Reviewed on September 20, 2015
Zagtoon/Method Animation/Toei Animation/SAMG Animation – Miraculous Ladybug
Personal Message: Already answering, yes, this is not directly a K-Pop related review. However, for how it does relate, Fiestar did sing the show’s theme song (and
arrogantly sharing my own video for English subtitles). Though Fiestar was how I became exposed to the show, admittedly, I have watched two episodes, and to confess, have greatly fallen in love with it. This may, however, be due to university overly working my brain, and thus, though I am older (eighteen), I am able to find excessive joy in a show that is, arguably, aimed towards younger audience members (I would predict around twelve). Regardless, shows are, indeed, age-free, and most certainly, especially to be discussed later, gender-free (for example, even as a boy, I am entirely envious of Marinette’s beautiful room, even if it is feminine). While I will first digress with life updates, afterwards, as many readers may expect from me, a rather large digression will take place: one that consists of explaining why “Miraculous Ladybug” is an exceptionally important show.
Before continuing with the actual review, for quick updates and clarifications, if not already blatant, this review is simply a bonus. K-Pop reviews will always be of main priority, and in many ways, are going to come rather quickly. F.T. Island’s “Severely” is underway, and after this shorter review is finished, if time permits, the song will also be published in the same day. Song reviews are becoming more concise, and therefore, many more are able to come. To explain my longer absence, briefly stated, I have an abundant amount of university work. Lots of university work. Lengthy readings and numerous essays were the reasons for why my free time was restricted to solely watching videos and exercise. No time was available for writing reviews as, pitifully, my days were very work-orientated (though again, I am enjoying it all). Also, to offer a disclaimer, I do apologize if this review’s writing is to a poorer standard, such as by being incoherent. Due to already investing much towards schoolwork, for this review, I will adopt a more casual, unembellished style. However, that is not to say writing is not fun or that I will give no effort; writing is a very fun activity, hence why this blog exists and this review is being made, and as always, this blog provides a chance to safely experiment and improve with writing.
On the last bit of technical updates, I am now writing reviews in 12 font size (for font type, I was already using Times New Roman, as an older review discussed). Though this is incredibly irrelevant to readers as, when reviews are posted, the blog’s own font type and size are unmodifiable, for those who may have to work with MLA formatted papers in school or elsewhere, accept this as a basic reminder on the actual MLA standards: 12 font size, Times New Roman, and the usual one-inch margins. Embarrassingly, I have always assumed 11 was the standard
and am now hoping that my ED class professor is even more amazing by being lenient with my paper’s wrong font size. And, as I have just realized, should there be new, welcomed readers who are solely reading this review because of “Miraculous Ladybug” and not for the usual content of song reviews, I do hope this review provides varying insight to the show on a mechanical level, but also, for why the show is even more admirable. (And, if I feel ambitious, for “Miraculous Ladybug” fans, I will attempt to contact Zagtoon for copyright permission to subtitle the episodes, though that is most likely a futile attempt.)
Finally discussing “Miraculous Ladybug,” for short, personal opinions, as stated, I have watched two episodes: the second and third. Without yet addressing the show itself, for an obligated comment, Marinette is, arguably, my favorite character out of all literatures and films and shows (though, bear in mind, I never watch fictional shows or read books in which there is a casual plot and not one of, for example, social inequities). Marinette can be, overall, summarized in three words: hilariously, awkwardly cute. Unless if she is Ladybug, her quirky acts, as highlighted by her vain attempts to flirt with Adrien (Black Cat, or “Chat Noir”), are simply adorable due to the amount of awkwardness. Personal affection aside, transitioning to a more serious tone, “Miraculous Ladybug” is a French-Japanese-Korean show. It has already begun airing in South Korea (the version I have personally watched; though my Korean is far from remarkable, it is enough to enjoy the episodes and, out of the three languages, the only one I know of), and from my understanding, will also begin to air soon for France and Japan. Other countries will be included as well: the United States, for example, will also have it broadcasted at some point.
To truly embark on the digression now (for readers who are uninterested, skip to the review itself, though I would hope the following words are meaningful), I am yearning that “Miraculous Ladybug” becomes a phenomenal hit; I am hoping the show becomes a huge sensation. Although what is presented in “Miraculous Ladybug” may now be the norm for how shows are conducted, nevertheless, when I began researching of the show and watching it with a critical lens, I became astonished: it is socially empowering as it presents much social equity. There is a copious amount of topics to discuss, but drawing one example, as one of the animation companies’ manager (from memory; she is either a director or manager) said, in summary: “It’s the first time in animation that there will be a female superhero.”
Coincidentally linked earlier, for the song review of “My Type,” in that review I discuss the underrepresentation of females in multiple areas of society, and relating to “Miraculous Ladybug,” an act is being done to combat that disparity by having Marinette, and furthermore, a feminine appeal, be of main attentions. It is a gambling act, considering how shifting away from the “norm” of superhero shows–male based shows–may place “Miraculous Ladybug” at a disliked position due to shifting away from how superhero shows are “supposed” to be conducted as, unfairly, masculinity is portrayed as the standard when, equitably, it should be of both femininity and masculinity. More will be discussed in depth below. As for other aspects, besides promoting that masculinity and femininity are both cherishable, race equity is additionally depicted. Since there is much to discuss, I will now elaborate the main aspects one at a time (and again, apologies for being disorganized; I am still a mediocre writer growing).
First, for perhaps the most projected notion, “Miraculous Ladybug” sends out an invaluable reminder: femininity is good. For one aspect, engaging villains does not have to be grotesquely gory and bloody, as is often time the case as masculinity correlates to such. Engaging villains can be, and more accurately stated, is, also the idea of utilizing a flashy, pink yo-yo as a weapon, and furthermore, pink, glowing magic. Even more momentously, “feminine” fighting, if that term may be used, is also certainly acceptable even in males. Adrien in his transformed form, Black Cat, provides an example: cat combat. Peculiarly, seldom are males associated with cats, and more so in the lens of superpowers as, for what is socialized, cats-related powers are for females. Disassembling stereotypes, however, “Miraculous Ladybug” unveils a capable male hero whose powers happen to fall within a “feminine” category. Thus, overall, in this regard, especially in a highly androcentric realm of superhero fighting, the show greatly challenges current, inequitable standards via including a marginalized perspective: female superheroes can fight, and that male superheroes can equally use “feminine” superpowers as, unlike what society showcases, femininity does not mean weakness and helplessness.
In addition to the fighting concepts, there are also more subtle details promoting gender equity: Adrien/Black Cat is moreover a sidekick, or at least, requires “princess charming” Ladybug to commonly save him. Before diving into the latter idea, for the first one of being a sidekick, it is exceptionally rare for males to receive a less prominent role and for females to adopt the main protagonist role. Interestingly, should rebuttals occur due to this “unfairness,” such as by advocating for both males and females to, simultaneously, be in main spotlight, ironically, very few would challenge current, genuine, unjust trends: males tend to be in spotlight while females are sidekicks. Therefore, it is not necessarily that both males and females need to simultaneously be in spotlight, but rather, that both genders should be able to individually take spotlight on an equal level. It is fine for males to be sidekicks, and also, females to be sidekicks; what is not fine is that, currently, predominantly it is superhero males taking the lead while females take the subpar role, or in certain cases, not even any role.
Delivering a more cohesive message, in “Miraculous Ladybug” ‘s case, while Adrien can be rendered as a sidekick (though I would state both are the protagonists), and therefore, many may become defensive at the supposed lack of equality, that is not true. This is equitable as, it is not necessarily about both genders starring at once, but that both genders can alternate between being the protagonist and sidekick character. And of course, more male sidekicks and more female main superheroes are needed, and “Miraculous Ladybug” is contributing to that neglected side.
Bringing in the second component of how Black Cat tends to be saved often by Ladybug (Marinette, if unclear), a complete reverse to a stereotypical idea is displayed: females are definitely capable of saving others, be it regular civilians or a male sidekick, and also, that it is fine for males to be saved by females. There is nothing “emasculating” in that scenario, unlike what is often time believed. A minor detail to the plot, but as always, the macro level of society as a whole is impacted by the micro level, and the show tackles on those micro-based, personal incidents. Adrien/Black Cat being frequently protected and saved by Ladybug discloses that gender should not–does not, determine who needs to be saved or doing the saving; the two main characters of the show prove that it is absolutely acceptable to not behave within gender norms.
Homogeneously, to continue the prior idea of tearing down gender norms, another one is challenged, and it is one that is not quite reflective of fantasy superpowers: flirting. Specifically, the notion that females can, unequivocally, make the first move. With the targeted audience members being of a younger age, these types of subtle messages are even more important, and even if the notion of protecting is overlooked, for sure, this idea of females proposing first and such will not be. “Miraculous Ladybug” shows Marinette always advancing first to Adrien, and while awkward, it is not due to shifting away from gender norms, but instead, due to the basic awkwardness that emanates in flirting, romantic scenarios. In fact, overarchingly, a positive aura is given as, despite the amount of blunders Marinette commits, it is all endearing and cute–to viewers, at least. And, for a more equal stance, there is still the side of males flirting first, as observed by Blackcat flirting with Ladybug (to prevent confusion, for how the “love plot” works, Marinette likes Adrien, but when they are transformed and each other’s secret identity are unknown to one another, Black Cat likes Ladybug), but, for the main point, it is Marinette’s perspective that is highly emphasized, and thus, the gender restriction of solely males proposing first is disputed. After all, this is a trend that deserves to be broken down
and I am hoping for, one day, a female, as Black Cat would say, “M’Lady,” to come and propose to me.
My pitiful romantic dreams aside, for perhaps the final take to the promotion of gender equity on “Miraculous Ladybug,” basic femininity is shown, and not in any mocking manner, as would, sadly, often time be the case, given by how society prioritizes masculinity over femininity (refer to countless reviews I have written addressing that disparity). Expanding this point, Marinette is very feminine–and that is fine, and in fact, good. Being feminine is not bad. More extremely, being a feminine male (as I believe in full honesty with readers, admittedly, such as me) is also not bad. Returning to the earlier statement of how I adore Marinette’s room, and very much, would love to have her room, should moments of disgust have appeared, that is due to the undervaluing of femininity; anything feminine, and more so in a male, is repulsive as femininity in general is supposedly so. Critically, however, should her room be “normal,” or bluntly stated, “masculine” in that it was not as colorful and so forth, my comment would not be controversial as masculinity is seen as normal when that is not a fair standpoint.
Focusing back to Marinette’s femininity, though, and why her being feminine is of utmost importance, in a show of relative violence (this would require a future review to discuss; where is the line for acceptable violent entertainment), often time such would create a “masculine” woman. “Miraculous Ladybug” kept that idea at bay, however, as Marinette constantly remains feminine–inside and outside of battles. This is exceptionally enriching as it delivers the necessary, lacked message: femininity does not mean being incapable or helpless or weak. Flinging around a pink-glowing yo-yo is nothing to scoff at, and for Adrien’s powers, slicing away with cat claws or using a batton versus, for an abstract example, a vicious sword, are acceptable and worthy of rendering seriously for the idea of weapons, even if the listed ones are arguably more feminine.
Considering the digression is running an excessive length, to now transition into another topic, the subject of race is equally important in the show. Already from Marinette, a promising perspective is given: a protagonist who is not only female and feminine, but also, biracial. Marinette is half White and Asian, specifically French and Chinese. Maybe due to being older and simply not heeding attention towards current cartoons/animations/shows (I hope the current, equitable trends are in various shows these days), Marinette is the first biracial protagonist I know of for a TV show. Marinette, herself, combats many unfair standards of what it means to be a superhero. Agreed to or not, for what is widespreadly urged forward and connoted, to be a superhero, it involves being a masculine, White, heterosexual male. This show very much removes that idea as Marinette provides the voice of minoritized people: female, feminine, and biracial.
Of course, to clarify, I am not intending to degrade those who do happen to be socially privileged in terms of race, gender, sexual orientation, and so forth (my upcoming review on F.T. Island’s “Severely” will discuss this; rather than hating, it is worth educating, and more clearly stated, it is about hating oppression and not necessarily the oppressors). Rather, I am hoping to bring awareness on a social level. In fact, Adrien provides an example of how it is not necessarily an issue to be a superhero, even with his scenario of being privileged: White, male, heterosexual, and even wealthy, attributes listed above. Nonetheless, it is vital to be aware of what is showcased, and often time, being a superhero involves having “super” social privileges.
Proceeding on, for other examples of racial equity, there is racial diversity among characters, but that in itself is not what is important; what is moreover important is how, with the given racial diversity, the characters are treated and depicted. Bitterly drawing from an atrocious example in the past, TMZ’s incident with EXID proves that it requires more than racial diversity for racial equity. Equality exists, but equity does not. Explaining, and in the context of “Miraculous Lady,” the show genuinely presents racial equity as, while there are characters of multiple races, none are “exotified.” With Marinette’s mother, for example, a perfect example is gleaned: she wears more traditional Chinese clothing, but it is not construed to be seen as comical or grotesque, but instead, “regular” clothing as that is what it is. Differences are accepted and embraced. The idea of “sameness,” a false idea, is not ushered, but rather, the idea of “sameness love” towards actual differences is what is displayed. Considering where this show is aired, whether South Korea, United States, France, Japan, or wherever else, that crucial idea is reminded: everyone is different, but everyone deserves the same love and respect for said differences. (A future review may discuss the issue of “sameness.”)
Other examples exist, but for the purpose of time, I will halt the discussion. The main ideas and empowering aspects of the show should have been addressed. For personal hopes in the show, class and sexual orientation should be, eventually, included or addressed. But, on a realistic side, with how much “Miraculous Ladybug” is tackling, and most likely, how it is facing heavy criticism based on its equitable stance on gender and race, for what is given is more than sufficient. That is not to say, though, that other subjects should remain untouched; for other sensitive social topics that are not addressed in the show, other TV shows should come forward.
Slightly explaining the prior points, for example with class, though many minoritized voices are heard in the lens of race and gender, arguably, poorer people are not quite included. Certainly, Adrien may be wealthy and yet, still suffers due to the death of a mother and is under heavy constraint due to his father, or that Marinette’s home might be an apartment instead of a house (I am unsure on France’s culture regarding houses; as I know I have readers from France, I would be grateful if anyone with knowledge is willing to share), and therefore, implicitly, her family might not be entirely wealthy (though not to say living in apartments definitely correlates to a lack of wealth), but overall, it can be argued that the roster of characters are at least middle-classed. Every character is fashionable, and thus, money is rather necessary, and in other details, Marinette’s room would require some wealth to prettily decorate. As for sexual orientation, as is the trend, non-heterosexual relationships are not openly disclosed.
This is not to say, though, that “Miraculous Ladybug” is lacking. A show can only showcase so much, and for what is showcased, I remain in utter appreciation. Social responsibility is what has to occur next: “Miraculous Ladybug” is paving a way for gender and racial equity, and now for a future show, it is up to that show’s staff and team to either continue the pathway of equity, or to return to the “normal” standards of, for example, having a White, masculine, male superhero who saves helpless females and has a belittling attitude towards femininity. All in all, “Miraculous Ladybug” is truly a show worth caring for, and that is more than the plot and animations. “Miraculous Ladybug” is miraculous; the show, against all odds, strays away from current social norms via embracing differences and opening up perspectives that are often time shunned. Personally, while I will no longer watch its episodes
except in secret with my stuffed penguin, I plan to search for occasional updates. Shows with positive, social messages, such as “Miraculous Ladybug,” need to continue and to become popular. Pop culture is influential, after all, and biasedly, I believe it is the best medium to truly transition society towards a more equitable standard.
Miraculously, I have wrote for, relentlessly, approximately four hours. If too much was stated, I will blame university for draining (and growing) my mind, and as an outcome, streams of thoughts are unfiltered. Once again, as the review will finally begin, it will be of shorter length due to this being a bonus review. Afterwards, F.T. Island’s “Severely” will be finished, and from there on, many songs. Stealing Marinette’s words, as I will need extra power to critique the show on an entertainment level, “Ladybug! Transfo–” I apologize for the most horrendous transition ever written. The review will simply begin versus stealing Marinette’s catch-phrases.
Plot Summary: Truthfully, I am relatively embarrassed on the length of my Personal Message. At this rate, I might as well have created a Blog Opinion post rather than a review, but it would be wasteful to turn around now. Before dissecting the show on a mechanical level, its plot will be summarized and generalized to give readers some ideas as to what the show’s story is about.
“Miraculous Ladybug” ‘s plot revolves predominantly around, predictably, Marinette, an “average” teenage young lady (her age is unclear, though assuming audience members would be around twelve, I would estimate her and Adrien to be of around sixteen or so). Ignoring her superhero side, and jocularly, her occasional, beloved awkwardness, she is rather usual. Marinette attends high school (or actually, it may be college this whole time; readers should feel free to send in corrections), spends time with her best friend, and for future goals, yearns to be a fashion designer. And, as many will experience, she has a love-interest: Adrien, a model who is also her classmate. Unluckily, unlike her superpower of luck that appears when she is Ladybug, she remains highly timid and twisted in the presence of Adrien. Furthermore, for other perspectives, Adrien’s own life is also followed, though to a lesser degree than Marinette’s.
Their casual lives aside, however, “Miraculous Ladybug” is filled with its main conflict: stopping trouble within the city. Humorously and vaguely described, an unknown man in an unknown place possesses thousands of butterflies, but these are not typical ones: the butterflies under this masked man’s possession are “Akumas” (if I heard correctly)–creatures that are imbued with magic, but specifically, “dark” magic from the masked man
and this is where seriousness may dwindle for older readers. Brushing aside the personally dreaded, overly used cliche of “dark and light” binaries (this concept is incredibly plain, and as life has it, there is never a “light” versus “dark” side), the masked man is unable to use the Akumas as direct weapons. However, the Akumas, when infused with “dark” magic, are capable of transforming a person, specifically those in deep anger or distress, into a magical being who exploits their newly acquired power for harm, or at least, for selfish, anger-driven reasons. The masked man’s motive for this, however, is to not necessarily decimate the city, but intriguingly, it is in an attempt to steal Ladybug’s and Black Cat’s source of power: their “miracle stones,” of which are in the form of earrings and ring respectively, and those accessories possess the duo’s own Akumas.
Thus, when an Akuma attack strikes, Marinette, through the use of her own Akuma named Tikki, transforms and obtains her powers, and for Adrien, he also follows suit and assists Ladybug by transforming through his own Akuma, Plagg (or Plak, though I am sure the other version is correct), and through such, he becomes Black Cat (or Chat Noir in other versions). The two then cooperate with another to overcome the spawned, Akuma-possessed individual, and once successful, Ladybug “captures” the Akuma and reverts it back to a standard butterfly.
Gauging from three episodes, this structure continues onwards and endlessly: Marinette’s and Adrien’s personal, teenage or college lives are disclosed, and for an episode, an exclusive individual becomes heavily angered or stressed due to whatever circumstances, and expectedly, the masked man sends out a “dark” Akuma to possess them, and then, a battle ensues of Ladybug and Black Cat facing off the newly summoned, possessed individual. From the first three episodes, all have ended in the usual victory of saving the possessed individual and capturing the Akuma. This, overall, is a rough outline to the plot of “Miraculous Ladybug.”
Entertainment Value: 8/10
Finally beginning the actual critiquing of the show, for the category of Entertainment Value, as is its title, this is gauging how appealing the show is. This accounts for its plot, its animations, added humor and action, and so on. Offering a rating, an eight for a solid good will hold. Although the intended audience may be for younger viewers, even at my current age and if I am now rather shameless, it would be distasteful to disregard how entertaining “Miraculous Ladybug” is.
Granting one example of an appealing aspect to the show, its minutiae in plot are adored. Given that I am an older viewer and the combat scenes are rendered negligible, for the non-fighting scenes of Marinette attempting to flirt with Adrien or, very comically, attempting to digitally break into his phone with oven gloves on to “prevent crime evidence,” the more minor details to the plot are, indeed, charming. Regardless of ongoing scenes, “Miraculous Ladybug” is filled with its funnier, cuter and unique moments, and with that individuality attached to the show, appeal is granted. In the overarching picture, as to be discussed in the Structural Value category, the show may be relatively stagnant, but when focusing on specific, minimal details to the story, it is highly entertaining.
Peering at other traits, to look into the scenes, “Miraculous Ladybug” discloses a various amount of scene types. Usual fighting occurs, but then, in contrast, the typical daily lives of the heroes are also unveiled. There is never an incident of pure, same events; the occurred conflicts and moments in “Miraculous Ladybug” are always new. With this, besides the appeal of witnessing scenes that range from action to comedy to romance, development of story takes place. Viewers are able to, overtime, accumulate a personal understanding of the show, be it understanding every character’s personality and motive, how the general lifestyle is for the characters, and more.
On this note, in terms of character development, dialogue plays a significant role, and “Miraculous Ladybug” can be greatly praised for its script (this will be based on the Korean version’s dialogue, though I am very much confident that the same, general meanings will carry between languages). The dialogue is funny, witty, but most importantly, natural; the characters’ words to one another or even themselves reflect not a superhero, TV show plot, but rather, almost everyday life in a sense. Excluding catchphrases, that is. On topic, to elaborate, the dialogue presented does not leak artificialness. When Marinette speaks, for example, it feels like Marinette, an average teenager/college student. She stutters, mutters, and squeals in excitement as a normal human would. Distinct qualities hold based on personality, but there is never a sense of being excessively “cartoonish,” an issue that may arise most notably for older viewers.
After two episodes, I have yet to consider the dialogue as overly scripted and vapid, and to that, the show deserves some credit. Juxtaposing “Miraculous Ladybug” to, for example, clips of Korean dramas (I do not watch them, though I have had watched segments with friends), shockingly stated, I will argue “Miraculous Ladybug” ‘s dialogue felt more natural than the dramas, of which are, clearly, showcasing real actresses/actors and not fictional, computer animated characters. Extreme in example, but it provides emphasis on how respectable the dialogue is in the show. In the drama clips I have seen (forgetful of drama titles), much of the dialogue can be considered as excessive, but for this show, that is not apparent for a vast majority of the time (if it does appear, then it is during the fight scenes).
Perfectly timed, for the discussion of animations, the computer animations are impressive. While I would be incapable of truly differentiating “good” animations from “bad” ones, for “Miraculous Ladybug,” it is sufficient, and to be foreshadowed, appealing. Though there are nuisances in the form of, for one take, recycling transformation scenes and other, typical segments (the Structural Value will discuss this), in focus of the animations themselves, it is detailed and smooth. Facial expressions and movement are in tune to the show’s atmosphere, and during combat, maneuvers are fluent.
Reiterating the rating, an eight will be given. Admitted or not, the show is certainly entertaining. It is funny and romantic, action-packed and laidback. “Miraculous Ladybug” does well with maintaining appeal in multiple categories.
Structural Value: 5/10
An unfortunate decrease in score. Structurally, the show scores at a five for average. Transitions between scenes, how episodes are formatted, and, for the nitpicking part, how vapid the show can be, are a few examples of what the Structural Value includes. Simplified, this category is focusing more on the technical layer.
To begin, undeniably, the show lacks interest in its very general outline. Every episode may be adorable and intense with combat, but as partially revealed in the Plot Summary, “Miraculous Ladybug” is, harshly stated, a basic input-output machine. In essence, all of the episodes are the same. A laughable, personal example will be used to highlight this issue: my own layout of an assumed “unique” episode.
This will be episode 25 of “Miraculous Ladybug,” and it is not a single episode, but rather, a two-part episode bonus so that episode 26 will be included. Following the show’s episodes’ protocol, the daily lives of Marinette and Adrien must first be revealed. After endless days of hopelessly flirting with Adrien, Marinette found her luck: Adrien decides to eat lunch with her. Marinette will be in utter happiness for her miniature date, but now, it is time to create a conflict: another student also has a crush on Adrien, and under intense jealousy, she (we will use a female for now, though being the social challenger I am, I would love for the day to come where a homosexual male is used in this scenario to showcase that, homosexuality is normal and acceptable; refer to my review on Teen Top’s “Ah Ah” and others for discussions regarding homophobia) becomes a target for the masked man.
Now, with being possessed by an Akuma, as seen in episode one to twenty-four, she seeks not to bring back the “miracle stones” of Ladybug and Black Cat, but instead, menacingly, to remove Marinette. Due to gaps in my horrible, instantaneously conjured plot, assumptions will be placed that Black Cat found out and threatened “Jealous Student,” and he is now the target. Fast forwarding, the daily lives’ scenes are over, and now, the transformation scenes–of which have been played twenty-four times already–are played. Fast forwarding, as this a special episode that has to vary from the prior twenty-four episodes, there will be a moment where Black Cat is nearly annihilated, or in more audience-friendly words, will become very hurt. But the varying point occurs: Ladybug takes the hit for Black Cat. Eventually, for whichever reasons, somehow Jealous Student surrenders either due to force or realizing her vile acts. Now, though Ladybug is nearly incapacitated, she still manages to, like in episodes one to twenty-four, say her catchphrases when capturing an Akuma.
“Evil” has been stopped, and now the episode transitions into the post-fight moments and the duo’s daily lives are about to be witnessed again, and as always, a romantic theme is of attention. As this is the bonus episode of twenty-five, to intensify fans’ love, there will be a very intimate moment between Ladybug and Black Cat realizing their love for one another, but, to keep fans constantly in search, the two do not embrace the idea of being in love as, according to Ladybug’s very wise and heroic words, “love will only bring us trouble” or something similar to such as those phrases will always be said. Then, Marinette, who is still hurt from whatever blow she received, limps to school, and Adrien notices and assists her. The two still do not know the other’s secret identity, but this marks another moment of romance between the two. Episode ends with a fade out to the sky and a bird-eye view of the city, and then teasers for “Miraculous Ladybug: Season 2” appears.
If I did not manage to elicit any form of laughter or grinning, I will consider taking comedy classes. Also, if in any way my satirical take on “Miraculous Ladybug” ‘s final episodes are true in the future, then, in addition to proving my earlier point, it will also prove that my spying is of the highest expertise. Jokes aside, this an overly exaggerated view of the show’s weaker structural component: it is predictable. The show is very much predictable. Marinette’s and Adrien’s lives will be followed, but then an Akuma is released, then Ladybug and Black Cat launch into action, succeed, and then the ending consists of more romantic interactions.
A glaring fault to the show, and critically, through an unbiased lens, this will impair the show’s overall rating. Optimistically, however, even with this issue, “Miraculous Ladybug” is still highly enjoyable as, though the outline is stagnant, the dialogue per episodes will, surely, vary, for example, and with my personal exaggeration, it is solely such: a very sarcastic, pessimistic look at the show. For other, minor structural problems, repetition of animations and catchphrases are ones, but accounting for the culture of superhero shows that are geared towards a younger audience, this can be overlooked. Similarly, the dramatic camera angles and poses during fight scenes also fall into the same category. Overall, it is primarily the episodes’ repeated outline that delivers issues. No matter the amount of positive outlook for “Miraculous Ladybug,” there may be a point in which the structural layout is too mundane.
A five will hold for this category’s score. It is average at most due to, sadly, how the episodes are outlined.
Overall Score: 7/10 (6.5/10 raw score)
In the end, “Miraculous Ladybug” averages a seven for score, and therefore, it can be considered an above average show, and to that I can agree to. Of course, however, as this is a bonus review and hardly in depth, this Overall Score is far from accurate, and most certainly, is based on a personal analysis of the show. Concluding a final message, though, the Overall Score is less important than what was discussed earlier. If including the “Social Score,” a 15/10 would be in place. That piece is what I hope readers extract. “Miraculous Ladybug,” while not flawless on the entertainment level, it is still exceptionally enjoyable, but most remarkably, its empowering social messages is what brings it genuine respect and care. While I doubt I will actively watch more of the show due to time restraints, as stated, I plan to keep track of it (and to watch an episode here and there). On final notes regarding this review, though short and mediocre in analysis, I will urge that it is a show worthy of watching, and as excessively stated, one that needs to be emulated in every other show. The social equity presented is important to perpetuate, and much credit is deserve towards the producers for taking a risk to challenge current standards.
Switching to the end, thank you for reading this review, whether a fan of K-Pop or “Miraculous Ladybug.” I am incredibly grateful to those who continue to return to the blog, even despite it being inactive. University comes first, but reviews will not be abandoned. F.T. Island’s “Severely” will be of review next, and after it, I plan to hastily finish the current schedule of reviewing male artists. I do hope this bonus review, though, was enlightening and delightful for a change in reviews. Leaving an estimated publish date for “Severely,” perhaps next week at latest. I still have much schoolwork to attend to, but I will do my best to still release reviews briskly.
Thank you once more for reading, and as Ladybug would say, “Ladybug, out!” But, she never said those words. This is rather problematic as my iconic closures cannot happen. It will be assumed Marinette stated those words. Stay tuned for the return of K-Pop reviews, and specifically, F.T. Island’s “Severely.”