I didn't stop to consider if it was a good idea, but that's what youth does. Having read Harlan Ellison, Roberts Zelazny and Heinlen, Stephen King, Shakespeare and some Jane Austin, I set about to tell a burgeoning tale with a willing and interactive audience.
The original manuscript was 180k in length, and I have reduced that to 170k with good reason. Mostly for clarity, and because I was a sloppy, inexperienced writer. That’s another thing youth does: Power you through your mistakes so you can learn from them. Apart from the stark reality of overusing a few adjectives, I’ve had a couple of years to get over the more cringy sections of this story.
I was even comfortable with the idea of hurting the Sailor Senshi. It never bothered me, and still doesn't. Why? Read and you’ll learn. When I began, however, my friends wanted an adventure, so I gave it to them in the form of rescue and protection missions that meandered around the core concept for this book and then branched off into its own path.
I had horrors in store, as the Senshi were going to endure violence and magic, turmoil and molestation. I was skirting something I didn't know much about then but have learned much about since: Japan's cultural and historical fascination with abuse and exploitation. By that I mean the fetishism of sexual abuse.
But it was more. Doe eyed and same-faced these girls are appealing no matter what happens. The danger lies in forgetting that they are young women, deserving as much respect as any real woman because of that resemblance. Following the no-holds barred mantra of Anime was just the thing to do. Readers of the original version of these books will find some events changed and for good reason. They just didn't make sense. Tears don't stain, but they can ruin.
So, when is abuse okay?
The answer is never. However, at a certain point the story falls off the tracks and becomes too concerned with the subject of abuse. This is about the overall survival of the Sailor Senshi, their loved ones and those who step up the fill the void. During the process of editing this book, I’ve rediscovered characters I loved to meet for the first time. Putting them on more solid footing is a matter of professionalism, and respect.
That they might survive because they had to was not enough. Usagi especially lacked sufficient reason to carry on, and her metamorphosis gave her instinct but not purpose. Seems awfully metaphysical, doesn't it? I didn't know what I was doing except following my heart when I wrote these books. Somehow they've become well read along the way, and to leave them in an unpolished state is just plain wrong. So here I am to right the wrong, again. ‘Nuff said.