Tokyo Mew Mew New Season 2 Spoiler-Filled Review

Tokyo Mew Mew New is magical girl anime. It is a reboot of the classic 2000s series, Tokyo Mew Mew. It is based on a manga series of the same name written by Reiko Yoshida and illustrated by Mia Ikumi. This series is produced by Yumeta Company and Graphinica. Takahiro Natori directs this anime.

The first season of Tokyo Mew Mew New introduced protagonists Ichigo Momomiya, Mint Aizawa, Retasu/Lettuce Midorikawa, Bu-Ling Huang, and Zakuro Fujiwara. Each is magically granted animal-like powers from endangered species, which they use to fight the extraterrestrial forces of evil, becoming the Mew Mews. All the while, they juggle their personal lives and try to hide their magical girl forms, even from those they love deeply. This is complicated by the fact that some individuals, such as the villain Quiche (voiced by Nobuhiko Okamoto), engage in repeated romantic advances.

Like other magical girl series, such as Cardcaptor Sakura, Little Witch Academia, and Revolutionary Girl Utena, there is yuri subtext in this series. Mint (voiced by Mirai Hinata) has a crush on a professional model and actress, Zakuro (voiced by Momoka Ishii). However, the romance that takes center stage is between Ichigo (voiced by Yuki Tenma) and her boyfriend, Masaya Aoyama (voiced by Yuma Uchida). Repeatedly, she attempts to hide her secret identity from him.

Tokyo Mew Mew New is like Sailor Moon, and anime-inspired series such as LoliRock, because the villains are often unsuccessful, despite their taunts and brazen plans. The Chimera Animals, parasitic “aliens” who change animals into monsters, have a similar effect as removal of Silver Crystal shards in the first season of Sailor Moon. When removed, any living thing turns into an evil creature, which attacks the heroes. The Chimera are also different from the Daimon seeds in Sailor Moon S. The latter manifest themselves in beings which try and steal the “pure heart crystal” of those targeted.

This season intensifies the drama from the first season, with Aoyama pulled more into the action. At first, he has visions of Ichigo crying, disturbing him. He is later implied to be the Blue Knight, a hero-of-sorts who saves Ichigo and the other Mew Mews. In some ways, this makes him akin to Tuxedo Mask, who “saves” the Sailor Scouts throughout much of Sailor Moon. The Blue Knight’s identity is later revealed, which will be examined later in this review.

Romantic tropes are integral to Tokyo Mew Mew New, especially when it comes to Ichigo’s feelings for Aoyama. Quiche attempts to interrupt this with unwanted advances. This disrupts the plans of his fellow villains to end humanity. His actions are paralleled by Ryô Shirogane (voiced by Yūichi Nakamura), a head of the Mew Mew Project, along with Keiichirô Akasaka (voiced by Yusuke Shirai). He kisses Ichigo multiple times, without consent, in his cat form. This allows her to turn back into a human. In addition, there are one-sided romantic feelings of Lettuce (voiced by Ryōko Jūni) toward Ryô. The latter believes saving the world is more important than romance. Bu-Ling also has feelings for Tart, which he somewhat reciprocates.

In the process, the series makes clear that possessive and controlling relationships are wrong. Such relationships are executed better than the abusive relationship in Steven Universe between Lapis Lazuli and Jasper. Both Gem warriors are fused together as Malachite from the end of season 1 to the beginning of season 3. In Tokyo Mew Mew New, toxicity is plainer. Quiche calls Ichigo his “toy” and wants to “play” with her, even though she rejects this outright.

This is complicated by the fact that Aoyama asks Ichigo to wear a bell so he can hear her. In many ways, this is possessive. Ichigo seems ok with it. She never takes off the bell, even though it marks her as the “property” of Aoyama. In the series itself, this is addressed, to an extent, but never directly. In contrast, Ryô founded the Mew Mew Project after his home in the U.S. was burned down by monsters, as shown in the eighteenth episode. He is more kind with Ichigo and respects her relationship with Aoyama even though he occasionally messes with her.

The series shares, tangentially, similarities with Is the Order a Rabbit? and Yuri is My Job!. Both are primarily set in cafes, as is Ouran High School Host Club. The difference is that the cafe is the headquarters of the Mew Mews. It has some characteristics of a front organization. This sets the series apart from oft headquarters of superheroes, such as the secret hideout in DC Super Hero Girls, which is under an ice cream shop.

There is a strong camaraderie between the show’s protagonists. They provide a leg up for one another if one of them is down or needs encouragement. In fact, Zakuro brings in the other Mew Mews to her music video stage set so that she can embody her true self. After she transforms, the video’s director, familiar with her, recognizes that Zakuro is a Mew Mew. She is one of the only people who knows the true identity of the Mew Mews.

Environmental themes, especially human pollution of the ocean, and human-induced climate change, are central to Tokyo Mew Mew New. Ichigo, Mint, Lettuce, Bu-Ling, and Zakuro each transform into different animals, either a cat, monkey, bluebird, mermaid, or wolf. They all have specific powers. As it was stated in the sixth episode, they were chosen by Ryô and Keiichirô without their permission, even though the effects are life changing.

This lack of permission flies against the principle of informed consent. Ryô and Keiichirô’s actions plainly violate Article 7 of the International Covenant on Civil and Political Rights. Japan is currently a party of that treaty, as of September 1979. The treaty states that no one should be subjected “without his free consent to medical or scientific experimentation.” If there was a court, and this series happened in real-life, Ryô and Keiichirô might even be questioned before the United Nations Human Rights Committee. Both would, probably, argue that the requirement of informed consent would be waived, especially if they were brought before the International Court of Justice, since conventions are considered part of international law.

Aoyoma worries about human destruction of Earth constantly. Mint uses her technological expertise to build devices to clean up pollution, like a home wind generator. In the latter case, she reconciles with her brother Seiji Aizawa (voiced by Akira Ishida), after he tells her that each person has their own path to walk. He builds, presumably with her assistance, automated water-cleaning robots, fueled by refuse. In the real world, incinerators, which are popular in Japan, reduce the amount of original waste. However, incinerators also contribute to air pollution and are harmful to human health. People of color are disproportionately impacted. Incinerators are built in communities deemed unable to fight against them, a manifestation of environmental racism.

If this isn’t enough, the villains (Quiche, Tart, and Pie) of Tokyo Mew Mew New aim to create environmental disasters. They attempt an eruption of liquid hot magma  through the Earth’s crust and destroy Tokyo, to mind control rabbits, and to take over a trash-cleaning robot. The latter is the most successful. It creates a red tide, otherwise known as a “harmful algal bloom“, in Tokyo Bay, making it uninhabitable for aquatic life. The damage is stopped by Lettuce’s use of Mew Aqua. She risks her life, swimming through toxic, polluted water to save the day.

In a manner which reflects other female protagonists, like Adora in She-Ra and the Princesses of Power, Rosemary in High Guardian Spice, and Korra in Legend of Korra, Ichigo believes that she isn’t doing anything to help. She begins to doubt herself and starts questioning her purpose, even her relationship with Aoyoma. This is coupled by her wondering whether if there is anything else she can do. When she learns the reality about Aoyoma, as I’ll explain later in this review, this all changes.

At one point, Lettuce ends up in a strange society comprised of pointy-eared people. She meets Madeline and Chiffon. The latter wants to leave before the island society is flooded, while former does not want to leave. This tale warns of environmental destruction. It reminds me of the 10-episode sci-fi cyberpunk adventure series, Sherwood. In that series, Robin uses a gauntlet to fight against the Sheriff and his allies, in a futuristic Britain beset by environmental disaster. In Tokyo Mew Mew New, Lettuce helps, creating a water bridge, allowing Chiffon and Madeline to confess their love. Madeline thanks Lettuce for pushing her to express her feelings.

There are some parallels to the amazingly animated yurish anime The Aquatope on White Sand. The latter has romantic undertones between protagonists Kukuru Misakino and Fuuka Miyazawa and magical realism. That series strongly focuses on sustainability, environmentalism, and a small community where everyone is close. The aquariums, whether Gama Gama or Tingarla, bring people together and granting almost supernatural visions.

Tokyo Mew Mew New shares themes with Squid Girl. The latter series is centered on Squid Girl, a humanoid girl who vows revenge on humans for ocean pollution. She is forced to work at a small restaurant by the beach after she breaks a hole in a wall in an attempt to show her power. In an interesting coincidence, Squid Girl was animated by the same studio which produced The Magical Revolution of the Reincarnated Princess and the Genius Young Lady!

Other series have environmentalism in their cores. The ever-controversial gen:LOCK describes the poor as making “peace with climate death.” In one episode, New York City faces a deluge of water, with a character lamenting the city’s inevitable destruction. Similarly, Gargantia on the Verdurous Planet is primarily set on an interlocking fleet of ships on a planet entirely covered by ocean. It takes place many years after a climate catastrophe and somewhat resembles the 1995 Hollywood film, Waterworld. Tokyo Mew Mew New is different from all of these series. It is a magical girl series front-and-center. The others fall into dramatic, isekai, mecha, science fantasy, comedy, and slice-of-life genres.

As a person who indexed declassified U.S. government documents about climate change last year, even writing briefing books on the U.S. pursuit of military exemptions to the Kyoto Protocol and the Pentagon’s integration of national security policy with environmental policy, my interest in the series was heightened. The environmental themes drew me in. This was enhanced by my personal views as a person who has been vegetarian for over seven years.

Unfortunately, this series does not feature any vegetarian or vegan characters. The latter are prominent in Avatar: The Last Airbender, DC Super Hero Girls, Legend of Korra, The Simpsons, Nadia: The Secret of Blue Water, But I’m a Cheerleader, Lore Olympus, and Runaways. This is a bit of an oversight (and lost opportunity). Lettuce’s connection with the water, her name, and her green theme color would easily fit with her character being vegetarian or vegan.

The last half of Tokyo Mew Mew New season 2 turns everything on its head. For one, Ichigo admits to Aoyoma that she is a Mew Mew. The Blue Knight saves her, after a peaceful lunch is interrupted by Quiche. This takes a lot of courage. It shows that she is being honest and open with him by not hiding anything about herself from him. By the eighth episode, everyone at school knows Ichigo and Aoyoma are a couple. Both hold hands without batting an eye.

Although Quiche is horribly injured by the Blue Knight, his claim, in the seventh episode, that Aoyoma will awaken soon is eerie. His attempt to separate Ichigo from Aoyoma seems wrong and twisted. However, he has a reason behind it, as does his kidnapping of her on multiple occasions. It isn’t unexpected.

Unsurprisingly, Ichigo rejects his declaration that she abandon Aoyoma and his romantic advances. One of the biggest reveals follows: Aoyoma is the Blue Knight! In some ways, his memories are split due to his dual personality, like Yukito Tsukishiro / Yue in Cardcaptor Sakura. He is shocked when he sees the villains bowing to him, declaring that he is their leader, and that they will follow him no matter what. While they depart, their action implies that something sinister is going on.

I liked the character development in Tokyo Mew Mew New between Mint and her brother Seiji. At first, she is under house arrest because it is “dangerous” to leave the mansion. She is able to convince Seiji to let her leave, after unplugging the computers he is using for his workplace. Once she transforms in front of him, he recognizes her determination and states that this drive will make her a good businesswoman. His statement may be foreshadowing what happens following the end of the series and some fans may use it in their fan fiction.

The imagery of a toxic blimp, which traps Tokyo with a greenhouse effect, alludes to greenhouse gases, and to climate change. It differs from the climate change catastrophes depicted in Waterworld, Blade Runner, The Day After Tomorrow, Snowpiercer, Blade Runner 2049, and The Day After Tomorrow. The toxic blimp and devastating environmental effects aren’t like Dune, The Wind from Nowhere, The Drowned World, The Burning World, and many other climate fiction stories, either.

The ninth episode of Tokyo Mew Mew New is one of the most intense. This isn’t because the Mew Mews try to get Mew Aqua to purify the toxic cloud, nor is it due to the revelation of Aoyoma as the Blue Knight. Rather, it is the realization of the villains’ ultimate plan: awakening of Deep Blue, after Quiche pushes him over the edge. It is further stated that his previous two identities, the Blue Knight and Aoyoma, were “false” and “fake.”

I am suspicious of the story the villains tell the heroes. They claim that they settled the planet first, then the humans came in later, polluting it. Is there something being left out? Apparently, the story that Lettuce experienced, by accident, was the reality of the villains’ ancestors. But no other proof is given, apart from this being implied.

As would be expected, the Deep Blue reveal internally destroys Ichigo, putting her in a state of shock. Ryo and Keiichiro are angry that they didn’t figure out the identity of Deep Blue sooner. Understandably, Ichigo is so broken up that she even hurts her friends in the process. What isn’t directly addressed are the implications of this reveal. For one, the possessiveness that Aoyoma has over Ichigo may be an outgrowth of his Deep Blue form. It puts their relationship in a negative light as a result.

Furthermore, Deep Blue is more extreme than the other villains. He declares that humans need to play for their sins, as Tokyo begins to fall apart, as the city experiences destruction at the equivalent of a huge earthquake. Tar-Tar and Quiche even rethink their roles. The final battle between the Mew Mews and the villains reaches a fore by the end of the 11th episode.

Predictably, the other Mew Mews make Ichigo feel better, as do Ryo and Keiichiro. They act as her chosen family. Mint even slaps Ichigo on the face and tells her to pull herself together. This helps them to unite against the villains.

The battle between the Mew Mews and the villains reaches a fever-pitch. They enter the villains’ lair, so they can get the last Mew Aqua, to stop the evil plan. There is even a lovely scene in which Mint and Zakuro tag-team against a villain. Tar-Tar turns to the “good side” after Ling declares that she loves him. All of this is topped by the intense confrontation between Deep Blue and Ichigo. The hatred of Deep Blue comes out when he electrocutes Ichigo, causing her intense pain.

Everything changes when Quiche comes to her rescue. He ends up dying in the battle against Deep Blue and kisses her on the cheek. It seems that viewers of Tokyo Mew Mew New are supposed to sympathize because he did the “right thing” in the end. I am unsure. Quiche seems like a demented villain, to say the least.

Quiche claims he wants to save Ichigo after the world is destroyed. On the other hand, he kidnapped her, attempted to murder her, and tried to mentally manipulate her. He even puts a lightning-filled cloud over Tokyo, which cuts it off from the rest of the world, turning it into a heated greenhouse. Additionally, he is a sexual harasser and assaulter of Ichigo. That can’t be forgiven.

To make matters worse, the last Mew Aqua is within Aoyoma. Although he comes to his senses, saying he will kill himself to take out the substance, Deep Blue takes over. He says he won’t allow it and strangles Ichigo in response. In the series finale of Tokyo Mew Mew New, he declares that Aoyoma doesn’t exist. The Aoyoma inside him fights back to such an extent that Aoyoma is expelled from the body.

In the ensuing battle, Ichigo, while being electrocuted with black lightning, defends all of humanity by herself. Deep Blue says that humanity needs to be killed so that others can live. Ichigo pushes for a compromise with “aliens” and humans coexisting. She notes her inspirations, which include Aoyoma, and sways Deep Blue.

In one of the most tragic parts of the episode, Pie makes clear his deeply held dedication to the imperialist ideology, formerly espoused by Deep Blue. He stabs Deep Blue through the chest after he states that they will no longer destroy humanity. As a result, the gateway to the “alien” home world opens, beginning their invasion.

Luckily, Deep Blue, who has transitioned back to Aoyoma, survives. He works with Ichigo to reverse damage to Earth. He also returns life to the “alien” planet, making it habitable once more. With this, I see parallels to Steven’s magical spit healing the world after Spinel almost killed everyone on Earth in Steven Universe: The Movie, or when Rapunzel used her magical hair to bring Cassandra back to life in the series finale of Rapunzel’s Tangled Adventure.

In Tokyo Mew Mew New, the combined power of Ichigo and Aoyoma resurrects Quiche, Tar-Tar, and her Mew Mew comrades. It appears that Aoyoma dies for a better world, with a tearful Ichigo giving him the bell around her neck, his first present to her. In an almost Disneyesque moment, her tears bring him back to life, and they kiss one another.

The episode ends with everyone getting a happy ever after. The now-former villains return to their home world. Tar-Tar is later shown staying with Ling and her siblings. Zakuro has a Mew charity concert, Lettuce works at a museum about the ocean, and Mint founds her own corporation. In one of the last scenes, the Mew Mews give Aoyoma a nice send off before he goes abroad. Ichigo declares she is grateful for everyone and says she can do anything she sets her mind to.

Despite this happy ending, I am unsure whether Aoyoma and Ichigo have a truly healthy relationship. Ichigo is shown wearing the bell, at the end of the episode, signifying that she is the “property” of Aoyoma, so she doesn’t get “lost.” On the other hand, their relationship can be wholesome and sweet. So, it is a mixed bag, to say the least, or abusive to say the most.

The villains never suffer any consequences for their actions, or even take responsibility, as is laid out in restorative justice principles. Perhaps they are, to an extent, repairing the harm and maintaining positive relationships with those on Earth. Are any structures or systems changed? Why couldn’t the “aliens” be granted (with agreement of nearby inhabitants, of course) a place on Earth to live? This question is never answered. The ending seems to wrap up everything too nicely.

Despite the fact that Tokyo Mew Mew New has yuri subtext between Mint and Zakuro, whom Mint calls her “queen,” this is not a major theme. The anime, as I noted earlier, primarily centers on the romance between Ichigo and Aoyoma, and blossoming feelings between Ling and Tar-Tar. Even so, the relationship between Mint and Zakuro has a new dynamic, compared to that in Tokyo Mew Mew, adding depth to their relationship, which is a positive.

With Tokyo Mew Mew New, the characters exude “cuteness” in a way that is more effective than Too Cute Crisis. In that series, protagonist Liza Luna flips out every time she sees something cute, and “dies” from the cuteness. That series is enhanced when other members of Luna’s team, from the space empire Azatos, come to Earth. While there, they meet humans that Luna lives near and “cute” animals. Tokyo Mew Mew New has more of a story than Too Cute Crisis, which is a fun watch.

The latter series is a mix of glorified cat videos and the importance of proper cat/animal care. Tokyo Mew Mew New, in contrast, does not focus on animal care. Rather, it centers on personalities of characters, and their struggles. This differentiates it from well-known iyashikei anime like My Roommate is a Cat and How to Keep a Mummy. It is also distinct from any of the animated series about cats, lions, and others from the animal kingdom, like the comic (and later short film), Lackadaisy.

Another currently airing magical girl series, Soaring Sky! Pretty Cure, has similarities to Tokyo Mew Mew New. In the former series, the protagonists are given tones, allowing them to transform into magical girls and fight villains. Although they are chosen as heroes, they have more of a choice than the Mew Mews, whose role as heroes is hoisted on them, without any consent.

Apart from these comparisons, the series shines through in its voice acting. Some, like Mirai Hinata, Momoka Ishii, and Rian Toda are new to voice acting. Others, like Ryōko Jūni, Yuki Tenma, Daiki Yamashita, Kaori Ishihara, Yūichi Nakamura, Yuichiro Umehara, Yūma Uchida, and Yusuke Shirai have experience lending their voices to many series. This includes Cue!, Taisho Otome Fairy Tale, Turkey, Blue Period, Shine Post, Too Cute Crisis, Edens Zero, Teasing Master Takagi-san, Macross Frontier, Miss Kobayashi’s Dragon Maid, I’m the Villainess, So I’m Taming the Final Boss, and Sasaki and Miyano. The talents of these actors are put to good use in this series, making it more of an enjoyable watch.

The same can be said for Yoshida, who wrote Tokyo Mew Mew, and others on the show’s staff. Yoshida was a script supervisor for the first, third, and fourth seasons of Maria Watches Over Us. She also worked as a supervisor of scripts on K-On!. Yoshida has experience working on series in the iyashikei, comedy, and food genres, such as Tamayura, Non Non Biyori, and Deaimon. It is not known whether she worked on this series or not, but her influence is still present.

Other than Yoshida, the show’s composer, Yasuharu Takanashi, has done music for various anime series, films, video games, and additional media. The director of Tokyo Mew Mew New, Takahiro Natori, worked on Gosick and Tamayura.

Graphinica, one of the two studios which animated this series, is newer. Only established in 2009, it recently did animation work on Cue!. Yumeta Company, the show’s other studio, is 19 years older. It did animation production for Tamayura: Hitotose, two YuruYuri OVAs, and Cannon Busters. The company collaborated with Graphinica on Cue!

In the end, I will remember Tokyo Mew Mew New for its occasional yuri subtext and strong environmental themes, beyond many other series I’ve seen, whether anime or Western animation. It may be some time before I come across another series that is as environmentally focused as this one.

The first two seasons of Tokyo Mew Mew New are currently streaming on HIDIVE and Spectrum.