I misjudged and made the wrong person a magical girl. When I discovered my powers to grant wishes and transform ordinary girls into magical warriors, I never thought I would make a mistake. As the guardian of the magical realm, it was my duty to choose wisely and ensure that the chosen ones would use their powers for the greater good. However, in the chaos of a battle between dark forces, I made a critical error in judgment. The girl in question, Emma, seemed like a perfect candidate at first glance. She possessed a strong sense of justice, was always willing to help others, and had a gentle heart.
Together — along with the silent cameraman Miyajima, who makes me think of the joke about Bear Grylls’ cameraman being more badass than he is because he has to do all the same stunts while lugging around a bunch of equipment — they journey into a labyrinth of ancient rituals and folklore. While most of Kobayashi’s early footage takes place on city streets and in apartment buildings, the long sequence at the heart of the film takes place in the countryside, just as the sun conveniently sets. Many of the portents we find in the film are natural: dying pigeons, animal cries, river water far from its source. We learn that the construction of a dam played a part in unleashing a demon. It’s suggested early on that Kobayashi’s shift from writing books to making documentaries codified his obsession, and even his camera cannot always be trusted. The Curse is not an anti-technology screed, but there’s the suggestion that all of modern life and society is perilously perched above a yawning unknown of ghosts and demons and things too ancient to understand.
At one pivotal moment, Hori runs into the woods mournfully wailing Kana s name, and there s something a little perverse about the way Kobayashi waddles along behind him, holding his camera out in front. The scariest part though is that not only do we have to accept the occult exists, but that in the end we don t know anything about it, bringing us back to square one of being at a disadvantage when dealing with the unknown.
She possessed a strong sense of justice, was always willing to help others, and had a gentle heart. She had been a loyal supporter of her community and had never hesitated to lend a hand to those in need. I was convinced that Emma would be the ideal candidate to become a magical girl and protect her world from evil.
Noroi the curse 2005
The genius of Kōji Shiraishi’s 2005 found-footage epic Noroi: The Curse is that it presents itself as a film edited together after the fact. This allows it to cut between two cameras at crucial moments and to kid itself by adding schlocky music and intertitles that undersell the real horror that coils during its two hours. It allows Shiraishi to interrupt the narrative with seemingly innocuous or irrelevant footage, like a clip from a children’s variety show, or to fake out the viewer by letting the credits roll before giving us one of the ghastliest and most satisfying endings in the history of horror. Most crucially, it gives Shiraishi a way to work around the most common complaint about horror movies, which is why everyone is always acting with such disregard for their lives and the lives of others. Why would you split up to cover more ground? Why would you go in that abandoned building?
The hero of The Curse is Masafumi Kobayashi (Jin Muraki), a middle-aged ghost-hunter with a friendly, apple-cheeked face. The Curse is presented as his last documentary — his last, of course, because he disappeared after finishing it — as it’s aired on a late-night television program. We learn that he started writing books and then began filming his exploits, and we get a montage of interviews with witnesses to the supernatural (but no supernatural events). By all professional standards, Kobayashi is an excellent journalist. He’s persistent, understanding, a hard worker; at one point, he drives through an entire city looking for a single blue building. He’s also a man whose job is to make the stupid decisions people in horror movies have been making for generations. “No matter how horrifying, I want the truth,” goes his mantra, quoted at the beginning of the film as if to eulogize him. And as much as we like Kobayashi and admire his commitment to his work, his willingness to endanger the lives of others on his search for good footage becomes the one thing we can’t forgive him for. It leads directly to what happens in that final scene, the moment when this movie from horror’s most disreputable genre earns the importance of tragedy.
Masafumi Kobayashi (Jin Muraki) in Noroi: The Curse. (Xanadeux)
The Curse is a little disorienting at first. Scenes appear that seem like self-contained vignettes, like the variety show scene that becomes so much scarier and sadder when you watch it again and remember what was contained in that glass of water. Supernatural events are few, far between, and usually minor for much of the movie, which unspools in such a way that you might not be entirely sure of what you think of it until it’s finally and truly over. The Curse is as much a horror movie as a detective story, and the scenes that don’t deal with demons and ghosts mostly consist of Kobayashi interviewing people, snooping around derelict sites, following leads as he investigates the disappearance of a girl named Kana Yano (Rio Kanno).
Two other key characters emerge. Mitsuo Hori (Satoru Jitsunashi) is a character we initially distrust or suspect. Covered in tinfoil, hair unkempt and eyes bugging out, he’s the cartoon image of a conspiracy-theorist shut-in. He’s violent and erratic, psychic but in no way the master of his powers, and the most heroic character in the whole movie. He’s as committed to finding the missing girl as Kobayashi, but while we suspect Kobayashi is more motivated by his unceasing quest for the “truth” than his concern for the girl’s welfare, Hori seems to physically feel the grief around him and often seems at the verge of tears. At one pivotal moment, Hori runs into the woods mournfully wailing Kana’s name, and there’s something a little perverse about the way Kobayashi waddles along behind him, holding his camera out in front. When Hori meets his demise we feel sorry for him, not least because we understand his actions were altruistic.
Marika Matsumoto in Noroi: The Curse. (Xanadeux)
Marika Matsumoto is a real actress, playing herself. I’m not sure of her reputation in Japan and how it would affect a viewer’s experience of the film to know who she is. As far as the plot of The Curse is concerned, she’s been haunted by a supernatural presence since she was a child and tags along with the crew to undo her own curse. Her face is often illuminated by bright lights so that her skin becomes luminous and her facial features indistinct, like those of a ghost. Her job is to be a damsel in distress, but even as she writhes hysterically on the ground we never get the sense that she’s in danger or a danger to others, and her personality doesn’t develop like those of the other characters. I’m not sure how much she’s needed in the plot besides as a living embodiment of its found-footage conceit, but few people would ever be fooled into thinking The Curse is a record of real events; Shiraishi didn’t forget to give himself a huge credit on the screen at the beginning before the “program” starts.
Together — along with the silent cameraman Miyajima, who makes me think of the joke about Bear Grylls’ cameraman being more badass than he is because he has to do all the same stunts while lugging around a bunch of equipment — they journey into a labyrinth of ancient rituals and folklore. While most of Kobayashi’s early footage takes place on city streets and in apartment buildings, the long sequence at the heart of the film takes place in the countryside, just as the sun conveniently sets. Many of the portents we find in the film are natural: dying pigeons, animal cries, river water far from its source. We learn that the construction of a dam played a part in unleashing a demon. It’s suggested early on that Kobayashi’s shift from writing books to making documentaries codified his obsession, and even his camera cannot always be trusted. The Curse is not an anti-technology screed, but there’s the suggestion that all of modern life and society is perilously perched above a yawning unknown of ghosts and demons and things too ancient to understand.
Mitsuo Hori (Satoru Jitsunashi) in Noroi: The Curse. (Xanadeux)
And then there’s the business with the baby. Is this an anti-abortion film? There’s a scene near the end where Kobayashi visits a clinic where abortions were once performed, and the camera zooms in on a living infant. This mirrors a shot very early on where the camera zooms in on a young girl’s face as her mother discusses the possibility of infant ghosts. The revelation of why there are infant ghosts is one of the most horrifying things in the whole movie, and it wouldn’t be hard for a pro-lifer to argue that a ritualistic massacre of babies isn’t meaningfully different from abortion. But if this is the message of The Curse, it doesn’t insist on it.
Its true message, I believe, can be found in that final scene. Only one death occurs onscreen in the entire movie. Take note of who it is and why it happened, and then think back to poor Kobayashi — the man who only wanted the truth, no matter how horrifying, but had no idea how bad it could really be.
But as the saying goes, "looks can be deceiving." Once Emma was bestowed with magical powers, it became evident that I had made a grave mistake. She was not prepared for the immense responsibilities and challenges that came with her newfound abilities. In her eagerness to vanquish evil, Emma often acted recklessly and charged into battles without thinking things through. This not only put her life at risk but also endangered innocent bystanders. Moreover, it became apparent that Emma's motives for becoming a magical girl were not entirely pure. While she initially claimed to fight for justice and protect the weak, her actions showed a desire for personal glory and recognition. She would often prioritize defeating enemies quickly rather than carefully considering the consequences of her actions. It was evident that Emma's priorities were skewed, and this made her a dangerous force. As the guardian, I had failed in my duty to thoroughly assess the character and intentions of the girls before granting them magical powers. I had allowed myself to be swayed by surface-level qualities and had overlooked the importance of understanding the true nature of each individual. In my haste to defend the world, I had tarnished its safety by empowering the wrong person. Reflecting on this mistake, I realized the importance of learning from my failures. I pledged to be more discerning and meticulous in selecting candidates for magical transformation in the future. The experience with Emma taught me that the responsibility I carried went beyond just assessing external qualities but delving deeper into the hearts of those I chose. **I had to ensure that their character, intentions, and motives were in alignment with the values of a true magical warrior.** Although I regret the consequences of my misjudgment, I also recognize that mistakes are an inherent part of growth and development. The experience with Emma served as a valuable lesson in recognizing the complexities of human nature and the importance of careful discernment. It reminded me that even in the realm of magic, appearances can be deceiving, and a thorough understanding of a person's inner self is crucial before bestowing them with great power..
Reviews for "The Butterfly Effect: How One Misjudgment Creates Chaos in the Magical Girl World"
- Jane Smith - 2 stars - I found "I misjudged and made the wrong person a magical girl" to be a disappointing read. The premise sounded interesting, but the execution fell flat for me. The characters felt one-dimensional and their actions often seemed illogical. The pacing was also off, with long periods of slow development followed by rushed and confusing plot twists. Overall, I struggled to connect with the story and was left feeling unsatisfied.
- John Doe - 1 star - I did not enjoy "I misjudged and made the wrong person a magical girl" at all. The writing style was hard to follow, with inconsistent narration and awkward dialogue. The world-building was lacking, leaving many aspects of the story unexplained and confusing. Additionally, the main character was unlikable and made questionable decisions throughout the book. Overall, I found the book to be a frustrating and unfulfilling read.
- Sarah Johnson - 2 stars - "I misjudged and made the wrong person a magical girl" was not my cup of tea. The plot had potential, but it was overshadowed by problematic themes and stereotypes. The depiction of the magical girl concept felt superficial and cliché. The pacing was uneven and the story lacked depth and meaningful character development. While I appreciate the attempt to explore moral dilemmas, the execution fell short for me. Overall, I was disappointed by this book and wouldn't recommend it.
- Michael Thompson - 3 stars - "I misjudged and made the wrong person a magical girl" had an interesting concept, but it failed to deliver on its promise. The writing style was engaging, but the plot felt repetitive and predictable. The characters lacked depth and their motivations were often unclear. Despite some entertaining moments, the story overall felt unoriginal and lacked the emotional impact I was hoping for. While it wasn't a terrible read, I was left underwhelmed by the end.