phantasmal and resplendent

an unusual espeon

That's

That's Roy Mustang

Just the opposite.

Roy "I grew up with 10 sisters so I know how to disguise covert information reconnaissance as flirting" Mustang.

"I grew up with 10 sisters so I know how to weaponize my sexual charm to disarm others and win favor."

Roy led every higher-up to believe he was just a fuckboy and a manwhore in this for his own ego and that they shouldn't view him as any kind of violent revolutionary like "no sir I'm just a slut."

Which. is an absolutely batshit primary character backstory to mention once, late in the series, and then immediately move on from.

And actually Hiromu Arakawa did it so well that every single fan interpretation of Roy Mustang for the FMA03 anime treated him as an honest to god man-slut. Bought his whole act hook line and sinker.

Let’s talk about the scope of Sailor Moon. Let’s talk about how, by the end of the final arc, it has universe-sized implications. We learn that every planet with intelligent life has its own guardian senshi–which, given the preponderance of intelligent life in this series, implies the existence of thousands, if not millions of pretty soldiers. We learn that Usagi is one of many, many princesses with their own sworn sisters and legendary romances. We learn that every villain up to this point was just another facet of Chaos, the final villain–the only one that ever mattered. We watch Usagi battle Galaxia, she who has conquered a thousand planets, on the lip of the Galaxy Cauldron. We watch Usagi defeat the primal, cosmic force of chaos itself by destroying the origin point of all existence.

This is a story of sweeping mythology and galaxy-shaping forces and that in and of itself is fantastic. But the thing that sets it apart, and the thing, I suspect, that has held our fascination so fiercely is that it is utterly female-centric.

Think about it. There are lots of amazing, star-spanning stories out there, and tons of mahou shoujo tales as well. I’m a fan of a whole lot of work in both categories. But can you think of another story that combines the two so wholeheartedly? One that spans thousands of planets and thousands of years? One in which the principal players, from the foot soldiers to the goddesses to the ancestors are nearly all female? We laud Sailor Moon for its diverse portrayal of femininity, for its treatment of sexuality and for its subversion of gender norms. And that’s great. But how often do we sit down and talk about how goddamn epic it is? This is a universe, you guys. This is huge and rich and complicated and unlike stories in a similar vein, it doesn’t just have one or two token girls–it is dominated by women.

We have our huge, primeval forces: Life, love, death, chaos, and creation. We have characters who act as channels for these forces (and achieve nigh-goddesshood): Usagi, for example, as the font of creation, love and life, Hotaru as the grim reaper, the “Messiah of Silence.” As I described in this piece, we have the establishment of death as a necessary presence, as a comrade-in-arms in her own right. We have soldiers who wield the elements of nature  as weapons in a war against nothingness and disorder. We have a story of lost splendor, of the death of a holy kingdom thousands of years before, of a princess who impaled herself on her lover’s sword rather than live without him in the midst of a planetary war. We have bonds of duty and honor that tie a few chosen women to their princess until death. We have a system that spans a million galaxies, a system organized by mysterious cosmic forces wherein an intergalactic sisterhood battles a thousand iterations of Chaos, the eternal enemy. And even after Sailor Moon defeats that cosmic foe, she is informed that he will be reborn–there must always be chaos. There must always be balance. There must always be senshi.

And upon setting up these laws, Sailor Moon complicates them and deconstructs them and takes them to their logical ends. We watch Haruka and Michiru seek the murder of a fellow soldier because they misunderstand her power over death. In small, emotional glimpses, we learn of the loneliness of a senshi like Pluto, with her solitary power–an important one for sure but one that strips her of her sisters. In Nehelenia, we meet a neglected minority of the Silver Millenium, a people denied its glory a thousand years prior. In the StarS arc, we not only learn that there are senshi far beyond the Solar System with their own strange powers and clothing–we learn that some don’t want to be senshi. Galaxia was so taken aback by her duty towards a “hellish” planet that she became a ruthless despot allied with the force she was sworn to fight. Through the animamates, we experience the yearning of all those unchosen girls who long to be senshi too, who give up their lives to a tyrant in the hope of one day being so anointed. In Sailor Cosmos, we meet a Sailor Moon who failed, one who, in her indecision, plunged the world into misery and has returned to set things right. Through the asteroid senshi, we peer into the future of this universe and comprehend the eternity of these soldiers, their permanence and power.