This post has content warnings for: The Witch from Mercury episode 14.
#g witch
also: #gwitch, #suisei no majo, #Gundam Witch, #Gundam Witch from Mercury, #Kidou Senshi Gundam Suisei no Majo, ##gwitch, #gundam suisei no majo, #Mobile Suit Gundam: The Witch from Mercury, #suisei no majou
G-Witch limited edition artbooks! Touhou spinoff games! Thanks again, CDJapan!
This was my first time using CDJ's proxy service (for those G-Witch books), and I'm pretty happy with the results. Depending on the item, I may use it again.
Pic also on MFC.
I'll probably elaborate later, but while I'm thinking about it.....
1a.) The Ancient Magus' Bride Season 2
1b.) Mobile Suit Gundam: The Witch From Mercury
3.) Vinland Saga S2
4.) BanG Dream: It's MyGO!
5.) Yuri Is My Job
Honorable Mentions: Stardust Telepath, Tensei Oujo, Birdie Wing
Yes, I cowarded out deciding between Mahoyome and G Witch. I think Mahoyome's script is significantly better on the whole but G Witch has the advantage of being firmer in its closure. Beating out Farmland Saga is an immense accomplishment by both of them.
Content Warning: discussion of colonial violence, racism, ableism
Spoilers for all of The Witch From Mercury
Mobile Suit Gundam: The Witch from Mercury is a show that does not just wear its inspirations on its sleeve but builds on them. One such reference point is William Shakespeare’s The Tempest, from which G-Witch borrows three characters: Prospero, Ariel, and Caliban. In doing so, G-Witch spotlights colonialist readings of the play, particularly by highlighting Prospero and Prospera’s manipulative tendencies. Prospera embodies multiple roles from The Tempest, which complicates the narrative. Suletta’s victory using the Calibarn Gundam enables The Tempest’s Caliban to reclaim his rights as an indigenous person by proxy, envisioning a world where the colonized can break away and heal from oppression by joining together.
Colonialist readings of The Tempest often point toward the relationship between Prospero and Caliban as a reflection of the colonizer and the colonized. Before the play’s events, Prospero had landed on the unnamed island, killed Caliban’s mother, Sycorax, and subjugated Caliban. Colonialist readings of the play paint Prospero as a colonizer “who [befriended] the subjugated natives in the name of cooperation […] and then [exploited] and [colonized] them”. Such interpretations align with Caliban’s description of Prospero as “a tyrant, a / sorcerer, that by his cunning hath cheated me of the island.” Caliban’s antagonism toward Prospero lies not only in murdering his mother but also in taking over the island that Caliban should have rightfully inherited.