One of the biggest criticisms the anime medium constantly faces is that it merely a form of entertainment. With the abundance of shows, especially in the recent years, that are evidently nothing more than blatant attempts to cater to hormone-overflowing young men with endless amounts of fanservice, it is easy to see why many skeptics share this common misconception. And while there are numerous titles that break the mold and provide watchers with much more than just flashy action sequences featuring gun-toting, well-endowed girls, a great deal are quickly forgotten, destined to only be watched by a small fraction of individuals who are
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well aware of the true potential of this medium. Kino no Tabi – The Beautiful World fits these criteria quite nicely. It is truly a gem in the rough that many people are too near-sighted to be able to see and appreciate.
At first glance, the premise of Kino no Tabi is remarkably simple. The female protagonist, Kino, and her anthropomorphic motorcycle visit numerous countries, sometimes several in the span of a single episode, each of which has its own traditions and customs. Over the course of her journey, Kino finds herself in the midst of these societies - some of which have downright appalling practices. The absurdity inherent in said cultures will undoubtedly raise an important question – could any of these societies actually exist in real life? However, it is important to keep in mind that Kino no Tabi is an allegorical work that, for the sake of being truly enjoyed, must not be examined through reality-tinted glasses. Its episodic nature may be an instant turn-off for some viewers, and although it is not untrue to say that it does not matter in what order one watches its 13 episodes (barring a two-episode arc), the will to continue the series does not come from the suspense established from cliffhangers, but rather from the curiosity brought about from wondering what kind of place Kino will travel to next. Unfortunately, like the vast majority of anime of this nature, Kino no Tabi’s episodes are prone to inconsistency. The fluctuation in quality is most evident in the two-episode Coliseum arc placed strategically in the middle of the series (whether or not this placement was intentional is anybody’s guess). Not only does this arc deviate from the standard episodic format, it is, arguably, not nearly as philosophically meaningful as the rest of the stories presented. While the arc does give the writers the opportunity to showcase the abilities of the highly skilled yet passive Kino through intense fight sequences, something that was undoubtedly in high demand after her expert marksmanship and competency with knives are revealed, it felt horribly out of place and negatively impacted the slow but consistent pacing of the rest of the series.
Despite the lack of an overall sense of direction and consequently, a coherent storyline, Kino no Tabi fortunately does not suffer from the inability to connect and incorporate its many tales into an overarching theme. As Kino travels throughout the world and becomes acquainted with the people who inhabit it, it becomes clear that each of her encounters is essentially a separate journey into the labyrinth that is the human psyche to explore one of the many elements that make it up. The issues touched upon in the series range from the inherent pugnacious and competitive nature of humanity to the true purpose of altruism; from the tendencies of humans to blindly believe in prophecies to the consequences of not having a self-conscious.
While there are a number of series that boast profound symbolism and powerful messages, only a small fraction actually manages to convey them effectively through their incorporation into the plot. Kino no Tabi’s success in performing such a difficult task lies in its subtlety. An unobservant viewer could easily sit through all 13 episodes and see nothing more than a biker girl traveling to different countries and meeting new people. However, at the same time, the ideas conveyed in the series are clear enough that one does not have to be a literature or film major in order to identify and comprehend them. In that regard, Kino no Tabi succeeds in reaching the middle ground that even some famous literary works struggle to attain.
In philosophical works such as Kino no Tabi, characters often take a backstage role and are sometimes even demoted to serve only as plot devices. Although it is clear that neither Kino nor Hermes, the only two reoccurring characters, is the main focus of the series, together they play an integral role in its success. In terms of being a likeable character, Kino’s apparent indifference is perhaps her biggest strength and flaw at the same time. Kino constantly insists that she is merely a traveler and, as such, will not interfere with the internal affairs of any of the countries she visits. While it may be quite frustrating to witness Kino’s inaction in the face of imminent disaster, it is, ironically, also this complete personal detachment from the world around her that makes her quite realistic and likeable. In a medium plagued with hot-headed protagonists with a one-sided sense of justice, Kino stands out as a truly unique character.
However, the decision to sculpt Kino into such an apathetic individual was clearly not motivated by the fact that it would make her unique. More often than not, anime that attempt to explore philosophical or social issues are prone to something known commonly as author’s bias – the writers may inadvertently implant their own values and views into the minds of the characters. Thanks to Kino’s impartiality, the problem of author’s bias is eliminated completely, allowing the viewer to draw his or her own conclusions about the many issues highlighted throughout the series.
Hermes, Kino's talking motorcycle, acts as the perfect companion to his owner. Not only are his conversations with Kino thoroughly enjoyable to listen to due to the occasional humour, they also allow for further thematic exploration. In addition, considering the underlying theme of the series is the nature of humanity, his presence as a non-human makes their discussions even more interesting.
For a series made nearly 10 years ago, Kino no Tabi's animation quality is impressive. While the character design is quite plain, the animation itself is surprisingly fluid for its time, especially during the Coliseum fight scenes where there is a great deal of character movement. Given the nature of the series, the scenery is constantly changing, sometimes even multiple times in the span of a episode. The environment designs are simplistic yet strikingly beautiful at the same time. Kino's travels bring her to countless different cities, many of which have unique and beautifully depicted architecture, from modest brick houses surrounded by picturesque gardens to futuristic skyscrapers. Interestingly enough, the soundtrack in Kino no Tabi is, for the most part, absent. Apart from the lovely opening and equally euphonious ending, the series does not boast any memorable tracks. However, Kino no Tabi uses this to its advantage, as what many people fail to realize is that sometimes dead silence is the best way to make an emotional scene even more effective.
While Kino no Tabi is certainly not a series for everyone given its lack of a well-defined plot, limited character development, stagnant pacing, and questionable topics and scenes, it is a worthwhile watch for anyone who is looking for more than just pure enjoyment in the anime medium. Kino no Tabi may be a satirical work, but its true purpose is not to criticize humanity. As it does not attempt to draw any conclusions, it merely aims to make us aware of the negative, as well as positive, traits that we share as humans. While there are many aspects of human nature that are not at all beautiful, they are what differentiate us from other animals and make us who we are.
The world is not beautiful, therefore it is.
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Jun 17, 2012
Kino no Tabi: The Beautiful World
(Anime)
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One of the biggest criticisms the anime medium constantly faces is that it merely a form of entertainment. With the abundance of shows, especially in the recent years, that are evidently nothing more than blatant attempts to cater to hormone-overflowing young men with endless amounts of fanservice, it is easy to see why many skeptics share this common misconception. And while there are numerous titles that break the mold and provide watchers with much more than just flashy action sequences featuring gun-toting, well-endowed girls, a great deal are quickly forgotten, destined to only be watched by a small fraction of individuals who are
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Reviewer’s Rating: 9
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Mar 29, 2012
NHK ni Youkoso!
(Anime)
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I have to admit that I have put off watching this anime for quite some time, despite having heard many good things about it. A series about an anti-social, unemployed otaku who apparently isn't in the best psychological state to boot? How interesting could an anime like this possibly be? But with nothing to do on a rainy Monday, I finally decided to give Welcome to the NHK! a chance to gain my approval. It did much more than that. It also managed to win over my heart with its loveable characters and my brain with the numerous philosophical questions it poses. I couldn't stop
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thinking about it for the next couple of days. I even had a dream about it - an amazing feat - considering not even my guilty pleasure, Mahou Shoujo Madoka Magica, managed to accomplish that. As great as this series is, I must warn you ahead of time that it arguably isn't suitable for all age groups. And I'm not just talking about the occasional gratuitous fanservice or frequent sexual references and jokes. Frankly speaking, Welcome to the NHK! is a depressing anime. It will undoubtedly cause you to have cynical thoughts, and for those of you who already have a pessimistic outlook on life, it will probably make you even more cynical. Therefore, I would only be able to recommend this series to a mature audience, namely people who are over 18 and are currently enrolled in university/college or who have already joined the workforce. I am not saying that someone younger than 18 would not enjoy the series to the same degree that I did. I just feel like the series is more geared towards an older audience because it tackles numerous issues that often plague us young adults.
Now that all the 'do not watch the anime if you are depressed' warnings are out of the way, it's time to get down to the details of why Welcome to the NHK! has managed to crawl its way up to #2 in my favourite animes list. This will probably be the longest section of the review, for a good reason. Welcome to the NHK! is truly a story-driven anime. And by story, I don't necessarily mean plot, because its method of story-telling is not conventional by any means. Realistically speaking, Welcome to the NHK! doesn't have many elements that would normally make you want to watch an anime. It doesn't have flashy fight sequences, bubbly romantic scenes, or any of the melodrama that seems to be omnipresent in most of the popular slice-of-life animes. So what IS it about? Simply put, it's a story about life without any Hollywood-inspired drama. And it manages to depict the struggles of the protagonist, as well as those of numerous side characters, to find their footing in the most realistic manner possible. Put dramatic masterpieces like Clannad: After Story aside for the sake of truly enjoying this series. The story follows Satou Tatsuhiro, a dysfunctional college drop out, as he, sometimes humourously, battles numerous social problems one after the other. He sleeps his days away, indulges in alcohol, smoking, and junk food, and has not left his apartment for three years. Faced with constant paranoia that a secret organization, the N.H.K., is conspiring against him to make his life as miserable as possible, Satou desperately searches for a way to escape his hikkomori ways. One day, a mysterious girl named Misaki Nakahara shows up, and offers to help him change his life, on the condition that he signs a contract to participate in a 'project' that she is conducting. What follows is a roller coaster ride of ups and downs and twists and turns as Satou struggles to find a purpose in his seemingly meaningless life. What makes Welcome to the NHK! such a successful series is that it manages to tell a story on two completely different levels. I think most people watch the series expecting a unique blend of romance, comedy, and drama. If you are one of these people, you won't be disappointed, because Welcome to the NHK! delivers. I honestly can't say how many times I couldn't stop myself from laughing out loud during the series, and while the humour is occasionally bizarre and sometimes even borderline black comedy, it is thoroughly delightful to watch. On the other side of the spectrum, we have the drama. As I have already discussed, the drama is extremely realistic and never forced for the sake of inciting an emotional response. Admittedly, there are numerous scenes in the anime that are genuinely painful to watch, not because of the addition of uplifting music or moving dialogue, but rather because they are so believable that you could easily imagine yourself in a similar situation. As a result, these scenes truly touched my heart and allowed me to empathize, and not sympathize, with the characters. Hopefully, they will have a similar effect on those of you who choose to watch the anime. Finally, we have the budding romance between Satou and Misaki. Although the least important and least used of the three main story elements, it is a welcome addition to the plot that certainly enhances the enjoyability of the series. I'm not going to lie; I honestly think that the romantic scenes in Welcome to the NHK! were done far better than those in some romance-centered animes. Like the drama, it is genuine but never exaggerated, heart-warming but never, for the lack of a better word, cheesy. As much as I hate to admit it for the sake of my manliness, I wish that the series had focused more on the romantic relationship between Satou and Misaki because my heart went all doki-doki whenever I saw them together. There, I said it. But Welcome to the NHK! has even more to offer. Setting all the drama, comedy, and romance aside, you're left with a realistic and insightful depiction of the numerous social problems that exist in Japanese culture. It is difficult to discuss these problems in detail without some unintentional spoilers, so I will simply say that the story examines some of Japan's most dysfunctional sub-cultures, including, evidently, hikkomoris, but also otakus, MMORPG fanatics, and even suicide cults. Satou finds himself entangled with the endeavours of all of these groups and, through having to deal with the consequences of his actions, gains invaluable insight on the direction he should be heading in his life. Since Satou becomes involved in all of these social circles, the audience is, consequently, presented with an up close and personal portrayal of seemingly distant concepts, hopefully providing some degree of understanding and justification. So far, I have only been praising the series. However, I do have some small complaints, one of which is that the comedy sometimes feels out of place. Don't get me wrong; I love how the series succeeded in portraying such serious issues in a humourous light. But too many times did I find myself with a sinking feeling in my chest, on the verge of crying, only to be interrupted by an absurd but hilarious comment by Satou or one of his epically funny faces. I think the most inappropriate of these comedic moments occurred during the climax in the final episode. I expected to see a touching and emotional scene coupled with dramatic music and hopefully, some romantic action, but I instead received an absurd sequence where Satou, once again, rambles on about how the sinister N.H.K is the root of all evil in the world and eventually does something equally absurd. Ugh, way to get me all worked up for nothing. Another issue I have with the anime lies with the unfolding of the plot itself. The story is divided into several arcs that, while seemingly unrelated, all contribute to the building of Satou's character and eventually lead to a 'resolution' at the end of the series. However, I felt as if the story occasionally lacked a sense of direction. The problem with having a mix of light-hearted and funny episodes to contrast the dramatic and heart-wrenching episodes is that, at times, you become unsure of what exactly the anime is trying to accomplish. This isn't much of a complaint, as I honestly think the pacing of the story was excellent. Perhaps my critical side is just forcing itself out. To sum it all up, Welcome to the NHK! has something to offer to everyone. For serious anime watchers, it provides insightful commentary on issues not normally tackled in mainstream media, and for the more light-hearted anime watcher, its nice blend of romance, comedy, and drama makes for a delightfully enjoyable ride all the way through. In contrast to the story, the animation is, at best, average. There isn't anything unique about the character or environment design that is worth mentioning. While I did particularly enjoy the sequences that featured Satou's dreams and delusions (seeing Misaki with various sharp objects as arms was probably one of my favourite moments of the series), there really aren't many opportunities to showcase any innovative animation because of the nature of the series. There are some occasional animation mishaps, but they aren't noticeable enough to affect the overall enjoyability, especially if you consider that the technical elements of the series were clearly not where the studio devoted most of its attention and effort. In addition, this is my first series by this particular animation studio, so it wouldn't be fair for me to compare the animation in Welcome to the NHK! to that of other Gonzo animes. I must say that I was thoroughly impressed with the seiyuu performances, especially considering the fact that the seiyuus of the two central characters (Satou and Misaki) are not at all high-profile and have had little experience with voice acting. Look them up on here if you don't believe me. They, in addition with the rest of the cast, put on an impressive performance that is almost never lacking in emotion or vigour. As for the soundtrack of the series, there is not much to say. None of the insert songs really caught my eye (or in this case, ear), but all of them did help establish an appropriate mood that corresponded to the atmosphere of the scenes. I didn't even find the supposedly addictive "Purupuru Pururin" theme song very catchy, but I suppose everyone has different musical tastes. Unfortunately, the version of the series I watched had all the opening and ending sequences omitted, and I am far too lazy to go out of my way to watch and critique them. Why go into such meaningless details when the story itself is so superb? For a series that lasts a lengthy 24 episodes, Welcome to the NHK! doesn't really present us with a diverse collection of characters. There were very few side characters as well, something that may seem unsual to some anime watchers. While series with numerous main characters have been proven to work under the right circumstances (Fate/Zero and Baccano! are great examples), Welcome to the NHK!'s modest cast allows for a greater degree of depth that ultimately leads to the creation of three-dimensional, true-to-life characters with relatable sentiments and motivations. The first character who I will discuss in detail is Satou Tatsuhiro, the protagonist of the story. Satou fits the description of a hikkomori perfectly. He is anti-social to the extent that he rarely leaves his apartment because he feels uncomfortable around other people. Even in his high school days, the only person with whom he interacts on a regular basis is his senpai. He is shown to have a cynical but apathetic outlook on life and people in general, and his inability to adapt and change himself is ultimately what causes him to venture further and further down the path of social alienation. When he finally does realize that he needs to do something about his life, he is unable to accept it emotionally, which leads him to indulge in various other anti-social activities, forming the basis for most of the story. Satou also finds it impossible to relate to anybody else in the world besides his senpai, as demonstrated by the delusional sequences where he ventures outside, only to be ridiculed by the people (and even animals) on the streets. The 'beauty' of Satou's character is that the mannerisms he exhibits are not at all unfamilar to us young adults growing up in the twenty-first century. It goes without saying that some of us will be able to see a bit of ourselves in Satou. Forgive me if I am making unjustified assumptions, but I guarantee that all of us have, at some point during our lives, wondered about our true purpose in this vast universe. I am sure we have all gone through a stage during which we hated the world because we believed no one understood us. Satou's thoughts and actions may be, for the most part, portrayed in an exaggerated fashion, but his character, along with his struggles, shed some light on the problems we face in our everyday lives, as much as we may be unwilling to admit it. While Satou is clearly the star of the show with his adorably quirky character and mannerisms, another character manages to steal the spotlight from him on numerous occasions. Her name is Misaki Nakahara, and she is a mysterious girl who seems to know more about Satou than he would be comfortable sharing with anybody other than his senpai. Yet she maintains an enigmatic personality throughout the series and doesn't tell him anything about her own past. She claims to be able to help Satou escape from his social isolation, and her idealistic nature is something that sets her apart from most of the characters in the series. The two begin a valuable relationship, and it becomes clear that she develops romantic feelings for him over time. She even goes so far as to personally take care of him and make meals for him when his parents cut off his allowance. Morever, the only thing she expects from him is recognition. On the surface, she seems like every guy's perfect girl - a girl with truly pure intentions who probably does not exist in the real world. If she were truly as perfect as she seems, I honestly wouldn't be able to like her as much as I do. Thankfully, she isn't perfect at all. Forgive me for spoiling the story a bit, but the reason why she was intially willing to help Satou is that she pities him. It would be an understatement to say that she's had a rough past, and it pleases her to know that there's someone who is worse off than her. As altruistic as she appears, she is truly selfish in nature because she offers him a helping hand for the sake of making herself feel better. I must also say that I quite enjoyed Kaoru Yamazaki's character as well. Like Satou, he is also rather socially isolated, and he indulges himself with anime and eroge games. But while his extremely obsessive and perverted nature, if exhibited in an indivual in the real world, is enough to make anyone cringe in disgust, he is ultimately a respectable character with realistic aspirations who, unfotunately, falls victim to the many distractions present in today's society. Upon finishing the series, it is easy to see that Welcome to the NHK! boasts some of the most well-developed, realistic, and memorable characters in the history of anime, adding to the overall value of an already remarkable and original series. I want to thank all of you who actually took the time to read through this review. If you still aren't convinced that watching Welcome the the NHK! would be an efficient way to spend 8 hours of your life, I honestly have nothing more to say. Welcome to the NHK! is an absolute MUST-watch for any college-aged anime fan. You NEED to watch it in order to understand the sheer potential of this form of media. Who knows? It might even end up changing your life. I think the best way to conclude this review is to discuss the ending of the anime. I have heard many complaints about how the series didn't have the cliché "happily ever after" ending. As much as I would have enjoyed a happy ending, it simply does not fit with the message that the writers were trying to convey. There are rarely any happy endings in reality, because life is a constant struggle. In each stage of our lives, we are faced with challenge after challenge, and it is only those who have the strength to carry on that are ultimately able to find their happy endings.
Reviewer’s Rating: 9
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Mar 28, 2012
Mahou Shoujo Madoka★Magica
(Anime)
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I want to start this review off by stating that I absolutely loved this anime. Very few anime manage to capture my attention enough to compel me to spend time reading wikis and even going as far as doing research. In fact, I loved Madoka so much that I watched it twice within a week, mainly to see if I could pick up on any details that I missed during my first watching. I was particularly interested in all the supposed references and parallels to Goethe's works (namely, Faust), but as I am unfamiliar with German literature, I honestly couldn't discern much. But, I digress.
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As difficult as it may be, I try to be as objective as possible with my ratings. This task is particularly difficult to accomplish with Madoka, as I would love with all my heart to say that it is an unparalleled masterpiece. But it simply isn't. And I will try my best to explain why.
I can't say that I'm a fan of or that I've had much experience with the magical girl genre of anime. I've watched Sailor Moon, and that's about the extent of my exposure to this particular genre. Therefore, I feel unqualified to talk about genre clichés and whatnot, so I won't say anything like, "Madoka Magica redefined the magical girl genre with its twisted and dark plot" or "Madoka Magica is a refreshing break from the classic cheerful magical girl animes". From a completely objective standpoint, Madoka had a compelling and intriguing plot. It starts off not unlike the typical magical girl anime (or so I would presume): we are introduced to the protagonist Madoka Kaname and her friends Sayaka Miki and Hitomi Shizuki in a typical middle/high school environment. The mascot character of the series, Kyuubey, appears shortly and offers to grant Madoka and Sayaka any wish under the condition that they become magical girls and dedicate their lives to fighting malicious beings called witches which, apparently, are the cause for many unexplained accidents and suicides. Sounds like a simple and innocent proposition, doesn't it? But, obviously, there's more to it that. The story, in short, follows Madoka as she gradually learns of the hardships and suffering that befalls all the girls who choose to accept Kyuubey's offer, and truth behind the witches and the seemingly good-natured concept of wish-granting. The plot definitely introduces one of the more creative concepts I've encountered in my history of watching anime. To be frank, I can guarantee that you will never be bored at any point during the series. The action is fast-paced, the drama is effective but never overdone, and the shock value alone is enough to keep you at the edge of your seat. So where does Madoka fail to live up to my expectations? One of the biggest issues I have with the series is its choice of Madoka as the central character. Simply put, she just doesn't have what it takes to be an effective protagonist. Remember what I said about her being thrown into a situation where she is forced to cope with the consequences of becoming a magical girl? In a sense, I lied. She is never really faced with that situation, because she is always on the sidelines, watching the action unfold around her. It is due to this reason that we simply cannot sympathize with her and her story in the same way that would if she had played a more important role. It's difficult for the audience to feel like they are part of the show because, frankly speaking, Madoka isn't part of the show. It honestly feels as if she could be demoted to the role of the narrator, and it wouldn't make a difference as far as the unfolding of the events is concerned. Until, of course, the last episode. On the topic of the last episode, I must admit that I was thoroughly confused throughout the majority of it. Those of you who have seen the anime will probably know what I mean. I also can't say that I enjoyed the way the series ended. It was, by all means, a satisfactory resolution to a series for which I had difficulty predicting an ending, but, in hindsight, it came across as borderline absurd. Madoka's sudden and drastic change of personality was not in the least bit convincing, and, as bittersweet as the conclusion was, I had a hard time believing that a middle school-aged girl could muster up the courage to show such a huge sense of responsibility and selflessness. I would honestly like to discuss some of the plotholes that cause the believability factor of the series to waver, but doing so would inevitable lead to some major spoilers. I suppose some of them are minor enough to the point that they can be overlooked, but as a highly critical person, I found them difficult to ignore. Hopefully, those of you who have watched or are planning to watch the anime will be able to set these flaws aside and not let them affect your enjoyment of the series. If I were to rate the art of the series on character design alone, I wouldn't be able to give Madoka more than a 5. I simply did not like the way the characters looked. I've heard that the characters look much better in the manga, and apparently not even the animation in the anime did the manga justice. The series has often been criticized for reusing the same bland appearance for all five of its magical girl characters, and this criticism is justified. But it becomes pretty obvious when the witches show up that the characters weren't the major focus of the animation team. The first thing that came into my mind during the first witch fight was that the animation must have been inspired by LSD-induced hallucinations. Although that opinion never really changed throughout the series, I grew to appreciate the witch sequences so much that I was more excited to see the design of a witch's lair than the battle against the witch herself. The sequences feature some of the best examples of surrealist imagery I have ever seen. I guess it's to be expected of a studio that produces art-driven anime like SHAFT. In addition, I love how many elements of a witch's past are (presumably) incorporated into the design of her lair as well, undoubtedly leading to fan speculation on the histories of the many witches featured in the anime. The animation is very fluid and the fight sequences are crisp and well-choreographed. I don't really have any comments or complaints about the non witch lair environments either, although the fact that all the buildings seem to made out of glass really stands out. It gives you the impression that the story is set in a futuristic world. Overall, the series is visually attractive, if one can overlook the mishaps in character design. Simply put, the soundtrack is flawless. The background music never once fails to enhance the atmosphere and manages to evoke a wide array of emotions. You know that you've found an amazing soundtrack when you can enjoy listening to it without the visuals presented in the animation. My personal favourite is Sayaka's Miki theme; although it seems like a joyful song on the surface, a melancholic undertone can be detected upon careful listening. Homura Akemi's theme stands as well, because it is quite representative of her character - cold, mysterious, and spine-chilling. The opening theme, Connect, is a pretty generic J-pop song, suitable for any magical girl anime. The cheerful opening also presents you with images of Madoka engaged in typical magical girl activities, lulling you into a "false sense of security". The ending theme is much more consistent with the atmosphere of the series, and I think the decision to not use it until the third episode was justified. Although unrelated to sound, I must also mention that both themes change visually as the story progresses. I won't discuss all the details, but one of the more interesting changes is that the ending becomes darker and darker every episode, reflecting the gradual descent of the characters into despair. The seiyuus did a great job on the voice acting, and I honestly can't say I have any complaints sub-wise. I particularly loved Kato Emiri's convincing performance as Kyuubey, as her voice remained consistent with his emotionless character throughout the entire series. While I loved most of the main characters of the show, especially Homura, from a subjective point of view, it's hard to ignore the fact that the series has some problems in this department. I have already discussed Madoka's failure as a protagonist in the story section of the review. In addition to this unforgivable "identity crisis", it would be an understatement to say that Madoka is one of the least interesting main characters in anime history. There honestly isn't much to her other than the fact that she's your average middle school girl faced with a not-so-average dilemma. Why the writers decided to centre the entire story around her is honestly completely beyond my comprehension. She does, however, change in the last two episodes and develops an independent mindset and sense of justice. Unfortunately, this drastic change in personality is all too sudden and happens too late in the series to rectify her initial shallowness. On the other side of the spectrum is the mysterious Homura Akemi. She's enigmatic, seemingly emotionless, and doesn't say or do much for the majority of episodes apart from the repetitive "do not become a magical girl" warnings to Madoka and occasional deus ex machina. We do find out later why she has developed into the type of person that she is, justifying most, if not all, of her actions. However, it's honestly difficult to feel sympathy for her because her personality is introduced too late in the series in the span of a single episode. Forgive me for speaking the truth, Homuhomu-chan. I still love you, though. My feelings towards the tomboyish Sayaka are mostly positive. I loved how her descent into hopelessness and despair was portrayed in such a relentless manner. I did feel sympathy for her because, unlike Madoka, she had a strong sense of justice from the start, but her childish naiveté led to her eventual downfall. The subplot with Kyosuke, although extremely generic, was also a welcome addition to the series, as it shed light onto her character and motivations and showed the extent to which she was affected upon learning about the 'fine print' of the magical girl contract. Admittedly, I found that Kyouko had the most interesting personality out of the five magical girls. She's cynical, selfish, hotheaded, and even reveals her sadistic side to Sayaka. Not exactly the formula for a likeable character, is it? However, when the story eventually sheds some light on her past, you begin to understand why she acts the way she does and she becomes even more interesting. It's quite regrettable that she is a major player in so few episodes. As for Mami, there isn't much to say about her, and it isn't exactly her fault. She has a motherly and optimistic character and introduces Madoka and Sayaka to the world of magical girls, but doesn't play a major role in the story. Finally, a couple of words on Kyuubey. He doesn't have much of a personality, and once again, it's not his fault. He initially seems good-natured and innocent, but you soon realize that this isn't the case. It isn't difficult to guess that his intentions are not pure and his manipulative side suggests that he has ulterior motives. Overall, I think the biggest problem of the series is that the seemingly less important characters contribute much more to the enjoyability of the story than those who are essentially forced into the spotlight without much depth to offer. I will say this one more time. I love Madoka Magica and I enjoyed every second of it. And that's why this review was so difficult for me to write. I wanted to present to the community a completely unbiased view on an anime that has been constantly revered as "the best anime of 2011" and even "one of the best animes of all time". The verdict? It simply does not deserve the amount of praise it gets. Don't get me wrong. I would definitely recommend Madoka to anyone without a second thought. Don't let this review change your mind about watching Madoka. After all, it isn't fair to judge an anime based on the opinions of another person. At the end of the day, I guess all that matters is whether or not you enjoy the anime personally.
Reviewer’s Rating: 8
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