Featured image: “Evolution of the Magical Girl” by Shattered-Earth.

I direct your attention to the essay, “Children of Sailor Moon: The Evolution of Magical Girls in Japanese Anime” by Sugawa Akiko, published on nippon.com.

The essay promises to be interpretive, though in the end it is mostly an overview of the history of the genre from its origins in Sally the Witch to darker and more violent recent entries such as Day Break Illusion. Although not a bad overview per se, it misses some major milestones and does not appear to have a particularly in-depth knowledge.

Sugawa Akiko’s attempt to fit her discussion into a certain sort of feminist framework compels her to talk nonsense, as evident in these two paragraphs:

Female superheroes, meanwhile, were almost invariably adults. The heroines of such comic-based TV shows as Wonder Woman and Xena: Warrior Princess and the video game–based movie Lara Croft, Tomb Raider were endowed with male strength but also a mature sex appeal targeted primarily at heterosexual men.

An attribute virtually nonexistent in Western witches or female superheroes is the maternal or nurturing behavior that has become such a common feature of mahō shōjo anime since the advent of Sailor Moon. While powerful, Japan’s magical girl warriors also preserve attributes associated with traditional gender roles—including cuteness and maternal affection—that make them less threatening to men.

Got that? So when the characters are vampy and busty, it’s because men. And when they’re cute or maternal, it’s because men. Dammit, those men got us every way we turn.

Why not just say, “It turns out that dudes like chicks”? That would cover all the bases, except then it would be obvious that she’s stating the obvious.

In any case, she’s correct that magical girls are typically more overtly feminine, even hyper-feminine, than Western superheroines.

The essay also contains some flat-out BS: she suggests that the “yuri” (read: lesbian) hints in 2011’s Puella Magi Madoka Magica—which are not unambiguous or inarguable—are something new to the genre, when in fact they’ve been around since Sailor Moon at least and have been present in anime more broadly speaking for longer than that.

The essay ends abruptly after the overview with very little of the promised interpretation, but not before this:

Some of them seem to be turning back toward the fairy princesses of an earlier era. The heroines of Happiness Charge Pretty Cure, for example, combine the “girl power” and appeal of Sailor soldiers with the traits of the nostalgic princess archetype.

My response: I hope so. The dark and depressing magical girls of the Madoka mold are beginning to wear out their welcome.