#otaku hero

[kakuriyo]

[dollfishu]

Mahou Shoujo Magical Destroyers End Card Illustrations ~ 

(Episodes 1-6)

[animehouse-moe]

Mahou Shoujo Magical Destroyer: Opening

You can watch the opening here.

Yeah, this is just a post about the opening (the episode will come later), because this is arguably the closest we can get to a perfect representation of the essence of Inagawa's work. It's.... stunning. It's art.

So, I think to begin I'll sort of preface what the theme of the opening (and of the work overall) actually is. It's a bit of a mouthful, but it's about the stifling of individual expression due to societal and cultural expectations that weigh on each person. In essence, breaking out of the shell that has been forcibly placed on someone, in this case, Magical Girls.

Let's get it started then, shall we? Sort of surprising is the fact that the 4 girls in the start of the opening are driving along the beach in a car with the top down, not a real care in the world. But, in concert with the existence of water throughout the episode, this is only the surface of the characters. What is shown on the outside, what can remain above the surface. It dulls the feeling of freedom, makes you realize the restrictions placed on them so that they can be afforded that freedom.

Of note in this seen, we see that Anarchy has a fruit in her hand. But, before she eats it she pushes a hole into it, allowing some of the juice to escape. To me, this is obvious symbolism for their interests. They don't want what everyone else wants. Nobody wants a damaged fruit in the same way that nobody wants a magical girl that isn't "pure" or "right". It's her acting out against the norms of society and fighting her way towards what she wants.

Next, we have an interesting scene with Otaku Hero. We find a fish in a glass of water, confined by its surroundings, trapped within. Nowhere to go, no way to move forward, Otaku Hero puts the fish in his mouth. Is it faith? Submission? Something else entirely? Whatever it is between man and fish, it is a relationship of dependence. For the fish to exist within its trapped surroundings, it requires Otaku Hero. It's "freedom" is dependent on being saved by another. And at the end of the day, it just ends up deposited in someone else's glass. For all its struggles, it remains confined. Even in the face of a Hero, the fish cannot escape its glass.

And this is exactly what the opening tells us about the girls. Sure, in the "regular" forms they're afforded some type of freedom, but if they want to express their "other" sides which don't conform, they're left trapped. They only become Magical Girls when underwater. Only when drowning beneath the tide of expectations and requirements, sinking deeper into the abyss of societal and cultural norms forced upon them are they themselves.

And this is where Otaku Hero comes into play. He is the first to betray expectations. He delivers the fish to its new form of confinement, and punches the man holding the glass. Wandering, he finds the girls underwater, decorated by ribbons or threads that connect them to Otaku Hero. Now this is a double-edged sword. It shows how Otaku Hero is their "savior", but also what drags them to the bottom of the ocean of expectations and requirements that they sink in.

Regardless of his connection and nature to the girls, just like with the fish, he reaches out for them, but this time he "frees" them. To what degree are they really free if it's at the hands of a savior though? Of someone that perpetuates the preconceptions and norms that suffocate the girls?

Regardless, their true form is unleashed in something that is needed to be experienced to be understood. Violence, vulgarity, depravity, flirtation, teasing, killing, breaking apart, atomized. It is the representation of all the repression that faces the girls. It's a breakdown of reality and society that allows the individual true freedom of expression.

So, I'm no expert with the meaning of flowers, but each Magical Girl here holds their own type of flower (as does Otaku Hero later down the road), which most certainly relates to their stories somehow. I'm just not sure how because I don't know all of the flowers that adorn the various characters.

And lastly, we finished off with a recreation of The Last Supper, with Otaku Hero at the center. In line with the rest of Inagawa's work, he mocks religion here. He jokes about The Last Supper, about Otaku Hero being the lord and savior of his story, and the Magical Girls being his apostles in what can only be inferred is akin to a religious war between humanity and Otakus. It's a hilarious mockery, of both religion and Otaku Hero. Of the concept of a savior, of the expectations placed upon those that don't conform to expectations. The magical girls are once more "normal", and forced to side at this table, glares cast downward, for the sake of Otaku Hero.

And don't even get me started on stuff like the music. The whole thing is a rage against establishment and society, as it talks about rioting, rampaging, and all manner of other things.

Just an outstanding opening that exemplifies the core of Inagawa's opus, of his form of expression in media. It's a love letter to not just art, but specific his art.

[tamahoshio]

Finished the Magical Destroyers piece i started earlier this week!!! i dont think i care if it makes sense since i think it looks cool sparkles

[ image Description : a digital art piece with an intentionally messy, streaky, painterly coloring style which depicts the main characters from the anime series titled "magical destroyers" . in the foreground you can see the magical girls, from the top right Blue-chan is shown jumping in the air with her eye-scythe weapon and a flirty wink. At the center-left is Anarchy-chan with her anarchy staff visible from the back, jumping in the opposite direction of the other two girls, her head turned to grin, face half visible. And at the bottom-right, Pink-chan is visible from the bust up in her signature gas mask, with her hands in the air, syringes full of pink liquid . In the middle ground, on the left half of the piece is an image of Otaku Hero facing the side with a determined expression, teeth grit, one hand up in a fist and the other arm not quite visible, but clearly pointing off screen. Over the background, black and covered in dramatic rainbow sparkles, large yellow caution tape reads " OTAKU" ]

[echigreed]

[yaraaltrospace]

MAGICAL DESTROYERS: LOVE, MAD, DESTROY!

In case we really don't get a second season or movie to finish (whatever the Japanese industry decides and/or Jun Inagawa and his staff feel like doing), I pondered a possible final that could be made either of these two ways.

Starting from the end of season 1, with the supposed death of Otaku Hero and the new Revolutionary Army rising, and after battling the Magical Destroyers, Otaku Hero Second take the microphone and blurt out "LOVE, MAD, DESTROY! OTAKU HERO LIVES!" before disappearing with the resistance.

Shobon, humiliated, vents to Origin about the situation and she nonchalantly ignores him, telling him simply that "the game isn't over", and this "new player" could be an interesting addition, since things were getting mundane and boring; they'll need to improvise a new script.

Meanwhile, Anarchy still ponders over the faint memory of Otaku Hero, and how that fight with the resistance was fun despite the Magical Destroyers not winning. She also can't seem to forget the LOVE, MAD, DESTROY words for some reason, and this glitches something in her mind, causing a similar pain to when she fought Slayer.

Late at night, when Otaku Hero Second visits the place where the first Otaku Hero was buried, Anarchy meets him, and as they battle, her pain increases, and more glimpses of Otaku Hero's past appear in her mind, until she stops herself from killing Otaku Hero Second just as the other Revolutionary Army members arrive. He notices the tears in her eyes, but she shouts and opens the buried grave of Otaku Hero... only to find it open. No body, just the items left by the rebellion.

As the resistance take a "glitched" (eyes glitching) Anarchy to their base, Otaku Hero Second comments their memories and love for Otaku Hero could never be truly erased, and the empty coffin proves that somewhere in the SSC, Otaku Hero is being kept prisoner for the past two years; him and many other otaku that supposedly died are being used to keep this game going. He recalls the day of Otaku Hero's "demise", and how thanks to the Magical Destroyers being controlled by the SSC, he was given the chance to escape and inform the Army survivors of all he learned while working there, including the failsafe Origin hid inside the game world's codes for some reason, LOVE, MAD, DESTROY.

When Anarchy wakes up, she laughs and cries at the same time, her memories still vague but returning, her uniform losing the dark pieces; as she asks Otaku Hero Second about Otaku Hero, he invites her to return to the Revolutionary Army and end that sick game. Meanwhile, Blue and Pink find strange how Anarchy disappeared "again", this being a recurrent thing during the two years they worked for the SSC. Shobon then gives them two separate missions to locate and destroy the resistance, and enters a secret room full of coffins like the ones Otaku Hero was in, only these having various plugs and wires attached to it, and there are also three incubation chambers illuminating a wall.

In both spots, the resistance alongside Anarchy manage to trap Blue and Pink, and make them confront their previous interests and things they liked and wanted, like surströmming and drugs, as well as spreading the LOVE, MAD, DESTROY failsafe message; their memories return in small glimpses just as happened with Anarchy. Despite the success of having the Magical Destroyers back in the resistance, Otaku Hero Second is sure that "this whole thing going so well might be a bad signal".

And true to that, Shobon has a new army, so powerful it annihilates an entire army of SSC members. He wonders if these will be enough to truly get things back on track... but Origin just tell him to get the new level tested by tomorrow.

Anarchy is talking to Otaku Hero Second, commenting on her memories coming back completely and how much regret she felt for everything she did while in the SSC, and sure she could never have her dream realized with all she knew now. However, he encourages her, reminding her of Otaku Hero's determination and trust on her, and sure he'd forgive her and the others, because that's the sort of person he is; Anarchy then wonders where he could be if he's indeed still alive after everything.

Their conversation is interrupted as thousands of blasts come from far away; the new army of Shobon is revealed: Magical Destroyers clones, all wearing different sets of clothes, and yet looking like their corrupted versions. The Destroyers hesitate, remembering how fighting with counterparts caused their turn to SSC in the first place, but Otaku Hero Second has a plan to uncover all the hidden truths Shobon's sick game have, and that this time, no more lives would be lost or corrupted.

The Destroyers lead three separate armies to battle the clones, and soon realize that despite their amazing strength and magical ability akin to theirs, they don't last very long after using all their magic, and end up melting or falling apart. With the memories of their battles beside Otaku Hero and their own promise between each other to take that world back, they push forward, and pray that Otaku Hero Second and his team achieve their goal.

Using their subterranean knowledge and improved stealth, Otaku Hero Second infiltrate the SSC building, and find the many higher-up supporters hiding in fear, begging for mercy and to stop "those abominations", pointing how they annihilated the original army and that Shobon threatened them as their next target if they stopped financing; Otaku Hero Second then force one of them to lead him to Origin, but they have no idea who that is.

A red light then lures him to the secret room, where he finally finds the body of Otaku Hero and the other otakus inside the coffins; despite his theory indeed being confirmed, as he looks up to the incubation chambers, he's shocked to see Anarchy, Blue and Pink. Otaku Hero then awakens from the coffin Second opened, and after getting quickly summarized on the situation, aims to "free the original Destroyers", the girls Shobon took to be their "main characters", creating the magical girls he met; however, they cannot just break their chambers, for there is still one obstacle to their freedom: Origin.

As the Destroyers make their way among the melting clones, Shobon threatens them, once again recalling how he made that perfect world and they were doing their job well, but they reaffirm their beliefs and wishes, not even caring when he threatens to reveal the "truth", Anarchy being somewhat aware of it thanks to Otaku Hero Second, and that their "real selves" deserve to live their reality and dreams as well. Fed up, Shobon calls once more their counterparts, born from the melted bodies of the armies they fought, and grown into a gigantic form. However, this time, the magical girls don't fight them, but hold them back.

Both Otaku Heroes them march again towards Shobon's room, and meet a bathing Origin; she nonchalantly as always claim how this world can be remodeled and recreated on her will, and comments on the behavior of the magical girls towards her; Otaku Hero and Second then point it wasn't unfounded, since some part of their real selves remained on the clones Shobon made. She then chuckles at how he's also replaceable on her view, but she keeps him around for being entertaining and knowing how to plan stories, showing a storyboard book to them. As Otaku Hero catches it, he fears for what the next pages might bring, but then... see they're all white. Otaku Hero Second then questions Origin on why never doing anything against the remains of the Revolutionary Army, and allow them to keep existing and spread rumors about Otaku Hero, and she admits not wanting the fun to end; despite her being immortal, she has seen too many worlds created and destroyed for her, only for her to end up lonely and bored again; this world and the real-life game she convinced Saito/Shobon to make has been the most fun she's witnessed so far. Otaku Hero is livid at her indifference with the lives she dragged into this real-life game she made, and all that didn't survived or sacrificed themselves for each side, but Otaku Hero Second asks about the white pages, and she admits Shobon has no talent for improvisation and kind of stopped after their encounter with her was put in the pages.

[urfavesarequadranted]

hi i love u (/p) another rq for yu: otaku hero ♦️ anarchy chann !! im so normal about this show

Anarchy and Otaku Hero from Magical Girl Destroyers are moirails!

[pwojo97]

Yes, these are my three girlfriends. And yes, they smoke weed.

- Otaku Hero, probably

[animescreencolle]

Mahou Shoujo Magical Destroyers E01

[the-last-hipopotamovolador]

So apparently Mahō Shōjo Magical Destroyers is gonna be only 12 eps long. Last week ep 10 was aired and i still dont know what the hell is going on on this anime, i just know that right now Magical Destroyers has the potential of having an ending that makes make sense all the story and becomes a fantastic head blowing anime or it could end up wasting all the potential of being a psychological anime becoming no 1 in my list of stupidest anime i have ever seen. PLEASE GOD IT HAS SO MUCH POTENTIAL, MAKE IT MAKE SENSE.

[puppyinlove]

watched all 3 of the new episodes n I love them! here’s some gifs from mahou shoujo magical destroyers :D

[irisxyphium]

they are so rigdiculous, I love them!

[animehouse-moe]

Mahou Shoujo Magical Destroyers Episode 4: R U Ready?

Another day, another Magical Destroyers episode. It's not so much predictable as it is informative and relatable, but that doesn't cause the value or enjoyment of it to depreciated as it parades itself around through Inagawa's vision that tackles just as many abstract concepts as it does pieces of otaku culture.

So I think I'll try to keep this one short, since the idea is pretty well established and explained. The episode is effectively all about the rift between generations in otaku culture, as a hobby almost. It's about the modern day reconciling with its roots, and that source lashing out at where they've been forced to come to.

Before I get into that though, I want to establish some history with the term Otaku. It originated in the 80s, much like the otaku shown in this episode, and it is indeed a word that's come to embody a similar meaning to how English speakers see "geek" and "nerd", but it wasn't always that way.

Otaku is a very finnicky term in its early years. Originally, it was popularized as term in a magazine that was known for Lolicon Hentai content (though it was later lessened due to reader feedback). Regardless, the term came to be a way to refer to who we see as Otaku thanks to a columnist that would write articles titled "Otaku Research" (Otaku no kenkyuu). From there, it saw use at a marginally harsher version of "geek" or "nerd". Basically, like how old school movies would have bullies refer to kids as a geek. Derogatory and aggressive, but not something full of distaste or anything.

That changed at the end of the 80s though. As the term Otaku gained ground it was used by more, and was forever attached to the "Otaku Murders". Tsutomu Miyazaki was in their late 20s at the end of the 80s, and was a serial killer at the center of a batch of gruesome acts over the course of a year. After being caught and arrested, media began to label Miyazaki as an Otaku and created a massive moral panic to erupt towards the group in Japan at the time. The piece that remains interesting however is that Miyazaki's collection was largely live action horror and pornography, but the media ran with his collection being largely anime and manga.

It's very heavy, but it's how the life of the term Otaku really started. An immediate plummet towards rock bottom that created an intense separation and hatred of Otaku in Japanese society. Outcasts, people that are unable to understand or relate to reality, people that cannot integrate with society, failures. It was a harsh and terrible time to be an Otaku, which this episode does a solid job of depicting while leaving out the heavier aspects.

And within that, a rift is formed. The older otaku who struggled to enjoy their hobby, versus the younger otaku who know nothing of strife. It's a great interaction as you see it all over the place with generations across media and hobbies. Car guys, music (particularly stuff like Rap), even video games. The challenges that faced earlier generations were their rite of passage, one that newer generations never cleared or struggled with. And on the opposite end, why would the newer generations respect that struggle when they have everything in front of them and have their own issues?

It's a back and forth that, even though it's covered comically, gets the point across of the generational gaps in hobbies and the distaste that each sees in the other. So very much something that holds particular value in otaku culture, but can also be applied and related to other hobbies and interests.

Okay, well this is not short but there's still more to, sorry! I'll try to breeze through it.

It's impossible to remove tropes and clichés from the root of how many fans see and understand anime these days, so I like how much they're leaned on through this series alongside expectation subversion. It's fun, definitely not fresh, but an enjoyable feeling of nostalgia for the illogical and odd nonetheless.

Plus, random fanservice? Gotta love it, and how it both sort of mocks the pointless scenes of women in animanga, while also placing the sexualization of Blue in her own court.

The pervasion of Otaku culture in interaction and casual dialogue is still quite fun and it finds the right times to make it funny versus making it something closer to a parody. I wouldn't exactly call it a parody as it's not mocking it per se, but it's certainly not an entirely serious depiction either.

In addition to that, I'm also still liking the sort of romantic undertones that the characters give off randomly. I'm unaware as to whether or not it's an intentional piece, but it really adds to that immature feel that pervades a lot of the shallow aspects of the story. You can see it as the weird and wacky Magical Girl comedy that's a high schooler's vision, or you can see the pieces that it expresses underneath. It's easy to take the shallow without the depth, but the latter doesn't come without the former.

And I think that's an important piece to remember with Magical Destroyers. You can take it as it gives it you and have a good time if you're okay with the production value, but you can't separate the two facets of Inagawa's approach to his work in this anime. In for a penny in for a pound, and I think fans that dive in headfirst are really appreciating what Inagawa's giving out.

[entrehormigones]

[echigreed]

[gojasugear]

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