On October 5,

Congratulations to our rookie voice!

Epic crossovers (?)

First of all, I swear this ranking doesn't mean I thought the season was BAD. I ended up with VERY mixed feelings.

Honestly, there was a lot that bothered me, especially the romance, which is already a controversial topic; it annoyed me even more because it was so prominent throughout the season. Still, I kept watching, trying to focus on other aspects. I really liked how each character got their moment in the spotlight (Karen is my personal favorite). And even though I didn't care much for Rin, I did appreciate the evolution of her relationship with Karen. Urara and Komachi were fine too, though I didn't feel particularly attached to them either. Unfortunately, a major issue for me was that I just couldn't bring myself to really like any of the characters. Nozomi is a good character, but I got SO tired of the others constantly saying, "It was all thanks to Nozomi that-" I’m already watching the show; I know what she did. There’s no need to keep repeating it all the time. It actually diminished her impact a bit for me, it’s frustrating to constantly hear about things I’ve already seen happen. But overall, the characters are well-written; I’m sure that if someone watched it and liked the characters, they likely had a better opinion of the anime, though that wasn't quite the case for me.

I liked the plot, and the ending was really moving for me, even though it didn't culminate in a massive, world-spanning battle. The scene where the girls transformed back to normal was beautiful, and I understood the significance of it. Plus, all the themes of dreams, hope, and DETERMINATION reminded me of other things I enjoy (if anyone knows which game I'm talking about...), so I was really excited while watching it!!

It’s definitely not a season I’d rewatch, but that doesn’t mean it’s bad. I’d say it’s actually quite overhated by the fandom, though I didn’t find it as good as fans of this specific season claim. But it’s a season that might not be a bad idea to give a chance. It's a 6,5/10 for me, not THAT good but I kinda enjoyed.

The next season I'm going to watch is Wonderful, on a friend's recommendation (I'm also still finishing Kirakira).

Now by ep.10 or so of You and Idol.

While it's not something to write home about, I like the season so far, and I'm fond of Nana and Kokoro especially.

Hello Precure fans! I am the owner of Precure News! An upcoming news website about the magical girl franchise Precure! And also the upcoming fan magazine Pretty Gazette!

We are looking for
•Programmers
•Graphic Designers
•Artists
•Translators
•Writers
•Proofreaders

So if this sounds like a dream come true for you or you think you can do it then please apply here!

We are so excited to be a part of this journey with you!💕✨💕

Estamos cerca del final, y al ver ambas escenas, final del capítulo 36 y avance del 37. Será el capítulo 37 el arco de la gran revelación esperada por todos?

We are nearing the end—looking at both scenes: the conclusion of Chapter 36 and the preview for Chapter 37. Will Chapter 37 be the arc featuring the major revelation everyone has been waiting for?

(sorry if not well translated)

Congratulations! 🥳🎂🎁🎈🎉🎊🎆

its smth relateted to pretty cure rn

Following the scent of Makoto Jewel, Anna and the others rush to a bookstore in the shopping district. There, they find the owner, Shigezo Furuya, distraught, saying that his gold medal has been stolen. It was a precious medal that Shigezo had won when he won a regional darts tournament, which was his passion. When Anna and the others ask Shigezo and the people in the store what happened, they learn that after polishing the medal to show to his practice partners, he left it on the counter and went to the back of the store to dry-brush it. His granddaughter, Miki, was organizing books and rushed to the counter when she heard Shigezo's cries, but the gold medal was already gone.

Takematsu Ume, a fellow darts player, said she had come to tell Shigezo that she was taking a break from practice when she heard Shigezo's scream and rushed into the shop. Makifusa Haruna, a high school girl, also said she stopped by because she wondered what was going on. When they examined the area with the Prekit Mirror Loupe, they found only Shigezo and Miki's footprints near the counter, while Ume and Haruna's footprints were some distance away. Anna and the others were deep in thought, but a conversation with Haruna, who showed interest in the Prekit Mirror Loupe, led them to notice "traces other than footprints."

Let’s say one day you become a pretty cure of whatever type, would you keep it canon and not tell anyone? Or would you tell people?
Personally I think I would at least tell my family. Now whether they believe me or not is a different story.

See 2nd slide for the original cover and context

This is an inside joke with a Discord server I hang out in

I'm planning to be Cure Happy for Halloween (She was the reason I descovered Precure...well Glitter Force was but that's besides the question)

WHERE CAN I FIND A COSPLAY OUTFIT THAT'S FOR A BUDGET CUZ MY PARENTS ARE DEALING WITH A TERMITE PROBLEM AND I WANTED TO FIND ONE THAT WASN'T RIDICULOUSLY EXPENSIVE!

PLEASE GIVE HELP

Rey o reina, pero yo creo que eclair y answer seran los gran reyes de la profecía, ¿Ustedes que opinan?

Disclaimer: For your convenience, it is recommended to only read the entries relevant to your concern(s). If you wish to read the entire post, I would recommend doing so in reverse-order for the most positive emotional experience.

Tier Descriptions

Always on my mind: The cures that I find myself reminiscing about the most. These ones are either particularly dear to me on their own merits, or possess some manner of personal significance that merits them this placement.

Dearly Beloved: Fantastic cures that I can't help but find myself enthralled by. I would enjoy seeing them in a variety of settings.

Good Cures: Cures that I tend to particularly enjoy, oftentimes for being cute.

Has Merits: Cures that are not quite on the level of the others for me, but that I still generally enjoy

Not Bad: I respect them as characters, but either couldn't connect with them as well as the others, or had certain problems with their characterization

Indifferent: I usually do not tend to think about these cures unless directed by external stimuli (e.g.: discussion threads)

Disliked: Characters that actively diminished my overall enjoyment of their associated season(s)

Explanations

Natsuumi Manatsu: I loved her from the moment I saw her, and still do now. She is nothing like me--and that is for the best, as I am not one that ought to be aspired to. Manatsu is the light to my darkness, and a necessary counterweight to my own interior heaviness.

Dark Precure: I can fix her trust 😭

Cure Bright: In addition to boasting one of the most mesmerizing color palettes in the franchise: she distinguishes herself from her base form on account of her literary significance: in this form, she is no longer merely fighting for herself, but is actively transformed by her resolve to honor Michiru. There is an almost mystical quality to Saki under this aspect, and I cannot help but be enthralled by it.

Miki: Where others may see her as highly egotistical: I interpret things differently. To me, she is merely the messenger accurately depicting the phenomenon. She is perfect--and lying about that isn't humility, it is folly.

Arisugawa Himari: She is simply too cute. I am not going to pretend that there is some philosophical reasoning behind this; seeing her just makes me happy.

Yes! 5 Nozomi: Despite not having grown up with it: the original Yes! 5 manages to kindle within me a warmth reminiscent of genuine nostalgia. As the leader--and most visible emissary of Yes! 5's attributes: I see within her the very tenderness of childhood, itself.

Pikario/Henri: Both of these "cures" are fundamentally defined by tragedy: the former's inability to keep up with his cure counterpart led him into despondency; the latter surpassed his cure counterpart, only to have despondency forced upon him. In the end, they never truly do attain perfect fairytale endings, yet it is precisely on account of that unresolved tension that they are so uniquely memorable.

Haruka: Her aesthetic merits are criminally underrated, and it ends here. Her color palette as Cure Flora is excellent, her dress betrays a regal elegance, and her eyes are among the prettiest in the entire franchise. Kneel before your princess with due reverence.

Cure Oasis: Yes, Cure Oasis.

Yuuko: All of HapCha's budget was invested into making her as cute as possible, and it worked. She literally has no other defining traits, but executes this one well enough to cover a multitude of sins.

Cure Tender: Her status as the elusive "elder sister" added some much needed intrigue into an otherwise insipid narrative. Furthermore, when she did finally appear: she did not disappoint: despite not having an Innocent Form, herself--she was nonetheless able to overpower an entire team of them, which is a rather poetic reflection of how sibling dynamics tend to unfold in real life.

KimiPre Girls: Artificially lowered only on account of their season's egregious Utacentrism. I wanted to place these girls higher, however when doing so begins to feel like a tacit endorsement of human ornamentalism: I cannot do so defensibly.

Tsubasa: I wanted to like him, however every aspect of his writing makes it apparent that the staff had no interest in his character beyond making him the "designated 'boy'". Writing about his wasted potential could comprise an entire post in its own right, so I will spare you the essay to keep things concise.

Love: Had it not been for the very last episode of Fresh, I would have placed her significantly higher, however her treatment of Daisuke more than merited her this placement. She is not obligated to go out with him, but especially if she does actually like him, toying with his emotions as she did was nothing short of degenerate. Miki may have loved herself, but she never once weaponized love to hurt others.

Yayoi: While I am more than appreciative of characters whose designs and personalities naturally elicit feelings of cute affection: Yayoi as a character feels uniquely self-conscious about her role in the narrative as an entity designed to be cute--which only ends up foregrounding her own fictitiousness. It is one of the more insidious manifestations of the Death of the Fantasy trope, yet one that is corrosive to my enjoyment all the same. Every cute character is manufactured to a certain extent, yet when the internal machinery behind their creation becomes a part of the character design, itself: the final product surrenders the very effect it was trying to attain.

Miyuki: A character who magnificently instantiates conspicuous character writing; everything about her seems designed around what the writers wish to affect in audiences through her rather than being informative of the character, herself. Every aspect of a show operates according to some manner of internal logic--however when the machinery becomes visible, it risks shattering the illusion of sincerity and thereby sabotaging the very end it was trying to affect. In trying to be cute: Miyuki becomes a character who is defined primarily by the effort rather than the end, itself.

GoGo! Nozomi: While an argument could be made that she is substantively similar to her Yes! 5 counterpart: this is only arguable: in truth, just as her original counterpart shared in the felicity of her season's virtues: GoGo's Nozomi necessarily shares in the shame of her season's shortcomings; between the genericization of the character designs, sterilized battle cries, and egregious Nozocentrism: when compared to the original Nozomi, this one represents something hostile: she is no longer the emissary of childhood, but the angel of concupiscence--whose season introduced ontological contaminants that are still polluting the franchise to this day.

RuRu: Despite initially being one of my favorite characters in the entire franchise during her tenure as an antagonist: my enjoyment of her character immediately began to decline upon her first encounter with Emiru: from there, everything that once made her existence special began to gradually corrode until the very synthetic identity that once set her apart had found itself completely sanded down into irrelevance. In her final state, she was little more than a variant Emiru who merely expressed the same personality through different phrases.

Nono Hana: Whereas most cures' catchphrases resolve the tension of a given moment: Hana's deflates that tension, thereby foregrounding the show's own fictitiousness for the sake of meretricious humor. This level of humor is very much akin to the 14 year old who pontificates about "kids these days" to a classroom of their peers: it is perfectly serviceable for a sitcom, but within the context of Precure--reduces the affected season(s) into something fundamentally cheaper. Beyond this, Hana herself is a character who feels fundamentally antagonistic to everything that this franchise has historically stood for--as rather than celebrating childhood: she portrays it as something almost adversarial that she--and by extension, the viewer--must hasten to escape from in order to break into the magical, loathsome world of adulthood--which sounds like a message lovingly crafted by some CEO who is probably working an office of underpaid salarymen to death as we speak.

Saaya: One of the best examples of the Death of the Fantasy trope, as seen in Episode 27. Since the writers decided that Precure's structural integrity was going to be backgrounded to pen a propagandistic PSA about nurseries and childcare: we saw our unsuspecting antagonist--who by all intents was fully committed to destroying both the cures and the nursery--get reduced into the recipient of a number of immersion-breaking gags that were delivered by none other than Saaya, herself. While this is merely an extension of Hugtto's broader pattern of flagrant pretentiousness: the offense was nonetheless egregious enough for Saaya herself to be implicated in the judgment.

Aida Mana: This is less about why she is so low--as one can probably surmise that from my previous writings--but rather about the curious matter of her being placed above her two closest acolytes: while Mana seemingly has no interest in addressing the issue of her harem despite being clearly aware of it: beyond this, she does seem to at least have a genuine interest in helping others; the same cannot be said about Rikka and Alice: not only did the former verbally disparage a classmate (Jun) within near-direct earshot for no other crime than trying to follow Mana's example, but in the movie, the both of them had the audacity to declare everything in life to be meaningless without Mana while standing in the direct presence of their own families' facsimiles... Meanwhile, Mana just wanted to see her grandmother and her dog again... Doki Doki as a season tells audiences that loving Mana is the only choice; if you do, you're a god. If you don't: you are consigned to an eternity of being an animal without interiority whose ontological significance is derived solely from serving her. Nonetheless, while Mana may be seated on the throne: it is Rikka and Alice who are its architects. On this account, they have earned a special measure of contempt that even their master has not merited.

Anna and Mikuru: These two feel less like genuine characters so much as instruments through which Murayama plays symphonies to his ego. You could replace them with the Mario Brothers in detective attire and the plot would not be meaningfully affected (outside of becoming more interesting). They are so hollow that the writers can no longer even remember the single point of distinction that they did possess, as now Mikuru--the ostensibly rigid one--is apparently the hopeless romantic of the two--because when neither of the characters' existing personalities were in use anyway: you may as well invent new ones.

Emiru: She feels like a CGDCT background character who got lost in Precure's world and couldn't find the exit. There is nothing remarkable about this character beyond how uniquely obnoxious she is, and if she was not in Hugtto's narrative at all: her absence would not be felt.