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The dimming effect of the eclipse was nice, and even the deliberately choppy cut-away animation of Usagi’s festive mood getting slowly murdered is just fantastic. This segment was, like the rest of the episode, freaking beautiful.
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I’m not a huge fan of how open-ended the manga arcs are, but if you’re going to do that sort of thing, I like that what is essentially the prologue to the Dream arc is separated from the rest of the episode. The break was perfectly placed, and I don’t mind that it comes about two-third of the way through the episode. It’s so damn awesome that the manga/ Crystal acknowledges where the fuck the Outers actually went, as opposed to their declaration of fealty to Usagi, followed immediately by a 40-episode absence. Things are finally about to get interesting for you again.
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“And you get a power-up! And you get a power-up!” Aw, poor Tuxedo Mask. It was like the Sailor Senshi were in Oprahs audience. It featured everyone without getting redundant. That being said, the supering sequence looked good. You just saved the freaking planet and all future versions of it that technically don’t exist yet. The manga’s almost obligatory eleventh hour power ups always felt out of place to me. This is one area in which I definitely prefer the original anime. This episode also saw to the “supering” of all the Inners and Outers (well, except Saturn, of course).
#SAILOR MOON EPISODES SEASON 3 FULL VERSION#
It works very well here, and I don’t know if some of the changes I’m noticing are just part of the full version that we don’t hear in the opening (get on that Season 3 soundtrack, Toei!), but hot damn is that a rockin’, pimped out version of the song that is. The music can’t be ignored either, especially the unexpected but not unprecedented choice to use the full version of the opening theme. But also, this fight (in fact, the entire episode) is just gorgeous to look at from the fluidity of the animation to the storyboarding to the prismatic SFX. In any event, this climactic showdown was fantastic, and despite Saturn taking the lead and Sailor Moon being implied in the manga to have played a part in taking Pharaoh 90 down, it’s nice that our titular heroine’s involvement is a little more visible in the adaptation. I’m not sure if that makes Pharaoh 90 pathetic or Pluto and Saturn just that much cooler. We’ve seen rage, denial, despair, but never begging. Go, girl!Īs for Pharaoh 90, he is begging like a bitch, and I don’t think we’ve ever seen that before in a big bad on this show. Dark Dome Close is exactly the kind of solution one would need for a threat made possible by way of a space-time warp. Speaking of people’s powers, I love me the gale force winds of Dead Scream, but god do I love how the manga/ Crystal actually utilizes Pluto’s purview toward the application of her powers in very useful, logical ways. Sailor Moon’s role in this go around is to offer not death, even to her foes, but rebirth. While Sailor Moon may have rendered Pharaoh 90 a little more vulnerable or opened a door for Saturn, it’s still Saturn who does the deed. It’s Saturn that’s doing the heavy lifting. This, of course, leaves us with the rather curious notion that this is really the one arc where Sailor Moon doesn’t face down with the big bad herself. This time, however, Sailor Moon is here to complete the cycle begun by Saturn, so things aren’t looking so bad. All the Outers saw was destruction and death and probably weren’t aware any kind of balance existed at all. There was no Queen Serenity to harness the power of the Silver Crystal and thus no rebirth to follow up Saturn’s destruction. Last time, Saturn was summoned after the Silver Millennium had fallen, so it’s no wonder her destruction-based powers looked grim to the Outers. The destructive force of the Silence Glaive was always meant to work in conjunction with the creative powers of the Silver Crystal.