Around the Internet: “Why You Shouldn’t Start With Sailor Moon Crystal”

Hey, readers! Long time, no see!

I’m eternally frustrated by my inability to maintain this blog on a regular schedule, but I’m trying a new approach. If I can’t think of a more substantive post, I’ll write some commentary about something elsewhere on the Internet that I like. This time, it’s this video that’s been floating around the Anime Internet, about Sailor Moon Crystal:

YouTuber CJ outlines why newbies to Sailor Moon should skip the reboot series, and stick with the classic anime and manga. It probably isn’t a surprise to anyone that I agree with her. I tried to be positive about Crystal at first, but ended up coming down pretty harshly on it as of my Twelve Days of Anime post about the franchise. There’s simply not much to recommend about it to newbies or diehard fans–or, really, anyone other than hardcore completionists. (Which might be me; I couldn’t finish the second cour, but it lingers on my Hummingbird “on hold” list.) Apparently there’s some disagreement in the fandom about that, though–not as much as I think she makes it out to be, but maybe we’re not hanging out in the same places. CJ does a great job of explaining her points while addressing those disagreements–such as the issues with the 1992 anime and original manga. They have them! That still doesn’t make Crystal good.

There are lots of posts about this around the Internet, though, so here are two specific things I really appreciated about CJ’s video:

  1. I love that she gives a good word for the live-action series. I don’t agree with her in recommending it to Sailor Moon newbies, or at least ones who aren’t already familiar with anime or live-action Japanese television. Its cornball acting and bad special effects are pretty big hurdles for people who aren’t expecting them. However, if you can get past that, there is some really strong writing in there. I wholeheartedly agree it’s probably the best version of the “Dark Kingdom” plot (the first arc of the anime and manga)–even if there’s none of my beloved Zoisite/Kunzite. All the Senshi’s full personalities and home lives are explored, making them and their episodes just as interesting as Usagi’s to a degree beyond even the original anime. It’s also the best version of the Usagi/Mamoru relationship, making them truly star-crossed lovers and integrating their romance into the central conflict. Sure, there’s also some silly stuff like the plushie cats and “Sailor Luna,” but at least it totally owns those. Highly recommended if you’re at all interested in Sailor Moonand you know what “tokusatsu adaptation” entails.
  2. Other Sailor Moon fans will probably kill me here, but I enjoyed her recommendations of more modern magical-girl fare at the end. I haven’t seen Yuki Yuna is a Hero (and I’ve heard mixed things), but I loved Puella Magi Madoka Magica and, endless arguments about its “feminism” aside, it’s probably more relevant to the modern anime viewer than Sailor Moon is. It’s actually hard to know who to recommend Sailor Moon to these days. Even as someone with strong nostalgia for it, I can acknowledge even the best versions of the series still feel pretty dated. It’s a super-popular classic that every anime fan should probably have some familiarity with, and if you’re a credits-chasing sakuga type, it’s cool to see what Ikuhara, Junichi Sato, Enokido and co. were doing back in the day. But if you just want to get into the magical girl world, there are better places to start now.

What do you think about Sailor Moon Crystal and its merits/lack thereof? Which parts of Sailor Moon would you recommend for new fans? Let me know in the comments!

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Twelve Days of Anime #8: Ikuhara’s Kitty-Cats In Love

For one of my earlier 12 Days posts, I talked about Sailor Moon, my issues with Crystal and why I think the franchise has diminishing returns in 2014. So as a fan of the franchise who’s spent a lot of time with it this year, I wanted to dedicate another post to something I really loved about it. Namely, one of the highlights of my re-watch of the original series this year, made possible by Viz’s re-licensing of the series and streaming all the episodes on Hulu.

rhett butler cat

The “Rainbow Crystals” arc, starring Zoisite as main villain and featuring the Senshi and Tuxedo Mask squaring off with him to find the mysterious Silver Crystal, is one of the highlights of the first season of Sailor Moon. Each of the “rainbow crystals” that, when combined, makes up the Silver Crystal, is hidden in a normal person who has obtained special powers from it. Each of these people gets their own backstory that resonates with the Senshi and their story (one is a love interest for Ami, one for Makoto—but they’re not all boyfriend material, I swear!) It was entirely anime-original, and it provided ample room for the talented creators on its staff to play around and show off their original voices, so it’s one of the places I go to when extolling the virtues of the Sailor Moon anime to newbies. And one of its best episodes was directed by Kunihiko Ikuhara, of Revolutionary Girl Utena and Penguindrum fame.

In this episode, “Loved and Chased: Luna’s Worst Day Ever,” the Crystal-bearer isn’t actually a person, but a huge fat cat named Rhett Butler. He’s in love with Luna, and rescues her when she’s chased by a horde of alley cats. It’s kind of fitting that this would be an Ikuhara-directed episode, since his original work likes to blur the lines between humans and animals/objects, and their roles (see: Nanami as a cow). I’m not sure if it was his creative choice to put a cat in a human role, but it definitely fits. A good chunk of the episode is the characters taking forever to realize this, as they chase after his owner, thinking she’s the Crystal bearer. When they figure out it’s her cat, she completely disappears from the story, Rhett Butler taking center stage.

There are a lot of weird, surreal set pieces in here, another Ikuhara staple. The original Sailor Moon anime gets trippy on the visuals a lot of the time, but there’s a noticeable uptick in episodes with Ikuhara at the helm. Here’s an example:

trippy kitties

One of my favorite sequences is this episode is when Zoisite chases Luna and Rhett Butler through the sewers under Tokyo. After complaining repeatedly about how dirty he’s getting (Zoisite, you fop, I love you), he founds out the fuzzy things he’s pressing against are (really cute) sewer rats, and he shrieks as they surround him. It’s not just because I adore Zoisite that I love that scene. It’s the sort of silly physical comedy that Utena used so well with Nanami in the curry episode, so another great shape of things to come.

sewer rats zoisite

The trouble with tribbles…

I could go on talking about how it relates to some of Ikuhara’s later work, as that’s a lot of the fun of dissecting his early Sailor Moon episodes. (Ikuhara would go on to oversee the second half of Sailor Moon’s R season and the whole of the S season, where the comparisons become more palpable.) Yet this episode is such a wild ride on its own. The episodic nature of a lot of Sailor Moon’s “filler” arcs gave the creators room to flesh out characters by focusing on one each and putting her in a new situation. And “Luna’s Worst Day Ever” tells us a lot about its title character, how as sage of a mentor to Usagi as she is, she’s kind of defenseless and fearful on her own. How she’s stoic and poised but easily-flattered. It also has a lot of fun with Rei, who gets mad at the other Senshi for attacking the transformed Rhett Butler because of how they’re interrupting his and Luna’s “moment.” As brusque as she can be, Rei has a big heart deep down, one that BELIEVES IN KITTY-CAT LOVE.

Really, that’s the Ikuhara sensibility best personified by this and other of his early Sailor Moon episodes: Over-the-top theatrics and humor combined with strong character moments and symbolism. It’s what made his future works masterpieces, and what makes Sailor Moon so much fun.

rei how could you ruin

Twelve Days of Anime #4: The “Year of Sailor Moon” That Wasn’t

sailor moon viz poster

So, I think pretty much everyone knows at this point that I’m a huge Sailor Moon fan. I’ve seen most of the 1992 anime, and read the entire manga. I’ve even seen the live-action series, in fact. It’s a story I’d say I know pretty damn well, which meant I was pretty psyched when I found out about this year’s new anime and North American re-release of the old one. And I was pretty bummed when it all fell apart.

I could detail the problems with Sailor Moon Crystal endlessly—in fact, I already have—but I’m not sure if I need to at this point. As fun as it initially was just to have a new Sailor Moon anime to watch, it’s degraded to the point where it’s more of a slog than something I eagerly anticipate. It’s not even fun as a hatewatch unless you’re a diehard for the franchise. Which I am, but that doesn’t make it any less frustrating. Crystal’s problems now go far beyond the poor animation and soulless delivery, because it’s progressed to actively disrespecting the source material. It’s making the story all about underdeveloped romances instead of the girls’ strong friendships and emotional journeys that earned it its fanbase. Its theme song may say “we don’t need the protection of men” but week after week, the girls fall apart when they don’t have it. In truth, I think a manga reboot might never have caught on as widely as I’d originally hoped, since the manga is far more standard shojo-fare than the more creative, quirky 1992 anime. Yet the Crystal anime waters down and cuts up the manga as well, leaving just a shallow husk. If this is really what Naoko Takeuchi wanted out of a Sailor Moon anime…then I can’t help but be glad she didn’t get her way the first time around, you know?

I am looking forward to the second season, though.

I am looking forward to the second season material, though.

The mistakes on the Viz re-release just compounded the despair, after the old series’ return became such a hope spot for those of us frustrated with Crystal. Even so, at least its Hulu streaming schedule allowed me to revisit one of my favorite childhood shows, and the show that first got me into anime. Sailor Moon’s filler arcs are a lot less fun and more trying as an adult, but I was still pleasantly surprised by how much fun its creators had within that premise. There was clearly a lot of love and talent put into that old series, that shines through even in its most lackluster episodes. And it has its strong characters and relationships between them that captivated me at age six and still do now. It kept me watching every week as new episodes were put out…for a while, anyway.

2014 being the “year of Sailor Moon” meant that before I started writing for ANN, when I was writing for feminist/queer pop-culture media, that was basically all they would let me cover for a while. I was the “anime person” and that was the anime-of-interest for that crowd. It was hard out here for a Moonie this year, and the constant strivings and disappointments made me more than a little burned-out. I think it finally culminated when the disappointing reviews of the Viz release started coming in last month. I was in the middle of the R season’s dire Doom Tree arc, and just so fed up with stressing over that show that I had to put my re-watch on hold. I love the franchise, but even I can only take so much—especially when, at the end of the day, it’s a kids’ show that probably doesn’t deserve its mantle of That One Really Feminist/Queer Anime to casual anime fans.

Yeah, I said it. Sailor Moon is fun, empowering for little girls, and can be quite inventive in the hands of directors and writers like Kunihiko Ikuhara, Junichi Sato, Yoji Enokido and others. And yet… maybe it’s the burnout talking, but it endlessly frustrates me that this seems to be the only girl-targeted anime that the larger feminist and queer Internet wants to talk about at all. Non-anime fans know about plenty of boy-targeted shows—Pokemon, Dragonball, Naruto, maybe even Fullmetal Alchemist or Death Note—but seem to think Sailor Moon is the only girls’ show of note. It deserves that discussion about how it’s feminist and empowering and just quality girl-centered entertainment, but it always comes with the implicit assumption that it’s exceptional among anime in that regard. Even though every single one of those guys I mentioned who were involved with Sailor Moon have given us more interesting shojo series since then.

Including this one.

Including this one.

Sailor Moon’s dealings with gender are barely the tip of the feminism iceberg. Yeah, the 1992 anime creators certainly snuck in some social commentary on consumerism and restrictive fashion trends in-between the battles. Yeah, it has a wide variety of female characters, some of them even queer and gender non-conforming. But at the end of the day, Sailor Moon’s “feminist” message is mostly just that girls can be badass and do the rescuing of their love interests, not just be rescued. That’s it. There’s a lot more to feminism than that, and a lot more that media can say about it. Far from anime purely reflecting an antiquated patriarchal value system, Japan has produced quite a lot of cartoons that delve deep into the issues with restrictive gender roles, from Revolutionary Girl Utena to the works of Sayo Yamamato. There’s also anime’s (and especially the josei genre’s) tradition of strong coming-of-age stories about women that reflect gendered problems, like Paradise Kiss.

Those other works are far more challenging, and worthy of more attention and analysis, than is the so-called “weaponized femininity” of Sailor Moon and other magical-girl shows. Telling little girls they’re powerful is great, but it shouldn’t stop there. And Sailor Moon does pretty much stop there: it doesn’t do much to interrogate gender roles other than suggesting they’re too based in consumerism that can be taken advantage of, and shouldn’t be compulsory. Girls should be allowed to choose how boyish or girlish they want to be. But when Usagi confronts Jadeite over him using jewelry or fitness centers to dupe girls, it’s usually with a message that the underlying thing is good, and him using it is bad. That’s a far cry from Revolutionary Girl Utena’s doctrine that we’re all incubated from birth in this system, that both masculinity and femininity are toxic, and only through burning it all down–“smashing the egg’s shell”–can we break free:

Not that I expect a show for little girls to advocate for radical feminism and “world revolution.” But maybe that’s why us grown adults shouldn’t put those little girls’ shows on a pedestal. It is kind of amazing to me that so many American pop-culture writers think this is really the furthest that anime goes when it comes to feminism (and is just one example among many of the reductive ways that Americans essentialize and oversimplify non-Western cultures and their approaches to progressive issues).

I really love Sailor Moon, and I know it played a big part in my own feminist and queer awakening. I just wish that the feminist conversation on anime didn’t so often stop there. Maybe it’s not such a bad thing that the year of Sailor Moon was a bust. Maybe Sailor Moon just doesn’t work as well in 2014 as it did in 1992. Maybe it’ll give feminists who are casual anime fans the boost to move on, and explore the larger world of anime about women, for women.

Mixed Feelings About Sailor Moon Crystal

sailor moon moon moon

I’ll start this off by talking about one of my favorite and least favorite corners of the Internet: Tumblr. Shortly before the first episode of Sailor Moon Crystal aired last month, a post began circulating on the social networking site warning people not to jump to negative conclusions about the series. It mentioned that new versions could only enrich a franchise, that if you dislike it the old versions will continue to exist, and that squabbling could only make the fandom less fun and welcoming for newbies. It read: “Crystal is not here to destroy your childhood.  It’s here to add to it.  Appreciate it for what it is: something new, that builds on all that came before it.  It will be different, and that’s okay.  Every version of Sailor Moon is different, and the franchise is better for it.”

Now, it’s easy to see posts like this as the typical fan-posturing and -gatekeeping from hyperdefensive people who are terrified by criticism of any sort. And I’m sure some people reblogged it in that spirit. But I’ve been in plenty of “fandoms” where people just automatically hated things that were different from the version they came to like, regardless of quality and without thinking very much about what bothered them about the changes. Fanboys and fangirls are notoriously afraid of change; TVTropes even has a page about this mentality, and I’ve seen it ruin fandom communities I was in from Harry Potter to Fullmetal Alchemist to Skins. And you’ve seen it, too, if you’ve ever mentioned enjoying a movie adaptation to a fan of the original book/comic/whatever, and were met by them blathering endlessly about every little thing that was different. As someone who likes having multiple versions of a story I love, and prefers good original adaptations to dull faithful ones, I thought the post was absolutely necessary – and so I re-blogged it.

Thus, I felt like it was important to set all that fanwank aside right out of the gate here. I’m not someone who came in determined to find Sailor Moon Crystal lacking. In fact, I really wanted to see this anime succeed. I am a dedicated Moonie in every version I’ve encountered it in (anime, manga, even the live-action), and I was really excited when I heard that we’d have a new series coming out. I was apprehensive about the ultra-manga-faithful character designs and Usagi’s tentacle-pasta hair, but I was still bouncing up and down with excitement, staying up until 6 am to watch the first episode of the new series. I wrote about it positively both on my article about the franchise for Bitch, and my Summer Anime blog post here. I saw some things that gave me pause, but I decided to remain optimistic, to give the series a few episodes to find its footing.

As of episode 3, though, it’s hard to maintain my optimism anymore.

This series already had some issues with visuals and direction. My friend Gabbo detailed many of its issues in her post here about Sailor Moon Crystal, while comparing it to the original anime. As she shows, the series already had many problems in the first two episodes, but “Act 3: Rei – Sailor Mars” brings a lot of them into even sharper focus.

Let’s start with some positives. I really love the backgrounds on this show. The first anime had a lot of great ones as well, but the watercolor ones here look like something out of a storybook:

Also, hi, Phobos and Deimos!

Also, hi, Phobos and Deimos! You look a lot more distinctive this time around.

But when one zooms into the individual characters, the positives dwindle. The character designs are flat, generic and, to be frank, pretty clunky. My first thought with this moment (when Usagi first meets Rei) was, “wow, they aren’t being remotely subtle about her girl-crush! Cool!” My second was (as Zac Bertschy pointed out on Twitter), “…what are those EYEBROWS?”

sailor moon crystal 3 eyebrows

Luna continues to look more like a horse in her body shape than a cat, but even characters who were doing fine in previous episodes, like Mamoru, apparently change their face shape with every scene, when it’s not falling into the generic big-eyed pointiness that this series favors for everyone:

Poor boy, you were so much cuter back in the day.

Poor boy, you were so much cuter back in the day.

Rei (Sailor Mars) fares the worst, though. Plenty have already detailed how her eyes are oddly spaced, but it’s possibly even more alarming how often she goes completely off-model – to the point where it sometimes seems like the series doesn’t have a consistent “model” for her. It’s one thing to have your characters look a little “meguca” when they’re in the background or in motion; it’s another in a still shot where they’re the focus, like in Rei’s slogan scene here:

Also, is that a Jojo pose?

Also, is that a Jojo pose?

And while the backgrounds can be impressive, the series simply lacks the impressive direction and attention to detail that characterized the original. It could be simply due to its lack of talent – the first Sailor Moon anime boasted such directors as Kunihiko Ikuhara and Junichi Sato, the masterminds behind Revolutionary Girl Utena and Princess Tutu respectively – but you don’t need a genius director to just not be lazy here. And these directorial and cinematographic choices are just that: lazy, hoping the viewers will be entranced by the modernized style and ignore how sloppily it’s applied. Observe the lighting choices here, where the leaf shadows are applied so broadly as to appear unrealistic:

Even Usagi knows!

Even Usagi knows!

Sailor Moon Crystal‘s story may be just as engaging as that of the original – if it keeps following the excellent manga – but the presentation leaves a lot to be desired, and could make or break this series that can already be experienced in so many other forms. Toei just doesn’t seem like they’re bringing the budget and/or talent necessary for this project, which is a shame for something as heavily-anticipated as this series was.

Overall, it’s interesting to compare Sailor Moon Crystal with another “manga-faithful” reboot of a classic anime series: Fullmetal Alchemist: Brotherhood. I’ve never been particularly fond of FMA:B, though a lot of that lies with my finding the manga story far less compelling than the one in the first Fullmetal Alchemist anime – which takes a much sharper departure from its source material than the original Sailor Moon anime did. (FMA 03’s degree of departure is closer to what the Sailor Moon live-action series did with that first season arc’s plot, but that’s a story for another post.) With Sailor Moon, I had less reservations, since I like the first anime and the manga’s stories about equally at this point. I was excited to see the manga version of the story get an anime adaptation, with its much darker plot and greater protagonist-focus giving it the potential to pull in a different audience to one of my favorite anime franchises.

But I’m finding a lot of the same problems I did in FMA:B.

And in both FMA:B and SMC, the key to most issues is the manga-faithfulness. FMA:B struggled to adapt 109 manga chapters to 64 episodes, and that includes some truly sloppy pacing, especially in its beginning and end. But even then, it keeps so much manga material it could have easily left on the cutting room floor, that it fails to give the proper time to the essentials (as with the Ishval flashback episode). Worse, its visual adaptation is almost panel-by-panel, to a degree that shows serious ignorance for what works in animation vs. print comics. This is most evident in its comedic moments, where it repeats the same SD visual gags from the manga as literally as possible – but while they worked there, they’re just over-the-top and corny in anime. The first anime succeeded by rendering these same jokes with more subtlety.

But SMC’s issues here, at least as far as visuals, are far, far worse. FMA:B had a manga-inspired art style and character designs, but it did adapt them with an awareness for how things work differently in a three-dimensional plane. (It helped that Hiromu Arakawa’s more rounded, cartoonish character designs work better for this task, anyway.) SMC’s characters hew so close to its manga art style, though, that this goes right out the window. Gabbo puts it well in her aforementioned post:

Naoko Takeuchi is a great artist, and one her art’s most distinctive features is that she draws eyes to look like they exist on a flat plane. She doesn’t account for the curvature of the face, just changing the direction that the eyes are curved in order to indicate which way a character is facing, and it looks great in 2D. However, this choice doesn’t translate well into animation, where character models will often need to turn around or shake their heads or make other onscreen shifts in perspective. It just isn’t easy to transition one facial shot to another in a way that looks recognizably human.

 

The Senshi in the manga...

The Senshi in the manga…

sellamun crystal

…and the new anime. Can you spot the similarities?

To SMC’s credit, it does seem willing to deviate from the manga plot as necessary to make the anime plot more engaging, unlike FMA:B. But it does this by hewing closer to what the first anime already did differently, as in Ami’s episode – which is basically the same exact story as her introduction in the first anime, with some technology updates (a haunted CD-ROM instead of a haunted floppy disk!) and taking into account Usagi’s different characterization here (kinder and more cooperative, instead of competitive and argumentative).  It isn’t much of an argument for SMC being able to stand alone, as its own work separate from the first anime and the manga.

Those differences, though, do at least make SMC a curio worth observing for those who are already invested in the other Sailor Moon canons, and anyone interested in the art of adaptation. I, for one, like that Rei’s episode shows more signs of the manga version of her characterization and relationship with Usagi, even though I prefer her anime incarnation. (Competitive, snarky Rei was my first fictional crush and basically my role model as a sassy little girl, okay?) Both the cooperation emphasized in the manga/Crystal story and the spiritedness/assertiveness emphasized in Usagi and Rei’s first-anime characterizations, are valid approaches to empowering and mentoring young girls through entertainment. I’m glad that the latest generation of little girls, who might be put-off by the ’90s flavor of the original anime, have a new version of the story that they can call their own.

But for anyone other than youngsters and diehards, this series still leaves a lot to be desired.

Summer 2014 Anime: First Impressions Part 1

It’s not often that I find myself watching more anime in a winter/summer season than I am in spring/fall, but here we are! I stuck to five series in the spring: Jojo’s Bizarre Adventure: Stardust Crusaders, Mushi-shi Season 2, The World is Still BeautifulCaptain Earth and Haikyuu! (I tried Ping-Pong and found it wasn’t for me.) And yet, I find myself following a lot more in the usual drought that is anime’s summer season.

Granted, many of these are continuations of spring series; Jojo’sCaptain Earth and Haikyuu! are all soldiering on for the next several months, at least. But there were also a number of new summer series – or sequels of previous series I enjoyed – that intrigued me. Let’s look at some first impressions.

I’ll be starting with the second seasons/reboots, and get to the brand-new stuff in a future post after I have two or three episodes to discuss.

FREE! ETERNAL SUMMER: Episodes 1 and 2

Haru (right) and Sousuke, a new rival for Rin’s affections?

Like a lot of anime viewers who are attracted to men, I had a blast with Kyoto Animation’s effort last summer to even the fanservice playing field a bit. I deliciously drank up both the sexist fanboy tears over its existence, and enjoyed the hell out of its homoerotic ab monsters, as they shed their clothes and glistened with pool water. Free! is far from ground-breaking television, but it does what it’s trying to do pretty well. Its characters are simple but never feel stereotypical, and are always entertaining and fun. And its storylines may be well-trod ground for anime about school clubs, but they’re written and directed well-enough that you’re drawn in anyway. Plus, it has the top-notch visuals one expects with any KyoAni effort. Needless to say, I was more than ready for season two this year.

The first episode makes it clear this new season is a show for existing fans, with many shot-by-shot visual references to the series premiere. I still found myself enjoying it, but wondering where the show was going. Well, with this week’s episode, now we know: The series introduced two fun new characters, a cute but somewhat mysterious boy from Rin’s past named Sousuke; and departed Samezuka captain’s energetic and even more girl-crazy younger brother. The former seems to be setting up for fresh tension between Rin and Haru now that Rin’s softened a bit, and both give us reasons to care about the Samezuka team beyond merely being the Vocal Adrenaline to Iwatobi’s New Directions, if you will. (Yeah, I haven’t watched Glee in a few seasons, either.)

SAILOR MOON CRYSTAL: Episode 1

Gaze in wonder at them pretty backgrounds. Ignore that Usagi’s hair kinda looks like tentacle spaghetti.

You could say I’m a pretty dedicated Moonie. I’ve read the entire manga, seen most of the old DiC English dub and I’m now making my way through the original anime as it gets released by Viz on Hulu. I’ve even seen the infamous live-action series. (I don’t think it’s quite deserving of said infamy, but that’s a whole ‘nother post.) I’ve written endless posts for Autostraddle and now, Bitch about its feminism, and how its queer characters helped me come to terms with my own sexuality.

So you could also say I’m pretty well-prepared to review this first episode of the reboot series of Sailor Moon Crystal, and yet, in many ways that extra level of familiarity is a handicap more than a helper. I’ve seen this first episode’s story so many times, in so many forms, it’s hard to talk much about it on its own. So let’s instead talk about the presentation of this first episode, and what it indicates about the different beast this reboot might be.

Sailor Moon Crystal is a Fullmetal Alchemist: Brotherhood type of reboot; it faithfully follows the manga plot where the original anime diverged (albeit, not as much as in FMA’s case). It’s clearly inspired by the manga’s art style in its character designs, which were my least favorite things visually about this series; they look clunky and misplaced given the modern high-quality of all the other visuals, especially the backgrounds. More interestingly, the tonal and character-focus differences between the two main versions of Sailor Moon are already clear from this first installment. As I said in the Bitch article, there’s less camp and visual gags here than in the original anime, and the music is more dramatic, replacing the sleazy jazz of the old series. Usagi is also at the center of the story, with Tuxedo Mask merely looming imposingly in the background rather than saving her as he did in the previous anime.

It’s a little less fun than the old series, but should be just as, if not more, epic in its action-adventure with the eye-popping visuals. And the darker manga plot should reward adult fans of the series as much as the silliness of the first series did. Regardless, I know I’m too much of a Moonie not to stick with this one.

SPACE DANDY SEASON 2: Episode 1

SO MANY DANDIES!

Space Dandy is a series that I’ve always wanted to love more than I do. It’s a sci-fi parody show from one of my favorite anime auteurs, Shinichiro Watanabe. Its particular brand of sci-fi parody is cut from the same cloth as others I already adore (more on that in a moment). It already has a top-notch English dub airing at the same time as the Japanese version, something I love and hope to see more of as a dub fan (especially dubs from Funimation, like this is). So why does it feel like it doesn’t always land for me? Why, sometimes, am I glued to the TV, whereas other weeks it feels more like a fun background distraction while I get some writing done? Luckily, the show is episodic enough that that doesn’t matter too much if one doesn’t grab me a particular week. It effectively reboots itself the next week just fine.

All that said, this first episode in the new season shows some pretty strong promise for the show going forward. It’s a similar idea to the Family Guy “Road to the Multiverse” episode, except, of course, good, and not loaded with tired references. This week, when Dandy contemplates switching careers (which…about time, bro), he finds out that there are versions of his crew (him, Meow and QT) in every universe with differences in occupations and species, but from the same basic molds. It leads to the kinds of zany hijinks you would expect when they get all jumbled up in each other’s worlds, and endeavor to find ways back to their proper places. It includes some references (mostly to other anime, like Attack on Titan) but the real pull of the episode is looking at how all the different versions of these characters bounce off each other, and their madcap attempts to each get back home.

Space Dandy‘s episodic parodic nature makes it seem more like an American adult animated comedy than a Japanese one, which is why I’ve always thought it should have an even bigger U.S. audience than it already does. Its brand of affectionate sci-fi parody seems more indebted to classic Futurama and The Hitchhiker’s Guide to the Galaxy than most other anime. But it has enough wit and craziness, and memorable characters, to charm you even if you don’t get the references, to anime, sci-fi clichés or anything else. All that means it’s the best pick this season to bring in non-anime fans, and luckily, they can check in anytime they want. This strong season opener suggests that there’s never a better time than now.

Up in Part 2: Terror in Resonance, Gekkan Shoujo Nozaki-kun, Love Stage and possibly more!