luna nova

A look into the mind of Little Witch Academia’s Atsuko “Akko” Kagari

“Emotional pattern: yellow. Predictive ability: zero. Objectivity: zero. Traits: impulsive, selfish, pushy, simple, clumsy, carefree.”

-Croix’s personality analysis of Akko Kagari, Little Witch Academia, Episode 15

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Little Witch Academia and “a big bad” (or lack thereof)

“The show is getting boring. I still like it, but there’s no big bad.”

Naturally, this is paraphrased. Yet a common complaint of the first half of Little Witch Academia‘s television run was that there was no true antagonist. Akko Kagari wasn’t improving fast enough in her magic. Watching her fail episode after episode was becoming tedious. Diana Cavendish wasn’t Akko’s adversary as much as she was her rival. Even then it was a one-sided rivalry. Akko failed most of the time while Diana continued to garner acclaim from her peers and teachers alike.

Episode 13 marked the end of the series’ first half and the end of Akko’s complete failure. With her magic at the Samhain Festival, Akko stepped up and became the witch who impressed her peers and teachers alike. Even the visiting alumni were dazzled.

The series has now entered its second half and a presumed “big bad” — at the very least, a true antagonist — has appeared: Professor Croix.

Yet, I maintain that she too is not a true antagonist. And that Little Witch Academia doesn’t need a big bad to be compelling.

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Becoming Diana Cavendish — perception and visual framing in Little Witch Academia

Who is Diana Cavendish?

What makes her, Diana Cavendish?

Take away the prestige attached to her recognizable family name and the simpering sidekicks. Treat her like any other student at Luna Nova, albeit with similar magical talent but less training. Would she inevitably rise to the top of the school or would she become just another student as magic continues to fade from existence?

If she isn’t the last hope of Luna Nova and the art of magic, then just who is Diana Cavendish?

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Spectacle and Service — Little Witch Academia and the purpose of magic

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How useful is floating a teapot in the air to serve hot tea?

Although both tea and wine have tannins — in varying amounts depending on steep time and prior to separating grape juice from the stems and skins in the case of wine — the former hardly needs to be aerated. Height is not necessary in the pour. And even if it was, a human could do the same with an equal amount of training.

What is the exact purpose of Diana Cavendish floating her teapot over to her teacher other than to pass her exam? Does she offer a service that couldn’t be provided by human hands?

No, she does not. The action is essentially useless.

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Little Witch Academia on “magic (anime) is dying.”

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“Luna Nova is reaching the end of its usefulness anyway. All I want is to collect on it before its value drops to nothing.”

-Fafnir to Akko Kagari, Little Witch Academia, Episode 5

How many times have we heard the phrase, “anime is dying?”

How many times have we heard its sister phrase, “anime was a mistake?”

Both of these memetic sayings have been repeated ad nauseam, accompanied by the latest screencaps or bits of dialogue from currently airing series, across various forms of social media. The latter is a misattributed quote to legendary anime director Hayao Miyazaki, subtitled over scenes from the 2013 documentary on Miyazaki’s Studio Ghibli, The Kingdom of Dreams and Madness.

Although “anime is a mistake” is a false line, Miyazaki has continuously and cantankerously expressed derision towards the modern anime industry — among many other things — in interviews and his own memoirs. His attitude is not a recent shift, but an opinion reiterated and repeated over time. “Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know,” he said in an interview for Golden Time (translated here on rocketnews24). “It’s produced by humans who can’t stand looking at other humans. And that’s why the industry is full of otaku!”

Yet the inspiration of so-called lowbrow anime to a fledgling animator is what Little Witch Academia is all about. “There is the story about Hayao Miyazaki entering the anime industry because he was moved by Panda and the Magic Serpent,” Little Witch Academia director Yoh Yoshinari said in an interview about the original OVA. Then he watched the movie again afterwards and was disappointed by how bad it was (laugh). Yet, even if it’s actually not enjoyable at all, it can be irreplaceable for that person. What’s important is the feelings you got from watching it, and the fact that you had admiration for it. That’s the theme we were looking for.”

This will be a bit of a stretch for some, but another framework through which to view Little Witch Academia is a continuing celebration of the anime fan.

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