User:Kelvinchan9786
Introduction
My name is Kelvin Chan (Hong Kong), who is a fan in PMMM. I usually contribute the fan by writing analyses and arrange music score about Madoka's BGM or songs.
Analyses
I do analyses in video and in text.
| Date | Japanese Title | English Title | Hyperlink |
|---|---|---|---|
| 12/8/2021 | 円環の理のメカニズム | Mechanism of Law of Cycle | |
| 12/8/2021 | どうしてまどかは"全て魔法少女を人類に戻す"と契約しないの。 | Why Madoka does not contract with "returning everyone to humans"? | |
| 12/8/2021 | 魔法少女まどかのエネルギー論 | Theory of Energy of PMMM | |
| 13/8/2021 | どうしてアイは自分を消滅したいの。 | Why does Ai want to eliminate herself? | |
| 14/8/2021 | 第十話について分析 (1) | Analyses about Episode 10 (1) | |
| 15/8/2021 | 第九話について分析 | Analyses about Episode 9 | |
| 16/8/2021 | マギアレコード2期:第三話について分析(2) | Analyses about Episode 3, Magia record 2nd season (2) | |
| 21/8/2021 | 第十一話について分析 | Analyses about Episode 11 | |
| 28/8/2021 | マギアレコード2期: 第四話につい分析 | Analyses about Episode 4, Magia record 2nd season | |
| 4/9/2021 | まどマギ ー 第一話について分析 | PMMM - Analyses about Episode 1 | |
| 1/11/2021 | 第二話について分析（１） | Analyses about Episode 2 (1) | |
| 17/1/2022 | / | Strict analyses of Time what Walpurgisnacht no Kaitem Describes (with conclusion) | reddit, (see below) |
Texts of Analyses
Whether Homura's action is good or bad
(The following text is written on 24/12/2021, on a reply in Facebook)
- The most fantastic part of this anime is that you can't clearly judge whether a character is "good" or "bad" (It can't be completely polarized). Even for Kyubey, perhaps it is bad for humans since humans are sacrifaced for the sake of energy, but it has a macroscopic view on the life of the universe. Even that the humans can withstand, the universe would be eliminated and the destiny of the humans would be death also (or even worse)
- The emphasis of Homura's action is love. Love cannot be easily judged whether such is correct or not. As this is independent to the justice and correctness. Note that Homura does not fully defiled the law of cycle, so somehow it proves that love and justice are independent in this context), so it is impossible to merely judge that "Homura is bad" based on direct opposition of justice.
- You could say that Homura "saves" Madoka so that Madoka does not have to bear the responsibility of being a God (which might be seemed to be good). However, it might not be what Madoka wants. The responsibility to see others suffering (in particular, seeing magical girls suffering from becoming witches) might be larger than self-disappearance (which might be seemed as good).
- In addition, is Homura's action completely based on Madoka? Here is the tricky point. At the point of view of Homura, Madoka is a person who Homura sees for many times, and somehow she is the key person in Homura's life. However, at the point of view of Madoka, Homura is just a transferred student for about half of a month. Is Madoka's love to Homura identical to Homura's love to Madoka. I can't say that Homura's action is completely based on herself, but perhaps parts of it? (Extended question: Is "doing thing based on self-opinion a good or bad thing?")
- Based on #3 and #4, it is a simulatneous good and bad of Homura's action. In other words, "goodness" or "badness" is not indicative to judge Homura's action. Conclusion of my opinion: It is meaningless to determine whether Homura's action is good or bad, since it is based on love, not based on justice (Despite saying "meaningless", your question is somehow very interesting and worth to be discussed, so I want to particpate in the discussion. Please don't think that I am blaming at you)
- I forgot whether it is mentioned in ep 10 or 11 - The scene that Homura hugged Madoka and cried in her house - Saving Madoka is the only direction of her life (but “reaching goal” and “loving her” are not contradictory and can be simultaneously happened)
- I don't think that Madoka's becoming God satisfies Homura's dream (i.e. it does not satisfy so), since it is impossible to “save” sb that does not exist.
Strict analyses on Time what Walpurgisnacht no Kaiten Describes (with conclusion)
(The following text is written on 17/1/2022)
The following texts discuss what time does ワルプルギスの廻天 (Walpurgisnacht no kaiten) refer to (with final conclusion, not barely discussion): (Disclaimer: I bought Wraith Arc but I just literally forgot most of the content. Please tell me if there is some deduction that is contradicted to the books)
Here are the following facts that might help us thinking:
- Fact 1: There is Walpurgisnacht Night holding in every timeline.
- Fact 2: Ultimate Madoka rewrites the whole world, i.e. Walpurgisnact witch should not be existed.
- Fact 3: Devil Homura rewrites the whole world again.
- Fact 4: Homura has the ability to change the memorization of a person.
1. Existence of madoka
Several problems arise:
- Problem 5: (Based on fact 4): Did Homura ever change her mind for existence of Madoka.
- Problem 6: (Based on fact 4): How others recognize that Homura has ability to change the memorization?
- Problem 7: (Based on fact 4): How Homura herself recognize that herself has the change to change the memorization?
Based on facts 6 and 7, it can be further elaborated into problem 8:
- Problem 8: How the ability to change to memorization and her wish related:
To answer problem 8, we need how Homura wish for:
- Fact 9: I wish...I can meet Ms. Kaname all over again. But this time, instead of her protecing me, I want to be strong enough to protect her.
Now we can analyze based on fact 9. Assume that Ms. Kaname does not exist in the world, then Homura should be vanished immediately, since the term "strong" is undefined. If the standard of "strength of Madoka" is in Homura's imagination, then Homura should obviously have the ability to protect herself (just like how you protect your mind of people) - Then it can be concluded that Homura has mental problem on cannot control what she thinks. Then Ultimate Madoka does not exist. Homura cannot pull Ultimate Madoka down, which is a contradiction. (Here we assume that the last scene of Rebellion has been that in the real world. Otherwise, "All scenes are merely imaginations" are merely a meaningless deduction)
Based on the discussion above, we can further concluded to Fact 6:
- Deduction 10: Madoka is real for all of the time.
Based on deduction 10, we can immediately stated deduction 11:
- Deduction 11: (Answering problem 5): Homura did NOT change the her mind for existence of Madoka.
Based on deduction 11, there is no need to answer problems 6 and 7 in this context.
2. Relationship between Walpurgisnacht night and Ultimate Madoka We can have the following facts for analyses:
- Fact 12: If there exists Ultimate Madoka, then there should not exist Walpurgisnacht night
A problem is arisen:
- Problem 13: Did introduction of Devil Homura allow the existence of witch. First of all, the opposition of the "allowance of existence of witch" is only existence of Wraith. (There must be something "monsters" since Sayaka and Kyoko are still magical girls)
The allowance of witch would lead to the contradiction. Note that Madoka's wishes still hold. The witches would be instantly killed ad thus Sayaka and Kyoko would have no way to be purified.
So a new deduction is arisen:
- Deduction 14: (Answering Problem 13) After the introduction of devil Homura, Wraith is the only existence of "monsters".
Based on deduction 14, deduction 15 can be arisen:
- Deduction 15: There is no Walpurgisnacht night after introduction of devil Homura.
We can draw a conclusion here, but first, let me state the fact 16.
- Fact 16: Before the introduction of devil Homura, there is no Walpurgisnacht night since there is the introduction of Ultiate Madoka.
Based on Deduction 15 and Fact 16, we can state the most important deduction:
- Deduction 17: Walpurgisnacht night does not exist at all.
However, Walpurgisnacht night is one of the reasons why Madoka contracts, so it is a shock for me to have such conclusion actually, but luckily, we can actually analyze the mechanism of how devil Homura changes the world. There will be two SEQUENCES of timeline (By sequences of timeline, it means space -> space -> space, i.e. how the parallel spaces are arranged.)
- Deduction 18: There are two sequences of timeline
- With Ultimate Madoka, (ordinary) Homura, witches. The timeline should be circular
- With (ordinary) Madoka, devil Homura, Wraith. There is no need to analyze the shape of the timeline.}}
OK, so we can draw the conclusion here:
- FINAL CONCLUSION: THE TIME THAT WALPURGISNACHT NO KAITEN DESCRIBES IS DURING THE ORDINARY ANIME, NOT REBELLION
Whether magia record is a true record or imaginative story, w.r.t. madoka anime
SPOILER ALERT! SPOILER ALERT! SPOILER ALERT! SPOILER ALERT! SPOILER ALERT! SPOILER ALERT!
Disclaimer: I like the story of magia record very much. Please don't regard this text as a hate towards anyone. This is no more than an attempt to analysis. Also, different from mathematical analysis (limits ^_^), this analysis is also based on lots of assumptions. You can easily counter these arguments with different assumptions. In such cases, you should ONLY take this text in your reference and maintain your stance (just like some of the philosophic debate as well)
I am thinking whether the existence of magia record is regarded as real or not W.R.T. THE STORYLINE OF PMMM (Ofc, it does not appear in the reality...or does it?), since it can be interpreted as two directions (sacrastically, it might be contradicted to my first text):
- Magia record is a real story, but no ordinary people knows it
- Magia record is a fully imaginative story
Before discussion, let's have the following assumption:
- The main PMMM story is real.
- We do not take the game version into consideration. (otherwise it would be a bunch of contradiction)
Note that THE DIALOGUE between the ordinary people are NOT indicative. Rumors (real rumors, not the enemy one) can be either real or fake, so we should not take it into consideration.
So what we can only do is to find contradiction between the main story and magia record. Note that "not being able to find any contradiction does NOT imply that magia record is real). (Yes, so you know my stance now).
1. Walpurgisnacht night
As you guys might have discovered, Walpurgisnacht night is the key during the analyses. Defeating Walpurgisnacht witch should imply that time travelling should not be occurred again. However, after defeating the (incomplete) Walpurgisnacht witch, Homura still did not travel, which should have the implication that
- Magia record is an imaginative story
- The existence of Mikazuki Villa is real, but not necessarily in magia record way
- The existence of Momoko, Mifuyu, Meru and Kanae are questioning
- The existence of Homura is real
2. Alina Eve
Alina Eve has the power to transfer majority of people to magical masses, regardless whether they are girls, by infection. In the movie, it is also revealed that there exists people who are infected. However, at the end of magia record, it is described that there are no people who know the story between magical girls, which are suspicious, since the people should feel astonished/excited/scared/worried to own magical power and discover the existence of grief seed, unless with some intended assumptions to forced explanation for the realisticity of the magia record (such as hypothesis of all related people being killed after defeating Alina Eve, all related people turning into witches and thus disappearance of bodies and souls, magical chaos leading to elimination of bodies, etc.), but from this aspect, this scene is favoured to the stance that magia record is imaginative.
In addition, the coexistence between alive Iroha and Iroha handing the magia record book into Ultimate Madoka is also an interesting phenomenon... Ultimate Madoka should not be existed in the ordinary world, which strengthens the point that "Iroha being alive" is imaginative, while "Iroha handing magia record book to Ultimate Madoka" is real.
3. Ultimate Madoka
The last thing that should be analyzed is the motivation behind handing magia record book to Ultimate Madoka... Why Iroha can hand the magia record book to Ultimate Madoka.
We have to eliminate an impossible hypothesis, that "Iroha is an ordinary people but dreaming herself as magical girl", since Iroha is in magical girl form as well when handing into Ultimate Madoka (which also strength the point that magical girls are real) (I really don't think that "Iroha cosplaying magical girl" is sth that should be taken account to the consideration)
By Iroha meeting with Ultimate Madoka, it can be classified into two possibilities a) Iroha meets Ultimate Madoka, who is transforming from ordinary magical girl to Ultimate Madoka (c.f. Homura meeting with Ultimate Madoka in episode 12) b) Iroha is passing away, and Ultimate Madoka absorbs the despair from Iroha.
Possibility (a) can be immediately eliminated, since only Homura is presented when Madoka is granted the wish.
Taking account of the fact that the appearance of Ultimate Madoka is just the ended of magical girls' life, here is one of my deduction Iroha's life might be almost ended, so he handed the book, with incredible magia record story, to Ultimate Madoka. Limitation: This does not explain why Iroha composed the whole story.
Analysis on Soundtracks in PMMM
Credens justitiam[1]
Instruments used: Vocal, Flute (constructing countermelody), Electric Guitar, Electric Bass, Acoustic Bass Drum, Cymbals, Tambourine?, Drum Synthesizer (Metallic, Atmosphere, Bass Drum). You might observe that there are all instruments ranging from low freq. to high freq.!
The music is initially started in G major, with basic instruments (percussion, atmosphere synth), then is further progressed with more convincing harmony and orchestration (e.g. addition of bass, more definitive percussion, flute as countermelody).
Then, it is transposed from G major and G# major, basically with similar orchestration than the first part. Finally, the orchestration becomes less grand than the middle part. The interesting part is that, the vocal ends in dominant, which is the common note between tonic chord and dominant chord. Do you know what it means? The vocal stops singing in dominant chord, and the synthesizer continues and ends in tonic chord, but the vocal still creates the impression that there are still something after.
Surgam identidem[2]
Surgam identidem is an epic music, which means music that features huge and wide orchestration (usually fast also). I am going to emphasize on instrumentation. Quadro to make a music epic and sacred: tubular bells + choir + epic percussion + horn
TUBULAR BELLS:
Tubular bells are my favourite instruments since it can be used in both happy music and war music.
1. For happy music, I like to put them on transformation music, as subliming the harmony with harmony notes. E.g. Precure Smile Charge - Transformation Music For war music, tubular bells can act as mocking those giant bells that resemble death.
2. Note that tubular bells are usually noticable, so it can be effectively used as decoration of harmony. Playing root and fifth of the chord would be one but not all of the good choices!
CHOIR:
3. There are several approaches on choir a) choir as main instrument or accompaniment. b) soprano only or the whole SATB c) solo or tutti
In this music, choir is served as main instruments. There are only soprano voices only, and both solo and tutti are presented.
4. For war music, the choir usually sings long notes, instead of rapid notes. In that way, the harmony can be established in concrete.
EPIC PERCUSSION:
5. Epic perc. here mainly refers to drums (rather than cymbals or other types of atonal instruments). Somehow it is interesting to see that epic perc. and normal orchestral perc. are two concepts, e.g. it is hard to apply normal orchestral perc. in epic music. It should be emphasized that it is hard for me to recognize epic drums, but they are usually bass drum, timpani, taiko drums, etc. The key of epic percussion is to play fast and repetitive! (Other drums and percussion such as snare drums are appeared also) (As a composer, here is the tips. If you are considering owning epic perc. sound library in an affordable price, take a reference on "Originals Cinematic Percussion" by Spitfire Audio. (It is not an advertisement.)
HORN 6. Horn ensemble in crescendo is a god-tier orchestrating technique!
OTHERS:
7. It is usually the case that strings, brass and percussion families are heavily emphasized in the epic music. Woodwind instruments are often soft and thus not being suitable for it, except flute! It is possible to dominate high registers with flutes and piccolos! (Organs are great also, although it does not appear in Surgam identidem)
8. For forms, it is in ABAC:
A:
- choir as main instruments
- strings, brass, esp. horn, as accompaniment
- epic drums and cymbals are appeared also
B:
- same instruments as before
- tubular bells enter
- Solo voice enters as main instrument. Flute enters as countermelody
A:
- similar to previous A part, but with flute as additional instruments
- Wind chimes and drone as transition
C:
- Strings ensemble as homophonic parts
- Soft wind chimes are presented as well
Music Score
| Date | Title | Original composer/singers | Instrumentation | Hyperlink |
|---|---|---|---|---|
| 18/12/2021 | Credens Justitiam | Yuki Kajiura | Piano Solo | Instagram, Musescore |
| 23/12/2021 | まだだめよ (not yet) | Yuki Kajiura | Brass Septet | |
| 10/2/2022 | コネクト (connect) | ClariS | Piano Solo | Instagram, Musescore |
| 11/2/2022 | Desiderium | Yuki Kajiura | Synthesizer | Instagram, Musescore |
| 26/2/2022 | PMMM Opera - Act 1 - 1: Overture | / | Symphonic Orchestra | Instagram Facebook YouTube |
| 27/2/2022 | PMMM Opera - Act 1 - 2: Coro | / | Symphonic Orchestra | Instagram YouTube |
| 1/3/2022 | PMMM Opera - Act 1 - 3 | / | Symphonic Orchestra | Instagram YouTube |
| 4/3/2022 | PMMM Opera - Act 1 - 4: Aria | / | Symphonic Orchestra | Instagram YouTube |
| 4/3/2022 | PMMM Opera - Act 1 - 5: Recitative and Aria | / | Symphonic Orchestra | Instagram YouTube |
| 4/3/2022 | PMMM Opera - Act 1 - 6: Aria | / | Symphonic Orchestra | Instagram YouTube |
| 12/3/2022 | PMMM Opera - Act 1 - 7: Coro | / | Symphonic Orchestra | Instagram YouTube |
| 13/3/2022 | PMMM Opera - Act 1 - 8 | / | Symphonic Orchestra | YouTube |
| 18/3/2022 | PMMM Opera - Act 1 - 9: Aria and Coro | / | Symphonic Orchestra | YouTube |
| 19/3/2022 | PMMM Opera - Act 1 - 10: Aria | / | Symphonic Orchestra | YouTube |
| 20/3/2022 | PMMM Opera - Act 1 - 11: Aria | / | Symphonic Orchestra | YouTube |
| 22/3/2022 | PMMM Opera - Act 1 - 12 | / | Symphonic Orchestra | YouTube |
| 2/4/2022 | PMMM Opera - Act 1 - 13 | / | Symphonic Orchestra | YouTube |
| 22/4/2022 | PMMM Opera - Act 1 - 14: Aria | / | Symphonic Orchestra | YouTube |
| 22/4/2022 | PMMM Opera - Act 1 - 15: Postlude | / | Symphonic Orchestra | YouTube |
| PMMM Opera - Act 2 - 1: Overture | / | Symphonic Orchestra | YouTube, ALL | |
| PMMM Opera - Act 2 - 2 | / | Symphonic Orchestra | YouTube, ALL | |
| 15/6/2022 | PMMM Opera - Act 2 - 3 | / | Symphonic Orchestra | YouTube |
| 4/6/2022 | PMMM Opera - Act 2 - 4 | / | Symphonic Orchestra | YouTube |
| PMMM Opera - Act 2 - 5 | / | Symphonic Orchestra | YouTube, ALL | |
| PMMM Opera - Act 2 - 6 | / | Symphonic Orchestra | YouTube, ALL | |
| PMMM Opera - Act 2 - 7 | / | Symphonic Orchestra | YouTube | |
| PMMM Opera - Act 2 - 8 | / | Symphonic Orchestra | YouTube, ALL | |
| PMMM Opera - Act 2 - 9 | / | Symphonic Orchestra | YouTube, ALL | |
| PMMM Opera Act 2 - 10 (Mami's Funeral) | / | Symphonic Orchestra | YouTube, ALL |
Contribution in Puella Magi Wiki
| Date | Page | Subtopic | Description |
|---|---|---|---|
| 15/8/2021 | Magia Record Episode 16: There Were Too Many To Carry | Summary | First to construct |
| 16/8/2021 | Magia Record Episode 16: There Were Too Many To Carry | Trivia | First to construct |
| 2/2/2022 | Magia Record Episode 16: There Were Too Many To Carry | Trivia | Further refinement |
| 6/4/2022 | Magia Record Episode 25: No One Knows Our Record | Summary, Discussion | First to construct |
- Pure mathematics
- Civil engineering
- Theoretical physics
- Chemistry
- Classical music (Theory and composition)
- Music production
- Japanese
- Computer typing
Contact
I might have shown my private email in somewhere in the Internet, but it is not a suitable position to place it here. Please contact me through the following sources if necessary. (Discussion on PMMM is definitely welcome)