One of the signature moments for any magical girl series is the transformation sequence. During said metamorphosis, the girl traditionally is left momentarily naked before she becomes a magical girl by donning a flamboyant, color-coordinated costume through the use of magic.
Although the transformation sequence initially seems to be little more than just magical dress-up, the iconic scene is kept interesting through two different criteria. The first would be the significance of the aforementioned sequence. Although some may disagree with my take, I’ve always considered the transformation sequence as a whole to represent the magical girl adopting a different identity. In other words, she not only gains access to magic but she also becomes someone else by transforming. This can be seen in how some magical girls adopt pseudonyms. For instance, Tsukino Usagi stops being just a clumsy high school girl who hates math; she becomes Sailor Moon, the Solider of Love and Justice!
However, the two identities do not remain separate since they tend to merge as the series progresses, which can be seen in how the growth and development magical girl experiences to become readily apparently even when she’s just acting like a civilian. Again, I must point at Usagi as an excellent example since she starts off being a crybaby before eventually becoming a brave warrior who is willing to confront dangerous and terrifying situations for the sake of her friends and the world. Furthermore, her development carries over to when she’s just Usagi rather than Sailor Moon. She may remain lazy, clumsy, and childish, but by the end of the series she can become determined and courageous under the right circumstances.
Selling Toys With The Sailor Moon Transformation Sequence
That’s actually a common tendency for a magical girl, who will often start off as being unsure of herself or having several glaring character flaws. However, she also tends to develop as an individual through her adventures as a magical girl to the point that she makes a more subtle yet noticeable transformation by the end of the series. She may or may not continue her duties as a magical girl at that point, but it becomes clear that she has changed.
The second criteria is the portrayal of the transformation sequence. They are often beautifully rendered and can wildly vary between different magical girls within the same series, let alone magical girls from different series. Although the following video shows a clear bias for
, I believe it still does a decent show demonstrating how the transformation sequence can be a work of art. Look at how they’re all so different! Attention-grabbing backgrounds, clothes popping out of nowhere, hair dramatically increasing in length as well as changing colors like they were Super Seiyans, ribbons and other accessories materializing to complete the look – there’s a lot going on and I can’t help but be memorized.
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The most controversial parts of the transformation sequences are the repetitiveness and the likeliness for misplaced fanservice to occur. I personally believe the repetitiveness is a necessary evil – in my mind, studios invest in the transformation sequence and attempt to make said scenes high-quality so that they can insert said scenes in episodes to pad out air time if need be. If the transformation sequence is interesting enough, then I don’t have any qualms with this practice. It’s interesting to note that some studios can avoid this “staleness” by slightly adjusting the transformation sequences. Fall 2017 series
Manages this by making the transformation sequences in episode 1, 2, and 4 unique. This change, however, introduces a controversial element that will be discussed shortly.
Where Nanoha and Fate are both briefly left completely naked while transforming. This is rather unlike most magical girl series – although I mentioned the fact that a magical girl tends to become naked while transforming, her skin is usually left translucent and no visible details for her body are shown clearly until her magical girl costume appears. That is not the case for Nanoha and Fate since their nipples are clearly exposed. However, since the camera doesn’t lecherously linger on their naked bodies, the experience doesn’t come across as being dirty or voyeuristic. As a result, their nudity seemed rather functionary due to the lack of licentious intent – the girls are merely changing clothes!
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Franchise. Washio Sumi (also known as Togo Mimori depending on the series) is consistently sexualized due to the nature of the camera’s voyeuristic tendencies as well as some impromptu demonstrations of physics. Perhaps Studio Gokumi wishes to emphasize the fact that she is very physically developed for a girl of her age. Do bear in mind she’s only 12 years old as Washio Sumi and only 14 years old as Togo Mimori.
Seemingly not satisfied with just sexualizing Washio Sumi, who seemingly has to make her chest bounce as well as waggle her behind to transform, Studio Gokumi deigns to alter the transformation sequences for Gin and Sonoko in episode 4 in order to include gratuitous and unnecessary behavior that only serve to provide fanservice. Does Sonoko really need to adjust the bottom of her leotard like that? Does her modest bust really need to bounce like that? Does Gin really have to tap her own butt like that? Perhaps Sonoko’s transformation sequence made less sense with the cat and the rooster being randomly included, but it’s not a good enough reason to sexualize Sonoko. None of them should have been put in such compromising positions, to be honest.
The situation has left me wondering exactly what is the targeted audience for magical girl titles. There’s probably no clear-cut answer, to be honest. Be that as it may, seeing studios sneak in such unneeded instances of fanservice during these transformation sequences, which should be empowering and cool and beautiful, is rather alarming. I have to admit that I’m not really a fan.Odette turned into a swan. Ariel turned into a human. Tiana turned into a frog. Thumbelina turned into a faery. Transformation is such a huge theme among fairy tales that it is practically embedded into their DNA. If you think beautiful transformation sequences are just a visual motif, you would only be half right. This theme is so common among fables because it represents a storytelling technique that has existed ever since stories started being told. Every good story takes a character on a complete journey, whether physical or metaphorical, that changes them by the time they reach its end. Likewise, each princess or prince who has transformed into their final form by the end of the movie leans a powerful lesson from their experiences. We see that lesson visually through the magic of animation and visual effects. For me, transformation sequences are the ultimate high point of traditional animation.
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Every fairy tale princess begins her story as a sheltered ingenuewho is thirsty for knowledge about the mysterious outside world. When she is set free to explore it, she learns about the existence of both darkness and light. She must struggle to remain pure and good despite how easy it would be to fight back against the forces that wish to do her harm. Each fairy tale transformation sequence is a metaphor for that journey. Ideally, by the time a princess has completed her transformative journey, she is a new person who is nowready to be queen. Sequels to princess movies rarely work because the princesses have become so different from who they were at the beginning of their story. Someone who loved and related to an ingenue might have more trouble relating to a more experienced and calculating adult. That's why it's often better to press the reset button and tell a new story about the same classic archetypes that people love and relate to.
The most literal genre for transformation sequences is the Magical Girl genre. Though it is mostly used in anime, this style of girls' cartoons has slowly gained popularity in western media as well. Magical Girl shows contain beautiful montages of aesthetically pleasing battle uniforms materializing on the body of an ingenue in an extravagant show of ribbons and glitter. Unlike fables of old where a princess or prince was cursed to turn into an animal, magical girls become stronger, smarter, and more resilient when they transform, similar to how Cinderella's transformation brought out her own inner princess. It takes several seasons of a Magical Girl show to see the protagonists' mental and emotional maturity catch up to their sparkling ensemble. That is the one transformation that cannot be rushed and keeps viewers coming back for more.
On a purely superficial level, I absolutely love watching transformation sequences in animation. They are like nothing I could ever see or experience in the real world. The glitter and elegance of a good transformation make me feel all warm and tingly inside and helps me imagine being the best person I can be without all the hard work and struggle that real life requires for such things. Some of us never achieve our ultimate goals for self-fulfillment, which is why seeing it happen in the blink of an eye is so satisfying.
Why Magical Girls Are Never Attacked During A Transformation
Franchise. Washio Sumi (also known as Togo Mimori depending on the series) is consistently sexualized due to the nature of the camera’s voyeuristic tendencies as well as some impromptu demonstrations of physics. Perhaps Studio Gokumi wishes to emphasize the fact that she is very physically developed for a girl of her age. Do bear in mind she’s only 12 years old as Washio Sumi and only 14 years old as Togo Mimori.
Seemingly not satisfied with just sexualizing Washio Sumi, who seemingly has to make her chest bounce as well as waggle her behind to transform, Studio Gokumi deigns to alter the transformation sequences for Gin and Sonoko in episode 4 in order to include gratuitous and unnecessary behavior that only serve to provide fanservice. Does Sonoko really need to adjust the bottom of her leotard like that? Does her modest bust really need to bounce like that? Does Gin really have to tap her own butt like that? Perhaps Sonoko’s transformation sequence made less sense with the cat and the rooster being randomly included, but it’s not a good enough reason to sexualize Sonoko. None of them should have been put in such compromising positions, to be honest.
The situation has left me wondering exactly what is the targeted audience for magical girl titles. There’s probably no clear-cut answer, to be honest. Be that as it may, seeing studios sneak in such unneeded instances of fanservice during these transformation sequences, which should be empowering and cool and beautiful, is rather alarming. I have to admit that I’m not really a fan.Odette turned into a swan. Ariel turned into a human. Tiana turned into a frog. Thumbelina turned into a faery. Transformation is such a huge theme among fairy tales that it is practically embedded into their DNA. If you think beautiful transformation sequences are just a visual motif, you would only be half right. This theme is so common among fables because it represents a storytelling technique that has existed ever since stories started being told. Every good story takes a character on a complete journey, whether physical or metaphorical, that changes them by the time they reach its end. Likewise, each princess or prince who has transformed into their final form by the end of the movie leans a powerful lesson from their experiences. We see that lesson visually through the magic of animation and visual effects. For me, transformation sequences are the ultimate high point of traditional animation.
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Every fairy tale princess begins her story as a sheltered ingenuewho is thirsty for knowledge about the mysterious outside world. When she is set free to explore it, she learns about the existence of both darkness and light. She must struggle to remain pure and good despite how easy it would be to fight back against the forces that wish to do her harm. Each fairy tale transformation sequence is a metaphor for that journey. Ideally, by the time a princess has completed her transformative journey, she is a new person who is nowready to be queen. Sequels to princess movies rarely work because the princesses have become so different from who they were at the beginning of their story. Someone who loved and related to an ingenue might have more trouble relating to a more experienced and calculating adult. That's why it's often better to press the reset button and tell a new story about the same classic archetypes that people love and relate to.
The most literal genre for transformation sequences is the Magical Girl genre. Though it is mostly used in anime, this style of girls' cartoons has slowly gained popularity in western media as well. Magical Girl shows contain beautiful montages of aesthetically pleasing battle uniforms materializing on the body of an ingenue in an extravagant show of ribbons and glitter. Unlike fables of old where a princess or prince was cursed to turn into an animal, magical girls become stronger, smarter, and more resilient when they transform, similar to how Cinderella's transformation brought out her own inner princess. It takes several seasons of a Magical Girl show to see the protagonists' mental and emotional maturity catch up to their sparkling ensemble. That is the one transformation that cannot be rushed and keeps viewers coming back for more.
On a purely superficial level, I absolutely love watching transformation sequences in animation. They are like nothing I could ever see or experience in the real world. The glitter and elegance of a good transformation make me feel all warm and tingly inside and helps me imagine being the best person I can be without all the hard work and struggle that real life requires for such things. Some of us never achieve our ultimate goals for self-fulfillment, which is why seeing it happen in the blink of an eye is so satisfying.
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