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magical-illune · 2 years

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I just realized that I’ve done something very silly! I named myself Magical Illune, but I never talked about what magical girl anime I like!

I’ll talk about it right now, then. I love all kinds of magical girl anime, from the light to the dark. I know that some people think that dark magical girl anime are Bad And Wrong, but I have to disagree. Yes, some dark magical girl anime are crappy, but not all of them. But that’s not what this post is about.

Anyway, here are some magical girl anime that I like!

1. Pretty Cure/Precure

Who could talk about magical girl anime without mentioning Precure? It’s a magical girl megaseries from Toei Animation. Each season (with the exceptions of Max Heart and GoGo, which are sequels to other seasons) is its own continuity, with its own setting and characters. While the seasons do share some similar elements, each season has its own themes that make it stand out. There are funny moments, awesome moments, emotional moments... It’s awesome! Each season is about 45-50 episodes long, and there are 19 seasons as of right now. Yes, the series is still ongoing! And the fights aren’t just about magical attacks - they usually have a ton of punches and kicks! I like all the seasons, but my favorite is Fresh, with Smile being a close second. Two seasons, Smile and Doki Doki, were dubbed as Glitter Force, but we don’t talk about that.

2. Nurse Angel Ririka SOS

This one is kind of obscure, but I love it anyway. This anime is from 1995. It’s about a ten-year-old girl named Ririka who is given a nurse cap as a birthday present by her crush, Kanou. It is soon revealed that the cap is a magical item that can transform Ririka into the legendary guardian known as Nurse Angel. Ririka winds up having to fight the evil forces of Dark Joker, who laid waste to Kanou’s home planet (yes, he’s an alien, albeit a human one) and have now turned their sights toward Earth. The series has a healing theme and some memorable aspects, such as Ririka having a limited power source that she must find more of. Also, there’s Dewey.

Just look at him! He is the best character in the entire show. No, I am not taking criticism. Anyway, although the anime still has that 1990s cheesiness to it, it gets surprisingly dark for a show aimed at young girls. That may be why it didn’t sell enough toys and wound up being cancelled. Still, the creators managed to bring the show to a conclusion at 35 episodes.

3. Puella Magi Madoka Magica

This anime was released in 2011, and it’s the one responsible for a slew of dark magical girl anime and manga in the years that followed. Some of them were good, others were not, but I’ll get into that later. Without spoiling too much, I can tell you that unlike the previous two entries, Madoka is definitely not for kids. It’s quite dark, with a storyline that explores the consequences of its magical system. While it’s not the first dark magical girl anime, it’s undoubtedly the most popular. The soundtrack is beautiful, the animation is (mostly) beautiful... I really recommend this anime!

4. Sailor Moon

Ah, a classic! This anime has two versions - the 90s anime, and the ongoing remake (known as Crystal) that follows the manga more faithfully. I like both! This is probably the most iconic magical girl anime among English speakers, so you probably know the basic details, but I’ll explain it anyway. The story begins when Usagi, a rather annoying crybaby, is given a mysterious brooch that she can use to transform into the magical warrior known as Sailor Moon. She is tasked with fighting various bad guys, assembling her team of planet-themed magical girls, and finding the missing princess of the moon (whose identity is rather obvious). Along the way, she is frequently aided by the mysterious Tuxedo Mask (yes, his outfit is as silly as it sounds). The 90s anime is generally more lighthearted and has quite a bit of filler, but I like it a lot - it’s got this nostalgic charm to it, you know? Crystal is also great, though it has less episodes. I’ve also been reading the original manga, and it’s awesome! There’s even a two-volume manga focusing on Sailor Venus’s adventures before meeting up with the other Sailor Guardians - it’s called Codename: Sailor V and I highly recommend it. Actually, I highly recommend all of this franchise!

5. Yuki Yuna is a Hero

This one is another dark magical girl series a la Madoka. Basically, three hundred years ago, a virus killed off most of humanity, except for those living on the island of Shikoku (a real place, might I add), who were protected by the Shinju - an amalgamation of gods in the form of a tree. Shikoku is at peace now, and it is run by the Taisha, a religious organization dedicated to serving the Shinju. The eponymous Yuna is a member of the Hero Club, a school club that does volunteer work for the community. However, it is soon revealed that the Hero Club is more literal than that - the girls have actually been enlisted to transform into Heroes and fight the mysterious Vertex that threaten the Shinju. Though the battles take place in a spiritual realm, the damage that that world takes affects the real world, and if even one Vertex reaches the Shinju, the entire world will be destroyed. The first season has some elements that I don’t like, especially considering the representation of disabled people, and there’s quite a bit of fanservice, but I still like the show. It has three seasons, and the second season is my personal favorite. There are also some prequel/interquel light novels, but I haven’t read those yet. Overall, Yuki Yuna is an interesting watch for its take on religion and child soldiers.

Okay, now you know of five magical girl anime that I like. I also enjoyed Uta~Kata, but for some reason the GIF thingy isn’t working right now, so I’ll just say that it’s good, albeit fanservicey.

I’ve also watched quite a bit of the original 2000s Tokyo Mew Mew, but to be honest, I find it a bit mediocre. I especially don’t like those two guys who run the cafe - it seems like they’re just using the girls. Still, I’ll finish it, and then I’ll watch the reboot and hope that it’s better.

Now, some dark magical girl anime are good, but others are not. After watching Day Break Illusion, I determined that it was one of the latter. Though the premise sounded interesting, it was not well executed, and it got quite creepy near the end - and not in a good way.

There are also some magical girl anime that I refuse to watch - Magical Girl Site, Magical Girl Spec-Ops Asuka, Prisma Illya, and any ecchi or hentai works.

There are other magical girl anime that I haven’t finished yet. I’ll give my opinions on them once I’m done. I’m also hoping to read some more magical girl manga, especially the ones that haven’t been adapted into anime yet. Any suggestions?

All in all, I really enjoy the magical girl genre, and I hope to add to it someday.

#magical girl #mahou shoujo #sailor moon #puella magi madoka magica #pretty cure #precure #nurse angel ririka sos #yuki yuna is a hero #anime

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imthatchishiyasimp · 3 years

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HELLOOOOO!!!

I'm freaking out this is my first post, like the first one shot I post and write about AIB and Chishiya.

I really hope you all like it, please please please tell me what you think about it and whatever you want to tell me.

It's long (4444 words), I know, but I hate small things because I get upset. It's very close to the story and it doesn't have lot's of changes, I wanted to try first to write about something I know. In the future I will write more original and new stuff. Also, I wanted to get used to the universe and to the characters first.

HAVE A NICE READ 💚

“THIS WAY TO THE GAME ARENA”

The sign flashes all around the city. I slowly walk towards the Toei Sendagaya block apartment, focused on the cube in my hands. Due to having no electricity, I’ve gotten used to pick random things from stores to entertain myself.

It’s still shocking to feel the city so silent and calm, and at the same time it feels terrifying. One would think that being that people die every day, the streets would be forgiving. You can’t even lower your guard now. Even since the first day, I’ve liked walking around the streets, checking out shops and random apartments. I kinda feel powerful, but it’s something that deep inside I know it’s just fake and limited. And I’m not giving up, but at least I’m going to enjoy now that I can, until ‘they’ decide that I’m not needed around anymore.

The tall complex shines between the bushes and buildings, its lights on every floor lighted on. I place myself a few meters hidden behind the stairs leading to the central lobby. From there, I sit and watch people climb the stairs. A couple of them look pretty scared and lost, showing signs of this being their first game. The rest all look shaken up but used to this. When it looks like no one else will come, I get up and get to the crowd around the phones.

There’s thirteen people waiting and all of them look at me while I pick the phone from the table. When the facial recognition is finished I can see that there’s only a few seconds left for the game to start. Almost didn’t make it. Would have been stupid to die because I was daydreaming.

‘Move aside’ I say to Chishiya, elbowing him after not having a response. He looks at me annoyed and slips off his earphones. He finally moves to let me place my back at the wall and get my hair in a bun.

“REGISTRATION HAS CLOSED. THERE ARE A TOTAL OF 14 PARTICIPANTS. THE GAME WILL NOW COMMENCE.”

It’s so easy to point out who the newcomers are and the ones that are sick of playing. You can also name who’s going to be willing to put themselves first and who’s going to scary run the whole game.

I start rolling the sleeves of my sweatshirt up when a boy with a cap starts talking to some guys. They look lost, but not new to this. Might be the first week here. I eye them from my spot, not saying a thing but listening to the whole exchange.

“Excuse me, do you know what this is?” He asks a black haired boy. Honestly, he looks a mess, like he has just gotten up from bed and hasn't changed in a few days. “I ended up here and I have no idea what’s going on”.

“It’s a game” He answers. At the same time, the blonde man next to him, probably his friend, tells him to stop it. I chuckle and cover it up with a cough, earning myself a glare from both Chishiya and Aguni. I might be prone to get in trouble with people and they won’t be happy if I screw a game up. Better be quiet.

The blonde guy whispers to his friend and I try to pick something up from the conversation. Not get close to the new ones and something else.

“DIFFICULTY: FIVE OF SPADES”

The card flashes on our phones, telling us the kind of game and the level of difficulty. I was so curious about the card when I got to my first game, I didn’t know what it meant and what I was supposed to do with it. I’m a bit ashamed to admit that I admire the cleverness behind the rules and the method of the games. It’s the work of both a psycho and a genius.

A sporty girl starts to stretch just after the card shows, so she must know what it means. She’s calm and collected and I bet she’s willing to put all of us on the killing zone before she goes down. We could be friends, I think.

I hear a sigh next to me and I catch a glimpse of Chishiya rolling his eyes. He doesn’t exactly hate physical games, but they sometimes mean having to run or climb and he’s not a fan of working out. And, even though he won’t admit it, he doesn’t like having his white hoodie dirty. Not going to judge, I don’t love spades games either, but I will choose them over the hearts ones a million times.

I get down to tie my shoes tighter just in case. I would hate tripping like the clown I really am in front of all these people. Some guy in a hat starts explaining to the two friends from before what it means a spades game. Club games are hard if there are more newcomers than experienced people. I mean, if it's a game where team work means everything, you bet you prefer working with someone who knows the way around the games. Diamond ones are a bit weird: being clever will get you through them, but sometimes the answer is so straightforward that you get lost looking for the catch. Heart games are the worst. They will kill you even if you survive, and pray that you don’t get to play with a friend or someone you know.

“GAME: A GAME OF TAG.”

“RULE: RUN AWAY FROM THE TAGGER.”

“CLEAR CONDITION: DISCOVER THE SAFEZONE HIDDEN IN ONE OF THE BUILDING ROOMS WITHIN THE TIME LIMIT. YOU CLEAR THE GAME WHEN THIS OBJECTIVE IS FULFILLED.”

“TIME LIMIT: 20 MINUTES.”

“AFTER 20 MINUTES HAS PASSED, THE TIME BOMB HIDDEN IN THE BUILDING WILL EXPLODE.”

I turn around to face Chishiya, grinning like a mad girl. He doesn’t even flinch when he stops me from talking. “No, I’m not racing you to the top.”

“But…” I sigh and watch as everyone starts running to the stairs like lost puppies. “You are so mean”. I punch him in the shoulder and cross my arms, walking towards the lift. No need running seven floors up and wasting energy if I’m not even going to be able to brag about having won a race.

Chishiya follows closely behind, probably guessing I’m going to try and leave him there.

“TWO MINUTES BEFORE THE GAME STARTS.”

We get inside the lift and silently wait until we get to the seventh floor. It’s been a long time since I used one, not everyday you get to play in a building apartment. Feels nice, and like we’re back to normal.

Once we get to the top, we both choose a position that lets us have a good look at the whole complex. He goes to one wing while I leave for the other one. No point leaving a flank unseen. I take my cube out and restart it, keeping an eye on the people looking around scattered through the floors. I don’t get why someone would choose saying in the lower ground when a tagger is supposed to chase you through the whole building. Dude, that’s the most critical place to start.

“Hey, don’t get distracted with those games of yours.”

“Don’t be mean, Chishiya. You know I’m paying attention.” Anyway, once I finish the cube, I keep it in my pocket and rest my arms on the banister.

Aguni and his new friend get to the seventh floor and both of us wave towards him. Like always, he completely ignores us and keeps walking towards another high point.

“That’s nasty” Chishiya says and I nod along. Aguni is always so serious during games, it’s boring.

“I place my bet on those two guys and the sporty girl surviving”. I firmly say. They look like they will make it, but not without having a rough time.

He has the audacity to snort and laugh at me and I look at him surprised. “You’re joking. Everyone looks like they’re about to die, as usual. Just look at them, they don’t know shit about what to do”.

“Were you this calm in your first games? Don’t be mean, they are trying their best. No one wants to die.”

“But, where you that stupid?” He says while pointing to a couple of girls on the second floor who are touching their phones desperately. “I’m not saying you gotta be a genius from the start, but if you don’t collect yourself quickly, you are already dead.”

“Well, my majesty, not all of us are like you, and some people need a little more time, and a little more help.”

Chishiya looks at me and, as if I had imagined, a caring and sorry look crosses his eyes. He probably remembers the first time he saw me get through the games and how I completely lost it once. It wasn’t easy.

“THE GAME WILL NOW COMMENCE.”

He nudges my arm with his elbow and I look at him.

“THE TIME LIMIT IS 20 MINUTES.”

“Hey” He says with a soft voice.

“GAME START.”

“Don’t die this time.”

“Wasn't planning to.”

“THE TAGGER IS NOW ON THE MOVE.”

As if we all had planned it, the whole complex goes silent, trying to locate this said tagger. A trumpet goes off and everyone looks scared, ready to bolt to wherever they can.

The sound of the lift’s doors can be heard from our position, so the tagger is probably on the sixth or fifth floor.

Not a penny drop can be heard. Not a breath.

Some people start walking and try to open doors. The rest are all watching closely until something happens.

And it does.

Gunshots run through the dense air that surrounds us. I try to see where they come from and I finally catch sight of the tagger. Probably a man, judging for the height, with a horse head and a really mean gun. He’s on the sixth floor, just in front of the stairs.

I point at him and nudge Chishiya, but I already know that he has seen him.

There’s now thirteen of us.

And then shots are fired again and we can see the two friends and the one with the hat running down the stairs, away from the tagger.

“Told you, they are gonna get killed.” Chishiya says with a smirk.

“Oh shut up, this is not a TV show we are talking about. And I have faith in them”.

They split up on the third floor, the hat man keeps going down while the other two try to hide in the hallway. Not long after, on the ground floor that the tagger chases and shots the first one and finds another man freaking out. I don’t know if it’s better that he died because he went off the game zone instead of being shot by the tagger. Anyway, he’s also dead. And that makes three dead players.

Eleven participants left.

“See, they are smart. At least the cute one”. I say smiling.

Chishiya looks at me and raises an eyebrow, silently questioning just what I said.

“What? It’s not like I’m lying; he is cute, and smart.” I laugh and wink at him, cutting eye contact with him. If we are going to have an awkward moment, please don’t be while we are playing for our lives.

The killing spree of the tagger continues with the pretty and lost two girls. They sure are on their first game, because they look so freaking scared and unprepared. I mean, who would have come with heels and handbags. I scoff and shake my head watching how one of them falls dead and the other one wastes an incredible opportunity of getting away while the tagger reloads. Well, not all of us are strong enough to leave our friend and not panic at the same time. Shame she has to die, anyway.

So now we are nine players still alive.

Looks like everything’s gone silent again, until shouts break the silence and we all look for the source. It’s the cute guy and I laugh when I understand what he’s saying.

“Everyone! The tagger is currently at the second level of the central area! The tagger has bad vision because of his mask! Let’s inform each other of the tagger’s location and search for the safezone together!”

“Oh my god, did he seriously turn a spades game into a club’s one?” I laugh again and Chishiya scoffs under his hood. “I want to be best friends with him”.

“Don’t be stupid.” Chishiya says. We move a bit to see where they are going now that they are all running. “It’s a good idea, not going to lie, but no one will answer him.”

He mutters something else, but I don’t really catch it. I think I saw the tagger doubt his step when he heard the guy shouting, but he definitely looks annoyed when the sporty girl shouts back.

“The tagger is moving from the fourth level of the central area! Anyone nearby, run!”

I celebrate and raise my hands, clapping and laughing in Chishiya’s face. He looks surprised and tells me to shut it.

The girl runs from the tagger and finds an elderly woman in the hallway. With the tagger on their back, they are probably going to get killed. I grip the banister and hold my breath. She seems friendly and clever, I’m internally rooting for her.

Suddenly she jumps off the balcony and starts climbing the pipes up to the next floor. The other woman dies behind her, and the tagger tries to catch the girl but fails.

“She’s pretty good.” Chishiya mutters. “You just wish you could do that. It’s called envy”.

“As if you could do that too. You are just as weak as me.”

“Hey! Don’t throw me in the same casket!”

“EIGHT MINUTES UNTIL THE GAME ENDS.”

“THERE ARE CURRENTLY EIGHT SURVIVORS.”

Already? We should start moving.

I look at Chishiya under my hair and he frowns at something. I follow his gaze and see the tagger looking at the cap boy from an upside floor. What’s shocking it’s him starting to shoot from there. He has been killing just people he casually finds while walking around, not shooting from that distance.

The boy goes down, but looks unharmed. The two friends are on the same floor and get to him, running away from the door he was trying to open.

Not bothering to ask Chishiya if he got that, I start jumping on the place and keep my phone in my pockets. He slides off the hood and shoves me towards the stairs.

“Shall we, ma’am?”

“THERE ARE FIVE MINUTES REMAINING.”

From the corner of my eye I catch Aguni intercepting the boys and I make a face. It doesn’t always go well when he does that, he tends to let them die in order to have his way. The sporty girl stops to talk to them and she starts jumping from floor to floor.

“Do you think someone’s going to get it too?” I ask out loud. Chishiya shrugs and keeps on walking. I tsk and stay behind him when we get to the hallway. I turn around and watch my back, even though I heard a fight somewhere near. Probably Aguni, who are we kidding.

Just when we are arriving at the safezone apartment, the cute boy appears from the other side.

“Cute boy! I’m glad you realized it!” I happily say without thinking. I mouth a silent sorry when he looks at me a bit perplexed. Chishiya elbows me, hard, and I whine a bit. That’s mean.

He picks the doorknob first, but doesn’t open it. The three of us are watching closely, and honestly I’m a bit nervous about the time. I don’t like risking it as much as Chishiya.

“Aren’t you going to open it?” he asks.

The boy answers a couple of seconds after, lost in his thoughts “Why did the tagger chase us? He could have just waited here.”

He is onto something. Now, I’m not liking this at all.

“Seems like there’s something else we don’t know.” Chishiya says, keeping his calm exterior. He’s going to use this poor boy in case he has any doubt of a risk. “However,” he adds, taking his phone out “if you don’t open it…”

There are three minutes left.

Sweat starts running down my back, making me shiver and hold my breath while I watch the boy start turning the doorknob. All our phones beep announcing the time left until we all die with the bomb.

Slowly, he opens the door with caution. We all walk inside, in silence and with darkness surrounding us. It 's empty. No furniture, neither personal objects nor some leftovers of someone’s life. A few steps in we notice a door at the end of the room and we all walk towards it.

It’s not until we are too far inside that another tagger walks out behind the door.

“Look out!” the boy screams and pushes us out of the shot range.

Gunshots fly around the apartment and I duck behind the bathroom door. Chishiya uses the taser and the tagger goes down, but recovers quickly and starts shooting again. I scream when a bullet gazes at my arm. It fucking hurts, but at least the bullet didn’t got me completely.

I can hear the apartment door being shut and the other door at the end closing too. They must have gotten through them. I hope they aren’t harmed.

I wait, trying not to make any sound in case the tagger comes to finish me off. I search through the room, but nothing seems lethal enough to use like a weapon. I hate bringing weapons to games, I don’t really want to kill anyone if I can help it.

Gunshots are fired and I cover myself up, even though they are not directed towards me. Fighting blade weapons? I’m okay with that. Fighting people? Not against it. But, I have nothing towards a gun. I mean, it can take me from a long distance! No point.

“Everyone! The safezone is in apartment 406! It’s impossible to clear the game alone! We need two people to do this!”

Are you kidding? This is so mean. What if you were the only survivor? Not fair, not at all.

Well, it seems like I should get moving and try to do something useful in this game. I haven’t done shit, now that I think about it.

Slowly, I open the door just in time to see the tagger shoot the door and break the safelock. I take small steps following it, ready to throw myself to placate it. Just when the gun is going up I jump and kick the tagger in the knee, managing to bring it to the floor.

I hear a scream coming from the tagger and a lady cursing from behind the mask. She starts shooting and I scream trying to cover myself without being hit. The guy bolts and tries to help me get her off the gun, but she keeps fighting like a mad person.

We both go down before she gets us with the bullets and I catch a glimpse of Chishiya at the door, trying to help but having to cover himself because of the lost shots.

The phones all inform us of the ten seconds remaining at the same time that the sporty girl jumps through the glass of the balcony. The tagger kicks me and gets the gun pointing at my face and I panic just a bit before I push back. The other guy tries to help me, but with no help.

“Hey!” Chishiya shouts.

I’m on the floor fighting the tagger with the gun under my chin, trying to get it off my face, but I see him throwing the taser to the girl and she quickly gets the tagger down.

I let out a sigh before I heard the time almost coming to an end. My eyes search for him and we lock our gazes. I can feel the breath we are both holding and the silent words running through our minds. My fingers clench and I swallow, accepting death like a forgotten friend, saying goodbye with a blink.

But, just like that, with a blink, it all finishes. The buttons are pressed on the last second and we all hear the beeps from our phones.

“GAME CLEAR.”

“CONGRATULATIONS.”

In that same moment, the tagger gets the mask off and we can see an old lady crying looking at us. The collar in her neck starts beeping faster and faster and I scramble to get away from her. Chishiya grabs both my arms and I scream at the touch in the bullet gaze from before, but he doesn’t let go and gets me away at the same time that the collar explodes, killing the lady.

My whole back is covered in blood and I roughly grab Chishiya’s hoodie. I don’t want to look at her and see what we did, even though it was unintended. She was also playing, and she died because we won.

Chishiya and I are left in the room with the dead tagger, and he grips my hand and makes me let go of him. He starts checking the pockets of the lady and gets something out, but I don’t register exactly what.

I get out of the apartment to breathe. I hate this part where we really think about what went down here. Lots of people died, and we got a few days to live just to have to risk it again in the next game. Could have we saved someone? Not really, I know that. But it doesn’t make it easier anyway.

“I’m Arisu.” Someone says beside me. I turn and the cute boy is there, watching me from a distance. “I wanted to thank you, for risking yourself back there. We are alive thanks to all of you.” He sticks out his hand to me and waits.

I’m speechless. No one has thanked me like this in any game. I didn’t really do a thing, but he’s thanking me. I should be the one doing it, he cooperated with the other girl and they stopped the bomb. We could have died there.

I let out a small laugh and shake his hand. “It’s a pleasure to meet you, Arisu. And thanks to you, you did the dirty work inside the room.”

I look back inside and watch Chishiya stick the paper in his hoodie and walk towards us.

“I look forward to meeting you somewhere else, hopefully not dead in a game. Be careful and enjoy the warm water in the ocean now that we are all alone in the city.”

With a wink, I walk out of the apartment building with Chishiya not too far behind. I think he heard me talking to Arisu, but he doesn’t comment on it.

We walk, and we walk, and we walk. Neither of us likes to go back to the Beach in the cars, so we always take a stroll through the streets, enjoying the silence and the stars shining above us.

“Does it hurt?” he asks.

“Mmh?” I look at him questioning and he nods to my bleeding arm. “Oh, yes, like a bitch. But I’ll have to wait until we get there.”

He tsks and grabs my arm, leading us to a pharmacy around the corner. I don’t say anything, knowing he will shut me up and will only be a waste of time. We get inside and he starts looking for some disinfectant and bandages.

He knows his stuff. I was surprised at first to discover he knows his way around the medical grounds; and I’m glad he does. It doesn't hurt having someone nearby capable of dealing with nasty wounds.

He silently works and I watch him closely. He’s handsome. And he knows it, that’s why he smirks feeling my gaze on his face. I trace his features taking my time. His eyes are the most scary thing I’ve ever met. They hold so much knowledge and feelings. I always feel like he could take me apart just with his eyes. He mostly covers his emotions, so even though you search for micro expressions, you will come empty handed almost always.

I bring my free hand up and run my fingers through his hair. I love it, it’s so smooth and soft. And the fact that he always wears white to match his hair makes me smile like an idiot.

Chishiya clears his throat and starts covering up the wound. My hand drops and rests in his arm, basking in the heat he’s making.

Once he’s done, he brings down my sleeves and looks me in the eye, silently checking if I’m okay. I nod and take his hand, quickly gripping and, just as fast, letting go. I can hear him sigh behind me, and he follows behind.

“You know, I’m glad I met you here, but I would have prefered meeting you in the real world.”

“Why?”

“Because I know I will be safer here with you, but I also know the probability of us having a happy ending is minimal while we are here.”

“You are not wrong.” A couple of minutes goes by until he adds: “But that doesn’t mean you can’t try and make the most of it while you are alive. It will hurt more, but at this point, who cares?”

I let out a breathy laugh and turn around to hug him. Hard. He stops and lets me hug him, finally giving in and hugging me back. I hide my face in his neck, breathing deep and closing my eyes. I can feel his pulse and his chin coming down on my head, his hand running through my back.

“You are an idiot.”

“And you are mean. Deal with it.”

I swear I can feel his lips kissing the top of my head, but it’s so fast I can’t be sure. He starts walking again and I run to catch him before I lose him.

We may have a complicated relationship, if you can call it that. We are there for each other, not sure of what to do, what to give, what to take. But we do not give up. I’m just glad I’m not alone, and thankful that I have someone looking out for me.

I smile all the way to the Beach.

#chishiya #chishiya shuntaro #chishiya x reader #aib #alice in borderland #fic #oneshot #reader insert #fanfic #arisu

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shihalyfie · 3 years

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Some fun talking about and analyzing the tri. stage play, and its relationship to Kizuna

The tri. stage play (full title: "Super Evolution Stage! Digimon Adventure tri. August 1st Adventure") is honestly quite an unusual entry in this franchise, even within Adventure standards. Nearly everything about its production is unusual -- the entire genre it's in is unexpected, the choice of time period to release something like this is unusual, and moreover, now that Kizuna’s out, a lot of people have noticed a lot of suspiciously similar themes and even language, most notably the key “we’ll always be together” line (phrased even exactly the same way in Japanese). In fact, despite ostensibly being a tri.-branded product, other than a few vague token nods to the anime series in the play itself, said stage play has very little to do with the actual anime sharing its name, so the similarity to Kizuna is even more striking in retrospect.

Perhaps another interesting thing about this play is that it’s a very good example of a standout work in the Adventure universe that didn’t have any original creator involvement (other than some minor tips from Seki). I think there’s often a tendency for people to think that in order for a sequel or spinoff to be true to the original, it has to have some member of original staff on there, especially since the Adventure (and 02) characters tend to be a bit overly complex and it helps to have the reassurance that someone who knows them is behind the wheel -- Kizuna used the presence of Seki and Yamatoya as an outright advertising point -- but this stage play’s director and writer had no experience with the franchise beforehand, not even as a fan, yet still made a very respectful product that has generally been received well by Adventure (and 02) fans and even got the original director’s approval, too. If anything, that makes it all the more impressive!

(Note that the below text spoils the story content of the play, but not Kizuna’s to any substantial degree.)

Some production background

Anime and video game stage tie-ins are fairly common -- much like this one, they tend to have very short runs and are targeted at a limited audience -- but they’re usually stereotyped as being for the otome crowd (i.e. predominantly female otaku audience), so works like this are generally associated with it. As a result, when this play was announced and released between tri. Parts 4 and 5, quite a few people were surprised, because this franchise originally came from products associated with shounen anime. In practice, this was a period where it was becoming increasingly clear that there was, in fact, a huge female audience for Digimon (especially Adventure universe), on top of the fact that (as noted by the performers in the final show) the audience for this show ended up being unusually mixed-gender, because Digimon really is universal -- but it did lead to the announcement of the play being initially received with heavy skepticism, partially because of the usual misogyny (stigma around things associated with female audiences, etc.), and partially because this was during a time where...well, saying that a very huge percentage of the fanbase, especially the Japanese side, was really pissed off at anything tri.-branded at the time is kind of an understatement. Ultimately, the play ended up very well-received with a small but dedicated following, and it’s currently referred to as “dejisute” (short for “Digimon Stage”) in Japanese fan shorthand. Bringing it up generally elicits positive critical feedback, even among those who were initially skeptical.

Some interesting things also surround the circumstances of its production as well. As some might know already, the tri. anime series and Kizuna share only one key member of staff: Kinoshita Yousuke, who was involved in tri. Parts 5 and 6, and eventually went on to become the producer for Kizuna and the upcoming 02-based movie. tri. was a work that (for some reason) had a huge number of producers on it, of which Kinoshita was only one; he seemed to have been replacing Arai Shuuhei, who left the project after Part 4. However, while Arai was formerly one of the most visible of tri.’s producers (he was the only one regularly brought up in interviews), how much degree of influence Kinoshita had with tri. is unknown, other than the fact he had no involvement in its story. Given that the decision to make Kizuna also seemed to have been made around Part 5, it seems that Kinoshita may have been brought on specifically for the purpose of observing and prepping for Kizuna, because his role on tri. seems to have been so minimal that the moment he was put in charge of Kizuna, the production philosophy ended up becoming completely different under his management. (When you think about it, tri. and Kizuna have very little in common, other than the rough premises of involving the older Adventure cast.)

The thing is, though, Part 5 isn’t actually the first tri. work Kinoshita is credited for, but this stage play is -- which is interesting to consider when taking into account the heavy amount of thematic parallels between this and Kizuna three years later, and in general the very unusual creative decision to make a stage play that suddenly popped up at exactly this time, making heavier tributes to Adventure (and even 02) than the actual anime it was branded with. Making things even more interesting was that the stage play’s director and writer, Tani Kenichi, was allegedly recruited by an unnamed producer impressed with his work (by the way, did I mention Kinoshita used to work in live-action before joining Toei?). Given all that, perhaps this stage play coming off unnervingly like a sort of Kizuna prototype isn’t all that surprising...

Unfortunately, right now we’re still kind of in a time period where official will get barraged with violently angry comments for even so much as putting the series on streaming services, so it’ll probably be a few more years (if ever) before official will be willing to be more open about what went on behind tri. production, and it’s probably a bit much to get too speculative about things like this when real people are involved. Nevertheless, one thing is apparent: the director and writer, Tani, was a newcomer to Digimon -- not even someone who’d been a fan beforehand -- but watched all of Adventure and 02 in preparation for it and stated openly that he was very, very emotionally touched by it. The work itself is obviously made with a lot of love and respect for the series, and one really cool thing about it is that you can also tell that it came from the perspective of an adult with no preconceived notions about it, therefore meaning it comes from someone analyzing the series without necessarily caving to fanbase mantras, and making some very cogent observations about the characters. It’s also just a fabulous work production-wise in general -- the puppet work and making the Digimon look convincing on stage is very well-done, especially when you consider that this play had only ten showings -- and you really gotta appreciate the fact that, even before Seki gave him a few pointers, he was so passionate about the importance of Digimon partners that he pushed for all eight to be represented despite the expenses.

Taking a look at the play itself

Despite ostensibly tying into the tri. anime series it's branded with, the play only really seems to loosely refer to some of its key elements as taking place at approximately the same time, such as Koushirou’s server, infected Digimon, setpieces like KNIFE OF DAY, and an eventual “reveal” that this seems to take place ostensibly around the rough time period of tri.’s Part 4. Look closely, however, and you’ll notice that a lot of things in the characterization and plot arena actually don’t track much with tri. at all -- for instance, in a very non-comprehensive list of things:

It’s implied that Yamato himself is embarrassed about the KNIFE OF DAY band name and is desperately trying to get through it with passion, which doesn’t quite line up with his attitude about it in the anime.

The timeline just really doesn’t line up; Mochizuki Meiko, Meicoomon, and the infections obviously exist, but you can’t have a time period in Part 4 where the kids recognize Meicoomon as being related to the distortions or infections while also being separated from Meiko. Moreover, the “reboot” just doesn’t seem to have happened at all (and to be fair, if you’re planning on making a two-hour tribute to Adventure, not having the Digimon with memories of said adventure would seriously limit the scope of your plot, so this kind of “leeway” was probably downright necessary).

The tri. anime series portrayed Takeru as having a very sharp shift in language, presumably under the implication he’s putting up a front as a flirtatious, aggressive playboy, and so his first-person pronoun was turned into the aggressive ore and his way of referring to Yamato aniki. In Adventure and 02, Takeru had used the polite boku and childish/cutesy onii-chan, and the boku was prominently used as a plot point to hint at Takeru’s identity as the series narrator. (Yes, these kinds of things are actually kind of a big deal in fiction.) Since even longtime fans generally agree that at some point Takeru would be likely to stop using onii-chan once he became old enough, the stage play likewise also prefers aniki over onii-chan, but, notably, it doesn’t even bother with ore in the slightest nor any of the implications that surround it, and Takeru comfortably uses boku for the entirety of the play. Considering that the use of aniki is still a bit unusual (both Diablomon Strikes Back and Kizuna prominently favor the slightly more polite nii-san instead), it seems that the play was made with an awareness that both aspects of Takeru’s language had changed, but a conscious decision to hold over only one from the anime.

And so on and so forth.

In general, the way you could describe this play’s handling of Adventure universe lore and characterization elements is that it’s a bit selective about which tri.-related elements it makes use of, particularly in regards to ones that might be too difficult to reconcile with the original Adventure (and 02). (This is basically the same attitude Kizuna roughly takes in regards to handling of tri. elements, although it’s less noticeable there partially because of the five-year gap between tri. and Kizuna.) Obviously, being completely incongruous with the tri. anime would be a pretty crude thing to do for a play that’s actually branded with it (and especially when said anime was still ongoing at the time, regardless of public opinion), but, regardless, the end result is that its actual relationship with the tri. anime’s version of canon is a bit tenuous.

The main reason for this is probably that, on the flip side, the stage play's references to Adventure -- as in, the specific series that aired in 1999-2000 and took place in the in-universe August 1 and 3, 1999 -- are incredibly aggressive. In fact, it’s actually far more aggressive in this respect than Kizuna is. For all Kizuna is branded as an Adventure movie and puts the original Adventure cast first and foremost in all of the advertising, if you watch the actual movie, in practice, it’s more of something that lies in the gap between Adventure and 02 and the two series together as a whole. Adventure was a series that practically revolved around a "trapped in another world" story and the specific impact its events had on the kids involved, but Kizuna focuses more on the “larger world”, including real world society (very much 02 things), with a lot of themes with suspicious pertinence to 02 and references to its epilogue looming over the plot; the specific Adventure references and even the Digital World don’t come into play until the climax. (And that’s before we get into the fact that the 02 quartet gets more screentime than a good chunk of their seniors.) Really, you can see it just by the fact that a majority of the primary key visuals line the 02 quartet up with everyone else; it’s a movie about both, not just Adventure.

So in other words, Kizuna is really about mixing Adventure and 02 elements, serving as a sort of stopgap work, and recasting the Adventure group in a lot of 02′s context. (And that’s by no means a bad thing; since Adventure wasn’t about that, the differing juxtaposition is a fresh perspective in its own way.) But in terms of revisiting what the actual series called Digimon Adventure was and how those events might have an influence on its relevant cast years later, this play (which actually has longer runtime than Kizuna, being around two hours) is a good place to go to if that’s what you’re looking for. The entire premise of the play revolves around copiously referencing that specific adventure back in 1999, and, more importantly, what impact it’s still continuing to have in this particular group’s memories, to the point where they’re starting to romanticize it and wish they could return to it forever...

Ah, right, that’s what this play has in common with Kizuna: the overall theme of unhealthy fixation on rose-colored nostalgia, and the need to move forward from it. (And, driving it home, “unhealthy fixation on the events of Adventure” as a symbol of that rose-colored nostalgia, to boot.)

The premise of the play itself is that the kids decide to hold a camping trip as tribute to the adventure in 1999, as part of a desire to "go back to those times" (and, as is eventually revealed, it’s actually part of a pocket universe their subconscious wishes had dreamed up as a desire to recreate the past, thanks to the power of the Digital World). So all of the references to Adventure are concrete and fleshed out in specific detail, ranging from everyone referencing specific events and how they impacted them (Jou very explicitly refers to his experiences in Adventure episodes 46-47 in terms of why it fuels his current desire to become a doctor) to even the most minor of references (direct reference to bananas on File Island, from Adventure episode 3).

As a brief aside, a positive side effect of centering the plot on this specific adventure is that it justifies the reason for why these eight are working together (at least prior to the endgame reveal that they’re still involved in tri.’s events); the eight of them weren’t portrayed as liable to do so without good reason, and while certain aspects and events from 02 are alluded to when they’re relevant, the absence of the actual quartet passing without note is completely justifiable because they simply were not on that adventure anyway. (They weren’t initially planned to be at the event in 02 episode 17, and knowing them, it’s likely they wouldn’t want to be at this kind of outright commemorative camping event, because they’d feel like they’d be intrusive in something they had nothing to do with.) So within the scope of the play in two hours, the narrative can be very neatly condensed to be mostly about Adventure itself.

Although this play and Kizuna both share the common theme of the existential crisis that comes with getting older and the tendency to romanticize one’s childhood, the underlying reasons are a bit different; Kizuna’s is very close to 02 in that it’s largely to do with societal pressures and expectations, especially since the question of "what you want to do with your career" is a driving motivation in it. In other words, the existential crisis comes from living up to other people’s expectations, or trying to fit into an arbitrary societal mold of an “adult” without necessarily knowing if that’s what you really want. In the case of this stage play, being set in everyone’s high school years where everyone’s relationship to “the world at large” is a bit more tenuous, the reason for the existential crisis is somewhat closer to Adventure’s: everyone’s started to think they might have been better people back then. More confident, less hesitant, more honest with their feelings. Adventure was a series about self-improvement and one’s relationship with oneself, so it’s understandable that a work meant to look back on that specific adventure will ask the question “well, did they become better people after all?” as a result.

But there’s two problems with this line of thinking: one, this is a very rose-colored evaluation of their former selves, because just because they might have been “more confident” back then doesn’t mean they didn’t have other problems going on (Hikari calls her past self out for being arguably “more honest”, but also somewhat of a dependent child), and two, being more hesitant doesn’t make one a weaker person, just one who’s dealing with a lot more problems and awareness and things to worry about because of how much the scope of their lives has increased. As Agumon says at the end, the old Taichi and the current Taichi are still the same person; it’s just that he’s dealing with more, so he’ll naturally worry about more, and taking on those extra burdens is actually his own way of “evolving”.

Particularly interesting is the position of Jou, the not-so-unsung hero of this story, who is explicitly identified as the person most clearly aware of his future dreams and proceeding without hesitation towards them, to the point of being somewhat immune to the effects of the dream world. (Somewhat, mainly because the ending establishes that he wasn’t entirely.) It's consistent in line with the fact that we actually saw, directly, the train of thought that led to his decision to become a doctor back in Adventure, and he even states it directly in this play himself: he doesn’t consider himself someone who wants to solve things through fighting, but rather someone who can prevent casualties and heal the injured if he pursues this line of study, and thus is determined to make it happen. Even from the very early points of the play, there are several hints at him being able to see a metaphorical “future” that the others cannot, and while he remains unfailingly loyal to his friends (there’s a long sequence of him constantly claiming he’ll leave them as per Koushirou’s request but constantly coming back because he just can’t bring himself to abandon them), he also is the first one to depart the camping trip to attend to a test -- that is to say, he treasures his past, but he has a strong enough dream for his future that he’s willing to move on better than the others can.

Jou’s also the one to personally advise Yamato about the difference in nuance between doing things because you feel you must, versus doing it because you yourself truly want to, a difference in nuance that also becomes very pertinent in Kizuna. Also pertinent to both works in common is the discussion of nuances between “staying trapped in one’s memories” and “violently cutting them all away” (the consequences of the latter being more extensively discussed in Kizuna), versus the ideal situation of reflecting on those memories and experiences from the past in order to productively move forward.

And in the end, rose-colored nostalgia is, indeed, rose-colored nostalgia. Because, sure, that adventure back in the day was great, and they grew a lot, but they also grew a lot because they were overcoming some very harsh, difficult troubles; omitting those parts is losing the substance. The re-invocation of the fun “camping trip” also means re-invoking all of the other things that came along with it, including all of the dangerous threats they’d faced back then. It’s a package deal, and you can’t just filter those out, because it misses the point of what you gained out of it in the first place.

In general, the character writing for this play is also very good; there are some differences between the characters here and them back in 02, but they’re all within the believable scope of positive progression within three years and general adherence to core tenets of their character (Koushirou is certainly more assertive, but emphasis continues to be placed on his deference to others, penchant for spotting details, and capability for being an organizational leader in his own sense). Also notably, this play manages to verbalize a lot of the subtleties in Adventure and 02 that the mainstream tends to gloss over (and don’t tend to get put in official profiles) but are well-known to those deeply familiar with the series. This is the kind of attention to detail usually associated with those who have been studying the series for years, so it’s refreshing to see these come out in words -- for instance, Koushirou stating outright that he was one of the closest people to Taichi for a long time (very true!), Hikari and Takeru actually commenting on each other from back in Adventure (something we never really got in 02, despite “them having known each other for a while” being part of their character arcs), and Sora explicitly admitting that she goes out of her way for others because it’s easier to work for others than it is to even think about herself.

Actually, the attention to detail in general is fantastic; other than a minor slip-up (Sora refers to having met Koushirou during the summer camp at the beginning of the play when she’d actually known him prior from the soccer club, a detail that’s very easy to miss because it’s only mentioned once in Adventure episode 16 and clarified further in the novels), a lot of things from Adventure and 02 are made use of and framed in very clever context; the choice of Etemon as the enemy for this play is well-placed for both his entertainment value and the fact that, as an enemy personally defeated by MetalGreymon in Adventure episode 20, it makes perfect sense that he would have a grudge against Taichi in particular. (It’s also explicitly mentioned that Hikari and Tailmon never met Etemon in person even once, and that Taichi never actually got to see MetalEtemon, so there’s a lot of attention paid to logistics like that.)

Also, while 02 is not really brought up within the scope of the story (and really shouldn’t be, not when this story so heavily centers around Adventure and its themes), its place in canon and its contributions to the worldbuilding are fully respected; a lot of the offhand references to family situations and background are elements that were originally introduced in 02, and many aspects of its Digital World lore are used to assist the plot premise (in particular, the idea of the Digital World being connected to something that can conjure up unconscious dreams wasn’t explicitly invoked until 02). Rather amusingly, at one point, Hikari uses the events of 02 episode 13 to tell a “scary story” to troll Mimi, and it’s interesting and rather refreshing to see the implication that Hikari’s been able to move past the incident enough to use it to troll someone else. There are also some latent epilogue references as well, with Hikari directly bringing up her goal of becoming a kindergarten teacher, Takeru making some really subtle references to wanting to be a novelist and chronicle their adventures (in true Takeru fashion, he never states it outright, but anyone familiar with the epilogue can figure it out), and Taichi alluding to an ultimate goal of humans coexisting alongside Digimon.

Finally, attention should be called to the play’s relationship writing in general. As stated before, the play does call attention to relationships between characters that often don’t get brought up by the mainstream but are somewhat more well-known to fans -- Koushirou and Taichi, Sora and Mimi, Jou and Yamato -- but even the well-known ones are treated with nuance endemic to that from Adventure and especially 02, given that Taichi and Yamato don’t actually have the stereotypical “cold rivals” atmosphere that shounen anime would usually suggest, and the two of them have an extended heart-to-heart in which Yamato actively tries to figure out what’s wrong with Taichi and treat him kindly. (Like in Adventure, the only time they break out in a fight is when Yamato gets emotionally compromised and starts worrying that Taichi isn’t doing enough for others’ welfare.) It’s also very consistent with how the two treat each other in Kizuna as well (the izakaya scene comes to mind, and has a lot of similarities to the awkward-but-ultimately-close conversation they have at night in this play).

And, of course, the centerpiece of the narrative overall: the human-partner relationship. Of course, a lot of this was probably helped by Seki lecturing Tani to not mess this part up, but it really is impressive to consider in light of the fact we’re working with a lot of puppets that have handlers clearly in plain view, so you have to have some massive suspension of disbelief to make this work. But not only are the movements well-done to make it convincing that you really are seeing these actors physically interacting with their partners on stage, the narrative also puts huge spotlights on them, making the Digimon outright be the ones to snap their partners out of their worst patterns of thinking (especially with Agumon and Taichi), and dedicating a long period of silence where literal stage spotlights are dedicated to each kid having some alone time with their partner. The intimacy is very convincing, and, truly, Tani’s insistence on making sure every single one of the main Digimon was represented in spite of the prohibitive budget paid off very well. The point is made: a Digimon partner has to be someone who knows you well and intimately and can call you out at your worst moments, and Taichi even spells it out: Agumon’s capable of seeing right through him.

Putting it next to Kizuna -- a movie dedicated entirely to examining the meaning of a partner relationship, what happens when it deteriorates, what that means for oneself, and what it takes to recover it again -- it’s perhaps unsurprising that this play ends on the same line that was used in all of Kizuna’s advertising and was central to its own plot: “We’ll always be together.”

#digimon #tri stage play #digimon adventure last evolution kizuna #shihameta

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flaim-ita · 2 years

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Huh people really hate this inoue person writing for donbrothers... as someone new to toei's brand of tokusatsu. (Not new to thr genre but new to super sentai and maybe, just maybe kamen rider, if could just suppress my phobia from ryuki) i am fascinated by the outcry the writer reveal has been made by the toku blogs i followed recently.

Let me put it like this

Inoue is an enigma. He simultaneously creates some of the most interesting female leads in any Toei Toku and also treats them the worst. Our first woman to henshin on screen? His show, she killed herself because the power was too much. First female Rider? His movie, she died and was possibly evil.

You might know her, the movie was Ryuki’s. He half-wrote Ryuki, in fact!

He quite possibly saved Sentai.

There are no main heroes anything close to Gai Yuki (Jetman’s Black and coprotag), Shouichi Tsugami (Agito), Takumi Inui (Faiz), or Wataru Kurenai (Kiva).

He created the most hated and most famous character in Rider.

He wrote some of my favorite episodes in my favorite show (Nega and DiEnd arcs of my Decade) and a special for that show which I despise.

I also think that, outside of one line and a HORRIBLE twist, that special was amazing and perfectly in character.

I’m in the minority but I genuinely think he was the best thing to happen to Hibiki. Most people hate what he did to Hibiki.

He keeps writing gay stuff. There’s a theory that he’s fucking the actor of that most hated character I mentioned earlier. This theory has backing. All of the gay characters die. He said he did one of those plot lines because he found an actor hot.

You might know the actor/character, this was about a Ryuki special!

The thing is, even Inoue fans somewhat hate Inoue, because you NEVER know what you will expect.

And I am, sadly, an Inoue liker. But yeah! Inoue will put anything into the pot, so people are terrified! Maybe this will be a Jetman or an Agito, maybe it will be (whatever the individual’s least favorite Inoue season is. Mine is Faiz). We don’t know, and everyone is terrified.

Anyways, Anon. I was wondering why you didn’t like Ryuki? I’m definitely more of a Rider fan and I’d love to know what you do and don’t like so I can pass along some recs.

#flaim rambles #toku cast #inoue toshiki #kamen rider #super sentai #and I didn’t even mention Changerion #anon friend #replies #sorry anon Everyone Is Like This About Inoue

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magicalgirlgrimoire · 3 years

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Genesis of a Genre: Part 1

Defining the four key archetypes of Magical Girl characters found in Japanese Magical Girl media.

I feel this wouldn’t be a great body of research without outlining some kind of historical context for the media were talking about! In this mini-series of essays I’ll be going over the first part of my research, which seeks to define the key influences of the Magical Genre, including industry and production influences, and provide an outline for reoccurring archetypes and conventions found in the narratives. This focuses mainly on Japanese Media, but I might do one about the history of western Magical Girl stuff too!

I pose there are four key archetypes for the protagonist (and sometimes supporting characters) of any Magical Girl franchise: The Witch, The Princess, The Warrior and the Idol. Any given Magical Girl may be one or a combination of several; for example Usagi (Sailor Moon) is a combination of the Warrior and Princess while Akko (Little Witch Academia) is the Witch.

Girl Witches and Growing up

Many writer have cited the Witch as the first true Magical Girl Archetype; Sally the Witch and Magical Akko-chan are often regarded as the progenitors of the Genre. Both were published in the notable shoujo magazine Ribon in the 60’s and both were adapted into anime by Toei; Ribon notably also published several of Arina Tenemura’s works, including the Magical girl series Full Moon while Toei is the studio behind Sailor Moon’s anime in the 90’s, as well as creating both the Ojamo Doremi and Pretty Cure franchises in the late 90’s and 2000’s respectively. Sally was influenced by the popular American sit-com Bewitched, but reimagined to focus on an adolescent girl-witch who must keep her identity secret. She was often alone in her quest too, perhaps with a magical pet confidant, unlike future entries where Magical Girls would be a part of a team or have complex relationships to others with powers. There were ideas of destinies or even secret royal birth-rights, but ultimately the protagonist was simply a girl, who was born with magical powers.

These early entries set off the precedent for Magical Girl as a genre being inherently linked to themes of coming of age; the magic of the young characters often being allegorical for childhood innocence and ultimately being abandoned or given up as a part of their growing up. It’s notable at this point in the genre, very few or no women worked in these spaces; both Sally and Akko are written by men. I wonder how the genre may have been different if it was not the case; could these young girls be allowed to grow up magical if a woman wrote their stories? I feel this is a reoccurring theme in so many future works, so stick a pin in that.

In the contemporary sense, while Magical Witches aren’t quite as frequent as they were in at the start of the genre, there are still several shows that carry on the tradition. Ojamo Doremi, while borrowing several features from later warrior/sentai styled shows like Sailor Moon, has the lead characters as girl witches again. Madoka, though stylistically more a Warrior styled show, also alludes to the history of magical girl as a genre with the naming of it’s initial antagonistic characters being “witches” while the leads are “puella magi” or literally maiden witches, though the way it explores these themes is a conversation for another essay. Lastly, Little Witch Academia is the most recent notable example of the pure Magical Girl Witch. The franchise is like a true homecoming for the genre; I could wax on about how it’s a culmination of everything the genre’s gone through in the last 60 years. From it’s allusions to flashy transformation sequences, to it’s shift in focus to friendships between girls, Little Witch Academia is an absolute treat; it’s main character being named Akko undoubtedly a homage to her ancestor of the same name.

Idol Aspirations

As the genre progressed, women were…allowed into the magazine offices. The genre was reinvigorated in the 70’s, and with these new author came a shift in focus. Stories began to take more elements from Shoujo staples, with more focus given to interpersonal relationships and aspirations of the characters coming into place.

The Magical Idol singer is this weird niche specific thing that sort of came from this period of time, though I think she signifies more than her actual appearances across the genre. Authors for the first time wanted to create stories that reflected the goals of its readers- and at the time that meant Idol culture and aspirations of being a singer or celebrity. While contemporary examples of a by-the-book idol character is a bit rare since values have changed over time, she was the first step in magical powers for Magical Girls no longer being a part of a divine destiny or something to grow out of but instead powers being the means for Girls to achieve their goals. Magical Idol singers also often incorporate the characters noticeably aging up when turning into their alter egos, serving a duel purpose of giving younger viewers a sort of aspirational character to live through while also unfortunately allowing the animators to get away with fan servicey shots of the more mature looking character.

The originator of this subgenre would be Magical Angel Creamy Mami, though Mermaid Melody would be an immediate example I’d personally think of for the Idol type character (with a big old additon of the Princess archetype too), a better example would be the aforementioned Full Moon, in which the sickly Mitsuki transforms into a Magical Idol singer to both live her dreams as a singer and to reunite with her childhood love. I’d also argue that series the Utena and Madoka follow along with this influence; in both cases the characters agree to engage with the magic of their worlds to achieve some kind of goal or dream. Still, I feel there’s lots of potential with this kind of outlook in Magical Girl stuff..!! Perhaps in the future we’ll get more magical girls focused on their careers…

Warrior Princesses

I feel throughout this essay, I’ve been noting how the Warrior and Princess archetype often overlap with the other genres, as well as each other. I believe this is because the ancestor of these two defined archetypes is one and the same, and also the series I believe that actually started magical girl as a genre; that being, Osamu Tezuka’s Princess Knight.

Princess Knight, and bare with me on this, is a story about a Princess born with both a “girl” and a “boy” heart. She forsakes her life as a princess to escape some cruel fate that’s in store for her, and masquerades as a prince by using her “boy” heart. While this is an extremely dated view on gender, it immediately gives us three defining features of magical girl as a genre: First, the Princess archetype, which often holds influence from european fairytales and magical destinies; Second, the Warrior Archetype, in which the lead character must don a more traditionally masculine role of protector against some evil power, and lead a double life; and lastly, the introduction of gender roles as a theme into the genre, and the role of femininity and masculinity in the identities of our characters.

All of these tenets are then repeated in both Sailor Moon and Utena decades later, and it’s arguably these two series that carry it forward to influence future franchises. As the major examples of these archetypes are one and the same, it is difficult to parse the two apart, even though they are quite different.

So I’ll try anyway!

I believe the Magical Warrior is defined as a main character or team of characters who are joined by a destiny to fight against some greater evil, while the Magical Princess is defined as a character who is destined to inherit or reclaim a great power linked to a monarchical structure. Both may have themes linked to western fairytales and fantasy, though often Warrior type characters have a wider breadth of influences while Princesses remain closely linked with ideas of fantasy and fairytale royalty.

While Magical Warrior is definitely the most prolific of the archetypes in modern times, arguably overlapping with nearly every storyline, I think Magical Princesses are fewer. For example, Tokyo Mew Mew is a clear cut Magical Warrior story; they girl’s aren’t born with powers (So not witches), they aren’t doing it for a personal goal (so not Idols) and none of them have some divine destiny (not princesses). However it’s a lot more difficult to find a pure Magical Princess story; in Mermaid Melody, but the story overlaps with both Warrior and Idol archetypes. Princess Tutu might be the best example, as it’s a story of retribution deeply linked with elements from european fantasy.

#magical girl #sailor moon #tokyo mew mew #full moon wo sagashite #revolutionary girl utena #pretty cure #little witch academia #mermaid melody #essay #context #princess tutu #princess knight #ojamo doremi #puella magi madoka magica

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giuliafc · 3 years

Text

Voicemail... Again?

Read it on Ao3 || FFN

Written by: JuliaFC

Beta: Fluffy, KhanOfAllOrcs

Summary: Marinette forgot again to close the call with Adrien's voicemail after calling him to arrange a cinema 'date'. And this time, Adrien gets more than he bargained for. (Wordcount: 951 words)

Disclaimer: This story is based on characters and situations created and owned by (c) Thomas Astruc, TS1 Bouygues, Disney Channel, Zagtoon, Toei Animation. No money is being made and no copyright or trademark infringement is intended.

Written for the "Snippet July" challenge of the Miraculous Fanworks Discord server @miraculousfanworks AND for LadyNoir July @ladynoirjuly Day 11 — Hypocrisy/Voicemail-calls. Let me know what you think!

oOoOoOoOoOo

She had done it. Again! She couldn't believe it! And this time, it was even worse. Much, much worse. So incredibly worse that she couldn't even breathe for how much worse it was.

———- Flashback———-

There was this new 3d anime movie that was going to air the following week at the local cinema. Marinette knew that Adrien was a dork, and how much he loved anime, and this one in particular was one of his favourites. So, Alya had convinced her to invite Adrien to the movie and eventually, after hours of looking at the phone and then throwing it on the chaise, Alya had grabbed Marinette's phone and dialed the number. Marinette wished she could dig a hole and hide when the call went into voicemail.

"Uh, h-hi, it's Ma-marinette. Hi. I… know you like ears. Uh, I mean anime. You don't like ears, that would be silly. Uh, well, yeah, so… theeeeeere's this anime cinema and… maybe… watch it? I m-mean, with me. Uh. Not as a date. N-no… totally as friends. So, let me know. 'Kay. Cya!"

That said, she threw the phone on the chaise and sat down on her desk chair to stop the mad beating of her heart. And, of course, she had again forgotten to hang up. And, of course, Alya said,

"Way to go! You finally asked him out!" She raised both arms in a victory. "Although I must say that, for the one and only Ladybug, I would expect more courage. I mean… 'totally as friends'. Yeah. Right…"

Marinette blushed. "I've been Ladybug, all along, Alya, and that has never prevented me from being a blushing mess in front of him."

"Yes, I know," said Alya with a smirk, "but now you decided to give up all romantic relationships because it would interfere with your role as Guardian. So you—"

Marinette's phone interrupted Alya with a loud beep: "End of the message. Goodbye!"

Marinette's heart sank to the ground, her face blanched, her eyes nearly popped out of her sockets. "WHAAAAAAAAAAAT?" She grabbed her phone and saw Adrien's picture fade away.

"Uh oh…" whispered Alya. "Don't tell me you forgot again…"

———- End of Flashback———-

Marinette lost the ability to breathe. She looked at her phone. Then at Alya. Then at her phone again. Then she let out a skin curling scream, as she grabbed Alya by the shoulders and shook her. "THIS IS A DISAAAAAAAAAASTER!!! ALYA, YOU CALLED ME LADYBUG! I CONFIRMED IT! YOU SAID THAT I WAS THE GUARDIAN! OH MY GOD! IT DIDN'T EVEN ASK ME TO SAVE IT, IT JUST DID! MY LIFE IS OVER!"

"I thought you had hung up!" said Alya, who also lost all redness from her face, looking quite grey.

Marinette dug the fingertips of both hands into her cheeks. "He can't listen to that message! This time, he REALLY can't!"

That was how they ended up once again stealing Adrien's phone. And this time, Rena Rouge helped Marinette with one of her Illusions. They snatched the phone, and after quite a few hours of attempts, they managed to work out Adrien's new locking pattern, and went into the voicemail to delete the message.

When the voicemail said, 'Message deleted', finally Marinette breathed.

But she shouldn't have. She should've noticed that the message was stored in Adrien's read inbox. Because in his room, sitting in his desk chair, elbow pinned on his desk, chin resting on the heel of his hand, was Adrien. Eyes-wide and super pale. Holding his home phone receiver (which he had just used to check his stolen phone's voicemail) in his other hand.

"Marinette is Ladybug?" he whispered as he recovered his ability to breathe. "And Alya knows?"

Plagg looked sheepishly at his holder, noticing how hurt he was by his partner's behaviour. Honestly, Pigtails? Stealing his phone? That was low… and telling her identity to someone else before a reveal with his holder? That was even lower. Plagg felt a rush of disappointment shooting through his little body and, before Adrien asked anything or even dared look at him, he fled inside his cheese cabinet.

He wasn't paid enough for this. Nope. He wasn't going to help Pigtails out of this mess. For once, she would need to face his gamin and tell him the truth. Because he didn't deserve this hypocrisy. But he couldn't finish his reasoning because, from outside the cabinet, Adrien said it loud and clear, "Plagg, claws out!"

oOoOoOoOoOo

When Ladybug landed atop the Eiffel Tower, she expected to see Chat Noir smile and greet his Lady warmly. Not tonight. Tonight, he didn't even look at her until she sat next to him.

"Who else knows?" he asked abruptly, his gaze lost, admiring the lights of the city flickering beneath them.

Ladybug's brows furrowed. "Knows what?"

"Your identity, Marinette." The way he emphasised her name left no doubt about the kind of black humour he was in. "Besides Alya, who else knows?"

Ladybug uttered a shocked gasp. "Wh-wha…? How?"

Instead of answering, he showed her his hand, palm facing up. "Can I have my phone back, please? Since you already deleted your message. Is that what happened when we faced Copycat? You made a mistake and had to steal my phone to rectify it?"

Ladybug's eyes widened, her complexion paled. "A-adrien?"

Chat Noir's gaze didn't soften. He just stared, his green eyes looking uncomfortably serious to Ladybug. "Don't change the subject, M'lady. Stop being a hypocrite and be honest with me. Tell me the truth. I think I deserve to know."

And as Ladybug lowered her gaze and blushed, she knew it was true. She cleared her throat and finally let it all out.

---------------------------------

Author's Note

There you go. Day 11 a bit earlier than usual but… this was easy. I had this thought in my mind since the day I watched Copycat: how could Adrien not have called his voicemail from his house phone to hear the message when he 'lost his phone', since it's not hard at all to do? So when I got the prompt with hypocrisy written next to voicemail… I just let my brain go loose!

I hope you liked this little story and will decide to reblog with tags and/or comments, or leave me a comment on Ao3 or FFN. You know that comments are my bread and butter and I love to read your feedback!

Until (hopefully) tomorrow, bug out!

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koreaweeb · 3 years

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Marionette - Five of Spades (1)

TW: SWEARING, VIOLENCE, SEXUAL VIOLENCE, SEXUAL CONTENT

Chuya Kurenai - Day 4 of Sojourn

Toei Sendagaya Apartment.

In the days of the real world, this was just an apartment complex among many others in Japan. In Borderland, however, this particular apartment complex was looking especially ominous.

Walking up the steps felt extremely heavy.

Stepping into the venue, Arisu Ryohei and Karube Daikichi looked at each other. There were quite a lot of people gathered already. They had only experienced one game so far, and without further knowledge of what the games were, they had no idea whether these people would be useful to them.

“Excuse me~”

A soft sweet voice came from behind, and Arisu and Karube both stepped to one side. Still in her red cocktail dress and her six-inch heels, Chuya Kurenai nodded a thanks as she walked past them, sweeping her long black hair over her shoulders.

All eyes were on her.

Was this woman for real?

Was she a newcomer? She certainly looked like one.

Ding dong~

This was not the time for them to care about someone else. With registration closed, the game was about to begin.

“All you good children, it’s now 6 o’clock. Due to the frequent appearance of murderers, please be careful on your way home. It is now time for the game. The game you will be participating in is Tag. Entry limit, none. Inventory, none. Difficulty level, Five of Spades.”

It was easy to tell the newcomers from those with experience.

As soon as the game was announced, a handful had a confused look. They were basically advertising that they had no idea what they were doing. A girl with short hair reached into her bag, pulling out a set of clothes and changed into them right there. She had the right idea.

Kurenai took her heels off too, holding them in one hand.

A small gesture, but someone took notice. Isolated from the group with earphones in, the guy in the hoodie smiled. She looked like a newcomer but really, the woman in the red dress was experienced. She knew what to expect just from the game introduction alone.

“And finally, the rules will be explained. Everyone in this complex will be running from ‘it’. There is only one ‘game clear’ condition. In this complex, there is only one unlocked room. That is the safe zone. The time limit is 30 minutes. If you touch the safe zone within 30 minutes, you will successfully clear the game. There are two ‘game over’ conditions. The time limit is reached, or ‘it’ kills all participants. In the case of reaching the time limit, this complex will explode. Once ‘game over’ occurs, there will be no survivors.”

GAME START

Given five minutes before ‘it’ began hunting, the players were quick to scatter.

The blonde in the hoodie was calm, however. He unplugged his charger, and while everyone seemed to be panicking, he casually walked up to the elevator. Just as the door was about to close, a pair of heels stopped the doors and Kurenai stepped into the elevator with him.

She reached for the number 7 button at the same time as the blonde.

They looked at each other for a second before Kurenai pressed the button. They did not talk, but from her experience, Kurenai could tell that this guy was reliable. Well, more reliable than anyone else in this game. Still, she would not trust him with her life. That was her own responsibility.

Arriving at the top floor, they stepped out together and walked to the far corner.

Not too long after, a big man and a skinny man appeared on the top floor too. The blonde gave them a little wave but they were quick to dismiss him, going the other way.

“Ex-boyfriend?” Kurenai asked, her tone of voice obviously teasing.

He smiled. It was rare to find someone as nonchalant as he was about the games in Borderland. Newcomers were always in a state of panic and confusion, while those who survived a few games tend to be calmer but they could never help but show fear when actually in a game.

“Were you on a date when you came here?” he asked.

Looking down at her dress, Kurenai shrugged. “I guess,” she said. “I should probably change out of it. It’s starting to smell a little.”

“And the shoes?”

Surely the heels were not practical for any games, yet she kept them.

“These are Louboutins.” She showed him the red soles. “I’m not about to throw them away.”

“Why did you follow me up here? Are you looking to partner up?”

“Isn’t it basic knowledge?” she hummed, tilting her head slightly to the side. “In a game of hunt like this, the one on higher grounds has the advantage. Isn’t that why you came up here?”

Well that was surprising.

Never judge a book by its cover, and this woman was definitely the opposite of her looks. She was smart, and she was calculative. She certainly would be useful in games, but unfortunately, he did not like to partner up.

Five minutes went by and suddenly, everyone was on high alert. Everyone but Kurenai who was humming a tune softly. He did not know the words, but Chishiya knew the tune as the hide and seek song Korean children would sing when they played the game. This woman was twisted, and he loved it. This game was suddenly a lot more interesting.

The apartment complex was eerily quiet, and it seemed as if everyone was holding their breaths so as not to be caught. So far, no one had seen ‘it’ and there was no indication of where ‘it’ would come from.

RATATATATATA

What sounded like gunshots echoed around the complex.

Then, came the screaming and the sound of footsteps running down the stairs.

Kurenai shook her head and let out a sigh. If ‘it’ were hunting them with a gun, it was pretty much suicide running down the stairs. Once they reached the ground floor, there was nowhere else but the hallway to run to. And once they were in the hallway, they would be trapped. It would be like shooting fish in a barrel.

#marionette ch 4 #chishiya #chishiya shuntaro #chishiya x oc #aib #alice in borderland #imawa no kuni no arisu #imawa no kuni no alice #the babies have met #i repeat the babies have met

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muthaz-rapapa · 3 years

Text

Let’s talk TroPreCure! (^∀^ 🌺)

i’m so stupidly proud of this dumb pun “tropurikyua~”, hahahahaha

Last post of the year and wow is there are lot to be excited for!

I even had to make a list for the stuff I want to talk about and I’m sure I already forgot one or two things but we’ll get to them as we continue to float~ along the wave to February 28th, mmkay? :)

Now for what has peaked my interest so far. And yes, we have to talk about the following first:

1) HealPre the shortest Precure season??

Unless they plan for double features in February (which I doubt but you never know), HealPre is likely going to reach only 45 episodes long instead of the usual 48~50 before TroPre I’m using this shortening of the title for now so if there’s a better alternative, tell me and I’ll switch out begins its broadcast.

Understandable because the producers probably want to get back to their normal scheduling as soon as possible (toy sales, y’know) and I suspect pushing the start of the new season back by a month is the most they’re willing to compromise.

As for me, I’m quite happy about this since HealPre’s lost its hold on my attention a while ago so the sooner TroPre gets here, the better. Though the downside might be a scrambled climax and a rushed, underwhelming ending for HealPre (I dunno if it’s January’s titles that feel a bit messy or if the hiatus is still throwing me off) but whatever. We’ll refresh ourselves with the new blood Cures so it’s all good.

2) Tropical movie announced for Autumn 2021, no All Stars??

(source)

First saw this mentioned on Youtube somewhere but it’s all over the fandom forums by now. I mean, HealPre’s movie is set for March, the usual time slot for All Stars release. If Toei intended for there to be an All Stars in 2021, there’s no way they would announce the seasonal movie before it so speculations of them skipping it this year are probably true.

To squeeze it somewhere between March and October-ish would force them to readjust their budgets as well and I don’t think even Toei wants to go through that extra hassle after all the trouble the pandemic’s caused for everyone already. It’s just easier to resume All Stars in 2022.

That, and I think Laura being a major character in TroPre despite not having a Cure title (yet) would make for an awkward situation when the three latest teams gather so perhaps that’s also one of the reasons. But I’ll get back to Laura in a bit.

3) Cure Summer is a RAINBOW Cure

So god help me if I see anyone calling her a Pink Cure.

Yes, she’s the lead Cure for this season. NO, she is not a Pink Cure.

Look, even the official website has a rainbow overlay for her profile pic and text font while everyone else’s respective theme colors are a solid hue:

Therefore, RAINBOW.

In promotional material and merchandising, they’re probably going to advertise her primarily with pink bah and at worst, she might occasionally be labeled as a White Cure with multiple subcolors (her outfit is not pink-dominant) but definitely NOT. PINK.

...also, this goes without saying but f***yea, we finally got a lead Cure practically and unabashedly wearing the LGBTQ flag and you cannot tell me otherwise, Toei!

Own up to it! Declare Manatsu/Cure Summer as the Precure queer icon!

I’m not gonna stop yellin’ until you do! 😠

4) Laura = obvious midseason Cure is obvious

First of all, Laura is a babe. I already love her the best and she’s not even Precure yet. <3

Anyways, the set-up is pretty much in the description. Important main character who’s not a mascot, stated to have a self-confident personality and just speaks her mind (oooh, I like~ :D), magical/foreign being from another world looking for Precure to save her home, possesses her own special item(s), has aspirations to become the next Queen (so she’s a princess-candidate or something to that effect, I suppose).

We’ve seen various combinations of these traits in past midseason (and a few starter) Cures so nobody should be surprised when we all guessed that one of the Cures would be a real live mermaid.

The only question is why not just make Laura a Cure from the get-go if she’s introduced to us at the beginning (like Hime or Lala) and having a team of five with no unnecessary extra add-ons later on (like Smile).

Well, there’s a simple answer for that: formula.

Toei is afraid that if they don’t spit out some new animation sequence at the halfway and third quarter points of the show, the kids will lose interest and abandon the series altogether. Which means failed toy sales. Oh nooo... [/sarcasm]

...Yea.

And this way they can also have Laura available in the Cure lineup for the next All Stars in 2022 instead of making her sit the fight out if we were going to have one in 2021. I’m convinced that’s gotta be one of the reasons. *shrug*

But ok, whatever. Her debut is gonna be later, that’s all. She’s a delayed Cure. Midseason Cure, same difference.

Moving along to the more important stuff now like what’s her Cure name gonna be, y/y?

Well, knowing Toei, a translation of the term “mermaid” into another language is the most predictable route even though we already have a Cure Mermaid. Not like that ever stopped them from repeating words before (ex. Cure Happy vs Cure Felice). Though if they do go down that road, I hope they opt for the Spanish/Italian “sirena” and not the French “sirène” because the latter sounds too close to how Cure Selene is pronounced in Japanese. And, putting it nicely, we all know Japanese pronunciation of foreign words is as off kilter as can be.

Hell, even the the Portuguese “sereia” sounds aesthetic as hell so it’d be nice if they can just remember there are other languages that exist out there besides Japanese, English and French when making the final decision at the writing table! *stomps foot* >:/

Alternatively, “nereid” or “naiad” are good choices too but they remind me too much of Greek myths and Laura’s from the Grand Ocean which covers more than just a couple of seas (Greece is surrounded by three, btw) so...

I dunno. But whatever it’s gonna be, she’s definitely got a strong association with water and her powers will probably be based on that.

As for theme color, since there’s noticeably no blue or green Cure in the starter lineup, it’s likely she will take up that spot when she debuts around ep 20.

Pink is also open since Cure Summer, again, is technically not a Pink Cure and Laura’s hair and tail fin are hot and light pink respectively but looking at Laura’s design and concept, does anyone seriously believe that?

Her upper torso consists of aquamarine while the body of her tail is definitely some shade of cyan, implying they’re aiming for somewhere around the middle of green and blue on the lighter spectrum.

And yea, I’m aware that green and blue are considered exchangeable in some perspectives with how close some of their shades are to each other but officially, I think Laura’s gonna be grouped with the Green Cures.

Cuz of the hair. If Laura’s gonna keep it the same or a similar shade after transforming, that is. The Blues have always had cool-colored hair so putting Laura in with them might disrupt that harmony whereas if you put her with the few Greens there are (including Parfait), she’d fit right in.

I mean, we’ll see but that makes the most sense, doesn’t it?

On another note, I just want to say that I love how they added frills to her arms instead of letting her elbows go bare naked. It definitely makes her look more like a genuine mermaid than if she didn’t have them (remember, half fish doesn’t mean half the body :P).

5) Magical Items

Frankly, I’m tired of seeing the transformation device being a compact again even though one of the main motifs is make-up this season. But at least, as far as Precure compacts goes, the Tropical one is my favorite cuz of how cute and delightfully colorful its toy version looks! So I guess I’m okay with it.

The Heart Rouge Rod, though? ...I dunno. I think it would’ve been fine without that...straw (?) jutting out at the top. It looks weird, doesn’t it look weird? :S

As for the collectible clip-ons, I can live without those for the rest of my life. Yeesh.

Laura’s items, the Aqua Pot and the Ocean Prism Mirror.

Again with the portable, travel-size housing. *sigh* 😩

Alright, I can let this year slide cuz Laura (I’m so soft for her, omg) probably won’t be getting legs for 20 weeks so she’s got to move about on land somehow. But unless they’re really thinking about turning this idea of carrying your apartment around in your bag/pocket/purse into a reality (cuz that would be effin’ awesome), please be more creative with your toys.

On the other hand, I’m much more interested in the Ocean Prism Mirror but from what Kusyami (the Precure merchandise reviews I follow on Youtube) said in his latest vid, this is the ED dance item so don’t know if it’ll actually have an relevance to the story or not. But I did hear him mention it having something to do with the Queen as well and since Laura wishes to become Queen, maybe it’ll be important after all? Maybe it’s her transformation device?

That’d be super cool. Let’s continue the trend of the midseason Cure having a different transformation item than the starters. Honestly, we should alternate every other year or two but we’ve gone three seasons with all of them using the same henshin gimmicks up till HealPre and I just want a break from that.

6) Fin sleeves??

These look so impractical for combat so maybe it’s exclusive to group attacks.

And/or a sort of precursor to the super forms?

*GASP* Does that mean they all eventually turn into mermaids? 🤩

7) Yui finally became Precure!! 😭

lol, it’s all crack from this point on so don’t take it too seriously but man, after Yuni’s deceptive braids, I thought I wasn’t gonna see anything that reminded me of Yui for a while and lo behold, Sango.

kehehehehehe xD;

Though Yui might be closer to Minori in terms of personal interests (fairytales and storybooks).

8) Akira, the actual Onee-chan version

I didn’t think this when I first saw her but once I read “Onee-san” in her profile, there’s no saving you now. Sorry, Asuka. 😅

Also, damn, do her sandals make her feet look big! Compare them to the heels she wears as Flamingo. Are they even the same?! lololol

9) ...this sounds awfully familiar...

Translation:

Tokimeku Tokonatsu! [Exciting/Thrilling Everlasting Summer!] Cure Summer! Kirameku Hoseki! [Sparkling Jewel!] Cure Coral! Hirameku Fuurutsu! [Flashing Fruit!] Cure Papaya!

Japanese reiteration:

Mallow/Mao: Pink no tokimeki! Lillie: Blue no kirameki! Lana/Suiren: Yellow no kagayaki!

….........

@Toei

Care to explain yourselves, punks?!

୧(ʘ ∀ ʘ ╬)

#it is 1:30 AM and im hungry and still have to do work on new year's eve so i'll come back to amuse-rage later #tropical rouge! precure #precure 2021 #cure summer #cure coral #cure papaya #cure flamingo #laura la mer

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dreamerwriternstargazer · 4 years

Text

In Defence of Team Purple Lion

Voltron: Legendary Defender and its final season remains as one of the most poorly received children’s shows in the past decade. The show was a reboot from DreamWorks of the popular Voltron franchise owned by WEP LLC (World Event Productions) who were responsible for the first version of the show Voltron: Defender Of The Universe (1984), an adaptation of the anime show GoLion by Toei Animation. It initially started strong when released in 2016, with a premise that of a typical mech-centric kids’ show; 5 pilots of 5 robot lions coming together to form one big robot (Voltron) to fight against a big bad alien villain in space, however despite the formulaic appearance it proved to be a captivating watch with detailed and beautiful animation as well as surprisingly deep subject matter. The themes and messages of the show touched on darker topics such as racism and genocide with the backdrop of a complex portayal of war while still balancing it with the light-hearted and goofy dynamics of the diverse main characters, played by a diverse cast. Produced by Lauren Montgomery and Joaquim Dos Santos, both of whom had worked on the acclaimed Avatar: The Last Airbender and Legend Of Korra, the story set up promised an equally deep and intricate story for VLD as had been the case for ATLA and LoK, as a result the show attracted a large and varied fan base beyond just children, many fans adults eager to see how the story and darker themes would be resolved as well as how the minority representations would be treated.

The final season released on Dec 14th 2018 came as a great shock to fans, not only were they intensely dissatisfied with the ending, virtually no one from any area or sub fandom was happy with the season as a whole and at the time of this article’s writing it has lower than a 6% rating on Rotten Tomatoes. The show and its producers faced massive criticism over insensitive representations of minorities, an unsympathetic and condemning end for an abuse victim despite redemption for their abusers and a disempowering arc for the main woman of colour character in which she was sidelined and dismissed by her male counterparts up until her sacrifice. The core themes and messages of love, forgiveness and acceptance regardless of race were completely subverted, instead conveying to an impressionable Y-7 and above audience the opposite; heritage and race define a person rather than their own actions. As well as fans, many parents of kids who watched the show expressed unhappiness with the final season due to the toxic and regressive messages it sent. Soon after the season dropped a petition emerged to “free the original season 8 of Voltron” due to the belief that the final season was in fact an edited product of what the creators originally planned. This belief was sparked by visual inconsistencies in the season itself, the audio description not lining up with the action on screen (now fixed), one character not being played by her voice actor but her voice actually another character’s with the pitch turned up as well as comments from the cast and animators, now deleted. The strongest claims of edits were made by Tumblr user Leaking Hate in her initial meta Chasing The Ghosts Of Season 8 and the follow up, a more detailed breakdown, Seek Truth In Darkness in which she presented an alternative story that had been edited and cut down for reasons then unknown, with narrative and visual evidence from the season itself to support her argument. She and a few other fans officially came together in February 2019 to form Team Purple Lion, a team of analysts dedicated to finding the truth behind the disaster of the final season. However, since the fandom had had a poor history of harassing the show’s creators over ships (romantic relationships between characters) most attributed the poor story and resolve to an attempt to keep things neutral romantically between characters in a poor bid to please everyone. As a result the petition and campaign were merely linked to lack of shipping satisfaction for the fandom and dismissed as more toxic fandom behaviour that had been displayed previously by many fans.

Petitions and campaigns like these are not uncommon after a show or film’s ending, similar situations might be the HIMYM backlash in which fans were so unhappy with the ending of the show that there was a petition for an alternative ending, as well as the petition to Warner Bros regarding the Snyder Cut of Justice League. Both of these have actually succeeded with the Snyder cut of Justice League set to release in 2021 and the HIMYM DVD box sets containing the alternative ending, however what makes the Free VLD s8 campaign now led by Team Purple Lion unique is its claim that there’s an original finished product that the creators intended for release but was edited after completion to produce the poor final season that was released on Netflix. Often corporate meddling in creative works is common but it has not been documented before as a post production occurrence changing the finished work, it’s always taken place pre-production as was the case with Disney and Colin Trevorrow’s original script for ep. IX or during production, in the case of Justice League and Zak Snyder.

Since the start of the campaign in Dec 2018 there’s been continuous investigation and action taken by TPL to provide proof for their claims and the movement has evolved into a fight for creators’ rights, still active now a year and a half on. Their investigation early on resulted in discovering the IP holder (those who own the trademark) WEP as the ones with control over the show and therefore responsible for the released edited season 8. They’ve since defended DreamWorks and the showrunners from criticism in favour of requesting WEP and specifically President Robert Koplar, self proclaimed “steward of the property” for the original season 8 by the showrunners that was not released. There’s also been strong advocation from TPL to keep the protest against WEP’s interference with the creative team’s work peaceful to avoid dismissal and belittlement due to prior instances of the VLD fandom’s toxic behaviour that often included harassment of showrunners and toxic fan behaviour ranging from abusive remarks online to death threats, after the final season rumours were flying and the EPs faced abuse from upset fans so there was an active effort to stay civil on TPL’s part.

TPL and the #FreeVLDS8 movement has continuously faced criticism and backlash since its start regardless, the response from fellow fans ranging from supportive to downright disbelief and even the showrunners stating publicly [March 28th 2019 Let’s Voltron podcast] that there’s no “alternate cut of Voltron” branding the idea as a “conspiracy theory”. Claims of harassment have been attributed to TPL and the legitimacy of their allegations questioned, one fan questioning the possibility of the edits’ execution as well as others categorizing them as fans creating a theory based on shipping fulfillment. The controversy and consistent campaign a year and a half on interested me greatly, therefore after being led back to the movement by the very comments discrediting them I approached Team Purple Lion for comment on the aforementioned claims as well as conducting my own research and investigation into them. 3 members of the team, Crystal Rebellion, Dragon Of Yang and Leaking Hate spoke to me openly about their campaign and my own research produced some interesting results as well.

The basis of their argument is set on the show’s final season being an edited product, when I asked about what pushed her to this conclusion and writing her initial meta Leaking Hate explained that a mutual friend of Crystal and her’s drew their attention to it through the story saying:

“It’s interesting, nearly ALL of the episodes had a moment or two in them where Lotor [male villain] COULD have reappeared, and didn’t. Do you think he was written in to be the savior all along, and it was the higher ups that said no, good boy Lance [one of the main characters]? It seems like, given the narrative, and even given this season, it should have been Lotura [Lotor and Allura ship name], and all that wasn’t just feels… off. And not as a Lotura stan, I mean in general.”

“And YES I had. There was a narrative gap where Lotor should have fit, but for some reason wasn’t.” Hate said, “The initial conclusion we jumped to was that Lotor had been removed in the writing stage.”

It wasn’t until another friend mentioned a key scene out of place in the story and she went back to view it that she started to suspect the season had been changed from its original state. The scene in question was one in which Lotor says “Follow me!” at the end of Allura’s dream sequence in s8 ep8 Clear Day, despite his death being established before and after this point in the story. “There was no reason for that Follow Me shot to be there,” Hate explained, “unless the action of the viewer following Lotor had been removed.” Having studied a Fine Art degree and therefore well versed in animation and visual art she was able to recognise scenes that had been edited unusually throughout the season once she actively searched for other visual evidence. The Follow Me scene as well as others she found are displayed in her Ghosts meta, all indicating a different story from the one told in the show, along with the evidence Leaking Hate presented some initial ideas on what the story was (a redemption arc for Lotor and several sub arcs for the main characters that resolved their stories and previously set up story beats).

[Image Description: A close up of Prince Lotor’s face from season 8 on Netflix, staring directly out of the picture at the viewer. There are subtitles showing his speech at the bottom of the image, saying “Follow me!” End ID]

After Team Purple Lion’s formation Leaking Hate went on to publish a part two to her initial Ghosts meta, a 21k word meta entitled Seek Truth In Darkness which contained all visual evidence of edits found in the season as well as an extrapolation of the initial story indicated by said edits. The original story appeared to resolve unfinished narratives and arcs that the released s8 dismissed and the treatment of the representations in the show better, from respect towards minorities to an empowering arc for Allura, the main female character. Despite the original season having a more positive story, negative feedback from fans has been more common than positive. When I questioned the team members on it Leaking Hate mentioned “most people who believe we’re wrong tend to think we’re wrong in our premise” Dragon of Yang confirming that “it’s usually the premise of “VLD was edited after completion” that people disagree with”. However the screenshots they present as visual evidence hint at some truth in their argument, the first screen cap shown below indicative of some poor edits made to the animation since 3 characters are essentially cropped out of the picture.

Likewise this screen cap shows a split screen visually unbalanced with 2 characters at the bottom partially cropped out as well as the character on the left side with a much larger screen space than the other characters.

[Image description: A split screen from season 8 on Netflix, featuring from left to right: top left Shiro, below him is Keith in a larger section and Allura in a small triangular section below and to the right of Keith’s section. In the middle is a section showing Honerva’s mech stabbing the Voltron-Atlas mech with purple lightning shooting out. On the top right is Hunk, below him is Pidge, and below her the top half of Lance’s face. End ID]

Seasons prior to the final had always had visually balanced split screens with each character centred in their frames appropriately, indicating these and other s8 shots like them as an anomaly.

Hate reconstructed both screencaps based on what she believed they were originally:

[Image description: A split-screen from season 8 on Netflix, featuring from left to right: an Altean pilot, Merla, Keith, Hunk’s shoulder, Pidge, the top half of Allura’s face, and the top half of Lance’s face. On the top, right, and bottom of this screencap is dark pink background with the black lines of the split-screen extending to the edges of the colors, marking out where the rest of Hunk, Allura, and Lance should be visible if the view had not been cropped. With the lines extending out, Keith’s portion of the screen is also extended, leaving a completely removed section of the split-screen remaining, which is highlighted purple in this image. End ID]

[Image description: A split-screen from season 8 on Netflix, featuring from left to right: top left Shiro, below him is Keith, below and to the right of Keith is Allura in a small triangle section, the bottom of her face slightly cut off. In the middle is a section showing Honerva’s mech stabbing the Voltron-Atlas mech with purple lightning shooting out. On the top right is Hunk, below him is Pidge, and below her the top half of Lance’s face. On the left, right and bottom of the screencap is a dark pink background with the black lines of the split-screen extending to the edge of the colours, marking out where the rest of Lance and Allura should be visible if the view had not been cropped. Keith’s portion of the screen is smaller and a small dark pink section to the right separates his portion from the middle. Below him where his portion originally extended to is a section coloured dark purple that extends a little further to the left of Allura’s portion. End ID]

Other noticeable examples include scenes with the female lead Allura where her proportions do not match with any prior drawings of herself indicating that she was another character redrawn, Leaking Hate suggested Lotor as his proportions fit each instance.

[Image description: 2 pictures of Allura in the Blue Lion from a front and centre angle side by side. On the left Allura has her eyes closed and her arms stretched out holding onto the controls, the entire cockpit is glowing blue. On the right Allura’s eyes are open with a determined look on her face, she’s slightly hunched with her arms gripping the controls, the cockpit is coloured normally. End ID]

The image on the left is of Allura from s8 ep13 and the one on the right from the same episode a few minutes later, scaled so the interiors (which are unchanging 3D models) are the same size. She is notably taller in the one on the right with her head reaching above the seat and her frame bigger, with wider shoulders and thighs.

These are just a few out of the many examples of edits made that Leaking Hate presents in her metas along with her reconstruction of the original season based on what each edit indicates. While the reconstruction is to some point subjective, the visual inconsistencies are clear and can be easily checked by watching the show at each point said to be edited.

The timeframe and possibility for the edits’ execution, called into question by a fan on a twitter thread (now deleted) stating “it’s not physically possible to make that many edits in 2 months and with leftover budget”, was also addressed by the team and their work. Leaking Hate clarified that “it wasn’t 2 months” that they took place in, “it was 6. The edits began in mid July”, a fact determined by voice actor Jeremy Shada mentioning in an interview released on July 23rd that he had gone in to record new lines at the time. Hate also said, “It’s less of a question of would they have time than it is, well. They did do it. It was nearly impossible. But the fact that it is done shows that they did.” She went on, “I think people misunderstand when we claim it was ‘edited’. They hear “it was reanimated”, but it wasn’t reanimated. There is NO new animation in the edited s8 at all. As far as I can tell, 99% of the edits are composed of tracing, clever cuts and sleight of hand.” This is backed up by all the visual evidence they present as well as their work, claiming absence of animation (making the story disjointed and incoherent in places) rather than new, additional animation changing it.

Crystal Rebellion added, “One thing that strikes us (I feel pretty confident speaking for everyone in this case) is that Studio Mir [responsible for animating the show] is impeccably flawless with their work. Their previous work before Voltron: Legendary Defender, and even Seasons 1-6 and most of 7 are beautifully animated. Stunning. Season 8... is not. Studio Mir also had a viewing party for VLD: S8 - and they reported that they loved the final product; so the animators saw Season 8 after it was completed. The season, however, that aired, was really shoddy animation, rough transitions, music mistakes, and what appear to be alterations to still images - it isn't their usual quality of work, and moreover, the animators have stated that they don't recognize what aired. Often we've been asked something like 'Maybe they just didn't know what scenes they were animating' or 'Didn't know the intended finished product' but in this case, it is documented that they saw the final season and that it's different from what was aired. The poor workmanship in what we see from S8 - all the edits Hate goes through to find and explain, coupled with Mir's disbelief, is indicative that the animation studio had no idea this happened. That means it 1) Happened post-production and 2) It wasn't the Studio that changed anything. Dos Santos mentions in an interview [March 4th ABTV] that they were cut and pasting mouths and moving frames around - no time, no budget, and no staff left. It was all them, after it had been completed - after Mir had seen the original rendition and loved it, that all this happened. The parallel point to that to further support it is, had this been written in the script from the beginning, we would've seen a flawlessly animated season with a painful storyline. We don't see that.”

Although Mir’s reaction to the season they viewed in October (before its official drop) has since been deleted, one animator’s response to the season 8 that was released on Netflix is still online, comparing the show to a house and stating that “every single brick of the last season is very upsetting” but “everything else is good” (translation can be found here), making it clear he was not pleased with the final product. Joaquim Dos Santos does also mention in the interview Crystal references that changes were made to season 8 after season 7 dropped, stating, “You can probably see it in the animation. If you really pay attention it’s like, it’s literally our editor cutting out mouths and puppeting different dialogue.” It’s documented that the epilogue was added to s8 late after s7 dropped however it does not have any dialogue, this statement paired with Shada’s about “still recording on Voltron” begs the question, what change was made besides the epilogue? Hate shows in her Darkness meta that Shada’s character Lance was used to replace Lotor as well as Allura in key scenes, if Shada was still recording lines (unusual since audio recording is done very early in animation production) then it would have been for these moments.

Not all criticism has been based on the editing premise however; the story they present as the original has garnered negative comments as well since it featured Lotor, a divisive character due to his moral ambiguity and previous condemnation as a killer, and predominantly focused on his redemption as well as relationship with Allura. The narrative makes it clear that Lance, the blue paladin and one of the main characters popular with fans, would not have been the focus as he was in the released season and would have been replaced by Lotor as Allura’s partner. When I brought up the claims of bias in their reconstruction Leaking Hate pondered on it.

“Do I love the story because it is Lotura, or do I love Lotura because the story makes me love it?” she mused, “I think it's all the same. I was able to pick out the original story because of my bias in favour of Lotor, Allura, and Lotura. Had I not been invested in those characters, and that ship, I would have had no reason to look. I am not reconstructing based on wish fulfillment, or what I want to see,” she asserted, “but the story I am finding happens to be a story that I love.” In regards to Lance and her analysis on him she stated bluntly, “I HATE Lance. Were I reconstructing based on wish fulfillment I would have him alone and miserable. But that is not a good story. The real story of OGS8 has Lance coming to love himself and to learn to accept Allura's friendship as equally worthy as her romantic affection. It has him grow into a good man, and it has him become Allura's right hand when he helps her save the man she loves. It is an uplifting and wholesome message for little boys and grown men alike. And I think it is equally important that we save S8 for Lance as it is that we save it for Lotor and Allura.” When I mentioned that some would find her dislike of Lance an argument against her she also added that “they are right to.”

“I would not trust someone claiming to have found the 'real' story if I knew they hated Lotor or Allura.” However she admitted, “I don't hate him all the time. I think, if the Lance we get in OGS8 is the Lance I believe is there, then I will find him tolerable, if irritating.”

While it’s true that Hate is critical of Lance and his character, the reconstructed story she presents in Seek Truth does reflect her words, giving him an empowering and sympathetic arc growing from his previous immature and womanising character into a selfless, respectful friend. The team have also put their efforts into creating and realising the story in their reconstruction of the original s8, Rise and Atone, and so far it has stayed true to what they’ve promised, addressing characters and their arcs, the only deviation made being a romance free conclusion in a bid to stay ship-neutral. Dragon of Yang explained the narrative decisions they made with R&A stating clearly, “If this was wish fulfillment, we would have stopped at one detail or another. Every character’s arc was halted and destroyed beyond reconciliation or catharsis. Every character deserves their story to be done justice, and open-endings give that catharsis VLD originally had while remaining respectful to everyone’s shipping preferences. VLD is a story of hope and growth, to deny that a character has grown since day 1 is to deny that there is a story there to be told, and that in turn denies a person out there - who likely identifies with that character - the feeling of being seen. The best thing we can do as scholars and as activists,” she concluded, “is try to recreate the vision the staff had originally made and do so with care and attention to the work they put into every line.”

As for the harassment claims attributed to Team Purple Lion by both fans and The Voltron Store on twitter, there’s not much to support them, and in fact a great deal to disprove them. The team has maintained a level of professionalism in both their work and in their conduct online, consistently citing sources and providing proof for claims as well as campaigning respectfully. Hate commented, “they seem to be conflating our protest with the general hatred being thrown around in the fandom. We've made a point to emphasize polite but firm protest and advocate reaching out through official channels.” While there is a lot of anger and hate from fans towards the show and the producers, none of it has been from Team Purple Lion. Their protest has continuously avoided and often defended the producers and voice actors, who have been regularly attacked by other fans during the show’s airing and since due to the poor conclusion, all of whom TPL have made clear are under NDAs and cannot comment freely (although it’s worth noting, they stopped actively promoting the show on their social media after the season 8 release). Instead their questioning has focused on WEP, the company who own the Voltron trademark, after discovering through a meta analysis of a VLD episode signs that they were meddling with the creators’ vision of the show and ordered them to change it against the producers’ wishes. While it was only a speculative piece, WEP’s quick reaction to the release of said meta by claiming through their Voltron Store twitter that they “do not have any influence over the creative direction of the show” despite ignoring fans for months after the season release suggests some truth to it. Twitter user Eros compiled all evidence of their involvement since then in a Twitter thread and the majority of it is damning, their denial directly contradicting statements from the voice actors and producers prior to and after s8 that confirmed they were the controlling party and had creative input, as well as the creators’ desire to tell a progressive and empowering story however not being able to because of “other controlling parties” outside of DreamWorks. WEP have also made contradictory statements to fans about the season, saying that “nothing was edited” yet agreeing with a fan that a lot was left out and a director’s cut would sell well, as well as mocking another who left a Facebook review (March 16th 2019) complaining of being hung up on, replying to them that an “imposter” answered their phones:

[Image description: A facebook review of The Voltron Store. Text from the top reads as:

Reviewer (name coloured out) doesn’t recommend The Voltron Store.

Review reads: Terrible customer service. They literally hung up on me mid sentence and it was clearly not a case of a call accidentally being dropped. Extremely disappointed by the lack of professionalism!

The Voltron Store’s reply to the reviewer: if you actually talked to us you would find we are very nice people! And we never hang up on anybody EVER - unless they make outrageous claims like Power Rangers is better than Voltron!

The reviewer’s reply: The Voltron Store I did speak to a woman who identified herself Stephanie briefly, but I will never speak to your company again. Thank you for the response but I don't appreciate being called a liar. Please see the attached screenshot for proof of my abruptly ended call back in January. I desire to have no further communication with your company now, I simply decided finally other people deserved to know my personal experience.

Below is a screenshot showing the reviewer called The Voltron Store’s number.

The Voltron Store replied: We do not have a Stephanie here. That must be the issue: you dealt with an imposter! We would review the security cam footage but it does not go back 2 months. End ID.]

In stark contrast to WEP, Team Purple Lion has responded to criticism and addressed it, as well as reaching out to media outlets to clarify and correct poorly sourced claims, however have been faced with no response. Their questioning of WEP and their requests for the original season 8 on social media have been civil; their replies to the Voltron Store posts on Twitter containing no insults or cruel remarks, the harshest only critiques on the company’s lack of tact promoting a show and its merchandise that many considered offensive and toxic due to the last season. “At no point did we set out as some kind of campaign to “attack WEP” or “demand a new season”,” Crystal Rebellion said. “We were a handful of people looking at what amounted to, to use a metaphor, a puzzle that had technically been assembled but most of the pieces didn’t match up properly. We eventually decided to take the pieces that didn’t line up and look at what the picture was supposed to be. There was no ulterior motive - we just wanted the truth. When we realised the truth and it became obvious early on that Mir had seen the original season, we became convinced there was an unedited s8, perhaps in Mir’s backup drives. People saw it, which means it was a completed product, so it became a campaign to ask for it, it’s what the fandom wants, it’s what is profitable.”

In the face of all the negative response and disbelief, Team Purple Lion have gathered an overwhelming amount of evidence to support their case, not only from the show itself but also corroborating statements from the production team and cast as well as WEP’s conduct in response to the campaign. As a result TPL have gained a great amount of support and followers from the Voltron fandom, and are still gaining more a year and a half later. “I gotta give a shout out to Cosmic Royalty,” Leaking Hate said, “a group of Russian fans who reached out to us asking if they could do translations of our work. We host their translations on our website now and there’s apparently a group 500 strong on the Russian social media site VK that supports the work we do together!” Violet Howler on Tumblr has also been a big supporter as well as new fans, recently revealing themselves in the wake of good news, the fight to get the original season seemingly won as Leaking Hate displayed in her most recent meta. In it Hate outlines evidence for the franchise’s ownership changing hands from WEP to DreamWorks and therefore the release of the original season, based on the recent repromotion of the show through articles, new merchandise from the store and the new store designs that all suggest the release, since there would be no other reason to promote a show that was a PR disaster, so universally hated. Regardless of all the opposition and discredit they have faced, confirmation of the truth of Voltron’s original season 8’s fate is expected this summer before the official art book is made available, in the form of the season’s release itself. Whether the fans will be happy with it is another story, however Leaking Hate emphasised firmly that fan satisfaction was not the point, or at least not entirely. “Nothing is perfect, and nothing will please everyone. Especially a show like VLD, with almost 35 years of legacy and fans behind it. There are people who will not like the original season, there are even some who will prefer the edited one - I’m sure the WEP executives are some of them. But it will be the season it was supposed to be, the one that was a labour of love. There is so much love and care poured into every frame of VLD, this was a story that the people working on it wanted to tell; it was more than just a job to them. It was created with love, and it was with love that we fought for it, and when it comes down to it that’s what VLD’s meta narrative was about: love.”

#articles #fandom #fandom culture #team purple lion #voltron #voltron legendary defender #vld fandom #freevlds8 #dreamworks

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xpearlshippingx · 4 years

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Sora Takenouchi

Ok so I grew up with Adventure series and all the Chosen Childrens hold a place in my heart but one thing that bothers me is Sora Takenouchi. I always felt that most of the fandom misjudge her and one of the main reason for that is the English Dub not doing her character the justice it deserves

Let start with the first Sora focus Episode where Piyomon first evolve("Scorching Heat! Birdramon"). In the English Dub, there was no conflict between Piyomon and Sora whereas, in the Japanese version, she didn't get along even snapping at the clingy Digimon. One statement that stood out to me is when she thought to herself " Can I really get along with a mushy Digimon like her?".

This line and the not getting along with Piyomon is important as it shows that she not used to receive affection/love and foreshadow the event episode 26 ("Shining Wings! Garudamon")

The whole arc where her crest can’t glow was well done too. She was very affected by Picodevimon comment on her crest yet she still cares about the other so much that she follows them around. It shows she cares for the other and capable of love

Some points I like to point out in this Arc. I saw many who downplay this arc as they put it, it clear that the mom is concern about her leg why did she think she didn't love her? In the English Dub "I can't believe a daughter of mine will act this way. My Decision is Final " vs Japanese Version " How can you call yourself my Daughter ?".

The Japanese version is stronger implying she embarrassed of having Sora as a daughter while the English Dub is more of restricting Sora's behavior, imagine a young girl who was told this? add in the pressure of being the daughter of a grand ie-motto family( in the English dub it was a flower shop ) and her father always at work, it not surprising she think that she received no love

Another point, till now she was always portrayed as mature and kind. Ep 26 is when we first saw her outburst. Again the Japanese Sub is Stronger.

She really thought she doesn't care about others, she doesn't see herself as a kind person contrast to what everyone sees about her, she insecure. It the first time we begin to see a different side of her, the depth and complexity of her character is starting to show and another foreshadow to the episode of the dark cave "Piemon: The Clown from Hell"

So all in all, the Japanese did a better development of her character

Another thing I didn't like about the English Dub is how heavy Taiora is portrayed. Now, I have nothing against this Pairing, in fact, Taiorato is one of my favorite relationships in the series. What I hate is that because of this, she becomes just a love interest to many instead of her own character, hating her just because she dumps her best friend who she knows likes her( this is more heavily implies in Dub too). First of all, Sorato is implied in the Japanese version. This post did a great job explaining it

https://jippy-kandi.tumblr.com/post/57207225067/sorato-taiora-digimon-japanese-sub-vs-english-dub

So no she didn't dump her best friend. Even if she did, she not an object and have the freedom to love anyone and do not have the obligation to date just because of her best friend liking her. Besides even if she dating Yamato, it doesn't mean she don't care about Taichi. In the first part of Tri, she calls out for him when she with Yamato. These two are close to her and forever will be regardless of their dating status

To end this post, I'm just gonna say Sora is a kind, selfless and deep character and she deserves all the love. If only Toei would stop shafting her like they did since Adventure 02 and every movie after

*Some Awesome Sora Analysis that explain lot more than I did

https://florencetheflowerfairy.tumblr.com/post/161957831399/when-sora-leaves-the-group

https://florencetheflowerfairy.tumblr.com/post/156836864764/loss-countdown-day-2-best-moment-of-sora-before

https://digijosify.tumblr.com/post/163084736746/what-to-say-about-sora

#sora takenouchi #digimon tri #digimon #digimon adventure #analysis

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jippy-kandi · 4 years

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Digimon Adventure: Last Evolution Kizuna Movie Review

I've seen the film. It was pretty good! Spoilers under the cut.

So, before I watched it, I did read a few bits and pieces of random spoilers. However, I did NOT read the novel – because I wanted to judge the film on its own merits and not be thinking about “what the novel did better”. But I knew things like most characters were sidelined, who the villain was, and how the movie ends. I still have not read the novel.

This is not a “proper” review of the movie -- because what’s the fun in that? You can google actual reviews of the movie by anime websites, if that’s what you’re after. These are just my personal thoughts, impressions and fangirl ramblings (I bias Yamato hard). Plus, a few comments from two others I went to the screening with for a different perspective.

It was like nerd city at the movie theatre, LOL. So. Many. Nerds. Some people even brought Digimon plush toys to the screening! I’ve never witnessed that before. It was great though, being surrounded by so many Digimon fans. I think the cinema was more than half full -- and this was an 800-seat cinema! 400+ Digimon fans? Whoa! I actually thought like only 20 people would show up, LOL.

I tried to put the following thoughts in “order” but some of it isn’t due to the nature of what they’re about . . . plus, I couldn’t 100% remember what order the scenes were in.

Screen time distribution (most to least): Taichi/Yamato, Koushirou, the 02 kids (roughly: Takeru, Hikari, Daisuke, Miyako, Ken, Iori), Mimi, Jou, a hamburger, a whistle, a beer, Sora. (Sora got shafted hard.)

Taichi was exactly just Taichi, which is 1000x better than tri. Taichi. He really did seem like a 22-year-old version of Adventure Taichi, beer-drinking and porn-watching and all. Thank you, Toei. Please don’t fuck him up in the reboot. (Although maybe that’s the idea?)

Yamato is the coolest motherfucker on a motorcycle. He looked SO DAMN GOOD in this movie. There were even a few gratuitous shots of his arse for no apparent reason, LOL. Or maybe that’s just me thinking, whenever he’s bending over or his back’s to us, “That’s a nice arse.” XD (HE IS THE ONLY 2D CHARACTER I THIRST FOR, I PROMISE. I’m actually engaged to Jungkook of BTS.)

Koushirou was the same old Koushirou we all know and love, doing smart stuff and generally being useful. He has no pointed interest in clothes or girls (Koumi began and died in tri., you guys). When it was shown that he was a company president, some people in the audience laughed, lol.

Takeru was pretty bland. I guess tri. Takeru will always be the definitive Takeru to me. This Takeru definitely evolved straight from 02 Takeru (who was also bland AF). But he was fine? I miss overly confident, charming Takeru. Also, where was your crush on your big bro??? lol

Hikari . . . was also fine? I don’t have much to say about her. I like tri. Hikari better (because she was cute? *shallow*). This Hikari was just serviceable. I think because everyone really is just playing second fiddle to Taichi and Yamato, they didn’t really add charms to the other characters. They just . . . serve the plot. And it seemed, at the beginning of the movie, that Takeru and Hikari were going to be in it a lot -- but they have most of their scenes in the first third-ish of the movie before disappearing until the end.

Daisuke was also exactly the same. But I’ve never been a fan of him, nor do I hate him (though he did get on my nerves in 02 sometimes . . .). I just don’t care about him, or any of the 02 kids, personally. :P

I don’t think Ken had a personality in this movie, LOL. He was fine, though. Serviceable. I’m sorry I lack opinions here, but there really wasn’t much to go on. He has no Kaiser issues or anything, he just seems like a normal, well-adjusted kid . . . with no personality, lol.

Iori didn’t have a personality either -- but everyone has always known that. Ha! XP He is just an extra reading lines. I found it odd that he seems so short though? I kept thinking he was still a 9-year-old because of the height difference between him and the others . . . I think Toei forgot that HE IS 17 AND THUS SHOULD BE VERY CLOSE TO FULL ADULT HEIGHT. Puberty is amazing, Toei! (Yeah, he can just be a really short person, I know. I wouldn’t have made that design choice, though. Especially when he’s short compared to Daisuke . . . who is short compared to Yamato . . . and Iori really is a midget.)

Miyako . . . it’s probably due to her voice actress, but she was SO LOUD. And I found her annoying because of it. In fact, she was the only annoying character in the movie to me. Loud people can be charming . . . but I didn’t find her charming. Sorry, Miyako fans. =\

Mimi has an e-commerce startup at 21, lol. OK, you go girl. She was definitely shafted, but she was in it a bit more than Jou I think, and definitely more than poor Sora. Probably a few minutes? Yeah, not a lot, especially compared to Taichi and Yamato. In one of her (four?) scenes, she loses consciousness and ends up in the hospital -- and Taichi, Koushirou and Jou are in her hospital room when Yamato bursts in and goes, “Jou!” You know, instead of acknowledging Mimi, THE COMATOSE FRIEND IN THE HOSPITAL BED. I just found it funny that’s how they chose to frame that scene. :P

Jou only had a few lines, but he was still in it more than Sora. But he is really just a doctor here. He could’ve been an extra hired for a doctor role and I wouldn’t be able to tell the difference, lol. Oh, Toei, please give all the characters almost-equal screen time in the reboot? Please???

Sora had like four lines and thirty seconds of screen time, TOTAL. I think the decision to hold her back from THE ENTIRE PLOT was SOLELY to have the scene where she reacts to Taichi blowing the whistle, so you know that the sound is going out of Neverland and reaching the real world (or whatever dramatic effect they were going for). I really think that’s it. That, or her voice actress did something terrible to Toei and they’re punishing her. :P

The movie basically opens up with Parrotmon attacking. Takeru was the first to be shown, then Hikari, then Taichi. Taichi is wearing those special goggles Koushirou made for him and he looked goofy AF lol. At one point, Greymon tackles Parrotmon into a building where you see some people inside running away from the rubble. My sister said (without knowing anything about tri.): “Does Tai not care that his digimon definitely just killed some people in that building?” I chuckled because . . . well. ;)

Yamato enters the scene COOL AS FUCK on his motorcycle (most of his entrance is shown in a clip that Toei released) and thank you Toei for doing that for him. He deserves a showy entrance. :) Although I do find it funny that he’s obsessed with motorcycles, given I still remember giggling as a kid at him NOT liking riding on the back of some guy’s scooter in Digimon: The Movie.

The music was nice and nostalgic and I have no complaints.

There is a quick scene of Yamato seeing a kid in a music store getting a harmonica, and watching a street performer singing. Obviously he’s thinking about his passion for music as a kid/teen (and his childhood in general?) and it was a nice touch. I think by the end of the movie you would’ve understood that Yamato was letting go of his past (childhood) and heading towards the future (adulthood).

A friend of Yamato’s makes a comment to him that Japan’s Self-Defense Forces are going to recruit him into the military due to his experience as a Chosen Child. Yamato replies, “that’s the dumbest thing I’ve ever heard”. BUT . . . this is Kizuna telling you EXACTLY what is going to happen, lol. I actually “predicted” Yamato’s career path years ago -- but it wasn’t hard, as there is really only two ways it could’ve gone, lol. Military test pilot or commercial air pilot -- which one, especially given the context Kizuna just gave us, is more likely? ;)

Yamato is shown wearing GLASSES in class (looking nerd-hot AF). Toei Animation must not have researched Yamato’s astronaut career as intensively as I did, and therefore did not know that astronauts need 20/20 vision lol. Oh well, he can get it corrected. :p (Or, he doesn’t actually need glasses but WEARS THEM AS A FASHION STATEMENT. Because I can believe that. XD)

I think Yamato had about three different outfits in the movie? And he looked good in all of them. Are there people out there who think he’s not fashionable? I'd find that opinion strange, given the fact that the staff behind 02 and tri. were actively designing him as the well-dressed cool guy of the group. He wears exactly the kind of clothes the well-dressed cool guys at my high school/university wore. Sure, sometimes they force green tops on him purely for nostalgic reasons and it therefore clashes -- there is only so much you can do with a green top -- but overall, he is supposed to come across as someone who cares about his appearance. If you don’t think so, you’re either not into fashion or you aren’t aware of 2005-2010 fashion as a teen/young adult. (If Yamato was a millionaire, I’m sure he’d dress identical to BTS with super expensive clothes lol. But he dresses very well for a “normal” person. :p)

Taichi was shown with two of his friends who were asking him about his aspirations or something, and the guy looked like an unattractive nerd. My sister said: “I didn’t like how they showed Tai with sloppy friends, but showed Matt with good-looking people.” LOL. Her favourite as a kid was Taichi, BTW. XD;

Menoa and Imura were . . . OK characters. Menoa seemed likeable enough at first, but when her real intentions were revealed she turned into a typical, crazy, possessed villain. Imura was really just there to service the plot, like a necessary extra on set. There was nothing more to him.

Menoa’s English is terrible. And it’s very noticeable because she inserts random English words into her Japanese sentences, lol. I laughed when Koushirou told her that her Japanese is very good (because SHE IS ACTUALLY FLUENT IN JAPANESE . . . and not so much in English). Yes, I know it’s because it’s a Japanese voice actress -- but it was still funny every time she spoke heavily accented English, followed by fluent Japanese. :P

Menoa’s partner digimon, Morphomon, was cute in design. Eosmon was the villain digimon and was Menoa’s attempt at recreating Morphomon, who disappeared on her. Does this sound kind of familiar? lol

Omegamon devolves into Koromon and Tsunomon when fighting against Eosmon. Back in Koushirou’s office, Menoa explains that you only have a limited amount of time with your digimon before they disappear and that fighting accelerates it. Taichi has a circle of lights on his digivice that lose a bar of light every time he fights with Agumon. When the lights all disappear, Agumon will disappear. Koushirou and Takeru look at their digivices to check if they’ve got it – they don’t, and they are relieved. Yamato then checks his and . . . well. He has it. His eyes start watering and he storms out of the room saying something along the lines of his bond with Gabumon will not be broken. I FUCKING LOVED THIS SCENE. Top 3 in the movie for me, personally. We all have weaknesses. Emo Yamato is mine, lol. I like it when he gets so emotional he cries in front of other people. :3

The “porn stash” scene with Agumon at Taichi’s apartment was HILARIOUS. The funniest scene of the movie. Everyone in the cinema laughed so hard. It was Taichi’s reaction that sold it -- it was BRILLIANT. The magazines actually had girls on the cover wearing bikinis, so, at least Agumon kept his innocence! lol

Gennai randomly appears in Taichi’s apartment to confirm the thing everyone should’ve always known (but that they just made up for Kizuna and which DEFINITELY led to “creative differences” with Digimon series director Hiroyuki Kakudou). This, of course, would be the whole idea that the more you “grow up”, the more your bond with your partner digimon breaks until, eventually, they disappear. Does the idea have problems? Yep. Menoa lost her partner digimon Morphomon at age 14 because she decided to accelerate her learning and go to university . . . meanwhile, Koushirou is the president of his own freaking company and still has Tentomon by his side. Yeah, OK, Kizuna. And, sure, you can argue that it’s about BECOMING AN ADULT -- but I think you’d just be drawing lines where YOU want to draw them. How mature is 14-year-old Menoa to be an “adult”? Is Koushirou really not mature enough at 21? And what about Jou, who I definitely think is an adult in all sense of the word? And so on. So arguments about this I think are valid, but at the same time . . . it’s Digimon. I think it’s a flawed idea but I also just shrug and accept it as it is, lol.

I “love” how Gennai just pops in when it’s convenient to the plot. Hello Gennai, what’s dark Gennai up to? Have you seen him around licking underaged girls anywhere? No? You’re just popping by to confirm shit to Taichi? OK, cool. See you in the tri. sequel, never. (He actually does give Taichi a reasonable answer as to why the growth/bond thing was never brought up before: that it’s like talking about how long you have to live. I bought it.)

Yamato is basically the reason the 02 kids are even in the movie, lol. He asks them to investigate Imura and Menoa for him and they do so. They contact him later on with info and they ask that he take them out for okonomiyaki (which is awful by the way, lol) as thanks and he smiles and says he can do that. This is just a nice exchange between them. :)

Yamato eventually confronts Imura (or is it the other way around, lol) and Imura HAS A GUN. Which was surprising to me because I remember that in the English dub, Puppetmon’s gun was censored, so seeing a gun in a Digimon movie was a little surprising. Anyway, Yamato doesn’t seem concerned by the fact that this dude can just shoot him dead, lol. Gabumon is with him, but still. Imura can still kill you before Gabumon kills him, you know. XD But it’s all good because Imura turns out to be an undercover FBI agent who wants to arrest Menoa, THE REAL VILLAIN. I was spoiled with this so no surprise.

There is a scene where Yamato has his hand tenderly on Takeru’s face because he lost consciousness. It was sweet, but I would’ve liked it more if Takeru had more of a personality in the film so I could actually care about him, lol. Yamato’s such a caring big brother, though. :)

Yamato was perfect in this movie. PERFECT. I had a few issues with his characterisation in tri. (I think he was, overall, about 80% Yamato), but he was ALL YAMATO, ALL THE TIME here. He is my favourite fictional character of all time, so DEAL WITH THE BIAS. I love him and, honestly, Yamato>Taichi all day, every day. I totally understand you, Sora. DON’T @ ME TAICHI STANS. XP

The ONLY minor quibble I had was that Yamato asks Taichi if they should really try to save the other kids, because fighting means it speeds up their bonds breaking. My quibble is: YAMATO IS NOT FUCKING SELFISH. He’s SO selfless. He would fight to save the other kids NO QUESTIONS, even if it meant he’s accelerating the destruction of his bond with Gabumon. But I give this scene a huge pass because it basically had to go like that, because ONE person out of Taichi/Yamato had to be reluctant so that the OTHER person pushes forward and has a “hero” moment. And who’s going to get that “hero” moment? The actual hero and MAIN CHARACTER of Digimon, Taichi, of course. SO I GET IT. I even agree and would’ve written it that way too, for Taichi to be the leader and reassure Yamato that this is what they’re doing (unlike in tri. where Yamato 1000% deserved the mantle of LEADER and Taichi could’ve whinged off the edge of a cliff and I. WOULD. NOT. CARE.). BUT I will still rant about this 30 second scene in my blog and scream to the universe that Yamato Ishida is the most selfless fictional being on the face of the planet and you better fucking know it. :)

Menoa is Maki 2.0. As soon as Menoa is revealed as being behind the evil stuff, she is instantly psychotic. So Maki 2.0 she definitely is. But . . . I don’t really care. Could Toei have been more original? Yes. But I can’t be bothered to criticise them for recycling a plot, because I’d rather criticise tri. for doing it in the first place, LOL. OK, honestly? At least Menoa’s plot had an actual resolution, instead of Maki being revealed and then . . . fucking off out of the entire series so abruptly. Like??? Kizuna followed through with it, tri. did not. That’s why I’m OK with the rehash, because Kizuna did tri.’s plot better. (Maki’s plot would’ve been good if the tri. writers didn’t get lazy AF at the end and just . . . didn’t . . . finish it.) I might also be giving Kizuna a huge pass because it made me feel things, lol.

The movie really picks up after Menoa reveals her intentions and they end up in Neverland (a place she created in the Digital World?) where she claims all the Chosen Children can stay as children with their partner digimon forever. It became a lot more interesting after that. But that’s also near the climax, lol.

In Neverland, all the kids who have lost consciousness are in their child forms (from the first season) and are basically Menoa’s puppets. This was really cool; it not only gave you nostalgic feels to see them like that, but it was also pretty creepy to see them with glowing red eyes. The Chosen Children, as kids, attack Taichi and Yamato. I laughed when Patamon attacked Yamato’s face and Tentomon tackled Taichi, lol. But I have to say though that Sora’s absence was VERY glaring here. Because . . . everyone was there, but her. :(

Other Chosen Children from the past are present in Neverland too. I FREAKING SAW MICHAEL, MIMI’S AMERICAN FRIEND, STANDING BEHIND HER. I was so surprised at his appearance that I didn’t catch anyone else. There were definitely others, but I didn’t make them out at all because I was so caught off-guard with Michael. XD; (I DON’T EVEN GIVE A SHIT ABOUT HIM, LOL.)

Someone said that Taichi called out Meiko’s name in the movie . . . well, I’m pretty sure that Yamato does, and he calls her by her last name, “Mochizuki”. This is when they’re in Neverland and Menoa shows them her “collection” of Chosen Children. Meiko pops up for one second. It was like Kizuna went, “Oh! Hey, tri. existed by the way. Now let’s move on.” lol

While being attacked by the Chosen “puppets” in Neverland, Taichi manages to reach his hand out and grab Hikari’s whistle and blow it -- effectively “waking” them all up from their puppet states. Everyone in the cinema got hit with audible FEELS, because when Taichi blew Hikari’s whistle the screen flashbacked to that scene from the first movie. I found the collective audience reaction more powerful than the scene itself, lol. But I really liked it, too. :)

So while everyone else is in Neverland . . . SORA IS IN HER APARTMENT HUGGING PIYOMON. Thanks, Sora, you’re a real friend. *cough* After Taichi’s whistle blow, she intuitively knows what’s going on and says she believes in everyone . . . THANKS AGAIN, SORA, YOU CHEERLEADER. OK, look: I do think it is pretty selfish of Sora to choose not to fight. I understand all the reasoning behind it, I even think SHE DESERVES TO BE SELFISH FOR ONCE etc., and I am fine with it -- but I still think it’s selfish. Because it is. And that’s OK, nobody is perfect, and people are selfish from time to time. If only it wasn’t glaringly obvious that her selfishness happened only because Toei just wanted her out of the way for most of the film . . . her absence, as stated before, really was noticeable in scenes where literally everyone else was included but her. (I’d also just like to point out that her voice actress was STILL CREDITED THIRD after Taichi and Yamato in the ending credits. LOLing forever -- such little contribution, such big recognition. XD)

But don’t get me wrong, I love Sora. I really fucking do. Taichi used to be my second favourite character in Digimon for a long, long time -- but Sora managed to dethrone him from second place (fucking Yamato probably helped, LOL). I think, screen time-wise, Kizuna did her a bigger disservice than Our War Game did. Yes, let that sink in. Remember how little she was in that movie? It’s worse in Kizuna. But story-wise and character-wise? Kizuna probably did better, because Sora was angry over a hairclip in Our War Game lmao. If you haven’t already, check out her memorial story short “To Sora” that Toei Animation released online. It’s six minutes of Sora . . . which is 5 and a half more minutes than in Kizuna! XD;

There’s a scene where Agumon and Gabumon tell Taichi and Yamato that they like watching them grow up. It was very touching, but also very brief. It was one of my favourite moments though. It made me have quick flashbacks in my mind of itty bitty Taichi and Yamato growing up into who they are now. The enormity of everything they had been through since the first season. THE HISTORY. THE GROWTH. It hit me right in the feels.

Taichi and Yamato’s homoerotic-ness was actually toned down a lot, especially compared to tri.. They don’t have forced disputes where they get angry at each other and the gay sexual tension shoots through the roof. They’re just . . . friends. Two dudes who drink beer together and moan about their lives. The partnership between them and their digimon were the focus of the movie, more so than the friendship between them. I actually liked this, and I usually care more about the human connections over the human-digimon ones.

“Shipping moments” – if you squint hard enough. Takari: At the start, Takeru shields Hikari from harm. Sorato: While Taichi informs Yamato about the lives of some of the other Chosen Children, Yamato lets Taichi know what Sora is up to -- that she’s seriously studying flower arranging. Kenyako: Ken asks Miyako, and only Miyako, if she’s OK (when Daisuke is right next to her). Taiora: Sora says Taichi’s name when he blows the whistle in Neverland and she hears it all the way in the real world. (My sister legit whispered to me: “SHE DIDN’T SAY MATT’S NAME.” BITCH, he ain’t the one whistling! XP) Now, Digimon Adventure tri. shipbaited hard -- but Kizuna did not do this. All of these very small moments felt very organic and passed as if they were a natural part to the story, instead of something shoehorned in with the explicit purpose of shipbaiting. I really liked this approach. The Sorato one in particular (surprise, surprise) said a lot about Yamato’s relationship to Sora without being explicit about it. He knows what she’s up to when her childhood best friend doesn’t? Yeah, those two are definitely hooking up after classes. :P (I jest. But it does tell you with one sentence that Yamato and Sora keep in touch, which I appreciated. You gotta do that if you’re having babies together within the decade, you know?)

There were next to NO evolution sequences. I might remember it happening once or twice? Max. And . . . that was a REALLY lame choice. Especially when Agumon and Gabumon evolve to their newest forms; Taichi and Yamato are just floating with them up into the air and then, poof, the new evolutions are shown. Google tells me they’re just called Agumon -Bond of Courage- and Gabumon -Bond of Friendship- respectively . . . they were not named in the movie. Here’s the thing: I don’t really care about digimon and evolutions. But it was so underwhelming; they really should’ve amped it up with an evolution sequence to be like HERE BE THESE NEW AWESOME FUCKING DIGIMON ‘bout to kick your arse. It seems like such a no-brainer that I really don’t know who would sign off on a evolution sequence not happening. Oh well. As for the designs? They are OK, but definitely could’ve been better. I think “cool AF” when I see Omegamon and all his forms. I don’t think that of these new evolutions lol. (But my sister liked them and thought they looked cool, so . . .)

Also . . . the fighting scenes in this movie were pretty bad. Very underwhelming. Our War Game and Diablomon Strikes Back did a lot better. I both like and dislike the animation style in Kizuna. I do actually like the art of it, like how it looks. But I kinda dislike how it’s actually animated, because it doesn’t really look like they’re moving fluidly enough. It’s a bit too choppy. I just expected the fighting/action scenes to be more exciting (I was hoping Our War Game-level) and of a higher standard. But they are not, unfortunately.

Everyone in the cinema audibly GASPED when Taichi and Yamato were just talking to Agumon and Gabumon after the final battle, and then they turned around and they . . . just . . . disappeared. And then Taichi and Yamato CRIED. SO. HARD. And I actually started repeating in my head, DO NOT CRY, DO NOT CRY, lol. I didn’t cry! Almost, though. :p I really loved this scene. And I really think, narratively, it would’ve worked A LOT better for the movie to end on this scene. The actual ending scene that comes after it felt a little too out of place and tacked on to me. More on that later.

There was a small smattering of applause at the end of the movie, lol. But I did not clap, because I find that weird. :p (Even though I clapped, alone in my house, when Parasite won Best Picture at the Oscars LOL.)

The ending credits showed different photos of the kids. Unfortunately, I . . . don’t really remember most of them. XD; I think I saw Sora arranging flowers? And maybe Daisuke and Ken having dinner? I definitely saw Iori doing kendo, because I thought it was cool. And the one photo I definitely remember for sure: Yamato standing in front of a space shuttle. I stan astronaut!Yamato so hard, you guys have no idea how happy it made me that he’s pursuing his dream omfg my little baby boy. XD;

This is definitely Taichi and Yamato’s movie. Everyone else is just playing supporting/cameo roles -- some more than others, as outlined way above. (Well, except Menoa I suppose . . . and Koushirou to the extent that he’s just needed to be the Digi IQ.) But if you’re NOT a fan of either Taichi or Yamato? I think, though you’ll probably love all the nostalgia bits, you’ll also be really disappointed -- especially considering this is supposed to be the final instalment of the original Adventure continuity. It’s a great “love letter” to Taichi and Yamato specifically, but not for the other characters, sadly.

I saw the movie with my sister (a non-fan who used to like it as a kid) and a friend (a casual fan now, but she used to like it a lot years ago). I’ll refer to them as “S”(ister) and “F”(riend), respectively.

After the movie ended:

S: “Did you cry? Because two guys beside me were literally sobbing. SOBBING.” *Judging.* (LMAO.)

What was our favourite part of the movie?

Top 3 scenes for me were Yamato storming off with his eyes watering when he realises his bond with Gabumon has an expiry; the brief “speech” Agumon and Gabumon give to Taichi and Yamato about wanting to see them grow up; and Taichi and Yamato crying at Agumon and Gabumon vanishing. EMO EMO EMO.

S: “Sora doing fuck-all.” (LMAO.) F: “Yeah! What was up with that? It’s like they forgot she even existed.” S: “Sora is just a cunt.” (Note: S has a dry sense of humour and isn’t really being malicious. BUT . . . I do think most viewers watching Kizuna would have a poor opinion of Sora in this movie . . .)

F: “I liked the 02 kids. I guess it was mostly Davis. And I liked when Veemon was riding on Armadillomon’s back and Wormmon was trailing behind. It was just this random thing but it was funny. Maybe I just like making fun of Wormmon.”

About the idea that growing up affects your bond with your digimon:

S: “What I took from it was that you shouldn’t grow up too fast. Cherish your childhood, cherish your memories. But, eventually, you do need to grow up.”

F: “I don’t understand how this whole “Digimon disappear when you grow up” thing wasn’t known. Weren’t there older people with Digimon before? You’d think they could have made a more specific threat that was just affecting their digimon, not be like, “Yeah this happens to everyone, it’s just a fact of life that we’ve never addressed before.” It felt a bit like they were telling the audience to grow up and get over Digimon.”

What would we rate the film?

I probably have to watch it again to give a definitive score, but at the moment, I give it about a 7/10. It was good, but not great. The last half was pretty great though -- it definitely started out slow (there was a lot of exposition via Menoa vomiting words). Is it better than tri.? Chapter 3: Confession, no. Confession is better, I think, but I also haven’t seen it in years. But the rest of tri.? Probably. Especially the pile of shit that was Chapter 6: Our Future. *cough*

S: “4/10.″ (LOL.)

F: “It was better than tri.. I guess a 7/10 too.”

Sequel?

I think it’s definitely a possibility. I feel like the very last scene of the movie was slapped on just to be like, “Well, if we don’t do a sequel, you know that Taichi and Yamato are definitely going to reunite with their partners eventually for the 02 epilogue to happen.” The scene is of Taichi and Yamato saying something along the lines of meeting Agumon and Gabumon again one day.

And while it’s an uplifting ending, I actually think the movie would’ve ended better with the scene before that -- with the digimon disappearing and Taichi and Yamato crying. It would’ve made a bigger emotional impact and raised the movie up just a notch higher to end on such a ballsy note. But, of course, it would’ve meant a sequel definitely had to happen. So the actual final scene was added on so that a sequel doesn’t need to be made -- but that it leads to the 02 epilogue “off-camera”, in case they really don’t do a sequel.

I think there’s a 50/50 chance of a sequel. The movie actually does close the Adventure story pretty well -- it has all the ingredients to lead to the 02 epilogue without actually taking you there. But it also keeps the possibility of a sequel open, where they can show you exactly how Taichi and Yamato reunite with their digimon.

And, honestly, the only “barrier” I see to a sequel happening is that the reboot is airing next month -- and it’ll be confusing for the next generation of kids to follow one continuity, and then have a movie released with characters they recognise, but in an entirely different continuity. Unless, of course, the sequel comes out in another two years and the reboot has finished after one season (though there’s always a possibility it goes on beyond one season).

S: “Yes, I think there’ll be a sequel.”

F: “It seemed quite final. But obviously if the 02 epilogue is accurate that can’t be the end. Unless Matt finds Gabumon again on the moon I guess. “Oh hey yeah we don’t really disappear, we just go to space!” Yeah, it could go either way. Maybe they are saving Sora’s big part for the sequel!” (XD)

And that’s a wrap! I’ll probably read the novelisation of the movie eventually . . . and it’ll probably be like 95% the same, lol.

#digimon #digimon adventure last evolution kizuna #digimon last evolution kizuna #digimon last evolution #digimon kizuna #review #spoilers #50% thirst #30% jokes #20% actual content #XD

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shihalyfie · 3 years

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Some things to know about the upcoming 02-related movie

As someone who seems to be known for being a 02 metablogger now (and 02 lover in general), and who’s been closely following Kizuna’s development and is generally fond of the movie itself, I figured I’d probably need to address the elephant in the room that is the announcement of the upcoming (unnamed, as of this writing) 02-related movie. This is also especially because I’ve personally been on the record saying that I absolutely did not want a Kizuna sequel. And, well, on top of that, to be a bit blunt about it, a lot of us, especially 02 fans, have a lot of reason to be skeptical of Toei right now given some of the things they’ve done with this series in the past, and 02-related things in particular (trust me, the wound is still extremely fresh), so it says a lot about what it took for me to get even remotely positive about this prospect.

Well, here’s the good news: while I of course still think there’s good reason to be apprehensive, and while I wouldn’t say everyone should be getting their expectations up for it to be guaranteed fantastic (which is something I would say about anything, regardless of whether it even has to do with Digimon or not), I don’t think there’s too much to be panicked about with this movie. Again, it took a lot for the staff to gain my trust in this respect, so it’s not something I say lightly. But if you’re a 02 fan and you’re extremely apprehensive, here are my reasons for feeling this way, and, hopefully, they might make you feel a little better too.

The reason this movie exists to begin with

One of the most striking things about this movie’s reveal was that they’ve literally only just started production on this movie. This was to the point that, at DigiFes, where this was revealed, even the voice actors stated outright that they knew absolutely nothing more than what the audience knew from the trailer. Katayama (Daisuke) only knew anything in the sense that they had him record those few lines for it. So even though it’s been a whole year and a half since Kizuna released to the public, it had only just been decided to make a new movie like this. All of the statements between Kizuna and now stating that there was nothing particularly in the works at the time were completely accurate. Of course, there are obvious hints that they were setting up for this possibility (many, many people noticed the suspiciously favorable position the 02 group was in during Kizuna, and the press releases were carefully worded so that having a movie about “Daisuke and his friends” would allow any statement about Kizuna being “the last adventure of Taichi and his friends” to still be technically truthful), but for all intents and purposes it seems like there had been no actual commitment to making this 02 movie until now, and that they’d at least wanted to gauge the surrounding climate and fanbase reactions for what people were looking for before they decided to go ahead with this.

The obvious reasons as to why this movie exist involve the fact that Daisuke and co. are pretty much the only “out” you can have to continue the Adventure universe without constantly defaulting to Taichi’s group yet again, because at the very least it’d be something that you can’t deny hasn’t exactly had the best representation in recent years. Of course they’re trying to capitalize on this! I’m not going to pretend they aren’t! But producer Kinoshita left a very interesting comment about a particular goal they have with this movie:

This time, the core behind the movie is everyone from 02! Daisuke’s group has their own different kind of charm from Taichi’s, and we want to express that precisely because we’re in the times we’re in right now.

That comment alone has a lot to unpack. (For a frame of reference, Kizuna released in Japan in February 2020; development had already long finished by the time the pandemic first hit, and it was unfortunately one of the first victims of the initial lockdowns because of how bad the timing was.) Acknowledging directly that there’s something different about Daisuke’s group and their dynamic, which makes them especially suited for what we need in “the current times”...hmm, what could that be?

The implied answer is one that many 02 lovers will know very intimately: the 02 group’s particular specialty is in uplifting others and giving each other emotional support. While Adventure had traces of these themes, 02 was the one that went really hard on the themes of dealing with grief and loss, the existential crisis of what to do with oneself in a world placing heavy pressures on you, and how to move on from hardships with the help of others. The fact that the 02 group specializes in this more than anything else is probably one of the most distinguishing factors between them and their seniors, so there’s a very heavy implication here that they understand what distinguishes 02 from Adventure, and what it uniquely would bring to the table in this kind of movie. So this isn’t just “we’re relying on the 02 kids because they’re part of the same universe”; there’s some degree of substantial understanding of what makes 02 as a series unique, and a desire to use this to its fullest extent.

Still don’t believe me? Well, how about this...

This staff really likes 02 a lot

Seki Hiromi, the original producer of Adventure and 02, was involved as a supervisor on Kizuna’s development. Seki was personally involved in the creation of these kids and 02 itself -- she’s the one who noticed the story of the nine-year-old boy skipping grades into Columbia University, the one that formed the basis of 02 itself and eventually came back for Kizuna -- and even personally vetted Kizuna’s script to make sure everyone was in character, gave her thoughts on what the kids would be like in 2010, and was (repeatedly) commented as seeming to love the kids like her own children. As of this writing, it hasn’t been confirmed whether she’s involved on the new movie, but even if she’s not, this means that the staff on Kizuna that is returning all listened closely to those discussions about what the characters are like, straight from the mouth of one of their own creators. The new character song releases had a brief mention in Lounsbery Arthur’s interview that there were apparently extensive discussions with the staff on what the characters should be like at this time, so while Seki’s involvement with that is unknown, at the very least, a lot of conscientious thought seems to be put in at all times into maintaining these characters’ integrity.

Of course, just having an original creator alone on it doesn’t necessarily do it by itself, so here’s another interesting thing: Taguchi Tomohisa, director of both Kizuna and this movie, is also very fond of 02.

I suspect we’ll be hearing more from him as this new movie goes further into development, but Taguchi himself implied that 02 was actually the one he happened to connect with in particular, and when you really think about it, given the circumstances surrounding Kizuna, it’s not actually surprising that a movie trying to be conscientiously aware of 02′s position in the narrative would have someone with a particular fondness for it on its staff. (Reason being: a lot of Adventure fans don’t care much for 02, but you’ll almost never meet a 02 fan who doesn’t also adore Adventure.) The really fun part about this, however, is that Taguchi has repeatedly stated that 02′s first movie, Hurricane Touchdown, is his favorite Digimon movie -- in a climate where everyone else was talking about Adventure. The expected answer for the majority of Adventure fans in terms of “favorite Digimon movie” is almost always Our War Game! by knockout, but no, for Taguchi, it’s Hurricane Touchdown, and not only has he said this, he won’t shut up about it. He’s been saying this since 2019. Even Seki noticed. A whole article got made about this. He brings it up whenever he has a chance to. To top it all off, when a Kizuna event asked everyone present about their favorite characters, and everyone gave Adventure-related answers, Taguchi’s response was instead Terriermon and Daisuke. And I mean, look at Kizuna itself -- its entire plot revolves around having to move on from unhealthy nostalgia, represented by kidnapping people and turning them younger and an antagonist swallowed by their own negative emotions, which, well, is literally the plot of Hurricane Touchdown. (Yeah, that Wallace cameo is very, very likely to be sheer self-indulgence.) And considering that Taguchi said his favorite human character was Daisuke, not Wallace, it means that he understands what Hurricane Touchdown brought out of Daisuke, what his interactions with Wallace meant for both characters, and how Daisuke’s best strengths lie in his ability to support and uplift others.

And, finally, we have Yamatoya, who was responsible for penning both Kizuna’s script (and, thus, being privy to Seki’s corrections) and the bonus drama CD that came with it, on the script, and he personally said that he enjoyed writing for the 02 group because he felt they were important to lightening up the mood of the heavy story Kizuna was becoming. In fact, every comment from this staff about what the 02 group brings to the table in particular has showed a good understanding of what their appeal is -- that they have to be “fun”, that they were “healing in a heavy story”, and Taguchi himself said that he got the impression that the 02 group had more straightforward paths to their epilogue careers (which is interesting, considering that I’ve also personally pointed out that the 02 group seemed to have careers with significantly lower bars than their seniors’ due to their difference in priorities). All of these things are observations you make when you know this group and the importance of the story they came from.

Extend it even further to the rest of the staff members and you’ll find there are a lot of 02 fans on there, including the animation staff, who made some very neat observations about 02 and its finale. Miyahara Takuya is a particularly amusing case, because he seems to love Imperialdramon so much that in the thanks booklet for the deluxe edition for the Blu-ray, he drew a picture of Daisuke and Ken with Imperialdramon Dragon Mode because he didn’t get to be in the movie. (As in, he actually said, point-blank in the caption, that he loves Imperialdramon and wanted to draw him because he wasn’t in the movie.)

Of course, even if you’re trying your best, things may not always work out, so I’m not saying having love for the characters will necessarily guarantee that the product turns out for the best. However, considering that historically a lot of our fears come from the idea of them milking the name value of the characters without really caring about their integrity or understanding what the series was about (especially since a lot of people in the fanbase itself don’t tend to read 02′s nuances very well), I think, at the very least, we don’t need to worry about the staff for this movie not being conscientious, nor the idea that they’re making this movie without understanding or caring about 02.

Furthermore, one thing I appreciate is that they’re actually leading the advertisement with a premise that is distinct from Kizuna’s. Of course, it covers a similar topic of “partnerships”, and it’s very possible it’ll cover the issue of the solution to Kizuna’s problem (especially since the answer was already hinted to have a heavy relationship with 02), but nevertheless, it’s an actual premise that’s not just “Kizuna’s story, but more of it”. It’s an understanding that something 02-related should be allowed to stand on its own rather than just tacking it onto an Adventure-related thing. Beyond that, while I think it’s generally expected that a side story like this should have an original character, I think it’s actually very good this time in particular that there’s a new element/character for the 02 group to interact with; again, as with Hurricane Touchdown and Daisuke, these kids often have the best brought out of them when they’re supporting others, and honestly, because the kids suffered so much in their own narrative, I’m not particularly fond of the idea of seeing them having to go through too much more trauma themselves (it’s a big reason I don’t like the idea of a 02 reboot). So while I’m sure a lot of 02 fans feel a bit antsy that the actual group itself wasn’t advertised first, I actually consider it a positive sign that they have an understanding of what context this group performs best in, and, moreover, well...the last time they unveiled something that was so focused on advertising the return of old characters that it forgot to actually be straightforward about the premise, I don’t think that ended well. So to speak.

In general, the track record is good

It’s easy to just smile and nod at the portrayal of the 02 quartet in Kizuna, because in general everything from them is in-character, but I just want to point out how significant it is that they were portrayed so conscientiously when it is really easy to mess them up. (As I like pointing out very often: even official has not historically been very careful with Daisuke’s character.) There are so many easy pitfalls you could have fallen into and pigeonholed the kids into, but Kizuna absolutely demonstrated the quartet at their best, showing off all the nuances of their character and bringing up all the parts that were most important, especially Daisuke’s best quality being “positivity and cheerfulness” and not all of the other things about him running in circles or having a crush on Hikari-chan. This even goes down to the casting; Katayama Fukujuurou sounds terrifyingly like Kiuchi Reiko in terms of all the little nuances and pitch shifts she had in her performance, and the cast themselves spoke of all the nuances present in their characters as they were studying for their roles. These are things that even fans of the series tend to miss, but the voice actors for the quartet nailed their roles so well that it’s very easy to tell that the direction understood exactly what they were looking for and needed, and casted accordingly. Even those who didn’t care for the movie much had a very hard time disputing the voice casting for the quartet (and this is saying a lot given how much voice actor changes are often a really sore point among Japanese fans).

But while the 02 group had a limited amount of screentime in Kizuna, the staff also had a lot of opportunities to prove themselves with the drama CD and the new character song CDs, and every single aspect of these reflects something that was represented in 02 itself -- again, things that often go over the heads of people who aren’t paying as close attention. The drama CD captures a lot of the essence of the dynamics between the group in only short lines, and all of the statements about the characters in the character song interviews are accurate (and remember: Arthur said directly that there were discussions with the staff about keeping them true to character). On top of that, not only do the lyrics in said songs directly mirror each character’s development from the time of the original Best Partner series, there are also a lot of things in said songs that demonstrate a nuanced understanding of each person’s character and what they got out of the events of 02. Someone with only a surface-level understanding of Ken or Iori’s character might think that Ken should only have a soft song, or that Iori shouldn’t want to do anything ridiculous, but the series goes ahead and gives Ken one of the most passionately emotional rock songs in the batch and Iori outright rap with Armadimon, which are both fitting decisions in light of Ken actually being one of the more emotionally assertive people in this group, and Iori only being stoic because he’s strict with himself and being willing to let loose in certain circumstances (especially after the events of 02).

As of this writing, I don’t know if the new movie is going to be featuring the entire group in a major role, and I’m not sure if I even want it to; as much as I do strongly feel like the group should always work together at all times, one minor personal complaint I had about Kizuna was that it tries to do too much in too little time, and I’m personally fine with this new movie being more Daisuke-centric or something if it means it can just get a nice story on the table (after all, if I wanted something that more evenly represents the entire 02 group, I’d just go back and rewatch a very nice anime series called Digimon Adventure 02). There’s also the very thorny question of what to do about Tokumitsu Yuka, since I don’t personally really like the idea of still dragging her out of retirement like this (but I also wouldn’t want them to awkwardly write around her just for this, and I’m wondering if Sonozaki voicing Tailmon in the reboot would let people accept her as a replacement without much fighting).

Nevertheless, I think Kizuna’s staff has proven more than well enough that they understand the essence of 02 and its characters, so, again, regardless of how it turns out, I at least expect that this can be made with some degree of conscientiousness, and at this point, that’s all I can ask for. I don’t think it’s fair to expect or want this movie to be the second coming of 02, because, again, if we wanted that, I think it’d be better for us to all go back and watch that lovely little 50-episode anime called Digimon Adventure 02. But in terms of being something that can add a little nice thing to the mix, I think, so far, this movie at least has positive signs of turning out that way -- and, remember, think about what I just said about initially being very against this idea; as a diehard 02 fan who has a lot of very picky feelings about how to best represent it, it took a lot for the staff to earn my trust in this sense.

#digimon #digimon adventure 02 #digimon adventure last evolution kizuna #kizuna spoilers

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