#congrats on the monkey’s paw wish fulfillment

[kingofanemptyworld]

this is the future yoshiden shippers want

[dandivinity]

Madokannon: Religious Symbolism in Madoka Magica

If there’s one word I’d use to describe the show, Mahou Shoujo Madoka Magica, it would be deceptive. If you’re wondering how a cute Sailor Moon rip-off with even brighter colors and a moe art-style is deceptive, congrats, you fell for the deception. As the series continues, it becomes clear that the show is not a cut-and-dry monster of the week where good always triumphs. Rather it is a pastel-colored Faustian bargain where even the best intentions can lead to dire consequences. In the end it is only through the titular characters unshakeable hope and faith and no small amount of divine intervention that the series reaches it’s bitter sweet conclusion. This is obvious upon a first viewing. What is less obvious is the nature that this divine intervention takes. While the show occasionally makes direct connections to Christianity, It seems to me that the theology implemented is Buddhist through and through complete with Four noble truths, samsara, vile rebirth, and an allegory of the bodhisattva Kannon. 

Let’s start with the basis of the show, the wishes. This is one of Madoka’s most prominent aspects and the largest concern from the beginning of the series before the villain’s true underpinnings are revealed. For those of you not familiar, 1). Why are you reading this? And 2). The set-up of the Madoka,  like most magical girl anime, involves a cute animal mascot offering the girls magical powers in order to fight monsters. What makes this set up unique however is that the oh so cute cat-bunny-thing known as Kyubey also offers the girls one wish as an incentive so that they would accept it’s “contract”. Now the use of the word “contract” is an obvious red flag meant to alert us to the Faustian nature of the deal. And yes, the agreement comes with several hidden clauses that Kyubey conveniently leaves out such as the fact that becoming a magical girl involves having your soul removed from your body and placed into a gem because it’s “easier to protect”. But Kyubey’s not exactly stealing it like a Christian devil would. More importantly than the hidden clauses though, is the wishes themselves.

Now stories of the devil tempting people with promises of wealth or power are quite common in Western literature, as are tales of djinn or monkey paws providing wishes that always go wrong in Near Eastern lit. But what’s extraordinary about Madoka is that for the most part the wishes the girls grant are simple in nature and rather generous. Our main focus point, and the only wish we see pursued from beginning to end in chronological order is that of Sayaka Miki. Sayaka is established to be crushing on a boy who was a former violin prodigy before a car accident left him paralyzed with no hope of playing ever again. Sayaka wishes for him to be healed, and just like that, it’s done. 

The boy does not relapse, nor does he lead into another accident. He simply starts a miraculous yet slow path to recovery, until the series finale where he is shown without crutches and playing beautifully for a wide audience. The problem? Well as pointed out before Sayaka even makes the wish, she’s wasn’t actually doing it for him: she was on an unconscious level hoping that he’d be forever grateful to her. Does she hold this over him? No. Does he reject her? No. She simply doesn’t ask. Sayaka is too busy with her new responsibilities and ashamed of what she has become to ask. 

And frankly the importance of Kyosuke in Sayaka’s fall is largely overstated by the fanbase. Yes, he’s a large factor but even more so than wanting to heal him or his gratitude, Sayaka wants to be a hero. This is heightened when their magical mentor dies within the first three episodes. Sayaka now feels like it’s her responsibility to protect her city as no one else will. Unfortunately, she’s simply not as strong as her former mentor or the new morally unsound magical girls that seeks to dispose of her (both Kyoko and Homura). This is really what leads to Sayaka’s downward spiral as she comments, “The world doesn’t need a magical girl who can’t even kill a witch”. Sayaka wants to be a hero, and she wants to get the guy and she gets neither. Her desires, both fulfilled and unfulfilled, all lead to her suffering. This is the First Noble Truth of Buddhism. 

I realize this isn’t the most convincing argument on its own but let’s zoom out a bit here. What is desire if not earthly attachments? Attachment and inability to let go of attachment is a concept found in nearly all the wishes in the show. It doesn’t matter if it’s Sayaka’s wishing for her friend’s health, Mami literally trying to cling to life, or Kyoko (in the most directly religious moment in the show) wishing that people would come to her father’s sermons so that her family could have enough to eat. All of these desires are moral in some way and yet they are still desires. More importantly, they all involve a longing for what once was, and are attempts to return things to how they were rather than moving on. This inability to let go is characterized not just in the wishes but in the reason they’re implemented in the first place. 

When Kyubey finally explains why they knowingly cause suffering to countless adolescent girls throughout time, they explain it’s to harvest enough renewable energy from the emotions of magical girls to stave off the entropy of the universe. The whole process is rather convoluted and -let’s face it- an excuse to deconstruct magical girl tropes, but that doesn’t change the fact that preventing the heat death of the universe is still Kyubey’s number one goal. That combined with their inability to truly understand the suffering they’re causing has caused some of the community to question their villain status or at least say they’re a villain with a just cause. And while postponing the heat death of the universe may be noble in the long run, it is a literal fight against the impermanence of the universe. A fight that we know from Buddhism is doomed to only lead to personal trauma in the face of inevitability of a changing world. But it is this fight against impermanence that kyubey embodies so well, and one that is baked into the wish-based magical girl system they run. 

Ok, enough beating around the bush. It’s time to talk about Homura. After spending most of the show as a mysterious red-herring villain that knows far too much, Homura finally gets an episode dedicated to her near the end of the show where it’s revealed she’s a time traveller who restarted the timeline over and over again in order to make her wish come true; to be able to save Madoka. Specifically  Homura has to replay the same month over and over again until she can succeed in saving Madoka’s life and cannot escape until this goal is reached.  This obsession leads to a very literal samsara, by repeating the timeline again and again Homura is actively choosing to trap herself in endless cycles of suffering, death, and rebirth all because of her attachment to the mortal world. Through this process we can see Homura fall apart becoming more and more monstrous in her single-minded focus to save Madoka at the expense of everything else. By the time she arrives at our main timeline that the rest of the show takes place in, Homura is comparable to a hungry ghost. She’s directly accused of walking through the world as if dead, unable to feel anything except for the desire that damned her in the first place, her obsession with Madoka. When even this too seems lost, she nearly becomes a witch. 

In Mahayana Buddhism, rebirth on earth is not the worst thing that can happen after one’s death. If one leads a sufficiently desperate life they can be reborn as an animal, hungry ghost, or in hell. This is where Madoka’s witches come from. Perhaps the most tragic twist in Madoka Magica is that if a magical girl falls into despair (usually due to her wish’s inability to make her happy), her soul gem will transform into a grief seed which then becomes one of the monsters they fight. These nightmare collage monsters have new names separate from their old identities and live in pocket dimensions where they lure people in. These pocket dimensions often in someway manifests the desires of their old lives being filled with sweets, TVs, or (in Sayaka’s case) violinists. Interestingly, when Sayaka first dies and is reborn as the witch Octavia in a train station, her labyrinth is also full of railroad tracks. She relocates to a concert hall and the labyrinth follows suit, but train wheels remain despite having no apparent bearing on her previous life. This could be a reference to Buddhist beliefs about your final thoughts and which direction you look when you die having bearing on which realm you’ll be reborn into. 

Homura’s obsession in contrasted by Madoka’s ability to let go. Madoka’s final wish and subsequent ascension has often been compared to Jesus’s sacrifice on the cross, and rightfully so. Madoka’s wish to become a cosmic force that can take on all the despair of magical girls before they become witches at the cost of her own mortal life has many strong parallels to Jesus suffering on the cross to redeem humanity. However that idea only works if Jesus is suffering. Madoka is stated to be taking the grief of every magical girl who ever became a witch onto herself and we even see a far future version of her becoming a witch large enough to destroy the world. But before it does it is shot down by another version of a truly ascended Madoka in a white dress. This version states paradoxically that since her wish applies to all magical girls that would become witches, that includes herself. The fluidity of time and direct denial of the necessity of suffering or sacrifice are at odds with Orthodox Chriastianity, or at least its perception of Jesus. Rather I argue that the way Madoka saves all the magical girls, her subsequent erasure from existence, and even such mundane symbols such as the white dress all link her closer to the Bodhisattva, Kannon. 

Let’s take a closer look at the scene where we see Madoka actually ascends and manifests to relieve the potential witches of their grief. We see Madoka split herself into thousands shafts of light, all of which appear above different suffering magical girls in different places and time periods. And above all of them Madoka appears, she touches their corrupted soul gems which are then purified before shattering, allowing the magical girls to die in peace. A rather sad ending, but one that’s better than rebirth as a witch, which we already identified as equivalent to the hell realm. So while it is unclear where the magical girls are going to go after they die (or even if they go anywhere at all as we just saw the gems holding their souls shatter, possibly destroying them), we can know that Madoka is saving them from a worse rebirth. This directly parallels miracle tales that surround the Bodhisattva Kannon, especially in her Chinese incarnation as the white-robed Guanyin. 

Kannon is the primary example of Bodhisattva or one who has put off Budhahood to aid those still on earth. Kannon in particular swears to never ascend until all living things have been freed of samsara. She’s often depicted as having 11 heads and a thousand arms to better reach all those suffering in the world at once, like how Madoka splits herself into a myriad of forms. Many of these tales have devotees of Guanyin spared from tragic fates such as beheadings or shipwrecks. However a few, adapt these stories to instead refer to a more metaphorical salvation, especially in the pure land tradition popular in Japan which then says that anyone who calls out to Kannon on the verge of their death will be still die and be reborn to the pure land rather than wherever else they were supposed to reincarnate. Madoka’s god form even highly resembles the Chinese incarnation, Guanyin. Wikipedia states, “Guanyin is generally portrayed as a young woman wearing a flowing white robe, and usually also necklaces symbolic of Indian or Chinese royalty. In her left hand is a jar containing pure water, and the right holds a willow branch.” While we never see Madoka with any water; the flowing white dress, red gems along her collar bone, and branch-like bow (though on that seems to be more of a sakura branch) all bring to mind Guanyin.

Finally Madoka’s ascension ends with her body dissolving into glimmers of light as she explains how no one will remember her, but she’ll still be there. This dissolution of the her spiritual body is a visual symbol of ego-death. Madoka recreates a word where she does not exist, and had never existed, yet still manifests as a concept and virtuous force that leads others to salvation rather than as a sentient entity. This is the Nirvana. Madoka hadn’t just ascended to godhood, she had surpassed it and achieved nothingness, as her buddha nature radiates throughout the world, ultimately changing it into something better. This is the paradox of Buddhism and the goal of any buddhist practitioner, to achieve an inner peace so strong you become a part of the universe like madoka had. And the new world she created was better for it. 

That is at least until the show decided to  make a movie sequel and trick madoka into descending. At that point she stops acting as a Buddha and instead as Pistis Sophia in line with the obscure belief system of 2nd century Gnostics. But that will be a conversation for another time. 

[glopratchet]

jase

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