Chaos as a concept

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Feb 8, 2021
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#21
You should bear in mind that Igarashi was taking orders from Ban Dai and Toei. Ban Dai's always been the big boss in terms of Toei's franchises. What plot points did he change? The Eternal outfits? Ban Dai might've preferred to scrap them because wanted to bet on the Starlights and sell toys of them instead of another unsuccessful Sailor Mercury's doll/transformation pen/whatever. SuperS toys didn't sell well in 1995. Also, 1995/1996 period wasn't the moment to produce a Sailor V OAV because Sailor Moon was no longer a phenomenon in Japan. They could've done so in 1993/1994. In this case, Igarashi is not the person to blame.
Actually, the Seramyu plays also don't have Eternal Outfits for Stars for other Senshi, it might be unpopular as well.
 
Jun 17, 2019
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#22
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I don't know. But I see things that don't fit in with Crystal/Eternal handling. For example, I've read some omakes in the shinsoban edition that Naoko was really critical of how she did the manga back then. Why she isn't part of the production to develope ideas and correct other things? Either she's lazy waiting for money or there's a contractual thing she's not allowed to take part, only Kodansha - Fumio Osano. Crystal needed Naoko's vision instead of Munehisa Sakai's and Chiaki Kon's interpretation of her panels.



I think so. That's why she drools with sera myu, cafés with performances, ice skating shows, etc, and I think the next project could be a live action in some way, series or films.
That brings up the million dollar question of how much of the Sailor Moon IP does she actually own? Considering her eager involvement with PGSM and the Musicals I'm suspecting there's contractual obligations involved with Kodansha/Osabu/Toei etc. I'm not well-versed in the least concerning copyright laws and IP ownership in Japan, but Sailor Moon is unique in the fact that it's technically not Naoko's sole creation. (If we wanna be really technical, Sailor Moon is Osabu's creation, since he pitched the idea and concept in the first place) Multiple people had a hand in it's creation as it was envisioned as a multimedia franchise. In this case the 90's anime was not conceived in order to just be a commercial or adaptation of an already existing manga like so many manga to anime projects tend to be, but it was planned to run concurrently from the start and the first episode was already in production before the first manga chapter even released. Perhaps Naoko's hands are tied more than we think despite the whole "Princess Naoko" start-up company she began.

Either that or she really didn't want make a reboot anime of her manga in the first place (because she prefers Live Action) but Toei kept hounding her in light of the 20th anniversary so she simply signed off on the project for the money and let Toei have free reign. The problem is, this is Toei we're talking about, and without the skillful guidance of autuers no longer on board like Ikuhara and Sato they're apt to get lazy, and so just went the easy route of a panel-by panel adaptation of the Manga. (for the most part, the Dark Kingdom and Black Moon arcs certaintly had their fair share of Toei trying to interject their own "creativity," more often failing than not)
 
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Mar 12, 2021
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#24
While it's no secret that I vastly prefer the Manga's approach in tying in the concept of Chaos as part of the lore & world-building of the SM universe by going the Sci-Fi route and making it represent a failed star using the Astronomical Black Hole theory. (Naoko was well versed in Astronomy & Chemistry after all and it shows) I've since come to realize that the 90's anime application isn't bad either, as it takes more of a metaphorical approach where "Chaos" represents the vices all human beings have in their heart and are in danger of succumbing to. I would argue though that the Manga does the same thing, except it takes an even cleverer approach by marrying this metaphorical concept with lore & worldbuilding, therefore providing an all the more richer experience for it which the 90's anime lacks.
I think the 90's anime version of Chaos comes full circle as well, considering that it is an abstraction in that adaptation rather than a character in itself. We see many characters accept it in their lives and choose to look on the bright side of life. For example, Endymion, Ali, En, Ayakashi sisters, Saphir, Demande, Chibiusa, Tomoe, Hotaru, the Trio, the Quartet, Nehellenia and Galaxia and how they got over loneliness and concluded their searching of love. Others went for embracing the darkness like Mimete. That reminds me of Usagi's monologue in act 59 at the end when she finally understands they're all lonely and look for love and be one, a unity, beyond the light/darkness/yin-yang theory. What do you think?
 
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Jun 17, 2019
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#25
I think the 90's anime version of Chaos comes full circle as well, considering that it is an abstraction in that adaptation rather than a character in itself. We see many characters accept it in their lives and choose to look on the bright side of life. For example, Endymion, Ali, En, Ayakashi sisters, Saphir, Demande, Chibiusa, Tomoe, Hotaru, the Trio, the Quartet, Nehellenia and Galaxia and how they got over loneliness and concluded their searching of love. Others went for embracing the darkness like Mimete. That reminds me of Usagi's monologue in act 59 at the end when she finally understands they're all lonely and look for love and be one, a unity, beyond the light/darkness/yin-yang theory. What do you think?
You forgot Nephrite and Fiore there. :P I would say this is pretty accurate, except for the whole "getting over loneliness and searching for love" angle, while that did apply for the majority of the villains you listed such as Endymion, Chibi-Usa, Ail & En, Nehellenia, Galaxia, (the getting over loneliness part only)Hotaru and a bit for Demande, the Sisters and the Quartet; there were still other reasons for why "Chaos" took refuge in their hearts, as I described in in my OP:

For Saphir and Demande in particular it was the longing for a better life and feeling slighted by the Earth and Earthlings and giving into the desire for vengeance.

For Tomoe it was because he was trying to keep his daughter alive at all costs and gave into desperation.

And for the Trio it was wanting to become truly human by gaining their own ambitions and desires (Though Fish-Eye themselves did conclude they were ultimately searching for love when they fell for Mamoru)
 
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