are fanservice and have no narrative reason to be there. They do have a narrative reason to be there though. These scenes aren't supposed to be fanservice either they're intentionally supposed to be upsetting/unnerving (I won't get into how here because other people have articulated this better than I can, and they will continue to do so as long as this misconception exists).

When people think of "violations of bodily autonomy" or "violations of consent" they usually think of rape or sexual assault. It is the beginner's example to the concept, largely because everyone with common sense agrees that rape and sexual assault are bad so it's easier to point out why they're bad. This also makes it easy place to start a narrative around bodily autonomy.

The very first scene of Dandadan is of a guy trying to coerce Momo into having sex with him even though she clearly doesn't want to. The same episode/chapter directly puts this kind of behavior on par with rape and sexual assault by paralleling the time Momo kicked him to the time she kicks the rapist aliens so hard she breaks their space ship. It's very clear that the narrative's stance is that not only are rapists bad, the people who aren't legally rapists because they technically got "consent" first (through coercion) should be treated with the same level of disdain. This isn't the kind of thing that you write into a series without legitimately thinking about the dynamics of consent and bodily autonomy.

Continuing on: The series also touches on the double standard between male and female victims of sexual assault. Okarun gets laughed at for having his genitals stolen, and Seiko just does not believe Momo got abducted by aliens. This very clearly parallels how in real life people will believe male victims got assaulted, but their assault is also brushed off as not that important or something they "should've enjoyed" or a sign of weakness. Especially if the assaulter was a woman. Meanwhile female victims are usually accused of lying regardless of any evidence they provide. These two things hold constant in Seiko's reactions throughout Dandadan. She literally rides in a space ship but doesn't believe aliens are real, and even when she's helping Okarun she's usually also doing a bit at his expense.

Going even further, Dandadan also branches out into other forms of violations of bodily autonomy that aren't thought about as often. For the sake of the analysis I'm going to do bullet points regarding each character. Fair warning: There will be major spoilers here so if you haven't read the manga keep scrolling until you stop seeing bullet points.

Acro Silky: It's very easy to point out that she was a sex worker, but what I don't see is people talking about the other ways she had to sell her body to keep her and her daughter afloat. She worked in janitorial services (A lot of manual labor) and as a store clerk (A lot of standing). Individually these two jobs are not necessarily coercive, they're not great but they aren't pulling you into something you didn't know about from the start. The thing is though, none of these jobs pay enough by themselves for Acro-Silky to make a living, meaning none of them are properly compensating her for her manual labor. This is an instance of manufactured consent, while she technically agreed to take these jobs, it's clear that she wouldn't be working all of them unless she had to. This is kind of an expansion of the coercion from the guy in the first scene but on a societal level where Acro-Silky wasn't in the position to be able to say "No" and move on. As a result, her freedom is restricted. She can't spend nearly as much time with her daughter as she wants to and she can't afford to get her nice things either. To top it off, any time she did spend with her daughter she spent physically exhausted because of her work.

Mr. Shrimp: Similarly to Acro-Silky, Mr. Shrimp is forced into work he does not want to do because of limited options and the need to support his child. What sets him apart though is that he's a migrant worker and his employers physically abuse him because they can get away with it. This is an exact parallel to how migrant workers are treated in real life. He even goes to work on a farm and it's potrayed as him making an honest living to support his family which is exactly what the majority of migrant workers are trying to do. Mr. Shrimp doesn't technically "have to" work on a dairy farm now, but he chooses to enthusiastically because it's his only option that doesn't require him tk disregard his morals.

Jiji: Jiji is an example of bodily autonomy violations of minors in regards to medicine. This one is a bit more complicated so stick with me here. When the Evil Eye starts possessing Jiji, the adults around him unanimously agree it needs to be exorcised and start preparing for the ritual. When Jiji decides "Hey, actually I want to try to co-exist with him" Seiko is his only adult advocate, and even she turns around on the idea when the Evil Eye has a close call with Momo. This parallels how in real life adults will make decisions for the children in their care regardless of their wishes, and how even the adults trying to be accommodating will still go against the kids' wishes sometimes. It also does a good job of accurately capturing the nature of these disagreements too, because yeah the Evil Eye is a problem so it's understandable why all the adults want to just get rid of it even if Jiji doesn't agree. But Jiji's stance of "Yeah this will be a pain but it's one I want to deal with" is also understandable. Like, imagine instead of an exorcism we're talking about getting an amputation that would be technically helpful but isn't strictly necessary.

Vamola: One of Vamola's initial goals when she's introduced is to find a strong man and have kids with him. This isn't something she actually wants to do but is something she has been obliged to do because she is one of the few survivors of a planetary genocide. She has been marked as her people's only chance at a continued survival because the rest of her people are too old to have children. Her mother and the rest of the surviving Sumerians gave everything they had to get her off planet safely as "the last thing left on Sumer to defend" so she has unfathomable amounts of pressure and survivor's guilt to go out and have kids. She doesn't get to figure out if she wants to have kids or not, that's just something that has already been made up to her and her only choice now is with who. Luckily, the story currently has her in a position where she can have peers, a (comparatively) normal life, and she doesn't have to think of her mother's request for a while. But even if it's not the primary focus in her life right now it's still there.

Rin: At a very young age Rin was forced into the role of caretaker. With a bedridden grandmother, a deceased father, and a mother who had to work long hours to make ends meet, Rin had to learn to be independent fast. She was basically forced to, otherwise her already unstable home life would break apart even further. To make things worse, Rin knows the predicament that she's in and her mother doesn't yet. Rin's mother thinks she "got lucky having such a good kid" and doesn't realize the pressure has gotten bad enough that Rin is already giving up on her passions to take care of her grandmother to give her mother a break. Mostly because Rin knows their family doesn't really have any other options and she doesn't want to place an even larger burden on her mother by adding more grief on top of it. It's essentially the "parent running themselves ragged to support their kid" story we've seen at least twice now but from the perspective of the child.

Zuma: Similar background to Rin where his father died and he took on a caretaker kind of role for his younger brother. Except his brother dies and this absolutely breaks his mother, to the point she commits suicide and tries to take him with her. Zuma is in the position where he has lost both his caretaker and the person he took care of, and he is fully aware of why that happened. This manifests as rebellion and him forming a gang that protects kids at his school from bullying and harrassment. He's becoming a caretaker again, but this time it is an active choice he has made. He doesn't technically have to start his gang or protect anyone, he has an adult taking care of him now and if he wanted to he could spend the rest of his highschool years stepping back and being a kid again. But he doesn't, and society labels him a delinquent for stepping in when the adults who should have didn't. This is another way that Dandadan shows how minors often have their opinions dismissed by adults who believe they know better.

Much shorter less spoilery rant:

Dandadan is a romcom. I have seen too many people complain about basic romcom shenanigans as if it's bad or generic writing instead of being genre conventions. "Ugh, there's a love triangle," Yes romcoms tend to have those. "Ugh, so many girls are into Okarun," Yes, and a lot of guys are into Momo, they both get romantic rivals because it's a romcom. "They keep going back to the romance and I don't like it," It's a romcom there's going to be heavy focus on the romance, you disliking that is a genre preference not a writing issue.

So as the theory goes, the personality that comes out when Okarun’s transformed is a more genuine version of himself, where his yokai form removes his anxieties and allows him to act more confidently and openly show the depression and pessimism that’s lived in him the whole time. On a surface level this tracks, as being in this form does make him more confident, blunt, and he completely drops the formal way he speaks to people, going so far as to adopt a cute nickname for Momo.

I don’t think this fully makes sense for a number of reasons, though. Firstly is that throughout all 175 chapters that are currently out, I can’t recall any moments where Okarun ever acts in a way that would hint at his real inner workings reflecting the personality and behavior that come out when he is transformed. I could have missed something, of course, but when so much of Momo and Okarun’s relationship is built on them being their genuine selves around the other (more on that in this great video I saw), I’m inclined to believe that there isn’t going to be another shoe to drop nearly 200 chapters in.

To explain my other reasoning, I’m going to have to go into a little bit of a side tangent about Aira, and first I want to establish why I think comparing Okarun to her in this instance makes sense. So up until the cursed diorama arc, the only character that really has comparable yokai related powers to Okarun is Aira. They acquire these powers in different ways, and Seiko says Okarun has Turbo Granny’s “spiritual power”, whereas Acro-Silky says she gave Aira her “aura.” Given the contexts of the scenes these are said in I would assume they are meant to be two different concepts, however it’s not ever explicitly stated or shown how the difference there affects them or their yokai abilities, so I am treating them as functionally the same thing for this analysis. Regardless, the similarity between them seems to be that in one way or another, they have been left with the spiritual energy of their respective yokai, which allows them to transform in very similar ways. Their transformations affect them both physically in making them taller and stronger, as well as their personalities, with Okraun becoming less formal overall, and Aira becoming more formal in the way she addresses people.

Even though they are affected by their transformations in very similar ways, I haven’t seen any kind of headcanon or theory that the way Aira behaves while transformed is how she truly is or feels, which makes perfect sense considering her first character arc. From when she’s introduced, she’s shown to have a dynamic with Momo, Okarun, and her other peers at school, where even before she’s able to use Acro-Silky’s abilities, she’s pretty two faced. In chapter 51, Momo even says, “There’s our Aira!” when she and Okarun pull Aira away from her class and she immediately shifts to her more snarky attitude towards Momo. The manga makes it quite clear that the way she acts at school, and on occasion towards Okarun, is an act, and that her genuine personality is a little nasty and rude (which she is loved for! By other characters and audience members of taste). And with that established, of course no one put that much emphasis on how her behavior changes when she’s using Acro-Silky’s powers. She’s still the same person, her mannerisms and the way she speaks are just altered slightly, which is also pretty much how I feel about Okarun’s yokai form.

That being said, I don’t want to fully dismiss that the shifted personality could mean something, and in fact I wouldn’t be surprised if Okarun did still have some repressed feelings and pessimism from his time growing up without any friends, but at the current point in the story I’m not sure if I could see that being shown explicitly tied to his yokai form. As of chapter 165, Okarun gets his final ball back, and as per his end of the deal, he returned Turbo Granny’s spiritual power to her, and she left with them and hasn’t made an appearance since. Okarun no longer has access to his yokai form, but at this point he’s surrounded by friends, he’s confessed his feelings to Momo, and he’s even grown physically strong enough to hold his own in a fight without any powers. As far as what we’ve been shown, Okarun has developed and his life has changed so much that he doesn’t really have any of those reasons to be a pessimistic downer that he had before the events of the series. Not to say he has no reasons to be sad, of course, we still haven’t been given even a hint of what his family and home life is like, and I expect something will happen with that eventually. But with where the story has gone so far, I don’t see this theory being true or narratively compelling.