Placeholder Image

字幕表 動画を再生する

  • Elementary school was a happy time.

  • It was a period where I knew and liked just about everyone in my classes, something that

  • would not remain true as I moved beyond primary education.

  • I experienced so many things that I simply haven't been able to in the time since.

  • The straightforward joy of running around under the hot sun, sweat dripping down my

  • neck as I desperately tried to avoid whoever wasitin our daily games of freeze

  • tag.

  • The cooler, air-conditioned fun of spending recess indoors, playing Pokemon Crystal through

  • an online emulator because my teacher was nice enough to let me, though we weren't

  • allowed to play Runescape.

  • Sneaking into an unoccupied house so that we could play our gameboys for longer than

  • our parents would allow us on a nice spring day.

  • Life back then didn't feel as it does now.

  • Politics existed, I could certainly feel the effects of racism, but there was an intangible

  • sense of connection between my peers that hasn't existed since, fading as the hegemony

  • of capitalism became more noticeable and routine to my growing mind.

  • Most notably, classes back then had a different air to them; friend groups existed, but the

  • intense cliques of middle school had not yet developed, and while bigotry had reared its

  • ugly head at this stage, the social stratification so characteristic of the world we live in

  • did not seem omnipresent yet.

  • Even those who disliked one another knew who everyone else was.

  • I'm not going to say this is how everyone felt, but by middle school, I only knew all

  • my peers by name, by high school, I couldn't even boast that, and now, in college, I can

  • hardly remember the name or face of a single person who I share a single course with.

  • I might not have interacted with everyone every day, but at the very least, I had spent

  • some time with any given person throughout the year.

  • There was a sense of community to school, one I haven't perceived in a long time.

  • Ojamajo Doremi does many things right, but capturing this feeling of social connection

  • in elementary school may be the element that most makes it stand out.

  • Unlike its elder sister Sailor Moon or its younger one, Precure, this Toei magical girl

  • series is intensely focused on creating a believable cast to populate its leads' daily

  • life.

  • Introducing characters of the week is the norm for long-running shows of this sort and

  • Doremi does an excellent job at preventing this from feeling like superfluous material

  • meant to bridge the gap between story-relevant episodes.

  • Forgoing a monster-of-the-week format, the series is free from the pattern that, while

  • certainly fun in magical warrior shows, tends to feel more limiting than liberating by the

  • end of most year-long runs.

  • Here, the only requirement is that magic be used in some way, allowing for a more diverse

  • set of scenarios that aren't forced to stuff fights into places they don't fit.

  • This is paired with a heavy focus on the main girls' class.

  • In its 51 episode run, over a third of episodes are focused specifically on various classmates

  • and school staff.

  • Episodic entries that flesh out side characters are always an effective format to make use

  • of in series like this, allowing them to tackle all sorts of emotional problems that the plot

  • and protagonists would never touch on.

  • Take the girl who lies in order to get attention from her classmates, with the show ultimately

  • demonstrating that she's a shy girl who enjoys writing fiction and is just a bit lacking

  • in self-confidence, while also very possibly having a crush on Aiko.

  • Similarly, look at the episode where the class's resident rich bully is shown to be just about

  • as insecure as you would expect, helping her to connect with another girl in her class

  • who also has father issues.

  • These episodes are all great, and the show delivers upon them perfectly, which isn't

  • unexpected given that it's got some of Toei's best directors on it, including Junichi Sato

  • and Takuya Igarashi, reunited two years after Sailor Moon.

  • However, what makes it really work is that these aren't just one-off episodes.

  • These members of the class return, usually in the background but occasionally interceding

  • into a given episode's plot.

  • Doremi may not talk with, say, Marina all that often, but she's there, and this is

  • a key part of the show's appeal.

  • The series is very focused on how magic shouldn't be used as a crutch but instead as a tool

  • that can assist you in improving your communities and helping people wherever possible.

  • As the test-administrators say on the eve of their final exam

  • Rather than simply state a moral like this with no elaboration, expecting it to resonate

  • due to the obvious importance of being a nice person, the series takes time to build up

  • whothe peopleare.

  • It would be hard not to see some of your own friends or classmates in certain characters

  • so the moral resonates stronger than it might in a less deft series.

  • This focus on the side cast is made more important when we look at the main characters.

  • Much of what characterizes the so-called Ojamajo comes from their interactions with others;

  • Doremi is a classic pink clutz who's quick to make friends with anyone who isn't a bully

  • Aiko is a comedy-oriented tomboy who's always ready to stand up for others,

  • and Hadzuki is perhaps the purest cinnamon roll this side of Steven Universe, willing to help anyone

  • out though not as naive as you might expect.

  • The other two witches are similar, with Pop being a genius at gathering people around

  • her while still maintaining a childish vulnerability,

  • contrasted to Onpu's more backhanded approach

  • to life, using her idol veneer to hide her manipulative nature which itself covers her

  • more altruistic traits.

  • These are character bios that work on their own, certainly, but when these girls spend

  • over 20 episodes interacting with various members of their class, not even including

  • the similar moments interspersed through more plot-focused episodes, these traits cease

  • being just another set of attributes on a character sheet, just one way of marketing

  • towards database consumption, and show signs of making up an actual personality as such.

  • Watching Doremi, I found myself longing for the days of elementary school, before my secondary

  • sex characteristics began showing themselves, forcing me to show myself far less often.

  • Back when my knowledge of politics was a vague awareness that yes, we were still at war in

  • the Middle East, and there was a recession.

  • Frankly, a time when it was easy to make friends with everyone, where I didn't have comments

  • calling me expletives every day that would get me demonetized if I were to repeat them

  • here.

  • It can't be said that any of us had magic in our childhoods like the girls in Doremi

  • do.

  • But, in all shows of this type, we have to question, what is magic, ultimately?

  • In my view, it's something meant to connect people, a tool designed to recreate the social

  • fabric which capital, in its centuries of increasing dominance, has utterly stripped

  • away.

  • In that, it may serve as a bit of a false panacea to the harms of our time, but what's

  • wrong with dreaming a little bit?

  • Childhood, at least in developed countries, is a time where this social fabric still feels

  • present, if just that little bit, where capitalism, while obviously hegemonic, has not come to

  • totally occupy our mental processes.

  • Remembering a time in our lives before we fully felt the effects of capitalist realism

  • is quite hard, almost impossible, and none of us make it to adulthood, or even to adolescence,

  • without accepting on some level that capitalism is simply how the world works, and structuring

  • our lives around that.

  • It only makes sense to add a supernatural air in portraying that prelapsarian state,

  • as the magic here is ironically a necessary part of making the experience feel genuine

  • instead of cloying.

  • Doremi isn't the only show that's taken this approachits siblings do the same

  • thing, if for different endsbut it's a rare breed in perfectly capturing the feeling

  • of being a child, with all the joy, sorrow, and hopeful naivety that comes with.

  • It's not a time I'd like to go back to, but it's a time I miss.

  • Next time we're going to be watching a real classic, one of the first idol anime and an

  • early example of real robots, so check back in a month for the next $5 patron video on

  • Super Dimension Fortress Macross!

  • Thanks to my patrons who made this possible, especially my $10 patrons,

  • Alice Vey

  • Annalisanig Petra

  • Jolyne Munson Rose

  • Cathleen Rau Shadowfish

  • PjammaGod A Huge Pair Of Cats Who Are Friends With Anime

  • Characters Blanc

  • John Clark DJJax

  • Daysofsummer Wardog_E

  • Michael Tersigni Mad Marx

  • You can also give me a one-time donation with the Ko-Fi link listed below, find where else

  • I'm at in the description, and I'll see ya next time, bye-bi!

Elementary school was a happy time.

字幕と単語

動画の操作 ここで「動画」の調整と「字幕」の表示を設定することができます

B1 中級

押しつぶされる資本主義の大人の魔法の逃避行-おじゃまじょドレミ (A Magical Escape from Crushing Capitalist Adulthood - Ojamajo Doremi)

  • 35 4
    二百五 に公開 2021 年 01 月 14 日
動画の中の単語