Story
Sally is the princess of the "witch world", Astoria, who longs to visit the mortal realm - presumably to make friends her own age. One day, Sally teleports to the "mid world" (Earth), where she uses her magic to fend off a couple of burglars menacing two young schoolgirls. Immediately befriended by her new acquaintances - tomboyish Yoshiko Hanamura (known affectionately as "Yotchan") and girly Sumire Kasugano - Sally decides to stay on indefinitely, leading to various kinds of shōjo mischief in the best Japanese tradition. As with Samantha Stevens in Bewitched, Sally tries to keep her supernatural abilities secret, assuming the role of a human child.
In the final episode, Sally's grandma informs her she must return to the Magic Kingdom. Before leaving, Sally tries to tell her friends about her origins but no one will believe her. Then her elementary school catches on fire, and Sally uses her magic to put out the fire. Her powers thus exposed, Sally's time to leave has finally come. She waves farewell to her friends, and returns to the Magic Kingdom. The 2nd series ended with the movie/TV special "Sally the Witch: Mother's Love is Eternal", in which Sally becomes queen of the witch world, but worries about leaving her friends behind. As with most Japanese cartoons of the period, Mahōtsukai Sally's main strength lays in its strong characterizations and detailed continuity. The basic storyline would be incorporated into many later Mahō Shōjo programs, particularly the concept of a magical princess relocating to the human world (as in Mahō Tsukai Chappy, 1972, and Majokko Megu-chan, 1974).
Read more about this topic: Sally The Witch
Famous quotes containing the word story:
“A story has been thought through to the end when it has taken the worst possible turn.”
—Friedrich Dürrenmatt (1921–1990)
“Television programming for children need not be saccharine or insipid in order to give to violence its proper balance in the scheme of things.... But as an endless diet for the sake of excitement and sensation in stories whose plots are vehicles for killing and torture and little more, it is not healthy for young children. Unfamiliar as yet with the full story of human response, they are being misled when they are offered perversion before they have fully learned what is sound.”
—Dorothy H. Cohen (20th century)
“A bad short story or novel or poem leaves one comparatively calm because it does not exist, unless it gets a fake prestige through being mistaken for good work. It is essentially negative, it is something that has not come through. But over bad criticism one has a sense of real calamity.”
—Rebecca West (1892–1983)