#DUEL DESTINY SPOILERS PAST THIS POINT IN THE TAGS

[mayonaisalspray]

The more I think about this ship the more I fuck with it

[pumpkaaboo]

Madoka Magica rewatch: episode 1

Hey guys! I’ve decided to rewatch Puella Magi Madoka Magica (considering that the last time I watched it, I was 12, up past my bedtime, and at a sleepover with my friends. we watched the whole thing in one night. needless to say, a lot of things flew over my head). I want to pay attention to two things in particular: symbolism, and parallels to Revolutionary Girl Utena (specifically, eggs. that will make sense if you’ve seen utena). Most of what I’m going to talk about is probably a reach and/or not intended by the creators, but hey, overanalyzing every minute detail of things to the death is fun. (Note: these posts will contain spoilers for the entirety of madoka magica, and probably bits of utena as well) If you don’t want to see these posts, you can blacklist the tags “#pmmm” or “#pmmm rewatch”. Without further ado, let’s get into it!

So right off the bat, we have a parallel to utena. The very first shot in both...

...is a curtain being raised. This is very interesting to me; it gives the idea that what we’re about to see is a performance of some kind. Whether it means that the whole thing is a performance, or just the dream/flashback we’re about to see, is something I’ll have to look out for. Regardless, just as in utena, I’m going to take this as an indication that what I’m about to watch should not be taken at face value.

Also worthy of note that this is the first time we get to see the beautiful paper cutout style in the witch labyrinths. It’s one of the defining artistic features of this anime, and I can’t wait to see it again.

Then there’s a shot of what appears to be a grief seed with some text in a conlang I can’t read and then... this.

...yeah, I’m at a loss. Is this Madoka’s witch? I think it might be. The background kind of looks like a record from this angle, but broken by that black... slice? bar? witch? Also, there’s the sound of what I think is a tape running through a film projector-yet another indication that what’s to come is a story a performance, not necessarily reflective of reality. However, in contrast to Utena, which uses theater/live performances and plays, Madoka seems to be using film. Film is static, unchanging-you can watch a movie as many times as you want, but aside from file corruption or physical damage to your equipment, it will play out exactly the same way. Theater, meanwhile, is much more dynamic-the actors and the audience have a tremendous amount of influence on the way things go, even if specific plot points must remain the same. I like that, as a difference between the two, because while in Utena, the duelists are always different and the circumstances of the cycle are always changing (even if the end result is always the same), while in Madoka, Homura is repeating the exact same month, and everyone else stays exactly the same except for her (the audience? much to think about).

We have several shots of Madoka running through this stark black and white landscape. She’s the only spot of color in it, and each shot is more impossible and dreamlike than the last.

Finally, she comes to this bright green exit sign-a complementary color to her hair. It’s surrounded by darkness and metal fencing (only visible in the previous shot)-perhaps meaning that, for Madoka to be able to move forward, she will have to travel into darkness, towards something the opposite of herself? I also find the framing of the shot to be very reminiscent of this:

Madoka must ascend the stairs before opening the door, however, not after. I’ll talk a bit more about this parallel later, though, because Madoka opens the door and sees...

...that. Walpurgisnacht has the same pattern behind her that the weird shot of the record did earlier, so maybe I was misreading that and it’s supposed to represent her, not Madoka’s witch whose name escapes me. Also worthy of note that Madoka is moving from an unreal space of equal parts light and dark (where the two were distinctly separated) to a more “real” world of black and gray-and where darkness and the few patches of light often blend together smoothly. I think this is supposed to represent her idealistic worldview clashing against the world where Magical Girls must constantly risk their lives, make morally gray decisions, and fight witches for survival.

I’m not really sure of what to think of the parallel between Madoka entering the battle with Walpurgisnacht and Utena entering the dueling arena, but if we take it as her going from a place inside of her own mind, where her assumptions about the world are unchallenged, into a place where a battle of ideology where no one is truly, 100% noble (even though some may hold the definite moral high ground) might work, but Utena’s dueling arena is also a place of trying to obtain that true nobility. Then again, that could be a parallel to Madoka’s wish in the end, couldn’t it? But I don‘t think it’s a 1-1 parallel, nor do I think it should be expected to be. I’m happy to think of it as a (possibly unintentional) nod to one of the show’s major influences.

Also I just noticed that Walpurgisnacht’s design sort of mirrors itself and works just as well upside down as right side up-hold on let me just-

yeah.

Here we have a shot of Madoka standing on a maze of scaffolding-the path ahead of her will be treacherous, full of dead ends and places to plummet to the ground. But we don’t have time to talk about that because HOMURA

So our first shot of this character-arguably tied for “most important in the show” with Madoka herself-is from a distance, standing on a pillar of darkness, surrounded by flashing red lights. The camera constantly focuses in and out-she’s distant, and it’s hard to figure out what she’s doing or thinking. But then we cut closer to her-

-and we see her face right before she gets hit by a skyscraper-

-and it becomes clear that whoever this is, she’s someone to pay attention to, someone whose inner mind and motivations the series will be exploring. Also I love how she’s not scared of the skyscraper at all, seeming to view it as more of a minor inconvenience more than anything. Because to her, it is!

Also, here we have the first actual bright colors in the show besides the green exit sign. I note that Homura is raising her shield here, not firing one of her (many) guns/explosives-our first impression of her is a mysterious one, but also of protection, though who or what she’s trying to protect remains to be seen.

...and here we have the first voice line of the series. Seems appropriate, given the general tone, but I also think it’s important to note that our first impression of Homura is protectiveness, and our first impression of Madoka is compassion and sympathy...

...while our first impression of Kyubey is fatalism and discouragement. Not exactly a good look for a character who’s supposed to be guiding and supporting the heroes, huh. Kyubey knows exactly what he’s after, and he knows exactly how to get it.

And here we have the entire thesis of Madoka’s character in one line.

Seriously, all of it’s right there! Compassion for those suffering, an acknowledgement that the current circumstances are unjust, are wrong. This isn’t how magical girl shows are supposed to go, this isn’t how heroes are supposed to have to fight, and Madoka is unwilling to accept a world where this level of injustice is the norm. God, what a great way to introduce the entire main conflict of both the protagonist and the show!

Here’s our first clear shot of Kyubey, and he looks even more blank and eerie than usual-I think it’s the fact that he has no visible pupils. Also a great bit of foreshadowing; you don’t typically introduce a character that’s going to be helpful like this.

Kyubey tells Madoka that she has the power to change this fate-to alter the horrible destiny in front of her. “Can I really?” asks Madoka.

That’s why Madoka wants power-she wants to be able to help. And she can, but she’ll have to be very careful about how she words her wish, because otherwise, she might just end up making things worse. It’s worth noting that she wants to change the ending-perhaps foreshadowing her eventual wish to stop magical girls from becoming witches (any girl who cannot become a princess..), changing the inevitable end of their lives.

I love how the branches of the tree(?) are breaking up the frame, making it look fractured or like slash marks, showing how the characters are broken and disoriented, and visually representing the separation between Madoka, Homura, and Walpurgisnacht. It’s a neat trick that was used to great effect in Adolescence of Utena (though usually it was associated specifically with blades or impalement in that case).

Kyubey offers his contract to Madoka, and she looks at the camera, determined, crowned and wreathed by the rubble around her...

...and then wakes up, in her bed, surrounded by warmth and pink and soft things and hearts. Also, I think the aspect ratio changed at this part? I’m not really sure why that is-maybe to convey that they’re going from the cinematic final conflict to Madoka’s everyday life?

Silhouetted by the warm window behind her almost like a halo, watched by her stuffed animals and embracing another, Madoka asks if it was all a dream. She noticeably sits up so her entire head is in the light, and then leans down so only half of it is-she hasn’t fully committed to the heroism she’ll come to embody yet.

Okay, that’s enough for now, it’s been like two hours and I’ve only gotten through one scene. I was hoping to be able to get through this quickly, but I should have known better. Part 2 of this episode coming... at some point, hopefully.