Puella Magi Madoka Magica
| The art style is a hallmark of the studio named Shaft. Go watch the Monogatari series and you’ll see the same thing. It’s better than Madoka even. My review doesn’t exactly address your observations, but it might provide you more insight into this show. http://anteikuanimereviews.com/2021/01/09/puella-magi-madoka-magica/ |
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| Bro it's written by Gen Urobuchi and isn't called Psycho-Pass, it's just a bunch of wannabe cynical BS. |
dyapnolitermperd said: CLADDAN said: Bro it's written by Gen Urobuchi and isn't called Psycho-Pass, it's just a bunch of wannabe cynical BS. I'm relatively new to anime in general. I know =0 about the industry and it's main figures ah i see, sorry if my comment appeared too negative then. |
CLADDAN said: Bro it's written by Gen Urobuchi and isn't called Psycho-Pass, it's just a bunch of wannabe cynical BS. If that's all you think Madoka has to offer then I'm sorry you wasted time watching a 12 episode anime only to misunderstand it |
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dyapnolitermperd said: Casul_Noob1997 said: If that's all you think Madoka has to offer then I'm sorry you wasted time watching a 12 episode anime only to misunderstand it Misunderstand? Well, I'd rather say not analyze it deep enough, don't you think? What can I read that would provide me with a deeper insight on the show? How about the first post for starters |
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dyapnolitermperd said: BlueHawk02 said: The art style is a hallmark of the studio named Shaft. Go watch the Monogatari series and you’ll see the same thing. It’s better than Madoka even. My review doesn’t exactly address your observations, but it might provide you more insight into this show. http://anteikuanimereviews.com/2021/01/09/puella-magi-madoka-magica/ I don't really see you giving any interpretation to things you say about the anime. I want someone to explain symbolism, tropes, meanings behind scenes, make theories etc. I want someone to give their educated opinion about the series There's a lot one can focus on to answer that question. As with most great art, choosing how to interpret this work is often a matter of the individual's own perspective. There's plenty of material to draw from. Symbolism and tropes and meaning are but the surface of a very big iceberg, an iceberg that grows larger the greater the quality of the work. However, I know that's not what you wanted to hear. So I'll give you a short version of my view of this show, which will go a little deeper into the abyss of academic criticism than my review. This show is laden with paradoxes. Madoka's importance yet seeming unimportance is a good example. The fantastical versus the ordinary is another. The twisted version of the "magical girl" is another paradox (i.e., traditional magical girl tropes reshaped into harsh plot lines). But all of this, in my opinion, boils down to a very fundamental paradox: reality versus unreality. Shaft does a very good job of handling this idea. Monogatari does it even better, hence my repeated comparisons to it here. In Madoka, this is portrayed most obviously to our eyes through the labyrinths, which appear in the middle of our "normal reality" and appear grotesquely surreal. But this paradox plays out in a less obvious but more remarkable way through the characters. You are onto this when you made your observations about Sayaka in particular. "Expectations" of reality payout heavily in her development and ultimate demise. But I think it's best portrayed in the relationship between Madoka and Homura. Madoka truly doesn't seem important to the story. Her selection seems completely random, as you pointed out. Here's the power of the paradox: we EXPECT her to be the central character, the strongest mahou shojou. So we sit through bunch of episodes until we even see her become a magical girl, and even then she doesn't seem very powerful. Here's the paradox: Kyubey said at the beginning she would be the most powerful magical girl, and yet she obviously isn't. How does she become the most powerful magical girl then? Through the repeated time jumps made by Homura. This is a little convenient in the story, but it serves the story well. But what of it? So Homura accidentally turns her into what we expected. Oh, but that's just it! Where Sayaka ultimately admitted defeat, the ability to shape your own reality, Homura succeeds. She turns Madoka into what Kyubey claimed she would become. Now, think what you will about this idea. I think it's handled well enough in the story, and certainly is very evocative, as Homura's efforts are entirely based on the love of her friend. Madoka really isn't anybody. She's just a normal girl. It's her friend's love that ultimately transforms her into the central character we expect of her. In that sense it's more emotional than rational. But perhaps even that presents a paradox? If I took more time I could make this thread of thought follow logically a little better, but I'm just writing this on the go. This is a deep pool of related threads of thought. Hopefully that gives you a new perspective though. Ultimately artistic criticism comes down to what you see in a work. What symbolism do you see? What tropes do you see used, and how are they used? You made some interesting points already, more insightful points than many can see in art, particularly about realism. Keep digging, and do it as much or little as you want. It can be very rewarding. |
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