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If there’s one thing about Dokidoki! Precure that really stands out, it’s the characters.
You might be thinking, “But isn’t that true for just about every other Precure you’ve reviewed?” It’s certainly true that the characters tend to be a substantial part of Precure, and with its “enemy transforms people’s selfish desires into monsters whom the heroines must fight with the power of magic sparkles and martial arts action” premise Dokidoki! Precure is pretty typical for the franchise. However, with respect to its heroines, Dokidoki! Precure differentiates itself from its predecessors in that it really pushes the concept of its main cast as role models and targets of wish fulfillment. The girl of Dokidoki! Precure are larger than life, even before they transform into magical girls.
Take Hishikawa Rikka, Cure Diamond. She’s a level-headed student council vice president, the best friend of main character Aida Mana, and the top student at their school. Her dream is to become a doctor, and the fact that she’s already studying medicine in middle school is pretty amazing. In terms of ambition and power, she’s already at a level higher than most previous Precure characters, who are usually just the ace of their athletic teams or club heads or whatever. She’s also in a way the least impressive of the Dokidoki girls.
Left to right: Kenzaki Makoto, Yotsuba Alice, Aida Mana, Hishikawa Rikka
Mana, Cure Heart, is student council president. She also gets high grades (though not as high as Rikka), and is sought after by all of the sports clubs because of her all-around amazing athletic skills. On top of that, Mana is relentlessly energetic yet cool under pressure, able to handle the work of ten people without breaking a sweat. Mana is perhaps the most effective leader in Precure history, and yet even she’s no match for Yotsuba Alice (aka Cure Rosetta), who is the kind-hearted heiress of a powerful business conglomerate, well-versed in a variety of martial arts, and is basically what you’d get if Daidouji Tomoyo mega-evolved into Batman (complete with badass butler). And even that arguably pales in comparison to Cure Sword, the last surviving warrior of a kingdom destroyed by evil and greed, who has escaped to the human world in the guise of Kenzaki Makoto, pop idol sensation, while bearing the burden of having to restore her fallen homeland.
All of the central characters in Dokidoki! Precure are outstanding beings, and the degree to which the anime is able to live up to that standard is essentially what dictates the strengths and weaknesses of the series. Dokidoki! Precure follows a pretty typical children’s anime pacing, where there’s a lot of episodic content and then a swell of story during the end of each approximately 13-episode chunk, and although there are plenty of episodes which explore the characters’ impressive qualities, there’s a sense that they could have done more. Alice is the biggest example of this, as every episode about her ends up being amazing but are also few and far between. Similarly, I thought Makoto’s reverse-identity (her real name is Cure Sword) wasn’t portrayed with as much consistency as the concept could have handled.
Also I really wished they kept using the awesome bows from the middle of the series, perhaps the most impressive Precure toys ever in terms of giving young viewers the chance to wield things that look like actual weapons. …Maybe that’s why they went away.
I’ve seen some people be critical of Mana, saying that she overshadows the other characters, but I never found this to be the case. The issue isn’t that Dokidoki! Precure devotes too much to Mana, or that Mana is somehow too perfect to be a protagonist, but that many episodes are designed to be formulaic and self-contained to a fault. If you look at the episodes which are devoted to the greater narrative, they do an excellent job of pushing things forward, and by the end the story wraps up nicely with a conclusion unprecedented in Precure.
While I enjoyed watching every week, Dokidoki! Precure ends up being one of those shows which benefits from having a list of “important episodes,” which shows in how well it concludes. At the same time, if you’re comfortable with kids’ show pacing, it’s not much of an issue. Dokidoki! Precure is reliable as an introduction to the franchise as a whole, while its different take on characterization can be refreshing for those already familiar with Precure.
PS: The first ending of Dokidoki! Precure is actually now my favorite Precure ED ever. Maybe it’ll be yours too.
A trailer for the new Precure crossover is out, and it reveals that they visit the Dream World where you get to live out your dreams. The above screenshot shows a bunch of the main heroines and their aspirations, and they’re mostly in line with what we know about them already.
- Saki wants to be a baker, like her parents.
- Nozomi wants to be a teacher, just like mascot sidekick/love interest Coco.
- Love wants to be a dancer, which we see her work on throughout her series.
- Tsubomi, who loves flowers, wants to be a florist.
- Hibiki wants to be a concert pianist, which is part of her general character arc in her series.
- Miyuki wants to create picture books, which is one of her defining features.
- And last but not least, Mana wants to be PRIME MINISTER OF JAPAN.
I know everyone else’s dream jobs are cool and all, and full of effort and wonder and something we assume they’d be amazing at given their never-give-up attitudes, but I feel like Mana’s is on another scale. Of course, just like the others it’s an extension of her identity in her own series (Mana is class president in Dokidoki! Precure), but even so that is some serious ambition for a girl in middle school, or a boy for that matter. She’s even able to imagine being selected by the National Diet.
The more I watch Dokidoki! Precure, the more I think Mana is probably the best true “leader” character out of all the protagonists in Precure. She’s not my favorite in her series or in Precure as a whole, but just from this trailer she impresses me even more. On some level, I wouldn’t be surprised if they actually end her series 30 years in the future and she actually is Prime Minister.
I was recently asked about why I don’t seem to like Puella Magi Madoka Magica nearly as much as other anime fans, bearing in mind the degree to which the show seems to garner an extremely devoted, I might even say evangelical fanbase. “Have you not seen Madoka Magica?” they ask.
While I think it’s quite a good show, even excellent in a number of respects, my opinion is that unlike so many others Madoka Magica did not open the world to me. It is not the greatest magical girl anime I’ve ever seen, let alone the greatest anime, and rather than showing me that it’s possible for such a genre to be full of rich depth and interesting ideas it just reinforced my already existing beliefs in that regard. So, yes, an excellent show and a fascinating twist, but something I always knew was possible (in a good way).
What I’ve kind of noticed is that the people who seem to be the most awestruck by Madoka Magica are the fans with little experience actually watching magical girl anime, and so when they discuss what makes the darkness of the series so special, it always feels less like people are talking from actual experience with the genre and more with just their idea of the genre from watching some Sailor Moon. Or if not Sailor Moon, their experience is comprised primarily of watching the genre exceptions, such as Revolutionary Girl Utena and Magical Girl Lyrical Nanoha.
This is not to deny the legitimacy of other people’s watching experiences, as telling someone that they don’t have the right to enjoy a show without x or y prerequisites is pretty ridiculous. However, I feel as if many people who think the world of that show and have an opinion on how it’s done so much with the magical girl genre, while in some ways right, have only experienced the “darkness” of mahou shoujo without being familiar with the “light,” in other words the shows which manage to achieve genre highs without falling into themes like subversion or dark parody. Even in the past decade or so you’ve had shows like Heartcatch Precure!, Ojamajo Doremi, and Cosmic Baton Girl Comet-san which are able to achieve a lot without flipping conventions all the way upside down.
It doesn’t take a Madoka Magica to realize the potential of the magical girl genre, which is something I hope more and more people come to learn.