By Naoko Takeuchi. Released in Japan as “Bishoujo Senshi Sailor Moon” by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

I have so many things to say about this volume of Sailor Moon that I’m not even sure where to begin, so please forgive me if I start to ramble. For those of you wondering what’s going on, the Senshi are dealing with the Dead Moon Circus and Chibi-Usa’s getting visions of a pegasus who’s looking for the Legendary GOLDEN Crystal. Meanwhile, all the senshi have found themselves unable to transform and are wondering if this means their duties are over… and whether they can start to follow their dreams.

The volume opens with each of the four Inner Senshi discussing their dreams of the future. Ami wants to follow in her mother’s footsteps and become a doctor, Rei likewise wants to succeed her grandfather (who I’d forgotten looks nothing like his anime counterpart) at the shrine. Makoto wants to be a wife and baker; and Minako of course dreams of being an idol singer. As we move on, it’s not limited to just them. Not only do the Outer Senshi find themselves living in a small bubble of ‘perfect happy family’ that seems like a dream, but even the Amazoness Quartet, this arc’s minor villains, use the same language – getting their freedom to move in the real world is referred to as their dream.

The first three chapters also remind us that many of the senshi have family issues. Ami’s mother is really too busy to give her the care she needs (though notably she seems to show remorse about it, unlike a lot of ‘education mama’ portrayals of Ami’s mother I’ve seen), and her father essentially ran away and divorced them a few years prior. Rei’s mother died soon after she was born, and her dad is a government minister who has no time for his daughter and has sent her off to live at the shrine. (As we’ll find in a later short story, he *is* as unpleasant as he sounds.) And Makoto’s parents are both dead, and she’s living on her own with the traditional manga “where the hell does she get the money to afford that place” apartment.

The Amazon Trio (who, this being the manga, are barely characterized and killed off right away) thus have no trouble finding ways to get into the girls’ heads and try to tempt them away from their true calling. Preying on Ami’s loneliness and abandonment issues, Rei’s sense of duty and how oppressive that can feel, and Makoto’s indecision and feelings of being weak. Naturally, in the end, each finds the inner strength to go on (in Jupiter’s case, MONSTER STRENGTH, a line that had me laughing hard) and are able to transform, power up, gain new attacks, and wipe out the enemy. (Though not, notably, the Quartet, who always get away. Maybe it’s because they always work in a group, rather than on their own like the previous minor villains. You’d almost think they were friends…)

And then there’s Minako, who has issues of her own. She’s supposed to be the leader of the Inner Senshi, after all (something the anime quietly dropped), and is rather upset that they can all now transform and she still cannot. What’s more, the other three are all mentioning the Outers more and more – how inspirational they find them, the good advice they received from them, and how it would be great if they could show up to help everyone out. This makes Minako even more annoyed, as she never really bonded with them the way the others did, and is unable to offer advice as she’s still powerless. We see in the previous chapters each Inner thinking of advice from their Outer mentor – Ami with Setsuna, Rei with Michiru and Makoto with Haruka. Clearly that would leave Hotaru for Minako, but as she’s a baby right now that doesn’t really happen.

(Speaking of which, when did all these chats and bonding with the Outers actually happen? Between S and SuperS, or in the bits we didn’t see between S? Also, I know that Minako and Hotaru is quite a popular fanfic crack pairing, and I wonder if this might be a reason why.)

In many ways, this parallels an episode of the S anime, where Minako is frustrated that she’s the only one who hasn’t been attacked by the enemy. Here she charges forward into the enemy’s trap (and yes, she’s quite aware it’s a trap) in an attempt to make herself power up through sheer force of will. Unfortunately, what this leads to is her being dropped off of a tall platform, and the only thing holding her up is Artemis. Ignoring the physics of that for a moment, this resonates the best of the four Inner Senshi stories. Ami and Makoto had tiny little versions of themselves gibing them pep talks, and although Rei and Phobos and Deimos turn human briefly, we’d never seen her interact with her crows in quite the same way. But Minako and Artemis are partners (in a way that Usagi and Luna will never be), and when Minako thinks he’s been killed she’s heartbroken.

Artemis’s transformation into a white-haired handsome bishie would likely be less startling to those who read the manga when it first came out (they’d already seen a side-story where Luna did the same, which was adapted into the S movie), and it’s presented as sort of a powerup, much as the senshi go from Planet Power or Star Power to Crystal Power, Artemis is now strong enough to turn human in times of need. This is turn allows Minako to find the strength to make her own transformation.

In the meantime, as I noted, the Outers are living an idyllic life in a mansion somewhere. Haruka’s racing idiots on the highway, Michiru’s recording CDs (and getting hit on), Setsuna is doing important research, and Hotaru… now seems to be about 5 years old. And is quoting Yeats. The Senshi of Destruction quoting The Second Coming is never a good sign. She has her memories as Hotaru, her memories as Saturn, and these new memories of growing up with the Outers all in her head, and it’s turned her into quite the little prodigy. Of course, she also has her deep bond with Chibi-Usa, and knowing that she’s in trouble leads to her age up, again (this time to about 12, it seems), and unite the other Outers to do the same. It’s the sort of scene you want to see set to music, and is beautiful, inspiring, and a bit scary all at once.

In the meantime, what of our leads? Well, poor Mamoru is once again suffering by being the one who is always targeted. This time it’s shadows on the lung, which then becomes coughing up black blood – and even worse, it seems to be contagious, something we find at the very end of this volume when Usagi starts to cough as well. The ‘swapped bodies’ cliffhanger from last time is resolved fairly quickly (though not before Usagi tries to cuddle up with Mamoru in her chibi body, and finds that though he likes ’em young, that’s a little *too* young). Most of the book has Chibi-Usa trying to figure out what’s going on with Pegasus, which is a combination of ‘I want to save him from the bad guys’ and ‘he transformed into a hot guy what are these feelings in my heart?’. This, by the way, leads to the other big funny moment in the volume, where Chibi-Usa imagines talking about her unicorn wannabe-boyfriend with the other Inners, and quickly realizes Makoto is the only conversation that wouldn’t be a disaster.

I seem to have gone on a bit. Suffice to say this book was basically everything I wanted it to be, gave me tons of character stuff to analyze (giving lie to the anime fans saying the manga characters are too dull), and had huge roles for Minako and Hotaru, my two favorite senshi. And, if I recall, the next volume is just as good, and will wrap up the SuperS arc. Get it!

By Naoko Takeuchi. Released in Japan as “Bishoujo Senshi Sailor Moon” by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

The third arc of Sailor Moon ends here, with more apocalypse than ever before. Given that this arc was all about trying to prevent the Senshi of Destruction from waking and destroying everything – and that in the end they basically fail – it makes total sense that there’s a lot of, well, destruction. Of course, Saturn is not the Plot-In-A-Box that she was in ancient times anymore – she’s also Tomoe Hotaru, and thus can take things in a different direction.

We pick things up, however, with Hotaru still very much being a disembodied spirit held back by Mistress Nine, the Black Lady of the S arc, who is possessing her body. Hotaru thus uses her disembodied spirit power to help save Chibi-Usa, who proceeds to take off with Mamoru so she can join the others for the end of the world, then destroys her body and Mistress Nine’s taking them both out. Of course, this leaves the traditional final boss, a miasma of evil energy. Luckily, our heroes have an insane amount of power, especially when Usagi let’s the Power Of Christ… erm, the Holy Grail compel her and pours a large amount of sweetness and light into the darkness… which just makes it grow stronger and stronger. Whoops.

Sailor Moon, being who she is, decides to turn herself into a giant nuclear bomb and throw herself into the maw of the enemy. This, as if to show the universe finally throwing up its hands and saying “OK, I’ve had all I can stands, I can’t stands no more!”, seems to be what inspires the talismans (with very little input from their three owners, who mostly get to join the Inners is standing around gasping “Sailor Moon!” a lot) to do what they have to do – resurrect Saturn to destroy everything. Saturn, of course, being Hotaru. And give Takeuchi credit – she does indeed destroy everything. Saturn has an INSANE amount of power, and we briefly see shots of the few bits of Tokyo that weren’t taken out by the villains falling over dead and crumbled.

Of course, Saturn does this knowing that they have an ‘out’ clause – Sailor Moon, who is now SUPER Sailor Moon, can resurrect everyone and everything. So after Saturn shoves herself and Pharaoh 90 (the villain, in case you had forgotten) into a different dimension, Moon proceeds to do just that. Everyone and everything not evil (well, supernaturally evil) is resurrected – including Hotaru, who is now a little baby and presumably lacking cybernetic implants.

This arouses the other Outers’ maternal instincts, in a scene that screams ‘crap I only have 10 pages to wrap this up’ but oh well. They grab Baby Hotaru, thank the others, say they’ll surely see them again, and take off in their private helicopters to a land where they can presumably raise Hotaru and be really freaking rich. All they leave behind is a shot of them nude from the shoulders up in the sky, a classic ‘they may be dead but we will always remember them’ shot only slightly marred by their not actually being dead. This whole arc, honestly, has lost something in textual description, and really does sound less silly and more epic if you read it. It’s quite good.

The last third of the book is the start of the fourth arc, which brings us a new set of villains, a new set of adorably quirky minions (the Amazoness Quartet, who get a lot to do in the manga, and the Amazon Trio, who don’t), and a new theme, this one being dreams. Everyone is now in high school (and Makoto has a real uniform that fits at last), and Chibi-Usa is ready to finally return to the future. But don’t sigh with relief just yet. She can’t quite make it due to unknown forces. Could it be the unicorn that appears and begs her for help? Could it be the evil-looking Circus that’s just gotten into town? Or could it be that she still needs to grow up (as does her mother), with Chibi-Usa whining about wanting to be adult and Usagi whining about how kids have it easy. If you’ve ever watched a wacky Disney movie, you can see what the cliffhanger of this volume will be!

Super S’s arc starts off slow here, but will really pick up next volume, as it (finally!) focuses on the other Inners and their own dreams and desires. Still the epitome of magical girl shoujo, even if I sometimes wish it would take a bit to catch its breath.

By Naoko Takeuchi. Released in Japan as “Bishoujo Senshi Sailor Moon” by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

Sailor Moon continues to introduce us to the Outer Senshi and their way of dealing with things in this volume. It can be a bit hard to take, and the anime was never quite sure when to quit with the whole ‘no, we are right and you are wrong’ schtick. To be fair, one can argue that it’s all that the Outers know. We see, in their flashback (and note that their memories of past lives seem MUCH clearer than the Inner Senshi pasts have ever been) that they basically patrol their solitary planets looking for distant threats. They don’t even have cute animal companions to keep them company. And the one time they were able to do something, it was pushing the big red ‘PRESS THIS TO DESTROY UNIVERSE’ button of summoning Sailor Saturn. So it stands to reason they’d regard this as something that’s their job, and has to be done their way. Plus they’re two years older than Usagi and company. For a teenager, that’s, like, FOREVER.

That said, it’s Sailor Moon’s manga, and you know she’s going to be right in the end, so it can be a bit aggravating to see them try to do the whole ‘go away and let us handle this’ thing. Luckily, there are several moments that endear them to us. For one, I loved that, immediately after Setsuna’s memories awaken and she reclaims her powers as Pluto, she rushes to embrace Chibi-Moon. From a story perspective, Pluto’s death was devastating to Chibi-Moon the most, so it stands to reason that if you’re going to retcon it (and I don’t remotely understand how Pluto gets reincarnated in the past, but hey, timey-wimey ball and all that) you’d better reclaim that emotional moment. Pluto’s joy at seeing Chibi-Moon is equally fantastic. Of course, once that’s over she joins the Outers in their aloofness, but hey, can’t have everything.

I know that it’s a common theme throughout all 12 volumes of the manga, but it always seemed to me that S really ramped up the idea of possession as an attack to an insane degree. Here the Inners and Outers get pitted against each other by pumping up their negative emotions, we see Kaolinite (back when she was just Kaori, presumably) getting possessed by Pharaoh 90, and of course there’s Hotaru, whose success at fighting off the Evil Mistress Nine within her is even more admirable in this context, given that nobody else seems to have any luck fighting anything off at all. Speaking of Hotaru, her father in the manga is a really evil bastard, who it’s made clear seems to have been off the rails even BEFORE turning evil, so no redemption for him as you may have seen in the anime. That said, Hotaru’s reaction to all this is sweet and loving, even as a disembodied spirit.

Lastly, while bonds of friendship, love and respect are all very well and good, there’s a lovely reminder that being a senshi is a calling rather than a cute little fantasy. Most magical girl manga tend to have their heroines thinking of romance first and foremost – and indeed Usagi is fairly typical in that regard – but we’ve seen over and over again that this is a lifetime profession for Sailor Moon and the others – and that the lifetime is going to last MUCH LONGER than most. The Witches Five (brought back to life again, in one of the poorer plot choices in the entire series – don’t kill off minions if you need them again!) each taunt the Inners with the idea that there are other careers they could be doing – doctor, fortune-teller, florist, idol – that they’re sacrificing by choosing to be a senshi and help Sailor Moon instead. This is not a one-time theme, and will become even more important in the SuperS arc that follows this.

This isn’t a perfect volume of Sailor Moon – it’s a bit more messy and chaotic than it’s been in the past, and there’s more shouting at everyone else than I’d like (most of it designed to fill up pages while we wait for Mistress Nine to be powerful enough to break out). But, as noted above, it’s filled with food for thought, and now that we have all our ducks in a row we’re ready for a powerful climax. Will the Outers have to kill Hotaru to save the world? (Note: if you want this to remain secret, try not to look at the color pages for this volume.)