Blog

Dragon Ball DAIMA has only just begun and its exploration and showcase of the Demon Realm has only been minimal at this point. However, Dragon Ball DAIMA’s opening and closing credits give a vaster view of this dimension, all of which gives the impression that it’s the size of an entire universe. There seem to be separate planets and diverse flora and fauna in the Demon Realm. This implies that the Demon Realm is a solar system-like entity and not just some demonic substitute to Other World. There’s a tremendous amount to explore and experience here, and it’d likely be impossible for one team of heroes to cover all this ground. A singular team of Goku, Shin, and Glorio would be extremely limited in how much of the Demon Realm they can experience. Alternatively, they visit multiple destinations in a single episode, but with chaotic pacing that rushes through lush locations where they don’t get the attention that they deserve. Two separate teams of heroes help solve this problem, since they can be in different locations at the same time. This is the smartest way to fully take advantage of everything that the Demon Realm has to offer.

Baca Juga: situs toto

Kunjungi Juga: situs toto macau

Additionally, two hero teams mean that they can tackle different goals without one task impeding the other. Goku is eager to rescue Dende, while Vegeta and Piccolo are eager to be turned back to normal. These contrasting goals can be tackled at the same time if there’s more than one team in play, rather than Goku needing to disregard Dende, or the Dragon Balls, depending on what he chooses to tackle. Dragon Ball Z adopted a similar approach when the heroes headed to Planet Namek to retrieve the planet’s Dragon Balls. There were multiple teams in motion here – Vegeta, then Gohan, Krillin, and Bulma, then Goku’s fated arrival, followed by Piccolo’s resurrection – all of which arrived on Namek at different times. This structure helped the characters take on unique tasks and experience different Namekian locations.

There are many similarities between Dragon Ball DAIMA and Dragon Ball GT. In fact, some of these connections are so explicit that fans initially thought that DAIMA might be Toriyama’s attempt to reboot Dragon Ball GT and hammer out a canonical version of the series that properly fits into the franchise’s universe. Kid-sized transformations and spaceship-fueled Dragon Ball quests definitely align with Dragon Ball GT. However, one of the biggest — and most understandable — criticisms against Dragon Ball GT is that dozens of strong and beloved characters are ultimately sidelined for an extended, non-stop Goku showcase. Admittedly, Dragon Ball GT isn’t the only series to shelve other valuable characters in favor of more Goku love. However, it feels the most egregious in Dragon Ball GT because it fails to follow through on everything that Dragon Ball Z’s endgame promised. There’s no excuse to essentially ignore characters like Gohan, Goten, and Buu. Uub and Vegeta get a little more love, but they still come across as afterthoughts, and they’re not allowed any individual wins. It’s smart for DAIMA to acknowledge Dragon Ball GT, but be discerning enough to not just shamelessly copy it. In doing so, DAIMA will be able to fix one of the fandom’s biggest problems with Dragon Ball GT.

Dragon Ball DAIMA’s trailers, which were largely focused on Goku, had fans genuinely concerned that the series would be another opportunity to celebrate Goku at the expense of everyone else. It would feel like a missed opportunity to introduce Mini versions of Piccolo and Vegeta, only to not do anything with them. Two separate teams means that everyone gets something to do and audiences aren’t burnt out by one character doing everything. Furthermore, DAIMA has addressed certain storylines that would be most effective if they’re explicitly explored by other characters. For instance, the news that Namekians come from the Demon Realm has the potential to put Piccolo on a soul-searching quest where he confronts his origins and the circumstances behind his father, Demon King Piccolo. Additionally, Vegeta was briefly turned into a Majin himself, which will likely trigger tension once he’s in the Demon Realm. Goku doesn’t have the same relationship with these ideas, and they’d be less moving if he were the one who navigates through them. Dragon Ball DAIMA’s decision to embrace two separate teams of heroes opens the anime up to the most rewarding storytelling, action, adventure, and character development opportunities.

Dragon Ball DAIMA’s decision to incorporate two separate teams means that more characters get to be present for this new adventure. However, this also opens opportunities to explore new relationships and character dynamics that have previously gone overlooked. Goku has already headed off to the Demon Realm, but DAIMA’s second team seems like it will consist of Vegeta, Piccolo, Bulma, and Kibito. Piccolo and Vegeta, while united through similar dispositions, don’t typically get to spend a lot of one-on-one time together. There have been shockingly few words exchanged between these two over the years. DAIMA has the chance to change this and really have fun with what’s possible in a Piccolo and Vegeta team up. It’s also extremely exciting to have Bulma as a central character in this adventure, which hasn’t happened in decades. Bulma has a lot to offer, and many fans overlook that intelligence can be just as important as strength when in the right circumstances.

Furthermore, this bifurcated structure has the ability to split up characters who are rarely apart. Shin and Kibito, for instance, are usually always together and their camaraderie even led to their fusion. It would be odd to separate their fusion at the start of DAIMA if the series wasn’t going to follow up on this development and do something about it. It would be exciting to see what Kibito is like and what he can accomplish when he’s not connected at the hip to Shin. Finally, DAIMA has several new Demon Realm characters to explore. Individuals like Glorio and Panzy can stand out better if each one is on a separate team, rather than being together and blurring into one individual. This is largely what happened with Cheelai and Lemo from Dragon Ball Super: Broly.

Two teams open DAIMA up to more exciting possibilities, but this development also makes it easier to go one step further in this regard. There could be two separate hero teams in the Demon Realm, while DAIMA also periodically checks in on the remaining characters on Earth in a third storyline. A spotlight on the supporting players would have been unlikely if this series was just interested in Goku’s journeys. However, a wider point of view makes it easier to show some love to the rest of Dragon Ball’s cast. Dragon Ball’s opening and closing credits have teased characters like Mr. Satan Mini and Buu Mini. It’d be disappointing if they were only featured for a brief sight gag without being given more to do. The same is true for Master Roshi Mini, who seems ready to live his best life and take advantage of his youthful transformation. There’s also the whole prospect of Gohan’s absence, if he’s also been turned into a kid, and if he will play a more important role in DAIMA because of this.

The way action is presented in Dragon Ball has changed massively over the anime’s lifetime. Fights in the early arcs are largely based around gags, with only the most important clashes focusing on traditional martial arts, while battles in Dragon Ball Z feature combatants flying around the sky launching increasingly powerful ki blasts at each other. While most fans focus on the ki blasts when examining how combat in the series changes overtime, flight is an even more important factor.

Flight, as well as Instant Transmission, give Goku complete freedom to move wherever he needs to in battle, and to travel anywhere outside of it. With the iconic hero having these abilities, his fighting style is completely different from when he was a kid, and viewers are unable to spend time with him on any long quests from one destination to another. For the first time in many years, Dragon Ball DAIMA limits Goku’s mobility, keeping him as grounded as the anime itself.

Kunjungi Juga: Situs Toto

Flight and Instant Transmission Are Key Tools in Goku’s Arsenal

Goku has had a method of flying since the franchise’s earliest days. At the beginning of the original Dragon Ball, none of the human characters can fly on their own, but Goku is able to get around on the Flying Nimbus. A small flying cloud given to Goku by Master Roshi as thanks for him helping Turtle, the Nimbus is a mode of transportation that can only be ridden by pure-of-heart individuals. In the three non-tournament arcs in the original series, this forces Goku into situations during his adventures where flying isn’t an option. Most battles being flightless helps to emphasize strategy and traditional martial arts, and Goku’s lack of ability to fly on his own is repeatedly used as a source of drama, such as in his first clash with Tambourine.

The idea of humans being able to fly purely by manipulating their own ki is first presented in the 22nd World Martial Arts Tournament Arc. As an extension of the two being students of the Crane School, Tien Shinhan and Chiaotzu are practitioners of the Sky Dancing technique, something that gives them a massive advantage in their respective fights against Goku and Krillin. It isn’t until half-way through the Saiyan Saga in Dragon Ball Z that flying becomes a standard skill known by nearly every Z-Warrior. From that point onward, fights in Dragon Ball completely change, and the series ceases to be an adventure anime.

Fights in Dragon Ball Z are unquestionably some of the best in the Shōnen genre. In most cases, however, this comes down to their spectacle, the character drama weaved into the battles, and/or their animation quality. The actual choreography, meanwhile, pales in comparison to Dragon Ball’s fights. Even leaving aside DBZ’s prioritizing of ki blasts over hand-to-hand combat, there’s little strategy that can be implemented into the fights when the combatants are zipping around the sky as near light-speed.

More so than its effects on fights, the standardization of flight changed the types of stories Dragon Ball was capable of telling. The Pilaf Saga, The Red Ribbon Army Saga, and the King Piccolo Saga are only able to work the way they do because of the limitations placed on Goku and his friends. The episodic structure of the Pilaf Saga, which sees the characters slowly traveling from one interesting location to the next, only functions because Yamcha and Bulma can’t fly, and need to rely on their vehicles. The Red Ribbon Army Saga involves Goku traveling around the world on his Nimbus, but this forces him to primarily travel alone, leading him to meet and work with a variety of new characters. In these instances, there especially wouldn’t have been any tension if Goku had access to Instant Transmission, the power he gains in the Cell Saga that lets him teleport anywhere in the universe in an instant.

TERSEDIA JUGA:

prediksi hk

rokokbet

situs toto 4d

situs toto 4d

situs toto 4d

situs toto 4d

While these two segments are short, they prove that a Sengoku-period Dragon Ball series would be a fantastic way to carry the franchise forward after Dragon Ball DAIMA concludes. One thing fans will notice when they watch these segments is how Dragon Ball’s visual style and character designs naturally fit the aesthetic of the Sengoku period. Even when clad in historical costume, each Dragon Ball character remains instantly recognizable, but at the same time, they don’t clash with the backdrop or the setting as a whole. This is especially true of Vegeta, Master Roshi, and Mr. Satan, as they look so natural in their outfits that it’s easy to imagine them wearing them during regular Dragon Ball arcs without them seeming out of place.

Plus, Dragon Ball’s usual plot structure fits a Sengoku-inspired warring states narrative. At their core, most Dragon Ball arcs are about one faction invading territory owned by someone else to take it over and steal its resources. For example, Dragon Ball’s Red Ribbon Army Saga sees Goku battle a group that is occupying towns and villages so they can collect the Dragon Balls and take over the world. Later, Dragon Ball Z’s Vegeta Saga sees the space-faring Saiyans invading Earth to once again steal the Dragon Balls and take over the planet.

Even Dragon Ball Super plays into this, as the Universe Survival Saga’s Tournament Of Power is basically a fighting tournament version of a Sengoku period narrative, with entire universes fighting each other to be the last universe standing, no matter the cost. So, all a hypothetical writer needs to do is split the various characters into defined armies before dropping them in a world divided into regions or countries and give each army a reason to invade and take territory from the others.

A Sengoku-inspired installment would also allow a future series to build on the formula that has made Dragon Ball DAIMA so successful, as it would drop Goku and his friends into a new, visually distinct world that would push them outside their comfort zones and force them to utilize different tactics and strategies to get what they want, as the setting would remove most of the technology Goku has come to rely on in his modern adventures.

Plus, much like Dragon Ball DAIMA’s Demon World, a historical setting would open the door for a slew of new and unique characters as well as many interesting new setpieces. Because of this, a historical series would be able to retain Dragon Ball’s distinctive core and trademark fight scenes while also feeling different enough to make it stand out and not feel like a rehash of the many Dragon Ball stories that have come before it.

However, it shouldn’t be surprising that Dragon Ball and the Sengoku period go together so well. Dragon Ball is heavily inspired by the Chinese novel Journey to the West. Toriyama even admitted that the original Dragon Ball characters are direct copies of Journey To The West‘s cast, telling an interviewer that:

The Journey To The West novel was first published in the 16th century (though oral versions of many of the tales predate publication). This means Wu Cheng’en was writing Journey to the West as Japan went through the Sengoku period. Because of this shared era and Japan and China’s geographic closeness, several elements from the story, including fashion, technology, and the general way of life can easily be used as a basis for fiction set in this era of Japan’s history without it feeling painfully out of place or anachronistic, especially if the new work has magical elements.

TERSEDIA JUGA:

rokokbet

toto 4d