The rise of overly dark Magical Girl shows, which contain suffering for no other purpose than to display said suffering, largely stems from a complete misunderstanding of what Madoka was, and what made it great.
Madoka spends two and a half episodes setting up a happy, cheerful, Magical Girl show, and then spends eight and a half episodes rejecting that premise, showing that hope only leads to despair, that a wish will lead to a curse, that things cannot fundamentally improve, and that trying to make things better will only bring suffering upon yourself and others. This is what derivative "tragical girl" shows were about; the suffering of young women for its own sake, as if that was the point of Madoka, as if the suffering was the entire point.
The last episode, however, has Madoka herself rejecting the show's entire premise. She's told hope leads to despair, and exclaims "If someone says it's wrong to have hope, I will tell them they're wrong every single time.". She's told that the very foundation of the universe leads to suffering being inherent, constant, and that the only thing one can do is to endure said suffering as long as one can bear, before falling to despair and inflicting the suffering one has experienced unto others; she's told that any wish will become a curse, yet ends the show saying "All those Magical Girls who held onto their hopes and fought against witches, I don't want to see them cry—I want them to stay smiling until the end. If any rule or law stands in my way, I will destroy it. I will rewrite it. That is my wish, that is my prayer.""
Walpurgisnacht had been set up as the most terrible witch to ever exist up until that point, and the viewer had been led to believe they'd fight to the death against it, and inevitably lose—as a Magical Girl seemingly always does in the Madoka universe. Madoka does not fight her, Madoka shows compassion, simply stating "It's okay. It's okay now, you don't have to hate anyone anymore, you don't have to curse anyone anymore. I'll go back, before you took that form, and shoulder that burden for you". There was no fight, and Madoka simply took on her despair, as she took on everyone else's, allowing them to once again have hope.
That's why the ending of that silly meduka meguca copypasta does make me cry every time; we pray, never to forget, that being Meguca was suffering. It's not anymore, there are struggles, but there always are in life; the Magical Girls who held wishes in their hearts prevailed against the very concept of the show, with the ending showing that you can make the world a better place through love, compassion, and the power of a wish. The twist in Madoka Magica isn't episode 3, where the first explicit death is shown—it's in episode 12, in which it shows itself to have been a completely normal Magical Girl show all along.
Mononoke series' new Medicine Seller! Hello there Qian/Ken!
First of all: I love him already.
Second: we HAVE to talk about this outfit.
Let's go through this bit by bit, shall we?
(For simplicity's sake, I'll be referring to the sellers by their Japanese sword names, Ken, Kon, and Ri, and to the trigrams by their Chinese names, Qian, Kun, and Li.)
Firstly and most strikingly: the colours. We're leaning heavily on a yellow-gold colour scheme, with highlights of orange and a minty green and contrasting purple. Historically, in China the colour of heaven was yellow/gold, and in some eras only the emperor was allowed to wear this specific rich shade. Very fitting for the sword of Qian, representing heaven.
Secondly: the kimono and how he's wearing it. Ohhhh boy. So just like Ri and Kon, Ken is wearing a woman's kimono, though it's folded up slightly shorter than normal, presumably to make moving around easier when fighting, and to allow us to see those beautiful hakama, which we will come back to in a moment.
This kimono has furisode sleeves, and possibly some of the longest furisode we've seen outside of Ooku characters. These are typically reserved for unmarried women - interesting, because Qian is a deeply masculine trigram, arguably the MOST masculine, as it is three unbroken yang lines. Fittingly, Ken is wearing the kimono with one sleeve off, a style typically associated with samurai, ronin, and other physical fighters to allow for more movement.
His obi belt is also quite slim compared to how Kon and Ri wear theirs, and most notably, it seems to not have the massive bow knot at the back that the other two do. Hard to say more on it while we don't have a full turn around, but smaller and more subtle knots are, once again, a much more masculine way of tying an obi than we're used to seeing on sellers. The feminine vibe is still there with the himo (oh, and look, that's where he's keeping his mirror), but with it positioned further down and being a plain black, it's definitely more masc.
Hakama are a split-skirt type outfit similar to trousers, and perform a similar function - they were invented for horse riding, which makes sense, as the animal associated with the Qian trigram is the horse. While both genders wear them, they're much more common for men, especially if this is again set in a pre-Showa era time. Over all, the whole outfit is much more masculine than any we've seen before on a medicine seller, which is very interesting, and carries some implications for the Shingi of Qian too, as they tend to contrast with their sellers (just look at Kon's excessively loud and colourful outfit vs his shingi's very understated pure white kimono).
(Ri and Kon also wear trousers under their kimono, but they wear momohiki, or something close to it, cut close to the ankle and drawn up to allow for movement, much more common for working class people than hakama.)
This tight sleeve that ends in a ring on the finger is called a tekkou (or rather, the long version is a nagatekkou), and was typically worn by archers to protect the arms and chest from the bowstring, as they would typically disrobe one shoulder to fire in some instances. They can extend to the forearm, or all the way up to the chest. I don't have much to say about this one, but he is the first seller we've seen with one! I love how we can see some of his kumadori makeup peeking out, and speaking of which.
Interestingly, almost all of Ken's kumadori body paint is black, unlike Ri or Kon's which is predominantly red. We can also see a lot more of it. All the medicine sellers wear kumadori markings that echo those from kabuki theatre. They serve as a visual shorthand for what kind of character is being played. Red on white is explicitly youthful and heroic, with a sense of justice - very fitting for Kon's high energy character. Black paint, by contrast, is typically applied to villains and demons, particularly around the face and mouth.
(Oh my god look at his little fang while he's fixing his earring i LOVE him)
For his face, we see something quite interesting - unlike Ri or Kon, he has barely any lip paint, but what he DOES have is a little bit of green on the bottom lip and an extremely thin purple line on the top. Around the eyes we see another little highlight of green on the eyelid, and thick black around the lower lid. Green is often a marker of the supernatural or the undead in kabuki theatre, which fits well enough here. He's still got that red stripe on the nose that marks him as heroic, but the incorporation of black into more of his makeup would give any kabuki-knowledgeable people a cause to be wary - this guy's just as likely to hinder as help you.
The sword. This is one scary looking sword if I'm completely honest. Maybe it's the bulging eyes or the way the teeth are rendered, it upsettingly resembles a bird with teeth to me. Let's consider the others for a moment.
Compare and contrast, Kun and Li. The sword of Qian has a narrow but MUCH longer hilt. The blade looks proportionally longer too, or at least the sheath is. As a result I'm not entirely sure how Ken fits it in his travelling pack - though we haven't seen what his looks like yet, so perhaps he uses something different to Ri and Kon.
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