It’s been a short while since we’ve seen Takuya Igarashi and Yoji Enokido together. The last time they teamed up as director and series composer/screenwriter respectively was 2014 Spring’s Captain Earth. Prior to that, the two worked together on Star Driver. Captain Earth started off strong — especially when it came to visuals and cinematography — but lacked Star Driver‘s self-awareness and over-the-top silliness while telling a similar story of adolescence and robots.
In fact, as a director and writer team, Igarashi and Enokido often seem more at home with comedic moments, or combining over-the-top comedy with a few poignant emotional narratives, than he does when attempting something wholly serious.
Near and dear to my heart, the Sailor Moon franchise is something that means a lot to me personally. I know I’m not alone in this, and my story isn’t particularly special. Sailor Moon resonates with an enormous amount of people, making it one of the most well-known anime franchises both in Japan and the west.
Upon watching the first episode of Sailor Moon Crystal back in July 2014, I was ecstatic. While there were recognizable problems — primarily with the translation of Naoko Takeuchi’s character designs from the manga into animation — I overlooked them. Sailor Moon was back, with a promise to follow the manga more closely than its first anime iteration. My initial reaction was one fueled by nostalgia and emotional resonance.
As the weeks passed, poorly animated scenes, weak cinematography, and a general sense of laziness permeated Sailor Moon Crystal‘s presentation. Their schedule of one episode every two weeks made such glaring visual mistakes unforgivable in the eyes of the community. For me personally, Sailor Moon Crystal just made me sad to see a property that I cared about so much fail so miserably in creating any sort of resonance with me beyond my initial, rose-colored nostalgia glasses. After sticking with the first season for longer than I probably should have, I dropped the series.
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.
In junior high school, I fell seriously ill. Confined to the house, with occasional field trips to the doctor’s office or hospital, I developed an odd schedule due to fevers and medication. I missed approximately two months of school – spread out over the course of three months – and managed to keep up with my work at home. Piles of books grew beside my bed and underneath my pillow, accompanied by watercolors, crayons, and pencils that gradually scattered themselves on the carpet.
When I wasn’t bound to my bed, I wandered the house like a ghost. Sleep was fitful, and one morning I found myself watching television around 4 a.m. when I stumbled upon the English dub of Sailor Moon.