I was rewatching the scene for my thesis and omg Galaxia u SASSY HBIC
“So I can say with full confidence to those who dream of becoming a mangaka: even if you suck, it’s okay!♥ Just try your hardest and please don’t give up! Even if it’s bent, smudged, done in a felt pen, done in ten seconds per panel, or done with no rough draft, just be sure to make those deadlines. Anything is okay. Even if it sucks, it might become an anime someday!” — Naoko Takeuchi
PS this is what I mean when I talk about her being rushed- SHE DID A LOT OF STUFF AT ONCE, like do the numbers of what she’s talking about here.I guess I kinda get more defensive of her than other artists because she’s pretty clearly aware of a lot of the flaws and really apologetic about it. And I still really like her work despite all those limitations! So.i just like her i think she’s cool…and always will…
(via legendary-ginzuishou)
"Maybe what a lot of authors don’t understand is the masochistic component of boys. They write love stories that are now outdated."
—
-Naoko Takeuchi
It’s probably a product of translation but I laugh so hard every time I see this quote. Oh gosh Naoko. You tell ‘em
I honestly have no fucking idea what it would be like if women ruled the world
I would never make any assumption bc u know history didn’t roll that way
but i like to think something like this
Well, there’s a lot! Manga Minako was more the leader of the Sailor Senshi like 24/7 and probably got the most characterization out of any of the supporting characters in the manga. Her backstory was wildly different too, since she got her own manga she received a lot more characterization. I felt the manga did a better job balancing her goofy side and her warrior side. You could clearly see the differences between her and Usagi. She was way more hot tempered and she made a point early in the Sailor V manga that SHE DOESN’T CRY! (which isn’t true, but yeah, she’s defined by not being very sensitive and being able to bounce back from things easily, while Usagi is very sensitive and tends to wallow). She like straight up beats the shit out of people who piss her off even in civilian guise. She’s like A HUGE HAM and very focused on her public image as a hero and LIKES being a hero- she considers it akin to idoldom. And in SuperS, she freaks the fuck out over not being able to transform and goes on a tear about it.
I’d say she was def more ruthless than any of the other Senshi- she straight up stabbed Beryl to death. When if comes to protecting the princess, she does not fuck around. At all.
And rather than her backstory being about being in love with that guy whatever bleh, some idol-tastic dude straight up tries to seduce her to giving up a Senshi to be with him, and she ends up choosing her duty over him and killing him. That’s when she awakens as Venus. And despite her goofiness about boys still being there, in V she realizes she enjoys being Sailor V and prioritizes that over romance and in Stars she pretty much flat out says that yeah, she’s not serious about pursuing romance because she’s already chosen to dedicate her life to Usagi. So it’s pretty different from the way she was characterized as unsure about being a soldier quite a bit in the anime.
rebloggable for Miranda!
Hey so let’s take a second to look at everyone’s card, shall we? Because it’s me so you must’ve known that was coming.
Playing cards each have meanings in divination. I’m not so much into that sort of thing, but each of these cards and their suits were picked intentionally by the creators (nothing just HAPPENS in this kind of thing, it’s all specifically chosen), so it’s worth taking a look.
Ami is the Queen of Hearts, which is associated with a kind and idealistic woman. (What were smoking, Lewis Carroll? ….oh, right, EVERYTHING. Never mind.)
Minako gets the Jack of Clubs, which represents a popular, playful, reliable friend.
Mako is the King of Diamonds, a powerful and influential man who seldom loses. (Ironic in this situation, but.)
Rei gets the Ace of Spades, which represents Motörhead. And also hard work, conflict, and death. (Let’s assume for your enemies and not for you, though, Rei.)
Finally we have Usagi, the Ace of Hearts, which is for love, happiness and friendship.
And now a round of applause for the writer and/or animators, because all of those, within the somewhat limited scope of playing card divination is pretty fucking accurate. Well done, folks. Well done.
WHOA.
Be humble, for you are made of earth.
Be noble, for you are made of stars.
(via girlsbydaylight)
DID YOU GUYS EVER WANT A QUICK EXPLANATION OF THE HISTORY OF THE MAGICAL GIRL GENRE AND HOW SAILOR MOON CHANGED THAT WITH ACTUAL OFFICIAL SOURCES (AKA BOOKS AND ARTICLES) AND HOPEFULLY NO INACCURACY WELL I JUST WROTE ONE
as an introduction for my thesis
In 1991, Naoko Takeuchi unveiled a creation that would enjoy international popularity, revitalize and redefine a genre and turn into a juggernaut franchise that would still be expanded upon twenty years later. This creation was called Bishoujo Senshi Sailor Moon, which translates roughly to Pretty Soldier Sailor Moon. The franchise itself is massive, consisting the original 52 chapter manga (Japanese comic) written by Naoko Takeuchi released from 1991 to 1997, the 200 episode anime (Japanese animated television show) adapted from the manga released from 1992 to 1997, the 49 episode live action series Pretty Guardian Sailor Moon released from 2003 to 2004, the 25 stage musicals releases from 1993 to 2005 and a number of video games and other assorted merchandise. The central and most well-known aspects of the franchise are the manga and anime, therefore this paper will focus on those.
The series revolves around the adventures of Usagi Tsukino, a typical Japanese teenage girl who is given the power to magically transform into the superhero Sailor Moon and tasked with a mission to stop the evil currently threatening her world. She allies herself with other Sailor Soldiers named for various planets in the solar system.
This story and its premise redefined the magical girl genre. The magical girl genre is an anime/manga genre that began in the 1960’s. The magical girl genre debuted with 1966’s “Sally the Witch”.This series inspired by the American sitcom “Bewitched”according to Jason Thompson in “Manga: The Complete Guide”, and was also “the first anime aimed toward girls”. Early magical girl series featured young girls who had magical powers that would either aid in or complicate their day to day lives. Often, their magic would be awakened with a transformation item, like the titular character’s magic compact mirror in 1969’s “Akko-chan’s Got a Secret!”
Analee Newitz criticized the magical girl genre as being focused on women suppressing their power to please the men around them. “Like American sitcoms of the 1960s such as Bewitched and I Dream of Jeannie, the magical girl genre features women who are simultaneously powerful and traditionally feminine. Often, jokes center around the mishaps involved in the magical girl’s effort to hide her powers so that she may appear demure.”
Whether one considers Newitz’s criticisms as accurate in describing early magical girl shows or not, the criticisms certainly do not apply to the majority of later magical girl shows , especially since Sailor Moon popularized the subgenre of “magical girl warrior”. The magical girl warrior dispensed of the idea of the magical girl simply hiding their powers or only using them to aid in day-to-day problems, but instead had the magical girl actively use her powers to vanquish evil and protect the world.
Though an earlier series, “Cutie Honey” had featured a transforming magical girl warrior, that series had been largely aimed toward men. The story of Sailor Moon was both created by a woman and explicitly aimed toward young girls.
Sailor Moon was also the first fusion of the magical girl genre with with the sentai genre. The sentai genre is describe by Jason Thompson as being about around “five multicolored heroes” who “beat up bad guys, filling a niche similar to superheroes in America” and this description applies wholesale to Sailor Moon. “The global hit “Sailor Moon” (1992) reinvigorated the genre by introducing a team of dynamic heroines and plots that were more action oriented” (Thompson). The magical girl genre was reborn, and the sub-genre of “magical girl warrior” transformed the genre so utterly that the majority of the magical girl shows that were produced after Sailor Moon depicted a hero of justice rather than the more traditional Bewitched-style predecessors, who were largely forgotten .Thompson cites Sailor Moon as the inspiration for the multitude of magical girl warrior shows that came after it.
The influence of Sailor Moon is undeniable, both in Japan and in the West. It not only redefined the magical girl genre, but from 1992-1995 alone garnered 1.58 billion in retail sells in Japan, more than Power Rangers, Teenage Mutant Ninja Turtles and Barbie combined sold in America and Canada at the time (Benkoil). When Sailor Moon came to America in 1995, Thompson described the manga as “a hit, demonstrating shojo (girls) manga could succeed in America” and said that Sailor Moon was the work that “developed a passionate subculture of female fans” in the Western anime and manga fan community. Several theorists, such as Catherine Driscoll and Susan J. Napier, cite Sailor Moon as having a powerful impact on culture, specifically as an example of “girl culture”.
