In Japan, like anywhere else in the world that has been exposed to anime and its otaku culture, there’s no secret that there’s still a feeling of disdain and belittling among the larger societal forces towards anime and its sub-cultures-especially within the populations that aren’t too familiar with the subcultures and its appeal. Shows like this are intended to make a larger social commentary about the state of its broad social sphere. The basic premise of Magical Destroyers derives solely from the notion of ostracization of Otakus and Otaku Culture and how media such as Magical Destroyers anime utilizes it for commentary purposes as a form of entertainment. In theory, with the exploration of its concepts such as why the Japanese Government has decided to take on its own deeply ingrained culture, and, by extension, the economically successful industries that derive from it, could be utilized between its supposed key plot points and conceive a show more than just a surface-level presentation. Going beyond its debut episodes, Magical Destoyers’ unwillingness of sticking to its core premise for more than a couple of episodes at a time was the ultimate detrimental fallout in its place.įrom the get-go, the initial impression of its premise can be served for the entirety of the runtime as the plot point involve finding, rescuing, and recruiting the two crucially absent magical girls could take time and effort, as well as the difficulties due to their limited remaining forces, and the endeavors that come with a governmental crackdown that is three year into its operation. With an already intriguing setup such as this, Magical Destroyers still found itself lost in its own directional ideas and tonal inconsistencies that were scattered throughout. With only one of the three magical girls remaining and the other two gone either missing or captured, the rebels’ ultimate goal was to rescue and recruit the magical girls once again to even have a slim chance of fighting back against the forces of suppression. This particular group of rebels, led by a famed figure known as the “Otaku Hero” along with his magical girls have long lost their strongholds elsewhere in Japan. Fast forward to the year 2011, the suppression has brought the masses to the brink of extinction, pushing the last group of remaining otaku rebel forces to a secluded area within Akihabara.
#Magical girl site plot crack#
for unknown reasons, decided to crack down on its otakus and the culture within the country. Set in a fictional timeline of the year 2008, the Japanese Government, Siding mostly with sympathy for otakus and the cruelty of being ostracized for liking anime and its subcultures, Magical Destryers desperately wanted to convey a guilt-driven fantasy for the unfairness of being misrepresented and illy treated by a larger, ambitiously as well as ambiguously presented “societal”’ forces that want to eradicate them from the face of Japan. It’s an experimental anime that attempts to make an appeal to its broader otaku-orientated audiences while also composing a social commentary about the otakus and its culture. Mahou Shoujo Magical Destroyers is an interesting one.
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