MADOKA MAGICA SPOILERS

In Madoka Magica, if a magical girl grows up without succumbing to despair, does her magical girl form grow up with her?

It could be a rare thing, for sure, but how cool would it be for magical girls to gain powers and adornments based on their own personal arcs?

For example, say Madoka and her family–maybe a few mahou magi, too–survive Walpurgisnacht. She grieves the losses, but she doesn’t regret making her contract, more assured than ever of her ability to protect those she loves.

Sayaka loses Kyosuke to Hitomi and spirals into self-loathing, as in the well-known timeline. But something is different, perhaps Kyoko in danger, or even Hitomi, and Sayaka must put her issues aside to save her. Hitomi somehow reaches her heart in a way the others couldn’t, “you’re still my dear friend Sayaka, and without you, I’d be dead.” She realizes that her transformation, though misguided, saved her friend’s life; compared to that, a boy’s affection might seem insignificant.

Mami thrives, surrounded by a sisterhood of magi, taking in the joys of life, friendship, and kindness. They withstand hardships and revelations together, and Mami accepts that wishing to live, though selfish and short-sighted, was the best decision she could have made.

Kyoko has it hard. Her wish killed her family and made her afraid to think of anyone but herself. But Sayaka breaches her walls, and as they grow together, they both learn that wanting good things for someone else isn’t a sin.

Homura. She reaches acceptance of Madoka’s role in the universe, and of her own role in a world without Madoka’s earthly presence. She senses Madoka’s kindness and love in everyone, including herself. She’ll miss her forever, but she knows Madoka will be proud when she finally meets her at the end of her long journey.

Their outfits would change, along with their powers. Madoka could mature from sweet lolita archer to an elven or fairylike figure; Sayaka gains armor and a shield to protect her friends; Mami gets support spells and some additional, closer-range attacks to aid her team; Kyoko can pair up with Sayaka to do devastating damage with Sayaka’s shield at her back; and Homura gains more splendor as time passes, plus the ability to turn time backward second by second–and probably learning costly lessons each time, but growing stronger as she learns more about acceptance.

I wish I could draw. These sorts of things would be a blast.

  • Madoka: I wish my boobs were as big as my depression.
  • Homura: I wish my depression was as small as my boobs.
  • Kyoko: I wish my boobs were as big as my ego.
  • Mami: I wish my ego was as big as my boobs.
  • Sayaka, drooling: I agree with everything you guys just said.

Homura Akemi needs Extensive Therapy and a Hug: An Analysis

I know Madoka Magica discourse is super dead at this point in time, but I need to get some shit out of my system. I rewatched the entire series (again) and I seriously can not comprehend how people call Homura a bad character for what she did in Rebellion.

She is willing to trap herself in a Lotus Eater Machine of her own creation for the sake of protecting Madoka, and she doesn’t care if she has to suffer ceaseless torture for the rest of eternity in order to prevent the Incubators from getting their hands on the Law of Cycles.

The scene where she becomes a witch is particularly poignant, as it is both beautiful and terrifying as a reflection of Homura’s mental state. Reality around her begins to deconstruct as she comes to the realization that she is trapped in a labyrinth.

The bus she is riding on becomes engulfed in flames as grandfather clocks chime around her, representing her futile struggle against the passage of time and her devolving grasp on material existence.

The Clara Dolls appear before Homura as she is overcome with despair, in an avant-garde surrealistic paper cut out art style that serves as a physical manifestation of Homura’s perceived faults, such as arrogance and selfishness.

Homura’s color palette becomes distorted with fiery warm hues as her hair floats around her, and the ground she is kneeling on becomes replaced with a meadow of spider lilies. These flowers usually bloom near cemeteries during the autumnal equinox and are symbolic of death and loss. They are said to grow along the path when one is destined to never see someone again, which correlates with Homura’s relationship to Madoka.

The entire world is bleeding and burning all around her as Homura tears herself apart in a desperate attempt to kill Kyubey and herself. Homura’s misery overwhelms her as the otherworldly labyrinth unfolds around her, reflecting her state of psychological torment and anguish.

Suddenly, it cuts to a shot of Homura as a naive little girl again, watching in horror as Madoka takes the position of Christ on the cross.

She watches in agony as the love of her life through the ground and disappears, leaving behind only a pink splatter on the grass. This biblical allegory demonstrates Madoka’s self-imposed martyrdom, and how she ultimately sacrifices herself for the greater good and erases the memory of her existence from the minds of all of her loved ones, excluding Homura.

Homura is plagued by the haunting memory of losing the person she loved the most, and her very purpose in life is invalidated due to the lack of a savior figure for her to protect and dedicate herself to. Homura, in a frenzy of frustrated melancholy, obliterates an effigy of her younger self by pounding it into the dirt with her fists, hopelessly sobbing as she quite literally destroys herself. This scene also epitomizes the prominent Faustian allegory employed throughout the series: a horror imbued exemplification of the consequences of selling one’s soul to the devil.

This sequence of events also provides an introspective insight into the cognitive thought process of Homura’s mind as she is dragged into the depths of despair. Her desolation is so intense that she begins to hallucinate visions of her subconscious suffering and repressed traumatic memories, completely losing herself to her misery and losing contact with reality. Her experience of painful mental corruption reflects the debilitating condition of experiencing psychosis or schizophrenia, combined with the sorrows of living with severe depression. Her remaining mental faculties endlessly revolve around continuing her own self-victimization, her very consciousness ensnared with in a labyrinth made of her sins and regrets.

She is forced to relive the worst moments of her life ad nauseum for all eternity, watching helplessly as she is forced to mercy-kill Madoka in a timeline long abandoned.

She must also endure inhumane amounts of physical pain on top of the mental torture, as the familiars in her labyrinth are programmed to carry out her execution. She transforms into Homulilly, a physical embodiment of her guilt and sadness, and Homulilly is promptly decapitated by a guillotine. In the end, she becomes unable to do anything but suffer, while everything about her Witch shows how much she yearns for death. She willingly becomes completely disconnected from the Law of Cycles, which would be her only salvation from enduring a hellish fate worse than death, as she resigns herself to spending the rest of time in unbearable agony of her own free will, as she does it for the sake of protecting Madoka. She is content with this ceaseless torment because she is willing to do anything for the person she loves the most, and more significantly, because she thinks she deserves it.

Honestly, it’s blatantly obvious that she’s just a mentally ill teenager in need of serious help, and that her behavior stems from her instability. She was already in a bad mental state before the series even started, and the years of trauma and emotional torment only served to warp her mental state and self perception. She’s not a bad person. She’s a traumatized fourteen year old girl who’s doing everything in her power to save the person she loves the most. Even if she’s going against Madoka’s wishes, she truly believes she’s doing the right thing by creating the ideal life for her.

I could also go on a whole tangent about part of the reason why people characterize Homura as abusive/manipulative is because of the terribly ableist “Psycho Lesbian” trope that people tend to project onto her. People love to characterize wlw in media as being bad and predatory, despite the homophobic implications of regarding wlw characters as dangerous or “crazy.” Homura’s behavior is perfectly understandable when analyzed through a psychological lens. It’s obvious that she’s in a lot of pain, and her suffering becomes a catalyst for what she ends up doing at the end of Rebellion.

TL;DR: Homura Akemi isn’t a bad or selfish person. Although her actions are not particularly morally sound, referring to her as “abusive” is not only ableist as fuck, but plays into incredibly damaging homophobic stereotypes.

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Mystic Messenger x Madoka Magical 💌💓🎃🎠 I like doing crossovers✌✌

Edit: I’m aware of the rules Kyubey follows when it comes to giving contracts to girls only. I just wanted to play a “what if” situation where either one of them makes a wish that gets everyone in the RFA involved in becoming Magicals or a “what if” where Kyubey decides that males seem like an elligible choice in receiving contracts as well. It’s just me having fun with my art and reimagining circumstances, hope you guys can understand. Thanks and have a good day everyone 😊