I don’t know about you, but my memory of the 90s is a little cloudy. It’s probably because I don’t want to remember a whole lot of it. What I do remember is the cartoons and TV shows that kept me interested. I couldn’t tell you what I was doing in Florida at the age of 5 but I sure can tell you all about how I got to hang out in a hotel room and watch Captain Planet while my Dad went across the street to get breakfast. I can tell you how Kimberly from the Power Rangers was a pretty cool athlete or how I liked Trini and that she got to ride a Sabertooth tiger (in case you were wondering, I was the Pink Power Ranger for Halloween). I can tell you how I thought the Beetleborgs were cool but I couldn’t tell you much else because that show has succumbed to memory loss. There was Bill Nye, Batman and plenty of Disney Princesses; no one is going to deny that there was a lot to keep a kid entertained when I was growing up.

Along came Sailor Moon and everything changed. It was refreshing to see a new hero on TV, especially someone that girls could relate to. Usagi (or Serena) might not have been the smartest or the most athletic teenage girl, but she had a heart to her like no one else. Kids kick around a cat? She goes to make sure that the stray is alright even if it means that she’s late to school (joke’s on her: she’s already late). We later find out that she’s the girl who’s going to save the world and she doesn’t have a clue what she’s doing or how she’s doing it. Her new friends belittle her, her talking cat scolds her at times, and our heroine learns that saving the world, getting good grades and trying to have healthy lifestyle is hard work.

Well, damn. As a college student who can’t get the scale to budge and is trying to pass classes, that’s too real

I wasn’t alone in my admiration and passion for this show; Sailor Moon captured so many hearts in America. According to Save Our Sailors: “During its initial Summer run on The Cartoon Network, “Sailor Moon” had broken its previous syndication & USA Cable Network ratings. It was the number one show in the “Toonami” block of programs until “Dragonball” was added.” This was the show that really got kids watching anime. Even today, with the resurgence of Sailor Moon Crystal, Hot Topic is full of Sailor Moon memorabilia. You will usually find at least one ondago clad cosplayer at any convention, or someone wearing a fuku. And by one, I mean there’s plenty to go around.

This wasn’t solely an American phenomenon. In Japan, Sailor Moon was utterly beloved. There were points when the show aired that caused serious distress to the public. Remember the end of the first Sailor Moon series? When the senshi took on the Dark Kingdom and each girl was taken out by the DD Girls (known in the English version as the Doom ‘n’ Gloom Girls), that was a rough episode to watch. Kids watched these girls week after week as they saved the world. The next thing they know, their heroes are dead and it’s all up to Usagi. That episode aired on February 20th, 1993. From that night onward, “TV Asahi, who broadcast the program, was flooded with calls by concerned parents whose children were crying…One letter to the editor in a newspaper wrote that their nine-year-old child had started to cry during the episode and was so disturbed that she was unable to swallow food” (Navok and Rudranath 142). The stories go on and on, including one where a child was hospitalized with a high fever due to shock from the series.

And here you thought you had issues when The Red Wedding happened on Game of Thrones.

So, what has made Sailor Moon such a strong influence on our society? Well, a lot of the shows that were mentioned above have faded into the cracks of time. We remember Captain Planet and there is still a following for Power Rangers especially since there is a new movie coming out, and Bill Nye is still relevant, but plenty of kids’ shows fade into obscurity. Sailor Moon, however, persists as a reference in pop culture. Why?

That, my friends, is what we are here to find out.

Part I: A Simple Serial for Small Lady

Sailor Moon was a breath of novelty, a show that struck a chord with girls (and boys!) across the world — strong enough that the first series was translated into twelve different languages — and part of understanding why so many people connected with it is knowing what it was up against. Something key to look at is this: most shows running in the early-mid-1990’s had two traits in common: firstly, they were episodic, and secondly, they featured highly-competent characters who generally operated in their fields of expertise.

YOU PROBABLY ALREADY KNOW THIS PART

An episodic series is one where most episodes either reset the setting and characters back to square one with each new episode, with no in-universe acknowledgement of what had previously transpired, or explicitly involve a return to the status quo by the end of show time (as seen in most live-action sitcoms). In the United States, most material aimed at children was episodic for the same reason television in general was episodic, and that reason was syndication — the studio/network practice of licensing the air rights of particular shows to other stations and networks a season or two (or four) after their initial air time. For the studios, syndication was the golden standard: if your show was popular enough, and had enough episodes, you could almost print the free money — the work has already been done! You just have to let the new guys buy the licenses to whichever episodes they want to get. This practice is not dead by any stretch of the imagination — one only has to turn to TBS to see popular major network shows like the Big Bang Theory, Family Guy, American Dad, and others, and TNT is full of CSI episodes and other thrillers — but as more networks produce their own original content and On-Demand streaming continues to gain influence, syndication has become less prevalent than it once was. However, in 1993, syndication was the rule rather than the exception, and most shows were written and designed with the assumption that syndication was the ultimate goal.

This is not to knock the episodic design! Most of Nickelodeon’s original content was created in this mode, and some shows took tremendous advantage of it. Boxy, by example, treasures the ending of the Ren and Stimpy episode Space Madness as a good opportunity for existential confusion in children. Moreover, very few series are -entirely- episodic; actors age (and their characters grow up), are added to or depart from the series and thus must be explained, new angles are taken on the series’ premise to try and revitalize a dying brand, and much more besides. The episodic conceit does explain the broad trend, however, and remains a strong, influential design method in Hollywood scripting.

The opposite design school is the serial, where each episode builds directly on the last. This is the realm of dramas, whether they be daytime soap operas or Jack-Bauer-Punches-Bad-People thrillers. Only a handful of 90’s shows aimed at children were written as serials. While action-adventure serials were common enough on television from its heyday in the 1950s and onwards, they were also difficult to sell to networks and local stations who only needed a few short months worth of programming to fill a momentarily-empty slot — viewers swiftly grew unhappy with stations that abruptly cut off their tense dramas in the middle of the high points, after all — and, as costs continued to rise, the 1980s saw most networks tend to opt for the episodic rather than the serial.

What’s important to bear in mind is that the syndication model of broadcasting is almost, but not entirely, unique to the United States.

Why so? Chiefly because most other nations had fewer television networks in general, and subsequently the market forces in those countries did not emphasize second-run and after-market syndication. Across the border and overseas, producers felt less financial pressure from studios to create material that could be aired individually on random stations without any other context from the series besides that which could be gleaned from another random episode in the series. Japan, with only a handful of television stations, was in this position — and thus, the animation series that we imported could blend characteristics of both the episodic and the serial, with the condition of the status quo changing frequently but not constantly. Sailor Moon was one such show. While there was a regular, reliable formula to every episode, the whys of things happening frequently changed: characters grew, relationships changed, and the stakes continued to escalate.

How Sailor Moon Inspired Girls Across the World

It is important to note that for the most part, the media tends to reflect what is going on in current events. In literature, authors find inspiration for their stories based on what they see around them, even when the story is based in fantasy or superstition. For example, Dracula reflects a fear of the foreign permeating the British Empire and changing what it means to be British (Oh wow, that sounds pretty true to today with Brexit). It also reflected a fear of

sexuality in women with the demonization of the well-pursued lady, Lucy. Our media is weaved from the tapestries of our reality into the garment of entertainment.

Children’s television shows are no exception to this. Some messages are overtly meant to teach lessons about life; there are subtler messages, however, which require that you read between the lines to understand context. Gender roles are a great example of subtle messages in media; we might not consider these roles in the present moment, but when we compare them against media of the past or future, they tell us about what roles men and women have both in the moment in time and culture. Ironically, these subtle messages are likely not lost on children. Consider this: as per the National Center for Education Statistics, 76% of public educators are women as of 2011. Who is an iconic teacher from the 90s? Well, there is Ms. Frizzle…

I am aware that not every teacher is female in media; Arthur is a show that will handily prov e me wrong with Mr. Ratburn, same with South Park’s Mr. Garrison (although now he’s president, so who even knows). However, Ms. Frizzle is iconic because she is central to the plot of the Magic Schoolbus. Without her presence, those kids are sitting around doing regular old school work and Arnold is probably not having an anxiety attack every ten seconds. Ms. Frizzle is quirky, smart, and creative. Young girls are going to gravitate toward her and whether consciously or unconsciously, they will be more likely to consider the role of an educator in their career path. It might not have been a conscious effort on the creators, but it important to observe the correlation.

In America, it is important to note this includes visibility within media. When someone, be it gender or race, is consistently absent in the media this also perpetuates a message to the audience. In the early 90s, kids shows included Rocco’s Modern Life, Cow and Chicken, Ren and Stimpy, Rugrats, Ghostbusters (the Cartoon), and Gargoyles to name a few. While this is a sample, it is still notable that there are very few shows where the lead character is female. Sure, there are shows where the females are present in prominent roles, look at Power Rangers. As females, Kimberly and Trini are present, but they are not the leaders in the show. As a side note, neither is Zack. When it came down to it, a white male was usually the lead character over a female (Kimberly or Trini) or any person of color (Trini or Zack).

Even when the cast of the Power Rangers changed and a new leader was established, it was Tommy who became the white ranger and the leader of the Power Rangers. While we do see a female leader of an alien variant of the Power Rangers in 1996, we don’t see a female leader of the power rangers as a main character until 2001 with the Time Force Rangers

Sailor Moon in North America: Breaking the Safe Formula

So when Sailor Moon first broke onto the scene in 1995 in Canada and the U.S, and then on Toonami in June of 1998, it was a big deal. Here was a show that had a girl as the main character, but it wasn’t just that. She was saving the world from imminent doom. The first episode has Usagi saving her best friend Naru (Molly in the American version) from a monster posing as her mother. This is different from shows like Strawberry Shortcake—where the protagonist is protecting her magical strawberry patch—or Rainbow Brite—who is making sure her kingdom of color and joy is safe. This show is taking place in a world like our own and she is protecting the world from situations that could mean life or death.

Not only that, Usagi was surrounded by strong female characters as well. Ami was the smartest person in class, Rei was cool, collected, and confident, Makoto (Lita in the US) was strong and imposing, and Minako (Mina) was effusively enthusiastic about everything. No one word description does any of these girls justice. All five were beloved because they had full personalities, story arcs, and lessons to learn.

What about Mamorou (Darien) or Tuxedo Kamen (Tuxedo Mask)? He always arrives at the end of the battle to give the girls their opportunity to finish the battle. It’s arguable that he is an important role in the senshi battles. Does he discredit the female hero role of Sailor Moon? To consider this, we’ll look at a movie featuring a strong female character related to her predecessors from a movie that was released in 1992, the same time that Sailor Moon was being published.

Jasmine had a lot of power. She may not be the protagonist but she still stands in defiance of what is expected of her—in this movie, that’s getting married to royalty. She sneaks out into the night, is saved by some street rat and gets to know him a bit better before he is taken away to be executed (or so she thinks). While initially objecting to the idea of being treated like an object instead of a person, the new prince manages to coax her into changing her mind. That is, until it’s revealed that the prince is a street urchin, she’s kidnapped and enslaved unless she marries Jafar, who is the new powerful sultan and sorcerer. She’s saved by Aladdin just before she drowns in sand and the two agree to wed and live happily ever after.

To contrast, Tuxedo Kamen starts off with a step over Sailor Moon. He is aware of his power and seems to understand that all of this has a significant purpose. He is also aware of the silver crystal. Sailor Moon is starting off at square one. As the series continues, there are moments where these two save each other on and off. It takes Tuxedo Kamen sacrificing himself to save Sailor Moon for the two to remember they were lovers in their past lives. While Mamorou is kidnapped and brainwashed, it takes Usagi’s compassion and pure heart to break the spell cast upon him. As a final gesture of love, he sacrifices himself (again) to save Sailor Moon, but he and the fellow senshi are with Sailor Moon in the final battle.

While their stories are not the same, Jasmine and Mamorou have similar elements to them. They are characters perceived to have a significant amount of power over their counterparts and consider themselves to be independent. With some charm and some outside forces pulling the strings, these two fall in love with the less experienced but noble protagonist. In turn, Mamorou plays the reverse role of Jasmine. It’s not to say that he’s not important or that he undercuts Usagi, but his role is intended to support Sailor Moon in her growth as a character.

And hey, romance happens, that’s cool too.

Not everyone in America could fully understand or comprehend the role that Sailor Moon played in American Culture. In 1997,Dateline did a story on Sailor Moon as it began an American Release. It’s been discussed and criticized as using sexist language, where they refer to Sailor Moon and her fellow Senshi as a “this blonde bombshell and her girlfriends.” Statements like this take a complicated and interesting concept and dilute it to physical characteristics. While this incites outrage in us now, we need to understand (but not excuse) that there was a lack of understanding then about the role of the powerful female lead in America. A woman is a means of support in a patriarchal society, while a man is meant to lead. Usagi’s role challenges this idea. Standing up to the status quo can be considered risky and there is going to be a lot of either resistance, or novelty. We see in this reporter offer resistance in focusing on what he knows.

The other argument is that he is meant to persuade and not inform. Referring to the main character in a show targeted at kids and preteens as “sexy” could appeal to a parent’s concern about letting his/her daughter watch a show that promotes dressing like that.There is also the reference at the beginning that Japan is coming for our economy. They make our cars, our technology, now they are making our media and toys. It is implied that America is losing power as a manufacturer economy and here’s why. This documentary isn’t to inform the viewer about a new TV show, it’s dissuading the viewer from overconsumption in Japanese products by making them out to be the villain. By taking this focus on a new TV show dedicated to girls could be trying to sabotage the show before it could fully take hold on an American audience.

There is always a risk when introducing something new to people. Sailor Moon went against the grain on a formula that works. That risk paid off since Sailor Moon became an international hit. Today, the show maintains status as an icon in geek culture. With Sailor Moon Crystal being simulcast, Hot Topic selling merchandise dedicated to the show, and cosplayers still showing their love toward the show decades after it aired, it’s hard to deny that Sailor Moon is going anywhere on the North American front.

Sailor Moon in Japan: How to Redefine a Genre

The Magical Girl Genre that we see today is not what it used to be. It might come to a surprise that the American sitcom Bewitched is the inspiration of the magical girl genre. The first magical girl anime was Sally the Witch which is about a girl who comes from another realm and disguises herself as a human so that she can interact with her peers. She hides her magic unless it’s necessary (in the last episode of the show she saves the burning school building to show everyone that she does have powers). Sugawa Akiko ofNippon.com explains how this show was symbolic of “Japan’s westernization and modernization in the rapid-growth era.” The magical girl’s western origins allow the genre to address the influence on western culture in Japan and assimilating from western culture to the Japanese culture. Sugawa explains how “she gradually assimilated with her new home as she interacted with her human friends.” With the magical realm being western society and the human realm being Japanese society, Sally represents what Japan would prefer the American cultural influence was molded to Japanese standards. Ironically, this is a common theme and expectation in American society, where many identities are lost in the assimilation into “whiteness.”

It is important to recognize the frustrations Japan would have with western influence. The Japan Socialist Party protested and students rioted over the Treaty of Mutual Cooperation and Security in 1959 to resist continued foreign occupation. It’s also impossible to ignore the travesty that was Nagasaki and Hiroshima. To this day, America has never apologized for dropping hydrogen bombs on Japan. When foreign influence comes to a culture, there is usually going to be resistance, especially with a past that mixes like oil and water.

We should also consider what was going on in America during the 1960s. The Civil Rights movement was in full swing, and just as there was a call for equality among races, there was also a call for the fair treatment of women. Birth control had been approved by the FDA in 1960 and the President’s Commission on the Status of Women was formed. This was a call for fairer hiring practices, paid maternity leave, so mothers could afford to be present for critical moments in the child’s development, and child care that could be affordable for working families.

To contrast, Japan’s view on women entailed the expectation that they were the paragon of femininity. Where the man of the household was expected to bring home the money and be head of household, the woman’s role was to control the family and ensure that everything in the home is perfect. A woman who could not take care of herself was considered a burden on society and girls were taught to focus on house chores while boys were expected to exceed at their studies. The women’s rights movement in America would be looked upon with fear in the eyes of those who held to traditional Japanese social mores. By accepting that Sally the Witch is about assimilating American culture into Japanese standards, then the magical girl is expected to maintain the role of the woman according to Japanese standards.

As time progresses, the magical girl evolves into a flirty role in the 70s. In Japan, the women’s liberation movement had begun and the flirtation encouraged a sense of empowerment in the girls viewing magical girl shows. Cutie Honey also aired during the 70s as an adult oriented magical girl type anime. This show is known for nudity in the transformation sequences, Honey’s joking attitude in school, and the upscale in both violence and action compared to other magical girl shows. Cutie Honey breaks the typical mold of the magical girl anime because she is a magical girl character in a shonen genre. This gives her a little more freedom and liberation as a character, but because of the audience she is appealing to, she is less likely to have an impact on girls of this generation.

Magical girls in the 1980s were more significant of pushing the fantasy of adulthood while letting the girl stay rooted in reality. This was a point in time that let girls know that they didn’t have to grow up. What is important to know here is the Equal Opportunity Employment Act of 1985 was passed and gave women significant gains in this time. By allowing the magical girl to temporarily grow up and then return to reality as a child continued to enforce the belief that responsibility is scary and it is better to focus on becoming the house wife. The anime Fairy Princess Minky Momo has a girl who can transform into an older version of herself. When she does lose her powers and is killed in an car crash, she finds that it was all a dream and resumes life as a normal girl. Messages like this dissuade the protagonist from seeking magic out beyond fantasy and the viewer learns to embrace femininity instead of power.

Sailor Moon came onto the scene in 1992 and everything changed. Here was a girl who was a klutz, an unskilled student, and somewhat self-centered, but still received powers and grew as a person with them. While Usagi remained easily distracted by glitz and glamour and was often deeply intimidated by the opposition she faced right to the end, with a little encouragement from her friends she was able to push herself to stand against a darkness that threatened everyone and everything she cared about. Her friends were a critical part of her personal growth and development: even as she occasionally squabbled with them on matters of how best to live life and how to fight their opponents, they remained her staunchest supporters. In the finest of sentai action traditions, the

heroines of Sailor Moon were strongest together, and even when they were separated, they remained united in spirit.

The series’s impact both here and abroad can be traced to a conjunction of uncommon ideas that had international resonance, hitting the right note at the right time at the right place with quality instrumentation. It’s little wonder that Sailor Moon resonated with so many people so strongly.

Part 3: From Klutz to Queen (And All that’s In Between)

I know what you’re thinking. Well, I don’t, but I’m going to put words in your mouth. “Usagi was a crybaby in Sailor Moon so why should she be a role model for girls?” On the surface, I agree with you. Usagi is a girl who neglects her studies, is a constant klutz and at times seems more interested in her magical life with her boyfriend instead of her success. It doesn’t hurt that she already knows her future, especially since her own daughter just landed in her lap one day. However, it is not the predestination that had (and still has) viewers compelled to watch Sailor Moon. By having a main character who seems like a klutzy, ditzy, and hopeless teenager, Takeuchi created a character that was unique to North American (and possibly Japanese) media; Usagi is someone viewers can relate to.

Does that mean that everyone who watched Sailor Moon was hopeless? Not quite, but it’s important to look at what was popular in America before and around the time of Sailor Moon. Here are some quick impressions on some of the cartoons of the 80s and 90s.

Rainbow Brite is about a girl who becomes the leader of the color kids. She’s a natural born leader who takes charge. The color kids seem quick to fold and lack any direction without her. In “Peril in the Pits” the kids give up the second they realize that Rainbow was captured but bounce back the second that she tells them they can’t. Without a doubt, Rainbow Brite is a strong female character.

The Wonderful World of Strawberry Shortcake is a sweet little girl who raises a strawberry farm. Even when crows come to attack her, others come to her rescue that she befriends. She is a protagonist who finds her resolution either through her own wit or through her friends.

The Magic School Bus was about a handful of kids who go on educational adventures and learn about the stars, the human body, and other fascinating things. No matter what sticky situation happened to these kids, either Ms. Frizzle or one of the students had a great idea for how to save the day. I mean, they manage to figure out a way not to be defecated! I bet you’re not seeing that in shows today. I’m looking at you, Doc McStuffins.

Captain Planet had five teenagers (who look a whole lot like the kids from the magic school bus) trying to prevent rampant abuse of nature. They’re smart and it doesn’t hurt that they’re armed with magical rings that let them control the elements (earth, fire, wind, water, and heart. Heart, by the way, was communication with animals and telepathy. I wouldn’t say no to those powers if you ask me). While they do have the issue of being teenagers, they mostly seem to overcome their issues, and if all else fails, they can summon Captain Planet and he’ll save the day.

Animaniacs was a variety show that starred either two mice (one is a genius, the other’s insane), a dog and a child, three pidgeons, an old squirrel and her grandson, or (primarily) three mystery-creatures named Yakko, Wakko and Dot. For the sake of this discussion, we’ll focus on Pinky and The Brainand the Warner Siblings. The trick about Pinky and The Brain is that they consistently have a scheme and are just competent enough to get within palm’s reach and then fall flat on their face. This short is less about finding success, but asks the question “How will I fail?”

The Warner Siblings are more trouble makers than anything else. They play the antagonizers who meddle in the ways of their supporting cast. There are some exceptions but for the most part they are less about achieving a goal and more about how to be cute in their obstruction. Sometimes, there is the surprise of success, like in the episode that portrayed the painting of the Sistine Chapel. Really, I could write about Animaniacs all day.

Duck Tales was a classic Disney show that followed Scrooge and his grandnephews. These kids get in some pretty crazy shenanigans and just like the shenanigans you might see in Home Alone, these kids manage to figure out a way to save the day. They manage to use their quick wit to stop some robbers in Scrooge’s Museum. Not bad, maybe he’ll pay them for security. Just kidding, It’s Scrooge McDuck.

Ghost Busters was the cartoon version of hunting ghosts. If you think about it, it’s mostly the same concept. These guys know what they are doing when they hunt ghosts. Sure, they get in sticky situations but they always know how to fix it. Just don’t cross the streams, guys.

Teenage Mutant Ninja Turtles were the lovable heroes in a half shell that ate pizza and kicked butt. Kowabunga! While one of the turtles’s personal foibles might bring about the basic conflict or trouble in a given episode (Michelangelo and Donatello were particularly guilty of hogging the the Idiot Ball when it wasn’t in Shredder’s and Krang’s hands), they could always fall back on their years of ninja training to see the day through, even against overwhelming odds. 80s and 90s. It doesn’t touch on the Disney Princesses (Ariel, Belle, Jasmine) or other shows about mundane scenarios likeRocco’s Modern Life.

However, there are a few consistent themes here that I’ve noticed. The first is that these characters are mostly competent in what they do. For example, Rainbow Brite is a natural leader who her friends and companions can rely on, while the Warner Brothers (and Warner Sister) are naturally good at getting under people’s skin. The other thing I’ve mostly noticed is that while there is plot progression to a degree, there seems to be a regular reset at the end of the episode. I might argue that this results in character development being questionable. Shows like Captain Planet and The Magic School Buswere more focused on educating the viewer rather than developing their characters beyond the typical tropes.

In contrast, Sailor Moon started out with a teenage girl who was failing her classes. I feel the need to stress that I don’t mean that she was just getting by and maybe if she pulls her grades up she’ll be alright, no this girl was F-A-I-L-I-N-G in her grades. Her mother kicks her out of the house the second she sees her test scores. She loves to eat and the show likes to point out that she has a bit of fat to her—there is a moment later in the series where Chibiusa outright calls Usagi fat. She’s also a bit of a klutz, like when she kicks her shoe and somehow it ends up on Mamorou’s head. Overall, Usagi starts off as a helpless cause and she knows it; she even wishes that she could be like Sailor V.

Guess What, Usagi?

Anyway, we already have a stark contrast in characters. While Sailor Moon predecessors have competent and capable protagonists, Usagi is a hero that starts from square one. She doesn’t have to be perfect but she is still able to save the day. We have a bottom, and as time goes on, we know that there will be some form of growth. We know that lessons will be learned and we are going along for the ride of Usagi and her friends as they mature from preteens to high school age. It helps that Naoko Takeuchi felt that Usagi is most like her; if the artist can relate to the character then the reader and viewer can as well.

So let’s go back to February 20th, 1993. Every week, kids saw these girls learn lessons and grow not only as heroes but as people. They have social lives, friendships, passions and emotions. They saw how Minako comforted Usagi when Mamorou was kidnapped. They enjoyed the playful relationship that Rei and Usagi had with each other. They rooted for Ami to become a doctor. They loved that Makoto was strong enough to take care of herself. To a lot of these kids in Japan, Usagi, Ami, Rei, Makoto and Minako were their Saturday evening friends. So one night these kids are getting ready to see how these friends will confront Queen Beryl, and one by one, these soldiers are gone. How would you feel if you watched your friends be torn away from you? There is a tremendous amount of empathy and consideration that goes into the production of that moment, when Rei tells Usagi to be strong and continue as she goes to face the enemy. Rei knows that this fight will result in her own death but she continues anyway.

Yeah, I can see how that is going to hurt. If I lost four friends I’d probably go into shock, too.

Sailor Moon broke the mold by giving kids a show that they could grow with. These were characters that weren’t perfect and they needed to learn to become competent and capable of defeating the enemy. In no way could the Usagi of episode 1 walk up to Queen Beryl and Moon Tiara Magic her way through that army. However, it isn’t just strength that gives Usagi her power. It’s her love, compassion, and friendship. She saves Mamorou from his brainwashing with a locket that represents their love. In that last moment in the final showdown with Beryl and Metallia, Serenity finds that the power of her friends is there to give her the strength to overcome even the fiercest of adversaries. Sailor Moon isn’t teaching kids that violence is the answer; it’s telling kids that you will find your strength in companions.

We are seeing more of this growth in kids shows in America today, as well. Watching Steven Universeallows us to see how Steven grows from an incompetent boy to a dependable member of the Crystal Gems. It isn’t just about him controlling his power or saving the world, it’s how he learns to respect and emphasize with others that makes him so important to everyone. Power doesn’t need to be in strength, it’s in heart.

Conclusion: What about…?

Sailor Moon was groundbreaking for so many reasons. This analysis barely scratches the surface of important topics introduced to adolescent audiences; the show was a pioneer in introducing LBGT themes and balancing action with slice of life. These topics are so important, it would only be fair to discuss them in further detail in their own articles.

When you get down to it, Sailor Moon was a gateway anime in America. It provided a strong female character that isn’t the stereotypical “Strong, Female Character” (That’s for another day). Kids could identify with Usagi and her friends because in a way, these girls were growing and struggling just like they were, and that was a breath of fresh air in a television universe of day-to-day homeostasis where every trouble vanquished returned you to the status quo.