@Tharizdun03: Fire Punch was very good. Comp...

Fire Punch was very good. Completely bizarre and unpredictable in a way I totally loved. It's not completely coherent or satisfying all the way through, but I really love how emotionally raw it gets. And I can't stop thinking about Togata.

🧵

I'm sure if I waited a few days, I'd probably have cleaner thoughts, but I don't really write reviews so much as I just throw stuff down *just after* finishing. So I'm just gonna talk about what's on my mind.

Fire Punch feels, at its core, like it's about identity, performance, and the gaze. Especially through the lens of cinema. The gap between "who you are" and "who people see" runs through pretty much every major character arc.

Agni becomes a god, Judah becomes a sister, Togata becomes a director, Sun a follower. They all get trapped under these projected identities. There's no "real self" outside the roles they end up stuck playing.

Cinema becomes the dominant metaphor: storytelling as a method of control and disassociation. Fujimoto uses it to explore trauma, gender identity, hero worship, and the commodification of pain.

Togata is the standout here. A trans man clinging to the myth of the movie hero, Togata uses direction as a coping mechanism for dysphoria and powerlessness.

His fixation on Agni's nudity, for one, stems from Agni’s body being a masculine ideal that Togata cannot inhabit. He obsesses over performance, but can't give himself release with these films.

Agni is always burning, and his suffering becomes metaphorical. He's trauma that can't end. Agni is the last source of light in this dead world, and it just burns everything; others, himself, even memories.

There's a lot of sharp stuff about gender in here. Togata's dysphoria, Judah's weaponized femininity, Agni's broken masculinity. Some of it feels underexplored, but what's there is still potent.

Judah/Luna II is probably Fire Punch’s greatest missed opportunity. Initially compelling, she ends up stripped of agency, never given a chance to reconcile with her past or become more than Agni’s object of projection.

The patriarchal structure of Behemdorg feels similarly under-explored. A society ruled by a woman but becomes defined by male violence, and the narrative never quite knows what to do with that tension.

The final chapters rush through ideas that should have formed the emotional climax. Judah becomes a literal tree, reduced to a symbol for Agni rather than a character with her own resolution.

There's a lot of stuff there that's not really reckoned with. Her entire existence is this violation of identity and autonomy, but it goes pretty much unchallenged. Still, the ending works for me.

Agni’s final state: stripped of purpose, burned out, left only with the command to live... I think the bleak honesty of it really worked for me emotionally. And, of course, the very final page of them in the cinema.

There's a lot I like about Fire Punch, but it definitely feels like a debut (a hell of a debut, tho). I will probably check out Chainsaw Man sooner rather than later, so I hope Fujimoto refines the stuff that needs it so the really good stuff will hit even harder.