In My Opinion Precure Is At Its Best When It Incorporates The Communities That The Girls Are Protecting

Over a year ago I started watching Xros Wars. 3 days ago I finally finished Hunters last episode. To be fair in the interim I also watched... every other digimon anime in its entirety (except for some movies), finished Cyber Sleuth and played the entirety of Hackers memory.

But I do have some thoughts about Xros Wars, or at least how I'm interpreting things.

So. Taiki.

Taiki's is a “Paragon” type of hero whose biggest flaws are being too dedicated to helping people and as such sometimes collapsing. Admittedly far from my favorite type of character, even when done well. Xros Wars fortunately does make this a flaw that causes them issues at times. Unfortunately though, in my opinion, it does not properly acknowledge this flaw. 

It causes problems in the Lake Zone, when it puts him out of commission. But aside from that it doesn’t really come up. It also sort of comes up again during the Death Generals arc, both with Gravimon’s core, and Yuu’s game. Two instances where it really is Taiki’s life vs. their goals. And the answer seems to be “Taiki is worth more healthy than he is sick/wounded/dead”. Which I think is a good take on the “too good” archetype. And it is something Taiki seems to do less as time goes on.

But I do think Taiki does have a different arc, that does actually get handled better that this ties into. Taiki’s final arc in relation to Apollomon boils down to sometimes, tough decisions have to be made. And I think this is what they were trying to do in episode 25. However, the situation that they are presenting isn’t really a “no good answers” deal, as much as it is Kiriha being an asshole. Taiki learning to have to make tough decisions is a great one for him. The only thing I would wish for in this regard is perhaps a better build up to this. But again, I think this is just a smaller piece of what is supposed to be Taiki’s main arc. But the core of this, is Taiki is someone who can’t turn his back on injustice, can’t turn his back on people. But is willing to throw himself into harm's way for other people. And these two points are related. It parallels Nene and Yuu’s relationship, in which Nene would do anything for Yuu, but in doing so fails to recognize Yuu’s autonomy which ends up hurting everyone involved. It foils Kiriha’s narrative in which he takes responsibility for being too weak to handle things when really he’s a victim.

While I don’t think it’s handled the greatest, I do think this is one of Xros Wars main points. You are not responsible for the actions of other people. You are worth just as much as any other person. Other people can be at fault. Other people can help you out. Everyone is an individual. 

Taiki in episode 30 is not properly giving Akari and Zenjirou the space to make their own decisions. They can’t come anyway, but he’s not really allowing them autonomy. In fairness, Taiki accidentally put them in danger in the first place and it would make sense that he feels guilty for that. But Akari and Zenjirou are their own people who can make their own decisions, and I felt like Taiki grasped that at the end of that arc, or was at least on his way there. Which is why Taiki keeping things from Akari and Zenjirou in Hunters is dumb, although I'm not really judging questionable Hunters decisions in the context of judging Xros.

This also extends to Taiki’s “traumatic backstory” in which Taiki felt guilty about the decisions someone else had made. Manga Taiki had a similar incident, but that incident Taiki was at least a little more involved in the events that transpired. But in both cases, Taiki takes responsibility for something that is not his own fault, in what on the surface seems to be altruism, but is really egotistical. While I think I like the manga’s take on this better, the anime has its own charm in being such an insignificant incident that Taiki latched onto. Either way I think Taiki’s real arc in Xros Wars is coming to realize that he is just one person and that he can’t make decisions for other people. You might even be able to consider the final episodes of Xros Wars, when he willingly patches the torch to Tagiru to be accepting he can’t do it all (or the fact he’s literally too injured to do anything or a half-baked excuse to justify Tagiru, your choice). 

Taiki is capable of denying others help, to a certain extent. Taiki denies helping Shoutmon, at first, because he doesn’t think Shoutmon is someone who's actually in trouble. At least, not to the point of prioritizing him over Zenjirou and Akari, who he stuck in another world, and that takes precedence. He thinks Shoutmon is asking for help for something unnecessary, for his own selfish dream. Taiki’s manga backstory actually makes more sense here because Taiki’s dream lead to hurting others, and that could make him more critical of self-aggrandizing dreams. But that’s a different story. Regardless, Taiki is easily persuaded and it seems it was the “Bigger” problem of Akari and Zenjirou that kept him from easily agreeing to help Shoutmon.

It’s also not as if Taiki is incapable of asking for or accepting help from other people, Akari in particular. In fact he depends on Akari’s help to do what he does. (Even if the show doesn’t acknowledge it past the first arc). But he definitely avoids drawing other people into problems, supporting those that are already involved.

Apollomon and Beelzebumon I think make this come full circle to Taiki. Beelzebumon died because he wouldn’t rest, but he made that decision for himself, a decision that Taiki earlier in the show was willing to make himself. And Apollomon suffered because Taiki refused to do something that he wouldn’t hesitate to do to himself if the roles were swapped. 

There are hard decisions that need to be made in war. But the goal isn’t merely to disregard life when there’s bigger stakes. It's to accept that there are people who are willing to make sacrifices just like you are and accepting their autonomy in being part of these hard decisions. (If this makes sense?)

If we look at Shoutmon’s desire to be King, a King is fundamentally a person who makes decisions on behalf of a group of people. Shoutmon is perhaps a little more honest in his goals. Shoutmon wants to become king so others don’t suffer, and recruits people to his side to accomplish this task. Shoutmon deeply values his friends and allies inputs and wants to be strong enough for their sake, to be a leader. (Thanks episode 25). Meanwhile Taiki is recruited by others for their own goals, because he believes that he owes others his strength.

To be honest, I’m not sure if I’m reading too far into this or if this was obvious to everyone but me. 

Taiki’s “thing” is his ability to hear the melodies of dying digimon. It’s not really explained why he can, nor does it need to be. It’s just a version of Takuya’s degree of spirituality, or Masaru’s excessive digisoul, or Taichi’s fateful digimon encounter. A thing that sets him apart from the crowd. I actually really like this concept, as Xros Wars does touch on the idea of different people having different destined roles. Being chosen children in unique ways. Xros Wars doesn’t quite do enough with this, or its music motif in my opinion, but this is a really good take on it and a good way of explicitly demonstrating Taiki’s empathy. I think it could be used a little more often, especially later on, but that’s neither here nor there.

I think if there was ever a follow up to Survive it'd probably be an 02 and/or Tamer's inspired sequel, and I do have thoughts about that, but I honestly think Frontier getting the Survive treatment would be coolest. I mean already Frontier is probably the anime most like Adventure outside of Adventure's reboot, so I think it would work really well for similar reasons as Survive. But it's got enough going that it'd be distinct too.

Survive deals with the horror in having another life form, a life form with the potential for incredible amounts of strength tied to you and your sense of identity. The horror of a group of children being spirited away to another world in the name of saving it (as sacrifices).

But with Frontier, the horror in asking what kind of kids, or for what reason kids would choose to follow a message and end up in another world. The horror in becoming something else.

Survive has 10 main characters, there are 10 legendary warriors.

Three Archangels and Lucemon instead of Four Holy Beasts and Fanglongmon

Instead of Haru and Miyuki a Strabimon (or Flamemon) who is later revealed to be a former human kid is found already in the Digital World

Instead of echoes of the human world the kids find chunks of land getting rearranged or just straight up missing

MagnaGarurumon and KaiserGreymon instead of Boltboutamon and Plutomon for route dependent evolutions and dependent on which kids survive to the end.

Susanoomon if all survive to the end/true ending

Karma/affinity levels determining attribute of characters (not how variable attribute usually works by tbh why not)

One route kids stay in digital world as digimon in another they leave the digital world forever in another they stay digimon but go home?

Light and Darkness can still be twins but like maybe codependent prior to being separated in the digital world. Like Strabimon is met by the group immediately and Duskmon is trying to hunt the kids down, but Strabimon weirdly won't let them hurt Duskmon?

Protag would be Flamemon(or equivalent) when they go back home in Takuya parallel and maybe have to fight human units without hurting them in the Ch 8 parallel

Character who dies because they'd rather die than become a Digimon.

Speaking of which what happens when these kids die?

Character who refuses to become human again because they never want to be weak again.

Character who loses themself to their beast form, maybe hurting themselves or someone else

If we want to include the concept of fractal code, the idea of the kids having parts of their code stolen/ changed/added to, affecting memories, physical traits, tastes, and skillsets.

Character conflicts leading to physical fighting in their Digimon forms

Being able to eat the strange foods in the digital world that would normally definitely be inedible

I think there's a lot of room for drama in what decisions lead the kids to end up in this world

Obviously one of the kids can be dragged their by their bullies so we have some bullies on the same team as their victim.

One kid went because they take any excuse not to go home so figured might as well check this out

Or another kid who desperately need money and were under the assumption this was a meet up for one of their jobs

Water can be the victim of toxic beauty standards/show industry/an idol

I think the fact the gender balance isn't as much of a problem as people might think as I think a lot of the Spirits are actually gender neutral looking enough to be female. I could see Darkness, Ice and/or Wood especially. (See Survive and Plutomon or Cyber Sleuth Alphamon for example).

So you loved Kira Kira Precure a la Mode, and/or some of the other seasons of the past 10 or so years. So you go to watch the season that started it all, and its probably not what your expecting. And there's a good chance you don't like it. That's fair. The two could not be more different. Now, Kira Kira Precure A la Mode is not a bad magical girl anime. Not by any stretch of the imagination. It has charming characters and creative battles. But is it a good Precure show? It is Futari wa Precure's antithesis. At least as much of an antithesis as it can possibly be while still being a show targeted towards young girls. Kira Kira Precure A La Mode is a colorful show, with 6-8 larger than life characters as they battle against hatred. They fight in confection themed outfits while wearing heels and being unabashedly cutesy. It's main protagonist always saving the day with an energetic "Whip Step Jump" or a "Bright Idea". To be fair, many modern Precure series are more similar to Kira Kira. Girls who are role models. Girls who chase after their dreams with everything they have. Who even without being Precure live extraordinary lives. There is only one Whip, there are many like her. There is no Cure like Black.

Now excuse me while I get really emotional and overdramatic about Futari wa Precure.

Futari wa Precure is not modern Precure, Modern Precure wouldn't really start until Fresh. Splash Star took the first steps, and Precure continues to evolve, but the first seasons of Precure, particularly the first 3 are not the Modern Cure. Futari wa Precure is not a story about Extraordinary girls, doing extraordinary things. It's not loud, nor bright spectacle. A show is not wrong for being these things. But these things are not Futari wa. It is a story about ordinary girls, who live ordinary lives, who fight against eternal forces that seek to destroy the normal things they hold dear, with only each other to count on. There are two sides to Nagisa and Honoka's lives. Their day to day lives, filled with people they love. Takoyaki and Chocolate and Dogs and Lacrosse and a million other simple things. Slice of life filled with unapologetically ordinary vibes. The world they seek to protect. And the things they do to protect it. The lonely brutal battles. The interruptions to their day to day. The threats on those they love. The villains dismissal of their important feelings and things in a battle that feels bigger than them. There are only the two of them. And 2 fairies who, themselves, only have each other, desperate refugees stuck in a world that makes them so tired that they cannot navigate it on their own.

And when I say there's no Cure like Black, I'm not exaggerating. There aren't many sporty lead cures anymore. But even when there were. There was no one like black. Melody, Rouge and Bloom are closest. But even then. Cure Black is not an optimist. She is not confident. Nagisa does not want to be a Cure. She does not want things to change. She bullies her little brother, she argues with her fairy. She is irresponsible and struggles to do things she dislikes. She hates fighting. But she fights anyway. She is not hope. She is courage. Because if she's going to die, she will die fighting. Bitterly.

When I say there hardly any Cures like Black, I mean there are also no Cures like White. We have cures into Science, though even now not many. And when we do, they are mostly into biology. (Doctors, Nurses, Marine Biologists, Botany). The closest we have is Himari, and her way of connecting sweets to science. We do have two cures who want to be astronauts (Tsubomi and Hikaru), but even then their primary interests are Botany and Cryptids respectively. Not that these are bad goals. But they are not White's more nebulous interest in science, that extends beyond the life sciences. Beyond domesticity. She loves learning, pure and simple. Honoka is well off, but gets her hands dirty. She is a woman of science, but takes the supernatural in stride. She is kind, but does things her way. She is graceful and polite, but temperamental and bold. In this way, Rhythm and Egret perhaps resemble her though not each other. Egret shares her independent nature, and mild obliviousness. Rhythm shares her temper and hands-onness. Honoka is hope. But she is not the loud Hope, like so many pinks, burning towards a dream. Burning with the possibilities. She is the quiet hope. The stubborn hope. She is the hope born of sorrow and things that cannot be. The hope that hears "This is the way it is" and says "No".

Cure Black and Cure White are not merciful. They do not redeem their enemies. A general hurts Black's brother and laughs. She kills him in rage. He was desperate. But she was vengeful. The enemies they fight are not all encompassing evil. They are darkness, and a threat that needs to be eliminated. But for many they merely want to survive. But so do Black and White. Cure Black and White fight, pitting the survival of their world against the survival of their enemies. It's them or her, and she chooses her and she loses. Her brother is vengeful and angry, and its him or them. And he chooses them. They lose a friend to this pointless struggle. But they continue on. The battle continues on. Honoka cries and cries for him. Did it have to be this way? It doesn't matter because it is. And there is no one she can talk to aside from Nagisa, and Mipple.

There is no one shouting to cheer on the Precure, no miracle lights. Those wouldn't come until Yes 5! They are merely rumors. A half seen fight. A figure seemingly out of a dream. Are they even real? Their imitators on the playground are more real than they are. Bring more smiles than they do. The universe is more vast than any of them could comprehend. There are entire other worlds with people who laugh and cry.

And there is no setting quite like Futari wa's setting. The setting in Futari wa, which I don't believe is named in show, is based on the Tokyo area. Not a made up city. A real one. Sure their school is fictional, as are the stores they visit. But the amusement park they visit is directly inspired by a real one. Nagisa lives in an Apartment building I believe to be modeled off a real one. They travel busy trains. Honoka's grandmother lived through war and tells stories of bombings. This is the Tokyo of a world not quite unlike our own. And perhaps most notably, this world is melancholic. Not bright.

Nagisa does not have pink hair. She does not have blond hair. She has orange hair. Not bright orange. Orangish brown. Though not one common in Japan, a real color. Honoka has black hair. Some might say blue. Although with its darkness its otherwise indistinguishable. It might as well be black. Shiho has red hair. And later Hikari will have blond. Kirya's will be green, but like Honoka so green it might as well be black. These may not be real hair colors, exactly. But they're close. Their muted. In the same way this is Tokyo but not.

With all of this said, there is still one core tenant Kira Kira holds to. It is still a story about girls, different kinds of girls, protecting the things they love. In Kira Kira, it is sweets. In Futari wa... its sweets.

Sweets. Precure was always about sweets go home.

So digimon has a habit of giving their main protagonists goggles, giving them brown hair, and reptilian digimon. They also often make them heroic big brother types (and quite often literally big brothers… or at least caretakers). But digimon also has a habit of having young female characters with mysterious powers and a holy digimon partner. And sometimes, the two characters are related.

Not always directly, and never really in the same way twice, but often the two characters, when both roles exist, play complementary story roles in some way. Especially as the "Goggle boy/Taichi" archetype is consistently at the center of the story, and "Holy Girl/Hikari" archetype varies in relevance. And to be clear, I'm not trying to break down every character into the basic digimon archetypes, but they do exist and they are kind of useful to look at as a point of comparison.

Of course this all goes back to Digimon Adventure (film), where Taichi and Hikari a brother and sister, take up opposing roles in regards to the digimon situation. While Hikari was originally imagined to not be a digidestined in the future, her fear of the situation after her original acceptance (as opposed to Taichi's suspicion and later cooperation) clouding her perspective, that really isn't want happened in the final product. Hikari was innately drawn to the digital world. She never forgot. The incident is potentially because of her. And where does that leave Taichi? The (relative) normie who was called because of her, but stepped up to the plate as the one everyone turned to, independent of her. Taichi is their leader, Hikari the 8th child. Taichi (and Yamato) get ultimates. Hikari (and Takeru) have Angels that grant them that power. Hikari is innately powerful, but young, and Taichi is powerful to, but in a slower way born of being the first one to do things and push forward. Consistently the first one to evolve. The first and the last. All of that to say that this is sometimes echoed in later digimon. While nothing has quite reached the levels of original Adventure there are still plot lines and sort of story roles that echo that initial storyline.

While Chika doesn't play a major role in Savers, her role as Suguru's other child, her prodigious amounts of Digisoul, and her role welcoming Ikuto and Falcomon (a la Tailmon), clearly aligns her with Hikari. Even if in show she doesn't play a role that engages with that with the priority on her brother, the Taichi archetype, the main character with the agency that drives the plot, she still echoes Hikari with her surprising chillness with digimon, and a fateful encounter with a digiegg that ends violently.

In Cyber Sleuth, Erika is easily a Hikari archetype, and while her big brother is not the Taichi, she is the driving force behind the Hacker's memory plot. Her relationship with Keisuke (the main character, who you play as) in particular is the center of Hacker's Memory. While Keisuke is absolutely a goggle boy, Keisuke isn't a Taichi, he's the Daisuke to Aiba, the real Taichi. Keisuke and Daisuke are less, larger than life ambitious world changers than Taichi and Aiba. The reason I bring this up, is that even though Aiba and Erika never really meet, they are the focal points of both story halves. Aiba is situated at the focal point where Nokia and Arata, and Yuuko reunite. The focal point between the royal knights, the hackers and Kamishiro. Sure Keisuke is the hacker's memory protag, but it's noted he's not very protagy. Erika is the story's focal point, Keisuke her Daisuke, along for the ride, with his own motivations sure, but in the same way Nokia did, and Nokia was ultimately secondary (though also very important, has some Taichi in her). Aiba and Erika are both dying throughout the events of the game as the result of an accident, but also due to the accident now have some special digital skill. It's also important to note that Erika and Aiba's group are the only two groups that had digital encounters to kick this off. They're the only ones who have been to the digital world prior to this whole situation. In reality the 6 of them are this entries only true "chosen children" so to speak. But even that has its precedent, Hikari being separated from the other digidestined in the beginning. Aiba and Erika do not know each other. Their traumas and their resolutions are both different. Aiba's unremembered trauma was resolved by a rescue and reunion. Aiba's "cyberfication" is a death sentence, despite being relatively well off compared to most victims. Erika remembers her parents death and the resolution is separation from her loved ones, the loss of their memories. Her "cyberfication" is ultimately her salvation and allows her to live on when she would otherwise die.

Of course Survive is one big callback. Takuma literally has goggles, the Ta name and an Agumon. He is the groups leader, even when there are older people he's the one whose character guides the other kids, the first to evolve, the strongest. Miyuki has a holy partner and a literal power to transverse worlds, set apart by the others by her different arrival date (though in her case it was early). Now interestingly Takuma and Miyuki are not siblings. Miyuki is for once no ones little sister and is instead an older sister. (Her little brother, ironically being the Gennai archetype). But they are tied together. Takuma is the one who manages to reach Miyuki and they return to the human world, in an echo of Adventure epsiode 21. Miyuki mysteriously provides additional context to the situation, and demonstrates power (Miyuki and her song, Hikari and her references to the first film) No time has changed at all for Takuma since his departure, though unlike Hikari (who time was flowing normally for), 50 years had passed. While both Takuma and Taichi hestiate to leave the digital world, (in most paths), they ultimately do in order to return to their friends, Agumon returning anyway. In Adventure Taichi leaves Hikari behind (with the promise to the audience she'll return soon). Takuma jumps after Miyuki expecting her to be at his side when they return, but her being taken away. But more than that, Akiharu has Gabumon, and together with Takuma forms Omegamon. Now the Yamato analogue is very much Kaito (and Dracmon even has a wolf evo), though Akiharu has a little bit of Yamato in him, a brother protecting his sister, closed off to himself, having undergone a traumatizing incident as a child. But Takuma and Akiharu are the ones who form Omegamon to save Miyuki in the Moral path. Takuma is the one (granted he has different context from the other kids), who actually got to know the real Miyuki. The one who has the most invested in her due to their brief meeting, and the one most invested in saving her, when the others fear she's a lost cause. Conversely, Takuma is the one Miyuki really calls to from the other kids. Takuma is also the one who gets closest to the professor (asides from Shuuji) and gets to start piecing together things, often finding out truths about 50 years ago before the other kids. Aside from Akiharu, Garurumon, Renamon and Miyuki themselves, Takuma is the most involved in that drama. Granted a lot of this is game play, due to being a video game, as with Cyber Sleuth, but it still is worth noting.

Digimon overall as a franchise has a lot of its own archetypes that may be related to common genre archetypes but have their own sort of flavor to them. This is rather typical of franchises like digimon, but I find its still interesting to look at, whether intentional or not. It makes sense that Taichi and Hikari's characters would

Why I think Ryo is the Ken of Survive.

Obviously, all the Survive kids are meant to reflect one of the 8 original Adventure kids. However, the characters aren't completely one to one, as each of the characters are in fact, unique characters in their own right. (Most evident I think is in the fact I'd assign basically every character except for Miyuki a different crest from their adventure counterpart). But they do echo the basic archetype of the role each adventure character played in the series. For the most part this is self explanatory, some more than others.

Takuma is Taichi Minoru is Koshiro (Less obvious but that's a separate point) Aoi is Sora Shuuji is Joe Saki is Mimi Kaito is Yamato Miu is Takeru Miyuki is Hikari

However, Survive has 10 important human/digimon partnerships.

The sole adult of the group, the professor, even bares some resemblance to a rather important "old man" of adventure, Gennai. An old man who knows a lot of their situation, was involved in the "inciting incident" looks after the kids to a certain extent, but is rather unreliable and has amnesia regarding some very important things he should know. Of course original Gennai isn't even really human, and therefore doesn't have a digimon partner, (Jijimon also takes on some Gennai traits imo) but Akiharu I would still say parallels Gennai.

However, Ryo doesn't match any of the original adventure cast. But I think it is fair to say he resembles Ken. Ryo has a worm digimon. Ryo has a family member whose death deeply affected him. Ryo is grumpy and aggressive, while hiding a secretly gentler and hurting side. Ryo is self-destructive, at the cost of his partner.

Ryo can't be Adventure Ken really, because Adventure Ken doesn't really exist. But Ken isn't exactly an 02 kid in the way Daisuke, Iori and Miyako are. A reoccurring theme in 02 is the difference in outlook between the Adventure kids, the Adventure and 02 kids, and the 02 exclusive kids. And so Ken is in no way one of the original Adventure kids, but there is something to be said of the fact that his (executive meddling hellscape) backstory reflects experiences of Takeru, Hikari, more than it does the other 02 original kids. He even has an associated crest. In many ways, Ken is a retroactive Adventure character, without actually being an Adventure character. Ken in the context of digimon Adventure 02 is very much so an example if a character like Takeru had been driven to the darkness, who then had to be rehabilitated by a set of characters with an outside perspective. Really that is what all of 02s Jogresses is really, the new kids helping the more experienced kids deal with their unprocessed issues. Miyako helps Hikari look out for herself, Iori helps Takeru stop lashing out in anger from keeping his emotions hidden, and Daisuke helps Ken see value in his own continued existence.

Which is why I think Ryo is a homage to Ken. It's not the "Adventure Ken" that theoretically exists, the little boy wondering around the digital world with Wonderswan Ryo or whatever did or did not happen in that unreliable backstory, but 02 Ken, the Ken after the trauma, who needs SOMEONE to connect with him to help save him. He's the sole character who is taken from 02 era rather than the first Adventure era. And 02's themes are in this character. Ryo dies in part due to hopelessness and depression. He is unsavable the first playthrough. Unsavable in the initial adventure context. The original context where the focus is on survival and connection with your own digimon. Wormmon couldn't Save Ken alone. just as Kunemon couldn't. Both Wormmon and Kunemon die in desperate attempts to try and save their partners (really from themselves). But Ryo is saved from death when you can manage to become friends with him. When you connect with him, not unlike how Daisuke managed to save Ken. And from there, Ryo manages to save other people (Shuuji) from falling into that same despair, not unlike how Ken tried to reach out to the dark spore kids. It's noteworthy that of the 3 initial endings, the moral route is the closest to the truthful route, but aside from Ryo and Shuuji has one key difference. It ends like the original Adventure did, the kids and their partners separating, while the truthful route has the kids and their partners living together, invoking the 02 ending. While the Harmony and Wrathful routes do also bear a resemblance to 02's ending, just relatively less optimistically, Harmony and Wrathful routes involve the failings of personal connections. The failure to understand each other. Ultimately the truthful route resolves peacefully, even the big bad reconciling with his sister, no longer feeling the need to lash out at others. Ryo is the factor that takes this adventure and adds a bit of 02 to it, 02 in this context being the importance of connection. 02 being what makes the happy ending.

It's not a 1 to 1, after all, all of the characters are different from their adventure counterpart, and take pieces from one another. For example, its Minoru that has the parental divorce backstory, and Miyuki is a protective older sister to the professor, not a younger sister to Takuma, and the Professor is the most curious about the digital world's nature, and is the one with the digimon partner Gabumon. Saki is the one hesitating the most about going home at all rather than being the one to bring it up the most. I'd say Ryo also has elements of Joe in his fear of his partner and for being an unreliable older kid, and Shuuji has elements of Ken in his cruelty of Lopmon, and insistence on authority and desire to measure up against an older brother with whom he has a flawed relationship. Really none of these kids match up one to one with the adventure kids, and that's great, but I think it is fair to say that as far as analogies go, Ryo does draw from Ken.

02 is an extension of Adventure, and despite their differences in plot, theme and character arcs, no discussion of Adventure will ever be truly complete without discussing certain elements of 02 in relation to that, particularly 02s epilogue and what it means thematically. Ryo is a reflection of Ken, and how his story and needs were a reflection of the themes of 02, and how those themes were built off of the themes of Adventure. How Ken needed something that was not as prevalent in Adventure. Naturally, I think the "truthful" story of survive, would have to be a route that includes elements of 02 no matter how faithful it is to other Adventure themes otherwise.

There is something in the fact that instead of Hikari, Tailmon found Vamdemon, dwelling in the very castle that the chosen digimon originated in.

Because of course Nyaromon should have grown up with the others. She should have grown up playing together and waiting for Hikari with others who knew what she was waiting for in why. Tailmon shouldn't have had to grow up to be an adult while the others were still babies.

But if we're going with what ifs and should haves, then all 8 of them should have been at that castle, but with the Agents to teach them about what they were meant to do. With their tags and crests, and knowledge of their meanings. With knowing not just who they were waiting for but why.

In the end, Plotmon found where she was supposed to be, but none of the people who were supposed to be there, were there.

Ah, Precure dance endings. A series staple. Whether you consider the First dance ED to be "You make me happy" or "Ganbalance de dance" or even the very first "Get You! Love Love?!" the point is they've been around for a while. Generally speaking nothing but a simple fun time, but rarely has had anything to do with the show proper. Nothing wrong with that of course, but the very first Precure ED was a bit more than that.

Futari wa, as opposed to every other season, only has the 1 ending. Sure, it changes visually halfway through to accommodate Pollun and the new villain team, but that's it. (Which is more than the OP which doesn't change at all, which is also unusual). But I think people often miss the relevance of the song in between all the less relevant eds, and the iconicness that is the OP.

But the ED is also iconic and a crucial piece of the Futari wa Purikyua experience.

Episode 45, the last episode before shit hits the fan, features this song heavily. This song isn't really my favorite ed, and the episode isn't a particular favorite of mine (Futari wa has so many good episodes), but it utilizes the ed effectively, and the song that you've been listening to all this time hits harder.

Nagisa immediately falls in love with the song. The song speaks to her looking at the lyrics of course its no surprise. But it's not just "song that Nagisa would like". Though I would be remiss if I did not mention the inclusion of sweets in the lyrics. Nagisa loves chocolate. It's the go to simple important part of life for her.

They have the girls sing it. Sung by a chorus, not just Nagisa and Honoka (but they do get solos), but the whole class, many of whom appear in the ED. Because of Futari wa's small main cast the side characters hold a more important role than they do in many future series, so these are characters we know, even if just from an episode. There's a weight to the music being diegetic.

Of course the episode ends sweetly, with Nagisa, Honoka, and the fairies, singing their heart out with the rest of their class. But for a moment that wasn't a guarantee. Nagisa and Honoka being unable to sing with their class highlights the toll that this fight has taken on their normal school lives. They have to fight against someone who fully intends to kill them, and then destroy their loved ones, alone while every one else is.

Made all the more poignant by the subject matter of the song.

First of all, the title "Get you! Love Love!" is in English, and a bit nonsensical in English. But "Love Love" in Japanese, means more "lovely-dovey". It's VERY much so in your face romantic. A word used to describe Mepple and Mipple. The song is about the joy of teenage romance. While I don't really want to call it frivolous, next to world saving it doesn't hold the same weight.

Now, I recognize that may seem counter to my point that the song is important to Futari wa. I mean there's no canon romantic relationship. Closest is Nagisa's crush that she never actually confesses to. But putting aside all of Futari wa's romance elements (which is an entirely different discussion), the lyrics are still very relevant to Futari wa.

The Opening holds the iconic line "even wearing school uniforms we're unbelievably tough" and features scenes of them fighting evil in their school uniforms. The opening is an ode to how badass they are in all aspects of their life.

But the ending is the other side of the coin. It tells us how frustrated they are with the villains encroaching on their everyday life. While I don't speak Japanese, and have seen it translated a couple of ways, the reoccurring "datte yatte ran'nai jan", is either "because you can't make me do this", or "because I can't do this". IDK which is right, but either way, this is in regards to fighting, stress, and trouble, which stands in stark contrast to the opening which is very much so about how much they can and do fight. "For the sake of the earth, for the sake of everyone That's fine but isn't there something that you're forgetting?! Now!" They aren't even being subtle about the Pretty Cure part about the girls lives in the song. How much that they don't want to do it. "My heart is pounding and throbbing like a dreaming teenager An original daily life is something I won't get rid of" The lines of Nagisa and Honoka's solo. The most thematically important lines in the whole song imo. While the importance of the everyday is important in most Precure seasons, it is especially emphasized with Futari wa. The main theme of the story is about how precious day to day things are, and how unfair it is for the girls to have to fight for that.

Because ultimately that is what Futari wa Pretty Cure is about more than anything. I think it's important to view Futari wa Pretty Cure through the lens of a slice of life first. It's tone a lot of the time, focusing on poor grades and unfinished homework, lacrosse, errands, sleepovers and family. A relatively grounded slice of life from the perspective of magical girls. The value of the normal events highlighted by the desperation Nagisa and Honoka have fighting to defend them. The ED highlights it by focusing on the more "frivolous" aspects of the girls lives.

The visuals of the ED are pretty simple, but effective. They showcase the different circles the girls interact with. Their families, their classmates, their clubs and of course the villains. Because of Futari wa's focus on their community, the presence of these characters in the ED is deserved. A fun lighthearted focus on their day to day lives to contrast the OP.

Also, I'd like to point out the ED visuals humanizing the villains. While Futari wa's villains are easily among some of the franchises worst, having the unforgivable flaw of being forgettable, the show doesn't do a completely terrible job of humanizing them. And the ED contributes to that. The dancing of the villains, just being the goofy people that some of them are when not, trying to destroy the world. While I wouldn't call the behavior canonical, it really isn't off base for characters like Gekidrago and Regine. The villains, for all that they are generic, are primarily motivated by their desire to continue existing: the same motivation that drives the Cures. (Gotta love their goofy dance).

Also a guy screams at the end of it. If I have to hear it now so do you.

Fresh Precure is about community, and how community forms support systems beyond the family unit.

Many heel face turns focus on the characters growth. How they come to understand differently, and how they grow into a new person. Setsuna, once freed from Labyrinth actually changes her personality rather quickly, she doesn't spend much time struggling with everything all things considered. Now, I think Setsuna's arc is top tier: her denying her true wants because its different from what she's been told she wants all her life, wanting to be useful to her community but her community not serving her, finding people who care about her and give to Setsuna rather than only take, her guilt for taking the happiness away from others that people have been giving her. But ultimately, it's not so much about Setsuna's personal growth, so much as about how this community rehabilitates an abused girl.

Unlike many other seasons where her living situation would be a bit of an afterthought its front and center here. We get to see all the little things that the Momozono's do for Setsuna, all the little things they get for her.

It's why the toothbrush scene is so important. A toothbrush is such a little thing, but the Momozono's are going out of their way to remember she needs one, to get one for her. And they ask her what kind she wants. The Momozono's are giving her freedom, are allowing her to embrace her own decisions, rather than in Labyrinth where she was manipulated into doing what others wanted of her.

It's not just the Momozono's. It's Kaoru giving her a donut simply because she hadn't had one before. Lucky and Takeshi playing with Setsuna. Miyuki helping support Setsuna when she was feeling pressured to dance. Of course the whole town does this for everyone.

The Cures go and support a little girl in the hospital, both as themselves and as their cure selves. Kaoru looks after the girls and tries to get them to eat when they're overworking themselves. Miyuki helping the girls balance their lives. This is the first iteration where Cure's are truly celebrities rather than their occasional public appearance in Fresh and the public cheers them on accordingly, and even helps in more tangible ways (like offering an expensive training facility).

This is contrasted against Labyrinth who erases individuality in the name of the collective, but where the collective is suffering. Who has no art, no family, no socialization. Where no one offers help unless ordered to. Where everything is for Moebius. And so, the smallest acts of kindness (a donut) have far reaching effects. Because the people of Labyrinth believe they're doing right. That this is the best for everyone. They don't know what happiness is, so when faced against actual it for the first time, as well as actual community for the first time, it crumbles.

But even the individuals in Labyrinth aren't always heartless. Westar has even more of a sense of community than Eas. A desire to give back. However, is loyalty to Labyrinth is stronger. Westar takes Eas leaving personally. He's often cast aside, underestimated. Westar's a goofy sort of villain, but more than that he's a victim just like Eas and Soular. He thrives once he gets to leave. He thrives in a community that gives him the support he gives others.

I think it's no coincidence that this season has the first cure with divorced parents. We never see her father, but we know he's not completely absent from her life. She still has a close relationship with her brother. This nontraditional family dynamic I think sets the stage for Setsuna later on, who is welcomed into the Momozono family. She's family even without blood.

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I love Beyond as an AU of the Kizuna timeline etc., because Beyond is the first new content since I've become a digimon fan that feels like Adventure. I dont hate Kizuna, I definitely have some issues with it but there's also a LOT I appreciate. Admittedly, when I say Beyond feels like Digimon Adventure, I kinda literally do just mean the character designs, art style (when was the last time we really saw Adventure's digital world? Tri's digital world lacked Adventure's stylization), and the main plot idea, (digidestined being targetted by militaries) which feels like a natural bridge between 02 and the epilogue.

That's almost certainly in part because, it is just a short music video, so that's all there is in it. Which means it doesn't have the room in it to tell me things that I will disagree with. It does raise a lot of questions, but nothing specific. Like why is Takeru in what looks like the dark ocean? There could be 10000s of explanations, and a lot of them would make sense so there's less need to worry about specifics. It also doesn't promise to answer those questions, having been marketed from the beginning as a standalone thing. Its a very different beast from a stand alone movie which requires a clear story arc and character drama that has to resolve quickly, so I'm not disparaging Kizuna and 02tb for NOT diving into that kind of plot, but acknowledging that it made it more difficult for me to care.

A lot of post 02 adventure content has addressed the need for movie content by introducing new characters/conflict that they can resolve in the limited runtime rather than taking from pre-existing threads which does make sense for the format but does leave those stories feeling superfluous. Kizuna and 02TB also take the epilogue for granted rather than seek to show the progression towards it. Not to say there isn't any recognition of the inevitable ending but that this underlying thread takes a backseat to more specific conflicts within the setting of a world approaching a digimon partnership singularity.

I don't think its necessarily a bad thing that they try to use the audiences understanding that the epilogue is canon as a way to filter the story through to make you question the things the characters tell you. Like obviously "digimon disappear when kids become adults" and Taichi and Yamato's separation can't be the whole story if the epilogue shows us that it won't stay. So we are theoretically driven to read between the lines and look for the discrepancies and clues about what IS going on. But it IS extremely frustrating to have mysteries raised but not show the resolution for a 20 year old show, especially after tri. wasted a lot of audience goodwill on that kind of thing.

I also think a huge part of what makes Beyond feel more like Adventure is the lack of adhesion to real life for the setting. 02 took place 2 years into the future from when it was written. Not significant amount of tine, but like 9/11 happened between when the show was written and when it was set. It and especially the epilogue were written speculating about the future that they couldn't really predict. And so tri. Kizuna and 02TB which were all written after the time they take place all try to emulate the real world past, invoking nostalgia of that time period as well, when the world of 02 was already going in a different direction from ours. So I think naturally a world where the timeline has diverged more strongly than from our real timeline would reflect in things like fashion and societal behavior, and even the characters adhesion to the norms that exist.

This of course shows in things like the cell phones and Sora's fashion. I don't think Sora wearing typical Japanese adult women's fashions is at all inaccurate to her character, particularly in the timeline/world those entries present (ie more similar to irl). Similarly Ken and his long hair; long haired Japanese high school boys isn't particularly realistic to the fashion norms of our world, but it IS in line with Ken's fashion choices in 02 and the epilogue. Just two different approaches to the kids designs.

But I personally ultimately do like the Beyond outfits more, because they feel more like a progression between 02 fashions and epilogue. And also I don't really have nostalgia for the 2000s-2010s, much less in Japan. But this also extends to things like character arcs, where I don't think that it's not possible for the chosen children to be plagued by the kind of doubts we see them suffer from in recent iterations, and those doubts make for continued stories for them, but I don't think that's the only potential future for them. So seeing a Sora who is happily flying freely in the digital world makes me happy (and for me calls to mind her Best Partner duet).

I do think I would love a novelization as an elaboration to know what the vision for Beyond is, but I'm otherwise so burnt out Adventure that I don't want anything higher budget to tell me what happens. It's highly possible that any further elaboration on Beyond (such as a novelization) would tell me things that I don't believe. The thing about a show that's had such a long-standing presence is it doesn't really belong to anyone in particular. Shows like Digimon Adventure are made by a group of people at a particular time, so no one person, or even group of people from the crew are the one authority on the story. It's impossible to truly have one true canon continuation of the story, but to me Beyond feels at least somewhat close.

I do appreciate the inclusion of Meiko (&Lui) as sort of a assurance this isn't a pure rejection of other official interpretations of post-02 content. That stuff isn't without merit. But beyond is just one of the creators visions on the subject filtered through music video time constraints rather than big budget movie constraints. Just one potential path.