Sailormoon, the world renowned animated series, comes from the Japanese Shojo manga, written and illustrated by female author Naoko Takeuchi. The main distinguishing feature of Shojo manga is that it is specifically aimed at young female viewers and involves some form of (usually magical) female protagonist (Saito 143).
Kumiko Saito, in her essay on Magical Girl Anime and the Challenges of Changing Gender Identities in Japanese Society, acknowledges that the Shojo genre exhibits “various possibilities of power for both men and women”; however, she argues that these potentials are marginalized by “contradictory messages conveyed by metaphors of magic and transformation” (162). In this essay, I will explain the ways in which the internationally popular Shojo anime Sailormoon expresses female empowerment and supports a nonheteronormative lifestyle.
Furthermore, I will explore how this empowerment may be thwarted through the contradictory messages and mechanisms proposed by Saito. Moreover, this essay will articulate some of the controversial and fundamentally flawed differences within the dubbed English version of the series and how these inherent issues may result in a Western misinterpretation of the popular anime.
Just as Western comic books, such as Wonder Woman, “mark a pertinent role in the formation of ideology” (Peters 2), sociologist Mary Grigsby purports that manga and anime act as “not only a reflection of culture, but as a part of the dynamic and constant process of the reproduction of culture in Japan and elsewhere” (61). Proceeding World War II and the globalization of media, portrayal of Japanese women in media outlets, such as manga and anime, transformed from the constricting roles of ousewife, mother, and playmate (geisha) into “a large variety of female characters”—including the prominent figure of the woman warrior (Saito 143).
Naoko Takeuchi’s manga and animated series, Sailormoon, depicts not only the protagonist in this revolutionized role, but also showcases Sailor Moon’s female teammates with these progressive characteristics. I believe this is an important aspect of the anime because it allows greater diversity for whom the young viewer may choose to identify with.
For example, Takeuchi includes the characters of Haruka (Sailor Uranus) and Michiru (Sailor Neptune), who are seen as a lesbian couple; thus, allowing identification with a homosexual heroine or, in the case of Usagi (Sailor Moon), a heterosexual one. This promotion of multiple sexualities is noticeably demonstrated in Chapter 001, “New Soldier Dreams”, in Volume 14 of Tackeuchi’s Sailor Moon manga. In this chapter of the manga, both Bunny (the heterosexual Sailor Moon) and Haruka (the homosexual Sailor Uranus) essentially have the same dream.
In Bunny’s dream sequence she imagines being part of a traditional nuclear family, where she “live[s] happily ever after, in a pretty house with lots of flowers, with the love of [her] life and [their] child” (Takeuchi 14:1. 3A). However, on the next few pages, Takeuchi “combat[s] the [embedded] myth of heterosexual primacy” by including in the heroic narrative “the possibility of sustainable long-term love between female characters” (Bailey 211). When Bunny wonders about Haruka’s dream life and if that life would include a man or a woman, Haruka responds by telling Bunny that her dream includes a woman (Takeuchi 14:1. ).
Moreover, upon further reading, we see Haruka’s dream illustrated analogous to Bunny’s— with a happy family, inclusive of spouse and child (Takeuchi 14:1. 3,4,5). However, since Haruka’s dream depicts family life with Michiru as her spouse, this allows, as Baily points out, “the portrayal of sustained homosexual relationships as tenable and possible rather than fleeting and impossible”, which in turn challenges “the ways in which the narrative of compulsory heterosexuality relentlessly devourers any flicker of alternative love” (210).
Furthermore, the character of Haruka also challenges gender norms by exhibiting a transgressive and fluid gender identity. In both the manga and subtitled versions of the anime, Haruka is gender neutral and although she ultimately identifies as female, her sex does not define her gender. For example, the characters Haruka encounters in her civilian life often mistake her for a man because she has short hair and dresses in traditionally masculine attireUsagi and her friends included.
In episode 3 of Sailor Moon S, when Haruka is first introduced, both Usagi and Minako think she is some mysterious “hot guy”, whom they are both instantly attracted to (Sailor Moon S, Episode 3, 4:00-7:30). Following Haruka and Michiru’s introduction, Usagi and Minako become so infatuated with Haruka, and increasingly curious about Michiru (whom they believe to be Haruka’s beautiful girlfriend), that they secretly follow the pair to try and learn more about their relationship.
However, Haruka and Michiru are aware of their presence the entire time and Haruka eventually confronts the two girls and grants them the opportunity to ask questions. Unsurprisingly, since they are both hoping Haruka is romantically available, the question of most concern for the girls is if the two are lovers. However, Haruka’s answer to this question is fairly vague because although she states that she and Michiru are unquestionably close, she also flirts with Usagi and Minako, reassuring them that they “still have a chance” (Sailor Moon S, Episode 3, 11:00-12:10).
