Hello folks, and welcome to another friggin’ episode of Magical Girl Lyrical Nanoha! I’ve been having a lovely time with this series, and I hope you have as well – in addition to filling out an important gap in my history-of-anime knowledge, it’s also just been a very fun, aesthetically compelling show in its own right. It always bears repeating that few creative ideas truly come from nowhere – all creators are reprocessing and reflecting the works that inspired them, and thus engaging with Nanoha has naturally enriched my understanding of works like Madoka Magica, Symphogear, and modern interpretations of magical girl drama as a whole. And considering Wrong Every Time has not-so-subtly transformed into some kind of magical girl appreciation blog (shoutouts to Precure, Doremi, and Princess Tutu), it’s probably a good thing that I’m finally investigating one of the modern titans of the genre.
So far, the transition into Nanoha’s second season has come with a variety of aesthetic consequences. The shift from Akiyuki Shinbo to Keizo Kusakawa has been accompanied by a general consolidation of the Nanoha aesthetic, with fewer of the striking two-tone compositions Shinbo favors, but plenty of generally evocative symmetrical compositions. The show’s ostentatious post-processing work and focus on mechanical transformations remain intact, but the introduction of an antagonist who actually combines magic with physical strikes has lent the battles a newfound sense of physical weight, along with more animation flourishes. To be honest, that first episode fight was probably the best-composed battle of the franchise so far, and I’m excited to see Fate herself take the stage. Let’s dive into another episode of Magical Girl Lyrical Nanoha!

