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This is especially bad in the relationship between Sena and Riku. There’s this whole backstory that no one cares about that was dragged on and on with Sena, Mamori, and Riku that never happened in the manga. Also, despite Riku getting 10x more screen time than the manga, they decide to also make him doubly more immature. He loses his cool when playing against Sena in a match and is put on the bench to settle down. This never happens in the manga, because in the manga, Riku’s not an idiot who can’t reign his emotions in. Of course, the moments between matches are where the filler mostly resides.

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[129] Beckett said that when he read the premise, he took the series at face value as a "goofy nonsense comic, a parody of shōnen manga that primarily exists to push out page-after-page of gross-out gags and gory action," also calling it "a mishmash of raunchy teen sex comedies, Hellboy, and The Evil Dead. "[120] Dupree stated that the "crass, crude, and purposefully lowbrow" humor is one of its defining characteristics, adding that there are multiple jokes where it feels like half the punchline is that the series, "in all its gleefully nihilistic indulgence," was published in the same magazine as other "bleedingly sincere and family-friendly" titles like One Piece or My Hero Academia. [121] Neatrour said: "[t]here's a level of off-kilter humor in Chainsaw Man that I find endearing," and that it also has "plenty of juvenile humor. "[125] Davinson commented that the humor of the series mainly revolves around Denji trying to get a girlfriend. [126] Wolf wrote that "the ridiculousness of the story helps to add comedy to the whole thing," although, he called the humor "rather base at best. "[128] Reviewers have also commented the emotional aspects of the series. Dacey discussed its unexpected moments of "genuine pathos," talking about the interactions between Denji and Pochita, noting as well parallels to Denji's relationship with Makima. [127] Davidson also stated that the emotional part of the story is about the love between Denji and Pochita. [126] Dupree wrote that the series' "bombastic, borderline nihilistic maelstrom of gore and dick jokes" is in part a reaction to the "absurd and illogical world it takes place in," adding that the series has a "proudly beating heart. Perhaps a cynical heart, but one that nonetheless sympathizes with the struggle to find meaning or solace in a cruel and unpredictable world. "[121] Reviewing the series' 97th and last chapter published in Weekly Shōnen Jump, Reiichi Narima of Real Sound commented that Denji's growth through loss is a storytelling more related to seinen manga than shōnen manga, adding that he was "deeply moved" by the inclusion of this kind of stories in the magazine, ultimately calling it a masterpiece and concluding: "at the core of bloody violence, there was a boy's sad love story. Constantly drawing attention to your symbolism only defeats the purpose of it, to begin with. Symbolism and motifs alike are supposed to be discovered, not spoon-fed. And this is the problem with this show: it can't simply let things be without intervening with forceful resolve.
And then you have ideas that are used only to add detail to the universe or serve as a new plot reveal to keep the story exciting, but that are never properly thought out.
Like the battle against Moby Dick, a beast with the ability to erase the memory of people's existence consumed by its fog. We get an example of this when Rem sacrifices herself to save Suburu and is immediately forgotten by everyone who knows her.