No-Face is at first simply chasing after Chihiro, trying to get her endorsement. He offers her shower tokens and such yet Chihiro always turns him down. The main other individuals he connects with are the bathhouse laborers. A large portion of them is depicted as exceptionally insatiable, seizing the opportunity to gather gold that No Spirited away no face drops on the floor. The more he interfaces with these laborers, the greedier he moves toward becoming too, actually transforming into a beast that expends everything in its way. Much the same as a kid, No-Face gains from the earth around him. Be that as it may, later on, he connects more with Chihiro and Zeniba and in the long run quiets down. He remains with Zeniba, who we know will show him great things.
Another hypothesis is that No-Face can be viewed as an image of the Western private enterprise. Miyazaki is known to be steady in customary Japanese culture. There are numerous different portrayals inside spirited away no face Away about “negative” impacts of the West, as Yubaba – she is the main character other than Zeniba to wear western-style garments and her office room is intensely affected by a western outline with the cover floor and European entryways and windows. No-Face actually transforms into a creature that wreaks destruction in the bathhouse, which can be seen as an image of customary Japan.
No Face speaks to the mirror in every one of us. All through the film gives back what it sees, from the foreman giving out shower tokens, to the avarice of everybody snatching for gold as though they couldn’t get enough, which prompts the frog who at that point turns into the essential driver of the dark gap of our judgment skills, continually needing all the more. No Face can’t be seen from the human side of the scaffold (Bridge and bathhouse as it were). After the medication from the stream soul and purging out its framework, No Face quiets right away in the wake of releasing the frog and before the finish of the film, grabs Zaneeba’s expertise for sewing.