Smile Precure! began this month, and it’s bringing back the five-man team back to the Precure franchise. Incidentally, Yes! Precure 5 was also the first Precure to use a widescreen perspective, and when you compare Smile to Yes 5 and its other widescreen predecessors, Smile’s transformation scenes really stand out in terms of how they utilize screen space, particularly with the individual transformations.
Let’s take a look at the old ones first.
Cure Dream, Yes! Pretty Cure 5
Cure Dream, Yes! Pretty Cure 5 Go Go
Cure Peach, Fresh Pretty Cure
Cure Blossom, Heartcatch Precure!
Cure Melody, Suite Precure
Now here’s Smile Precure!‘s heroine, Cure Happy.
Cure Happy’s pose fills the screen in a way that I very rarely see in any sort of transformation sequence, whether it’s Precure, mahou shoujo, anime in general, or even live-action tokusatsu. Happy is not only shot closer, but her body is also slightly angled with both her arms and her hair spread out wide. This makes it so that her body is contact with all four sides of the screen while also occupying the majority of the space in between.
Then we have Cure Sunny, who doesn’t take up quite as much space as Happy does, but still has a body which cuts the shot in half diagonally almost perfectly, again emphasizing the length of the screen.
Granted, not all of the transformation poses in Smile Precure! are done in this manner, as can be seen by Cure Peace above. But whereas the previous series in the franchise stuck to the single figure in the middle of the screen as almost a rule of thumb, the large amounts of empty space on either side of her becomes more of an individual character flourish, and is perhaps even an indicator of her personality. Though I’m not 100% on this, I get the feeling that leaving that much space around Peace has the effect of emphasizing her clumsy, crybaby personality. In contrast, Happy’s personality is the kind that can fill an entire room just as her image fills the screen during her pose.
I actually think there’s a practical reason for this change, and that is the fact that Japan is finally going to switch over (almost) entirely to digital TV in about a month. Older series had to take into account a large amount of people with analog signal TVs, whereas now they can rightfully assume that most of their viewers will be watching in widescreen.
If I remember correctly, if you rewind a bit on Cure Peace’s transformation, her “hair poof” shot has her in a similar angle that also makes reasonable use of the widescreen space. Really interesting observation!
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