Battle Girl High School: Battle Girl Project – 01 (First Impressions)

Like GF Kari or Kantai Collection, this is a show about quantity over quality, specifically with regard to “battle girls.” No two girls are quite alike in hair color, voice, outfit, or weapon, and it’s a collect-them-all vibe to them.

There doesn’t seem to be any angle that might subvert the standard magical/battle girl genre; they’re just in a bit of a performance slump and their instructors have decided to put them through more training.

While the main trio of Miki, Haruka, and Subaru are introduced and a few other relationships and personalities are doled out, it’s frankly a bit of an overload for me.

The line between entertainment and advertisement feels so very thin here, and the “Irousu” enemy is generic to the point of afterthought. If it’s all the same, I’ll go ahead and skip this one, which while not shockingly bad, is bereft of anything new or interesting.

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Nisekoi 2 – 08

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Whew, talk about a grab bag. Not only is this week split into two completely different stories, but the first half doesn’t even take place in Nisekoi’s world. Instead, it tries its hand at the magical girl genre, with Kosaki as a pastry-themed heroine, Marika is a kind of magical cop, and Chitoge is a gorilla girl.

The running gag is that their case worker Rurin, who is some kind of mouse thing, not only piles a bunch of bureaucratic paperwork onto Kosaki, who won leadership by rock-paper-scissors, but also seems to take a kind of perverse glee in watching the meek Kosaki transform, which requires a moment of stark nakedness she never really gets used to (though Marika couldn’t care less about being naked).

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The villain, “Dr.” Maikou, is also motivated by wanting to watch the girls transform fight, and beat him, because he’s a bit masochistic that way. When the finishing move to get rid of his minion requires five straight minutes of nakedness, we never actually see it, and Maikou himself is defeated when the mouse flips Kosaki’s skirt and then punches him into orbit.

To borrow Kosaki’s pastry theme, while the show successfully pokes fun at the maho shojo genre here and there, the whole thing is pretty half-baked and inconsequential, which is appropriate as it only takes up a half-episode. It felt like one long omake.

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The second half of the episode is just as thin, as it rehashes Haru’s determination not to give Raku the time of day, even as he volunteers to fill in at the Onoderas’ sweet shop. At least we see from the girls’ mother that Haru is indeed a “little man-hater” who will only be “cured” if she actually interacts with guys, rather than craft elaborate narratives about them in her head.

Raku wants to play nice, and they even connect over their shared love of and devotion to Big Sis Kosaki, who strategically left them alone so they’d have no choice but to gel more. Raku even thoughtfully praises Haru’s skills, while demonstrating he has some of his own, borne from his past experience helping Kosaki at the shop.

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There are signs, then, that Haru is ever-so-slowly coming around to maybe accepting and even tolerating Raku’s existence, even if she still (rightfully) thinks it’s wrong for him to be going after her sister when he already has a girlfriend. And that’s kinda the pall cast over this whole Onodera situation: Raku has been wrong in spinning all these girl-plates without giving any of them the answers they deserve, and the broken locket is a poor excuse for his continued inaction.

Raku has no one to blame than himself if an outside observer like Haru sees him as a playboy, because he kinda is. Yet, as he gets close and personal with Haru—by necessity—when she tries to carry too much, it seems Haru is on her way to being one more member of the harm; albeit not by choice.

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Houkago no Pleiades – 06

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When the Pleiadian spaceship starts to shift into their dimension, the plan to rebuild its engine accelerates, as does the need to find as many fragments as possible. For once, the girls are able to snag one without interference from Dark Minato, but it turns out to be a trap he sets that lets him discover their base.

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He places a magical barrier around the entire school, trapping Subaru inside. After delving into Hikaru and Itsuki’s pasts, personalities, and motivations the last two weeks, HnP swings back around to the pink-haired protagonist, face-to-face with Dark Minato on solid ground for the first time. But before he can get too close, her Drive Shaft activates and brisks her away.

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She ends up in Nice Minato’s observatory, in an embrace neither are embarrassed about. Subaru is scared, and finds solace and comfort here, with him. Is he an old friend she forgot? Why are there two versions of him? Neither of these questions are explained, but as usual, this Minato is able to provide some advice that helps her press forward, despite her fear. But this visit feels like a goodbye.

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A path leads to a new exit, but when she opens the doors to her friends’ delight, all of a sudden the whole damn school is floating up in orbit, just above the Pleiadian spaceship. Exactly why this happens isn’t explained, but it’s very surreal and cool.

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The President says if the spaceship fully shifts and awakens all of his countrymen, it would be very bad, without going into detail, so when Dark Minato attacks them, Subaru blocks his path. She’s decided she’s not giving up the fragments, she’ snot letting him destroy the school, and she’s not letting him hurt Aoi. He gettin’ nothing!

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Even though she’s scared and shaking, it doesn’t matter; she’s not backing down. Dark Minato is taken aback, as he’s used to using fear and little else to keep his adversaries down. Likely due to Subaru’s resolve and show of strength, their Drive Shafts transform into more recognizable Subaru products, and the five of them create a spark that knocks the ship back into a higher dimension where it will be safe until the engine is completed.

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The ship, the school, and her friends are safe, but when she returns to the magical conservatory, it’s dark and barren, and Minato is nowhere to be found. Will they ever meet again? Or was Subaru’s decision to walk down that path and exit out the rooftop door a symbol of moving on from the security blanket of Minato’s counsel; that moving forward meant leaving a part of herself behind?

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P.S. While I still like this show, it’s likely to be next on the dropping block, as Zane wants me to take Re-Kan! off his hands since he’s dropped Mikagura to review Ore Monogatari!!. We’ll see how it all shakes out.

Houkago no Pleiades – 05

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The cosplay club’s class is doing the play “The Lady in the Tower”, and pegged the elegant Itsuki as the princess and the tomboyish Aoi as the prince. Aoi, who is actually pretty girly, gets all gung-ho about making a dress for Itsuki, and Itsuki maintains a pleasant composure and lets everyone do what they want…but she seems a little uneasy, and wigs out when Subaru pulls her bangs back.

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In another Minato’s Garden sequence that calls into question where exactly Subaru actually is during such sequences (it seems likely they’re either in a shared dream or Subaru’s), Subaru likens Minato to the lady in the tower, only he doesn’t see any point in ever leaving; maybe because he doesn’t know what’s out there, or maybe because he’s exactly where he should be.

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In any case, he motivates Subaru to have another go to see what’s up with Itsuki, and they end up “going for a drive” which is a great euphemism (if a bit understated) for ascending into low earth orbit at dusk (they’ve collected enough fragments that this is now child’s play even for Subaru). There, Itsuki tells her about the time she herself was a tomboy, who’d put herself in danger.

While climbing a tree, the wind took her hat, and believing she could fly, leapt off the tree to catch it. The fall gave her a scar, for which her parents blamed her brother. From that point on, Itsuki vowed never to cause problems for others again. The wound on her forehead was still fresh when she saw the Pleiadian ship break up, the event that brought her together with the other girls.

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While up in orbit, the Pleiadian alerts Subaru and Itsuki to a “nearby” fragment, that he tries to draw to them, but instead it draws all of them to it. This results in the expected but still awesome expansion of the scale of the girls’ playground to include the rest of the solar system. In a particularly thrilling and charming sequence, the girls pass Mars, the Belt, and Jupiter while describing all of the foods their colors remind them of.

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When they finally come to a stop in a dense field of ice beads, the camera pulls way, way back to reveal they’re floating over the rings of Saturn, arguably the system’s most photogenic and charismatic planet. The pull-back creates another grand sense of scale; a scale larger than anything that came before. Indeed, the show even mentions the rings are as wide as five earths.

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Naturally, Minato (who may or may not be the same Minato in Subaru’s garden scenes…I’m just not sure yet) was able to follow the girls and tries to snatch the frag, but loses sight of it. Itsuki comes up with the idea of barreling through the rings, which flow like a river, to reveal the frag’s hiding spot, since its mass varies from the ice beads). It’s deeper science than one would expect from a Magical Girl show, and I like it!

Minato tries to go for the frag when they uncover it, but Itsuki decides to, well, not let her hair down, but pull her bangs up, throwing caution to the wind to beat Minato to the frag. I like this more fallable, defeatable Minato better than the bully of earlier episodes. I also liked Subaru and the others’ assurance that Itsuki shouldn’t fear causing problems for them; in fact, they would be honored if she did.

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Her bangs, and the scar below, were kind of like a tower Itsuki built around herself, along with the determination to avoid causing trouble, even if it meant suppressing who she was. If everyone wanted her to be a princess, she’d be one.

But now that she realizes that causing problems for those we love and care fore, and vice versa, is just part of the territory, she makes another bold move that’s true to herself by swapping roles with Aoi in the play. And it really works!

The awesome planetary adventures with dash of hard sci-fi combined subversion of Itsuki’s role in the group as “the elegant princess”, were all factors that contributed to my generous rating. Pleiades is on a roll.

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Houkago no Pleiades – 04

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The magical transformations girls make in Magical Girl shows often go hand in hand with their personal growth. It’s as much about discovery and mastery of their identity as much as their powers.

Pleiades is no different from this convention; where it continues to distinguish itself is in the execution and the emotional impact of its situations. Last week was about Subaru. This week, it’s Hikaru’s turn to get fleshed out.

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At the same time, the show continues to incrementally extend the reach of its magical girl action with each passing episode, much to my delight. First the sky, then the boundary between Earth and space, and now…the moon. The training, involving being able to attain not only escape velocity, but a speed that will ensure they don’t miss school! I love it.

While largely about the highly intelligent and talented, yet underachieving Hikaru’s personal emotional impasse with her similarly intelligent, talented, overachieving parents, there’s also room this week for Subaru’s weekly visit to Minato’s garden of encouragement, where he plants the seed of believing someone, and being believed, if there’s no reason for them to think you’re lying.

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That’s important, because Hikaru’s family communicates their daily whereabouts primarily through whiteboard. Her apartment may look empty and lonely at first glance, but that board is crucial, dutifully filled out as it is every day without fail: it’s the way they devised to always stay in contact in spirit, if not often in person.

Before leaving for the moon, Hikaru makes something up on the board, once again “doing things halfway”. But then she decides to wipe out the white lie on the whiteboard and write where she’s actually going: the Moon.

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It’s another awesome journey full of grace and grandeur; another wonderful study on the full breadth of magical girl power. I especially liked the different, more subtle sound space made once the girls were clear of Earth’s atmo, and I really enjoyed Hikaru’s cute little dream where her subconscious’ version Subaru as a bit of an idiot—only to learn Subaru shared her dream!

That’s also key because Subaru knows about Hikaru’s unease with her father and the song he wrote. One night she heard music in his practice room even though he wasn’t in there, and decided to write a measure of music in a place where he had gotten stuck. It’s something she always felt guilty about, worried she was interfering in her parents fully achieving their dreams.

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Where she’s wrong is that she is the shared dream of her parents; one far more important than any concerto or astronomical discovery. When her dad sees she wrote down “Moon!” on the whiteboard, he and her mom work together to send his piano music to the Moon; to the cherished daughter they don’t feel they deserve.

She didn’t mess up her dad’s music; she helped him finished it, and the loving way he plays it demonstrates his pride and gratitude for that. The nabbing of their biggest fragment yet is a great product of their lunar excursion, but it’s overshadowed by Hikaru finally being able to show her feelings in front of her friends, who may be initially shocked by her tears, but are also happy they’re seeing another side of their friend.

So, all in all another very good episode from Pleiades. I look forward to seeing who’s turn it will be to get a little more fleshed out next week—Itsuki? Nanako?—and hope the show’s expansion will proceed deeper out into the solar system, and beyond!

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Houkago no Pleiades – 03

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I entered my third week of Pleiades a bit ambivalent. Here was a nice-looking show with a mild degree of Gainax flair whose most glaring flaw was a slavish adhesion to the well-tread magical girl formula, with a hint of repetition Even the girls seem a bit listless in their cosplay club, wondering whether they’re just going through the motions in vain, having worked hard to secure another engine fragment, only to have it snatched away by that stuck-up crimson-haired twerp.

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The alien president tells the girls it isn’t their potential that’s the problem, only their amorphous wills and resolve, which are borne out of the fact they’re in the gray area between childhood and adulthood. When Subaru comes home to see her father tinkering with defective engine parts (probably from a Subaru), she sees herself as a defective part, keeping the machine that is the group of girls from working properly.

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At another accidental visit to Minato’s garden, she laments her crippling hesitation in making decisions, but when Minato asks her the question “do you want to be with them?” she doesn’t hesitate; she does. It’s not that she hasn’t made a decision, she’s just scared of executing. But Minato tells her she shouldn’t think of herself as the only one who’s scared. When you have friends, you cease being defined merely by yourself, but by others, revealing things you never knew you possessed.

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Despite thinking she’s a fifth wheel, what Subaru possesses, at least in the immediate present upon returning to the clubroom, is the ability to amplify the signal of Nanako’s tracking circle, which allows them to pinpoint the next fragment. Just like Subaru said, her friends were waiting for her. Far from being left behind, they needed her power in order to proceed.

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Pleiades truly distinguished itself this week, both in breaking the pattern of the first two eps and greatly expanding the depth and breadth of the girls’ powers under the Pleiadian, who is able to harness more of their potential the more unusual situations they find themselves in. This time, neither they nor Minato manage to grab the fragment in the sky, and it drops into the ocean, but because they’re magical girls, they don’t have to worry about the lack of air or the crushing pressure of those depths…though they do have to change into swimsuits! Umi Monogatari, anyone?

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The expansion continues when, after they surface with the fragment, and the duel with Minato continues, Itsuki, their best flyer, is able to level up thanks to help from Subaru spotting the wind. This level-up is accompanied by even more overt Subaruization of Itsuki’s drive shaft, complete with Forester grille and instrumentation. Where before she was hitting the rev limiter above a certain altitude, now she can soar ever higher into the sky, with the others in tow. Aoi then uses her athletic prowess to knock the fragment away from Minato for the others to catch.

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Before they know it, they’ve risen all the way up into space, adding yet another layer of grandeur and discovery to their exploits this week. Minato follows them even here, but this time Subaru uses strong, uncompromising words to force his retreat. She rejects all the mean things he says, and insists they have as much a right to the fragments as they do, and she won’t hear her and her friends be called failures.

After he’s gone, the girls can “hear space”, their potential realized to a level never before achieved. It’s very grand and a bit trippy thanks to the ambient music and striking visuals.

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The episode closes back down on the good old earth with a nice family moment. Her father tells her she’s not some manufactured part that can only serve one purpose. Rather she can take any shape she wants at any time, and indeed, that’s what we observed from her and her friends: all of them chip in here and there, according to their individual strengths, and together they form a a humming fragment-collecting engine to be reckoned with. All they have to do is have confidence in themselves and trust in one another, and they’ll do fine.

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Houkago no Pleiades – 02

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Pleiades is undeniably pretty and inoffensive show, but at the end of two episodes the forgiving sheen of newness has worn off, revealing what is (and was from the start, really) a fairly lightweight and highly derivative affair.

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Whether being very reminiscent of a show I’ve already watched is grounds for dropping depends on the show it reminds me of, and in this case, Pleiades is at a a distinct disadvantage. It’s directed by the same guy who helmed FLCL, while its obvious thematic and aesthetic inspiration would appear be Puella Magi Madoka Magica.

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Pleiades isn’t nearly as original as Fooly nor as dark and profound as Puella, and if we’re honest, contributes virtually nothing new to stand apart from either. But to be fair, both those shows cast huge shadows…and despite its directorial pedigree and familiar milieu, it’s also not really trying to approach the greatness of those singular classics.

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Rather, it’s content to have a good old time bringing two rootable former friends, who aren’t quite sure why they forgot one another or got split up in the first place, back together. Subaru and Aoi are the focus of this episode, with the latter giving the former flying lessons.

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Again, there’s nothing either deep or groundbreaking, but the two co-leads still made me care about them reconnecting, and indeed its the power of their friendship, and a mutually-remembered song, that nets them two big engine fragments for their alien president.

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Then Minato swoops in and snatches one, and here’s where the show falls down a bit. While he seems to be a nice enough kid in that hidden fountain garden room, to the point he almost resembles a potential love interest for Subaru, his complete character shift to sinister bully feels arbitrary, not to mention repetitive.

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Until there’s a little more revealed about why he’s picking on the girls and Subaru in particular, Minato will remain a rather dull enigma. But despite his sabotage, the girls are making progress, and have even secured a room at their school under the aegis of the official establishment of the “Cosplay Research Club”; as good a cover for a group of magical schoolgirls as any!

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Houkago no Pleiades – 01 (First Impressions)

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FLCL is one of our favorites here in the office—I know I often check Craigslist for used Vespas—and Zane is a fan of the first Medaka Box. So when the director of both is involved with a new show, we at least take a look. And my first impressions of it are pretty good.

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So what have we got? A solid, straightforward, and earnest new entry in the magical girl genre, with enough self-awareness of the legacy it’s carrying on and including enough unique details to keep it interesting. This show will never be accused of inventing the wheel with regards to its character types or the situations they find themselves in, so it comes down to those details, technical execution, and how it makes me feel.

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For those who want a quick(ish) synopsis, here goes: Subaru (pink hair) is a relatively unremarkable, slightly slow and clumsy girl who loves stargazing and ends up invited into a secret club of classmates, including her former friend Aoi (blue hair) by their president (a jellyfish-lke alien).

The balance of the quintet is made up of Itsuki (raven hair), Nanako (lilac), and Hikaru (orange). There’s also a sickly dude Subie meets who has crimson hair. Whatever your favorite color—or hat type, for that matter—there’s a girl for you!

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We follow Subaru through her brisk initiation, which half-explains things along the way, because even the already initiated know very little about exactly what’s going on. For those not aware, Subaru is the Japanese term for the constellation Pleiades, and also the brand name for Fuji Heavy Industries’ automobile division, with the constellation as their logo.

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Some of HnP’s amusing details may only appeal to gear/petrolheads or owners, but Subaru’s family owns a Subaru R1, and the front ends of the broom-like “drive shafts” they use to fly resemble the front fascias of various Subaru models. Whether this is stealthy product placement or simply the creators’ love of the marque, I for one love Subarus, so I’m glad they made the connection.

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Whether it’s flying over them in airplanes or bursting through them in a movie or tv show, there’s something awe-inspiring about the cloudtops at dusk, especially when there’s a big rainstorm just below them. That breathlessness is captured perfectly when Subaru’s drive shaft shoots her into the stratosphere, followed closely by her new comrades, in order to capture an engine fragment of their alien president’s spaceship.

They fail on their first try, and indeed have never succeeded up to that point, but when Subaru realizes Aoi doesn’t know what she’s doing any more than she does, she finds her confidence and leads them back, and this time they succeed in cutting off, degenerating, and finalizing the fragment, all terms that are intentionally not expanded upon, because there’s no time for elaborate explanations, even if the other girls had them, which they don’t.

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Enter the good/bad antagonist: when Subaru is attacked by a “dark shooting star”, the crimson-headed bishonen Minato saves her from falling, but steals the fragment away, as if in payment. However, the fact of the matter is, Subaru, slow and clumsy she may be, was the group’s missing piece, and she even manages to score a mini consolation fragment. The episode closes with the new quintet watching the meteor shower Subaru had been looking forward to all day.

I was looking forward to HnP as soon as I heard about it, and while it wasn’t life-changingly fantastic, it was a solid, colorful, entertaining effort with a hearty helping of whimsy, which is easy on the eyes (unlike Sailor Moon Crystal, which I couldn’t quite get through) but not too taxing on the ol’ noggin. An ideal show for hump day.

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Vividred Operation – 02

Aoi transforms like Akane, only red, and they use their boomerang and hammer to attack the Alone and deflect its weapon blasts. The Navy assists them in taking out the Alone’s core, but Akane and Aoi can’t “dock” for somereason. A mysterious girl fires an arrow at the Alone, reviving and strengthening it. Aoi confesses what she was hiding – she’s always hated tomatoes – and she and Akane “dock” successfully, joining bodies and minds into one form – Vivid Blue – and destroy the Alone. The next morning they learn their school has also been destroyed, so they’ll have to transfer.

Vividred is keeping things nice and simple so far. There’s a monster; only the girls can prevent forest fires defeat it (by yelling a lot); so they’re given hip sci-fi outfits and told to go have at it. And they do! We’re clearly in maho shojo territory, with only a thin film of sci-fi trappings. (Neat-looking) systems, hardware and abilities are explained, but not in any kind of detail, and that’s a good decision in our opinion. Less technobabble dumps, more action,and Stuff Getting Blowed Up. And a lot of the action is pretty frikkin’ sweet. Lots of flying around in a perfect blue sky, and much firing and dodging of weapons.

Memorable images that flash past the screen include the sight of tiny, sickly Aoi in her cybersailor costume holding up an F-35 with her bare hands and gently setting it down on the flight deck of an aircraft carrier, or the two girls flying in formation with said joint strike fighters. There’s probably double the crotchshots from last week, but that’s okay, they’re quick and not that distracting. Also, Aoi’s Big Dark Secret holding back their docking was…teehee, she doesn’t like tomatoes! We kinda doubt the families of the dozens if not hundreds of people killed in the delay she caused could laugh about it like Aoi and Akane did…not a great moment, there.


Rating: 7 (Very Good)

Puella Magi Madoka Magica – 12 (Fin)(Retro Review)

Originally posted 25 Apr 2011 – And so, the best series of the Winter 2011 season ends – in late April – and not with a whimper, but with – what else – the re-making of the entire universe. Madoka can make any wish, so she decides to wish there were no witches, ever. This pisses off Kyuubey (AKA Incubator), but it happens. Of course, there’s a price to be paid. That price is: no more Madoka. Aside from episode 10, this is the only time Madoka is a maho shojo, and she’s nothing like any other; as her newly-gained godlike powers allow her to free the souls of maho shojo from soul gems all over the world, so they’ll never become witches. No maho shojo, no witches.

Of course, even though Madoka makes sure to be as explicit and detailed with her wish as possible, the universe proves just as devious as Incubator. The new universe she creates still has Maho Shojo, but they fight “magical beasts” rather than witches. Ah well, close enough! Kyuubey is still around, but it seems he’s more of a friend than a trickster. Also, in the realm/void between the end of the old universe and the birth of the new one, Madoka and Homura say their goodbyes, and Madoka gives her her hair ribbon. The result of this is, Homura is the only person who remembers Madoka. Even for her brother, Madoka is just an imaginary friend. While Madoka is now free of her fate, Homura can’t be all that happy her best friend had to sacrifice her entire existence in order to eliminate witches.

While this series has never been shy about highly abstract settings, especially when dealing with witches, the whole end-of-the-universe transition was a little sudden and overwrought, with whispers of End of Evangelion. The Naked Space Madoka and Homura bordered on silly-looking, and their tearful goodbye, while earned, bordered on sappy at times. Despite these issues, the series ended strong, and now complete, we laud it for its entertaining twist on the maho shojo genre. It’s also perhaps Akiyuki Shinbo’s finest non-comedy series. Don’t be put off by the girly opening and frilly costumes; this series has true grit.


Rating: 8 (Great)

Puella Magi Madoka Magica – 11 (Retro Review)

Originally posted 25 Apr 2011 – We feared the month-long hiatus would have killed most of the momentum gained after the milestone tenth episode that chronicles Akemi Homura’s odyssey through time and space to protect Madoka. Those fears were mostly allayed by yet another episode that, while not as action pack as last month’s, but was certainly full of crucial information and more startling revelations. Kyuubey figures out Homura’s power, but is never worried about it, and in fact is congratulatory towards Homura. This is because he believes by pressing the reset button so many times, Homura has allowed Madoka to become a more and more powerful magical girl, and thus her karmic burden grows more and more immense.

This is one last “f*** you” for Homura, who has apparently been working so hard to avoid creating exactly what her actions have created: a ridiculously-powerful Madoka. Worse still, even in this timeline, there is no way Homura can prevent Madoka from contracting. Everyone else is dead; Madoka is responsible, and even though she knows Kyuubey is up to no good, she is compelled to lend Homura a helping hand, even if it means abandoning her family. Madoka’s mind is made up once Homura finally opens up to her about what’s going on and why.

Homura initially tries to fight Walpurgisnacht herself, but not surprisingly fails, despite some impressive pyrotechnics (which seemingly destroy a fair amount of the city). Bloodied and beaten, Homura lies amongst debris, and for once, hesitates to turn back time; doing so would only hurt Madoka more, in her mind. With Homura down and out and no more magical girls extant, Madoka has to step in, stand tall, and make a bad deal with a cold, logical alien; taking her mother’s advice to stop being so good and do something bad for once.


Rating: 9 (Superior)

Puella Magi Madoka Magica – 10 (Retro Review)

Originally posted 10 Mar 2011 – Did all that just flipping happen? After fleshing everyone else out previously, all that remained was Homura’s story. We got it, and it was fucking epic. Nothing in this episode would have made any sense without knowing everything that preceeded it, and at the same time, this added so much more dimension to an already excellent series by throwing time and causality into the equation.

Homura was once an innoncent, ditzy human, who transferred to Madoka’s school and befriended her. But in this timeline, Madoka and Mimi were already Maho Shojo. When the Walpurgis night comes, Madoka sacrifices herself to save Homura. Not yet a Maho Shojo herself, Homura contracts with Kyuubey with the wish that she be given the ability to change time – as in reset the timeline to the point she first met Madoka – and protect her instead of the other way around.

Not only is the initial role reversal of Madoka and Homura outstanding – Madoka is, in most timelines, a full-fledged, bow-wielding maho shojo – but the fact that things keep going so wrong – Madoka keeps dying and Homura keeps resetting – really drives home how tortured Homura is by the time we meet her in episode one. Hell, things go so awry, there’s even a scene where Madoka has to kill Mami by her own hand!

So Homura was never so much an aloof bitch. She’d just been downtrodden by so many lives and so many undesirable outcomes, and won’t stop trying to protect Madoka, out of her powerful friendship for her, no matter how many attempts she has to make.

This episode cuts back and forth through time a ton, yet stays expertly and confidently held together without a hint of repetition. We love Groundhog Day-type situations like this, but in this case the causality loop is neither involuntary or unwanted; it’s Homura’s will. The entire series we’ve seen thus far is only one of an untold number of timelines that have already run their course. And yet, Madoka seems almost fated to be seduced by Kyuubey – one way or another – fight Walpurgis, and become a witch so powerful she destroys the world.

The episode ends just as the series begins, only this time we hear what Homura is screaming in Madoka’s “dream”: “Don’t contract.” And to Madoka’s credit, she still hasn’t, as of episode nine. Will this finally be the time Homura is able to defeat Walpurgis on her own, without Madoka contracting? We’ll see. Fantastic stuff.


Rating: 10 (Masterpiece)

RABUJOI World Heritage List

Puella Magi Madoka Magica – 09 (Retro Review)


Originally posted 4 March 2011 – Yikes, yet another one bites the dust, in short order. I’m tellin’ ya, this series has guts. It’s taking us to a very dark place. Sakura gets axed this week, fighing off the witch Sayaka has transformed into. Homura is now the only maho shojo that currently stands between the looming mayhem of Walpurgis and the city. This puts Madoka in a spot, and Kyuubey is going to exploit it.

Kyuubey also lets loose a little bit about what he is and why he does what he does. He and his ilk are after energy. The best way to get it is to contract with girls of a certain age, turn them into maho shojo, and then wait until they ‘mature’ into witches through the corruption of their soul gems into grief seeds. This means that all witches were probably human girls at some point, tricked into contracting and downloading their souls into gems by Kyuubey-types, though they don’t (and can’t) see it as “tricking”.

That would require an emotional position on the matter of turning girls, and Kyuubey, you see, lacks the capacity for emotion of any kind. As such we can’t necessarily label him as evil; he’s no different from a lion on the Savannah. It may seem cruel how they’ll pick off weak or tired prey, but that’s how a predator survives: by exploiting any and every advantage nature throws at it in order to acquire fuel to keep living. In this case, human girls are the prey, or rather a resource, that Kyuubey coldly, logically coerces into essentially destroying themselves.

This is why Homura, from episode one, has been so determined not to let Madoka contract with Kyuubey. Not because she doesn’t want strong competition; it’s because she doesn’t want her to end up like Mimi, Sayaka, Sakura, countless other girls…or herself. At this point, we really don’t want Madoka to contract either, and are glad she’s held out long enough to learn the truth. Why should she throw her relatively blessed, happy life, humanity, and soul away…just to become Kyuubey’s dinner?

Still, there’s no reason to doubt Kyuubey’s assertion that Madoka would be the most powerful Maho Shojo if she contracted. That could mean she’d ultimately become the most powerful witch…and later, a great feast for Kyuubey. Will Homura be enough to fend off Walpurgis on her own? We’ll see. Meanwhile, we predict it will be most difficult for future 2011 series top the consistent excellence of Puella Magi.


Rating: 9 (Superior)