You are currently browsing the category archive for the ‘pretty cure’ category.

precure5gogo-team

The original Yes! Pretty Cure 5 was in certain ways a radical departure back to the familiar. Whereas the previous Pretty Cure shows had focused mainly on duos, Yes! Pretty Cure 5 went with the five-girl sentai team, reminiscent of Sailor Moon. In execution, it ended up being neither a better or worse decision in that each character still received plenty of the spotlight, but what really made the series stand out to me were the unique villains (a literally evil corporation with company hierarchy and everything), as well as a dedication to showing its heroines eating that surpasses even the likes of K-On!

The sequel, Yes! Pretty Cure 5 Go Go, brings a fresh coat of paint that keeps with the spirit of its immediate predecessor. Right from the first episode, the new outfits are much improved from the bizarrely beige/yellow costumes from the previous series, and the attacks are flashier and more impressive: Natsuki “Cure Rouge” Rin’s “Pretty Cure Fire Strike” involves kicking a soccer ball made from flames, for example. The characters’ personalities still provide plenty of humor and opportunities to talk about food, as well as some nice moments of development. The new characters bring excitement and intrigue, especially the mysterious Milky Rose, who comes to save the Cures but initially positions herself neither as ally nor enemy, and eventually starts shooting rose-shaped clouds of shrapnel.

precure5gogo-lemonade

Overall, Yes! Pretty Cure 5 Go Go is actually a sequel that improves on the original, as rare as that is.  The show takes the time to how far the characters have come from the previous series, like when protagonist Yumehara Nozomi (Cure Dream) ends up tutoring Rin’s younger siblings and introduces to them her unique approach to learning. It also continues to do a great job of just showing how the characters are more than two-dimensional, like how Kasugano Urara (Cure Lemonade) is clever yet surprisingly naive at times, and how Akimoto Komachi (Cure Mint) takes her writing very seriously. That said, I can’t help but feel it lost a couple of important gems in the process.

The first is that the new group of villains, even if some of there are individually interesting, aren’t quite as memorable as the Nightmare Corporation from Yes! Pretty Cure 5. While an evil museum collector is a nice concept, and his assistant Anacondy brings in some of that much-loved evil bureaucracy (you can’t be truly evil until you’ve mastered evil paperwork), it just doesn’t feel quite on the same level. The second oversight is just a lack of Masuko Mika the school reporter, whose insatiable appetite for journalism and a desire to find out the secret identity of the Cures led the way to some of the funniest and most heartfelt episodes of the previous series. In fact, her doppelganger Masuko Miyo (intentionally a reference to Mika) probably gets more appearances in HappinessCharge Precure! than she does in Go Go.

If someone liked Yes! Pretty Cure 5 it’s hard to think they’d vehemently dislike Yes! Pretty Cure 5 Go Go, and I even think the sequel can be viewed on its own without any prior exposure to Precure in general. That said, I do think that watching the first series can help, as it does a much better job of showing where the girls came from and how they developed over the course of their narrative.

precure5gogo-spinylobster

There are two things I want to mention at the end. First, one of the most memorable gags for me is the gag above, which reminds us that Minazuki Karen (Cure Aqua) is indeed extremely wealthy. Second, if anyone ever wondered who the animators’ favorite character was, the exquisite fight scenes with Kasugano Urara (Cure Lemonade) removed any and all doubt.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

After a five year hiatus due mostly to not be in the United States, I am making my triumphant return to AnimeNext in Somerset, NJ from June 12-14. I also have two panels I’ll be running alongside the Reverse Thieves’ Alain.

Precure Party

Friday 2:15pm -3:15pm BW Panel 6

We’ll be talking about the crazy enormous Precure franchise that’s now 11 years old and even more popular than Sailor Moon ever was in Japan. Whether you’ve never heard of Precure or you’re a die-hard fan, we think you’ll have a great time seeing magical girls punch monsters in the face.

 

Giant Robot Romance: Boy Meets Girl Meets Mecha

Sunday 11:15-12:15pm BW Panel 6

Love triangles and star-crossed lovers are a common trope of giant robot anime, but this panel focuses on the series where romance is of central importance to the story. See how love has evolved over time in the world of mecha. We’ll be featuring shows such as Macross, Aquarion, and more!

 

Also, I’ll definitely be at this panel if you want to chat in person

 

Kill la Kill, Inferno Cop, and [Redacted] with Studio TRIGGER

Saturday 9pm-11pm Panel 1

 

See you there! I hope we can all sing the Inferno Cop theme together. Also, if you’re cosplaying Fight Club Mako, I’ll give you a high-five.

Mad Max: Fury Road has received immense praise from critics like few films, both of its type and in general, have ever received. With an astounding 98% fresh rating on Rotten Tomatoes and a long and difficult production history, it’s the kind of movie that I would say was easily worth the wait, had I actually realized it existed prior to opening day. Even then, I didn’t even see the movie until a week later, when half the people I follow on Twitter repeatedly sang its praises and articles talked about just how well-executed a film it is, visually, conceptually, and in terms of narrative.

This would normally be the point where I throw in a “however,” but I really can’t. Mad Max: Fury Road lives up to the hype and then some, even to someone like myself whose only knowledge of Mad Max is that it’s a heavy influence on Fist of the North Star. As a newbie to the Mad Max universe, I was taken in by a story that’s fun yet profound, the creative action sequences that give a true sense of continuity as well as cause and effect that never leaves you confused as to what’s actually going on (no shaky cams here), and a cast of characters that are surprisingly largely sympathetic. Mad Max: Fury Road leaves a lot up to the audience to read between the lines, but gives enough so that interpretations aren’t shots in the dark.

One major aspect of this movie that’s gotten quite a bit of attention is that its story can be interpreted as being quite feminist. On the surface this can be surprising, given that the aesthetic of the Mad Max world is centered around machismo cranked up to 11. Arthur Chu at the Daily Beast argues that Mad Max has always been critical of violent, belligerent masculinity and that the greater presence of female characters able to take a broader perspective on history in Fury Road is what finally make this directly obvious. Again, I have no experience with the franchise so I can’t agree or disagree, but along these lines I think there’s an additional component to the movie and its use of female characters that gives the movie a kind of feminist foundation.

The world of Mad Max is a post-apocalyptic wasteland, where water and other supplies are scarce and death is a common sight. In Fury Road, the antagonist Immortan Joe is the cult leader of a religion that combines emphasis on vehicles and technology with Norse mythology, and the result is a bunch of pale zealots spreading violence and destruction wherever they go. Deserts, blood, and bullets are what make up the environment, and what Fury Road does is say, “Well, of course women can be gritty, seasoned veterans of a war-torn Earth.” In this way, it’s kind of like how the anime series Precure assumes as a matter of fact the immense power of its female characters, though Mad Max: Fury Road takes it a number of steps further by removing much of the glamor, and being very deliberate in where the remaining bits of beauty and eroticism come up.

Imperator Furiosa, played by Charlize Theron, is just as much a fighter as the eponynous “Mad” Max, and the elderly female nomads who appear later show their decades of experience fighting both people and their harsh surroundings. Even the five wives of Immortan Joe, characters crucial to setting off the main conflict of the film who were locked away and are highly sexualized (what else would women selected by a cult leader specifically to bear his children be?), but they also show their desire to learn more about the world they were hidden away from, and the fact that their skin is so perfect and their clothing barely hides anything is more a contrast with the world than the sole image of women in the film. The film features women participating in this classically hyper-masculine setting as men typically would, and in doing so argues that it need not be considered a “man’s world” at all.

Another interesting point about the five wives is that, while their original purpose was to be sex slaves, this also affords them the power of knowledge: outside of Immortan Joe’s own family, they are the only ones who know that he is not an immortal god descended from Valhalla, but merely a weak, decrepit old man whose seemingly powerful appearance is a lie. Vulnerability is a persistent theme in Mad Max: Fury Road,  from the fact that Max is haunted by the memory of his dead daughter, to the fact that one of Joe’s fanatical followers, Nux, keeps ending up in different situations that force him to confront his own identity even as he struggles to please his god-king.

The story on the internet is that men’s rights advocates are upset at Mad Max: Fury Road, and while I don’t know how far that stretches even within that particular community, I can see why it might be a cause for alarm in that world. The film utilizes a setting that classically exploits women and views them as play-things (though that’s not to say such stories are inherently bad), and flips it on its head. All the while, the sheer sense of action and excitement is of a level higher than probably any movie in recent memory, so it’s not like focusing on female characters detracted from the presentation. If anything, it’s made Mad Max into something that can bridge generations.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

Magical Angel Creamy Mami

I recently learned (thanks to Japanese popular culture scholar Patrick Galbraith’s new book The Moe Manifesto) that Magical Angel Creamy Mami is not only an influential magical girl anime but the very first anime about an idol. In other words, idols and magical girls have been conceptually tied to each for decades now. You can see this not only in the the fact that you’ll get the occasional idol + magical girl still (Cure Lemonade and Cure Sword in the Precure franchise, for example), but the fact that the latest competitors to magical girl anime have been idol-themed shows, such as Aikatsu! and Pretty Rhythm, both of which feature magical girl-like transformation sequences. I think Creamy Mami is especially significant here because the majority of magical girls prior to it were more “witch girls,” characters who already have magical powers without the need for transformation and use them for mischief.

Of course, the common trait of magical girls and idols is that they both feature cute girls, and with idols especially they’ve always occupied a position where they are innocent yet sexual, and I don’t mean that necessarily in an “idols are creep magnets” way. Both men and women respond to idols for a variety of reasons, and a lot of it is tied to the image they present. They can be somewhat literal idols for girls and targets of affection and desire for men, and this can be seen in how idols are used in anime. While Creamy Mami built an unexpected older male audience, for example, Superdimensional Fortress Macross reveled in it by combining the idol with the extremely prominent aspects of science fiction and giant robots. The 1970s brought forth a lot of giant robot anime, and the 1980s saw the time when those who became fans of robots and SF began creating their own works, as seen with Kawamori Shouji and Macross and later Studio Gainax and their Daicon III and IV animations. Many of these creators said, “I like SF, and I like cute girls,” and created a defining combination of anime where mecha and other forms of fantastic technology are mixed with cute girls.

Daicon IV

It can also be argued that the girl in the Daicon animations is herself a magical girl, but the connection between magical girls and science fiction is especially evident in the 1990s and the advent of the fighting magical girl, most notably with Takeuchi Naoko’s Pretty Guardian Sailor Moon. While Sailor Moon does not feature giant robots, it’s undoubtedly influenced by the Super Sentai (i.e. Power Rangers) franchise with its own transformation sequences, color-coded costumes, and monster of the week fights. Super Sentai is not only traditionally marketed at boys (though this too changes as they eventually start trying to appeal to the “moms” market), but it’s also more broadly tied to tokusatsu, the costumed fighters and rubber monsters genre that more or less literally means “special effects.” What I find significant here is that when it comes to categorization of genres in Japanese, you often see “SF/tokusatsu,” tying things back, at least somewhat, to science fiction.

Pretty Guardian Sailor Moon

Moreover, the manga group CLAMP have been fans of titles like JoJo’s Bizarre Adventure, Saint Seiya, and Galaxy Cyclone Braiger, and have produced titles such as Magic Knight Rayearth, which features magical girls in a swords-and-sorcery world who also gain the power to summon giant robots. “Rayearth” itself is the name of a giant robot, thus making the title itself reminiscent of the naming scheme of many mecha anime such as Mobile Suit Gundam or Super Electromagnetic Machine Voltes V. It’s as if these female creators have taken the works that were made “masculine” by Kawamori, Gainax, and others, and in a sense re-feminized them in a process that created something new and exciting.

If we’re talking influences though, Sailor Moon and CLAMP works such as Cardcaptor Sakura are huge in and of themselves, and their shadows can be seen in a number of anime from the 2000s on. Sailor Moon basically transformed magical girls to such an extent that many assume that fighting magical girls have always been the norm, and Precure has come up as a spiritual successor that has lasted even longer than Sailor Moon. The protagonist in Sunday without God practically is Cardcaptor Sakura protagonist Kinomoto Sakura, and Magical Girl Lyrical Nanoha, which has as its primary audience older men, clearly takes a lot from Cardcaptor Sakura as well. In the case of Nanoha, it also incorporates an increasing level of science fiction from one series to the next, as the franchise goes from technology-based magic staffs that shoot lasers in battles reminiscent of Mobile Suit Gundam to spaceships and interdimensional travel. Once again, the magical girl as cute girl is tied to SF. As for idols, they not only haven’t been forgotten, either in real life or in anime (as seen with series such as Love Live! and the aforementioned Aikatsu!), but Kawamori makes his return in the form of AKB0048, a series that not only features idols as magical girls of sorts both piloting and fighting giant robots in a story that spans a galaxy, but is directly based on one of the biggest real-world idol acts in Japan today.

AKB0048

It’s as if magical girls, idols, and SF have been doing a song and dance for years and years, changing partners along the way but always being drawn to each other. They’re seemingly tied together by the fact that just a few tweaks to either appeal to a male or female audience more, while the fact that people will not necessarily stay within the genres or types of entertainment that they’re “supposed” to remain with. Cuteness is a versatile tool that at times reinforces societal and gender norms while other times becoming a tool to defy them, and this continues to influence anime to this day.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

cureprincess-gunblow

Once again, I’ve sat down with Alain from the Reverse Thieves to talk anime. This time, we discussed the end of HappinessCharge Precure! You can also hear our thoughts on the overall quality of the series, as well as how it stacks up to previous anime in the Precure franchise.

Check it out here.

 

In Episode 23 of HappinessCharge Precure!, the character Cure Fortune reveals a new attack: Precure Oriental Dream. Cure Fortune appears in a Middle Eastern-influenced outfit and performs a dance that causes the enemy minions to fall over. Upon seeing this, I made the following tweet.

I was making a reference to a seminal book in post-colonial studies, Edward Said’s Orientalism from 1977. In it, he famously argues that the “Orient” is not a neutral description of an area of the world, but a conglomeration of various cultural, philosophical, academic, and imperialist modes of thought and action that position the “East” in such a way so as to define the “West” as superior.

That said, this is not me trying to demonstrate my knowledge. Instead, what I would like to point out is the fact that, as important as I’ve known this book is, I’d still never read it, and it was only after making the joking tweet that I decided to actually seriously sit down and look at Orientalism. Seriously, it wasn’t the fact that I should be aware of how my growing up in the United States while being Asian might have influenced my perception of Asia, nor was it being in the company of intelligent people who have used this book as the background for their own investigations into cultural perceptions that prompted me to open it up. It was a dumb joke I made on Twitter while watching a magical girl anime.

I’m not sure if I’m an awesome or a horrible human being.

With its combination of cute characters, kid appeal, and detailed fighting scenes, the Precure metaseries is presently the most popular and prominent magical girl anime. Though each series has its own share of unique features, one constant that always impresses me is the approach Precure takes to showing strength in its heroines.

When it comes to depicting strong female characters, there is a lot of media out there which relies on some sort of conflict revolving around a character’s gender. Confronted with a sexist/condescending/ignorant adversary, the idea is that the girl then shows what she’s made of and proves her equality/superiority. This is not inherently a problem, and there are many examples out there which make such scenes empowering, but there are also many cases where this becomes lazy or uncreative shorthand for conveying “girl power” as a way of achieving the bare minimum of inspiration.

Precure completely circumvents this issue by depicting its heroines as capable in a way where gender doesn’t really matter. Villains will mock them for inexperience, or talk about how hopeless they are for struggling, but the fact that they are girls and not boys is never really considered. When confronted with the question of whether or not girls can be strong, Precure simply says, “Of course they’re strong, why is that even a question?”

The gradual building of inner strength and emotional resolve in Heartcatch Precure! is the obvious example, but let’s instead take a rather stereotypically feminine-looking character such as Kise Yayoi (aka Cure Peace) from Smile Precure! Yayoi can be described as a crybaby who’s full of enthusiasm but lacking in confidence, a point which the villains will constantly bring up to taunt her. In regards to strength, Smile Precure! does two things. First, it provides four other girls to show how crying is not just something girls “do,” but something specific to Yayoi as an individual person. Second, it has Yayoi prove that being a crybaby doesn’t mean you’re incapable, it just means you can be capable while also crying a lot. Even with a character such as this, where it wouldn’t be surprising to see a show  convey her as “strong, for a girl,” Yayoi’s gender is never the issue.

This is not to say that Precure is devoid of traditional notions of femininity, as other signature features are brightly colored frilly outfits and cosmetics/accessories-based merchandise, not to mention the rare romance. With respect to the potential and capability of of girls, just as there’s no need to spend time in a film or cartoon to show that the sky is blue or that fire is hot, this approach treats the existence of strong female characters as such an obvious non-question that it becomes capable of normalizing the very notion that girls are strong. Without the need to “prove” anything, it can tell stories without being bogged by the classic obstacle that is the gender-centered confrontation.

Recently,  Dokidoki! Precure revealed all of its main cast and their transformations. In seeing comments about them, I’ve noticed that the transformation for Cure Sword (pictured above), has received somewhat less fanfare compared to the others because it’s not nearly as fanciful as the others. When you look at the Makoto/Cure Sword sequence, it really does lack many of the flourishes of the other Cures, but rather than this being simply a less impressive transformation I do think that the simplicity both in the “camera work” as well as the small amount of details is intentional, as it gives a better sense of Cure Sword’s character.

curerosetta-outfit curesword-armsraised
(All gifs taken from http://lemedy.tumblr.com)

Cure Sword is different from the other Cures in Dokidoki! in that she is a seasoned warrior familiar with being a Precure. Just the fact that she stretches her arms above her head and lets the costume simply form over her is reminiscent of someone just putting on a standard and familiar uniform. When you compare that with Cure Rosetta’s playfulness and spring in her step as she transforms, it becomes especially obvious.

Makoto’s change into Cure Sword is thus rather straightforward. While other girls’ hairstyles bob and flow tremendously, Makoto’s barely does so. And where the other girls move as if they’re dancing while announcing their names, further giving that feeling of excited performance, Cure Sword slashes at the air, giving the impression of a serious fighter.

curediamond-posecuresword-slash

The thing that really differentiates the Cure Sword transformation from the rest of the Dokidoki! team is simply the fact that, unlike the rest of them, she has a glower on her face pretty much the entire time, only changing her expression into a smile during the final team pose. When put side by side with the other Cures, it really makes her stand out, and along with the lack of movement in her tranformation it becomes indicative of her more serious personality.

Makoto is not the first character in Precure to have a stern look on her face as she transforms, as Cure Moonlight’s features a similar expression, and much like Cure Sword, Moonlight’s transformation appears more efficient than the others’ in Heartcatch Precure! There is still a difference, however, and I think the key factor to consider is Makoto’s origin. When you look at the transformations of other characters in Precure, including Dokidoki!, it’s as if they’re undergoing a metamorphosis. Even when you look at the characters who are from other worlds like her, such as Milky Rose, Cure Passion, Cure Beat, and Cure Muse, they take on a new identity by transforming. Makoto, however, is simply returning to her true self. Rather than being a normal girl who becomes a warrior, she is a warrior who disguises herself as a normal girl.

When I look at Smile Precure! in hindsight, I feel like its status as a hit was almost inevitable. The 9th entry in the mega-popular Precure franchise, it’s in many ways a return to the tried-and-true, but it ends up pulling off those well-worn aspects with such confidence and excellence in execution that it never really comes across as stale.

The premise is typical magical girl and typical Precure: Hoshizora Miyuki is a girl who loves both fairy tales and spreading happiness, and when her family moves to a new town she not only makes a bunch of new friends but ends up encountering Candy, a young fairy from the land where all fairy tales come from, Märchenland. Miyuki turns out to be one of the legendary warriors capable of saving Märchenland from the dreaded “Bad End Kingdom,” and so becomes the pink beam-firing Cure Happy. Later, she’s joined by her friends, the quick-talking Hino Akane (Cure Sunny), the shy but imaginative Kise Yayoi (Cure Peace), the straight-forward Midorikawa Nao (Cure March), and the graceful Aoki Reika (Cure Beauty).

The simple mix-and-match character design philosophy sometimes (and somewhat erroneously) referred to as “database” character design is quite easy to write off as inherently lazy or artless, but Smile Precure! shows that there is a strength to being able to convey characters so succinctly. For quite a few people I know, Smile was the first Precure series they really got into, and though the reasons might have differed, in the end it all boils down to a cast of characters who each possess an immediate and unique appeal which stays consistently strong throughout the series. While it might not have the inspiring feeling and depth of character development of Heartcatch Precure! or as much rough-and-tumble action as the original Futari wa Pretty Cure, what Smile Precure! does, better than any other entry in the franchise for the most part, is give each of its characters an extremely vibrant and magnetic sense of presence.

Thus, even though Candy of all characters gets the most development in Smile Precure!, the robust representations of the entire cast allow the show to place them in all sorts of Silver Age superhero comics-level wacky situations, from turning invisible to getting lost in Osaka to transforming into a giant robot, and have it be as memorable as the rarer episodes of heartfelt personal exploration and growth. It also helps that the villains of the series are equally fun. Derived from recurring antagonists in fairy tales, the werewolf Wolfrun, the red oni… Red Oni…, and the witch Majorina humorously approach the task of being up to no good with such carelessness that I think they could possibly carry a show all by themselves. Rounding out the villains is the masked Joker, who is menacing enough to give the story an injection of seriousness when needed, and whose appearance usually signals an upping of the stakes.

In many ways, Smile Precure! feels like a more refined version of Yes! Pretty Cure 5, and not just because of the obvious similarities (five-man team with the same color scheme and roughly comparable personalities). Smile has the same type of fun and silly character dynamic as Yes! 5, but brings to it those stronger individual characterizations, and adds to the mix a better design sense, more consistent art (especially when it comes to the action), and stronger comedic timing. The places that Smile feels a little weaker are that sometimes the interactions aren’t quite as clever as Yes! 5, the humor of the characters is more reactive than active, and the conclusion (which is pretty similar) isn’t quite as satisfying. That said, I would dare wager that anyone who enjoyed Yes! 5 would get into Smile as well (unless you like Cure Lemonade so much that Peace is a poor substitute), though I’m not sure if the opposite is true.

Also somewhat similar to Yes! 5 is the fact that some of the more minor characters have a surprising amount of popularity. In the case of Yes! 5 it was the handsome princes who were really mascot characters, and for Smile it’s the Precures’ moms. Go figure.

Smile Precure! isn’t darkly experimental, nor is it a representative pinnacle of where the very concept of a magical girl anime can go. Its presentation is mostly conventional, and its similarities to previous shows, especially within its own franchise, are numerous. However, Smile Precure! also has a level of polish that allows it to extend its appeal beyond its expected audience. It’s no Heartcatch (admittedly an incredibly unfair benchmark), but overall its characters and just sheer fun factor makes for a memorable show that’s very accessible and rewarding in its own right. It wouldn’t be so bad to introduce people to Precure through Smile Precure!

I was originally going to make my next Precure review about the recently-concluded Smile Precure!, but because of its many similarities to Yes! Pretty Cure 5 I thought it would be better to talk about that one first so that when I do get around to Smile you’ll know where I’m coming from. Do keep in mind that I haven’t seen the sequel, Yes! Pretty Cure 5 Go Go, all the way through yet, so this review is “incomplete” in that sense.

Yes! Pretty Cure 5 comes from the time when the official English still demanded that you refer to it as “Pretty Cure” in spite of the Japanese pronunciation, and it’s the first series in the franchise to step away from a pair oriented cast of main characters and do a full-on Sentai/Sailor Moon-style five-man team. As the story goes, one day an energetic girl named Yumehara Nozomi encounters a small mascot creature named Coco, a prince who asks her to become a legendary warrior and help restore his kingdom, which had been destroyed by an evil organization called “Nightmare.” Nozomi agrees and becomes Cure Dream, and is later joined by the athletic Natsuki Rin (Cure Rouge), the idol Kasugano Urara (Cure Lemonade), the gentle Akimoto Komachi (Cure Mint), and the intelligent Minazuki Karen (Cure Aqua), as well as Coco’s best friend and fellow prince, Nuts.

Out of all the Precure shows, Yes! Pretty Cure 5 ranks as one of the least visually impressive. Its animation is frequently awkward and off-model, and the transformed costume designs are awkward and unmemorable, but Yes! 5 is able to make up for those issues through really, really genuinely fun character interactions and antics. The five Cures all have dynamic characterizations, and seeing their personalities bounce off of each other is simply a joy. This even extends to the side characters, especially the school newspaper’s reporter, Masuko Mika (above), and her infectious Lois Lane/April O’Neil-like desire to get the scoop on the Cures.

Because of how entertaining the lunch-time and after-school banter can be, I sometimes refer to Yes! Pretty Cure 5 as the “Real K-ons, ” a comparison all the more appropriate because they girls are shown eating all the time. Four out of the five Cures have huge appetites and/or are obsessed with sweets, and the only one left out, Komachi, is the daughter of traditional Japanese candy maker. It makes for a show where just seeing the five girls hanging out at school is in many cases far more engaging than the action scenes, something which is often the opposite case when it comes to Precure.

That said, when the two halves of talky comedy and action come together, the result can be some incredibly solid episodes. My favorite example is when you find out that Rin (“the red flame of passion”) and Karen (“the blue spring spring of wisdom”) don’t get along quite as well as the others, but when a villain tries to use their lack of cooperation against them, it actually backfires: their rivalry ends up egging each of them on to perform even better, ironically improving their overall teamwork. Smile Precure! has a similar episode but the conclusion isn’t nearly as hilarious. Also, Cure Aqua takes a lot of her attacks from pro wrestling.

Speaking of the villains, Nightmare may be my favorite antagonist group in all of Precure because it actually runs itself like a corporation, albeit one inhabited by otherworldly monsters. You have the CEO, who can only be contacted through an intermediary. You have board meetings where the bad guys discuss their latest plans, end-of-year staff performance reviews, and of course promotions and demotions. For the most part the individual antagonists aren’t much to speak of, but there are a couple of notable exceptions, the aforementioned intermediary, Kawarino (think of him as the equivalent of Smile‘s Joker), and Bloody, a wizened veteran who attacks the Pretty Cures less through brute force and more through psychological manipulation.

Also of note is the fact that the mascots in the show, Coco (right) and Nuts, are the first in the franchise to be able to take human form, and in this case the two turn into handsome fellows. There’s a not-so-subtle undertone of Coco and Nozomi having feelings for each other, as well as Komachi and Nuts, but it remains just ambiguous enough that it needs to be inferred. Somewhat predictably, Pretty Cure 5 is the Precure most popular with fujoshi; if you ever wondered where Sayonara Zetsubou Sensei character Fujiyoshi Harumi’s favored pairing of “Pine x Napple” comes from, it’s a parody of Coco x Nuts.

Yes! Pretty Cure 5 is most certainly a show with its fair share of flaws, but also really noticeable strengths which make the show great to watch one episode at a time or in semi-large batches. The show’s antagonists make for a decent enough threat to motivate the story along, but the real fun is in seeing the antics of the five Cures, as the series does an excellent job of showing the main cast as friends who trust and love each other. Even more fortunate is that the direct sequel, Yes! Pretty Cure 5 Go Go seems to make up for a lot of the problems of its predecessor.

PS: Cure Rouge is one of my favorite Cures. Yes, more than Sunny. No, not nearly as much as Marine.

Interested in Supporting Ogiue Maniax?

Twitter

Got anything to say?

Archives

Follow

Get every new post delivered to your Inbox.

Join 1,857 other followers

%d bloggers like this: