Allegorical Connection to Puella Magi Madoka Magica + Rebellion Story
Applying the role reversal and these ideas:
Pre-Madoka World: WORLD 1 ( Genesis 1.1 )
Post-Madoka World: WORLD 1 ( Genesis 1.2 )
Post-Homura World: WORLD 2 ( Genesis 1.3 and on )
Homura creates the system that enslaves Madoka; however, in this world, Homura is somewhat of an overseer and superior to her but in a lesser sense. Despite enslaving her, it is under passionate guise, protecting the individual that to her embodies perfection, no ill, radiant beauty, smart, etc. Who usurps Homura in this world? None other than Madoka, the beloved, the cherished girl of Homura. An analogy that parallels the relationship of God and Satan prior to the fall, that Satan was God’s favorite and correspondingly made him the most powerful being in the universe other than himself. Even though the implications are grim, prior to the events of Rebellion, this is an ideal world that Homura, a world that from her angle she finds acceptable . Homura is satisfied with this world, insisting she will walk through the endless labyrinth forever to protect her beloved from the machinations of the world. Despite she is forced to work constantly to maintain balance in her world, she gets to be in the presence of her friend and perhaps the one she shows deeper affection towards all the while playing God to her world, protecting her, restarting the world should something dastardly happen. Looking at what Homura’s actions causes, her repeating of time incites untapped power into Madoka, that Homura is single-handedly responsible for giving Madoka so much power. In the end though, despite Homura’s pleading and anguish, Madoka goes against Homura’s wishes and casts forth her own personal rebellion in an attempt to liberate Homura from the cycle she has placed herself in.
Before I start talking about this one as this one requires more tapping into the Bible, as well as looking at the original Hebrew translation of Genesis 1.2. In the original Hebrew text, a unique term manifests itself here, Tohu Wa Bohu, a phrase that has several definitions: “Waste and void,” “formless and empty,” “chaos/pandemonium and desolation.” This phrase is the literal description of the Earth prior to the repair process outlined above, and in the grandest sense Homura’s perceived reality of the world she is now subject to, but I will revisit this later. Analysis of various interpretations of the Bible also implicate that the term can be used to mean destruction and looking at it from older, more archaic interpretations puts into perspective a few things as well as supports some of the visual imagery present in parts of the Rebellion. One version of the Bible translates the condition of Earth as being equivalent to an arid wasteland and others mention concepts of ruination, un-inhabitation, etc. Despite first being used in Genesis 1.2, the term crops up again several times later on in the Bible and it all references the same concepts.
Regarding the mention of the arid wasteland, I point your attention to one notable scene from the show as well as several from the Rebellion movie. The only context for this term in the show is in the very last scene that shows Homura traversing through what appears to be a haunting, husk of a landscape ready to fight Wraiths, the only beings in the scene with her being herself and the Wraiths. Whereas in Rebellion, you have visual imagery in the opening showcased to Colorful, with Homura alone in the wasteland, and in most of the visuals of her, she has a bewildered or depressed expression on her face, possibly out of confusion as to what the world has transformed into and furthermore feeling empty at the fact her motivation in life has been stripped from her. From Homura’s perspective, the world is in a state of chaos, as almost nothing makes sense to her initially in her cloister world, all the while her life is partially devoid of meaning because she doesn’t have her beloved with her. Later on in the movie, take note of where Homura seems to be isolated. She is laying on a slab of rock in the middle of no where, for all we know, the world where she is laying unconscious can perhaps be an indicator of what the world is slowly growing towards. While the movie did specify that the Isolation Cell needs to be far from civilization, but does it seem peculiar that the design team picked a desert to place her “tomb” in, not just a remote desert, but a desert that has toppled structures, and showcases a landscape that appears to be war torn. Not to mention the sky is saturated with ominous clouds that almost resemble smoke, further indicating that the area she’s placed in appears to resemble a war torn canvas of reality.
Let’s now examine the 3 pairs of definitions of the words and place them in context of the narrative. From Homura’s perspective, we can deduce a few things. Mind you, this entirely focuses on Homura’s vision and only hers as in the end, as she is God, only her opinion matters. The world is thrust into potentially a worse chaos and sense of disorder as before. The conditions more or less are the same, but Homura lacks her objective that governs her, and more importantly, has forgotten what it is initially. As a result of being bewildered, the world and its implications come off as confusing, wondering why certain people have come back from the dead, why a Madoka Kaname exists when in theory she should not, being absent-minded of what happened prior to the events of the Rebellion canon. Delving further, it becomes more obvious things are off between the multitude of things in the world that should not exist, even beyond the obvious observations mentioned beforehand. Via indirect means, Madoka’s ascension can be attributed to the follies of Homura and what transpires, the creation of the cloister the world, the raw confusion, the anguish, and everything in between. It becomes quickly apparent this is not the world Homura wished to live for, nor is it the world that she remembers it being, and most importantly, it is a world that goes against her objective back in World 1. As a result of losing control of Madoka, the new world comes across as empty and desolate for her as she lost the very thing she struggled to protect. The world is one giant farce that denies her true happiness and satisfaction in living her life.
Note that the only person who seems apprehensive to upkeep the new system is Homura herself, saying the new world makes a mockery of the past, and undermines her attempt at fulfilling her objective. Though because Homura plays the role of god, only she needs to be dissatisfied to bring about a sense of change. She is the one who deduces the chaos in this new world, as the others would never have thought anything differently of it and continued living in this false utopia.
The very world she now lives in masks its true nature, has rampant metaphysical nonsense happening in spades, whether it be mysterious familiars running rampant, people with distorted faces, all the while set to characters she knew and grew up with that vary different from their previous incarnations. While to others the new world seems rather satisfactory, from Homura’s viewpoint the new world is a complete mess, and furthermore, bound by rules that defy logic.
In the end, Homura plunges the world into darkness, her “field” enveloping the universe and casting judgment upon it, most importantly casting judgment on Madoka’s prior decision. She drops the veil of the darkness that will cover the surface of the deep, the world which we once knew, and her newly divine spirit will examine the world and dictate what is best for people and what is ultimately best for Madoka.
Homura regains control over the fate she placed herself in the start of the show, she is the commander once again, and doesn’t have to worry about the terrible implications the inferior prior world brought to her. God spent six days working on fixing the world, guess how many still screens exist from Homura’s final words to Kyuubey while she torments him prior to the next time we see what resembles to be a human world, inhabited by people? SIX, with the sixth image being an image of what appears to be a beautiful syzygy of the Sun, Moon, and Earth. The next image we see of Homura following the conception of the 3rd world is her relaxing at her table, sipping her cocktail, resting; resting from her tiring work of reshaping the world.
In this world, everything is back in line with what Homura finds to be acceptable. Madoka has been cast out of her heaven and walks the mortal world amongst man with Homura reclaiming the throne of being the one in control, forcing Madoka to be a participant in the mortal domain, much like how some people insist the mortal world belongs to Satan. With everything said and done, Homura is satisfied and deems her work good, though obviously at the loss of her sanity.
Most importantly, the obvious implication that Madoka and Homura will now be destined to be enemies seems a certainty, much like God and Satan will be at odds forever after the resolution of their first war. Thinking into the series from a future prospect, it is most likely that Madoka will be the aggressor of the next conflict, given her ghastly reaction at Homura’s final speech in the “bridge.” On a similar thematic note, Homura makes mention of the possibility of destroying the world in her discussion with Sayaka at an indeterminate time period, paralleling the concept of the divine Rapture.
Prior to closing this theory, some people might be wondering why the visual imagery seems to clash for this theory. Here is the simple solution to this problem:
Homura: As mentioned above, black in Scripture is a color associated with the judgment of the Lord. Considering she doesn’t acquire her black mantle until she casts judgment on Madoka, it’s not too far off. The color also is an indicator of transition after a form of demise. Given this is an attempt to see the show as a retelling of the creation of the world, and the fact God had undertaken tasks that perhaps were not part of the original agenda, it represents a phase transition for him, in the case of the show, a transition for Homura into a new person, a new being.
Madoka: Yes, white is categorically the color of holiness and purity, but let’s not deceive ourselves here. White is also an obvious color to put your villains in to create clashing of imagery too. Take a look at Ladd Russo from Baccano! Or the villain from Psycho-Pass or from a videogame standpoint Lord Yggdrasill from Tales of Symphonia. In fact, there are at least two mentions of the Bible, one in Corinthians and the other in Revelations that mention Satan can take the guise of an angel. Keep in mind, Satan is still the second most powerful being, even after being defeated by God in the War of the Angels, despite his form changes constantly in the Bible, whether it be a snake, a foul beast, a dragon, an ugly demon, or a radiant angel, the possibility is there. Let’s also not forget what the novel Heart of Darkness taught us, that sometimes the purest objects by first glance are perhaps the most rotten, specifically his analogy of the white sepulchre.
In short summary, the crux of the theory assumes the theory that God created two worlds in the chronicles of Genesis. In the first world, Homura had more or less control over Madoka’s fate and lived her life to try to satisfy her compulsion to protect that one who is dearest to her, similarly to how God at one point in time loved Lucifer. Out of an attempt to stop Homura’s actions and undermine her to give her peace, Madoka rebels against the wishes of her friend and the one who gave her all her power in the first place to create an idealistic heaven where Homura can be exempt from worrying about her. Using the power that Homura had given her, Madoka takes upon the action of usurping the world and creates a world bent on her own set of rules, going against Homura’s own wishes. Due to Homura’s disapproval of the new world, notably in that no one can remember Madoka’s sacrifice, as well as her life feeling short of empty for breaking her own personal covenant to her friend, Homura conducts her own campaign of rebellion to topple the chaotic and empty new universe that Madoka constructed and succeeds and casts her back into the real world and strips her of some of her power.
Genesis 1.1: Homura creates her own personal heaven where she can be with her beloved and protect her. [ God creates a world where everything is at peace and harmony ]
Genesis 1.2: Madoka creates a new version of heaven and a new vision of the world that goes counter to Homura’s wishes. As a result, a conflict of the minds forms and forces Homura to overthrow Madoka in the end, erasing the reality she refused to accept. [ God is forced to cast judgment on the world because of Lucifer’s betrayal and as a result the world is cast into utter disarray ]
Genesis 1.3-Onward: Homura takes command of the world once more and brings it back in line of what she deems is acceptable. [ God fixes the previous world ]