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happy 6k notes on prisoned tokomon day
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It's a loaded topic that I generally try not to bring up much because of the various controversies surrounding it, and a few years ago, I was hesitant to mention this in public because there was no way to frame it in a way that didn't sound like a hate post. (That, and admittedly, I probably was not in the right mental frame to handle it well back then; a lot of things have changed in the last few years.) But now this has been on record and even alluded to via official sources, and I don't see a point in being touchy about it anymore, so here's something I really wish more people would understand when they talk about tri., Kizuna, and 02TB:
Between tri. and Kizuna/02TB, almost the entire production system was overhauled, and there are almost no key staff members in common.
I know it's tempting to treat "Toei" like it's some kind of monolith, but it's very important to remember that any stylistic differences in approach or concept between tri. and Kizuna/02TB aren't just because of answering critical reception, but also because almost the entire production system was scooped out and redone from scratch. The one key member they have in common is Kizuna/02TB producer Kinoshita, who was brought onto tri. as late as part 5 and has explicitly stated that he wasn't involved on its story.
The reason this overhaul happened also wasn't just because of something like "people didn't like tri. (in terms of story content)". For one, tri. was subject to a lot of troubled production behind the scenes -- and I'm not making this up, it's on record that they ran out of budget halfway through and had to rewrite the rest of the plot. But another important thing that may not be as clear to people who only learned about it after the fact is that tri. was a downright PR disaster at the time it was going on, such as:
The infamous "nade-nade" incident (ask anyone who was present during the tri. announcement and they'll probably be able to tell you the details)
The director openly saying things like the fact he deliberately does not look at the source material when making adaptations because he sees it as too limiting, accompanied by a number of other inflammatory statements in magazines, etc. suggesting that he probably had never seen the original Adventure to begin with and saw it as a series he needed to make as more "mature", even to the point of rejecting character-accurate scripts for it (that said, it is very important to remember that a series is far more than just one staff member, and there are other staff members who did say they watched it and clearly did their research, so the point I'm making is that the director's attitude naturally made a lot of people in the audience very angry and is a big reason he started currying a bad industry reputation during and even after tri.'s run)
Magazine interviews with staff members and other Q&As generally being so vague and unwilling to answer questions clearly that it got people upset (for example, when a social media campaign soliciting questions for a Q&A session was held for a screening of part 6, it was said to be "suspiciously" too dark to actually answer the questions)
So when you see discussion about tri. being controversial because of "contradictions in the setting" or whatnot, it's not people getting petty about characterization, it's because the production system for tri. managed to make a ton of public relations decisions that unilaterally pissed a ton of people off, so having contradictions in the lore and characterization came off as being due to carelessness and negligence more than anything.
Right now, the series has been over for more than five years, so I'm not bringing all of this up because I want to start an angry mob against the series or anything (I myself have a lot of favorite things that had clearly troubled production issues and controversial statements from staff members, so I'm not saying this alone should be grounds to evaluate a series). The point I'm making is that I see way too many people talking like tri. and Kizuna/02TB were made under the same mentality by a vaguely-defined concept of "Toei" and that any differences in approach are from some bizarre hypocrisy where they keep contradicting themselves. What happened here was that they saw the public relations fallout, realized it wasn't a good idea to continue getting people mad, and completely overhauled everything with entirely different people and an entirely different approach -- and the fact they did not do a similar complete overhaul between Kizuna and 02TB is conversely why they share more in common.
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I've alluded to tri. having some very troubled production behind the scenes, and among everything that apparently went on back there, there seem to have been at least two major bottlenecks: 1) the fact that the director (who, based on his own statements about deliberately not consulting source material, most likely didn't even watch Adventure to begin with) kept asking everyone to make things more "mature" without being clear on what that actually meant, and 2) the fact they ran out of budget and had to rewrite the entire plot halfway into it. Even the most brilliant of creators probably wouldn't be able to work at their best under such conditions.
But conversely, this also means that there were some excellent people involved in production whose efforts probably haven't been as appreciated as they should be! So I want to take a moment to spotlight some people I want to give props to:
Ayana Yuniko and Nakanishi Yasuhiro: These two scriptwriters were childhood Digimon fans who were thrilled to be on the project, and their enthusiasm clearly shows in every interview they were in. Ayana even made keen observations like noticing that the Adventure kids aren't as super-tight as people tend to make them out to be (something I've pointed out myself, and something that generally only tends to crop up among fans who have studied the series closely), and Nakanishi stated that she would slip him detailed notes about the characters and their relationships.
Both of them stated they were trying to portray the Adventure characters in a character-accurate way but kept getting their scripts rejected for not being "mature" enough, leaving them unsure about what they were supposed to do. Their roles on the series were also limited; Ayana was on parts 1, 2, and 4 while Nakanishi was on part 4 only, and they were sharing the scriptwriter role with multiple others (even within a single movie). But if I were asked to pick who on the staff list I would want to see come back for another Digimon work, it would absolutely be these two.
Kakikara Yuuko: The one in charge of overall writing for the series. tri. had a total of five scriptwriters and could have up to four(!) on a given movie, so because of that, her statements on the series and its story direction have been a bit difficult to tell whether it was her idea personally or whether she was delivering the writing room's discussion result. But one of her final statements on the series basically amounted to "I'm grateful if you even came to watch it to the end at all," and she was quite humble about saying she felt things could have been done differently; considering it sounds like she had a hard time keeping everyone and everything in order, I can only imagine she went through a lot trying to make sure everything ended safely. Incidentally, her writing portfolio is also quite respectable (and even includes kids' shows).
Suzuki Takaaki: The person with the job of "setting researcher", i.e. the one with the job of looking into the lore. Sadly, it seems like most of his ideas didn't make it into the final series (possibly because of the budget loss-induced rewrite), but his one solo interview indicates that he put quite a bit of conscientious thought into how Digital World lore works, including the idea of an EMP weapon that would affect Digimon easily but not humans (an idea that doesn't pop up among fans as often as you'd think, and took up until last year to make it into actual Adventure material via Takeru's 02TB in-universe fanfic).
Sakabe Gou: The person in charge of the series BGM. We haven't heard a lot from him, but the little we have indicates that although he also had difficulty understanding what the director was asking for when he wanted "mature" music of some kind, he himself put some very thorough thought put into the composition. In particular, he went into detail regarding the music used at the beginning of part 4, which seems to be a fan-favorite track from what I've seen (it's also my favorite too!). Sakabe also has an extensive and respectable portfolio outside Digimon; in particular, he's very highly regarded in Kamen Rider circles, so if you have a friend who's a fan, it might be a good idea to ask them about it!
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guess what. Happy easter again!
Happy Easter everyone!
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@/dr_rajhasn on IG has a tent in Gaza where he provides free medical care to children who are displaced. Here is his gofundme, please donate and spread if you can’t!!
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this month’s digigift features the best girl(s)!!! 😭🫶🏻
#LOVE THIS MONTH’S DIGIGIFT SO MUCH#probably my favorite other than the lui one from a couple months ago
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adventure 2020 angemon’s first appearance is so funny literally just:
- shows up
- says one word
- dies
#another draft being posted#red speaks!#digimon adventure 2020#digimon adventure:#digimon#angemon#im rewatching it cause i never finished it and honestly? its good.
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I wanna talk about Jou’s crest a lil bit…I think his situation is also very interesting due to the fact that the dub changed his crest like Mimi’s. I will be honest, and this is very controversial, I do not think reliability suits him. I’d argue a huge part of his character is that he’s not that reliable, and he dislikes this fact about himself. He FEELS like he should be because he’s the oldest, but he really struggles to be someone the others can count on until the series progresses. I could definitely see an argument for reliability fitting him later in the series, but it’s not his most prominent quality and that’s what the crests are.
A common theme in a lot of Jou’s big moments is that he’s ridiculously reckless, he puts himself in extremely dangerous situations to save others (some examples being ep23 & ep36). Jou goes into these situations without a real plan, and simply acts based on his emotions and his wanting to help his friends. Which makes emotions he feels during these moments are extremely sincere, extremely genuine. That is why I think crest of sincerity fits him so well. I do think reliability and sincerity can go hand in hand, but his sincerity is what stands out more and I think it makes more sense than what the American dub chose.
Jou is a really interesting character, and I think his crest is especially…watching him grow from absolutely horrified of the situation and worrying about the little things, to dropping everything for those he cares about is just so good. Pay attention to Jou a bit more when you find yourself watching adventure…
#this is just sitting in my drafts OKAAAY#Though I would say with how reckless he is it does make him a little bit less reliable#but we aren’t ready for that i don’t think#before you all tell me how wrong i am and how you know better: thats awesome! be nice to me#i have watched adventure like 10+ times i think i can have some thoughts on it okay#srry that this is rushed and might not make a ton of sense i typed this in the breakroom at work cause i was bored as hell#jou kido#joe kido#digimon#digimon adventure#red speaks!
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I don’t know if there’s like any information on this but I figured I’d ask, do you know if there’s any reason why Yoshino & Lalamon didn’t get character songs like everyone else? It’s just really weird to me but I never see it mentioned or anything…
There's been no official statement on it as far as I'm aware, but if I had to guess, my first guess would be that it probably had to do with Aragaki Yui (Yoshino's voice actress) and her agency. Yoshino was only one of very few voice acting roles she ever had in her entire career, and it was very early at that; her agency was probably demoing out various career outlets for her to see what stuck, but she was always meant to be a live-action actress from the beginning. So it's possible (again, this is just purely speculation) that her agency wasn't up for the usual anime voice actor stuff like character songs, and poor Lalamon unfortunately had to take the hit as well despite her character being tied to singing (and Yukana being a voice actress who does this kind of thing all the time) because it'd be glaring to have Lalamon but no Yoshino.
For all it's worth, Aragaki is now so incredibly famous and prominent that they can't even get her back to voice Yoshino anymore, so I think it's safe to say that stuff surrounding her is very different from what you usually get with Digimon voice actors. The big question is really just how much that applied during Savers' airing as well.
#(im the asker that’s my main blog)#this is really interesting to know though…makes sense as to why if that’s the case#also crazy they can’t even get her back for yoshino now
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10 February 2024
After 12 days with no updates, the PRCS announced the deaths of 6 y/o Hind Rajab and the ambulance team who volunteered to go save her. Despite the PRCS working with the IOF to coordinate safe passage for the ambulance, the ambulance was found destroyed by IOF bombs, with both volunteer crew members Yusuf Zeino and Ahmed Al-Madhoun murdered inside. Hind was murdered inside the car, where she had been trapped for hours with the bodies of her family members.
Hind’s 15 y/o cousin Layan Hamadeh had called PRCS emergency services after the car in which she and her family, including her younger cousin Hind, came under heavy gunfire by the IOF. Layan was shot to death while on the phone with PRCS emergency dispatchers, a fact which is documented via recordings of the phone call. Hind then took the phone and begged the dispatchers to send help to take her away, as the IOF was still showering the car with bullets. Ambulance crew members Yusuf Zeino and Ahmed Al-Madhoun volunteered to go rescue Hind. Dispatchers soon last contact with the child. They then lost contact with Yusef and Ahmed when the ambulance arrived near the location of the vehicle by Fares petrol station in Tal Al-Hawa.
This point cannot be emphasized enough: the PRCS worked with the IOF, getting their agreement not to attack the ambulance as it arrived at the scene. The IOF agreed, and then knowingly bombed the ambulance anyway, while also knowingly killing 6 y/o Hind inside her family’s car. They knew there was a 6 y/o child inside that car, and kept firing until they murdered her. They knew the entire time what they were doing, and lied about cooperating with emergency services in order to maximize the number of lives they could take.
The depravity and impunity of the occupation is truly boundless. Hind’s final hours were spent in absolute terror, and Yusuf and Ahmed’s courage and selflessness were rewarded with their murders. The PRCS did everything right. They coordinated with the IOF and sought their permission for the ambulance to pass, something which was already required under international law. The IOF abused this attempt at cooperation by lying about their compliance, then deliberately murdering Hind, Yusuf, and Ahmed, in addition to Layan and her entire family.
We write this update in tears, having hoped and prayed for a different outcome like everyone else. This round of aggression by the IOF has already seen unimaginable cruelty, suffering, and impunity. The complete, deliberate, and flagrant violation of international law and human decency is a stain on the conscience of the Global North and every president, staffer, soldier, and bureaucrat who made this happen. May the recorded voices of Layan and Hind, begging for rescue before dying alone, haunt them for the rest of their days.
Remember Hind, Layan, Yusuf, and Ahmed. Do not let despair consume you. Fight for them, for a permanent ceasefire, for accountability, and for whatever justice can be achieved, even if it seems small and pointless. Tell the world what the occupation has done, share the recordings and the updates from people on the ground. No matter how bleak things are, it is always worthwhile to tell the truth and fight for what’s right.
Keep Hind’s mother, grandfather, and surviving relatives, and the families of Yusuf and Ahmed in your hearts.
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Recordings: Layan, Hind
Our prior post
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in the strike for palestine, please talk about it. please do not stay silent. even if you have zero followers, zero interaction, talk about palestine. reblog, like, comment, boost anything you can calling for ceasefire. do not buy anything that isn't a necessity.
you can email or fax your representatives and senators for free calling for ceasefire. keep doing your daily clicks, donate if you can, and do not keep quiet
IMPORTANT RESOURCES
how you can help palestine
daily click to donate
resources on palestine-israel history
what to boycott
what to boycott pt. 2
more resources
call for ceasefire
sudanese-led causes to donate to
esims for gaza
(US) email your representatives
(US) call your representatives
ceasefire action toolkit
NOTE: focus boycotting/pressuring products and companies stated by the BDS
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Big Ukkomon!!
this majestically horrifying slug has become one of my favorite megas in digimon, its giving elden ring. Another one that will stay on tumblr for a while.
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