Fire Punch Review: WTF Did I Just Read?

Around halfway through reading Fire Punch for the first time, I decided that Tatsuki Fujimoto is my favourite mangaka.
This is not to say that I think Fire Punch is his best work.
If anything, reading it showed me just how much he has improved since writing this manga, going on to write and illustrate my second favourite manga, Chainsaw Man, and the fantastic one shots Look Back and Goodbye Eri.
One thing that has stayed the same across all of Fujimoto’s works, though, is his undobutable creativity, present in Fire Punch from the beginning, all the way to the very end.
Another constant throughout my first read through of Fire Punch was me repeatedly saying, “what the f**k am I reading?”

It felt like every chapter had its own wtf moment.

I don’t think I am exagerrating when I say that Fire Punch is the craziest work of fiction that I have ever read.
To be honest, I wasn’t sure if I wanted to continue reading after the first ten chapters because of how completely grim everything was, but I pushed forward and found a flawed yet rewarding story that is, of course, f****d up on every conceivable level.
Fire Punch is set in a world where super powered people, known as the Blessed, started a new Ice Age that is slowly leading to humanity’s extinction.
Agni is a young blessed with the power of regeneration, who lives with his little Sister Luna in a small village, where he cuts off his arm daily to feed everyone, since there is no food.
Oh, and Agni’s sister wants to have his babies.
So, yeah… that’s a thing.
However, Agni’s life is disrupted when a blessed named Doma arrives in his village, looking for soldiers, only to be disgusted by the cannibalism going on there, leading to him using his flame powers to burn the village to ash.
Everyone in the village dies, except Agni, who is kept alive by his regineration power, although he is left in a constant state of burning agony.
In her last, horrifying moments, Luna urges Agni to live, and so Agni does, persevering to eventually get his revenge on Doma, beginning the story of Fire Punch. 

The manga starts off as a revenge story but later becomes much more.

The story only gets crazier from here, with plenty of weird characters, many of whom have disturbing ideologies, and, of course, plenty of movie references.
It would not be a Fujimoto story without at least one, after all.
Fujimoto embodies these movie references in my favourite character in Fire Punch, Togata, the reginerative blessed who is a movie fan, nut job.
Togata is initially characterized as someone who will do anything to make a movie starring Agni, yet, as the story goes on, Fujimoto pulls back the layers on his character to reveal the vulnerabilities, creating an extremely sympathetic side to him. 
It also helps that he’s incredibly funny.
Seriously, one Togata segment during a truck chase had me laughing so hard my sides hurt for a couple of minutes afterwards.

I was amazed at how Togata went from a comedic relief character to having one of the most emotional arcs in the story.

Fujimoto absolutely nails dark humor.
He also nails the themes of the story, with Agni’s and Togata’s arcs being especially hard hitting. 
However, I did say near the beginning of this review that Fire Punch had flaws and there are quite a few.
Probably the two biggest of these are the characters and the pacing.
As I said, there are a lot of wacky characters in Fire Punch, but it does not seem like Fujimoto knew what to do with many of them.
Some just show up, look cool for a while with very little characterisation and then are killed off shortly after, sometimes off screen. 
The pacing can be just as problematic at times, with some important events happening way too fast or even off screen.
Then there’s the constant incest theme with Agni’s character, which is obviously uncomfortable.

To be fair to Fujimoto, though, he does often show creepy Agni’s feelings for his sister are.

Some of these flaws even have a positive side to them, at least if you have read Fujimoto’s more recent works first.
The flaws of Fire Punch make for an interesting comparison, as any reader can see how much he grew as a writer from his first long-running manga to Chainsaw Man.

As well as this, despite the issues, Fire Punch builds up to a great and expectedly crazy ending that closes off the story’s theme about living on no matter what well.
Overall, Fire Punch is a flawed yet meaningful story that is well worth it by the end.
Just be prepared to constantly say or think “what the f**k?” when you read it.  

Goodbye Eri Review: Blurring the Line Between Fact and Fiction.

Tatsuki Fujimoto has had a stellar career as a mangaka.
Chainsaw Man is my second favourite manga behind Attack on Titan and his one shot Look Back is an emotional rollercoaster.
I have also just started reading his first serialized manga, Fire Punch, which so far is already turning out to be one of the most insane manga I have read.
Well, Fujimoto recently released a new one shot Goodbye Eri, which, at first, looked like it was going to be a simple, emotional story, much like Look Back, before the story goes completley off the rails and explodes.
Ordinarily, me saying that would be a way of me dissing this story but no, this time I mean it as a compliment.
It leaves a lot up to the reader and this is what makes it so great.
Goodbye Eri begins at the 12th Birthday of Yuta, who’s parents have bought him a smart phone.
This pleasant Birthday gift quickly turns grim, however, as it is revealed that Yuta’s mother is dying from a terminal illness and she bought Yuta the smart phone to film her life all the way up to her final moments.
One bit of foreshadowing for what will be revealed about Yuta’s mother can be seen with the dad’s reaction to her request: how he looks between his wife and son, as if he wants to say something but then stops himself.
From here, the one shot proceeds pretty expectantly, with Yuta filming his mother’s life, their time togethor, and her degrading health.
Eventually, Yuta’s mother is dying in the hostpital, so his father takes him to film her final moments.
However, at the last second, Yuta gets cold feet and runs away from the hostpital as it suddenly explodes, leaving Yuta’s fellow students who are watching his movie in a state of shock.
Yep, Yuta created a film of his mother’s struggle with her terminal illness, only to add an explosion at the end, as if it was supposed to be an action movie.
His school mates take it about how you would expect, with many condemning and laughing at the movie.
One of Yuta’s teachers even pulls him aside to tell him off for “making a mockery” of his mother’s death with the explosion.
Yuta’s only response?
“That was awesome right?”
The teacher naturally does not take this well.
Yuta then interviews a bunch of other students about his movie, all of which criticize him for it, most potently one girl whose mother also died, who says she can’t forgive Yuta for adding the explosion at the end.
All of this leads to Yuta deciding to commit suicide, heading to the roof of the hostpital where his mother’s died to leap from it.
However, before he can, he is interrupted by a girl named Eri, who recognises him as the director of Dead Explosion Mother, and drags him to an abandoned building where she watches some movies with him.
Afterwards, the two talk, and Eri is the first person who speaks positively of Yuta’s movie, saying that she liked, “the way it blurred the line between fact and fiction,” something that will be very important later.
Eri goes on to state that Yuta’s movie was awesome and convinces him that he should make another movie next year to make everyone who laughed at his previous movie cry.
From here, we see the progression of Eri and Yuta’s friendship, just like we saw the progression of Yuta’s mother’s illness, only instead of the illness building, it’s the two friends watching movies togethor and making plans for Yuta’s next film.
There are multiple great moments of humor spliced in here, like when Eri pulls a peace sign whenever the heroes win and Yuta says “aww yeah,” every time there are nipples on screen.
We also get another key moment, this time between Yuta and his father, where the dad says that Yuta has always “sprinkled a pinch of fantasy on everything,” which explains part of the reason why Yuta added the explosion when his mother died in his original movie.
After this conversation, Yuta meets with Eri again and pitches her his new movie about himself meeting a dying vampire (Eri) after his movie is criticized.
Like his mother, the vampire is also dying, and the main character has to film her death to overcome the death of his mother.
Eri agrees to this film being the one Yuta will make and the conversation concludes with Yuta asking Eri to meet his father.
However, this meeting does not go over well because Yuta’s father is angry that they are making a movie, thinking it will hurt Yuta more, yelling at Eri to get out.
“And cut!” Eri cries out, revealing this argument to have been a part of their movie, since Yuta’s father has prior theater experience.
Then we get an interesting line from Yuta’s father, “To quote a friend of mine… creation is all about getting into the audience’s problems to make them laugh and cry, right? Well it wouldn’t be fair if the creator’s didn’t get hurt too, would it?”
The three of them then agree to reshoot the scene with that line in it.
I think this line may be a moment of Fujimoto speaking through the character of Yuta’s father.
Perhaps the “to quote a friend of mine” part of the line means that this is something Fujimoto thinks or something one of Fujimoto’s friends said to him, which he then decided to put into the oneshot.
Whatever the meaning of this scene is, it does lead into the moment where Yuta is hurt again, as he learns that Eri is also suffering from a terminal illness, after she collapses on a beach while filming.
In the hostpital, Eri asks Yuta to film her final moments, just like his mother wanted to do for him, causing Yuta to flee in a panic.
Yuta is then met by his father, who decides to show him his mother’s final moments on film, where we get one of the big bombshells of the one shot.
While Yuta’s mother lay dying in the hospital bed, Yuta’s father explained to her that Yuta would not come out of the car to see her, so he will be filming her final moments.
This causes Yuta’s mother to claim that her son was always useless, and we then get a bunch of panels showing her being abusive to Yuta and forcing him to film her life, revealing that Yuta made his mother look good in the film he made, having the power as the director to decide how she would be remembered.
Along with this moment being shocking and emotional, it also brings Eri’s comment about Yuta’s film blurring the line between fact and fiction to the forefront.
In that film, we see Yuta running away from the hostpital before it explodes, yet in the video of his mother’s final moments, his father says he is staying in the car rather than running away.
So how much of what we are shown before the explosion is real, if it was not just the explosion and his mother’s personality that were manipulated?
Is what we are seeing here fact or fiction in this story?
That is a question that the reader will ask a lot going forward.
Following Yuta’s talk with his father, he goes to see Eri and reconciles with her, agreeing to film her until her death, which he does so, all the way up until Eri is on her death bed, where she says to create a movie that will make everyone bawl their eyes out.
Cut to the school auditorium again after Eri’s death where, this time, the audience are all bawling their eyes out as they watch Yuta’s movie, to which Yuta pulls Eri’s peace sign at the hero’s victory.
An indeterminable amount of time later, Yuta is approached by the girl who said she could not forgive him for adding the explosion.
She reveals that Eri actually wore glasses, had a dental retainer, never dated Yuta, and actually had a massive temper to the point that this girl and Yuta were her only friends.
The girl then thanks Yuta for depicting Eri in such a positive light.
Taking her words into account, though, this means that every single moment we have seen between Eri and Yuta was either staged or recreated for their movie, again blurring the line between fact and fiction.
Then we get the biggest mind screw of all, as the one shot supposedly jumps forward decades later, as Yuta narrates that he eventually got married and had a daughter, but could never stop recutting Eri’s movie.
We then see the older Yuta, looking just like his father, only without the facial hair, and he says to his phone that his entire family, including his father, were killed in a car accident.
Not wanting to endure any more deaths, Yuta decides to take his own life, apparently going to the abandoned building where he and Eri watched movies to do so.
It is here that the mind screw part comes in, as Yuta walks into the abandoned building, and finds Eri, somehow still alive and watching his movie.
She comments that his movie is on track but something about it is not quite there, as films ending with the love interest’s death are overdone.
“It’s missing a pinch of fantasy, don’t you think?” She says.
Yuta says the film has fantasy because he turned Eri into a vampire, but Eri says that is fact because she really is a vampire, but one whose body dies every 200 years due to her overflowing memories.
When she died in front of Yuta, she revived three days later, without her memory.
Only the movie he made told her things about herself.
Although, given that it has been established that the version of Eri Yuka showed was idealized, she may have the wrong picture.
Eri then comments on the beauty of his movie, and how people can be immortalized through them (much like a vampire, I would say), to which Yuka agrees, before saying his titular goodbye to Eri.
Now, after much struggle, Yuta finally knows why he spent so long recutting his movie.
As Eri said, it was missing a pinch of fantasy, and that fantasy comes when the building explodes as Yuta walks away triumphant, bringing the one shot to an end.
Okay, so what the hell does this all mean?
Is Eri really a vampire?
How much of the film is real?
Well, the beauty of this one shot is that it is subjective.
Eri says at one point that stories which blur the line between fact and fiction, “make for a good puzzle.”
Allow me to state my own interpretation of this puzzle then.
I think that the parts with Yuta’s mother and Eri dying are real, although they are both depicted as idealized versions of themselves.
During the filming of Eri’s portion of the story, the two decided that there was something missing about the movie, as it “needed a pinch of fantasy.”
So, the two decided to get Yuta’s dad to play a future version of Yuta, shaving his facial hair to pull it off.
They then filmed the entire ending vampire scene with the building exploding at the end.
After this, they filmed the rest of the movie up until Eri’s death, whereupon Yuta compiled all of his footage into the film we are now seeing in the oneshot.
Or who knows, the entire thing could be a fictional movie, if you want to think of it that way.
There really are so many different ways to interpret Goodbye Eri.
But, no matter what you may think happened in this story, I think we can all agree, as Yuta says after his film Dead Explosion Mother debuts, “That was awesome, right?”
Tatsuki Fujimoto has done it again, delivering another amazing one shot that I will not forget for some time.

Look Back, Oneshot Review: Tatsuki Fujimoto is Brilliant.

Ever since Tatsuki Fujimoto released his one shot manga Look Back weeks ago, I have found myself returning to it time and time again, finding new meaning in it every time.
It’s funny because, even though Fujimoto is the author of one of my favourite mangas, Chainsaw Man, I honestly wasn’t expecting Look Back to be all that much.
Just a fun little story to read once and then move on from.
Boy, was I wrong.
I came out of Look Back an emotional wreck and I have felt just as impacted every time I have reread it since then.
It’s clearly not just me either because I have seen so many other people who feel the same way and come out of reading it with different interpretations of what it all means.
Look Back begins with a simple, single page panel of a room with an empty desk and chair, the importance of which will be realized by the ending.
We then meet our main character, Fujino, through the four panel manga strip she entered as homework for her school’s newspaper.
Fujimoto does an excellent job presenting her to us, as first we see the teacher giving his class the newspaper, then them passing it down and laughing with and appreciating Fujino’s art, and next we actually see the comedic strip before we are finally introduced to Fujino herself.
However, despite the class’ praise of her artwork, Fujino is actually not too receptive to the idea of becoming a manga artist when she grows up, perferring the idea of becoming an athlete instead.
It is on the following page where we first hear of the character who will change all of this for her, Kyomoto, when her teacher asks her to give up one of school paper manga slots to her, since Kyomoto is a recluse who doesn’t come to school but wants to explore her own artwork.
This news causes Fujino to cockily wonder how someone who is afraid of coming to school could draw manga well.
Her arrogant claim made it all the funnier when I turned the page and saw her horrified reaction when she saw Kyomoto’s artwork next to hers and realized it was much better than hers.
Fujimoto is really good at drawing hilarious character reactions and he doesn’t disappoint with Fujino’s.
It is not just her who realizes that Kyomoto’s artwork is better because everyone in her class does as well.
Remembering how everyone first praised her, wanting more of that, and realizing that Kyomoto is so good because she practices all the time at home, Fujino decides to devote even more time than the “five minutes” she spent on her earlier manga strip.
Following this moment, we get the first of many montage panels where time passes as Fujino practices her drawing at her home, school, the library, the park, and other places, along with buying various different guide books to help teach her.
At least a year passes during this montage, with the snow on the roof being in one panel then gone the next highlighting this.
We then get confirmation on how much time has passed, when one of Fujino’s friends says they will be middle schoolers next year and rhen asks if Fujino thinks that she herself is too old for drawing because she doesn’t want to be thought of as a creepy otaku at her age.
This, her sister’s discouragement and urging to try karate instead, and her seeing that Kyomoto’s background art is still better than hers, causes Fujino to give up.
There even seems to be a slight tear when she does so, showing how much this decision hurts, but she turns this emotion away to instead join up with her friends and spend time with family.
She even has her old drawing guide books thrown out.
It would seem that she is distancing herself from the passion of drawing forever but fate has other plans, as Fujino’s teacher again asks her to go to Kyomoto and deliver her graduation certificate to her.
No one answers the door, so Fujino goes inside and finds the walls outside of Kyomoto’s room lined with journals for drawing.
Seeing one bare manga strip, a moment of cruel inspiration strikes Fujino, as she draws Kyomoto winning the shut-in world championship because she is dead.
Epic foreshadowing (only kidding).
Just as she is wondering what she is doing, she drops the strip, which slides under Kyomoto’s door, causing Fujino to flee in panic, only for a disheveled and awkward Kyomoto to pursue her outside.
The symbolism of this first meeting is pretty great, as Fujino’s feet are in the light and Kyomoto’s are in the shade of her house, showing their different standings in life, with Fujino currently being outgoing and Kyomoto an introvert.
It is then that Kyomoto nervously admits to being a fan of Fujino’s, followed by another great reaction shot of Fujino.
Although, while the previous reaction shot of her was comedic, this one is dramatic, as her face is bathed in light, the only panel in the entire page where a character’s face is not in the shade.
This shows the importance of Kyomoto’s confession to her, as it resparks her passion for drawing manga, only this time not to gain praise which I will explain later.
Kyomoto follows this up by getting Fujino to autograph the back of her shirt, and then asks why she stopped drawing manga after sixth grade, causing Fujino to expertly lie, highlighted by her refusing to look at Kyomoto.
Fujino claims that she hasn’t been drawing as much because she is preparing to create a story, which she will submit for a manga award and promises to show Kyomoto once she is done.
She then leaves as it starts to rain and begins to skip and dance, no longer having to lie to herself about lacking the passion to draw anymore.
The full page spread where she skips and dances through the rain in a way that is somehow both awkward and triumphant is excellently drawn by Fujimoto and one of my favourite moments in the one-shot.
Que another, much longer montage of panels, as the years pass and Fujino and Kyomoto grow closer, beginning to work togethor and inspire each other it their own artwork.
After a day out on the town, spending the money they earned from their manga, Kyomoto admits that, just like Fujino starting to draw manga because of the praise she got from others, she began drawing manga not for fun but because otherwise she was bored, thanking Fujino for bringing her outside.
Eventually, the two become successful enough to become seralized, however, Kyomoto cannot help Fujino with the new manga series because she wants to go to art school to hone her craft.
Fujino does not take this news well, using Kyomoto’s earlier confession to try and manipulate her into staying and helping her, saying she will become bored at art school.
This argument seems to cause a seperation between the two because, as time passes in the next montage, with Fujino becoming successful with her manga, Shark Attack, which is then set to get an anime adaptation, we don’t see them interact, which makes it all the more heartbreaking when it happens.
Fujino looks at the news one day and sees that an attack has happened at Kyomoto’s art school and unfortunately she did not make it.
This is clearly a representation of the tragic Kyoto Animation arson attack in 2019, which claimed 36 lives.
It is particuarly sad to then notice in hindsight that the first part of Kyomoto’s name is also the beginning of the name of the animation studio where the real life attack took place.
This all goes to show just how devestating the attack on Kyoto Animation and the loss of life was for many creators out there who had been inspired by their work, seemingly Tatsuki Fujimoto among them.
Kyomoto’s death affects Fujino especially hard, as she goes on a highatus afterwards, claiming an illness to be responsible.
She then visits her old friend’s house where she finds the manga strip she wrote which accidentally drew Kyomoto out of her room.
This causes Fujino to blame herself for Kyomoto’s death because, as she sees it, if she had never drawn that manga strip then Kyomoto never would have come out of her room and thus never would have died.
It is then that we see what appears to be a fantasy of Fujino’s of what Kyomoto’s life would have been like had they never met.
In this fantasy alternate universe, only the torn part of Fujino’s manga strip where the onlookers tell Kyomoto to not come out of her room slips under her door.
So, Kyomoto never overcomes her insecurities to interact with others but still gets into art school.
Then, the attack happens, only this time there is a hero to save the day.
It is none other than Fujino who, in this alternate universe, focused on karate like her sister asked, so was able to thwart the attacker and save Kyomoto’s life.
This leads the two to become friends in this fantasy as well, with Fujino offering Kyomoto a place as her assistant, inspiring Kyomoto to go home and draw more manga strips, one of which blows away in the wind and under Kyomoto’s door to meet Fujino, the fantasy ending.
Fujino reads the strip, which has the titular title Look Back, and is a comedic version of her saving Kyomoto, possibly something the shy girl imagined back when she was Funjino’s biggest fan.
Entering Kyomoto’s room, Fujino sees that Kyomoto indeed still was a fan of Fujino, as she had all of the volumes of her manga and still kept the shirt she signed with a place of honour on the hook of her door.
This all causes Fujino to admit to herself that she never really enjoyed drawing manga because of how unfulling it was and wonders why she did it all?
The answer comes in a flashback to Fujino gifting Kyomoto with the manga she promised back when they first met, resulting in an overjoyed expression from Kyomoto, along with all the times they inspired one another.
This all shows how Fujino’s passion for writing manga changed from first being to get the praise of her peers to then making her readers happy once she saw how happy it made Kyomoto.
And right there came the tears from me because this broke me the first time I read it.
If this is not a direct message from Fujimoto to his readers then I don’t know what is.
Especially considering the characters’ names of Fujino and Kyomoto, which makes up his name.
Looking at her Shark Attack manga, eerily similar to Fujimoto’s Chainsaw Man, and realizing what it all meant to Kyomoto, Fujino goes back home to continue her serialization.
The one-shot then ends on another single paged panel of Fujino sitting in her chair at her desk, continuing to write her manga, directly paralleling the beginning of the one shot where we saw Fujino’s chair and desk but no one was sitting in it.
Look Back seems to be detailing Fujimoto’s experience as a mangaka primarily through Fujino, as she starts off writing it for praise and to beat a rival but then starts doing it for the experience of the readers, as seen through how Kyomoto inspires her.
It’s also neat to note how the Oasis song “Don’t Look Back in Anger” is shown to be an inspiration through how it is placed by Fujimoto throughout the one-shot, with the opening black board saying “Don’t”, Kyomoto’s manga strip of Fujino saving her being titled “Look Back” and one of the books Fujino has on the final page being titled “In Anger.”
There are a lot of other subtle details to this one-shot, like the infamous Chainsaw Man door at one point.
It can take multiple read throughs to find many of these and some of them had to be pointed out by others for me to get, like the already mentioned “Don’t Look Back in Anger” reference.
Along with these details, there is the emotional power of Don’t Look Back, which hit me with the weight of a truck when I first read it.
It is a fantastic one-shot and I have the exact same thought every time I finish: Tatsuki Fujimoto is brilliant.

Chainsaw Man PV Reaction: All Aboard the Hype Devil Train!

Warning: This reaction will contain spoilers for the manga so if you haven’t read it then don’t read this. 

Chainsaw Man is one of my favourite mangas.
Written and illustrated by Tatsuki Fujimoto, the story is a constant mix of being endearing, hilarious, horrifying, and emotional.
I’ve reread it twice and I’ve only loved it more each time.
So, obviously, I was very excited for the PV for the upcoming anime from Mappa Studio.
Well, we got the PV recently and its safe to say that the fanbase lost its collective mind over how good it was.
Seriously, I really hope that we don’t get an Attack on Titan Final Season situation where the actual show’s animation doesn’t live up to Mappa’s PV animation.
Not saying that Attack on Titan’s animation was bad but the PV did look better, and this caused a lot of outrage when the actual CGI appeared, which went as far as some stupid people harrassing Mappa’s staff.
Now, was the Chainsaw Man trailer preanimated?
Almost certainly.
However, this doesn’t mean we won’t be getting the same outcome as Attack on Titan because apparently the same people working on this trailer will be working on the anime and also the schedule will probably not be as bad for these animators, hopefully.
As for what happens in the trailer, it has a lot of recognizable and unrecognizable moments interestingly enough.  
The PV starts and we see a young Denji standing in a bloody alleyway and a mouse nearby, as the shot pans out to reveal the city outside.
This works as great symbolism, both for what will be revealed about Denji as the story goes on and also the whole country and city mouse discussion that comes about.
From here, the trailer cuts to the Hayakawa household, with Denji, Aki and Power having a nice family meal.

The three of them look excellent and this is seen further with the following shots of Denji, Power and Kobeni at the beach and Aki and Himeno in bed.
Along with these moments leaving a smile on my face because of how well animated they are, they also had me intrigued because these scenes were not in the manga.
It makes me wonder if Mappa will be adding some anime only scenes or if these are just for the trailer.
Will be interesting to see.
However, the fact that the next shots reveals these idyllic settings are happening inside a TV screen means it is likely that these moments are not real and the disturbing stuff that follows is.
These disturbing things include shots of the Eternity Devil, a graveyard for devil hunters, a bloody Gun Devil bullet, Aki’s house exploding, Katana Man and Sawatari walking, Denji’s door, Denji resting with Pochita in an old shack, and Makima herself about to throw down. 
Once the horror side of Chainsaw Man has been shown with this, the trailer makes sure to show the action side, with bombastic music set to even more quick shots, this time of Kon, Aki drawing his sword, Kishibe rising up, Power attacking with a sledge hammer, and Denji facing off against the Bat Devil and Leech Devil.
The final shots of the trailer see Denji in his full Chainsaw Man getup, as he cuts down zombies left and right in a gory display.
Now, these last few shots do give more credence to the trailer being preanimated, since Denji is wearing his devil hunting outfit here, when in the manga he was shirtless.
Still, even if it is preanimated, I have hope that the anime can actually make this fight look as good as it does in the PV.
Overall, the PV is excellent.
It does a fantastic job of hyping up fans of the manga and also getting those who will be anime only viewers intrigued.
Also the director has been announced as Ryu Nakayama, who is a first time director but has been a key animator for anime like Kill la Kill and One Punch Man.
As for the composer, they have been announced as Kensuke Ushio, who has composed for
A Silent Voice, Devilman Crybaby, and Japan Sinks: 2020.
So, both of these people are promising people to leave Chainsaw Man in the hands of.
I hope that they and Mappa Studio can pull off adapting one of my favourite manga. 

Chainsaw Man Review: Can’t Wait for the Anime and Part Two!

5 stars
What an insane ride this one was.

I’d head a lot about Chainsaw Man over the past few months.
How insane and well written it is, how it’s going to get an adaptation by Studio Mappa, and, most recently, how we can expect a trailer in June.
With this final piece of news, I gave in and read the manga, discovering one hell of a story.
Written and illustrated by Tatsuki Fujimoto, Chainsaw Man is set in a world where humans often find themselves being attacked by Devils, so a group of Devil Hunters has been formed to combat them.
Our main character is Denji, a young man who hunts Devils with his own pet Devil, Pochita, to pay off his dead father’s debt to the Yakuza, which has passed onto him.

Denji has gone through a lot of bad things at the beginning of the story… come to think of it, he goes through even worse things as the story progresses!

However, after a dark turn of events sees Denji dismembered and thrown into a dumpster, Pochita makes a contract with Denji to give him his heart, if he shows him his dreams.
And so, Denji becomes Chainsaw Man, a human with the capacity to transform into a Devil who has a chainsaw head and arms to dismember any Devils that get in the way of his goals.
What are these goals?
Well, they’re simple things, like eating good food, having a nice place to sleep, and touching some boobs.
It’s honestly funny how simple Denji’s motivations are compared to the other characters.
For example, we have Aki, a character whose tragic backstory would make you think he is being set up to be the main character.
But no, instead we have Denji, whose main motivation for trying to kill what is supposedly the most dangerous Devil of all being that he will get one wish from the girl he likes, Makima.
It’s so absurd, yet it somehow works.  

The humor of Chainsaw Man is so outlandish but it is clearly intentional and I just couldn’t stop laughing.

Speaking of characters like Makima and Aki, though, both of them are great, with so many fantastic twists and turns to their arcs.
It’s not just them who are fun characters because there are many others.
Power brings constant laughs to the table and the growing found family dynamic between her, Denji and Aki is beautifully handled.
Kobeni’s suffering is weaponized into being some of the funniest stuff in the entire story, with me laughing my head off, while also feeling sorry for her.
Then there’s the awesome devil hunter Kishibe, who may just be my favourite of the bunch, due to his personality and the way he handles his trauma.
I actually don’t think there’s a single character among the main cast who is a weak link.
This makes it even harder to sit through when Fujimoto inevitably breaks our hearts with another character’s gruesome fate.
Seriously, Fujimoto should go into business with Hajime Isayama, building an onsen where the water comes from their fans’ tears. 
I’m pretty sure a good portion of those tears would come from me too because some of the things that happen got me really emotional.
Chainsaw Man made me go from laughing so hard my sides were hurting, to tearing up, to being left in stunned silence on multiple occasions.

There were so many moments in Chainsaw Man that made me have to take a moment to see if what I just read really happened in the story.

All of this emotion is brought across by Fujimoto’s excellent drawing skills.
The guy is as skilled at illustrating as he is at making us laugh and feel depressed.
This culminates in a fitting ending for this part of the story, which has me not only incredibly excited for Mappa’s adaptation but also for Part Two of the manga, whenever that releases.
Chainsaw Man is one hell of a manga that will leave you clenching your sides with laughter, shedding a few tears, and in stunned silence.  
Hopefully Mappa can do this great story justice.