Neon Genesis Evangelion—Fly Me to the Moon

As much as any one show can, Evangelion seems to encompass what anime is. Towering mecha duking it out with even more massive monsters, cutesy animal mascots, catchy opening music, and two candidates for “best girl” that have engendered debates going on for two decades now.

But as the episodes go by, this begins to feel less and less true. Those marvels of mechanical might, the show’s “Eva,” are almost indescribably unsettling. The solid, purposeful movements of their super robot show forebears are replaced with agile, animalistic strides; metallic joints flex and tighten in supple, organic ways; and instead of serving solely as window to the pilot themselves, we see a robot that is alive with growls and groans and wounds that ooze and bleed.

The pilots, too, defy expectation. These are not plucky, self-assured heroes ready to save the world. They’re children, children who strive for the approval and affection of the adults around them, but find only demands and expectations in return. Anime-whipping-boy Shinji is often portrayed as a whiner by fans, but if anything, through most of the show’s run he readily submits himself to a job time and again that, rightly so, terrifies him—just so he achieve what he desires most: attention from his father.

Shinji is hardly alone in this regard. Asuka blusters and postures in an attempt to appear the self-sufficient adult in the face of a mother who abandoned her. Rei, who knows no life at all but to be used, struggles to understand relationships beyond the immutable tool dynamic forced upon her. Even characters like Misato and Ritsuko, full-grown adults, struggle with the remnants of their own childhoods and parental trauma and deal with it in flawed, self-destructive ways.

The show reveals this to us, little by little, in the guise of a monster-of-the-week show. An “Angel” shows up, bringing with it its own unique conundrum that must be solved before the episode’s end. Our youthful pilots are forced to confront their doubts and shortcomings, whether it’s Shinji’s trepidation about “getting in the robot”, his synchronizing with Asuka—and thus being forced to form an emotional connection with someone—in one of the series’ highlight episodes, or dealing with the inherent morality of being arbiters of life and death. As Evangelion goes through the motions of the genre it embodies, it deconstructs it in meaningful, interesting ways.

But no matter how many Angels there are to defeat, no matter how many tribulations must be triumphed over, what every character in the show wants, really, is to be loved—to be accepted for the flawed, broken people that they are. Even the infamous Gendo Ikari, for all his glasses flashing, finger temple-ing, abysmal parenting, is only seeking to recapture the love he has lost while failing completely to impart that same love to his son.

But as the show hurtles on to its conclusion, any semblance of careful pacing is thrown out the window. Gone are the bits and pieces of character development interspersed with tense action sequences and breath-catching moments of levity. Instead we are treated to diatribes of incomprehensible technobabble that, instead of buoying our characters’ development, threaten to overshadow them at every turn. The introduction of Kaoru, a seminal encounter in Shinji’s aspiration for acceptance, rushes through its character arc in a mere 25 minutes, something that could’ve lasted an entire season, and in doing so obliterates any chance to inspire the emotional connection it strives to impart.

And then we find ourselves reaching Evangelion’s controversial climax—the ending the franchise has spent the better part of this millennium rewriting over and over. The truth of the matter is it’s not a bad ending at all. The entire show has been building up to this moment in Shinji’s life, this monologue of introspection where Shinji really has to deal with his anxiety and depression without hiding or running away.

But the moment is buried under baffling reused animation clips and the dangling questions of the shows’ own plot. What has been Seele’s goal all along? Gendo Ikari’s? What are the Dead Sea Scrolls? What were the Angels? What is this Human Instrumentality Project introduced in the show’s eleventh hour? It’s hard to cast blame for disliking an ending that feels so woefully incomplete. But if you’re willing to write away these questions as window dressing, or supplement your viewing with a bit of research, Eva’s ending encapsulates a complete catharsis of Shinji’s struggle—and as such is a much more satisfying ending that the more explicitly explained (yet somehow even more discombobulating) End of Evangelion.

But perhaps this incompleteness is as much a part of Evangelion’s enduring appeal as its memorable characters and awe-inspired designs. As the show takes its journey from sumptuously animated straight-up action romp to avant guard stream-of-consciousness introspection, there is a spot on this crazy train for everyone. And perhaps that’s why no single end-of-the-line is ever going to appease everyone. Like Shinji, perhaps Evangelion is something we simply ask too much from.

Perhaps that’s about as fitting a legacy as you’ll get.

Evangelion and OVA

Despite the length I go to demonstrate Eva’s super-robot trappings as a frame for a story about the human condition, inevitably the first question most people will ask about representing Eva in OVA is “How do we make the mecha go boom-boom?”

The answer is pretty straightforward. None of the Evas demonstrate any specific strengths or weaknesses, and even their armaments tend to be slave to the plot as opposed to anything concretely measured or differentiated. Just stat up capable combatants with decent points in “Attack” and you’ll be hard-pressed to go wrong.

What Evangelion does bring to the table that’s inherently interesting is the Eva units almost complete lack of a self-sustaining power-source. Without being literally plugged in, Evas run out of juice within minutes. It’s a fascinating wrinkle to the Angel-fighting hijinks, and one that immediately sets Evangelion apart from other giant robot-style shows.

Racing Against the Clock

Time is relatively abstract in OVA. You won’t find passages in the text extolling that a round is ten seconds long, or that a given action chips off a discrete amount of time from a hypothetical clock. For most narrative purposes, this works just fine.

But sometimes time matters—really matters. Evangelion drives this concept home when the Evas become separated from a dedicated power source. Whether due to severed plugs, long-distance deployment, or enemy interference, as much as the Angels themselves, time is the enemy.

That’s not to say one should adopt the ten-second round or anything so pedantically concrete. Despite the explicitly defined “five minutes” of the show, the narrative beats stretch and contract to fit whatever the plot demands. It is a constraint, but an elastic one.

So instead of setting a real-world time frame, it’s more prudent to simply assign a number of “Beats.” 10 is a decent amount, but this can be expanded or reduced as the Game Master sees fit. Likewise, the Game Master can increment the clock at any time. You could do this once a round, but also consider the narrative flow of the story:

A character completes an action that takes a step towards a goal—or prevents another from completing their own.
A character has dealt or received a significant chunk of damage. (Ie. by inflicting/incurring the zero Health Penalty.)
An NPC provides useful information that contributes to the current conflict.

Also certain rolls will affect the spending of Beats.

If a character has an Amazing Success, or inflicts a complication, that action will never spend a Beat.
If a character fails an action of importance, it will always spend a Beat. (Missing in Combat does not count.)

But the flow of time is not solely at the Game Master’s discretion or the whim of the dice. The Players can use time to their advantage, or expend more of themselves to get the job done a little faster.

A character may spend Drama Dice (or incur a –1 Penalty) to buy off a Beat that would ordinarily be spent.
A character may get a Drama die by spending an extra Beat.

Obviously when there are no more Beats, time has run out! Hopefully the PCs have plenty of Endurance to burn to keep that from happening!

…By the by, that whole “best girl” thing I mentioned earlier? There’s only one right answer.

Violet Evergarden—Time Heals All Sorrow

Violet, despite being a young girl, is a veteran of war whose proficiency in combat is the stuff of legends. Her personal sacrifice is quickly made clear as she is revealed to possess a pair of mechanical arms. Having only known war, adjusting to these prosthetics only further complicates her transition to a normal life. As she struggles to do so, and find the meaning of her beloved Major’s last words to her, Violet sees a path to understanding via the vocation of Auto Memory Doll—a job where one strives to put down their clients’ feelings in carefully crafted letters. Even her clumsy, mechanical hands can use a typewriter, though understanding the nature of the human heart is a battle all its own.

Violet Evergarden is a love letter to a mid-twentieth-century Europe that never was, with sumptuously rendered backdrops of bustling streets and pastoral countryside, and animation that pours love for frilly dresses that bob with every curtsy, intricately braided hair occasionally frazzled from emotional outpourings, and even flowers delicately swaying in the breeze that serve as namesakes for many of the show’s characters. But more than that, Evergarden is a love letter to the love letter. The show exalts the power of the written word and its ability to convey what often cannot be said, to conjure the concrete from the ephemeral and deliver it to the person to which those words will hopefully belong.

Through its earnest striving to paint a picture of these emotions, though, the show often tries to tell us what to feel instead of making us feel it ourselves. Characters are a constant source of waterworks, but often their trials and tribulations are given too little time to mature, their triumphs and tragedies relegated to less than careful exposition, making the tears themselves bear the weight of the story’s emotional gravitas.

But it is an understandable caveat of the show’s episodic nature. As Violet travels from town to town, it may be a little much to expect an entire arc of emotional storytelling, from character introduction to climax to denouement, in a completely nuanced way. Nonetheless, each episode is like a mystery where Violet brings her intuition to bear, to discover the true heart of those that commission her services. And this journey, truncated as it may be, is satisfying to follow along.

The show may be at its best, though, when we can peer more into Violet herself. While much of the time she exhibits a personality as flat as the dolls that her occupation’s name alludes to, the stark contrast amplifies her struggle to understand what it means to live a normal life. Her mechanical arms serve as a flashy, overt metaphor for her own emotional development—as she adjusts to their clumsy, unsubtle nature, so too does she shed the shell of her guarded personality…at least a little.

Yet, we never learn how Violet’s mechanical arms work in a world otherwise devoid of such technological marvels, any more than we learn about Violet’s own origins or the source of her amazing combat ability. But these details are incidental to her journey. Sometimes all you need is a typewriter and the right words—all these exactingly fashioned, carefully wrought, painstakingly perfected words to understand what it means when we say,

“I love you.”

Violet Evergarden and OVA

While it mostly serves as a vehicle for Violet’s own emotional development, the vocation of Auto Memory Doll is nonetheless central to the world of Violet Evergarden. It is a job that contains within it many facets and surpasses that of a simple transcriptionist. At their best, Auto Memory Dolls are part detective, part therapist, striving to complete their clients hopes and aspirations through their letters.

Discovering One’s True Heart

The actual process of typing the letter is not a lengthy endeavor. An accomplished Auto Memory Doll can get the job done in a single visit with the client. In OVA, you could easily represent this with a single roll of the dice (perhaps using a new Unique Ability, Auto Memory Doll, to represent the character’s skill), if you even roll dice at all.

But other times, getting to the bottom of what the client wants to say requires more effort. The Auto Memory Doll must study the client and pick up on the subtle clues to their true feelings, feelings the client themselves may not be fully aware of. Some of these clues can be gathered through a Perceptive roll, others may require Charismatic, and still others require Intuitive and actual investigation.

Each time the Auto Memory Doll discovers a clue to the client’s true heart, they collect a special Auto Memory Doll die. When they determine they have learned enough, or simply time has run out, these can be added to the Letter Writing roll.

Writing the Letter

When it comes time to write the letter, the Auto Memory Doll rolls all dice that apply. At its simplest, this can be covered by Unique Ability: Auto Memory Doll, but it can also be split up into different sub-facets, like Grammar, Empathy, and Poetry. On the other hand, you can simply use the Abilities already in OVA that apply.

In addition, include all Auto Memory Doll dice earned during the course of the game session. The result represents the quality and accuracy of the letter, and it is compared to a Client Difficulty based on numerous factors. Lower DNs represent open-hearted clients with easy-to-please recipients, while high DNs represent clients whose feelings are especially arcane or concealed or recipients that are especially unreceptive.

Darling in the FranXX—Please Don’t Fear Me

I’m not sure what I expected from Darling in the FranXX. With its very typical-looking male lead and the impossible-to-ignore Zero Two, maybe I just expected another wish-fulfillment fantasy that’s so popular in anime. Guy becomes the hero, gets the girl, and then “for as long as we both shall live.”

But as I delved into the first episode, what I got was a bleak future where children, known only by their code numbers, are raised to pilot giant mecha, the show’s titular “FranXX,” to protect humanity from the threat of mysterious creatures known as klaxosaurs. Hiro is one of these children, despondent over the fact that he cannot properly pair with a female pilot—a requirement to make the FranXX function. Without the ability to do the one thing he was raised to do, Hiro struggles to cope. That is until he encounters the enigmatic Zero Two, a fierce FranXX pilot that skirts the boundary of humanity as she greets people by licking them for their taste and otherwise obliterates what one would consider proper manners. Rumors say that no pilot can survive more than three sorties with her, and Hiro sees this firsthand as Zero Two battles a massive klaxosaur without a partner.

Her FranXX is nimble and bestial as we watch her fight. The klaxosaur is alien and frightening, immediately casting an ominous shadow as we stare death in the face. But Zero Two cannot defeat it alone. Despite his past failures, despite Zero Two’s fearsome reputation, Hiro volunteers to pilot with her. Sealing this pact with a kiss, Zero Two pilots with her “darling,” and we see the true form of the FranXX as it transforms…into a shapely, saucer-eyed battle bot.

Okay, okay, so far we’ve pretty much set up the exact plot line I expected, but as Darling continues on, it passes through phases of high school comedy, monster-of-the-week spectacular, fanservice vehicle, post-apocalyptic drama, sci-fi conspiracy epic, and well beyond. Just like the visual clash of the monstrous leonine FranXX and its girlish true form, the show is surprising and mercurial. At times, it’s as if Darling in the FranXX is never quite sure what show it wants to be. But yet, as we follow along with the adventures of Squad 13, all of these permutations, nigh haphazard as they are, fit perfectly with the show’s central theme. Darling is an exploration of what it means to grow up and all of the baggage of uncertainty that entails. Faced with a world that has largely left emotion and individuality behind, the kids are put at an even further disadvantage as they explore not just what it means to become an adult, but what it means to be human. (Even the rather…provocative…poses the pilots take in their FranXX is more than just cheap fanservice, but an overt metaphor for the relationships humanity has left behind.)

“What it means to be human” is a topic I put forth as a central tenet of anime in the “Telling Anime Stories” section of OVA, so it’s not exactly surprising to see it here. Yet Darling goes further than that. What does it mean to be an adult, when you’ve been told nothing about your future? What does it mean to love, when you don’t even know what a kiss is? What does it mean to be alive, when all you’ve been told how to do is fight…and die? Our heroes grapple with this and more as they strive to make a place for themselves in, and even save, this world. They have to define what they mean to each other, and what it means to mean something to each other, as they wrestle with love and unrequited love and what future they can hope for themselves beyond the culling of Klaxosaurs.

These questions are difficult enough for the show’s young protagonists, but take on new nuances when applied to Zero Two. Being born from Klaxosaur blood, she is immediately “othered” despite her unparalleled ability to fight the Klaxosaurs themselves. Like Squad 13, she is valued for this prowess alone, but carries the extra burden of being a quote-unquote monster. As she strives along a course that she believes will bring her closer to being human, the real question becomes less “What does it mean to be human?” and more “what makes it so easy to define a thing we don’t understand as monstrous?”

And as the characters become more confident, discover not the “right” answer to these questions but the answer they have discovered for themselves, Darling in the FranXX too matures into a show quite unlike its beginnings. This rapid evolution in the last third or so of the series was understandably divisive among fans, and you’ll see a great many discourses on how the show plummets once it reaches its endgame. But in the end, FranXX becoming something you didn’t expect—finding for itself its own definition of what it should be—is as good a metaphor for adulthood as anything. And even as the show rushes forth to this conclusion, abandoning the shackles of its youth with such speed that it stumbles over countless hurdles of exposition and casts aside almost entirely the world-building it has spent so much time developing on its way to the stars…

I found myself enjoying it until the very end despite its flaws. Or maybe because of them. Anime is funny that way.

Darling in the FranXX and OVA

One of the most central concepts one has to cover when trying to run Darling in the Franxx is the unique way the FranXX themselves are piloted. Though the particulars of why aren’t explored until later in the series, it’s a given fact that special children known as parasites, one male (the stamen) and one female (the pistil), are required for the FranXX to even function at all. There are exceptions, with the parasites of the Nines unit able to switch roles at will regardless of sex, but this is nonetheless the typical piloting situation.

Paracapacity

Once two Parasites have suited up and assumed their positions within their FranXX, they must sync up and receive their Paracapacity score. This number represents the compatibility the pair achieve and ultimately affects how effectively they can pilot the FranXX.

By default, each Parasite rolls two dice, but this can be modified by several factors listed below

-1 — Emotionally Upset
-1 — Rift with Partner
-1 — Incompatibility with Partner
-1 — Injury/Fatigue
+1 — Natural Compatibility
+1 — Amicable Relationship with Partner
+2 — In Love with Partner
+2 — Klaxosaur Blood

While often both parasites will receive the same bonuses and Penalties, it is also possible for them to have completely opposite ones depending on their emotional state and (potentially unrequited) feelings for each other.

Once you’ve determined the appropriate number of dice, both Players roll. But instead of finding results individually, they combine their dice together before calculating the highest die and multiples.

5 or Less — Failed Paracapacity. FranXX does not start.
6–8 — Low Paracapacity. –1 Piloting Effectiveness.
10–12 — Acceptable Paracapacity. No Bonuses or Penalties
Greater than 12 — Exceptional Paracapacity. +1 Piloting Effectiveness

Piloting the FranXX

While ostensibly it is the stamen that pilots the FranXX, true effectiveness in battle requires open communication and compatibility between both FranXX pilots. Much like determining the Paracapacity score, both Players roll their Pilot dice when taking actions with the FranXX and determine their results as a combination of their dice. Either Player can choose the FranXX’s action for the turn, but in the case of disagreement, the stamen’s preference always takes precedence.

Stampede Mode

Well, almost always takes precedence. It is possible for the pistil to take control of the FranXX by entering Stampede Mode. The stamen no longer makes rolls, and the FranXX itself takes on a wilder, more bestial appearance. For each round spent this way, the pistil receives a loss of 20 Endurance. Obviously, this will impact the pistil’s health very quickly. Stampede Mode can also be entered when the stamen has become incapacitated or is otherwise unable or unwilling to pilot.

Zero Two, and perhaps any pilot with Klaxosaur blood, can pilot in Stampede Mode indefinitely without this Endurance drain. However, without the stamen’s Pilot dice, the FranXX is still demonstratively less effective.

Transference

When the FranXX is damaged, it will also be felt by the pistil who will receive similar injuries. This happens on a 1 for 1 basis, despite the difference in scale. Consequently, if the pistil takes enough damage to lose consciousness, the connection to the FranXX will be severed, regardless of how much Health or Endurance the FranXX itself may have left. While the stamen is spared this transference, they are also unable to individually pilot the FranXX in any way, unlike the pistil.

And that’s it for Darling in the Franxx! How did you feel about the show’s opinion-inducing finale? Who’s clearly the “best girl” (or “best guy” for that matter?) Feel free to tell me in the comments below!

My Hero Academia—Plus Ultra!

It’s hard to miss how My Hero Academia draws inspiration from American superhero comics, whether it’s the use of half-tone screens and visible sound effects, the dazzling array of colorful spandex uniforms and creative super hero aliases, or the sheer existence of All Might himself, a paragon—perhaps even parody—of superheroism, down to being the only character in the show shaded with solid blacks.

But don’t be fooled for a moment, as it’s still a very Japanese show. The main cast attend a superhero school (because of course they do), and our protagonist, Midoriya “Deku” Izuku is set to follow the ever-popular zero-to-hero shounen journey. In a world where 80% of the population is born with a “quirk,” the show’s name for super powers, Deku is forced to face that he, no matter how much he strives to be a super hero like his idol All Might, cannot overcome the immutable fact that he has no quirk to call his own.

Despite this, Deku is so emotionally invested in the concept of the superhero that he constantly assesses every battle he witnesses, detailing countless minutia and cataloging it in his hero notebook. It is with this knowledge that he manages to face a supervillain and attempt to save his childhood friend Bakugo from certain death. Through this selfless bravery, All Might realizes that Midoriya has what it takes to be a superhero and reveals a tremendous secret, that he can pass on his powers—and that he has chosen the green-haired youth to receive them.

Honestly, I was half-disappointed by this. I saw in Midoriya’s first “battle” the potential for something unique, a shounen show that bucked the “blessed golden child with the ultimate power” in favor of Deku, a selfless, caring boy who would somehow make it through by his wits alone, using his encyclopedic knowledge to overcome his lack of a quirk and become a hero despite it all. When All Might passed on a small piece of his power, I crossed my fingers for it to be a sort of Dumbo’s feather.

This was not to be, of course, as Midoriya does in fact inherit All Might’s quirk “One For All,” but the show cleverly manages to accomplish everything I hoped anyway. With the immense power provided by One For All, Deku is grievously injured any time he attempts to use it. While this does provide his character a built-in McGuffin any time the plot calls for it, for the most part Deku has to creatively work around using his quirk as minimally as possible. It spins the usual shounen trope of overcoming obstacles with reckless shows of power and makes every encounter an exercise in careful calculation. Moreover, Deku’s constant sacrifice is just a magnificent tear-jerker every time the show’s excellent musical score swells.

That’s pretty fitting, since I think there’s good argument that Deku did have a quirk: the ability to pour forth obscene amounts of bodily fluids out of his face.

But Deku is just one part of My Hero Academia. I think what is actually one of the most fascinating things about the show is how the main characters work together. Hero teamups—heck, superhero teamups, are hardly a new concept, but whereas it’s typically just a merry-go-round of characters showing off their expertise, My Hero Academia really highlights the students using their quirks in creative ways to overcome each other’s weaknesses and maximize their potential. Whether it’s Yaoyorizu using her “Creation” quirk to create a electric proof barrier so Kaminari can shock the field, or Todoroki cooling off Iida’s overheated engine exhausts so he can wrench out just a little more power, watching these young heroes triumph in the face of adversity is a joy to watch.

If there were a criticism I’d level at My Hero Academia, it’s that there’s some serious body horror going on. Whether it’s Iida’s aforementioned exhaust pipes jutting unnaturally out of his calves, Hanta ejecting tape from his elbows, or just Midoriya’s penchant for flying through the air with multiple limbs broken and flailing, I can’t help but continuously be a little squicked out as I watch.

Yet, it’s hard to complain too much about that, as there’s so many genuinely fascinating quirks being shown off here. There’s standbys like super strength and super speed of course, but then there’s Ochaco’s ability to eliminate gravity for everything she touches, Yaoyorizu’s creation, and yes, even Mineta’s super-sticky hair balls that remind you that My Hero Academia is more than just a nod to the Western super hero, but instead a uniquely awesome thing of its own.

Moreover, despite the fact there are a lot of really weird looking quirks, this is never brought up by any character. There’s no teasing, no horror, no disgust. Everyone’s differences are accepted—embraced really. In the end, the show is a tribute to what we can do together, and that’s a goal that surpasses prejudice and shame. We can all be heroes—we can go beyond. Even if we don’t have a quirk.

My Hero Academia and OVA

Many moons ago, I remember reading on a forum where someone criticized the original edition of OVA as “just a supers game with an anime coat of paint.” I never really saw this as much of a criticism. What is a supers game, after all, if not a system attempting to embrace all possibilities? But hey, I guess that means it’s well-suited for My Hero Academia, right? Let’s take a crack at representing a few of the show’s many unique quirks.

Quirks

One For All (Midoriya)—Few things compare to the sheer power behind One For All. Wielded by All Might, it’s a strength so powerful that seemingly no enemy can withstand it, and even simple feats like jumping appear more like flying. However, in the hands of an inexperienced youth like Midoriya, it is an unwieldy, dangerous power—one that’s as likely to hurt the user as it is to accomplish its goals. When a character activates One For All, they must make a roll using their One For All dice and compare it a DN based on the Bonus they wish to receive.

+2 Bonus — 6 DN
+4 Bonus — 8 DN
+6 Bonus — 10 DN
+8 Bonus — 12 DN
+10 Bonus — 15 DN

This Bonus still goes into effect even if the roll is failed. However, the character will receive an Impairment. If the character attempted a DN of 6 or 8, it will be a –1 Impairment. 10 or 12, –2, and 15, –3.

The Bonus only applies to one action. If the character wishes to apply the Bonus to another, they must again roll on the previous table—and again risk injury.

Characters with more training can take advantage of a more sustainable version of the One For All Quirk. It’s less effective for the same difficulty. However, the bonus may be maintained throughout a single combat. This is called Full Cowling.

+1 Bonus — 6 DN
+2 Bonus — 8 DN
+3 Bonus — 10 DN
+4 Bonus — 12 DN
+5 Bonus — 15 DN

Unlike with the more powerful version of One For All, Full-Cowling failure doesn’t injure the character. However, they are Stunned and lose their action. If they want to receive their desired bonus, they must try again next round.

One For All’s Bonus is generally for strength related tasks, though it can also be harnessed for speed and maneuverability when appropriate. The Game Master has the final say on what can and can’t be accomplished with One For All.

Explosion (Bakugo)—The Explosion quirk is a fairly straightforward damage-dealing ability best represented with a suite of attacks, . However, creative use of these explosions can allow for increased Quickness and even something akin to Flight, so including these Abilities would be appropriate.

Attack

Explosion (Affinity: Explosion)
Howitzer Impact (Area Effect x2; Delayed; 15 Endurance)
Stun Grenade (No Damage; Blinding; 0 Endurance)
AP Shot (Armor Piercing, Effective; Inaccurate; 5 Endurance)

Zero Gravity (Uraraka)—Zero Gravity is effectively the Telekinesis Ability with the following limitations: A character must touch the object before it can be manipulated, and any objects of 12 or higher difficulty will cause the user to become nauseated soon afterwards. A character suffering from Zero Gravity induced nausea may take no Actions next turn, not even Defense Rolls, while they recover.

The user may also cancel the effect of Zero Gravity at any time by placing their fingertips together. The resulting falling objects may be quite dangerous themselves. Use the DX chart on page 110 of OVA, and the Distance Fallen chart on page 111 to represent this.

Engine (Iida)—Characters with this Quirk receive a Bonus to all tests of speed equal to their Level in Engine. In addition, through the Recipro Burst maneuver, a character may receive double this Bonus for the next two rounds. However, this comes at the cost of not being able to use the Quirk at all for a significant amount of time. (Usually for the rest of the encounter, but this is ultimately left to the Game Master’s discretion.)

If the exhaust pipes for the Engine are in any way obstructed, the Quirk cannot work. By the same token, if another character can forcibly cool down the overworked Engine from Recipro Burst, the effect may be extended another two rounds.

Hot & Cold (Todoroki)—Whereas most heroes’ quirks tend to be rather focused, Todoroki’s hot and cold halves give him a pretty versatile moveset. At the forefront is the sheer power of his attacks, so giving him high Levels in Attack is a must. (Don’t forget to include Affinities for Hot AND cold!) His ice side can also be creatively used as a Barrier.

Frog Form (Asui)—While it might be tempting to assign a bunch of custom Abilities to represent various frog powers of leaping and tongue swinging, you can really cover both with elevated levels of Agile and Quick. Including an attack with the Paralyzing Perk and Ineffective or No Damage Flaws for more offensive uses of her tongue is also a good idea. And Ranged. Lots and lots of Ranged. Camouflage is easily covered by Art of Invisibility or even full-on Invisibility.

Creation (Yaoyorozu)—The Creation Quirk works similarly to Dimensional Pocket (p. 52 of OVA). However, difficulty—instead of being based on usefulness—is based on the size of the item being created, and instead of rolling against a Difficulty Number, more difficult items simply take longer to create.

Tiny — 3 Rounds
Small — 4 Rounds
Moderate — 5 Rounds
Sizable — 6 Rounds
Large — 7 Rounds
Immense — 8 Rounds

For each Level you have in Creation, reduce the number of Rounds required by 1. If this number is reduced to zero, the item may be created instantaneously. It still requires an Action, but the item is immediately in your possession.

There are a few other limitations to Creation: Only inanimate objects may be created, and objects created require exposed skin to manifest. Larger items require greater surface area in order to successfully complete, making minimal attire preferable when using this quirk.

Hardening (Kirishima)—One’s first impulse may be to represent this quirk with Armored, and that would work fine. But I think using Barrier is a better fit for two reasons: 1) Hardening is almost always shown as completely negating Damage, which only Barrier can do reliably, and 2) Hardening grows less effective over time. This can easily be representing by having less and less Endurance to spend on nullifying damage.

Hardening also seems to impart some bonus to power, so including a few Levels of Strong is also probably a good idea.

Electrification (Kaminari)—Some heavy doses of Area Effect and Effective combined with Cancel (Non-Conductive Objects) and a special Flaw of short-circuiting the brain will result in suitably shocking Ability.

Invisibility (Hagakure)

Dark Shadow (Tokoyami)—Dark Shadow is a powerful, versatile quirk that’s not terribly well-defined in what it can and can’t do. In general, a character with this quirk has great offensive and defensive capabilities, and the fact that it is the “Dark Shadow” doing the work can be written off as flavor as opposed to being individually represented as a “power.”

What can be specifically represented is Dark Shadow’s most overt shortcoming—the fact that it is much less powerful in bright light than it is in darkness. The WeaknessSuppressed Power will do the trick nicely. One can also throw in Accidental Transformation to represent the loss of control should Dark Shadow’s own force of will overwhelm the user’s.

Pop Off (Mineta)—Oh Mineta—to be honest, you could probably just handwave all of Mineta’s “powers” since he’s played up almost entirely for comic relief. But if you want, you could make a suite of Attacks using Perks like Impairing and Paralyzingbut the No Damage Flaw. Trap is another great consideration.

And that’s it for My Hero Academia! Of course, there are many, many other students with equally OVA-able quirks—and I haven’t even touched on the faculty or the villains—but it should give you a good start on putting a little PLUS ULTRA in your game. But for the sake of discussion, what is your favorite quirk missing from this list? Tell me in the comments below!

Announcing OVA: VR Battles!

I’ve had some time to reflect on the future of OVA, and I decided it is high time to move away from the pencils and papers of yesteryear and fully embrace the future: video games! But too much “future” at one time is a risky proposition for a well-meaning time traveler, so I’m hedging my bets and adopting the Arduboy Arduino-powered 8-bit console. This little piece of hardware is the perfect compromise between the future of gaming and a little bit of its past, too. And since it’s hardly bigger than a credit card, it can go everywhere you go!

Wise Turtle’s first release will be OVA: VR Battles. Everyone’s favorite Missile Maiden Miho has been sucked into a virtual reality world and forced to battle cyber versions of friends and foes alike!

Hours of JRPG-inspired gameplay combined with classic OVA features
Roll the dice and time your button presses to make matches
Earn XP to upgrade Miho to your specifications and play-style
Play on a special OVA-branded Arduboy, shipping April 1st, 2019!

So are you excited? I know I am! Let me know what you think in the comments!

Your Lie in April—The Scenery I Shared With You

Even though I rarely have time to watch as much anime as I’d like, I’m usually pretty abreast of the noteworthy shows of each season, their names quietly chronicled in an ever expanding list of things I’ll watch “someday.” But somehow, Your Lie in April completely eluded me. It’s not that I hadn’t heard the title—it’s kind of catchy that way—but the particulars escaped me. It wasn’t until my sister brought it to my attention that I realized how much I needed to see this show. Pensive piano prodigy who has lost the ability to “hear” his music after the death of his demanding mother-slash-instructor is dragged from his bland grey world into a dazzling symphony of color by a vibrant, vivacious violinist? Sign me up! As Kousei (the aforementioned prodigy) grows closer to Kaori (the violinist), he learns to leave behind the perfect-yet-emotionless playing of his contest-winning childhood to embrace playing music for the love of music itself. As the opening credits say, “I met the girl under full-bloomed cherry blooms, and my fate has begun to change.”

Fittingly, Your Lie in April is possibly the prettiest anime I’ve ever watched. Almost every frame is, well, frame-able, with enough cherry blossoms dancing by to fill one of the show’s many musical venues to capacity. It’s somewhat telling that the narrative skips through summer in quick tempo in order to portray similar feats of ambiance and beauty with the falling leaves of autumn. It would be easy to say that Your Lie is too pretty for its own good, shoveling in the sakura until nothing really stands out. But that’s where the show’s most surprising, and most brilliant, juxtaposition comes in. Despite weaving a tale traversing the depths of human feeling, the show breaks up the heaviness with full-on bouts of comedy. Characters super-deform, light on fire, human torpedo each other, and otherwise elicit the kind of silliness that, at first, seems out of place. But it’s this constant reminder of levity that keeps the show from becoming a mirthless slog.

Calling Your Lie in April a realistic exploration of the human condition is a stretch. As they struggle with love and loss, most of its fourteen-year-old cast spout poetic treatises and wax nostalgia like middle-aged wordsmiths, but that’s okay. Lie is like the music it so throughly admires throughout the show. It is an idealized form of expression, carefully crafted to elicit the strongest emotional response. Whereas Erased celebrated the every day with its loving vignettes, Your Lie in April exalts it, creating a tapestry of the slice-of-life at its absolute most heart-wrenchingly beautiful.

And the music! Your Lie is a tour-de-force of classical greats, and love and care is given to portraying and animating the instruments that produce it. There’s some 3D wizardry at work here, which normally rubs me the wrong way, but I think the complicated workings of playing such intricate piano pieces couldn’t be served any other way. Like everything else, every performance is rife with tension as the show’s characters struggle to command the music to their will. These are not mere pieces for a passive audience, but a powerful energy that can traverse time and space—to send a message that the performers desperately hope will reach and be understood. Even the audience listens with dramatic intensity, noting every sway of the performer’s will and even commenting with the musical equivalent of “His power level is over NINE-THOUUUSANND!”

It’s utterly preposterous, of course, but somehow—like the rest of Your Lie in April—it is in its way the most honest. This melodramatic, over-the-top rendition of the humble musical performance conveys, just a small fragment, of the actual feelings that music can imbue. The show’s own score, while more limited in variety than the many classical composers it features, manages to stir up the heartstrings regardless of how many times you hear the main dramatic theme.

And despite the show’s many dips into melancholy, I appreciate that Your Lie is always up front and honest about it. The show’s main “twist”—if you can really call it that—is telegraphed so early and often that its reveal doesn’t feel like an ambush. The show’s drive for emotion never feels contrived or unfair. In fact, I think the real lie in Your Lie in April is the one you tell yourself. Until the show’s tear-jerking finale, I found myself hoping against hope that, perhaps, another resolution was possible.

In the end, every piece of music has its end, its finale, its coda. And Your Lie in April finishes exactly where it had to all along.

Your Lie in April and OVA

Given how much vim and vigor is generously applied to Your Lie in April’s many performances, it’s actually really appropriate to represent the rise and fall of a given performer’s playing, confidence, and will with a few custom rules.

When a performer—whether that’s a pianist, a singer, or even a stand-up comedian—gets on the stage, they are immediate faced by their audience. Sometimes, the entire audience matters. Other times, it is only a choice few, be it trying to capture the heart of a loved one or impressing the hard-nosed judge. Whatever the case, the audience is given a DN based on how hard they are to impress. A fun night out at karaoke is prone to require a paltry 4 or 6, while world competitions may require 12—and beyond!

But performances are rarely the matter of a single roll. A good performance requires consistency and stamina. The Game Master will determine the number of successful rolls required to make a performance successful, and also the maximum number of rolls that can be made. The number of rolls is not necessarily the length of the performance itself, but a measure of the dramatic weight the performance carries. A night like many other nights in a concert tour may be handled by relatively few rolls, while one song in the ultimate final performance of a tournament may require many. Likewise, too many missteps, false starts, and errors will bring the performance to a crashing halt, even if there were great successes along the way. In between each roll, Players should take the time to role play their experience, whether they are the performer or the audience.

Digging Deep

A performer’s skill will take them a long way—but sometimes it is not enough. No amount of practice or aptitude can stave away the threat of one bad roll too many. By spending Endurance, Players can earn Drama Dice to improve their results. Sweat drips off their brow, the score bends to their will, and for that moment the very soul of their playing is channeled through their instrument and into the audience. In fact, performers can do this even if they succeeded already. After all, wouldn’t an Amazing Success be that much more…amazing?

But this emotion is not always appropriate. There are competitions where playing to the composer’s intent, by every note and measure, is required. In these cases, spending Drama Dice may disqualify the performer on technical merit alone. But audience choice—well, that’s another matter entirely, isn’t it?

Demons

Alas, performers don’t exist in a vacuum. As intently as they might focus on their performance, the outside world can threaten to break in and disrupt all they have struggled to achieve. Doubts, fears, past traumas and current stress all can meddle with the ability to perform. When such Demons rear their ugly heads, they make a roll. Minor worries might be represented as two dice, while persistent dreads can roll five dice or more. If the Demon roll ever beats the character’s own performance roll, it cancels it out, even if it would have been a success! Of course, characters may still dig deep to overcome them.

Speaking of music, readers, do you have a favorite anime with that subject as its focus? How about your favorite anime soundtrack? Tell me about it in the comments! Also, if you’d like to support this blog, consider purchasing Your Lie in April merchandise like comics, Blu-ray boxsets, and figures from this link!

Dimension W—To Live and Die in the Past

Dimension W revolves around the titular fourth dimension beyond X, Y, and Z, a mysterious realm from which society has learned to extract limitless clean energy through the use of coils. However, there are those that make use of untraceable counterfeit coils to carry out their nefarious goals, and it’s up to collectors to find and subdue these criminals—and, naturally, collect their coils. Kyouma Mabuchi is such a collector, but one at odds with the modernized world around him. He eschews the convenience of coils almost entirely, making use of humble skewer-like weapons and driving a gasoline powered car he restored himself. Even his clothing is a throwback, being much more in line with traditional Japanese attire than anything kin to the contemporary.

It’s a quirk that immediately endeared me to Dimension W as it’s the sort of eccentricity that resonates with me. Despite using computers nearly all my life, I’ve always felt kinship to the physical, to old dusty tomes and tabletop games that were created before I was born. Even with the digital world, I find myself gravitating to the “retro” classics of yesteryear with their pixels, beeps, and boops. There’s just something inherently romantic about obselescence, and it’s a theme that Dimension W visits numerous times in its narrative.

But Kyouma is only one half of the equation, and in short order he’s paired with Mira, a mysteriously advanced, and of course coil-powered, android that represents everything Kyouma has done his best to leave behind. It’s no secret that I love the gynoid archetype—Miho, after all, was the first character I created for OVA—and Mira is a particularly likable example. The strained relationship between the duo gives some meat to the usual robot-girl-wants-to-be-accepted-as-human plotline, and the combination of these opposites just made me fall in love with the show.

In fact, I really wish there was more of it. In the first few episodes you see glimpses of a sort of slice-of-life story that could have been. Whether it’s Mira fixing up her Airstream trailer with second-hand furniture or Kyouma tinkering with his cars, there was real room to show off the development of their relationship. Alas, by episode 4, the show’s plot is picking up speed, and by midway through the series devotes almost every minute juggling its mysteries and secrets, carefully pacing its reveals so you never quite have the entire picture, whether its the specters of Kyouma’s past, the ominous existence of the original Numbers coils, or the true nature of Dimension W itself. In fact, there are so many secrets, and Dimension W is such a malleable plot device, that you never really get true satisfaction from many of the plot developments.

But the pseudo-science of Dimension W isn’t what the story is about really (despite how many long expository segments are devoted to it). It’s about loss and the acceptance of loss, and about the dangers of unchecked desire, all displayed through gorgeously animated action sequences and an eclectic cast of quirky characters. Whether it’s Loser, the prolific criminal who seemingly never succeeds at stealing but has become sort of a public hero and phenomenon for it, or the delightfully bizarre competing collectors featured during the story’s final arc, or just Kyouma’s clever use of his skewer-and-cable weapons, Dimension W is just a lot of fun to look at.

And Mira is really, really cute.

But still, I remember the creator’s Chikyu Misaki, a short but amazing work that deftly balanced the everyday with its over-the-top conspiracies, mysteries, and action, and I wish Dimension W was as evenly distributed. But I guess 12 episodes is not a lot of time to do both. I’d be curious if the original manga gives the pair more room to breathe and a more fleshed out, gradual path to the catharsis of their relationship—perhaps a bit more of that feeling that is repeatedly promised in the show’s closing credits.

Dimension W and OVA

The entire collector premise is a great set up for a game of OVA. The collection missions serve as a clear episodic goal for each adventure, and coils serve as the perfect excuse for almost any Ability or special power. By the same token, very little in Dimension W really requires any special rules or elaboration of the concepts presented in the main rulebook. But taking a look at Kyouma, he’s a really fascinating build because his signature weapons really never do much, if any, damage. It’s a collection of tricks to bring opponents to his level where he can pummel them with abandon.

Kyouma Mabuchi

Abilities: Agile +1, Art of Invisibility +1, Attack +2, Combat Expert +3, Evasive +3, Intimidating +1, Iron-Willed +2, Knowledge (Classic Vehicle Maintenance, Operation, and Repair) +3, Perceptive +1, Quick +1, Strong +2, Tough +2, Unique Ability +2 (Skewers Allow Increased Mobility akin to Flight), Vehicle (Toyota 2000GT) +3

Weaknesses: Amnesia –1 (Memories from the Easter Island Incident), Emotionless –1, Hatred –2 (Coils), Infamous –1 (Beast of Grendel), Love Interest –1 (Lost Love), Loner –2, Quirk –1 (Old-Fashioned Dress), Short-Tempered –2, Servitude –1 (Mary), Stubborn –1

Attacks:

Martial Arts — ROLL: 6, DX: 5
Skewer Technique: Impale — ROLL: 6, DX: 3 (Armor Piercing, Ranged; Weapon)
Skewer Technique: Impede — ROLL: 6, DX: 2 (Impairing, Ranged; Ineffective, Weapon)
Skewer Technique: Trip — ROLL: 6, DX: 2 (Stunning, Ranged; Ineffective, Weapon)
Skewer Technique: Entangle — ROLL: 6, DX: 1/2 (Paralyzing x2, Ranged; Ineffective x3, Weapon)

And of course, we can’t ignore everyone’s favorite green-haired bot girl:

Mira

Abilities: Agile +2, Cute! +2, Dexterous +2, Evasive +1, Heightened Sense (Sight) +3, Life Support +3, Perceptive +1, Quick +3, Strong +3, Unique Ability +2 (Coil-Interfacing Tail)

Weaknesses: Bizarre Appearance –1 (Robot Features), Guardian –2 (Kyouma), Kind-Hearted -1, Naive –1, Obsession –2 (Follow her father’s wishes to follow the coils), Secret –1 (Identity as a highly advanced robot), Sensitivity –1 (Being referred to as a robot)

What about you readers? Do you have a favorite unlikely duo from anime? Or is there a particular android that sets your circuits abuzz? Tell me about it in the comments! Also, if you’d like to support this blog, consider purchasing Dimension W merchandise like comics and figures or anything else from this link!

OVA at MechaCon

If you’re an anime fan in the New Orleans area, you probably know all about MechaCon. Should the promise of panels, events, special guests, and legions of cosplayers descending on the Big Easy not ensure your attendance, you’ll have one more reason to go: Wise Turtle and MechaCon are teaming up!

As the official RPG of MechaCon, OVA will power campaigns and content featuring their GEARE Universe. While much of this won’t kick off until next year’s convention, you can still drop by and pick up a copy of OVA and take in the sights and sounds of a bit of Japan in our part of the beautiful South.

Sword Art Online — Levels Are Just Numbers

Ever since I watched .hack//SIGN over a decade ago, I have been in love with the idea of setting stories in the context of MMORPGs. I think it’s the coexistence of two worlds, of the real and the digital one, that immediately gives layers to every character, a bit of mystery and secrecy of the person behind the computer screen. Too, the way the “rules” of the online world are tangible and exact things, how they’re presented as a sort of setting-building that makes no apologies or excuses. Or maybe it’s just because it legitimizes a passion for video games in a tale of rousing adventure.

But there’s never really been much like .hack since, leaving the entire concept a lonely and untapped genre. It’s especially conspicuous when you consider that MMO games are exponentially more relevant than they were in the early 2000s. So when I first heard about Sword Art Online, I was determined to watch it. The hook alone is pretty arresting, with thousands of so-called VRMMO players not just trapped within the game, but faced with the stark reality that dying in the virtual world also means death in the real one! Still, I had a few reservations. On the surface, SAO had the makings of yet another teenage male wish-fulfillment story, the kind where a normal geeky guy’s skill at video games makes him a hero and nets him the girl. I was prepared for that being pretty much all I got out of the show, but I was pleasantly surprised.

That’s because SAO is dedicated making the game world more than just window dressing. While its collection of rules and concepts are not always objectively sound if presented in a “real” MMORPG, Sword Art Online weaves its unique brand of video game logic through every layer of the narrative. Whether it’s the ebb and flow of its gorgeously animated, adrenaline-pumping battles and PvP duels, the fulfillment of quest lines and their requisite rare drops, or an entire episode devoted to a murder mystery wherein the culprit seemingly breaks the laws of SAO’s reality, the show never lets you forget that the world of Aincrad is part of a game. Even the protagonist, Kirito, has much of his golden-boy power and plot invulnerability explained by his previous experience as a beta tester. It’s great fun, and this exploration of the game itself is a piece of the puzzle .hack//SIGN glossed over in its version of the stuck in a video game tale.

But for all its mechanics and RPG trappings, the first arc of SAO is as much about relationships as it is the crossing of swords. While it is a love story, describing it as just another teenage romance sells it short. It’s about forging friendships and family, coping with death and loss, and finding a way to exist in the violent digital world that has become reality for the thousands of players trapped in Aincrad.

And Asuna, the show’s requisite waifu for Kirito, far exceeds such a label. That’s because Asuna is more than a damsel backdrop for Kirito to show off his mettle. If anything, Asuna carries the show. While Kirito has his beta test experience and a few convenient plot abilities to fall back on, Asuna’s aptitude at the game was tempered in the game itself. She is on the front-lines despite not knowing the road ahead, and it is through her own conviction and power that the day is saved at critical moments throughout the show’s first story arc.

But it’s for all these reasons SAO’s second story arc “Fairy Dance” seems to fall short. The game that was so intrinsically tied to the narrative has become more of an afterthought, relegated to the weak PvP structure of Alfheim Online and a few beats dedicated to the new flying mechanics. Asuna, for all her agency in the first arc, has become little more than a princess to rescue. And with Kirito logging into a new MMO where the “you die in the game, you die in real life” hook is gone, most of the dramatic tension evaporates.

That’s not to say the second arc is bad. It’s perfectly watchable, and despite fan outrage that I largely chalk up to “She’s not Asuna,” Sugaha/Leafa is cute and likeable. It just doesn’t deliver on the promise exhibited in the earlier episodes, instead falling hook, line, and sinker into the mire of expectations it so expertly cast off before.

Sword Art Online and OVA

It’s easy to look at a show like SAO and want to apply a traditional level-based system to it and recreate the countless mechanical minutia that make up the VRMMO—but such granularity is rarely warranted. The mechanics are more of a narrative device than anything any character concretely follows. For example, Kirito’s passive regen ability is mentioned for exactly one sequence and never acknowledged again. Representing that Ability, if you really wanted to, can be treated as Armored, Barrier, or one of many other Abilities, since its only effect was to prevent receiving damage from his would-be PKers.

Levels

Unsurprisingly, level too can be treated with much broader strokes. Instead of incrementing a multi-digit number one-by-one, characters instead receive a much more abstract Level Bonus, ranging from +0 (for the newbie rif-raff) to +5 (for the top tier, maxed out heroes of the story.) This Bonus applies to every action the character does. However in contested rolls, characters’ Level Bonuses will cancel each other out. Should a Level Bonus +3 character attempt to attack a Level Bonus +2 character, the effective bonus is only +1. And so on.

Switch

One of the more unique mechanics presented in Sword Art Online is the “Switch” technique that all characters have access to. Despite being the core strategy for winning a handful of seemingly unwinnable battles, it is never really fully explained (and seems to behave entirely differently in the video games based on the anime.) Yet, it inspired me to at least give my impression of how it would work in OVA.

In addition to the usual complications in OVA, campaigns based on Sword Art Online feature another: the Flinch complication. As the name would suggest, the state is short and fleeting, not lasting until the opponent’s next turn but existing only in the brief moment in time it is inflicted. The exact effect differs depending on the opponent. Some enemies with seeming impenetrable armor will briefly reveal weaknesses, losing their Armored bonus. Others will let down their guard, eliminating their Defense Roll. Whatever the circumstances, there is revealed a brief window of opportunity.

This Flinch complication is inflicted in one of two ways: One is by dealing any other combat complication, which will also inflict the Flinched status. The other is reserved for enemies with large, heavy-hitting weapons or attacks. If they should ever attack a character but deal no damage, they are immediately put into the Flinched state.

To take advantage of the Flinched complication, characters mustSwitch with an ally. By giving up their next action, the ally character may act immediately, garnering what benefits are to be had from their briefly Flinching opponent. Once two characters switch, neither character may do so again until their next active turn. But in this way, even the toughest enemies may fall!

So, readers, if you were to find yourself unable to log out of an online game, which one would you want it to be? Or for a more realistic question, what online video game do you really wish there were a tabletop RPG version of?

Puella Magi Madoka Magica—My Very Best Friend

More than many series, Puella Magi Madoka Magica thrives on its world-shattering reveals, twists, and surprises, all of which come heavy and often. If you haven’t watched, but you’re thinking about it and somehow have avoided spoilers of its numerous plot doozies, here’s what you need to know: Madoka is an attempt to capture the darker realities of what being a magical girl entails—the risks, pressures, and responsibilities of having that power at such an inexperienced, impressionable age. That, and it is a show with so many helpings of moé—that amorphous Japanese ideal of cute—that anyone without at least a marginal taste for it will likely choke to death.

Though it’s not a journey without faults, among them a terribly slow start and some thin characterization here and there, Madoka succeeds where it counts, providing a deeply touching, often grim story many have wanted from the genre for a long time. And even if its deconstruction of magical girl tropes doesn’t tug at your heart strings as much as it did mine, the ethereal visuals backed by Yuki Kajiura’s extraordinary, choral-infused soundtrack are worth experiencing by themselves.

While I am loath to do any major spoiling in my overview here, I think it is a testament to the show that for all its turnarounds and revelations, it holds up to repeat viewings and—dare I say—is possibly better for it. Motivations that seemed arcane before are clear, and countless details unnoticeable the first time around are scattered throughout the narrative. And for all its slow pacing for the early part of the show, Madoka sets up what will be its biggest strength: The show really isn’t about Madoka at all. When you discover the heart of the matter, every frame becomes a cherished part of the whole.

Put short, watch it. Even if its themes don’t resonate with you, I would be hard-pressed to believe that something, somewhere doesn’t grab you and refuse to let go.

Madoka Magica and OVA

To discuss representing the concepts of Madoka Magica in OVA without giving much of its plot away is impossible, so read onward at your own risk. Here there be spoiling dragons.

Making the Contract

To become a magical girl, a young girl must make a contract with Kyubey. In exchange for committing their lives in the service of fighting witches, they are granted a single wish. The nature of this wish has a direct effect on the powers of a magical girl. As we see in the show, wishing for the healing of her friend grants Sayaka the power of quick-healing. Homura wanting to go back in time has given her mastery over time itself, and so on. You should consider the wish and its potential carefully when making your character.

Besides the powers that are a consequence of the wish, magical girls tend to all have a basic set of Abilities, though at differing degrees depending on their potential:

Attack (Weapon of Choice)
Dimensional Pocket
Magic, Arcane

Magical Girls also possess telepathy, allowing them to communicate freely with each other, Kyubey, and even normal humans without actually speaking. This is not the same as Psychic, since they cannot actually read thoughts that aren’t deliberated exchanged, nor is there any possibility to influence the thoughts of others.

The Soul Gem

After becoming a magical girl, a character’s soul is removed from her body and encapsulated in a glowing egg called the soul gem. This is to protect the soul against the rigors of battle and to divide the character’s consciousness from the body in order to withstand the great pain fighting witches and their ilk can bring—something a conventionally mortal soul could not endure. Because of its small size and magical properties, the soul gem is relatively safe from harm, and while it remains intact, the magical girl cannot die.

However, Soul Gems can be broken. Should a character receive an attack of Damage equal to their maximum Health total, the gem is shattered and the character dies. It is also possible to target a magical girl’s soul gem directly, but few are aware of its secret (including witches) to take advantage of this.

Because a magical girl’s soul lies within her gem, and the human body has become merely a shell for action, should the distance between the body and the gem grow too far, the ability to control the body is lost and it becomes effectively dead. As long as they are reunited, the magical girl can continue on as before, but if they are not…

Despair

In addition to Health and Endurance, every Magical Girl has a special third total called Despair. However, instead of starting at a number and being reduced, Despair begins at zero and counts up. As the title suggests, Despair represents a magical girl’s inevitable decline to becoming a witch, but it is also the source of one of a magical girl’s greatest strengths: the ability to go beyond the limitations of Health and Endurance. At any time, characters may choose to add to Despair instead of reducing Health or Endurance. This effectively makes it possible to avoid the penalty from zeroing out one total or the other, and it also allows a magical girl to keep on fighting well beyond what would be possible otherwise. It is even possible for a magical girl to persevere without remaining Health and Endurance at all, as long as they are willing to increase their Despair. If both Health and Endurance are reduced to zero, apply a –2 penalty to all actions.

As Despair increases, the taint of a magical girl’s soul gem becomes more pronounced until it becomes entirely black, at which point it shatters and becomes a grief seed—the core of any witch. Once Despair has reached 40, magical girls must make a roll against succumbing to the overwhelming grief every time they choose to add to the Despair total. The difficulty number is equal to the tens digit of Despair. So a magical girl who has reached a Despair of 65 would roll against a difficulty of 6. 120 would be a DN of 12. And so on. Players may add Iron-Willed and other appropriate Abilities when making this roll. Likewise, Weak-Willed will prove a detriment. Once this roll is failed, the magical girl is doomed to become a witch. While exchanging dialog with other player characters or performing a few more minor actions is possible, when the plot permits, the character is lost to the world and turns to darkness.

Despair and Grief In addition to willingly increasing it, a character’s Despair may increase due to circumstances.

5 Distressing (A close battle, a heated argument.)
10 Depressing (Breaking up with a friend, realizing a core truth of being a magical girl.)
20 Devastating (The death of a friend or loved one.)

Despair and Time Even if a character should avoid making use of despair, the simple state of being a magical girl will taint the soul gem with time. At the beginning of every adventure after the first (presumably the one where the character made their contract) add 5 to the Despair total.

Reducing Despair There is only one way to shed Despair and return light to one’s soul gem, and that is by defeating witches and making use of their Grief Seed. The efficacy of this seed depends on the strength of the Witch—which in turn depends on the amount of Despair that the Witch had before it was transformed from magical girl. Using a grief seed removes an amount of Despair equal to half the total of the fallen magical girl it derives from.

Of course, these rules derive from the world as presented in the majority of the TV series. If you wish to set a game in the aftermath of the final episode, or even during the movie Rebellion, you will need to make some adjustments.