Well i draw this version of naturetale Chara some time ago. I didn’t know their flower was the golden flower or their name was Goldie….
In this version I see Chara with red and dark color, with their eyes open and cleary visible (in constrat to Butter).
I imagine them associated with the flower Red spider Lily (Lycoris radiata, also known as red magic lily or resurrection lily) so their nickname could be Lily? x) maybe Red?
Also, there is a lot of meaning around these flowers, like they guide the dead into the next reincarnation.Some legends have it that when you see someone that you may never meet again, these flowers, also called corpse flowers, would bloom along the path. (source wikipedia)
BACKGROUNDS MAIN PACK #01A - EPHEDIA’S CASTLE and THRONE ROOM (Light)
You’ve seen our characters’s and prop’s main pack, now it’s time for the backgrounds !
We finished with the Queen and King, so let’s continue where it all began : the castle of Ephedia, and the Throne Room.
Now, it’s Gramorr’s headquarter (and prison), but he didn’t build this place : he only took it over ! So we had to create both the Castle and the Throon Room in their best day, “before Gramorr”. You can see how these room are filled with light, in order to constrat with their dark future…
Designs by Christophe Oliver, Benoit Maillochon and Vincent Rueda. Color by Sylvain Fabre, Céline Lorthiois and Damien Hausson.
Soy de quién tiene la valentía de seguir agarrando mi mano, pese a todo. Soy de quién regresa, de quién construye, de quien no reniega de mis ruinas, de quien no se aburre de mis contrastes y matices. Soy de quién me mira y no le asusta lo que no tiene la capacidad de ver. Soy de quién no le atemoriza mis huidas, de quién tiene la certeza de mis regresos. Soy de quién me lee y sabe que escribo para curarme. Soy de quién conociendo mis imperfecciones, decide quererme así. Soy de quién tararea nuestra canción pese a los ruidos. Soy de quién ama las curvas de mis rizos, mis fronteras y palmeras. Soy de quién no da un paso atrás, de quién me ve cuando cierra los ojos. Soy de quién al apagarse el mundo sigue creando unos cuantos más para vivir. Soy de quién no se rinde, de quién se ajusta al tiempo, de quién me abraza los pedazos, de quién no intenta remendarme pero me ayuda a sanarme.
(Disclaimer: thank you to all the people who have done this sort of analysis before me, as I have been inspired quite a bit by them. Special mentions go to the Madoka Wiki and the wonderful book “The very soil” by Jed. A. Blue which I will use ideas of in this analysis ))
The story begins, quite fittingly as we will eventually see , with the rise of a curtain, much like an act in a play. Not only does this play into the more storybook and fairytale aspects of the series, but it also is a nice foreshadowing of Walpurgisnacht’s influence over the visual medium (or even Homulily’s) as we will see in episodes 11 and Rebellion . The visual style of the curtains is, as “The very soil” points out, also similar to postmodernism works that reinvent artistic tropes to create wonder or fear, while at the same time harkening back to traditional japanese kamishibai which could be considered a precursor to anime itself. This way, as will happen many times throughout the show, two oposites (old and new) come together to be one.
And so in the very first seconds, we already experience the witch runes, which in a way reminiscent of Gravity Falls reveal very intriguing stuff when decoded. This one here reads “
Prolog im Himmel 2011″
Prolog im Himmel
is german for Prologue in Heaven which is the title of the first scene in Faust, where God and Mephistopheles wager Faust’s soul. This will not be the last of the allusions to Faust in this series, because as the 2011 seems to imply, this could very much be the retelling of the famous german myth.
The last shot we get before we properly begin the episode stars the looming shadow of the insurmountable threat that Walpurgisnacht very much represents. The rose-like halo it seems to have, along with the triangular shape of the shadow makes me draw similarities to a corrupted figure of worship, one that instead of hope brings futility.
After this whole slew of information flashes by in three seconds, we encounter this visually stricking blend of black and white, a monochrome chessboard twisted and turning, order and chaos spiraling away to a scene of ruin.
I have to really underscore the complexity and gorgeous nature of these abstractions, which again serve to convey a really unearthly feeling . We are as lost as Madoka herself in this maze of wonders.
This part’s similarity to the opening does not go unnoticed. Madoka is constantly running in the middle of all this madness, always being a side character in her own story, slowly learning far more about the nature of her “play” that the incubators would consider safe, and will use that knowledge to eventually bring fate to its knees.
As Madoka runs and runs, she encounters this Exit Sign, which not only seems almost comically mundane in all this oddness, but also breaks the monochrome with a bright green, as only Madoka herself has been capable of doing so far. In the future, Madoka will exit herself from the narrative walls of the story, becoming an abstract concept, so this seems very fitting.
SHAFT is really good at doing these close-ups of their lower faces, and this little moment she waits before running ahead is a wonderful paralel to when she takes a deep breath before wishing.
As she goes throuugh the door we are shown a breathtaking view of a ruined world, stormclouds and skyscrapers floating in the air as we zoom out from an ominous tree similar to the witch as “Magia”, the series’ own theme song plays gloriously behind,
Clockwork is a big motif for both the witch, and ultimately Homura as well, and the loops they both share
I just adore this shot. So iconic. The witch of hopelesness floating above a ruined Mitakihara, as many timeline before this one have experienced.
And so Homura Akami appears before her official appearance later in this episode, fulfilling the role of the strange exchange student that she will slowly deconstruct. Homura and Kyubei in this scene could be the God and Mehistopheles that wager Homura’s soul, altough it feels funny to consider Homura as the god considering the later events. Maybe Madoka and Kyubei, which her choice to become or not to become, are wagering her soul…
The first fight between Magical Girl and Witch is breathtaking to see, the bright red flames of Walpurguis being a wonderful constrat to the dull grey.
Our little furry mastermind couldn’t make a better apearance. Offering Madoka the chance to change this poor girl’s fate, empowering her, prying to her self-doubt and desire to both help and be relevant in some way, ultimately, as we will later see, being succesful. Kyubei’s whole demeanor and appearance appeals to the presence of a “magical power-granting pet” as is usually the case in most magical girl anime. Kyubei as we will later see, is so much more than that.
A little pink cog in an uncaring, cold and logical energy extraction machine. That’s what Madoka has always been to the incubator race. Even if they don’t have emotions themselves, they know damn well how to manipulate those same feelings. And so, as a girl falls in anguish about the hoplessness of fate, and other panics over the future’s uncertatinty, this intro comes to a close.
A brand new day has started for Madoka Kaname who can’t wait to reunite with her friends on the way to school while she wonders about who exactly was this mysterious girl who gave her the oddest sense of deja vu.
Well, I don’t have time to write any more today, but these will come daily, so there that ^-^
Tell me what you think of this first installement : 3