#its definitely not the first ‘what if magical girls were dark and edgy’ series | Explore Tumblr posts and blogs

miraculouscontent · 4 years ago

Text

Askplosion #12 4/4:

(I would like to state for future reference that, while I do not mind long/multi-part asks, if you’d like to engage in actual discussion with me over a non-Miraculous topic, my DMs - Tumblr Messenger - should be open; I lost pieces of three multi-part asks this time just due to Tumblr not sending the remaining part(s) so yeah, I just wanted to make that clear)

(like, this askplosion ended up being super long because of this section and that’s not really what I want to have going on since I’m supposed to be a primarily Miraculous blog; I don’t want to have to stop answering non-Miraculous related asks but I might have to if this keeps up:)

.:New non-Miraculous Asks:.

Anonymous said:

What are your experiences with some really rude anons?

It’s partly my fault when it happens. Like I’ve said before, I’m an aspie, and part of what that means is I struggle to understand situations emotionally. I can come off as insensitive or read the mood wrong which often leads to people misunderstanding my intentions or where I’m coming from.

More often than not, what I’m saying will make 100% sense to me but not the person/people reading it. I also stick a lot more firmly to my opinions than I should because people tell me I fold too easily, and I come off as more egotistical than I actually am to cover up my low self-esteem lol.

So yeah, can’t think of any experience in particular but sometimes it might be my fault? At least I suspect that it is?

Anonymous said:

“Killed by kindness” makes me think of an assassin who kills people by giving hugs and compliments to people and the occasion gift that isn’t tampered until thre target does like Conrad Birdie making women swoon into fainting by singing.

omg

yes

Anonymous said:

You're watching Yashahime right now? rip

MARINETTE TAKE 2 MOROHA DESERVES BETTER

SETSUNA HAS SO LITTLE REASON TO HANG OUT WITH THE OTHER TWO GIRLS

IF I SEE ANOTHER DEUS EX TOWA I’M GONNA KICK SOMETHING

(so yes, I’m watching Yashahime)

Anonymous said:

Since someone recommended Remarried Empress, I would like to recommend my own webcomic: Princess Love-Pon! It's about a young girl named Lia Sagamore who becomes the titular magical girl and purifies people's hearts when they're tainted by the Dark Queen! It's really cool due to its diversity, the main character is black and her best friend is Afro-Latina, the villain and her prince son are also black, and there's a Japanese girl, a black guy, and an Indian girl. Plus, loads of pink and frills!

Thank you very much, though I actually don’t take recommendations, even from close friends. The Remarried Empress anon wasn’t a recommendation; they were more pointing something out to me and then I went to confirm.

Anonymous said:

Unrelated to MLB: Which Pokémon are your favourites?

I used a “Favorite Pokemon Picker” because I prefer going by generations to pick favorites and that was the easiest way of going about it. I struggle picking super favorites so here’s what I got form each generation! (my only rule was “one Pokemon per evolution line” with an exception of the Eevee line since they’re different types, and also Alolan/Galarian forms)

(note: the blue-patterned Vivillon is my favorite and I honestly don’t like Charizard normally but the Y version actually slims him down and gives him the wings I feel he should have; it’s an improvement of the design so it gets my seal of approval, I don’t like the X version at all)

(lol I was looking through this after I was done and find it really funny how it’s like, 50% cute things and then the other 50% is just EDGY, there’s very little in-between with me I guess)

Anonymous said:

Bridgerton the Series: Yay or nay? Sorry if you haven’t seen it or it’s not your thing. I was just curious.

Never seen it, though when I brought up to someone, they didn’t recommend it to me at all ahaha.

Anonymous said:

I previously kept having this argument about The Bechdel Test with someone. She keeps insisting that the test is invalid because there's nothing wrong with talking about men and that it was created for lesbians only, and not for feminists, with the implication that being a lesbian somehow means that you dislike men or want them gone. And she also thinks the test is about NEVER talking about men, rather than merely occasionally talking about other things. I keep telling her otherwise, but...

jdfhkgdfhjgdfg “lesbians only”

now all I can imagine is “lesbians only” sections at restaurants and such

Anonymous said:

Have you ever played Akinator, with or without the Miraculous Ladybug characters? Because I played it with Ochaco from MHA and Marinette and he guessed them within a second(can your character control gravity? Is your character a protagonist?). I even played it with myself as the "character" and he guessed "your shadow" lol. How about you?

I’ve played Akinator before but I don’t specifically remember what I was searching for lol.

Anonymous said:

The cast for the newest Power Rangers series got revealed, and I hate that as soon as I saw the Pink Ranger's bio mentioned she was an internet journalist, I thought of Alya. I really hope she doesn't have the same problems as Alya in the series proper.

fhgdfkgd journalists have been ruined for us forever

Anonymous said:

Have you noticed that in many shows, especially shonen shows, people tend to hate the most "feminine" female character? Like, in Naruto it was Sakura, in Death Note it was Misa, in My Hero Academia it was Ochaco(although a lot of people like her so I'm not so sure about that last one?). The most hated character in one too many a shonen is almost always the "girliest" of the characters. They're always claimed to be useless or reliant on a man. And this is within the fandom who should know better!

It probably didn’t help with Sakura that she was decked out in pink hair; that’s an instant girl label for you (or lesbian label, depends on the person :P).

I don’t think I’ve been in enough fandoms to have such an experience but I definitely see where you’re coming from.

Anonymous said:

Rewatching Chat Blanc and Here To Help from Star vs. and hearing Adrien/Marco tell Marinette/Star that they always liked the girls from the beginning makes me so pissed. It's not that I don't ship Starco(I do! But I also like MarcoxJanna), although I don't ship the love square, but I'm so annoyed with writers finding the need to make the audience "know" that the main ship's characters "always" liked each other, as if that makes their love for each other more true, even if it's obvious they had other crushes? Like, what happened to Kagami Tsurugi? Jackie-Lynn Thomas?

News flash: Teenagers are allowed to have crushes on multiple other people before they find "the One". It doesn't mean their love for that "One" is any less valid. And if you still want to pull the "they always liked each other since they first met", at least make it actually TRUE!!! Don't have them have crushes on other people before moving on to the "official" crush and be all like "Oh, by the way, I liked you from the start," when it's dead obvious they didn't. You're doing a disservice to the romantic "false" leads.

I'm willing to forgive Star's crush on Oskar and Tom since she's not the one claiming she always liked Marco(even though she fell in love with him LONG before he fell in love with her, which is a nice turn of events), although her "love" for Oskar was merely an infatuation at most and I personally don't see why it was needed. Why don't they just say that their old crush didn't do it for them???

UGH, I remember watching that show and being so annoyed because I really liked Marco and Jackie and wanted them to be a thing but I knew that they’d pull Starco in the end because of course they would.

It also totally makes it seem as if love is the most powerful relationship there is (aros would like a word), which is so bizarre when there are so many “power of friendship” tropes. Like, a male and female lead have to get together because their relationship is the strongest.

The love square would hold so much more meaning to me without this love drama nonsense. It’s tiring.

Anonymous said:

Have you seen Yuki Yuna Is a Hero? If so, then what are your thoughts on it? I was thinking of watching it but it seems to be another "taking away the empowerment of the magical girl genre by making the girls suffer instead" type story. I read about it on TV Tropes and apparently it's a deconstruction that takes after Madoka Magica which already puts a bad taste in my mouth, but then I got to the examples and they're basically about how girls who get magical powers lose their body parts one by one and that the reason only girls can be heroes is because "young girls have always been sacrifices".

Not to mention it was written by a man and aimed towards a seinen(adult men ages 17-35) demographic, making it torture porn for adult men. Also, both the laconic page for Yuki Yuna and Madoka Magica say "Being a magical girl sucks."(though for Yuki Yuna it adds "Unless you have the power of friendship.") and to be honest that kills any desire in me to watch the show. Should I give it a chance?

Oof.

Yeah, after bringing it up to a friend of mine, it was instantly recommended of me not to watch it, so I’d say, “no.”

Anonymous said:

Let's make one thing perfectly clear. I, love, love, LOVE Sailor Moon. And I love the transformations, too. But if there's one thing I don't love, it's that their outfits all look pretty much the same but with different colors/different lengths of gloves and shoes and stuff like that, and that they all have the exact same body type save for the one fat girl who's made to look bad. I don't like Madoka Magica, but at least they all had unique/different costumes(but they still have similar bodies).

We’re not allowed diversity here. Take your different body types to a show that cares; we’re all about femininity here and how girls can be beautiful and powerful no matter wha--oh wait...

Yeah, I don’t care for the design in Sailor Moon, but that’s because skirts don’t interest me design-wise unless it’s really unique/interesting.

(note that there’s a lot of talk about tomboys, sexism, and TV tropes and such below, and then Madoka Magica after that; that’s basically the rest of this askplosion:)

Anonymous said:

I just saw the thumbnail for a video called "Why You Should Watch Princess Tutu(Yes, I Know The Name Is Stupid)". Umm, why is it stupid exactly? Because it's "girly"? What is with people thinking that in order for a girly show to be good they have to first separate the show from its girliness in order to enjoy it? It's like how men will say a show is good despite it being girly, or that since it's good it's no longer girly. Nobody does this for boy shows, because boy things are "never" stupid.

Princess = girly thing

Tutu = girly thing

girly things = bad

That’s the formula~ They should’ve called it something edgier and manly so that more people would be interested.

Anonymous said:

I'm wary of any woman or girl who says, "I'm a girl, but I'd rather read books about guys" or "I'm a female writer but I mostly write stories about male characters". I feel like those women are the "not like other girls/one of the guys" type who suffer from internalized misogyny and don't like female characters. I also feel like they're the type to not care about female representation, because in their minds, girls shouldn't care about female role models. We can enjoy males just as much! I do!

To be fair, they might also just be writing about shirtless men doing “handsome” things. ;P

But nah, I see your point. Me personally, I try to find a balance of writing both, but I do think there can be bias.

Anonymous said:

Do you think it's okay to like a ship but acknowledge that it wouldn't be safe or healthy or condonable in real life? Because I was just thinking of how a lot of people like some really "toxic" ships like Veronica/JD in Heathers, Yuno/Yukki in Future Diary, Madoka/Homura in Madoka Magica(although some people don't like it because of its toxicity/like it but don't realize it's toxic), almost any villain/hero ship, the list goes on. But they're aware of the fact that it's not a good standard for healthy relationships in real life.

An alternative I've seen is people having a crush on "dangerous" characters like JD and Yuno, or Karma from Assassination Classroom(there's not a single video on YouTube with him in it that DOESN'T have comments full of people saying they want Karma to father their children), but still being aware of the fact that the character is a) not real and b) wouldn't be a good partner if they were real(and that's assuming they even want to be with you. But sometimes there's a good reason for falling in love with a "toxic/dangerous" character.

Take Monika from Doki Doki Literature Club! She's obsessed with the player(not the player CHARACTER, the flesh and blood player themselves) to the point of killing off all the other girls and "trapping" you in a room with her where she talks endlessly about lots of things. But she's actually a lonely girl who's driven insane by the fact that nothing around her is real. She latches on to you because you're the only other person who's real and sapient and has got a mind of their own. You're literally her outlet to the outside world.

She's personally my favorite character in the game due to her actually being a more fleshed out, sympathetic(and not in the idealized "moemoe" way), and realistic take on the Yandere archetype(which, like many moe archetypes, is kinda misogynistic in nature in that it reinforces submissiveness; it's basically animes version of "woman scorned".). So it makes sense that people would sympathize with her and want her to become real, because all she's ever wanted was to be real and to talk to real people. Especially since she really did care about her friends and even returned them back to life because she saved their backup files, taking herself out of the picture.

I read a few "Monika becomes real and lives with you" fanfictions where she's really sweet and not at all crazy and cares for you a lot, and it's never felt the same as all those other "Yandere/psycho lives with you and is your girl/boyfriend" type stories precisely because those stories tend to just glorify possessive partners that kill your loved ones, drive your family members to commit suicide, and tear up your stuffed animals and dollies for the sake of it, rather than go into why they're so crazy for you, and often reinforce Stockholm Syndrome.

Plus, those "things" she talks about in the empty room? They're actually quite smart and make you think about the world for a bit. Not many "crazy" type characters actually get that. They're all about how "I'll slice your boyfriend open with an axe if you don't date me wa ha ha", and even if they're not, it's all the fandom will focus on, to the point of ignoring any and all other aspects to their character. Because that "crazy in love" aspect is the most appealing part of them. Maybe it's due to forbidden fruit/bad boy(or girl) appeal? Who knows? But I'm starting to wonder if it's still as bad if people recognize the problematic aspects of "crazy in love" characters or "dysfunctional" relationships.

Because if they recognize it's not real and don't really want it for themselves, then it's probably not much of a problem. But if they just go on wanting it to be real and never take a step back and go "wait a minute, this isn't real love; they're only together because he latches onto the first girl to show him any kindness and affection and she's a doormat who doesn't want something bad to happen if she leaves him", then that's bad.

Obviously it's not as bad as being in love with literal stalkers, killers, and rapists in real life(which is an actual thing, believe it or not, it's called hybristophilia), because fictional characters will never be real. Karma Akabane will never be real. Yuno Gasai will never be real. JD will never be real. But loving fictional characters who do those things and not realizing the problem with it may cause people to seek out real criminals, so it's best to separate fiction from reality.

I can’t help judging a little internally, but yeah, I think people can ship whatever as long as it has that “not in real life” scenario going for it. It’s ultimately fiction, so just because I don’t like it and/or think that it’s bad doesn’t mean other people can’t ship it.

Anonymous said:

I'm getting tired of all the racists on TV Tropes getting upset whenever a trope has a Japanese name. Whether it's Tsundere, Yandere, Meganekko, Genki Girl, Bokukko, or any Japanese anime name, people will complain that the trope exists beyond anime so it shouldn't have a "cute anime name", and that it should instead just be given a broader(read: English) name with the same meaning. Or that the site is too obsessed with anime. I'm just sick of people saying that anime names are bad.

The other thing is that we don’t actually have English words for certain things? I mean, the whole reason we say, “tsundere,” is because it says everything in one word. It’s easy.

(Also, people are aware the the English language isn’t some unique thing that takes no inspiration from other languages, right? It’s a mix of things, so accept that other languages exist because we literally wouldn’t have English without them.)

Anonymous said:

Have you seen the TV Tropes reviews for "My Little Pony: Friendship Is Magic"? Holy crap, they are all a perfect example of the "Real Women Don't Wear Dresses" phenomenon that I have mentioned earlier and is so fucking present on this site. While some reviews praise the show for showing that "it's okay to be strong AND girly"(such as Hadles' review, which was really splendid), and that girl shows are no less good, others either insult the show by calling it "girly, saccharine, and stupid" as if "girly" is synonymous with anything bad about a show, or feel the need to distance it from its girliness in order to praise it as if a show can't be good if it's also girly.

Some people were saying things like "the show might seem girly at first, but it's actually a good, brilliant show with intricate plot twists, well-developed characters, and even some scary moments" and "the characters aren't just shallow girly-girls, they have depth!" So what, girliness is mutually exclusive to anything of value? One person even said that the Girl-Show Ghetto was the reason they couldn't get into the show or respect it. Just...wow.

And one review even said "Rarity's pretty tough for a girly girl!" Excuse me? Tough FOR a girly girl? So being a girly girl somehow automatically disqualifies you from being tough? Like "yeah, she's tough despite being a girly girl! Because girly girls aren't supposed to be tough."

It reminds me of the phrase "you're pretty for a black girl", which, while it's never been said to ME, I have heard other people complain about. It's sick and it hurts, just like this. And the few people who didn't say things like that still said that they couldn't get into the show at first because it looked "girly and vapid", before changing their minds and thinking that the show either proved their biases about girly shows wrong, no longer think it's girly since girly shows "can't" be good, or like it "despite" it's girliness.

And there were 70 reviews in all. 70 reviews full of this misogynistic "girly is bad" shit. So in conclusion nearly all the reviews on TV Tropes for My Little Pony: Friendship is Magic were along the lines of one of three things. 1) "This show is girly so I looked past it because girly shows are dumb." 2) "This show is good despite being girly/the characters are good despite being girly." and 3) "This show is not girly to me at all because it is well-written and captivating and girly shows aren't capable of such things."

Granted, some people there were able and willing to call out those who judged the show badly for being girly(or gave it the "not like other girls" treatment, but in show form), as well as people warning other potential viewers to get rid of any potential bias they may have against it due to it being girly. But there were still more people insulting its girliness as a reason they think it sucks or denying its girliness to justify their liking of it than the other way around.

I would've accepted it in the form of "If you think this show is bad because of its inherent girliness, then you are wrong!" or "This show is proof that a show being girly or aimed at girls doesn't and shouldn't take away from its value, as people seem to believe." or "A girl can be girly and be a strong female character.", but no, instead I got shit like this. It's especially insulting when TV Tropes is a site that devotes itself in part to critiquing sexist tropes found in media, only to turn right around and reinforce them.

I don’t read TV Tropes that frequently, so I fortunately missed out on all of these complete idiots who associate girly products with being bad.

(that “pretty for a black girl” comment makes me hate all aspects of “expectations of beauty” and it’s like--plz let these die)

I could maybe see an argument for criticizing a girls show for being “saccharine” if it were like, “girls’ shows written by men who clearly don’t know how to write girls are usually bad,” because then it’s not a criticism of girls’ shows exactly but rather who keeps being put in charge of writing them.

Anonymous said:

I get so annoyed when people get upset when confronted with the matter of female representation with "what's so wrong with one show having a male protagonist or mostly men and one/a few women? Why do we have to include women in everything?" These people clearly do not understand that one show doing it is one thing, but when multiple shows do it, it's an obvious problem. It's even worse when they turn around and diss shows with largely female casts for "not having enough men".

And as for people getting upset that "every show has to include women/come with a checkbox nowadays", as if it's bad to include women in your story...look around. Women make up 50% of the population. They're literally everywhere. What reason do you have to not include a substantial amount of women?

These people act like male is the default and women are a last resort. They see no problem with men dominating a cast because it's justified(despite that not reflecting real life), and yet having female characters, or, hell, a female-dominated cast(I know they also don't reflect real life, but there are still female-dominated spaces; most colleges are 2/3 female) is "unrealistic" trying to fulfill a quota, or a straw feminist agenda, as if characters can't be female for their own sake. You shouldn't have to be forced include women because their presence should be a given.

How many stories nowadays take place in the war front in Viking times or whatever? A lot of men just don't want to include female characters or see them represented(well) in media because those who are overrepresented tend to want to stay that way. They likely also have insecurities about their masculinity and are worried about female characters flooding their shows with estrogen and ruining the shows they love, because they can't relate to female characters or enjoy shows about them without negating their girliness(ie. This show seems girly, but it's actually good), since they're ashamed to associate themselves with anything feminine due to looking down on women or seeing them as bad.

Plus they want to be the center of everything so the second a show is about mostly women they get upset and claim it's "sexist against men" because it's not about them. Hence why bronies(bless their souls) are made fun of for the grave sin of enjoying a female-centric show with a female protagonist and largely female characters. Granted, there are some freaky fans, but there's still some sexism at play here.

This reminds me of a post I saw about a boy who actually looked up to female characters because you can pick a role model who doesn’t fit your gender. Crazy concept, I know. ;P

And yeah, that’s how it goes with equality. People who are best/most represented don’t want equality because they think it means less for them and they don’t want that, like a child who doesn’t want to share their cookies with everyone else.

Anonymous said:

I love TV Tropes, but if there's one problem I have with it, it's how often it associates femininity with weakness. The "Masculine Girl, Feminine Boy" trope is a good example of this, but the worst offender in my opinion is the Girly Girl With a Tomboy Streak, as most of the examples there are simply of girls who are strong-willed or fierce or can fight. Because you know, those traits are male. It's bad because there are ALREADY tropes for girly girls who can fight, Girly Bruiser and Lady of War (which TV Tropes even goes out of its way to SAY shouldn't be counted as a "Tomboy Streak" and yet does stuff like this), but it's also bad because ANY girly girl with these qualities, no matter how feminine they are otherwise, will be seen by TV Tropes as having to be at least somewhat tomboyish(read: masculine) in order to have those traits. Because regular girly girls are just weak and fragile and only want to be housewives.

It's even worse when you realize that much of these characters are created with the exact purpose of subverting the stereotype that girliness equals weak, and instead present a new and more empowering form of femininity: that femininity is strong and DOES NOT equal being a passive sex tool for men's pleasure. They're MEANT to show that being a tomboy is not the only way to be strong, and TV Tropes acknowledges that! But then they also go and claim these characters have "Tomboy Streaks" thus undermining the positive message by insinuating that you have to be tomboyish to be strong and that even girly girls have to have some level of masculinity to be deemed respectable and equal human beings, plus manipulating many impressionable folks into thinking strength and bravery is automatically tomboyish.

Worse yet, they often put a character here because "she's a big eater" or "she burps/farts a lot". Gee, I didn't know women had bodily functions? I didn't know women had digestive systems? So basically any time a girl shows that she is a human being and not a pretty, passive doll to be idealized, she is acting like a man. Because only men are fully-fledged human beings. Even outside of that, look at basically any masculinity-femininity contrast trope(Tomboy and Girly Girl, Sensitive Guy and Manly Man, Masculine Girl Feminine Boy, etc.). The "masculine" character will often be described as dominant, assertive, or outspoken, and the "feminine" character will often be called weak-willed, passive, emotional, and timid. It's fucking sickening.

The Tomboy With A Girly Streak trope is similar to its inverse in that a tomboyish girl will often be placed under this trope with their proclaimed "girly" streak being that she's tender or cries a lot or is soft spoken/a doormat. Because being girly is about not taking up too much space, not having any ambition or aspiration, and overall being a weak and shallow waste of space. For a site that claims to dismantle such sexist misconceptions, it sure does reinforce them just as much.

I almost want to stop using TV Tropes based on that and many other reasons, but it's a genuinely informative site that at least tries to avoid these stereotypes(plus it's edited by more than one person), it just doesn't do enough. For example, they made an awkward claim once that women can't fight while on their periods, and even have an Improbably Female Cast trope, as if it's abnormal that a cast could consist of mostly women and demands an explanation. To them, femininity=inferior.

And then in comes the “anti-girl tomboy” characters who basically do everything “girls don’t do;” glares at things like make-up and such, rolls eyes at the subject of “girl talk” or “romance,” drinks anything carbonated and spreads their legs wide open, etcetera.

Guys really don’t get the same version, at least not that I’m aware of? Like, at best, they don’t participate in “guy things” but that’s about it.

Having characters acknowledge it just makes everything more blatant, like if a woman comes by and the guys have to assure “DON’T WORRY, SHE’S LIKE ONE OF THE GUYS.”

It’s like a woman can only hang out and engage in “guy talk/time” (the concept of which I hate but that’s besides the point) if they can crush a beer can against their forehead.

Anonymous said:

OMG TV Tropes called Cirno the Ice Fairy from Touhou a "tomboy"? Why? Because she's boisterous and outspoken and not a "shy girly-girl" like Daiyousei! TV Tropes clearly believes that any girl or woman who is more than just a pretty face(which ALL women are, by the way), who takes up space, who has a dynamic personality and isn't just a weeping wallflower(which I'm not saying Daiyousei is) is a tomboy. Because she's acting like a man that way. Ugh, so over TV Tropes and their sexism.

And all the girls in Touhou(including Cirno) wear big frilly dresses anyway so it doesn't really make sense to see ANY of them as tomboys. But no, apparently any girl who is rowdy or tough or is active and not passive is a tomboy. You gotta be a tomboy to have attitude. You can tell they think so because they often say things like "strong, but still feminine" as if those things are opposites. They even described femininity as "weak and susceptible, vain and superficial". Like, ugh, kill me now.

I legitimately want to see a bullet point list here of what qualifies as a “tomboy.” Like, what, anyone who does one thing that isn’t “girly”?

Can we just throw out all of these terms; not even replace them, just throw them out?

(the below ask is incomplete - the first part is missing - but the asker clarified after I asked them, so clarification is below:)

Anonymous said:

Tropes is because I'm working on a story and I hope when it becomes famous that TV Tropes will write about it, but as it stands, I'm beginning to wonder that TV Tropes undermines most stories or plots to do with women one way or another. I mean, they constantly create tropes with the intent of calling out inherent biases, yet reinforce those biases themselves.

For example, they have a trope called Men Are Generic, Women Are Special, which points out the bias of male being the default, and yet on almost every other page on the wiki describing a trope, the default character will be a "he"(especially if it's a character trope), and whenever they mention "The Hero" or "The Big Bad" it's always a he unless it needs to be female(like if the heroine is in a romance story, or if the villain is a seductress). Female characters at best, can hope to be "The Heart" or "The Chick" of the group(which is often used in a demeaning way).

They even have a trope called "Improbably Female Cast" in which they point out all the instances of a story's setting having an "over-abundance" of women or girls with no men in sight, and claim that such stories have majority female characters when it is "unusual" "unlikely" or "lacks justification". Someone even suggested that the trope should be called "Where Are All The Men?" as if there's something inherently weird or wrong when a story is dominated by female characters, and like the story is in dire need of men, as if only men can be protagonists.

Even if the story has a justifiable reason for having mostly women, the fact that the writer made that choice at all is somehow deserving of mention. The mere fact that there's no "Improbably Male Cast" trope shows where the site's biases lay. They don't see anything wrong with a show being dominated by men with little to no female representation(ex. Death Note), and yet a show dominated by women(ex. MLPFIM) is somehow an anomaly and demands an explanation(even if the story does provide a reason for it, TV Tropes will still list it and presume it "improbable", as if to say "I mean, yeah, but there's no reason why you couldn't just make them mEn instead", as if writers who have mostly female characters are going out of their way to steer away from the "default" males.

In fact, they even admit that "Men Are Generic, Women Are Special" is their reason for having such a trope, but not the inverse. They even say that it's not the trope if the show revolves around a group of girlfriends with no indication of the gender ratio in the wider setting. So any time the females outnumber the males a story it's instantly labeled "improbable" because there's NO WAY any setting AT ALL could have more females than males. That's improbable! You see, this is why when women are 1/3 of the people in a given space men perceive it as "majority female" because they're uncomfortable with women having more of a presence than men.

We'll never have true equality if shows with majority female casts continue to be scrutinized under a microscope and assumed to be of inferior, lesser quality, just because there's no male characters around and it's women who are driving the plot. My problem isn't that they have a trope for majority female casts, it COULD be a testament to gender equality(ie., "there used to not be a lot of shows revolving around women, but now they're becoming increasingly common and well-known), but it's that they single out such stories as "unlikely" and thus discredit them.

And worse yet, they refuse to change the name, because they don't see a problem with it. So now every single show that doesn't have an equal number of males and females or more males than females is going to be called "improbable" by TV Tropes, because there's something(bad) to be said about shows that choose to make most of their characters women. Death Note and Naruto can slide by the radar of having loads of men, but Madoka Magica and Touhou are "improbable"? Because they have loads of women?

the clarification:

Anonymous said:

I started out complaining about how TV Tropes says that boys will watch Star Vs. The Forces of Evil only because of Marco(who's great, but it comes off like boys can only relate to boy characters) and that the show only looks girly but has a deep complex plot with scary moments(as if a show can't be dark and complex and still be girly; girly=shallow, watered down fluff), hence my complaint about TV Tropes undermining girly shows or anything "girly".

Yup, exactly like I said.

Good stuff in “girly” things is the exception. Good stuff in “manly” things is expected.

Which is funny when you consider stuff like “edgy” reboots of things. Like, Disney remakes their original movies and that usually means making them worse (like in Beauty and the Beast - god I hate that remake - where the objects are going to become complete objects when the last petal falls even though the enchantress is explicitly a good person and it comes off as super cruel and unnecessary), but that seems to just be its own breed of bad I guess.

Then there are terms like “chick flicks” and “soap operas” which are usually women-oriented and tend to be considered dumb/over-dramatic.

You know, not like MEN shows with their sexualization of women, guns and MEN things.

Anonymous said:

Remember what I said about TV Tropes being sexist? Well, they also have a trope called "Girly Run". Like, that's literally the name. Girly. Run. Thankfully the first example(which is under advertising due to the forms of media being in alphabetical order) is an aversion from the blessed Like A Girl campaign, but...just reading the page lets the casual-yet-bold-faced sexism speak for itself.

why can’t things just be like the Sims where characters can wear whatever the hell they want and have any personality without any judgment or criticism from other Sims?

(more Madoka Magica talk - and ONLY Madoka Magica talk - below because I’ve unleashed a monster apparently:)

Anonymous said:

I know you don't like Frozen but I saw a theory somewhere that Elsa's powers came from making a contract with Kyubey and her wish was to impress her sister and anyway I can't stop rolling my eyes. This isn't(just) because of my distaste for Madoka Magica compared to my love for Frozen, but if Elsa's a Puella Magi then why didn't she become a witch long ago? How did she make it to adulthood? How did she become emotionally stable? And why do her powers have to come from a negative source?

I think it might just be people looking for excuses to do their crossover fanfiction which--yeah, I’m not crazy about that.

Anonymous said:

Did you know that Cristina Vee voiced Homura Akemi in the English Dub? It's very noticeable, especially during the Cake Song, where I could've sworn she sounds exactly like Marinette. By the way, I'm still not sure what the hell was going on in that song. Could you please explain it to me(if you know)?

Nooooo don’t make me think of Homura when I think of Marinette!! fjkdgjnfdg

lol but seriously, I think the Cake Song is just meant to be one of those “weird but meant to be dEeP” things that shows do sometimes to be cool (not a criticism technically; depends on how it’s used).

I think the cake is the labyrinth and Homura saying that she’s the pumpkin makes her the odd one out since pumpkins are associated with scares and halloween, so it’s “foreshadowing” her being the witch. The things that they say they are... they’re like--ingredients for a meal, but not a cake, so the the cake is the labyrinth and they’re the things that would go inside it.

Homura and Madoka are the only ones who really get descriptions to go with them. Homura says that she’s “full of seeds” (despair?) and Madoka implies that it’ll bring sweet dreams once she’s sliced (which is either referring to the godly freedom given to magical girls before they turn into witches, or foreshadowing Madoka being “split” after Homura stops Madoka from purifying her, leading to Homura’s “sweet dream” of what it’s like when everything is “normal” after her reality twisting).

Anonymous said:

May I ask what you don't like about Kyoko's character? Is it because she was the stereotypical "jerk with a heart of gold"? Or because the writer made her flip from hating Sayaka and wanting her dead to suddenly dying for Sayaka even though she barely knows her compared to Madoka(because the writer doesn't understand how girls' relationships work)? For me it was a mixture of both(though I still don't mind KyoSaya!), but I still liked her enough, she just felt a tad stereotypical. Your thoughts?

It’s both. I just don’t like characters like her at all and the runtime of Madoka Magica can’t maintain all of these characters, “developing” them, and then killing them off. I don’t even have any time to get attached to them because they’re dead within a matter of a few episodes.

And it’s always like, “okay here’s this character’s backstory to make you feel emotionally attached--HA NOW THEY’RE DEAD. SEE??? WE TOTALLY GOT YOU.”

Like, no, you didn’t. I didn’t even have time to care about THEM, much less their actual death.

Anonymous said:

What about the girls in Madoka Magica? Do you think they're strong female characters? Now, obviously the show is not feminist, since it misses the whole point of Magical Girl, which is to empower girls and show them that girls can be powerful and feminine and can find strength in solidarity with each other by instead making them suffer and fight each other and have their power come from their emotions, which are exploited and turned against them because women can't be powerful, but still...

It’s the same way I feel about Marinette; there are some who I want to say are strong characters, but the writing is ready to just kill them off at any time and bully them for essentially having emotions.

Basically, imagine a male writer hands you a character sheet and is like, “AW YEAH CHECK OUT THIS sTrOng FEMALE CHARACTER I WROTE.”

Like, even if they were right, their ego and obnoxiousness about the whole thing, along with what they actually do to said character, makes you not want to give them any credit for it.

Anonymous said:

How do you think Puella Magi Madoka Magica would be different if they had magical boys as well(which can mean either gender-bending canon magical girls or introducing original magical boys)? Do you think the show would be better? Worse? Or would it be just about the same?

Personally I feel like having magical boys would be good and bad; good because there would be no more of the “teenage girls are hysterical” crap and it wouldn’t just be girls suffering because they can’t handle power, and bad because it would still be problematic(for stereotyping all teens as over emotional and deserving to be taken advantage of by the Incubators, and it would still be about kids suffering in a genre meant to empower girls, having some of them be boys wouldn’t help that much).

I also feel like Gen Urobuchi would still make the girls suffer more and have them be more emotionally and mentally unstable. Holy crap it feels like he read up on Aristotle’s views on women while making this show.

It would at least be more balanced I guess? Like, teenage years are a fragile time, so it would make sense for both girls and boys to be taken advantage of. I still wouldn’t like it but it would be nice to point out, “there are emotional boys as well as emotional girls.”

Anonymous said:

Literally all the problems with Treatment of Marinette, Chat's Entitlement(TM), and the sheer sexism in general(ex. all the teenage girls and even women villains being catty and bitchy, while the male villains are cool, suave, and calculating; female villains being irredeemable scum while male villains are "not as bad as they seem", etc.) could all be solved if the show just got some more female writers! You know a show isn't feminist like people claim if none of the writers are women.

That's what I love about Friendship is Magic; the show is written and directed by a woman and actually has a variety of both male and female writers! Plus, Lauren Faust explicitly identifies as a feminist and claims her works are meant to empower women and show them that there's no wrong way to be a girl. And the show reflects that! There's no "token girl" who checks all the boxes; the females have realistic flaws, diverse personalities, and let's not forget ARE THE HEROES!!! Not to mention that the cast is actually PREDOMINANTLY FEMALE. Do people have any idea how refreshing that is?!

And that's why whenever people claim that shows like Madoka Magica are feminist when it's written by men for men while also dismissing actually feminist shows written by women for women as "sexist" or "demeaning", I cringe inside. It's not just what the show looks like, it's what the people behind it say.

And Gen Urobuchi is not a feminist. At all. Just listen to the things he says about the girls, that they're terrorists who are full of hubris and destined to be alone, and that actual magical girl shows weren't his inspiration beyond the show's cosmetics, he just based it off of porn games. He only watched those shows after making Madoka Magica and admitted they were weird to him. Well, maybe they wouldn't be weird if you actually used them as inspiration! Why are you even making magical girl? So basically he admitted that all the suffering the girls go through is because it's his fetish.

I knew I wasn't imagining things when I saw all those weird shots and angles(ex. zooming in on Sayaka's thighs and breasts when she collapses to the floor, Madoka gripping the bed sheets between her legs when agitated, zooming in on Kyoko's ass when she takes her phone out of her shorts' back pocket, it's all for cheap titillation). And yet people keep saying the show is devoid of male gaze and sexism and why? Because apparently men know how to represent women better than women themselves.

you said “Madoka gripping the bed sheets between her thighs” and it gave me an immediate flashback, I hate it

I find that it’s a similar thing with gay anime/manga; I’m more likely to trust a F/F story if it’s written by a woman since they’re less likely to sexualize everything.

Anonymous said:

Homura in Puella Magi Madoka Magica: But Madoka, what's going to happen to you? You'll end up all alone here forever! You'll never be able to see your friends and family! Homura in Rebellion: Haha, screw Madoka's friends and family! Only I am worthy of Madoka's love! That girl belongs to me! MWAHAHAHAHA!!!!!!!!(I'm sorry for the over exaggeration, but this is how it felt for me.)

Apparently, it was better for Madoka to just have all of her memories and powers yoinked away.

Sayaka is Madoka’s right hand girl so idk why Homura has this idea that she needs to sAvE Madoka. The fact that this whole thing comes out of a misunderstanding (because Madoka doesn’t have her memories) is so irritating.

Anonymous said:

I actually love Madoka Magica, but I completely agree with you on the hysterical women thing. Why couldn’t they just have... both magical girls and magical boys? Like, just mention that magical boys are a thing? They don’t even have to change anything but that, they don’t even really have to show it, just be like “yeah there’s magical boys too but that’s not really what this story is about, it’s about our characters we have here”. I don’t know, feels like that would have at least helped stuff.

Yeah, they don’t have to bother having the magical boys around. Just to know they exist would be enough. I mean, the fact that the focus is on them would still be bothersome (they’d probably do a thing where each girl represents a different emotion that is easily manipulated/easy to control), but it’d be something.

Anonymous said:

One thing that weirds me out when people are talking about Madoka Magica is when people refer to the characters as "little girls". Like, excuse me? They are not "little girls". They are teenagers! All of them are at least 14 years old! I hate when people call them "little", it's just so condescending and infantilizing, especially when the show does enough of that to them already. After all, no one makes that mistake with the heroines of Lucky Star and Hidamari Sketch(who are also drawn by Aoki)!

I feel like it’s the equivalent of when people call women “girls,” y’know? Sort of a “treating females as younger than they really are,” which is probably what gives guys the feeling that they have control.

For a gender that claims to be so dominant, certain ones sure have to delude themselves a lot to make themselves feel better.

Anonymous said:

I was thinking about what you said about Puella Magi Madoka Magica passing the Bechdel Test, and if it counts if there's barely any men to talk about. And while I do agree that it counts, I also feel that it doesn't really matter much in shows such as Madoka. This isn't even about feminism, this is about the fact that if a show has next to no men in it at all then it's pretty much a given that they won't talk about them since it would be impractical to talk about something that doesn't exist.

So because of that, I think there should either be an alternative test which only applies to shows that have a significant or equal number of male characters and yet the ladies still pass the test(making it feel more "real" since the option to talk about men is there), or the test should be rewritten entirely so that it only applies to shows in which the cast is either equally gender-split, or has a majority male cast/significant amount of males even if the females still outnumber them.

Reminds me of how, on TV Tropes, someone suggested that there should be a "Weak" and "Strong" Bechdel Test, where "Weak" refers to the women talking about something other than men because it is literally what's relevant at the moment(such as two female police officers discussing how to catch a female killer), thus applying the Bechdel Test there seems semi-void, while "Strong" is when they could talk about men but choose not to(ie. two female students talking about their grades during lunch).

And just to clarify about the "Strong" one, when I say they could talk about men but choose not to, this isn't to imply that female characters should talk about men, or that something's wrong with them for not talking about men, just that there's nothing stopping them from doing so, but they choose to talk about something unrelated to men. I think this strategy is much better than the test we have because it makes conversations between female characters seem more real since they're discussing things other than men of their own volition, rather than the non-male-centered talk being because they have to talk about it in-universe. I say that because The Bechdel Test serves to show that women's lives don't and shouldn't revolve around men, and they can talk about other things if they want to, but if the conversation is because they have to(like the example I gave), that gives sexists the opportunity to go "Yeah, well, they're only talking about it because it's their job!"

But if the female characters talk about things other than men of their own free will(as in, when the option is still there), then it shows that women really do have their own free will to talk about their own things and that there is NO REASON to not pass the Bechdel Test in today's day and age(I keep hearing people claim the test is stupid and doesn't matter, but then it should be easy to pass). "Oh, but if they had the choice, they would talk about men." No, because men don't sit around and talk about the women in their lives all day so why should women talk about the men in their lives all day? And to the people saying these types of tests are getting in the way of their "creativity", well, now that we know that you think female representation is stupid and something you have to be forced to do, we don't have to listen to a word you say. ;)

I like the idea of adjusting the Bechdel Test for other circumstances and expanding it as such!

You could also extend it to things like sexualization, because--I mean, having two female characters who talk to each other probably doesn’t mean much if they’re half-dressed or the writer wanted to make them bisexual for “The Fanservice.”

Anonymous said:

To be honest deconstructions of Magical Girl confuse me. There are some good ones out there(such as Princess Tutu and Revolutionary Girl Utena, so I know they're not all just torture porn, my only gripe with Utena is the implication that girls who take on the feminine "Princess" role are weak), but at its heart Magical Girl has always dealt with death, gore and pain just as much as female empowerment.

It makes me feel like the people who write these stories haven't seen magical girl and think it's all just sunshine and rainbows and that just because it's "girly" it's vapid and has no substance, and since the only way to have substance apparently is to be "dark", they go "screw it with all this princessy magical shit! Let's make our show dark instead!" When in reality if they had just sat down and watched a magical girl anime, they would understand that this is not the case.

Not to mention that many of them tend to have fanservice and the idea that magical girls have to suffer, so instead of empowering young girls, they end up misrepresenting the genre and turning it into fetish fuel torture porn for adult men(Madoka Magica and Yuki Yuna are very good examples of this; the writer of Madoka says that the girls are terrorists and full of hubris and that he was inspired by porn games). It's not that you can't deconstruct the genre at all, but it's almost never done tastefully and the magical girl themes are just a cover used to explain the suffering the girls go through. :(

Another thing about magical girl deconstructions is that they often reinforce patriarchal themes, like that girls shouldn't want things for themselves and that genuinely doing something for someone while also having ulterior motives that help yourself are a BAD BAD BAD thing, no matter how ultimately harmless they are, even if they help everybody involved. They also tend to reinforce Tall Poppy Syndrome and portray the powers as harmful or a bad thing, implying that girls shouldn't have power.

Honestly, I think there can totally be even more substance in magical girl anime that doesn’t have to resort to “make it eDgY” (which I feel like is a slippery slope that can easily come off as lazy); for example, I’d really enjoy seeing something deeper to magical girl powers than something like, “oh, this magical girl happens to have the power that fits their personality,” such as a magical girl who has a power she feels she doesn’t fit but it’s a matter of perspective/seeing herself differently, or a magical girl who does have the powers that “fit” her personality - like a “fiery” girl with fire powers - and the weaknesses in her powers correlate to the weaknesses in her personality, so she has to either iron out those issues or find workarounds, as true “perfection” isn’t possible nor practical, which is something all the girls have to accept despite whatever pressure they’re under.

.I dunno, I like lore and powers revolving around metaphors. It’s fun.

Anonymous said:

About what you said in regards to "no pueri magi because it doesn't hit the shock value threshold enough", I remember this interesting comment I saw on an article called "The Problem With The Dark Magical Girl Genre"(which I would totally recommend checking out, by the way!) which said that shojo magical girl and seinen magical girl both embrace a different philosophy regarding strong female fighters. In shojo, they tend to embrace femininity as a strength and show girls that they have the power to do whatever they want and undergo dangerous professions. But in seinen, which conveniently enough is more likely to "deconstruct" the genre(ugh), rather than admiring the girls and supporting them in their endeavors, the girls are meant to be pitied(often to the point of infantilization) when bad things happen to them, with the fact that they are girls serving to make everything worse. It operates under the idea that girls are fragile, in need of protection, and shouldn't be fighting at all.

That's why deconstructions like Madoka Magica and Yuki Yuna don't sit right with me, and also why I don't consider them feminist series. People can say whatever they want about Sailor Moon and Pretty Cure, but ultimately they also had dark and dangerous themes(to the point where some kids had nightmares), but ultimately allowed the girls to rise above the hell they went through and find the strength in them to save the day. We feel bad for them when they die, not because they're moe girls, but because we were actually given the time to form a connection with them and want to see them succeed, rather than just be expected to pity them because they're cute manipulated girls. That way, when they ultimately save the day, it's all the more satisfying. Princess Tutu was a deconstruction that actually went about it in the right way, because the girls eventually found the courage to defeat their enemies in a way that made sense. Why the hell is it a "good" thing to subvert that?

No clue, but I basically agree with everything there. I mean, Madoka Magica’s entire stick is basically that all the girls are like “uwu” in terms of the style (with Madoka being the “cutest” of them all) and then being put in this dark and edgy plot+setting; it’s for both the shock value and the “contrast” of having “moe” characters be thrust into these situations to essentially die.

And the conclusion doesn’t end up being satisfying (at least to me) because the villain doesn’t have emotions so he’s just like “owo” (seriously, I wouldn’t hate on Rebellion so much if Kyubey had been given emotions rather than going crazy; Homura can basically do whatever she wants and it was SUCH A MISSED OPPORTUNITY) so it ends up being more about the journey getting there like wow look at all the sUbvErSiOnS and dEaTh we had along the way!

Because at the end of the day, it’s still like, “the girls give into their ‘hysterical emotions’ in the end basically no matter what,” even if they get saved by Madoka in the end.

Anonymous said:

Do you remember, in Madoka Magica, when Kyubey said that humans would still be living in caves if not for the Incubators? First of all, keep in mind what Incubators do. Their entire purpose on this earth is to feed off the emotions of young teenage girls as they spiral into despair as a result of their delusions of power. Like wow, let that sink in. Apparently humanity's advancement relies on the exploitation of women. We are literally the punching bags of the universe. Isn't it lovely?

No! You see--we’re so important to the world! If we weren’t emotionally exploited, the world wouldn’t be the way it is now! :D

(kill me)

Anonymous said:

I once saw a tag on tumblr that read "The only good magical girl anime is Madoka Magica because it's gay, and even it has problems." Like, ugh. Really? Has this person not watched ANY other magical girl anime? Such ignorance. So many things wrong with that statement that I can't--and WON'T--even begin to unravel here.

MADOKA MAGICA IS NOT GAY AND I’M SO TIRED OF PEOPLE CLAIMING IT IS

s T O P

I DON’T EVEN CONSIDER YURI ON ICE TO BE GAY. MADOKA MAGICA? NAH MAN.

Anonymous said:

Do the girls in Madoka Magica even have transformation phrases? You know, like how Marinette says "Tikki, spots on!" or how Sailor Moon says "Moon Prism Power! Make-up!" or how Iris in LoliRock says "Iris! Princess of Ephedia!" etc. But in Madoka Magica, there doesn't seem to be any of that. At least in Yuki Yuna they pressed a button on their phones. But how do the Puellae Magi even transform? Just goes to show you how Gen Urobuchi knows next to nothing about the genre he claims to deconstruct.

Transformation phrases are magical and cool and you can’t take that away from me.

Anonymous said:

I had a shower thought about Madoka randomly in bed last night: If a Magical Girl's Soul Gem loses control over its user when 100 metres or further away from it, that meant that when Homura got Sayaka's Soul Gem back for her, Sayaka should've regained consciousness once Homura was less than 100 metres away, even if she didn't have her Soul Gem yet. I also love to ponder why on Earth Homura would even bother retrieving Sayaka's Soul Gem if she only cares about Madoka and Madoka's well-being.

I think it’s just a complicated process of Homura trying to make sure Madoka doesn’t fall into despair herself (in a non-witch way) and is convinced to make a wish.

Anonymous said:

The more I think about it, the more I realize that Sayaka really got the worst deal out of the whole thing. While her story may seem more "mundane" compared to the others(she just wanted the token Ill Boy osananajimi to like her back), she's the only one who somehow isn't brought back when Madoka recreates the universe, loses her Soul Gem on more than one account(and on the second, she starts decomposing and her crush sees her and calls her a monster because he thinks she's pretending to be the REAL Sayaka), is supposedly the weakest Magical Girl, getting swiftly taken out by both Kyoko AND Homura(the latter of which doesn't even make sense, if her body can heal why was she taken out so quickly?), takes a long while to show up in Magia Record, and Gen somehow finds it suiting to single her out as the one who is "destined to die" every time she makes a contract. Apparently the series director wanted Sayaka to live/be brought back, but Gen refused because it just had to be edgy.

Of course, MEN are allowed to have wish fulfillment power fantasies and dream like the sky's no limit and aspire to be all they want to be, but the second WOMEN try to be the strong ones, the powerful ones, or dream of something for themselves and others, they have to learn a lesson about how unrealistic their fantasies are and how they'll never live out their dreams. Hence why Sayaka puts the blame all on herself, saying that she's not a hero and was stupid and selfish the whole time.

"token Ill Boy osananajimi“ dfhbgjhfdgdfg

It was a real shame because I liked Sayaka somewhat (not saying much but still) and she was such a predictable one to go. Like, “oh wow, an angst-y anime all about shock value? so basically the best friend is dead then with no chance of survival.”

I think I do remember being told/reading somewhere (so don’t quote me) that Sayaka is the one that’s hardest to keep alive in the games, so you have to work hard for it. It just sucks.

Anonymous said:

Yet another thing that bothers me about Puella Magi is how the show frames the young ladies as if everything is their fault even though they have no idea what they're getting into because the person who makes the deal doesn't even bother explaining shit to them and all the show's attempts at deconstructing is just taking lighthearted elements meant to empower girls and show them that they can be brave and strong as well as feminine and make them dark and morbid.

Like, I get the whole "having young girls fight is a little unrealistic" aspect, but most magical girl shows actually do touch on that! Only difference is that over time, they become stronger and better at fighting(which is only to be expected, whether you're a teenage girl or not) and become more competent along the way because the whole genre is about FEMALE EMPOWERMENT.

Not to mention how the show seems to forget that the Incubators are villains and even seems to put them in the right and the girls in the wrong, what with the claim that they rationalize with the girls they make contracts with like sentient human beings(yeah, because emotionally manipulating young girls and literally taking their souls out of their bodies and making them liches without their consent is definitely treating them like sentient human beings), and that they always follow up on their end of the deal whereas it's the girls' faults their wishes go sour because they never wish for what they truly want(I'm sorry, but I simply DO NOT buy that. Homura and Mami outright wished for what they wanted. Their wishes went sour because the plot "decided" that they should have wished in a different way; plus, you're telling me that if Sayaka had outright said she wished "for Kyousuke to love her back" that the show wouldn't just "make" him mind-controlled or have Sayaka "outgrow" her feelings by the time he falls in love with her, all the while making it out to be "her" fault he's so heartbroken because she was some kind of tease or whatever, further demonizing girls' sexualities?).

Plus they explicitly claim that every woman in history was a magical girl and that without them, humanity would still be in caves(as in, humanity wouldn't be able to progress without the oppression and exploitation of women, and women can't gain power without going insane because female power is some unhealthy, inhuman, infernal thing.). Even if we take this all as a reflection of patriarchal society(which I highly doubt it was, if anything, it reinforces it), all it does is imply that the oppression of women is the natural order of things, required even.

As for the girls themselves, they routinely beat themselves up and the show makes no effort to tell them they're wrong(up until the massive cop-out of an ending), like how Sayaka's last words before becoming a witch are literally her "admitting" that she was "stupid, so stupid" for wanting a boy to love her and be healed of his infirmity. It just seems like we're supposed to think "you know, maybe the Incubators aren't that bad!" while ignoring that the girls are being treated like the disposable trash bags of the universe. This show already does the magical girl genre dirty but treating it like everything the Incubators did was necessary and like it's all the girls' faults these things happened to them in the first place is the icing on the stale, sour cake. Nothing like a giant heap of sexism to help get you through your day. :/

I’ve noticed this a lot in Miraculous, but Madoka Magica somehow does it worse; this “one (supposed) mistake leads to all of these consequences you never saw coming.”

Like Ladybug calling Lila out. We know that Lila’s pettiness in “Chameleon” shows that it wouldn’t matter whether Ladybug yelled at her or not; the simple fact that Marinette opposes a liar led to Marinette getting expelled, even if only for a while. Then there’s “Miracle Queen” and all that garbage that came with it.

These two shows put their teenage girls through hell for having emotions and there’s no way to undo it.

Anonymous said:

Honestly, the Madoka Magica fandom is basically the magical girl equivalent of "not like other girls" type women. I can't say I'd be surprised if they didn't watch a single magical girl show other than Madoka because they're all "stupid and girly but this one is edgy and dark" just because those shows are written by women to inspire other girls and show femininity as a strength while Madoka Magica is written by men for men who want to see young girls suffer without any actual feminism.

Like, let's go through their arguments one-by-one to prove that they don't hold up. They love to say that Madoka Magica is better than other Magical Girl shows because "it's dark and edgy and shows the downsides to being a Magical Girl unlike other shows where it's all sunshine and lollipops". First of all, other Magical girl shows also got very dark. Princess Tutu and Utena are also "darker" takes on the genre, but even more lighthearted shows like Sailor Moon and Precure had scary moments.

The only difference is, with them, they still managed to critique problematic aspects of the genre and actually provided ways to improve it, while STILL managing to keep their target audience(FEMALES) in mind, without condescending to them and infantilizing them. And they still showed the girls being empowered and overcoming the darkness.

In Madoka, there's none of that, there's no actual critique of the genre because Gen didn't have the respect for it to do his research, it's aimed at men so it doesn't keep female viewers in mind by definition(which is also another reason why it can't be a deconstruction; deconstructions should be done FOR its target audience), and the girls are constantly put down and treated like Moe crybabies by the narrative even when they're not(cause, you know, teenage girls are "emotional"!). And it doesn't offer ways the genre could improve, it just takes a female-empowering genre and twists it to be this system of oppression that the genre is meant to avoid.

Magical Girls tend to have a very strong focus on girls empowering girls and all that awesome stuff, and yet when Madoka and Mami form a special bond and Madoka encourages Mami by telling her she's not alone? It makes her big-headed and overconfident and she gets devoured by Charlotte. See what happens when girls rely on each other? Madoka is Sayaka's best friend, but gets pushed aside in favor of Kyoko, who later dies for Sayaka because girls who want to help each other had better be prepared to suffer and die for their beliefs. Sayaka loses everything, which happens to include her best friend, over a guy. And the whole witch process means that any female solidarity that could be found in the show is thrown out the window since the core concept of the show is girls being forced to brutalize and kill and exploit each other.

People act like Madoka is Yuri when it's not, Gen was asked if Homura really was in love with Madoka and if Kyoko really was in love with Sayaka, and what did he do? He beat around the bush. Naoko Takeuchi and Kunihiko Ikuhara(the latter of whom also worked on Sailor Moon R; woah, what a surprise) both admitted that there was gay love in their stories, yet people act like Madoka is super progressive regarding homosexuality when it's just implied and those shows were MUCH more open! Doesn't stop people from claiming the show is "honorary yuri" and saying that the meaning of "yuri" should be broadened to include any close bonds between two female characters, whether or not it's actually romantic, AND favoring the show(and HomuMado) above actual yuri shows that are made to appeal to women. If all this were actually valid, Sailor Moon would be yuri as hell.

I hate seeing people fap over this show and act like it's so revolutionary for recycling things that the genre was ALREADY DOING, because I know full well that the ONLY reason it gets this wide acclaim is because Magical Girl shows have traditionally been written for women and this show is aimed at men. That's literally it. Because nothing a woman writes is good enough, especially when it dares to go against patriarchal constructs of femininity as weak and docile by portraying it as cool and awesome. It doesn't matter how cool and dark and diverse and inclusive and complex Sailor Moon and Precure and Princess Tutu and Utena are, they're written by/for women with the intention of empowering them so they're automatically invalid, cheap, happy-go-lucky crap where nothing bad ever happens and anything those shows try to do ought to be discredited because they don't appeal to men like they should so what's the point?

But the second a MAN comes in and intrudes on a female-dominated space by doing all of those things but with a very shallow understanding of how they ought to be executed, people are all over it because a MAN did it and now it's interesting and respectable! I have seen so many people say that they don't like Magical Girl because it's girly and shallow and stupid, but then they praise Madoka for things that the girly and "shallow" shows have already done! Men are always taking away things meant for women and distorting it to fit their patriarchal views and yet when they do it it's somehow better and anyone who complains is simply a whiny straw feminist!

The fandom does it all the time, someone complains about the show and why they don't like it and find it sexist, and the response is always "you're just not smart enough to understand it; you have no idea what you just watched". Because obviously since it's made by a man it's sooo much smarter then the traditional sappy stuff made by women. That's why it's so annoying when others praise it at the expense of other works in the genre: they know their reasons for liking it are, more often than not, rooted in sexism against female-aimed and female-empowering works, so the only way they can praise it is at the expense of said works, hence them being just like girls who claim they're "not like other girls" when there's nothing wrong with girls being feminine and in fact many of those girls may like the same things you do!

So while I'm not saying there's anything inherently WRONG with liking Madoka, I DO have a problem with people who act like it's better or more serious than other shows in the genre and simply discard them on the grounds that they're "for girls", since they obviously didn't watch them.

me when I initially watched Madoka Magica: I don’t get why this exists.

me when I learned it was written by a man: ohhh, now I get it.

I also take issue with people comparing things that are made for different demographics. Like look, I don’t care if you enjoy your angst display over here, but also maybe don’t compare it to the stuff not even made for you unless you’re willing to get into a fight over it?

It comes off wrong, like they have to trash on stuff because it wasn’t made for them, y’know?

Anonymous said:

Honestly, I am so sick of people saying that Magical Girl shows are sexist or anti-feminist, when all they do is portray girls being awesome and powerful while also being feminine at the same time, because "Well in Japan it's actually gender conformity because it's telling girls they can only be strong if they're feminine! You're just projecting your Western values onto an Eastern work!".

First of all these shows are made by women for women and often have explicit feminine messages that you literally cannot miss unless you are simply blind or trying not to see them. And they also tend to have a very strong focus on women supporting or empowering other women. Just think of Sailor Moon, which constantly gets this "criticism", and yet there's an episode where the girls explicitly protest against a villain who claims women are all shallow and useless and can't do anything without men's help. Would Naoko Takeuchi put that in the show if she weren't a feminist?

And then there's the fact that she has said that one message she wanted the female leads to convey was to value their relationships between other girls because girls are strong and don't need to waste time depending on men. There's also the fact that most Magical Girl shows tend to treat the powers as something special and awesome that's unique to women and girls, paired with the coming-of-age themes present in the show, and you get a magical equivalent of female puberty, with magic mixed in.

But no, all of that gets thrown out the window because they dare to be "feminine" while doing all of that stuff and the Japanese are forcing their girls to be girly through Magical Girl propaganda. And I just HATE when people act like anything feminine must be societally forced onto girls, rather than girls just happening to like them. In addition, stating that they are simply reinforcing gender roles by being feminine is such bullshit because the whole purpose isn't about conforming to patriarchal femininity, it's about reclaiming femininity.

Too often, femininity is associated with being weak, powerless, helpless, submissive, docile, vapid, catty, bitchy, petty, vain, stupid, the list goes on. Magical Girl saves femininity from a bad reputation. It shows femininity in a new light, as something strong and powerful and, hell, even admirable! It's about telling girls "Hey, you can be strong and powerful and smart, but you don't have to be a tomboy or act like a man to do so". Girls are always told they have to act masculine to be taken seriously because the only way to be respected is to be like a man, which is an indirect way of saying that only men deserve respect.

Magical Girl does away with all that in favor of showing the feminine as something innately powerful, and yet naysayers MISS the point and say that it's just stereotyping girls instead. To see people claim that Magical Girl forces girls to fit a feminine ideal to be respected is just disappointing. It's supposed to be a female power fantasy for young girls that shows them as the ones being powerful and empowering each other.

Take how in Sailor Moon the heroine often says something along the lines of "I won't let you take advantage of girls", which Wedding Peach went on to imitate. The purpose of the genre is for girls. To empower girls. So why on earth would they show them fitting into a "male" mould of power? Do these people think that any time women are shown acting distinct from men that they are doing something wrong?

And the hypocritical part is that nobody pisses on male-oriented anime for reinforcing a harmful narrative to boys that they have to be masculine to be valued and respected. Of course they don't! Because being "masculine" is never seen as a bad thing to be. It's assumed that masculinity is always strong and good and awesome and there's nothing wrong with boys being forced to be masculine because you're supposed to want to be masculine. You're not supposed to want to be feminine.

So of course people will shit all over Magical Girl for embracing, empowering, and reclaiming femininity, because it's not supposed to be that way! You're not supposed to be feminine and also be strong. You're supposed to deny your identity as a woman and assimilate into the boys' club because only boy things are worthwhile! And they cover it up by saying that Magical Girl forces girls to be feminine, when in actuality the WORLD forces girls to be MASCULINE. Magical Girl doesn't force girls to be feminine, It ALLOWS them to. Do you see the difference there?

Another thing I'd like to bring to the table is that the claim is racist and here's why: The claim that "Magical Girl shows are seen as feminist in the US for portraying femininity as a source of strength but not in Japan because it's telling girls they have to be feminine"...what does that mean? Japanese people can't be feminist? All Japanese people are sexists and think girls have to fit in a certain role? Do Japanese feminists HAVE to be anti-femininity? Are there literally no Japanese people who think you can be feminine AND strong(who also obviously identify as feminists?) Because it seems hella sexist to insinuate that Magical Girl shows are sexist because they're made in Japan and they don't believe you can be feminine AND strong there.

While there is some credibility to it since Japan IS, by and large, much more strict with gender roles, hasn't it ever occurred to these people that these types of shows exist to counter that belief? Not only that, but it implies that people aren't allowed to have opinions on works that aren't made in their culture, and that anyone who sees those shows as feminist are just projecting their Western beliefs onto an Eastern work. And even worse, when people say that, they don't have the same opinion of Western Magical Girl works.

Just look at LoliRock, Miraculous Ladybug, Winx, W.I.T.C.H., Star vs the Forces of Evil, and countless other European/Western Magical Girl works. Where are the people saying "They get their power from femininity and that is sexist!"? Nowhere! They're silent! Even though those are very much like Magical Girl works from Japan(although I don't think the genre originated from there), while still being original.

It's because people think that any media exported from Japan is automatically sexist and demeaning and so anything they create, no matter how empowering their intentions, gets twisted into something that's somehow toxic or unsafe for girls to watch. But when Europeans do the exact same thing nobody complains. Because Japan is not allowed to do anything empowering whatsoever; something's always wrong with it, apparently.

So that's why I have a problem with people who say those things; it's so problematic because they think they're being all open-minded and aware/respectful of other people's cultures, but all they're doing is reinforcing negative stereotypes further. It's kinda like what I said earlier(in another ask) about how people love to praise Madoka Magica for being a unique, dark, and interesting take on the genre when all it did was rehash elements of the genre that already existed, strip away the female empowerment, and gear it towards grown men, which is why people like it more. How about instead of speaking for Japanese people you let them speak for themselves?!

I would also like to add that there’s even a limit to women acting masculine because that’s still “not enough” for those kinda of men who would promote those beliefs. Women need to act more masculine to “be taken seriously” but then you have men who’ll tell them to “dress less” or whatever.

I think what it comes down to is that they want women to not be “emotionally taxing” with all those dAmN eMoTioNs of theirs (unless it’s for the sake of their angsty magical girl anime where the girls suffer for having emotions), but they also need to look pretty and be sexualized.

We can’t win.

#other: ask and answer #other: non ml talk

15 notes · View notes

aaaaaaaaaaaaaaaoldretired · 5 years ago

Text

some p!g-drv3 theories (spoilers obvi)

First of all I think people demonize the pg versions wayyy too much because its a good way to be le sexy in like fanfictions. And i get it, villains are hot or whatever. and also hs is a horny age to be. But even the edgiest and horniest of teens aren’t like. that sexual/monstrous. its kind of insane the portrayals people are placing

maybe this could also be like me being older bc when i was early hs i was like yea its fair to place these super mature portrayals on a 18-22 year old they are like adults but young and now im that age and im like woah there pardner. might be an age/maturity thing.

also like its normal for people to relate to and portray characters their same age in a similar fashion, but when adults write more sexual content about the dg kids i get hella fucking sus

idk where i was going with that first comment i guess its like a preface and in the end i think its important when characters especially teenage characters are morally grey not because they’re mature and dark/brooding but because they are still young and learning. fuck im older than like most of them, but im still young and learning. its good to be in turmoil and confused, especially the drv3 cast. they are more confused than anything.

which i think is a reason why people would join dr because if you are completely loss and in turmoil, it is appealing to be given a purpose in life and amazing talents/abilities. despite the morals of danganronpa, it is a simple reality to be told who you are and what to do

OK ONTO HEADCANONS (not doing all bc i dont have thoughts about all)

first of all i understand changing stories but i think, deep down, you can’t change fundamental personalities/values. so while the backstories might be different i think, in the end, a baseline is always the same

SHUICHI being a Bad Boy is like canon obviously but i dont think he’s as manipulative as people make him out to be. i think he falls in the more the bully role that like. mae borowski or tf2′s scout filled before they grew up. rough background, bad anger issues, lots of emotional turmoil, and the only way he knows how to deal with shit is by committing crimes and beating the shit out of people. and, similar to those characters, drv3 represents an older, more emotionally sober yet equally confused version of himself. the urges are still there as foreshadowed in the dialogue. i think he struggles with guilt, mostly survivors, but there is still a lasting impact of guilt of what he did in his past, even if he can’t remember.

KOKICHI is a child. a piece of shit motherfucker child but a child. I really do think he’s like one of the youngest people in the cast. he reminds me a lot of when my brother doesn’t take his adhd medicine and takes jokes way too far and does mean and cruel things because he thinks its funny and that its just a fun joke, but is hurting people. he desperately wants approval, which is why his leader role is so interesting because in the dr narrative he has the approval he craves and so he is satisfied. still, he does try to impress characters like rantaro and values his opinions a lot, even developing a brotherly relationship in the time they knew each other. this being said, its established kokichi was bullied before, but i dont think he’s like. the wimp people make him out to be. i think he’s more of like the class clown who desperately uses humor to make people like him, and ends up resorting to be the butt of most of his jokes. you don’t just develop a good sense of humor out of a brainwash, and that’s not something you can program in. i think that was a remnant of before, and he’s so good at bullying people and coming up with roasts - i just think that in p!g the roasts were about him.

KAEDE is baby but her p!g personality seriously reminds me of any ~quirky/edgy~ girl in a teen coming of age story who tries to be edgy and cool and act like she doesn’t care but deep down, she really does. if she didn’t have an empathetic personality, she wouldn’t want to end the game. i also think she has that self-identifying QuIrKy personality because its like she lives in her own narrative, practically announcing this story is about her and she is the protagonist. i know i used to self narrate like that and distinguish how i was different when i was like. 15-16. she has a tumblr.

I really like the theory where KAITO is a make-a-wish kid who was better when he was younger but relapses later in teens. he never used his wish before, so he decides to use it now to be on danganronpa and become the hero he always wanted to be. i also think he might have joined as a way to raise awareness about adolescent healthcare. definitely the type who puts on a “heroic” character to make everyone else feel better about the fact he is literally dying of a terminal illness, and keeps that act up till the end.

i think KOREKIYO is still a serial killer. i think honestly a reason why he mightve auditioned for danganronpa is because he is a serial killer. maybe his sister found out and he felt so much shame that’s why he auditioned. he probably mentioned why in his interview because duh, tell them im a serial killer and then only reason im coming clean is my sister found out and im ashamed, that is like a guarantee to get on the show. i LOVE the theory that his sister is still alive, however, and has to watch her brother go insane because they wrote her into the story as the villain. because technically, she brought on this guilt, and is the reason why he auditioned - as a way to cause despair, twist it around so she’s the one to blame for his insanity. also, because its pretty accepted DR members become celebrities, kork’s sister is totally bombarded with paparazzi and is demonized in the media. she might end up writing a tell-all memoir about kork’s actual childhood and personality. quiet kid, thoughtful, interested in anthropology, she never thought he’d hurt a fly. watching her brother go insane probably destroyed her.

I also think, timeline wise, kork is probably one of the oldest members along with rantaro. tbh i think kork actually graduated hs and went on a gap year doing the whole “hitchhike around the world to discover myself thing” which is where he began killing people. he was getting ready to go to college when his sister found out about what he did. this is when he decided to go on danganronpa instead of university. this would help explain why he knows so much about other cultures/travel/been so many places with so many memories/killed/is knowledgable on a level most other students are not. this would place him at like, 20-21, where everyone else is like 15-18.

ok so there’s two p!g RANTARO, p!g before 53 and p!p!g before 52. i’d like to establish now i think rantaro is the oldest of the characters, seeing as though he was already pretty old to begin with in 52, it takes time between television seasons, and he was in another game. so im placing him like 21-23, similar to yasuhiro in d1 being so much older than everyone else. i do think, in all iterations, rantaro was pretty much raising his sisters, though i don’t think he had twelve like the story (i think that’s an exaggeration, his sisters mean a lot to him, lets make him have a TON and then lose them all and feel GUILTY) rantaro joined the first game, partially to get money for his family and hopefully establish them as celebrities and let them have a comfy lifestyle, even if he doesn’t live...and also to finally ahve some sort of experience without his siblings tagging along. if he’s been raising his sisters all his life, he’s never had like something that’s JUST his. that’s his adventure. 52 is his ULTIMATE adventure. ahaha. mostly for money, kind of dreading it, still a tiny bit excited

ok p!g rantaro between 52 and 53 probably came back broken. he did the signings and appearances, but mostly wanted to spend time with his family and make sure they were set up. i think he knew the whole like few months between seasons he had to go on another show, but he did’t tell his sisters. his family found out when they saw a billboard with his face plastered on it hyping up the return of a fan favorite. yikes!

ok i get it a lot of people hate HIMIKO but i think she’s not nearly as similar as other “useless” characters in other games. its like, pretty clear she’s depressed, and the only thing she’s holding onto with dear life is magic. lack of hygiene, lack of personal care, constantly tired, social interaction exhausts - she has depression, but she’s not an UWU depressed character. so people find her depressive traits (which are some of the most realistic portrayals of mental health in the series) SUPER annoygin. she joined dr because she was completely lost and needed some sort of direction in her life, even if she’ll die for it. the thing is, even with direction, her mental state didn’t change because she wasn’t getting legitimate help. it’s like that one SNL skit that’s like. same sad you from before but in a new place. i also think she knows the magic is not real, because how could she not. i think she’s so adamant that it IS real, less as a way to convince others, and more of a way to convince herself. it’s like really super cruel that team danganronpa took a girl who is desperate for meaning and gave her literally a meaningless, fake talent.

i also kin himiko and find her a comfort character because i feel seen by her, replacing her useless talent of magic with mine of like shitty film making and comedy. i am seen.

related i don’t think she’s nearly as ugly as everyone says she is, i think she’s probably just depressed and takes absolutely no care of her hygiene and sleep and looks like sick and greasy all the time. same queen.

honest to god i think RYOMA’s backstory, tennis and all, is like 100% real and he’s the only one who keeps all of his memories except for the fact this is a tv show. i think he rolled up, a hot fucking mess, and the danganronpa team were like damn. we cannot improve upon this.

#ryoma hoshi #himiko yumeno #rantaro amami #korekiyo shinguji #kaito momota #kaede akamatsu #shuichi saihara #kokichi ouma #drv3 #killing harmony #pg dr #pre!game danganronpa #danganronpa #theories #danganronpa spoilers

25 notes · View notes

theblackmarketofsanseroche · 4 years ago

Photo

The Beautiful (Series) - Renee Ahdieh

Rating: 4/5 stars

The Beautiful is a new series by American author Renee Ahdieh. This series contains all of my favourite elements of YA: period romance, the supernatural, magic and the 19th century aesthetic. A series I truly enjoyed reading despite not having a long lasting impact on my emotions or memory after finishing, yet having left melooking foward to the third ( as of yet unanounced) installment (because trust me there cannot not be a spectaluar, final showodwn after that conclusion).

I shall dicuss this as an overall series, having only discovered the first installment a few weeks back and having devoured the highly interlinked volumes, both in a couple of days. Spoilers ahead: Warning!. I found our main charcter Celine to be truly enojoyable and not a laughable stock image of the typical strong female protagonist who is not like other girls ( although Celine is most definitely not like other girls). She’s quick witted, unapologetically true and forthcoming, qualities I truly enjoy seeing in historical fiction as they set aside the stereotypical 19th century woman, a second class citizen longing to be rescued by a knight in shining armour.

This series does wonders for inclusivity and giving racial minorities important roles. We have an Indian lawyer, biracial protagonists who progress into an interracial romance, queer characters and a former slave made business-man all under the esotheric skies of New Orleans: a place of rebirth, in more ways than one; wrapped in a noir, captivating vail of beauty.

As well as a fresh cast of characters, we still enocounter some tropes as old as time which, I must confess, I am a true sucker for. Queue our mesmerising love intrest Sebastien: edgy badboy in the first book, tormented and lovesick protagonist in the sequel. Though I am not the type to swoon over romance I found it impossible to resist the heartbreak and entaglement between Bastein and Celine, an amost retelling of the infamous star crossed lovers Romeo and Juliette, if only bloodieer and more magical. It is perhaps this element that makes my heart ache for the tormented heir of the Saint German empire, who longs to be a better man for his beloved whilst still maintaining a truly badass facade.

This series has acheived the impossible: the redemption of the ever meme-tastical Twilight, the embodiment of shame among vampire novels. These vampires posses a dark aura around them that will drag you to a far more enchanting world, although not the most complex, without ever sparkling. The way Ahdieh costructs the supernatural elements of this story is just what I love to see (even though the feys were a little unexpected and, at first, seemed to almost comedically clash against the goth-y vampires, until we begin to understand the true nature of the fight between this rapresentation of Light and Dark.)

From a writing point of view, I found a couple of slightly irking details. The first, originally noted in the first installment of the series, is the occasioanlly awkward phrasing which forces the reader to skim sentences a couple of times to grasp them well. Another element that I hope will dispear in the third book is the use of alternation between first person and third person point of views. In The Beautiful, our anatgonist was wrapped in complete mystery, and the use of present first person POV worked beautifully in giving the reader the sinister feeling of something malicious lurking in the shadows, allowig us to feel just as Celine does and keeping us on the edge of our seats. Unfortunately, this doesnt work as well in the sequel, The Damned, as all the first person POV are Bastien’s chapters which, whilst giving us more insight on his previously mysterious character, fail to deliever the edge this writing technique had in the first book.

Narrative wise, as already mentioned, the sequel brings far more depth to this world than the first pictoresque scenery of New Orleans presented us with. Although, as it is a little unexpected, it takes some getting used to. The fey world our protagonists become heavily involed with seems rather cheesy at times and something out of Lord Of The Rings, which seems to clash almost too much with the vampire, Tim Burton-esque world of vampires. However, it is just this immersion into the broader world that allows us to learn more about the history of vampires themselves and although I would not have admitted it at first, it only works by having the book told mostly from Bastien’s POV, which therefore heightened the whole reveal about Celine’s mother and her royal heriatge in the Otherworld.

A key element of this series which I truly enjoyed is the tragic and passionate romance that prevails against all odds. Although in the first book it appears a mild case of instalove masked as turbulent physical attarction, it becomes far more concreate towards the end and believeable, especially in the second book, where our star crossed lovers are willing to sacrifice their lives for the sake of the other. What I particularly enjoyed is the conflict within Celine when it comes to Bastien and Michael. I grew to hate love triangles after The Infernal Devices ( I have more than several probems with said series and its author despite my love for Will Herondale). However, what we find in The Beautiful isn’t a constant back and forth on what boy should Celine choose. She’s strong willed and follows her heart more than anyone or anything else. The conflict is far more real as it presents as struggle between her heart ( which longs for Bastien despite her blurred memories of him) and her head (which knows a lady in this era should long for a good, respectable husband such as clever detective Michael Grimaldi).

Now, where does this leave us in regards to the third book? If I have to (SPOILER) give my opinion, I think Ahdieh might pull a Twilight twist on us but actually execute it in a logical way: by the time The Damned ends, we have two lovers heirs to two rival thrones and a long to reuinite and restore peace in the Sylvan world. Plus, with the constant talk of legacies, heirs and family, it would be fair to assume we may face yet another half vampire pregnancy in YA. However, far more is yet to be revealed, plenty of characters still hide secrets, a pack longs for a leader, a man has been betrayed by his beloved and we may have met a new antagonist, far more evil than the werewolf full of hatred that has set motion the conclusion of the series as of yet.

2 notes · View notes

popcultureoverdosed · 5 years ago

Text

Youthful Dystopia of Narutaru

Narutaru was beneficial enough to have been made in an era where deconstruction series was gaining traction. If it were to made now, it'd probably be labeled as edgy without any mention of the actual quality of the story. Notably, the genre being deconstructing is the Mon( Digimon, pokemon, etc) genre. Unlike magical girl and mecha shows of today, Mon anime are still generally fluffy and childish so a darker take on the genre was definitely in order.

To give a little backdrop on the creator Mohiro Kitoh, he's pretty much a nihilist that rivals gen urubuchi in cruelty. His other works include a giant robot that steals the life force of children to destroy the multiverse and a psychic teen whom mass murders anyone who drives irresponsibly. He's that type of guy.

The main appeal of the story comes from the interactions between the children and their shadow dragons, rather than actual plot progression. Shadow dragons are mysterious creatures who bond to the characters with a psychic link, sharing their pain and inner thoughts. The names of the shadow dragons are often reflective of their user's psychology. For example, Norio's dragon is Vagina dentata representing his feminine appearance and inability to become intimate with the man he loves.

Our first real look into the world of Narutaru comes in the form of Tomonori Komori. The first few chapters spend time lolly gaging and establishing a vaguely foreboding mood, but, Komori establishes how this world operates. He a textbook level sociopath. A charming young boy who is revered by those in his neighborhood. All that charm is simply a facade he puts on to hide his true sinister views. He wants a Darwinistic world where all of the educated and well to do members of society are killed off, leaving the world in a survival of the fittest state. " Those who are weak and can't fend for themselves deserve to die," he says despite having a sick mother to take care of. He's ironically killed off by hoshimaru, one of the weaker dragons.

Komori is far from the only disturbed child in the series. The children have few qualms with murder and treat it casually. What sets this mon series from those of the same genre is that it treats its children character like actual humans. They aren't saints who only use their abilities for good. They're selfish and use these dragons to suit their own needs. It seems that being psychologically damaged is a requirement for having a dragon. Even upbeat Shiina has her hang-ups about her identity. This theory of trauma giving birth to shadow dragons is more or less confirmed with Hiroko.

She's a shy girl who's constant physical and emotional abuse from her bullies and parents allow her to awaken Oni. Her parents are representative of a common problem in Asian society. They only value their daughter for her academic status and chide her for being anything less than perfect. Her bullies torment her for being too smart and standing out during class. Both parties have opposite reasons for hating Hiroko, but, they both wish to strip away her individuality and turn her into a submissive slave of society. Awakening her shadow dragon allows Hiroko to finally get revenge on her tormentors, even if it means becoming a serial killer in the process.

The manga is definitely a character-driven tale that dwells deep into the psyche of highly disturbed children. You have Akira who has depression and suicidal tendencies, Aki Honda who raped a girl with a test tube and the girl in question who snaps and goes in a killing spree. You could say that all of this bleakness is a bit too much but honestly, it felt refreshing. Mon series are generally really cheesy with bland one-note characters and a story that only exists to sell merchandise. Narutaru breaks the mold and presents characters who are multi-faceted and lifelike. Contrary to popular belief, children aren't always innocent and they can be just as cruel as adults.

One major gripe I have with the manga is the art. Mohiro sure can write but his art isn't winning any awards, that's for sure. Character designs are bland and minimalist. I admit the military paraphernalia is drawn in extensive detail and the dragons have cool designs but that's about it. Other manga artists can do sketchy manga art perfectly but Mohiro isn't one of them.

I also wasn't too particularly fond of the second half of the manga. It drops elements of deconstruction and character drama to replace it with military affairs. I understand the writer is a military nut but having chapters littered with walls of text of JSDF members reacting to the shadow dragon was just so tedious. It would've been better if the plot focused solely on the children and how their actions affect their environment. The second half of the manga lost what made Narutaru so special. It started as a character study of how immature kids react to newfound power only for the story to get Monopolized by adults. some characters like Mamiko Kuri, Norio Koga, and sudo desperately needed more screentime and character development. Mamiko is the worst offender as she only exists to be overtly cryptic until the final volumes.

I highly recommend anyone curious to please read the manga. It's ultimately a story of children thrown into an adult world of violence with little room to grow up. It's a thought-provoking social commentary on the nature of humans and how far their cruelty can go. There's an anime adaptation that isn't as good but is still a fun watch. Even if it's unlikely I'd to see the anime get a remake with a bigger budget and completely adapt the manga. If it did get a remake, here's whom I'd want to work on it:

Studio Mappa/ Geno studio- They seem more willing than other studios to work on nontraditional anime. They also tend to have high production values, something the Narutaru anime desperately needed. Producer twin engine would probably need to be involved

Sadyuki Murai(scriptwriter)- His work on boogiepop Phantom and Juuni Taisen has shown he excels at character drama and psychological thrillers. His style would work perfectly with the narrative and maybe even give the side characters some much-needed development. Taku Kishimoto would be my second choice

Takahiro Kishida( Character designer)- He has a sketchy and rough art style that can perfectly encapsulate the feel of the manga. I'm sure he'd improve on the demure character designs and make them more dynamite.

Takahiro Omari( Director)- He directed Durarara and Baccano which tells me he knows how to work with an ensemble cast. He also directed Hell girl, which had heavy social commentary poised at Japanese society, something Kitoh would love.

Yugo Kanno(Composer)- This guy knows how to how to Composer dark and suspenseful tracks that can amplify the intensity of the manga.

Be sure to check out these two other blogs that went far more in-depth than I ever could.

https://hanagasaitayo.wordpress.com/2019/08/05/analysis-narutaru-mukuro-naru-hoshi-tama-taru-ko/

https://manymanytoes.wordpress.com/2018/10/17/narutaru-shadow-star/

#narutaru #deconstruction #manga #review #psychological #Shounen Passion

6 notes · View notes

eliamatrell · 6 years ago

Note

jaga! your taste is frequently and consistently sublime! would you happen to have any media recommendations to share? could be literature, films, poems, tv shows, etc. 💞💗💕

oh mita, thank you! 💕this is such a lovely message to find in my inbox during this hellish heatwave. this list is quite incoherent - it’s so hard to find right words when your brain is melting and for that reason my english might be quite terrible at times - but! these are a few of my favourite things:

and then there were none, alias grace and the terror are great examples of acclaimed novels turned into equally good tv shows. imo the miniseries format is a superior option when it comes to adapting literature - there’s enough time to cover every important point, yet it doesn’t slog. also - there’s some terrific acting.

i love horror, but only good horror - the kind that serves as a social commentary and doesn’t rely on gore, jumpscares and violence. there’s also my unfortunate catholic upbringing that makes me scared of anything with religious undertones (like the exorcist. or rosemary’s baby). despite being a bit of a snob who’s wary of mainstream writers, i adore stephen king’s works and his enormous impact on western cultural landscape. he shaped and influenced so many great creators and goodness - i can’t help but admire his imagination. i lovelovelove castle rock - it’s uncanny, connected to most of king’s novels and utterly engrossing. i’m hooked.

speaking of mister king - the shining (1980) is a masterpiece and it (2017) is one of my favourite movies ever. i was talking about this to my friend the other day, but i can’t bring myself to care about anything if it’s absolutely grim and hopeless. i need some light and hope, even if it’s just a spark. there is this great quote by sir terry pratchett (here’s the full essay): ‘The morality of fantasy and horror is, by and large, the strict morality of the fairy tale. The vampire is slain, the alien is blown out of the airlock, the evil Dark Lord is vanquished and, perhaps at some loss, the Good triumph – not because they are better armed, but because Providence is on their side. Let there be goblin hordes, let there be terrible environmental threats, let there be giant mutated slugs if you really must, but let there also be Hope. It may be a grim, thin hope, an Arthurian sword at sunset, but let us know that we do not live in vain.’ - that’s what i love about dark stories. there are always characters that are simply good, characters we can trust, characters that guide us and reveal all those monsters and terrible things, all while holding our hand and protecting us. stephen king, just like all great writers, is well aware of that, and it-the-movie (i hate this title! it’s so vague that i always have to specify what i’m talking about) is a great example of this trope.

i have this personal quest of watching every movie directed by alfred hitchcock. psycho (1960) was the first entry on my list and oh goodness. how i loved it.

i love anglophone poets, but at the end of the day, i keep coming back to polish poetry. it’s sad. it’s mostly sad. we were conquered, invaded, wiped off the map, controlled by foreign empires, and it’s all reflected in our literature. still, there is this ever-present stubbornness - we’re still here. we’ll always be here. tadeusz różewicz was one of our greatest writers. his poems are about surviving and re-learning how to live after. they make me cry every single time. here are three of my favourite ones (i am twenty-four / led to slaughter / i survived). also, zbigniew herbert. report from the besieged city was written about poland (after the failed uprising of august 1944, hitler personally ordered that the entire city of warsaw be razed to the ground) but god. it’s very universal. now when i read it i tend to think of aleppo, of damascus, of mosul. warsaw rose from the ashes - i can only hope so will these cities.

and wisława szymborska, always wisława szymborska. photograph from september 11 is one of my favourite pieces written by her - the last lines are phenomenal. also - cassandra, lot’s wife, on death, without exaggeration.

speaking of ‘on death, without exaggeration’ - the good place is one of the best pieces of media about afterlife ever created. it’s bittersweet, so smart, and heartwarming. its portrayal of what’s beyond the veil is very familiar, very human. god, i love it. i can’t recommend it enough. also - moral philosophy has never been so cool.

c.s. lewis is mostly known for the narnia series, but his true magnum opus is ‘till we have faces’ - a retelling of the classical myth of eros and psyche. gosh, what a beautiful and melancholic book. it’s about possessive love, about bonds between the mortals and their gods, about families, about lovers, about the sacred and the profane. this goodreads review captures my feelings perfectly.

my fondness for joan baez is well-documented and baptism: a journey through our time is my favourite album of hers. it’s mostly works of various poets - spoken and sung by baez. i especially adore ‘the magic wood’ (written by henry treece). it’s so haunting! also, it reminds me of this one short story by stephen king (yes, i know!) - the man in the black suit.

recently i’ve finished reading the collection of fairytales composed by angela carter. it was very diverse and simply Great. i’m also taking ‘the bloody chamber’ on holiday with me. i’ve already started it and oh goodness. ooooh goodness. (“The girl burst out laughing; she knew she was nobody’s meat.” - i mean!!!)

when it comes to fairytales written by contemporary authors - emily carroll’s graphic novel ‘through the woods’ is one of the best examples of this genre. i’m not a fan of Edgy Fairytales, but these are definitely not edgy - they’re refined, bloody and gothic. also: ’It came from the woods. Most strange things do.’ is one of my favourite quotes.

in this household we stan and support everything inspired by eastern european folklore. please, do read uprooted. and also spinning silver. i might be a little bit biased, but still - it’s just very well-written and imaginative.

‘east of the sun, west of the moon’ illustrated by p.j. lynch will always be my favourite version. here are some samples: one, two, three, four.

i’m not too fond of ya as a genre, but. but. the cruel prince was incredibly good - much better than its title (although there was a prince. and he was indeed cruel!) and description would suggest. it’s a perfect summer read and it features faerie, a lot of bickering, some slashed throats and also good ol’ schemes and court machinations.

i love musicals. a lot of them - the good, the bad, the mediocre. i just really like people singing, you know. however, ‘natasha, pierre & the great comet of 1812′ is… god, it’s a lot. it’s about love, about war, about depression and loneliness, about honour, about healing - but first and foremost about humanity. please, do watch this performance (and then listen to the whole cast recording). goodness, what a wonderful show.

to be quite honest, this is only a fraction of my recs, but i didn’t want for this post to be too overwhelming. once again - thank you so much for asking! 💝

#💛💛💛#jaga's recs #replies #roseirani

30 notes · View notes

thefloatingstone · 8 years ago

Note

do you have recs for magical girl series without shoehorned in romance ? that ruined sailor moon for me but i'd love something similar but without all that

I wrote such a long reply but my STUPID COMPUTER’S BACKSPACE IS ALSO THE BACK BUTTON IN FIREFOX AND I HATE IT.

So forgive me if this reply is a little grumpy X’D I’m so angry.

A magical girl show without romance is tricky because most magical girl shows are aimed at 12 - 14 year old girls :D and as far as the general public is concerned, little girls like romances. I suppose that is true up to a point but I know what you mean. It didn’t bug me in Sailor Moon but HOO BOY has it bugged me in other shows.

I’m also not the most well versed in Magical Girl shows so forgive me but I’ll try my best! >.

First, as usual, I’d recommend my other favourite anime of all time, Revolutionary Girl Utena.

Utena is a difficult show to watch because it takes so much mental energy to full process all the metaphors, double talk from the characters (who rarely are talking about what they appear to be talking about) and heavy symbolism on screen. So much so that I’ve heard so many people frustrated with the ending because they “don’t get it!”

That being said though, it honestly is the most rewarding and most intelligent anime I’ve watched. and with some help with some of the topics that went completely over my head http://ohtori.nu/analysis/ I cannot recommend it enough.

As for the romance thing, the whole point of Utena is to teach its audience that being naive and blindly heroic is BAD. And that if you’re naive, people with less than good intentions will take advantage of you. So any romance in the show at all is completely warped. It shows how manipulative some people can be, how some people use sex as a weapon to push control onto other people, or how our own idealistic ideas of what love is are actually the things trapping us in unhappy situations.

I’ve seen so many if not most people say Utena and Anthy are suppose to be a romantic couple. And although this might be true (considering the producer/Director) I actually never saw it that way. Utena is all about false constructs we create to become people we think we’re suppose to be or want to be or wish we were. Utena and Anthy are both trapped in their constructs of “Damsel in Distress” and “Heroic Prince” and so a large part is them trying to fit themselves into these roles they’ve created. So much so that, in truth, the ability to see ‘the true self’ with these constructs stripped away so we are remained with nothing but our own naked truths is the core concept of the show.

Are Utena and Anthy suppose to be a romantic couple? Who knows. But I find the show itself’s portrayal of them are not suppose to be seen as romantic, as much as people love to say it is because of how wonderfully gay it is.

But considering the core concept of the show… I don’t know if I could ever say they are suppose to be a romance.

And even if they ARE… that’s one fucked up romance.

Except in the movie I guess but the movie is not good. It’s really pretty but it is NOT a good movie. I will stand by that till the day I die.

Next is everyone’s favourite anime about SUFFERING, Mahou Shoujo Madoka Magica.

Madoka is a very dark anime, to the point where it can be rather upsetting at points. But while I tend to hate anime that purposefully try to be edgy, Madoka I give a pass because Madoka actually rewards you at the end for suffering the previous 11 episodes with it. It gives you optimism and hope at the end in a way that does not feel false or unrealistic compared to the rest of it.

However, I am only talking about the original 12 episode series. I haven’t seen the 500 additional content and have no desire to. Because the show is so self contained that I cannot imagine any of the rest of it to be anything but character assassination, needless complication, or a complete twisting of what the original was suppose to be about.

I don’t know if the rest of the content made it more clear, but I never saw Madoka and Homura to be a couple in the original show. Maybe I’m just use to Sailor Moon where it’s possible to have deep friendships between girls without thinking them to be romantically attracted to each other. However, even if it was always meant to have that underlying romance, the show itself does not feel it is worth putting in the forefront, and it never interferes or derails the story. Nor is the friendship shoehorned in.

If you can handle something darker and can tough it out until the end, I’d definitely recommend Madoka.

Just… not the rest of it. I’ve heard bad things. And the ruin certain characters apparently.

After that it gets a little muddy because, as I said, I’m not actually that well versed in Magical girl shows X’D Because I like Sailor Moon.

But~

Magic Knight Rayearth has pretty much 0 romance in it at all.

There are apparently hints of it between two of the girls (this is CLAMP after all) but there is no romance within the show itself.

So we have bad ass girls in a Fantasy world with elemental powers and giant swords and one of my favourite opening credit 90s jpop songs X’D

I’ve been meaning to watch more of it for years…

Also, one last thing;

You mentioned the romance ruined Sailor Moon for you, and I just realised that you didn’t specify WHICH Sailor Moon you meant.

If it’s the classic, then that’s fine XD no helping that.

HOWEVER, if you were watching Sailor Moon Crystal? …..yeeeeaaaaaah.

a BIG Criticism of Crystal is that ALL of the Sailor Senshi are completely delegated to the background and ignored in favour of the MIRAKURU ROMANSU between Usagi and Mamoru. Major character moments are ignored or just glossed over JUST to focus on the ~*ROMANCE*~ in Crystal, and all the stronger elements like the friendships and bonds formed between the GIRLS is almost completely gone.

If you were watching Crystal and the romance ruined it for you, I really can’t blame you. Because of all the ways Crystal is a terrible show, the romance overshadowing everything else and being written BADLY and actually weakening Usagi’s character for the SAKE of the romance, is the absolute worst thing about it. And that is saying a LOT.

If Crystal is the only Sailor Moon you’ve watched, I do recommend the classic instead. yes there is a romance (which is at its most prominent in season 2/Sailor Moon R) but Mamoru is presented less as arm candy or something to be “won” and more like he’s suppose to be; moral support for Usagi and back up in fights.

I know die-hard Sailor Moon fans who can’t stand Mamoru X’D and although I like him, I think the fact that there are people who hate Mamoru but they still consider themselves absolute Sailor Moon fans should at least speak for how much the romance is handled in the show itself. You can’t really ignore it, but speaking as someone who does not really enjoy romance in stories, the fact that it’s possible to still love this show despite of it I think does say something :)

But then… if you were watching the Classic show and didn’t enjoy the romance, I can’t recommend the classic… obviously X’D and that’s ok! You’re absolutely allowed to dislike it!

But I thought I’d point out that there is a major difference between the classic show and Crystal, because I think some people think Crystal is just a reboot of the original and decide to watch it instead of… you know… the good one 8′D

Shows I haven’t watched myself but have heard about/seem to be interesting but I have no idea if they’re actually good:

1: The Precure series has its fans although I believe it’s for a much younger audience. As far as I’ve seen there doesn’t seem to be any real romance focus but I could be wrong.

2: Nurse Angel Ririka S.O.S. This one I actually want to watch more of because it looks really interesting. The characters are all 10 years old and actually ACT like 10 year olds from what I’ve seen so far. There IS like a love interest, but seen as the show focuses on kids, it’s not exactly “romance”. Also, despite the main characters being very young, the threat itself is NOT kid’s stuff and is actually pretty intimidating. It’s clear this show does not have young characters because it was trying to be “for younger kids”. I really should watch more of it…

3: Corrector Yui. This one isn’t that good but it’s interesting since it was made in 1999 and is about the magical world of THE INTERNET. I can’t remember if there’s suppose to be a love interest or not. I just remember enjoying how 90s it was being all about CYBER SPAAAACE.

SHOWS TO AVOID

1: Yuki Yuuna is a Hero

Yuki Yuuna doesn’t have any romance in it, but I really can’t recommend this show at all. It tries SO HARD to be Madoka, but unlike Madoka it doesn’t have the skill to pull off the story. And that makes me SO ANGRY because I was actually on board for it for a good few episodes, and it had something amazing; a wheelchair bound Magical girl! That’s great!

(she uses those ribbons to maneuver when transformed. She doesn’t magically get the use of her legs back)

BUT then it absolutely ruins EVERYTHING with an ending that is soooo sugary sweet and cute and NOT EXPLAINED that it ruins everything else for me. “Everyone lived happily ever after! Because of The Reason!” It’s never explained and just comes across as the writers wanted to give the characters a happy ending but had no idea how to do it. So they just had the characters BE FIXED at the end FOR NO REASON.

it feels cheap, unearned, and completely false.

AND EVEN IF you could accept the terribly contrived Happy ending i STILL wouldn’t recommend it for the OTHER big problem with it;

Despite there not even being any male characters in the show, this show LOVES LOVES LOVES sexualising 13 year old girls.

NOPE.

FUCK YOU.

I’M DONE.

I know people who like this show and I can’t understand why…

2: Card Captor Sakura

Card Captor Sakura is a good show! It has GORGEOUS animation and once again comes from our good friends at CLAMP who know how to write complex characters.

Unfortunately, Card Captor Sakura DOES have a lot of Romance in it and, even worse, 2 of my biggest pet peeves. 1: a Romantic triangle and 2: the main couple are the “We hate each other and always fight so you know we were meant to be!!” love stories.

ugh ugh ugh.

Honestly, it’s written well. it really is. But if you don’t like romance then this is not the show for you X’D

3: Tokyo Mew Mew

This show is awful.

But even if you were inclined to like it, it’s got an even bigger crime than the “we hate each other” love interest.

the “this boy is cool and has absolutely 0 personality outside of that so we’re suppose to want the girl to get him in the end!” love interest.

Seriously fuck this show.

4: Anime Magical Girl anime made before Sailor Moon (1992)

There are some REALLY good magical girl shows that came out before Sailor Moon. But there’s one thing that Sailor Moon changed forever that none of these other shows had;

None of the Magical shows before Sailor Moon were about fighting bad guys.

Every magical Girl show before Sailor Moon were things like “Becoming a Pop Idol” or “Becoming an adult” or “Being an alien princess on Earth”.

There is no bad guy fighting here.

Sailor Moon was the first magical Girl show to have girls actively fight bad guys and save the world. So if that’s what you’re looking for in your magical girl shows, unfortunately you’ll have to look for shows made after 1992 - 1995 :)

I hope that helps at least a little bit ^^; It’s a starting point at least?

If anyone else have any magical Girl shows to recommend which don’t have a heavy romance focus please feel free to ad

#C-Puff Answers #Magical girls #anime

14 notes · View notes

radicalrave · 8 years ago

Photo

Ok, I'm going to present one of list of most favorite anime/manga/light novel series in mosaic in chronological order and will give reasons why I love series and made it on the list.

Reason being is cuz my tastes have changed over time and some series aged well and some didn't, and you'll see why that is when I give my thoughts and reasons.

However, I will give an honorable mention on here, since it won't show up on here. You'll come to see my patrician tastes as 4chan delicately likes to put it haha (yes, I'm a channer and I love trolling with the kids there hahaha that place is information gold that's real and legit.)

1.) Evangelion: Let's face it, this is like most people from the 90's top selection. Not only is it vintage for being around for 20 years and iconically dark for a dark shounen (boy's) series, it left a major impact on the industry and the world in ways that most people, even I underestimated. Infact, I'd venture out to say that this series has aged perfectly well compared to lots of others during its time period. It has definitely aged far better compared to Cowboy Bebop and Betterman and all of it's contemporary peers in the competition back in the day. Infact, we're a few years ahead of that series now, which is strange cuz most of us probably didnt expect to see life past 2010 and 21 hahaha. As a whole, this series was far better compared to everyone else. Now, admittedly, it was dark and has some themes that provoke good questions for society at the time in terms of "what if's." At the time, you can tell that the director was a major nihilist and didn't like the direction the world was going, and you can basically see that in his work here. I know I don't have much to say about this series and it does sound like a weak biased argument and apologize for that, but in all honesty, it's done one thing that most series in the 90's was capable of doing: Stand well against the test of time. THAT's what made it impressive. Even though lots of stuff in it are very much obsolete and clunky now. I mean... all that clunky stuff... its hard to believe we used to live in an ugly world like that at one point in time.

2.) FLCL: Now, I'll admit, it IS overhyped and overrated. I sometimes still can't see the big deal behind it, but I will say this, for a 6 episode mini series, it's directed well with excellent art direction all around on the topic of growing up and coming of age. Back then, it did look very mature and course, but now that I'm older, it's definitely a kids series which was admittedly a bit too edgy and dark for it's time, but, I think could have done better had it been more balanced out being a bit more colorful and lighter instead of darker.

I suppose at that time when pop punk and me was going around that time, and correct me if I'm wrong here, I believe Japan was going thru an economic crisis at the time, which is probably why there was such a negative foul air over the future and industry of Japan and the world as a whole at the time, politically and economically speaking.

The series can be a bit of a cool watch if you're into that era of time, but I would venture to say it's one of those that I'd definitely like to keep in my library, along with stuff like Super Milk Chan and anything else that popped up at that time. It was progressive in it's own way coming off very gritty and crunchy in it's own sense if you understand what I mean about the rough comic aesthetic that it gave off at that time.

3.) Gurren Lagan: This was one of the last Gainax series before they ended up closing shop, and not to mention, progressed past it's predecessors in being extremely fast paced. I loved the art and direction and it was fast paced that had excellent action scenes and novel epic art. However, my main qualms about this series, is that it should have just been 1 season long. I feel that it failed past the time skip in the last 10 episodes and should have crunched the last episode into episode 13, therefore, preserving and making it a quality series holistically instead of being watered down and suffering overtime like Death Note did after volume 7 when L died. In Bakuman, you can tell that Ohba and Obata (Ashirogi Muto) when they made their (Death Note; It's obvious people) that they wanted to end it there to preserve its quality as an art as a whole so that it doesnt suffer, unfortunately, the editorial and the shuisa jump magazine pushed for it, which is why we got a weird asspull with Mello and Near after, and you can see how they wanted to end Death Note with this.)

Now, Gurren Lagan, I liked the direction, it was ok, but it also had some misses too over time. It wasnt perfect, but the direction was fresh for it's time. However... personally speaking, if I were to replace this with another series that deserves an honorable mention, and it's directed by one of my current favorite directors in the industry right now, it's Re: Cutie Honey, based on Go Nagai's manga back in the 70's as one of the first and original magical girls to come and pop up with it's modern digital groovy colorful and psychedelic disco aesthetic. I really loved the direction and way it came out and would love to endorse how much I love the direction behind these kinds of aesthetics in anime and manga. Personally, I'd like to see both modern and old school and see how they age 10-30 years from now, just like alot of series I grew up with over the yeras. This however, is NOW 10 years old and remember when it first came out and the internet and DA was all big about it with Ryoko and all that, but I admit that it was a bit overhyped, I like it, it was a bit sometimes edgy and weird, the weird was ok, edgy, at least it wasnt but it would have been better had it been toned down even with coolness and make it more cartoonier and it would have definitely succeeded. The final fight scene in the series is the best and loved it and wished that it ended sooner than it did, then the series would have ended perfectly. The last 10 episodes of that season was watered down, the plot was weakened and honestly wasnt a big fan after that. It's one of those 7/10 that could have been a 9/10 in my book.

4.) Sayonara Zetsubou Sensei: THIS. THIS SERIES IS BY FAR THE BEST THAT HAS CAME OUT IN THE PAST 3 DECADES! What's frustrating is that it was poorly marketed, underrated and poorly localized. It is by far one of the best directed anime series of all time that I haven't seen been topped off or progressed in yeras. The closes to it is the Monogatari series which is based off the light novel series and directed by the same director who took up the project. You can tell by the direction with the slides and the timing of the scene changes. Zetsubou however was fresh, creative for it's time and progressive and to this day, I still consider to be and supposed to be the future of anime and manga.

Based off the manga series by iconic mangaka Koji Kumeta, Kumeta was one of those guys who taught me how important critical tone and dialogue is when it comes to witty batter and writing when it comes to screenplay, writing and manga and the guy lets his frustrations out with gusto. I haven't seen anyone come as close to how good this guy is as a writer other than Sorachi of Gintama fame, who is also one of my top and favorite mangaka of all time. As a quality series as a whole, I also put it up there with Death Note, but much higher. I like his simplistic art style that he has adopted past his earlier works and the art style that changes over time that sticks out and can tell, it's his. and both the writing and the art compliment each other well perfectly with excellent satirical critical tones. You can tell that his writing style is pervasive in Joshiraku, Impatient Count and the Time Thief and toned down in his latest work Kakushigoto. (Yes, I'm a huge fan of this guy who is underrated and not well known and honestly wish he would get better credit than he currently deserves and is by far one of the best creative driving forces in the industry I have ever come across.)

What makes this series tick out and perfect art the gags and the dark truth satirical tones this series takes. The characters are original and fresh and very likable, memorable and have a charm that makes them attractive. Basically, the way he designed them holistically is far better compared to anything that Akamatsu of Love Hina and Negima has done and basically executes his work with excellent precision. The topics the teacher brings up are interesting and basically rags on everything that annoys him as he and his students debate about life topics in and out of school. You can say its like a modern high school version of charlie brown peanuts with a bit of a Tim Burton feel to it, but not as macabre and also somewhat cute. I like how he questions politics and law as well in this work of his and perfectly concludes it with 300 chapters in 30 volumes with a pretty comical yet grim ending that people will come to remember as a holistically quality work worth keeping and remembering for the years to come. This ended about roughly 5 years ago, so it has been around for quite a while the past 12 years and has done a good job aging for that generation of people who were around for the Haruhi and Lucky Star hype back then. This one is easily a 9 or 10/10, cuz its that good.

Localizing may be tough, but its best to appreciate it for what it is. Its still never came over here considering how good it was back then, but I can still see it as future of anime kind of things.

5.) Tatami Galaxy: Now this one is admittedly a bit pretentious with being known as a fast talking anime series for an older audience set in a university setting. I love the art direction, but the theme is kind of redundant, but it can be fun to watch. It's based off a light novel series which apparently gets alot of positive critical attention overseas, but the direction for the anime, you can say that its equivalent to the speed of the voices for the dubbing of Speed Racer back then. Having seen Speed Racer in it's original intended language, I love it far more and it's more natural and relaxed and presented in the way that it was meant to be and honestly, I loved it.

This however, is one of those ones if you want an articulate post modern art college watch and want to kick back and relax, as it can be somewhat confusing as he goes back in time alot and redoes things with every episode till the last episode. You can equate it to that of Haruhi's 2nd season of the Endless 8 arc where the same exact thing except presented differently in each episode is done, but this was better, and was probably one of the biggest trolls in anime history of all time. It CAN be pretentious but it isn't completely per se either.

6.) Panty and Stocking with Garterbelt: OK... I lied... THIS is one of the best progressive anime series with best art direction of all time. It's very western animation influenced in western cartoon format and very colorful. To me, THIS is what I'd still consider and call the future of anime and still should be looked at as such. Here are reasons why. It's simple, not in depth or edgy and dark, but it was just completely perfect all around to the point that it seriously does deserver a 10/10 in my book. Hands down.

Lasting only one season with a trolling cliffhanger, it is one of the best episodic series I have come to watch and enjoy as an anime series of all time and wish that more anime would adopt the kind of aesthetic this series brought to the table. Aside from probably being the LAST Gainax series before the director went on to form Trigger the upcoming years with Kill la Kill, Kiznaiver and currently airing Little Witch Academia, it stood out for it's colorful art direction and cartoony feel that it had which I feel most anime SHOULD have. Despite the history of anime and manga being heavily western influenced by Disney and the country's earliest calligraphy and erotic paintings and shunga back in the pre modern times.

Now, it IS raunchy and not for kids, so let me emphasize when I say that when you watch the dubs or the original with liberal subs, it can be taken out of context at times, but still... it is very raunchy and not really kid friendly, the context in its original language is admittedly very crude, but not as crude as the liberals and americans tend to portray it here theatrically in its direction. Infact, it's so Raunchy, Adult Swim CAN'T air it here in the states, considering that AS is mostly for kids and teens in the day and age and not really adult shows. I've seen adult series and honestly, alot of what I posted aren't considered as such, This one is more like teens and older adult with childish and kid like theatrics and appeal which is what I really like about it. So... its probability for one of those extremely leftist liberal families that are cool with sitting with their kids and educating and explaining content to their kid with guidance so they can be mature NOT to do or say those things that is presented on here, but realistically, the statical odds of things like that are extremely small to most likely less than 1%.

Admittedly, it DOES need a 2nd season and there is a following and demand for it, considering the way it had ended 7 years ago in Christmas of 2010. It's one of my favorite art directions at the time for cool stuff like Danganronpa, No More Heroes or Mad World, lots of games with colorful comic noir aesthetics like that and is honestly at the top of my list as one of the best landmarking and progressive anime series of this decade that to this day, STILL hasn't been topped off at all. It's easily a 10/10 in my book, so do watch with discretion.

7.) Eccentric Family: This one, I caught this one a bit late. This is from the same writer of the Tatami Galaxy Novel series and illustrated by Koji Kumeta of Zetsubou Sensei fame, so you can see I have a bit of my biases of my favorite people in the industry who team up and work together on different projects, this is one of them.

The plot is very simple and not complex and its not deep or edgy. It's quirky and fun with some colorful playful humor with alot of Japanese folktale lore presented in modern day japan. This series is very reminiscent to that of Paranoia Agent and has features that are similar to it, though unfortunately Satoshi Kon hasn't been with us since his passing in 2010. What's great about this is that a 2nd season has been green lit this year and will be airing this year, so you will be on time to hop on and enjoy the ride with the rest of us on this fun and quirky ride of tanukis and tengu.

8.) Kill la Kill: I'm sorry but I'm majorly biased cuz I love Ryuko chan and would love to wife her as my waifu obviously. But joking aside:

Kill la Kill is currently Trigger's most popular magnus opus in the industry right now and one of their earliest works. They have put out some stuff before they put this one out. They later ended up putting out Space Patrol Luluco and Kiznaiver at the same time last year which both performed well, but never outshined Kill la Kill to this day and so far, Little Witch Academia with a few OVAs the past few years and currently airing is expected to be the next big magnus opus that will outshine it. I can see it and like how kid friendly it is and it can't, mostly for the semi nudity and side boob that it shows. Not that that's a problem, but lots of conservatives will have a problem with it and can lose an audience because of things like that when marketed and presented to the public.

It's one of the first project after the director formed it after working on Panty and Stocking and did other shorts such as Sex, Violence and Machspeed, which is a knockoff of Panty and Stocking with a different comic noir aesthetic and were cameoed in Space Patrol Luluco along with Sucy from Little Witch Academia.

This series is a semi kids series and love it and would love to own the anime BDs for sure. There are subtle hints of politics in this series in terms of life fiber and alliances in the series. It's NOT the best but its decent and ok and not as progressive or articulate compared to the others I have mentioned on here, and had it tried to be progressive in the timeline trying to progress past them as a quality art, it would have definitely succeeded as a 10/10 and mostly gets roughly an 8 or 7 out of 10. 8 cuz I'm being nice and love Ryuko, but thats not an excuse or reason to give it an extra point.

The plot was simple, it wasnt that deep or edgy or dark, its somewhat colorful and cartoony is what I like about it and its not raunchy or explicit showing nipples or anything, its simple. It can be seen as for adults and older teens, its basically a coming of age for girls outgrowing their high school years and questions the nature of humans in society.

It can be seen for kids, but mostly kids at the age of 10, but I can see it definitely see it being coarse. Now, it's not as course and raunchy and tantalizing compared to To Love Ru which is indeed raunchy in a good light and thankfully not disgusting, but there's easter eggs that you'll see in the art and expression of the series where you'll see exposed areas in the reflection of the series that bypasses the censorship laws in japan for manga and anime on tv to the point that Yabuki has been taken to court a few times because of upset parents. Basically, he would literally draw in very subtle stuff like a vagina and clitoris in the reflections in the art and would be easily overlooked and most people even editorial wouldn't notice but bypassed censorship laws that not even hentai artists could do. I remember a documentary of Anthony Bourdain's No Reservations when he went to Japan and sat with the mangaka who invented the tentacle rape to bypass Japanese censorship laws because of a loophole he noticed and exploited.

Same here, but he used reflections instead of blatant exposure. So if you read the series, if you look at water drops, metal reflectors or bubbles and mirrors, you will definitely be seeing vagina, penises and clitoris that you aren't allowed to be seeing and are outlawed on Japanese media but only because its bypassed censorship laws by exploiting a loophole found. This was noticed in To Love Ru Darkness, and the story behind it was kind of sad and understandable as Yabuki went thru a divorce with his wife who caused him trouble and left him being a single parent, so it was in a sense of him retaliating and venting off his anger and frustration off of society and pushed the border which gave him the name (madman yabuki.) He is known for his earlier work Black Cat which ended prematurely on 20 volumes last decade and is the main artist and collaborates with the writer of the series. But is known to be raunchy and cleanly tantalizingly provocative for sure.

So there is debate, its questionable, its hard to categorize and tell at times (sorry, psychology talk here) but its definitely memorable for Ryuko and the trigger studio for putting another quality series out there. Personally, had the plot, direction and writing been better with better art direction all round in being progressive, it could have easily gotten a 10/10 in presenting something in a way that's unique and in a way that's yet to have been done before, there aren't much annoying tropes which I liked about it, but still, had they done better research, worked harder and didnt half assed it and outperformed, I would definitely have been raving about it for yeras to come and age well to landmark and progress the timeline of the industry's history.

9.) Last but not least, SPACE DANDY: I LOVE THIS SERIES. IT's colorful, brilliant, hip and amazing all around and definitely Watanabe's best work as an anime director the past 20 years. This series definitely outshines any work he's done with Cowboy Bebop and Samurai Champloo combined by giving it a colorful and quirky cartoony feel and making it enjoyable and fun to watch that's not dark, but it's unique and experimental in the story telling models and style of series for what it was. Rather, it wasn't episodic, but there was lots of academic themes in science and philosophy that are mentioned alot that surpasses sci fi in the past which is WHY it's currently his best work, It's brilliant touching up on topics such as physics and mathematics, the pure sciences and talks about stuff such as different dimension, time travel, and the like and he does it in such a way that its excecuted perfectly and enjoyable to watch all around as a holistic watch. Over time, Ic an see it aging well for the next 10-15 yeras, depending on how society, literature, thought and technology goes and progresses over time. Its definitely watanabes best and creative work, even though he has experimented and messed with mixing things up with different cultures and time periods, this however, was not so much as by the book, but he takes that and applies it and get creative and makes it better and doesnt try too hard like he did in the past, but keeps it simple. THAT shows true mastery. Its similar to that of Ashirogi Muto's current project Platinum End. By the book, but applied and creative past that, and that's exactly what Dandy did. Though, his work after Dandy; Terror in Resonance, was his weakest and bad project and waste of funding since it was a culmination of everything that happened the past 2 decades all rolled up in one and dont consider it creative or great at all in all honest and one of his weakest efforts as a director.

I enjoy it far more than bebop, bebop wasnt as great as I got older, mostly because I realized that Spike was a loser asshole who basically had an affair with someone else's woman and basically caused a shit storm over selfish ambition and in all honesty, dont consider him cool in the least, but rather, just a complete fucking asshole who thinks he's cool when he won't admit it when in all honesty, he's really the bad guy in all this and all this plot would have been avoided, had he not been such a complete fucking prick (yeah, school teaches you to think very differently.) Dandy on the other hand may be a loser, but he's a loser with a good heart and good ambitions whose kind of like Gintoki, not as good or cool, but he has his own charm which is what makes him great. Dandy is indeed, one of the better works of his career and catalogue and very proud to say that this is something that I'd own in my library on BD for sure. It's tough to give this a 9 or 10 out of 10. I'd say 9.5, but for the sake of rounding off and keeping it simple and as to how much I liked it and trying my best NOT to be biased, I'll just be lazy and keep it simple and say that this series deserves a 10/10 for not just being what I mentioned earlier, but because this series offers alot of variety and diversity like Bakuman did, and you can tell that Watanabe experimented and exercised alot of new things and tried many many things that made this series so great. It's down to earth, kept simple, fun, colorful and enjoyable and definitely one of those realistic satire that did question and bring up things in today's societal issues.

My advice, don't get put off by Boobies which is like Hooters, keep it simple and don't get too deep or complex about it, thats where you go wrong already for critical analysis, keep it simple and say that it also keeps in touch with reality when it comes to human nature and the true nature of the world all around us that the truth is, nobody really knows anything at all in a socially constructed society that we all in this day and age live in consciously and unconsciously. That's what makes it a very great series in general. I'd consider it a family friendly series which is why I give it a 10/10. It's not disgusting, provocatively grotesque and raunchy, but very clean, fun, comical and enjoyable for ALL ages. No matter what culture or where you're from.

10.) Honorable Mention.

OK, I'm getting tired, but this one HAD to be mentioned cuz it's really good and deserves a mention:

Monogatari Series. I had a hard time choosing between this and Eccentric Family. Both are not well known and obscure, but... I decided to give it to Eccentric, because its not as popular, so it was hard to choose between the two.

Based on a currently ongoing and popular Light Novel series, the series follows around young Arrarragi, who basically becomes a half vampire after getting bit by one. What makes this series stick out is the dialogue and relationships he has. There's lots of drama and interaction but done in the intelligent and pretentious way. Not as pretentious as Tatami Galaxy, but you can tell it can be.

It is directed by the same guy who directed the Zetsubou Sensei anime, so you can tell with the slides and screens and timing the series has with it's own unique style and aesthetic. Now, what I really love about this series is the girls he talks to, their curses and the art direction. It's beautiful. I love how articulate and artsy it can be and you can tell its pretentious, but its not annoying or smug about it. It tries to keep it simple, but some characters are alike that. I'm a huge fan of the series, I love how it's progressing and indecisive it can be. Its got its own feel but can be cartoony and you can tell what references they refer to.

I love this series alot, so far, it's got a good 7 or 8 out of 10 from me. I'd definitely like to buy the novels and books if localized, but its definitely one of those honorable mentions that needs to be put out there cuz of how good it is and the staff involved in the project behind it and really enjoy it for what it is. Its good art watch if you want something progressive. It is somewhat progressive but still doesnt top off zetsubou sensei, its kind of the same but more artsy... they're both artsy... but int heir own way and comes later, but in my opinion not as good, but its still good and doesnt lack. I really love the dialogue and interaction in this which is what makes it enjioyable to watch.

And that's it... its alot but I will post more later. I will post a favorite of favorite manga/anime adaptations. It'll be stuff like One Piece, Gintama, Death Note, Bakuman, Rurouni Kenshin, My Hero Academia, D. Gray Man, Assassination Classroom, Hunter x Hunter, FMA, Yuyu Hakusho and Embalming: Another tale of Frankenstein. They're mostly Jump series as you can tell, but I like them alot and enjoy them a great deal and will give my thoughts and opinions of them later on. Thanks all.

#evangelion #flcl #GurrenLagan #Sayonara Zetsubou Sensei #tatami galaxy #Panty and Stocking with Garterbelt #pantyandstocking #eccentric family #kill la kill #Space Dandy

8 notes · View notes

hawk-in-a-jazzy-hat · 8 years ago

Text

Dual Anime Review: Flip Flappers, Magical Girl Raising Project, and the Post-Madoka Magical Girl

The Magical Girl Raising Project is a popular social network game allowing people all over Japan to create their own magical girl heroes, fight monsters and collect points and items. But what most people don’t know is the game’s secret; if you’re lucky enough to be chosen by the admins, you can actually become a real magical girl, complete with enhanced physical abilities and extraordinary magical powers. So it is for Snow White, who takes it upon herself to be a force for good, while getting to know the many other magical girls throughout her city, some of whom are friendlier than others. All’s well and good, until the game’s mascot, Fav-pon, suddenly announces that he’s cutting the number of magical girls down by half...

Meanwhile, in a different show...

Cocona is a middle-school girl with good grades but low self-esteem or ambition. While she struggles to figure out what to do with her life, the eccentric wild-child Papika literally flies into her life and whisks her off to a wondrous and magical dimension known as Pure Illusion. Cocona soon meets the people behind Papika’s journeys, the mysterious organisation FlipFlap, who wants the two of them to travel throughout Pure Illusion and gather the Amorphous fragments said to be able to grant wishes. As they encounter ever more dangerous worlds and even more dangerous organisations, Cocona ends up finding out more about herself, and her own wishes, desires and past, than she could ever imagine...

So, I’m gonna do something different. On the surface, these are two very different shows with very different styles and approaches, and for the longest time I was debating on how best to tackle them. But honestly, despite how different they are they are both magical girl shows. And while there are massive differences between them, both of their approaches can both be tracked back to a single show which, for better or for worse, has completely reshaped this genre for the foreseeable future.

That would be the 2011 show, and my personal favourite, Puella Magi Madoka Magica.

There have been loads of magical girl shows throughout the years, some of which have made their way over to our kid’s TV channels, and some which are lying on the back half of obscurity. Pani Poni Dash, Cardcaptor Sakura, Magical Knight Rayearth, Magical Girl Lyrical Nanoha, and of course, the many many incarnations of Sailor Moon. The main premise is often similar; an average Joe schoolgirl comes across a magical power and becomes a superhero, fighting for justice and looking pretty at the same time. She often gathers a series of friends with their own powers who support her and follow their own storylines, and the stories tend to focus on the power of friendship, positive attitudes and actions, and just generally being a nice person. Yeah, it sounds corny, but honestly as kids’ shows go they range from harmless to actually quite exciting; I remember really enjoying Cardcaptors back in the day (despite the questionable dubbing) and frankly the stories told could be just as epic or intense as your normal superhero show. The magical girl genre was no stranger to dark stuff, or complex stuff, as can be seen with Princess Tutu or Revolutionary Girl Utena. It is, after all, a genre like any other, and you can do what you like with it.

But then came along Madoka Magica, and suddenly, to the anime-creating masses, magical girls could suddenly be a new and unexplored territory.

Madoka Magica took the genre and flipped it on its head. Whimsical fantasy gave way to brutal reality, the power of friendship gave way to the flaws of human nature, and the bright, pastel worlds suddenly seemed far more dangerous and foreboding than they’d ever been before. Whether you like the show or not, there’s no doubt that it did for magical girls what Evangelion did for super robot shows. Madoka Magica has become an icon, and ever since, magical girl shows have and will be judged by that standard, whether unfairly or intentionally.

There’ve been a few definite attempts to cash in on Madoka’s popularity in the ensuing years. Day Break Illusion was one of the first, coming out in the summer of 2013 to the raucous sound of people not caring. Whereas Madoka was subtle in its approach, Day Break Illusion was a blatant attempt to be ‘dark and edgy’ just because Madoka did it. Of course, as I’ll explain later, that doesn’t necessarily make it a bad show. No, it’s the bad cliche characters, terrible plot twists, lack of focus, contemptible fanservice, 2deep4you attitude and general messy aesthetic that makes it a bad show. But I digress.

There have been other notable ‘post-Madoka’ works throughout the years as well, including Wixoss and Yuki Yuna is a Hero, both of which I’ve heard mixed things about but sadly have not seen yet. I daresay there have been others as well that have slipped under the radar. But the point is, magical girls have not gone anywhere, as is evident from the two shows that came out last season. But even though Madoka is over five years old now, its influence isn’t going anywhere either.

In some ways, this is utterly obvious, as can be seen with the first of these shows, Magical Girl Raising Project. Now, this is actually an adaptation of a light novel that was published in 2012, only a year after the release of Madoka. I can’t and won’t say whether the novel itself was directly inspired by the show; there may have been enough time but I daresay the idea was there before Madoka came out. What I can say though is that even if the novel is definitely not inspired, the anime certainly is.

Let’s take a break and mention the production, as I usually do at the beginning. The studio behind this is Lerche, probably most famous for Assassination Classroom and DanganRonpa the Animation. The look of the show pretty closely follows that formula; it’s...decent. Characters are always on model, but often look a little stilted and wooden. The animation is good but nothing spectacular. The direction is very by the books and straightforward, but at the very least it’s not bad. Just unambitious. The music is the same; the pieces do the jobs they’re supposed to, and are never particularly standout or particularly distracting. It’s weird how mundane the production feels considering how dark and brutal the subject matter gets, and honestly I think that works against the show; it’s one thing to pretend the show is all happy-clappy and jolly and then hit the Sudden Dark Turn button, but if the show’s already kinda muted and, let’s face it, bland, the brutal twists don’t hit as hard.

And yes, this show is brutal. Whereas Madoka is sort of ambiguous until the infamous episode 3 (and even then, is nowhere near as dark as some people like to make out) MagiPro gives you only one episode of Shiny Happy Funtimes before it hits you with dark twist after dark twist after dark twist. The fights are brutal and bloody, the characters are pushed to their limits, and just when you think it can’t get any more messed up, you get proven wrong the very next episode. This show is utterly vicious.

Normally, this would put me right off. Vicious and brutal for the sake of vicious and brutal can very easily come off as tasteless and offensive if done even vaguely right (see: Elfen Lied), and utterly laughable if done wrong (see: Mirai Nikki). I was ready to go into this show and tear it a new one; I had virtually no expectations. But the funny thing is...it works. As much as the production is bland, the actual story itself has a heck of a lot of thought put into it. About four episodes in, I found myself really enjoying it, and wondering where it was going to go next. I was interested. I was excited. It was trash, but it was lovingly crafted trash, and such trash demands my attention.

There are a couple of reasons. Part of that is the characters, although not because any of them were particularly deep or complex or anything. They were just fun. Some very unique designs, and all of them had unique personalities, stories and interactions. It certainly helped that, although Koyuki was supposedly the main girl, the show actually gave sufficient screentime to...pretty much everyone now I think about it. The balance is just right, with the slightly more troubled characters staying around for longer and ‘leaving’ just at the right time. It wasn’t perfect (I’ll get into that in a minute) but it was far better handled than, say, Mirai Nikki, where half of the ‘contestants’ had barely any screentime, character, or both. And there were 16 magical girls (plus Fav-pon) mingling around here, and only 12 episodes to do it all in. I’ll admit, that’s impressive.

That’s the other thing though; the pacing was absolutely spot-on. Right from the get-go, the stakes were there, and you got to see what everyone was up to. It’s hard to describe how essential good pacing is to storytelling, but MagiPro is the show to bring up as evidence for why. Even at its trashiest, the handling of the story itself was really rather masterful. And that’s the other thing; the show was very self-aware. Not in the way that it was constantly turning to the camera and making 4th wall jokes, but rather that the tropes that usually come up in these things kinda did...but then got twisted around at the last second. If I were to give you all of the characters at the beginning of the show and ask you to guess what happened, chances are you’d make a few wrong guesses. As I said, the characters themselves aren’t particularly complex, but the way they’re used feels fresh and new. For the most part.

It’s easy to see the influence from Madoka Magica here, but does it actually work as a successor? In many ways, it gets a lot of things right. It takes the Dark Magical Girl tone and plays around with it, making a show that is actually entertaining, which is always a good start. And of course, it’s far darker and more brutal than Madoka ever was. So is this really the second coming? Eeeh....no. Not really.

For a start, MagiPro has problems. And when MagiPro shows its problems, it really goes downhill. Whereas most of the characters are handled well, one or two really miss the mark. There’s a character called Top Speed who, while a fun character in her own right, has one of the most predictable and hammered-in ‘stories’ I’ve ever seen. They try, lord knows they do, but it’s really difficult to feel any sort of emotional attachment when all she’s doing is spouting clumsy foreshadowing. And where she gets a bit too much, there are a few girls who really don’t get enough, especially with all the build-up some of them get. There’s an attempt there, and most of them get backstories or context (albeit often quite clumsily), but there gets to be a point when they really don’t have much reason to be there.

And that’s the biggest problem with MagiPro; for all of its clever writing and excellent plotting...it really doesn’t have a point. The story just starts, people die...and then it kind of stops. At a stopping point, yes, but it almost feels like a prologue. Maybe they’re waiting on a second season, I don’t know, but as it stands it definitely feels unfinished.

But you could say the same thing about Madoka Magica if you look at it objectively; that has quite an open end as well. But the thing is, the characters are rounded off. The themes reach a natural conclusion. MagiPro doesn’t really have any themes; it’s just pointless violence for the sake of pointless violence. It’s easy to see the influence from Madoka, and the good plotting from Madoka, but unlike that MagiPro just doesn’t really have anything to say. It’s like a bloody fireworks display; pretty and impressive at times, but nothing really substantial.

Despite what many people may think, Madoka Magica is not a great show just because ZOMG DARK SUBVERSION. That’s certainly an aspect it has, but it’s not what makes it special. It has a story to tell and a moral to show and characters and a world to explore while doing so. The problem with most so-called ‘ripoffs’, no matter how good they are, is that they fail to actually understand what makes the original so iconic in the first place. It’s just an attempt to cash in on the popularity, without the effort needed to actually understand them. It’s not just an anime thing either; look at the DC vs Marvel thing going on right now. The MCU, for all its problematic elements, has a definite direction, character arcs and subtle elements and foreshadowing to make everything feel that much more real. The DC cinematic universe is just trying to slam together as many things as they can, get the big events and the big villains and...it doesn’t work. Even if the film itself has good elements (Suicide Squad) it doesn’t feel natural, or real, or integrated in the way that it really should in the bigger picture.

Basically, Magical Girl Raising Project feels like the anime version of Suicide Squad; a decent flick with great elements that ultimately misses the mark on what it’s actually trying to be. And that’s almost a shame, because there’s obviously a lot of effort going in.

So that’s the obvious Madoka ripoff, but what about the other show? On the surface, Flip Flappers seems like something completely different and new. But I promise, the influence is still there; just implemented a little differently.

So how is Flip Flappers’ production? Well, the studio behind it is the relative newcomers 3Hz, who haven’t really got a lot on their backlog; I think the only major thing they’ve done is Dimension W from early 2016. That being said, it’s clear they pulled out all the stops with this show because it looks absolutely phenomenal. I’ve always preferred the rougher, sketchier animation style to the real smooth polished stuff that tends to come out nowadays; Flip Flappers kind of has the aesthetic of a studio Trigger show, but without the off-model characters and clear budget cuts, making it a feast for the eyes alone. Even the real-world stuff is pretty, with very unique and wide-eyed character designs, and once we actually get into Pure Illusion? Ooh boy...every world looks different and every one is a fireworks display of colour and sakuga, and the occasional batpoop insanity. If you want to get a taste of the show at its best looking, watch the third episode. Just the third one is fine; the backgrounds, locations, characters, and especially the fight scenes are glorious to behold. The music is also unique...ish. It definitely has a style all of its own but I’m struggling to think of any tracks that really stood out to me. I will say that there are one or two that I swear sound like something from Spyro: A Hero’s Tail, but that’s just me. The opening’s pretty, and the ending is just adorable, with a little bit of a sinister edge in the fairytale setting. Flip Flappers has a look and a sound all its own, so when it sneaks the slightly darker tones in (say, a living brain in a robot, or a creepy as all heck goop witch), you don’t quite realise the Madoka influences are there, but they are.

Because behind the bright colours and the whimsical adventures is actually quite a mature story, and one that might well have gone over a lot of people’s heads. The amount of fanservice (some of which is admittedly unnecessary, although also quite creatively symbolic), sexual themes and the interactions between the two mains might suggest this is nothing but crass yuri-baiting, but honestly there’s more to it than that. This isn’t just a fantasy adventure; it’s a coming-of-age story. It’s the development of a young relationship through the eyes of an adolescent, and how the worlds of children, adults and those inbetween collide. It’s really quite clever and I should really rewatch it to see if I can pick out some of the symbolism in the background. Certainly there are some great bits of direction and allusions to optical illusions (hehe) that are well-handled and, again, give the show its own style.

I’ve been talking about Madoka but the far clearer comparison to make is with a Kunihiko Ikuhara show, with the bizarre locations, character development done through symbolism and action rather than exposition and dialogue, and the general otherworldly, almost fairytale-esque nature. Also, lesbians. You can argue yuri-baiting all you want, but just like in those shows, the symbolism and intent is definitely on a gay relationship. It doesn’t have to be explicit like in Yuri!! On Ice to be effective or heartfelt, and the characters do not need to kiss in order to make the relationship ‘proper’. Yes, I’m looking at you Tumblr.

Is the show perfect though? Weeeeell...no. Apparently the head writer left halfway through and somebody else took up the reins, and it shows. The writing never gets bad but it suddenly leaves behind the clever symbolism and relationship building and instead focuses on a deep conspiracy plot that honestly comes out of nowhere. Ideas which were built up in the first half are kind of sidelined for a lot of really confusing backstory and some scenes which are just blatantly ripped from Evangelion, and as much as they try to tie everything together, there are big gaps in the final story. What is the deal of the other amorphous child, and the twins? We never really find out. What are Hidaka and Sayuri’s stories? We never really find out, although you could make a solid case that episode 8 delves into Hidaka’s mindset through Bu-chan. That’s not to say it’s ‘bad’, but all the build-up and subtlety from the first half is just sort of forgotten. Thankfully the series does eventually get back to its roots and the main focus it should be on; the world according to Cocona, and her relationships (familial, platonic and romantic). There’s a character I’ve neglected to mention called Yayaka, who honestly has a brilliant arc from beginning to end, and may even be more interesting than Cocona. Even when the show’s writing does lose track, the solid base is still there.

In many ways Flip-Flappers is the antithesis to Magical Girl Raising Project; it’s a visually ambitious production with a lot of great ideas and some marvellous character study, let down somewhat in the end by some lacklustre plotting and pacing. And yet both shows are good. Really good, in fact, despite the flaws. And definitely a product of the post-Madoka anime world.

See, while MagiPro is a clear spiritual descendent of Madoka, I’d argue that Flip-Flappers has been influenced even more. Because as I said, the entire point of Madoka is never that it was dark. The point of Madoka was to take a magical girl, and explore the humanity behind her. It does for magical girls what things like The Dark Knight and Iron Man did for superhero movies, or Evangelion did for mecha shows. Magical girl shows prior could be complex, and could be dark, and could be undoubtedly human. But Madoka Magica took that concept and showed it to the world, and frankly, Flip-Flappers is far more its child than MagiPro is in that regard. Flip-Flappers is a show so in tune with human nature and human relationships that it kinda sorta works to its detriment, although not enough to stop it from being a great show.

But of course, this is all just conjecture on my part. What I can say though is that, despite being remarkably different, both of these shows are really very good and you should watch them. If you’re a person who prefers solid storytelling, shocking twists and thrilling entertainment, Magical Girl Raising Project is the show for you. If, however, you prefer ideas to stories, and would rather explore a character than see them in a fight to the death, or you just want to marvel at the fantastic worlds, then you’ll probably prefer Flip-Flappers. I definitely fall into the latter category myself.

Still, whichever you prefer, it’s reassuring to know that magical girls aren’t going anywhere soon. As proven with superheroes, they are not just kids stuff, or lazy shows with simple characters and lessons on friendship. They never have been. They have the potential to be something great, and in a community changed by a show about a shy, pink-haired girl in a big nasty world, we’re certainly going to see a lot more of that greatness coming soon.

I’ll say it here so I’ve got it in writing; I love magical girls. They are incredible heroes. They are inherently human. And they are utterly magnificent.

My scores:

Magical Girl Raising Project: 7/10

Flip-Flappers: 8/10

#magical girl raising project #mahou shoujo ikusei keikaku #Flip-Flappers #flip flap flip flap #anime 2016 #Fall 2016

5 notes · View notes