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This post is by guest writer Michael Spiteri.
Because I am a completely shameless fan, I’m going to take an opportunity to discuss Puella Magi Madoka Magica, a series that I hold particularly dear. It’s a series I first watched a few years ago, but admittedly didn’t leave much of an immediate impact. It wasn’t until revisiting with a fresh mindset a bit later down the line that it really managed to capture my attention, but once it did, it never really let go. However, I digress. Let’s break this down, and first look at some of the “little things” that are great.
The Little Things
Perhaps a brief definition of my classifications are in order here. The “little things” are by no means insignificant, they’re simply more of a general, widely accessible aspect of the subject matter. The “big thing” (discussed in Part 2) is a label reserved for the aspect of the material that particularly resonated with me, and that keeps it firmly rooted in my mind.
There’s a lot I genuinely cherish from my experience with Madoka Magica, but perhaps chief among them is the soundtrack. The presence of a number of tracks — both original compositions and fan-made re-imaginings — in my regular playlists even now, years after their first impression is a testament to their staying power. Pieces like Decretum (which I’ve previously discussed here), Nunquam Vincar, And I’m Home, and so many more come attached with so many vivid emotions, all deeply rooted in my experience watching, and indeed engaging with, the show.
While pieces like Decretum and Sis Puella Magica draw a great deal of their significance from their repeated use, tracks like Nunquam Vincar and And I’m Home are used sparingly to great effect. These tracks only appear once throughout the series’ runtime, each at a deeply significant moment.
Nunquam Vincar has a steady, yet all too heavy pulse throughout, as a chaotic battle between guitar and strings drives the melodic progression. It instantly calls to mind Homura’s unyielding determination, carrying on against all odds.
In stark contrast, And I’m Home serves as a poignant recollection of the all-too-brief relationship between Sayaka and Kyouko. It’s a deeply minimalist piece, but the voice actors do a spectacular job of carrying the emotional weight, drawing this arc to a satisfying close.
That’s not to discredit the other aspects of the frankly incredible presentation put forward by Shaft. The character designs are immediately warm and inviting, but then the speed and intensity at which the pleasant demeanor can switch is nothing short of impressive. Chief among this concept are the Witch and Labyrinth designs, with the otherworldly aesthetic creating a genuinely unsettling atmosphere, and forcing a harsh juxtaposition with the rest of the show’s lighter design principles.
Looking closer at the Witch/Labyrinth sequences, very little background or explanation is given as to their character or purpose. Labyrinths seemingly exist solely as otherworldly planes designed to clash and override reality, with the reigning Witch reflecting a dominant theme on her Labyrinth. Through their designs, their labyrinths, and lots of subtle details sprinkled throughout, a small insight into the background of the otherwise enigmatic Witches can be ascertained.
Specifically, there are allusions to Charlotte’s wish gone awry, pleas for help from a desperate Sayaka (laid out in decipherable runes, no less), and a potential connection between Kyouko and Elsa Maria, to name a few. These scenes are always incredibly dense and unfailingly beautiful, serving as constant highlights for the series; they’re certainly testaments to the thought and dedication of the production.
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