The figure of the “child reader” is claimed by both traditions, although in one case that reader is a textual construct and in the other a human being yet this ambiguity is not typically addressed within studies of individual texts.
It's a great character piece for Homura, and given the ending, I would certainly look forward to another follow up.This article uses the Japanese television anime series Puella Magi Madoka Magica (2011) as a case study through which to problematise the relationship between two prominent traditions within children’s literature criticism: narratology, with its vocabulary of implied readers and textual address and reception studies, which typically gather data through empirical work with children. Though that doesn't make this movie bad by any stretch. Some for legitimate reasons, cause the ending of the series was perfect. Of course some people aren't going to like this. There are scenes here more shocking than anything even in the series. It doesn't feel like a cash in, cause a cash in would've just had a mindless action movie with an excuse plot, and not the furthering development of Homura. It really takes Homura's character in a fascinating direction.
Honestly, of all the ways to continue this franchise, this seems like one of the best options. I can say this much: Homura wakes up in a world where all her friends are back and they're all happily fighting monsters together. The movie is slightly confusing at first, and I can't describe the plot too well without giving away spoilers. I love "Magic Madoka", and was curious about this movie that follows up the movies, so by extension, the series (for those who don't know, the first two movies are a slightly condensed version of the 12 episode series) If you don't know anything about Madoka, you should stop reading here, unless spoilers don't bother you.
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