Tag: magical girls

Anime Review: ‘Princess Tutu’

You don’t know real pain until your waifu turns into a bird.

I am continuing to salvage content from my previous, now-defunct blog. This is a lightly edited version of a post that originally appeared over there: I am not entirely happy with it and may revisit this title at some point in the future, but in any case, this is my review as it presently stands.

Princess Tutu, directed by Shogo Koumoto. Starring Nanae Kato, Noboru Mitani, and Takahiro Sakurai. Story by Ikuko Itoh. Hal Film Maker (–). DVDs produced by AEsir Holdings. 26 episodes of 25 minutes (approximately ). Rated TV-14.

After I got an Amazon gift card for Christmas, I thought to myself that I could use it to buy some edifying, uplifting literature, or I could use it to acquire more brain-rotting magical-girl junk. It’s no mystery which choice I made, and I have no regrets: I picked up a complete DVD set of Princess Tutu, which I knew by rumor and reputation but had not previously seen.

The first time I heard of Princess Tutu, the tale of a clumsy girl who receives the power to transform into a magical ballerina, I assumed it was a saccharine, fluffy, and disposable story on a par with something like Lilpri. I would have been cool with it if that were the case—since I’m totally into that—but in fact, my assumption was entirely incorrect because it is so good. This is easily one of the best anime series I have ever seen. It is the best magical girl series I have ever seen. This is an anime that rises, at least at times, to the level of high art.

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Anime Review: ‘Prétear’

Prétear, written by Kenichi Kanemaki and directed by Junichi Sato. Hal Film Maker (). 13 episodes of 24 minutes (approx. 312 minutes). Rated TV-14.

Available on Funimation.

Funny story: Although it looks like a much earlier series, the information on Prétear from the Funimation site claims that the show comes from 2010. Since that’s the year before Puella Magi Madoka Magica made its appearance, I was all set to interpret this show as the end of an era, the last of the primarily Sailor Moon-influenced magical-girl anime before Madoka took over the genre. But Funimation’s metadata is wrong (which is good because that means I wasn’t crazy when I thought there was no way this was from 2010); Prétear is actually from 2001.

That, however, suggests perhaps equally interesting connections: It bears some apparent influence from Revolutionary Girl Utena, and it also predates Princess Tutu by just a few years. It comes from the same studio as Tutu and resembles it in some respects; so while this isn’t a bridge between Sailor Moon and Madoka, it might be a link between Utena and Tutu.

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Anime Maru: ‘Magical Girl Recruitment Down’

I stumbled upon this recently, a satirical article from Anime Maru reporting that talking animal mascots have had a hard time recruiting new magical girls because of the increasingly dark tone of new magical girl anime.

I repost it mostly because I myself am a little tired of the dark turn in the genre since Puella Magi Madoka Magica and am ready for earnestly made but lighter fare.

With such challenges, many magical girl recruiting mascots have been forced to turn to drastic measures. It has been reported some are even going to alternative realities for recruiting, framing the opportunities they offer as isekei.

[More …]

Art: ‘Magical Girl She-ra’ by Weremole

Featured art: Magical Girl She-ra by Weremole. Check out the rest of his artwork.

Crunchyroll on the History of Magical Girls

Yet another video on the history of the magical girl genre, this time from the YouTube channel of Crunchyroll, the streaming service.

Any of these are necessarily selective, though I find this one slightly more irritating than usual. When it comes to discussing Sailor Moon, it focuses on gayness while ignoring more sigificant accomplishments and also claims Sailor Moon basically introduced homosexuality to anime—a statement as ignorant as all the claims from a few years back that Black Panther was the first movie with black people in it. Crunchyroll also treats of Puella Magi Madoka Magica as the first self-aware or self-critical magical girl series, a claim so common yet erroenous that it’s produced a cottage industry of blowback.

The genre has always been self-aware and included some amount of self-mockery, so much so that self-awareness may be one of its central characteristics, but it has also seen deliberate deconstructions before Madoka. What Madoka accomplished that its predecessors didn’t is a complete reorienting of the genre toward uglier content and more nihilistic themes. Madoka, like Sailor Moon before it, turned the whole genre into its imitators.

Aside from that, well, whatever; a lot of commenters over on YouTube have complained that this video fails to mention some particular series or other, but since this is a half-hour, condensed discussion, a lot is necessarily going to get excluded.

In any case, collecting historical overviews of the genre is part of my schtick here, so I repost them as I find them.

It may or may not be coincidental that Crunchyroll has recently acquired the rights to Healin’ Good Pretty Cure, which I believe is the first Pretty Cure series—except the original—to get licensed in English (not counting the brutally localized Glitter Force adaptations on Netflix). To a magical girl fan, that’s significant, and I hope it means more Pretty Cure series will appear on the service in the future. Since I refuse to use pirate sites, I still haven’t been able to watch most of this magical girl mega-franchise.

At the time of writing, however, only episodes 13 to 17 of Healin’ Good are available, but a notice indicates that episodes 1 to 12 will appear later. This perhaps represents some problems with the licensing.

Anime Review: ‘Ultra Maniac’

Ultra Maniac, written by Miho Maruo and directed by Shinichi Masaki. Music by Toru Yukawa. Starring Akemi Kanda, Yuie Hori, and Hiroshi Kamiya. Based on the manga by Wataru Yoshizumi. Ashi Productions, 2003. 26 episodes of 24 minutes (approx. 10 hours and 24 minutes). Not rated.

Available on Crunchyroll.

The oddly named Ultra Maniac is a minor classic of the magical girl genre from the beginning of the twenty-first century. Although lackluster in its animation and presenting a more-or-less conventional plot, it contains enough unusual elements to make it stand out, and its satisfying ending comes as a genuinely pleasant surprise even if it could have been better set up.

A photograph of Nina and Ayu smiling
Nina and Ayu, our protagonists.

This anime is based on a manga by Wataru Yoshizumi, who’s most famous for Marmalade Boy. The manga and anime versions of Ultra Maniac, however, bear little resemblance to each other, as the former is more of a romantic comedy with magical elements while the latter is a straight-up magical girl show complete with the standard transformation sequences and McGuffin hunt.

Nina in her magical girl costume
Nina transforms … into possibly the frumpiest magical girl outfit ever.

The bizarre title is apparently in reference to the enthusiasm for manga that a couple of the characters have (maniac or mania being an older term for otaku), though this is downplayed in the anime to the point that the title is merely weird.

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Rawle Nyanzi Releases ‘Shining Tomorrow’

I have sometimes referred to the work of Rawle Nyanzi, a blogger and indie author whose name I frequently misspell. He and I have often traded thoughts on magical girls and other matters related to Japanese pop culture. So, today, I’m here to plug his work.

He has recently released the first volume of Shining Tomorrow. I believe Nyanzi has previously described this as a magical girl project.

Here is its blurb:

FROM YOUNG ELEGANT LADY … TO MASKED FURY!

Irma wishes to be the perfect girl: chaste, feminine, and generous. But when a giant monster stomps through her hometown, her plans crumbled right along with the stores and apartments.

In the chaos of acrid smoke and panicked civilians, the private military company Shadow Heart snatched her friend out of the crowd and took her captive.

Now Irma must pilot the Grand Valkyur, a mechanical titan of steel more powerful than any weapon made by human hands. With a brilliant sword that could cut any matter and gleaming armor that could withstand any weapon, the Valkyur challenges all who dare to fight it.

But piloting the Valkyur means using violence — and to Irma, violence is men’s work.How can she rescue her friend without betraying the feminine elegance she prides herself on?

Nyanzi on Dark Magical Girls

The other day, I posted a link to Christopher Kinsey’s discussion of how the magical girl genre has grown darker and more adult in recent years. Shortly thereafter, senpai noticed; that is, Rawlye Nyanzi took up the subject and gave his own speculation.

He looks at the subject from a different angle and makes an interesting observation: Japan is facing a devastating population winter. That is, the Japanese are not reproducing at replacement rate. And that means that the traditional target audience of magical girl anime is not getting replenished.

Nyanzi writes,

Remember that child-focused anime aren’t only trying to sell themselves, but associated merchandise as well. Before, they could aim at parents. Now, since there are way fewer parents and way more childless adults (who have way more disposable income), magical girl anime no longer have to be child-friendly. There’s no money in the children’s market anymore because there are too few children.

He also points out that there were grimmer magical girls even before the most recent spate. He gives My-HiME as an example, but we could easily refer to others—and even some of the great classics have their dark elements. Let’s not forget that Sailor Moon was forced to watch all her friends die and that the girls of Magic Knight Rayearth were tricked into committing a cosmic mercy-killing.

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Christopher Kinsey: ‘Magical Girls and What to Do about Them’

Anime Outsiders is an interesting website; I first discovered them on Twitter, where they claimed (and whether they were being honest or merely puffing themselves, I have no idea) that they had members who were disaffected former employees of Crunchyroll. Garrulous and highly opinionated, they’re worth keeping an eye on simply because they offer exactly what their name implies—an alternate opinion that’s outside the mainstream groupthink.

Christopher Kinsey has an article up over there entitled, “Magical Girls and What to Do about Them.” Like every author who discusses magical girls, Kinsey feels a strange need to give a history of the genre, but unlike most, he mercifully keeps it brief and gets into the real point he wants to discuss—how the genre has become darker, edgier, and more adult thanks largely to Puella Magi Madoka Magica. In doing so, he also points out a connection between Madoka and Lyrical Nanoha that I had not picked up on (mostly because I admittedly have a hard time remembering Japanese names).

For those among us who know our production houses, Seven Arcs began its life producing adult themed animation, the most notorious of which is known as Night Shift Nurses and the less said about THAT the better. But this was all to build the capitol to make a really honest to goodness TV anime series. As it turns out, they produced Magical Girl Lyrical Nanoha which, as mentioned above, was a magical girl anime primarily designed to draw in a male audience.

Kinsey makes the case that the genre, in its recent developments, has ended up excluding the audience it was originally intended for—young girls.

I’ve repeatedly complained on here about the excess darkness in the genre today, with many series like Magical Girl Site trying to duplicate the grimness of Madoka without understanding why Madoka works.

Although I think Kinsey makes the common mistake of interpreting Madoka in light of Gen Urobuchi’s previous work (even though Urobuchi himself has said he was trying to write against his usual tendencies with Madoka), he ultimately turns to the Netflix adaptation of Smile Pretty Cure into Glitter Force and makes what I believe to be a great point:

Could it be translated better and still sold to young girls? Probably, but this is just the thing to remind the anime community that we have to cater to more than just young men with disposable incomes. Everyone deserves a chance at the table, and if Glitter Force can be a gateway to a new fan just as Sailor Moon scooped up many young ladies to the fandom back when I was young, then I think we need to have more series just like it.

My Little Girl Is All Grown Up

Roffles Lowell, the interior illustrator of the Jake and the Dynamo series, recently sent me this sketch. For the second book, Dead to Rites, he is planning to update the design of Magical Girl Pretty Dynamo to match the version that Lee Madison used on the cover of the first volume.

I have no strong opinions on Dynamo’s design myself. I’m just thrilled to see other people’s imaginings of her. That being said, I do rather like this updated version. I was quite impressed with Madison’s design to begin with, and I think Lowell’s version gives her a sort of spunky, whimsical character. In my head, I’ve always seen Dynamo (unlike her counterpart Dana) as a tomboy, the kind of girl who usually has a smudge of dirt on her face and who tries to make her voice sound lower than it really is. To me, this redesign conveys that impression.