Mooniversity: The Process of Americanizing Sailor Moon

Welcome back to Mooniversity, our monthly column dedicated to all things “Sailor Moon.” In this edition, we will discuss the original English dub of the series produced by DIC Entertainment and Cloverway from 1995 to 2000. But before that, let’s delve into the 1994 pilot episode, referred to as Saban Moon, which was produced by Renaissance-Atlantic Entertainment (known for co-producing Mighty Morphin Power Rangers) and Toon Makers. While the pilot showcased a more diverse portrayal of the Sailor Guardians, introducing Black Jupiter, Latina Venus, and wheelchair-using Mercury as the lively member of the group, it ultimately fell short due to its flawed concept of being a live-action or animated reboot. The pilot’s attempt to remove the Japanese context resulted in awkward elements, such as the girls attending a boarding school but still wearing outfits reminiscent of seifuku. Furthermore, the decision to omit the original reincarnation backstory, though not necessarily a bad choice, seemed influenced by concerns about offending conservative parents. Although the pilot wasn’t picked up, DIC adopted the idea of renaming Mamoru Chiba to Darien, while the Sailor Guardians’ names were only slightly anglicized, preserving some of their original essence.

The original English dub had its merits, such as the inclusion of a narrated prologue by Chris Wiggins that created anticipation for the target audience and Bob Summers’s score, which added a level of seriousness comparable to other popular animated series. The pop songs created for the dub, though not as timeless as the original Japanese OST, possessed their own nostalgic charm. The English theme song, with lyrics written by DIC’s former chairman and CEO, Andy Heyward, still resonates strongly with many fans.

However, the dub suffered from inconsistent casting, as different actresses voiced Usagi/Serena throughout the first season, and subsequent seasons introduced further changes. The rushed production of the third and fourth seasons by Cloverway led to subpar voice acting, particularly impacting Sailor Uranus, whose dialogue delivery was simultaneously monotonous and hyperactive due to the extensive recording requirements. Notably, the dub’s erasure of LGBTQ+ representation, such as depicting Uranus and Neptune as cousins and portraying characters like Zoisite and Fish Eye as women, was a reflection of the prevailing homophobia of the time.

While the decision to not dub Sailor Stars remains a topic of debate, it can be seen as a fortunate outcome, considering the potential mishandling of the Starlights’ gender-fluid characters if whitewashed or altered. The Italian dub of the series took a different approach by explaining the male and female versions of the group as twins.

Regarding the re-release of the ’90s dubs by Viz, it may not be financially viable despite the desire for wider accessibility and availability. The original dub holds historical significance as a reminder of the lack of queer characters on American kids’ TV during that era, but its restoration would likely only be profitable as a limited edition box set. While some may appreciate its more kid-friendly approach compared to the Viz dub, which is a faithful and uncensored adaptation of the original, it is evident that we have moved beyond a version of Sailor Moon that forced straight and cisgender representations and avoided “foreign” names, such as Usagi and Mamoru, and Japanese songs, in a series set in Tokyo. Even if children are watching the show in English, they would still receive a more authentic experience from the Viz dub, which is truly a beautiful thing.

Join us next time as we continue our journey through the wilderness years with a look at the live-action series and the musicals.

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