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There’s more activity for Day 5, with several new links.

Ash Brown reviews the first volume of Sailor Moon, and finds the story a bit unfocused, but is charmed by the characters. There’s also a competition at that site to win the first volume!

Animemiz is another long-time fan, and discusses her ongoing love for the series.

Margaret Emma gives us an essay on how Sailor Moon opened life up for her, and the lessons she takes from it on love and friendship.

Crystal Lewis takes a closer look at Usagi, and talks about the anime sometimes exaggerating her bad points.

And speaking of the anime and its influence, I take a look at Mamoru, Chibi-Usa and Rei and the changes they made – some quite significant! – going from page to screen.

Lastly, the Manga Bookshelf team had an ongoing discussion about the first volumes of both Sailor Moon and Sailor V.

Some fantastic articles here. Get to reading!

I touched yesterday on the differences between the source manga and its anime adaptation when I discussed villains. Of course, it doesn’t get limited just to them. Any anime adapted from a manga is going to need to expand and add in order to make it viable. 23 minutes of screen time vs. 30-40 odd pages means you need to figure out ways to remain true to your material while exploring new boundaries. And given that the original manga is 52 chapters, and the anime counterpart is 200 episodes… there’s a lot of stuff that can best be categorized as “anime only”. There’s added on plot arcs, like Ail and Ann; there’s changing events to make things more dramatic for television, such as the end of the first arc. And sometimes, there’s changes of the main characters themselves.

Sometimes this cam be small. Usagi cries a lot more in the anime, but this isn’t really that out of character for her. Likewise, Minako’s ditziness gets really ramped up as the series goes on, but you never find yourself thinking “Wait, she’d never do something like that.” There are three characters, however, that I’d argue the anime alters enough so that fan opinion on them changes depending on what people are more familiar with. And let’s be honest, for 95% of Sailor Moon fans, that’s the anime.

Mamoru and Usagi end up falling for each other straight away. And in the manga, despite the occasional ‘being possessed by evil’ that happens to love interests all the time, this is never in doubt. The series is not really about “will they get together or not?”, especially after the second arc shows us the future in Crystal Tokyo. As a result, one main element used to pad out an anime is missing from the manga – romantic tension. Not to worry, though. Simply have Mamoru be far more aloof and unconcerned with Usagi’s feelings, and have Usagi be even more insecure and jealous than she is in the original. Plus throw in a few rivals for their love. Presto! … Of course, the problem is that this makes Mamoru look like a jerk at times. Thus, for those who grew up with the anime, it’s not “wow, look at their beautiful love” but “what does she see in him?”

(I haven’t been able to track down a source, but several folks have noted that the director of Sailor Moon R, S, and Super S, Kunihiko Ikuhara (better known for Utena and Mawaru Penguindrum these days) has openly stated he couldn’t stand Mamoru, and wanted Usagi to end up with Rei.)

Mamoru, of course, is still at heart a “nice guy”, meaning that it’s harder to hammer on his character flaws the way one can with crybaby Usagi or impulsive Minako. Sometimes, though, when a character does have known character flaws, hammering on them TOO much can cause issues. This is what happened, to a certain degree, with Chibi-Usa in the anime. She is, especially in her debut, meant to be a bratty kid who glomps on to Mamoru and doesn’t like Usagi. While this improves in future seasons, like “crybaby Usagi”, her default seems to be “bratty Chibi-Usa”. And fans, as a whole, tend not to like bratty kids that much. She’s a bit bratty in the manga as well, but it makes her shyer as well, and gives her a lot more bonding moments with Usagi. But again, we run into what happens when you have to fill time. Need to have conflict in an episode? Have Chibi-Usa fighting with Usagi. I like to think that the two of them are finally getting less hatred from fandom, but it was quite bad for a time.

Sailor Mars, aka Hino Rei, is quite different. With a few exceptions, she never got the hate that a lot of folks had for Mamoru and Chibi-Usa. Of course, she was also dealing with a different problem. Mamoru and Chibi-Usa were still recognizably their manga characters, just with several negative traits brought to the fore. But Rei… Rei was *changed*. In the manga she may get angry with Usagi at times, but it’s more of a grumpy irritation, and in general Rei epitomizes the “cool and aloof” type. She also shows no interest in Mamoru whatsoever, and in fact notes a few times that she doesn’t like men. (I think that’s meant to be more of a “teenage boys are immature” thing than a yuri thing, not that that’s stopped anyone.) In the anime, however, she’s an angry hothead whose fiery temper matches her element. And she’s the main rival to Usagi for Mamoru’s affection in the first season.

Why the huge change? Again, it could be to add conflict. It’s not as if Usagi was going to get into shouting matches with Ami, after all. And what’s more, Makoto doesn’t show up till episode 25, leaving a lot of space where it’s just Usagi, Ami and Rei. Someone has to offset the others. What’s more, Rei’s loud and angry persona gives her more easily exploitable flaws – it’s shows right off the bat that she and Usagi are more alike than they want to admit – and also allows them to grow closer as friends once this is discovered. Usagi and Rei grow to be best friends in the anime, whereas in the manga I’m not sure that’s the case. (Rei in the manga tends to match up with Minako, who displays many of the same qualities and has the same ability to drive Rei nuts.)

As a lifelong Doctor Who fan, one thing that’s been driven into my head is that canon is fluid, and it’s really best to be able to keep several conflicting realities in your head at once rather than remain wedded to one to the exclusion of everything else. The Sailor Moon anime and manga both have strengths and weaknesses, several of which actually offset each other quite well. But in the end, I think fans are still going to have to clarify when they’re debating a pairing or a plot point, “Are you talking about the anime personality or the manga one?” And let’s not even get into Minako’s changes in the live-action series…

Another quiet day, but not silent!

Kathryn Hemmann has an excellent article on Sailor Moon and Femininity, and the gap that sometimes seems to exist between examination of the series by feminist critics and love of those same elements by its fans.

And John Walter Biles did a guest post on my blog about pacing in Sailor Moon, and how both the anime and manga have their advantages when it comes to use in fan works.

Sean here. Today we have a guest post by one of the more popular Sailor Moon fanfiction authors, John Walter Biles. John has been writing Sailor Moon fanfiction for over 15 years now. His most acclaimed stories include the epic Sailor Moon Z and the Arthurian pastiche A Tokyo Senshi in Queen Rei’s Court. John’s stories can be found at his website. Here he discusses in depth something I touched on in my villains essay: the differences between the manga and its anime, and how this affects Sailor Moon fandom.

It cannot be denied that the Sailor Moon manga is better paced than the animation. This is not unusual; even poorly paced manga tend to be outrun by any attempt to animate it at the same time the manga is coming out. Any fan of Japanese animation based on manga soon comes to expect the many tricks used by animated series in order to avoid having to pass the point the manga has reached.

Further, the Sailor Moon manga is tightly paced, especially in comparison to a lot of other manga in which people fight each other or monsters. Compare the disasterous spiral of bloat of the Bleach manga in the Hueco Mundo arc to any of the major manga arcs. (If you enjoy pain, anyway). Each arc lasted roughly a year of real time, setting up a set of interconnected conflicts, resolving them by the end. Indeed, with only 52 chapters, many foes die by the end of the chapter they first appear in.

The strength of this is that you end up with something which is complete in itself, doesn’t wander all over the place, and which does not contain any wastes of time. From a perspective of purely reading,
this is a definite strength.

But we live in an age in which reading (or in the case of TV, watching) is not the only use of media. Increasingly, many fans want to engage with media at a deeper level, whether arguing about the story’s direction on a mailing list or discussion board or Twitter, creating fan art, writing fan-stories, making music videos or other forms of secondary creation. Modern technology greatly facilitates this.

Ironically, for this purpose, the flaws of the animated versions of many manga become strengths. The more holes they are, the more space there is for secondary creators. It’s the series which are problematic which tend to attract the most fan writers, whether to fix the holes or to exploit the additional plotlines which have to be added. There is enough framework for a common fandom and enough room for improvement to inspire people to do so.

The massive army of Sailor Moon fanfics attests to this phenomenon. The flawed structure of the anime opens more room for fanfic, which is among the reasons there are more fanfics based on it than the manga. The fact that in the US, most people have not actually seen all of the anime contributes to this as well, leaving the series essentially open-ended for them (like, for example, Ranma One-Half, another series which launched a thousand fanfics).

Naru, for example, who is ephemeral in the manga, is given enough coverage in the anime’s first season to become a substantial character, then fades away as the show progresses. For many people, this does not please them, leading to a small army of stories about her, whether to make her a senshi, or just to preserve her friendship with Usagi instead of her fading away. (I plead guilty as one of those people, in my fanfic Sailor Moon Z.)

Thus, for those inclined to use a work as a basis for building their own story, something flawed and sprawling may well open doors for their own creativity. Which is not to say I wish Naoko Takeuchi had churned out a never-ending mess like the Bleach manga has become. Frankly, a lot of modern manga authors should be sat down and forced to read something with good pacing.

But the dual existence of the anime and the manga means we can have our cake and eat it too in this regard, having one version of the story to spark creativity especially well and one to deliver a tighter version of the tale for reading enjoyment.

After a flurry of links for Day One, it’s been quieter lately, likely as most contributors are recovering from Christmas.

Kate Dacey reviews the first Sailor V manga, finding it suits its intended age group perfectly.

I take a look at the Senshi of Time, Sailor Pluto, and also compare how villains are treated in the anime when compared with the manga.

The MMF is still going on – keep those contributions coming!

(Hat tip to Animemiz for the topic for today.)

In a later post I’ll be discussing the confusion that sometimes appears in fandom when people discuss plot points or characterizations that are wildly different when seen in the Sailor Moon manga versus the Sailor Moon anime – or even, these days, the Sailor Moon live action series. But I want to talk about the villains separately here, as they get talked about a whole lot, and it’s quite fascinating how differently they’re treated by the various sources.

Naoko Takeuchi’s manga is excellent at giving its main characters well-developed and awesome character arcs. But the villains? Not so much. It’s got a lot to pack into its chapters, and the villains are there to move the plot along to its next point. Not to say there isn’t some thought given to each of them. The Four Generals being Endymion’s old bodyguards from the Silver Millennium was clearly thought out well in advance, and indeed gets brought up long after their deaths in the first arc. As for Super S, I’ll get to that later. But, especially in battle, generally a villain’s job in the manga is to show up, be horrible, threaten a few people, and then get zapped by the senshi (who, unlike the anime, have no issues whatsoever with killing them provided they prove to be monsters and not humans).

The anime had a lot more time to fill in its episodes, and the best way to do it was to flesh out the various villains. And so Nephrite begins to fall for a human, Usagi’s friend Naru, and in the end redeems himself for her even though he dies. (One can argue how acceptable this is, but the anime clearly wants you to feel sorry for him, even if many don’t.) Kunzite and Zoisite are in a relationship (which required the dub to make Zoisite a female, as heaven forbid a kid’s cartoon had suggestions of homosexuality). The Akayashi Sisters in the second arc, who were all complete cannon fodder in the manga, all get ‘redemption’ stories and are purified by Sailor Moon. The same thing happens to the Amazon Trio in the Super S anime – in the manga, they too are killed off. And Professor Tomoe’s story is equally tragic in both versions, but the anime gives him a heart he simply doesn’t have in the manga. It’s not a surprise to see why – Takeuchi made her minions, for the most part, to be funny and entertaining, and the more we see of them the more we got to like them.

(Tomoe’s redemption actually caused a nasty plot hole in the anime that had to be fixed later. This is why Pluto basically shows up at the start of Stars, takes his daughter from him, and proceeds to have her live with the other Outers. Which seems rather cruel of her. No need for this in the manga – he was far more irredeemable, killed off, and Hotaru went to stay with the others out of necessity.)

Of course, not EVERYONE got to enjoy a nice soul-healing redemption. The Witches 5 are just as wacky and fun to watch as prior villains, but they get killed off in ways that range from horrifying to *really* horrifying (hi, Mimete). Likewise, the Sailor Animamates in the final arc got huge expansions of roles (in some cases, they were only in the manga for a brief scene before being offed), but they manage to die all the same. In general, if the anime can manage to save the villain without harming the plot or having it turn too sweet, they might do so. but if the plot is meant to be dark (S, Stars), they’re far less lucky.

Then there’s Super S. The fourth arc in the manga, it’s the one that was changed the most for the anime. The anime, in fact, has a bad reputation, as it upped the cutesy Chibi-Usa scenes and removed the Outer Senshi from the story. It was probably the fluffiest of all the anime seasons. And because of that, it actually manages to redeem TWO sets of villains – not only the Amazon Trio, but also their replacements, the eccentric Amazoness Quartet, who in the anime are purified and become human girls. Now, for once, they Quartet are ALSO saved in the manga… but have a far more interesting role. Sailor Saturn (who, as I noted, was removed from the anime Super S) notices them and begs them to remember who they are. They ignore her, and are (we think) killed by being turned into glass marbles by the main villainess. Saturn grabs these, and once everything is safe and the villain has been vanquished, asks Moon to purify them. She does… and surprise! These four villains are actually SENSHI, Chibi-Usa’s bodyguard team from the future. What’s more, they even show up again in the next arc. This is probably the biggest villain redemption in the series, and it’s surprising that it comes in the manga (though this means it loses some of its impact as the Quartet didn’t appear as much).

This is not to say there aren’t scary and horrible villains. Each arc has its main general below the big bad (the big bad in each arc tends to be a horrible monstrous creature of some sort), and you feel no sympathy at all for them beyond the occasional “My God, What Have I Done?” moment. But in general, for Sailor Moon, it pays to be silly. The sillier the villain, the more likely you are to get out of the series alive. Especially since another of Takeuchi’s favorite techniques is also at play here (you can see it with Jadeite, Prince Diamond, etc.): if you are an asshole, particularly a male one, the heroines will kick your ass from here to Cleveland.