The dojo manufactures a self. The film still knows exactly what the machine is doing.
The dojo organizes masculinity through rank, vocabulary, color, violence, music, fear and ritual. Casey’s transformation is therefore not a loose character arc: it is the output of a deliberately constructed symbolic system that teaches him what strength, weakness and legitimacy are supposed to mean.
Because the system reproduces itself through the people it captures, 3a can look plausible. The crucial firewall is external orientation. The film’s satire maintains a stable diagnostic position from which the dojo’s ideology and conditioning can be seen as manufactured.
Level 2 is sufficient. Casey is changed by the system, but the conditions by which reality itself can be known do not become the governing fracture. The intelligence lies in how economically the film builds and exposes the machine.