UlasanAnime.com – The anime series Mahou Shoujo Ikusei Keikaku, also known as Magical Girls Raising Project, presents a narrative with consistent and overarching thematic elements that hold together, despite its initial appearance of employing emotionally manipulative tactics through character deaths. This exploration delves into the deeper meaning behind the series, offering a more comprehensive understanding after its conclusion.
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At its core, the series argues that the concept of a “magical girl” story is defined by superficial elements rather than strict adherence to a specific formula. This is a key reason why many viewers find it comparable to the evolution of giant robots in anime, which have been adapted into a wide array of genres, including sitcoms, comedies, action, adventure, romcoms, romance, and horror. To truly grasp the essence of magical girl anime, one must look back to its early prototypes, such as Minky Momo and Creamy Mami, and understand why Madoka Magica is considered a landmark in the genre. Comparing series like Rayearth or Mai-Hime to it misses the fundamental point; while Sailor Moon embodies the magical girl spirit, Strike Witches, despite its visual similarities, belongs to an entirely different genre.
Therefore, it’s crucial to identify the defining characteristics that make an anime a “magical girl” story. This goes beyond a simple transformation sequence and delves into the realms of ideals and identity. These thematic aspects are what truly categorize a show within the magical girl genre.
Firstly, the genre typically begins with a protagonist who is an ordinary girl. This was the original intent of the genre, aiming to create relatable characters for young audiences. While this aspect might seem less relevant in modern otaku anime, it still forms the foundation for the subsequent transformation. Strike Witches, for instance, falters in this regard. To some extent, Rayearth and Mai-Hime also miss the mark because their protagonists are heroines in a more conventional sense. Rayearth, in particular, fits the “transported to another world” genre, a classification that should be more readily apparent. However, some characters in Mai-Hime do align with the magical girl archetype.
Secondly, a transformation is essential. This transformation is not merely physical but also encompasses social and relational changes. Early magical girl protagonists often assumed adult roles after transforming, becoming TV stars or capable individuals in times of need. The power lies in recognizing this shift, and there’s no single prescribed method for it to occur. This transformation gap is a hallmark of the magical girl concept, representing an internal difference as much as an external one. Arguably, shifting the focus of the magical girl concept to its external manifestations is what de-feminizes the genre, making it more appealing to a male audience. We see how Nanoha evolves into a Gundam-like figure, but the series doesn’t always explore her internal journey from an average schoolgirl to someone with unwavering resolve. This approach avoids lengthy character development segments where the protagonist might be perceived as moping, which many viewers find unengaging. By adjusting the definition of what constitutes an “ordinary” girl, such narrative challenges can be sidestepped. The question remains whether Nanoha is an ordinary girl that real-life ordinary girls can identify with, or a trope-defined ordinary girl who suffices for otaku audiences to suspend their disbelief and accept her as ordinary within the genre’s conventions.
Thirdly, a sense of idealism is vital. This can also be understood as a form of “purity,” often seen in shoujo narratives. It’s frequently described as a sense of justice or an inherent understanding of how things ought to be. In Mahouiku, Snow White is not just striving to be a good girl; she is portrayed as an ideal. The narrative of Mahouiku explores how different characters engage with their own notions of ideals. For some, ideals might manifest as endless indulgence in alcohol, wealth, and power. For others, it could be the thrill of a “Battle Royale: Magical Girls Edition,” finding pleasure in a challenging contest. In Creamy Mami, the ideal might be empowering women to pursue paths beyond the traditional housewife role, even while acknowledging the societal expectation of marriage. This was a remarkably progressive stance for 1970s Japan. The freedom to pursue happiness is also an ideal, encompassing the emotional fulfillment of deep-seated desires or the resolution of long-held beliefs, grudges, unrequited loves, and the realization of wishes.
The primary distinction between Madoka Magica and Mahouiku lies in their thematic emphasis. Mahouiku continues to value its ideals, as Snow White participates in the Survival Game out of necessity rather than because it defines her powers or purpose in life. Indeed, the various girls in the series cling to something that sustains them. The survival game format merely intensifies these motivations as they navigate difficult circumstances. This could be Top Speed’s maternal instincts, Swim-chan’s aspirations as a ruler, or even Nemurin’s unwavering commitment to non-conflict. Madoka Magica, conversely, involves a descent into self-destruction, showcasing a corruption of the magical girl ideal. The narrative suggests that being a magical girl is inherently suffering, as the ideal itself was a deception, leading the protagonist to become the very danger she fought against.
Thus, these are two vastly different works! One series employs character deaths for dramatic impact, while the other integrates them as a fundamental aspect of its narrative purpose.
PS. Isn’t it remarkable that Snow White’s companion is actually a man who transformed into a magical girl? This is perhaps the most innovative element of Mahouiku. However, unless one dissects the concept from its plot and examines it thematically, this unique aspect might go unnoticed.
