The sung benediction of “Miracle ro-ma-n-ce,” in Sailor Moon‘s opening, “Moonlight Densetsu” never resonated with me in spite of its inherent catchiness. For me, Sailor Moon was never about romance. Instead, it was about kicking butt – figuratively, in the case of Ami Mizuno, or quite literally, in the case of Makoto Kino – and looking amazing while doing so. Additionally, was the message that even I could find friends who would like me for who I was, as trite as that sounds. I may not have resonated with Usagi Tsukino, but I desperately wished for a friend like her.
Long before I blogged about anime, I wrote fan fiction. All of it is awful. The stories that made an attempt at romance are especially bad. My buildup and character development was solid; however, upon reaching the point where the two characters would actually be together, or admit their love for one another, I wouldn’t know what to say. I didn’t know how to write romance competently, never mind any sort of sexual interaction. I still don’t.
Upon visiting a high school friend in Boston this past May, he asked me if I still wrote any sort of fiction, fan or otherwise. I disappointed him by saying no, and attributed my lack of production to numerous things – this blog being one of them – including my romance struggles mentioned above. As the former top writer of erotica for his university magazine, sex scenes are old hat for him at this point. He is still currently writing, and attempting to be published.
I asked him what his secret was. His response?
“Writing about sex somehow also has to be funny, but not too funny. Because sex is fucking awkward.”
Before the secrets of the Mirror Capital were revealed, there was Koto.
“I only have a future. I can only keep going if I want to understand anything.”
-Koto, Kyousogiga, episode 7
When Koto breaks into the Shrine sanctuary that houses her mother, she is confident and does not flinch, even in the face of what appears to be a sticky situation. Koto reunites with her mother straightforwardly, with little excess emotion in spite of the fact that she is beaming with excitement. When the two are targeted shortly thereafter, Koto reacts instinctively. She grabs her mother, holding her closely, and proceeds to put personal questions, and feelings, aside in order to safely deliver her mother to her waiting siblings in the Mirror Capital.
The entirety of Koto’s life has been a maze of questions and answers with no context. As a child, Koto learned not to hide her tears, but to move forward following an outburst. She is far from emotionless, and vigorously expresses herself before moving on with her life – shown beautifully in the “rescue” of her mother, Lady Koto – to further seek out her own answers. This is the only way that she knows how to live, and her process of finding these answers is often driven by force. She forces her way because she knows no other and, as a consequence of her ignorance regarding her own personal situation, this leads to inevitable chaos or destruction.
There were never such devoted sisters,
Never had to have a chaperone, no sir,
I’m there to keep my eye on her
Every little thing that we are wearing
When a certain gentleman arrived from Rome
She wore the dress, and I stayed home
-“Sisters, Sisters,” by Irving Berlin
Having grown up with only a younger brother, I can only imagine what having a sister (older or younger) would be like. In spite of this, there’s something incredibly resonant about the familial relationships portrayed in Galilei Donna. On the run from the powerful Adni Moon Company, the three Ferrari sisters participate in a plot that is similar to The Da Vinci Code in its convoluted nature, focus on blood descendents, and apparent scientific errors. However, if one can set all that aside – or enjoy it thoroughly in its ridiculousness – Galilei Donna offers its viewer a lovely portrait of three sisters, each struggling to find their individual roles both within their immediate family and in the world beyond it.