As well-wrought as Cardcaptor Sakura was, it’s hard not to see it as a product of its time. The sensuous, allegorical monster-of-the-week magical girl subgenre was overplayed by this point, and it’s clear that the next vanguard of magical girl shows would have to do something different. Enter Ojamajo Doremi, a mahou shoujo produced by Toei set to fill the void left by Sailor Moon. Much of the Sailor Moon staff transferred over for Doremi, including directors Junichi Sato and Takuya Igarashi. The show concerns a group of three friends who become witch apprentices after accidentally discovering the identity of a neighborhood witch Majo Rika (subsequently turning her into a talking frog). The tone of the series is far removed from the dark sexual politics of a Sakura or an Utena; instead, Doremi is a ‘magical girl slice of life’, more in line with older 1980’s magical girl shows in which our protagonists use their powers to help others rather than to fend off monsters. By jettisoning the MOTW structure, Doremi has a refreshing liberalness of form: though it tends to cycle between witch apprentice test episodes and episodes where Doremi tries to solve her peers’ problems via magic, the show isn’t afraid to mix things up and go for more dynamic stand-alone stories, like in the multi-episode arc where the girls have to recover the lost deed to Majo Rika’s shop. There’s a careful balance between the larger topics of the season and the individual character stories, and how the writers manage to keep every minor character relevant and tie everything up in the finale is remarkable. Kudos to head writer Takashi Yamada, who wasn’t a Sailor Moon vet and thus is partly responsible for the show’s divergent tone, as well as Reiko Yoshida who wrote some of the better episodes including the aforementioned lost deed arc.
The writing isn’t the only thing that recommends Doremi. There’s the character designs, for one. Yoshihiko Umakoshi is a prolific and talented character designer, but his work in Doremi might be among his best. His characters are simply drawn, but emotive, a perfect fit for a long-running magical girl show where budget and scheduling are both tight and thus complex designs are a hindrance. With Umakoshi’s designs, the characters of Doremi come alive in a way that makes fluid animation unimportant, and the art never gives off the feeling of being cheap or commercial. Also like Sailor Moon, Doremi was a showcase for Toei’s best directorial talent at the time as testified by the many episodes storyboarded by Junichi Sato, Shigeyasu Yamauchi, and especially Takuya Igarashi. Igarashi’s theatrical, stagey and spatially ‘flat’ storyboards mesh perfectly with Umakoshi’s designs, conveying emotion immediately and effectively. The whole production has a lot more care put into it than the average long-running Toei series; the backgrounds are done in a painterly watercolor style, facial animation is lively and creative, the OST isn’t grating, unlike those of a good number of magical girl shows, and the writing is more personal and affecting than anything else in the genre. Doremi is also something of a trendsetter in that the use of digital techniques, like sliding characters against static backgrounds instead of animating walking, is deftly exploited, becoming just another component in the show’s comic visual language. It’s hard to succinctly sum up Doremi’s appeal but that’s only because it does nearly everything well. It’s not only a great magical girl show, but one of the best long-running anime to ever air and despite being ‘cheap’ it shows up the expensive Sakura at nearly every turn.