Review: Pretty Guardian Sailor Moon Crystal (Season One)

After a chance encounter with a talking cat, 14-year-old Usagi Tsukino is transformed into the superhero Sailor Moon. She is charged with defeating the sinister Dark Kingdom alongside her allies Sailor Mercury, Sailor Mars, Sailor Jupiter and Sailor Venus, while also looking for the mysterious Moon Princess and the mystical Legendary Silver Crystal. Along the way she meets the dashing Tuxedo Mask, an enigmatic figure whose motives remain unknown.

Pretty Guardian Sailor Moon Crystal is the 2014 anime reboot based off of the manga series by Naoko Takeuchi. Its first season consists of 14 episodes and features the voice talents of Kotono Mitsuishi, Hisako Kanemoto, Rina Sato, Ami Koshimizu and Shizuka Ito.

Pretty Guardian Sailor Moon Crystal is the most faithful adaptation that’s been produced from Naoko Takeuchi’s seminal manga series. It adapts the original story chapter-for-chapter, using the dialogue and panel work from the first arc as its blueprint. This works wonderfully in order to set the tone and create a consistent pace. Tonally, Crystal is more dramatic than its predecessor and comedy is seldom utilized. At times this hinders the first season, particularly as it hinders character growth, but it also keeps things cohesive. It is also much darker in its imagery and finer plot details, particularly as we see the destruction caused by the enemy. This contributes to a feeling of maturity within the series, thus allowing audiences to take the characters more seriously and increasing the stakes and tension.

The narrative of the first season of Crystal unfolds seamlessly and without interruption or unnecessary subplots, unlike its filler-riddled predecessor. In the first episode, Usagi transforms into Sailor Moon in order to save her friend Naru from a monster. From there, Ami (Sailor Mercury), Rei (Sailor Mars) and Makoto (Sailor Jupiter) are introduced in rapid succession. This moves the plot along at a brisk pace and allows the audience to warm to these characters quicker. Their mission is clear from the onset as well – they must find the Moon Princess and the Legendary Silver Crystal. The Sailor Guardians don’t waste copious amounts of time merely reacting to enemy schemes nor do the villains embark on assignments that only serve to decelerate the plot. The original anime was most frequently caught in a monster-of-the-week storytelling formula that created uneven pacing and saw the introduction of numerous (often inane) villainous subplots. Where it took 34 episodes in the original to reveal the identity of the Moon Princess and the location of the Legendary Silver Crystal, it takes a mere nine in Crystal. This does mean that Crystal benefits from being binge-watched, since it is purposely plotted so that each episode leads into the next and not a second is wasted on filler. By following the manga more closely and through the benefit of retrospect, the first season of Crystal plays out like one long film. This is further emphasized by its explosive (stock footage-free) action sequences and timeless orchestral score.

While Crystal is very faithful to its source text, it also deviates in ways that help the series to feel fresh and new. For instance, many of the hyper stylized comical character reactions have been excised in favour of portraying the characters more realistically. The biggest change though is that the Shitennou are not killed off individually early on in the story. Instead, they survive the attacks lobbed at them by the Sailor Guardians and remain as a unified team until close to the season’s finale. This helps to contrast them against the versions we’ve seen in both the original anime and the live-action, where they were prone to in-fighting and never quite managed to work in unison. Crystal also makes canon the notion that the Shitennou and the Sailor Guardians were lovers in their past lives, which adds an interesting layer to their backstories. Additionally, it complicates matters for the Sailor Guardians. In their past lives they loved these men, but are now forced to do battle against them. Another change, which I found to be less effective, was made to Queen Beryl’s demise. Without spoiling anything, I’ll just say that I prefer her (rather gruesome) death in the manga rather than the somewhat contrived one she’s given in this series.

While its storytelling is on point, Crystal struggles with character development. On one hand, this series gives us one of the most organic and relatable versions we’ve seen of Usagi and Mamoru’s relationship. Usagi as a character feels much more tangible than other portrayals, as she grows tremendously from the first episode until the season’s conclusion. She’s not a walking caricature who vacillates from comic relief to fierce warrior at the drop of a hat. Similarly, Mamoru doesn’t come across as a one-note character whose sole purpose is to provide pep talks to the lead heroine. He’s a complex and tortured character, but he’s also warm and caring. Since both characters are portrayed more realistically, we’re able to take their relationship more seriously. As you can imagine, the scenes between these two characters are some of the best in the first season. On the other hand, every other character feels tragically underdeveloped. The dialogue and voice work do absolutely nothing to hint at distinctive personalities for the Sailor Guardians. Ami and Minako fare the best. Ami’s intelligence is utilized throughout, while we get to see Minako’s take-charge attitude and a bit of her goofy side. Even still, Crystal would have benefitted from injecting personality into their words and actions. This would mean making Makoto’s lines gruffer and having her be more impulsive in battle, while also emphasizing Rei’s distrust of men (which is mentioned in passing, but not elaborated upon) and playing up her cool girl demeanour. This personality problem is also relevant to the Shitennou. Since they’re given more screentime, it would stand to reason that the writers and producers would make more of an effort to actually flesh them out. Sadly, they don’t. They would have done well to heed Naoko Takeuchi’s character notes for them – Jadeite is the serious one, Nephrite is the emotional one, Zoisite is the manipulative one, and Kunzite is the quiet storm.

The elephant in the room when it comes to Crystal is its animation. Its rushed production seems to have translated into some rather rough work that does the first season absolutely no favours. The characters are so often awkwardly drawn that it makes it difficult to appreciate how good this first season is. It’s unfortunate since the aesthetic of the series is actually very strong and is far more cohesive than its predecessor. The character models are elegant and feminine while the overall look of the show is achieved through pale tones and more detailed settings, all of which help to contribute towards a whimsical feeling. The original anime was notable for featuring numerous animation directors, all of whom had very different styles, thus creating differing quality from episode to episode. Crystal has the same style throughout, but it’s undermined far too often by its aforementioned sloppy animation. As a side note, it also would have benefitted the animators to actually depict the Sailor Guardians with more meat on their bones. Naoko Takeuchi herself said she wished she’d depicted Usagi a bit chubbier and giving them larger frames would have actually fixed many of the awkward poses we see the girls in.

Overall, Pretty Guardian Sailor Moon Crystal’s first season is massively entertaining and rather addicting to watch. I admire and appreciate its adherence to the manga, as no other adaptation has been this faithful before. It allows wider audiences the opportunity to appreciate Naoko Takeuchi’s hard work on her epic and poignantly romantic first arc. In doing so, Crystal has the best pacing and narrative structure of any other adaptation of Sailor Moon. It also smartly improves upon some of the manga’s weaker points as well. The manga’s rather weak action sequences are elaborated upon and transformed into high octane spectacles, while its quick disposal of villains is ignored in favour of keeping the Shitennou around for a much longer period of time. If I judging Crystal solely on its story, then I’d say that it’s the best adaptation we’ve got thus far. Sadly, its animation and poor character development are glaring flaws that cannot be ignored. The first season is pretty damn good, but it’s also not the best it could have been.

RATING: B+

Review: Wonder Woman '77 Volume 1

Special agent Diana Prince is hot on the trails of a Soviet scientist. With her trusted partner Steve Trevor at her side, she must go undercover at a disco where a certain silver-clad villainess throws a wrench in her plans. Then, she must do battle with the new Cheetah and contend with a wannabe Wonder Woman.

Wonder Woman ’77 Volume 1 collects Wonder Woman ’77 #1-2, written by Marc Andreyko and illustrated by Cat Staggs, Jason Badower, Matt Haley, Drew Johnson, and more.

In the same vein as DC Comics’ Batman ’66, Wonder Woman ’77 acts as a continuation of the iconic television series starring Lynda Carter. As someone who had watched the television series long after it had finished airing, I had mixed feelings regarding its quality. I thoroughly enjoyed the first season, which was set during World War II and saw Wonder Woman facing off against Nazis, but found the second and third difficult to sit through due its inconsistent tone and unmemorable writing. The latter two seasons failed to adapt any villains from the comics, so the titular Amazon Princess faced off against generic villains in topical episodes that seemed to replicate the formula that made Charlie’s Angels a ratings juggernaut instead of focusing on what made Wonder Woman unique. With that said, Andreyko and company give readers the series we deserved all along with Wonder Woman ‘77. This first collection is ridiculously fun and is perfectly suited for fans of the show, as well as comic fans and newbies to Wonder Woman, since it really captures the essence of the character while also giving her adventures worthy of her status. Additionally, the artists working on the issues in this collection are immensely talented. They manage to gloriously capture the aesthetic of the time period and the stunning beauty of Lynda Carter.

From its very first story, Andreyko begins reimagining Wonder Woman’s rogues’ gallery to fit the tone and setting of the series. For instance, Silver Swan becomes a demented disco singer (in a fierce stage costume, I might add) serving the Soviet Union. He also introduces Cheetah as a villain outraged by a Wonder Woman exhibit at her museum and Doctor Psycho, who conjures up a faux Wonder Woman to trick the Amazon Princess into believing she is powerless. I really like Andreyko’s approach because he seamlessly introduces these characters into this world in a way that is believable and works for the era, but is somehow also timeless and would work for any time period. He also gets creativity props for doing a story with Solomon Grundy, which I felt was unexpected in a really great way.

For anyone looking for a great read, Wonder Woman ’77 Volume 1 is all kinds of fun. It never takes itself too seriously and embraces the camp that was inherent in its parent series while also doing its own thing. Marc Andreyko has a firm grasp on Wonder Woman’s character and really nails her voice. Just as importantly, he doesn’t disappoint on the villain front. He gives us Silver Swan, Cheetah, Doctor Psycho, Solomon Grundy, and a great new baddie named Celsia. Hell, we even get to see Giganta and Golden Age Cheetah! Even though the artists rotate, the art is of a high caliber throughout. This is especially important as the illusion of Lynda Carter is kept consistent from start to finish.

RATING: A-

Review: Green Lanterns Volume 1 - Rage Planet

When Atrocitus sights his sights on conquering Earth, rookie Green Lanterns Simon Baz and Jessica Cruz are the only line of defense against his Red Lanterns. They must overcome their shortcomings and learn to work together as partners in order to destroy Atrocitus’ deadly Hell Tower and save Earth from being transformed into a planet governed by rage.

Green Lanterns Volume 1: Rage Planet collects Green Lanterns: Rebirth #1 and Green Lanterns #1-6, written by Sam Humphries and primarily illustrated by Robson Rocha.

Rage Planet is light on plot, but heavy on character development. Not a whole lot happens in the six issues collected in this trade and the narrative seems to tread water until its rather abrupt conclusion. It’s a fairly standard invasion storyline where the Red Lanterns come to Earth in order to make it their new home world. To do so, they must install what is known as a Hell Tower, which infects the planet and all those living on it with unyielding rage. With the rest of the Green Lanterns out of the picture, newbies Simon and Jessica are the only heroes equipped to deal with this threat. There isn’t a whole lot of action or conflict until towards the end when Simon and Jessica finally face off against Atrocitus and his Red Lanterns. Prior to that, we mostly get scenes involving the rage infection and our protagonists’ reactions to it. If I’m being honest, it’s a bit of a paint-by-numbers zombie story (but with an alien force as the cause rather than some kind of radiation or virus).

Where Rage Planet really engages is in its character work. Simon was once unjustly imprisoned and is continually faced with the islamophobia directed at his family. He is an individual who feels he has something to prove as a result of the way the society around him wishes to discard and profile him. This makes him brash and impulsive. By contrast, Jessica is someone crippled by anxiety and who has spent the last three years of her life hidden away in her apartment following a traumatic event. She’s never sought help, but shows signs of either being agoraphobic or of suffering from PTSD. It remains a mystery to Jessica as to why she’s even a Green Lantern and Rage Planet is largely built around her inability to create constructs with her ring. The dynamic between the two characters is tense and argumentative, as can be expected based on how different they approach their new roles. While I quite like Simon as a character, it is Jessica who I relate to the most and find to have the most potential. This is someone who is really hindered by self-doubt and this is something that really prevents her from being the hero she needs to be. She has to overcome her fear. It’s refreshing to have a Green Lantern like her as the preceding ones have long existed in various stages of being messianic heroes (save for Guy Gardner).

As a whole, Green Lanterns Volume 1: Rage Planet is a fairly predictable (but enjoyable) start to Simon Baz and Jessica Cruz’s Post-New 52 life. The character work that Humphries puts into the story injects an otherwise unremarkable narrative with interest and engagement. I especially like what he’s done with Jessica, making her the real reason to read this book. On the artistic front, Rage Planet is unfortunately very inconsistent as it features the work of multiple artists. It’s not the best decision to make, especially for the first six issues straight out the gate of DC’s Rebirth initiative. I’m not terribly impressed with Rage Planet, but Jessica is enough to keep me interested for the time being.

RATING: B- 

Review: Wonder Woman Volume 1 - The Lies

Unable to return home, Wonder Woman seeks the help of an unlikely ally to get back to Themyscira. Venturing deep into the jungles of Bwunda, the Amazon Princess makes a deal with her one-time nemesis Cheetah in the hopes that she may be able to aid her in her quest. But first she must do battle against the God Urzkartaga and free Cheetah from his divine influence.

Wonder Woman Volume 1: The Lies collects Wonder Woman: Rebirth #1 and Wonder Woman #1, 3, 5, 7, 9, and 11, written by Greg Rucka and illustrated by Liam Sharp.

Superficially, The Lies reads as a deliberate retcon disguised as a storyline. It seems designed to erase the stories that preceded it from DC Comics’ The New 52 initiative, slowly washing away Azzarello and Cliff Chiang’s divisive take on Wonder Woman. On a deeper level, Rucka and Sharp are restoring Wonder Woman’s mythos to a more faithful interpretation while also keeping some of the elements that helped to modernize the character. For instance, The New 52’s controversial take on the Amazons is excised while Cheetah’s past as Wonder Woman’s friend remains intact. Rucka and Sharp are to be commended for their efforts as they have a clearer understanding of who Wonder Woman is and what a great Wonder Woman story should consist of, which contrasts their predecessors who seemed more intent on changing the character to suit the tastes of their audience. Furthermore, they have the creative talent necessary for taking what amounts to a retcon and transforming it into a well-crafted narrative.

The premise for this arc is simple enough. Wonder Woman discovers that something is amiss in her life and uses the lasso of truth on herself to figure out why only to find out that many of her memories are false. Now unable to return to Themyscira, she allies herself with Cheetah to find her way home. Along the way she does battle against a God and reunites with her former flame Steve Trevor. It’s a remarkably breezy arc that moves along at breakneck speeds, teasing out the mystery surrounding Wonder Woman’s manufactured memories in a way that keeps the reader engaged. Rucka impresses throughout, especially when it comes to the dialogue he writes for Wonder Woman. There are very few writers out there who truly “get” her and it’s thrilling to read. While there’s a lot of action in this arc, some of my favourite moments are the quieter ones. I love the exchanges between Diana and Etta, as well as the romantic interlude between Diana and Steve upon their return from Bwunda. Though I’ve never been a big fan of Steve and Etta is rarely given much to do by contemporary writers, I found myself genuinely interested in seeing more of them. The same could not be said for Cheetah and Veronica Cale. The former I felt was compromised and neutered, becoming an ally ended up diminishing why she’s such an effective villain for Wonder Woman. With Veronica Cale, it’s essentially an instance of Rucka trying to make fetch happen with her character. Wonder Woman doesn’t need her own Lex Luthor. If he was intent on having a strong, independent woman pulling the strings behind a shadowy organization, he could have gone with someone like Baroness von Gunther or Doctor Cyber.

Liam Sharp’s art really elevates The Lies and enriches the reading experience in a way that perhaps hasn’t been celebrated enough. Even without the words on the page, Sharp’s work tells a distinctive story. The way he composes his pages is cinematic and makes the reader feel as if they are watching a movie rather than reading a comic. For one thing, his settings are awe-inspiring. From the lush green jungles of Bwunda to the ominous ruins of Themyscira, there’s a richness and depth to this trade that is rarely found in comics. Sharp should also be applauded for his character work. While there are some issues with consistency, I’m sufficiently impressed by how unique everyone looks in this arc. Wonder Woman is vaguely reminiscent of Lynda Carter, Etta Candy receives a much-needed makeover, and Veronica Cale looks positively Emma Frost-ish.

Wonder Woman Volume 1: The Lies is a great jumping on point for new readers. It’s an accessible storyline that sheds the past few years of continuity in favour of re-establishing who Wonder Woman is and should be. Rucka and Sharp focus on the essential elements of the character’s mythos, trimming down her supporting cast, and giving us an engaging and straightforward narrative. It’s certain to please both new and old fans for this very reason.

RATING: A-