Name: 從壓抑的資本主義成年時期的神奇逃亡--奧賈馬喬-多雷米。 (A Magical Escape from Crushing Capitalist Adulthood - Ojamajo Doremi)
Uploaded: 2021-01-14T08:23:43.000Z
Duration: 10 min 19 s
Description: 【看影片學英語】數萬部 YouTube 影片，搭配英漢字典即點即查，輕鬆掌握單字發音與用法，長久累積看電影不必再看字幕。

程度副詞

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 was “it” in our daily games of freeze

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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