An evil witch and the self-styled "Queen of Darkness". , Emanuela Fallini then Anna Teresa Eugeni (Italian - "Saturno") An agent of the witch queen sent to keep an eye on Megu and Non, but is secretly working for Saturn and intends to sabotage Megu's chances of winning the throne. , Hubert Drac (French), Armando Bandini (Italian - "Ciosa") Chou-san's underling. , Maïté Monceau (French), Susanna Fassetta (Italian - "Fru-Fru") Chou-san's underling. , Nino Scardina (Italian - "Cra-Cra") One of Megu's friends. One of Megu's friends. , Francesca Guadagno (Italian) Social commentary The series dealt with subject matter considered too mature for young children at the time. Complicated social issues such as domestic violence, substance abuse and extramarital relationships were introduced, while loss and mortality frequently underscored Megu's hijinks. This was a major break from the traditional juvenile animation in both Asia and the West, perhaps explaining why the series did not find a European market until the early eighties. Another point of departure was the series’ subtle eroticism. Majokko Megu-chan was born of a proposal by Hiromi Productions, which had previously produced the less successful magical girl series Miracle Shoujo Limit-chan (1973–74) with Toei, to create a magical-girl series with a slightly naughtier edge than previous shows of the genre. The influence of Megu-chan's Toei stablemate, Go Nagai's Cutie Honey, was apparent in several aspects, from the somewhat racy lyrics of the opening theme song (performed, as was Cutie Honeys, by Yoko Maekawa) to the fact that the two series shared many of the same staff. While not as overtly sexualized as Nagai's heroine, Megu-chan was surprisingly voyeuristic for its period. Megu was frequently depicted in various states of undress and the series featured scenes which anticipated the rise of so-called fan service anime; the opening theme song itself features lyrics in which Megu boasts about her breasts and her way of manipulating boys with her looks and coquettish behaviors. (The theme song lyrics were penned by lyricist Kazuya Senke, known for writing hit songs with similarly suggestive lyrics in 1973-74 for then-teenage J-pop idol Momoe Yamaguchi.) Later kogaru heroines would capitalize on Megu's sexuality; it would, in fact, become a hallmark of the genre. There were numerous scenes in which Megu wore sheer nightgowns through which her underwear was plainly visible. Rabi had an arsenal tricks aimed at catching his "big sister" disrobed, from yanking the sheets off