Dragon Ball DAIMAhas officially ended, but the finale perplexingly failed to address many of the questions that the series desperately needed to answer in order forDragon Ball Superto make sense.DAIMAwas always in an awkward position because it transpired beforeSuper, which had already covered quite a bit of ground before the former series began. As a result,DAIMAcouldn’t introduce any new concepts that would conflict withSuper’slarge body of material. Ironically, it would go on to do just that and failed to provide any explanation.
What’s worse, there’sno indication thatDAIMAwill have a second seasonto fix these self-inflicted inconsistencies. In fact,an interview by Mantan Webwith the president of Capsule Corporation Tokyo and producer ofDAIMAhints that the anime was conceived as a self-contained story, and that there were no plans for more. AsScreen Rantreported, the objective ofDAIMAwas to appeal to a broader audience by being a different project from the rest of the franchise.
Toyotarou Should Create a Dragon Ball DAIMA Sequel Arc Before Continuing Dragon Ball Super
There’s Too Much Riding on Dragon Ball Super’s Original Story for Toyotarou to Start There
With no plans forDAIMAseason 2, the earliest hope that fans have of getting any sort of explanation naturally falls onDragon Ball Superartist Toyotarou, who has already confirmed thatthe story will return under his direction. Although there is still no news of whenSuperwill continue, the series did briefly end its hiatus since Toriyama’s passing, albeit briefly, with a one-shot prequel chapter to the Super Hero saga. So there’s a very big possibility thatSupercould resume with a sequel toDAIMArather than picking up where the original story left off in chapter #87.
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Super’s original story had already left off at a massive turning point. After getting name-dropped throughout the “Granolah the Survivor Saga,” Frieza suddenly returned at the end of the arc and unleashed a whole new transformation known as Black Frieza. Frieza not only easily overpowered Goku and Vegeta, but, surprisingly, had something more pressing to attend to rather than destroy them, so he lets them live.
Irrespective of the fact thatFrieza is clearlyDragon Ball’s most iconic villain, the Frost Demon has been noticeably absent since the “Tournament of Power Saga” in the manga and 2018’sBrolyfilm adaptation, so his return has been long-awaited. Although aDAIMAsequel story would be daunting, the pressure of doing Frieza justice in his big comeback is undoubtedly much higher, soit would probably be a better way to ease Toyotarou into directingDragon Ball Superwithout Toriyama.
Toyotarou Already Adapted and Created a Prequel Series to Dragon Ball Super: Super Hero
Toyotarou Could Not Only Address DAIMA’s Plot Holes But Improve the Overall Story
If this happens, it wouldn’t be the first time that Toyotarou would have worked on a story that was based onDragon Balloutside the manga. In fact,Super’s original plot line was put on hold to first create a prequel story to theDragon Ball Super: Super Herofilm before adapting the movie directly. However, theSupermanga will hopefully not fully replicate this process as it did when creating the “Super Hero Saga.”
Fans undoubtedly wouldn’t want an adapted version ofDAIMAafter watching all 20 episodes for the past few months. It would be much more enjoyable ifSuperjust began right where episode 20 left off.
Dragon Ball Daima Has Its Problems, But There’s One Thing the Anime Does That Its Predecessors Couldn’t
While there are many understandable critiques, Dragon Ball Daima has been flawlessly delivering in one capacity that some fans might find enjoyable.
After all, manyDragon Ball Superreaders found the entire adaptation of Super Hero very cumbersome. The manga may have added some context to some otherwise confusing scenes from the movie that didn’t make much sense on their own, but the majority of the story stayed relatively the same. While it might be easier to binge-read the entire saga, it was definitely painful for those who had to wait every month for a story they had already watched on the big screen.
Of course, if a manga adaptation ofDAIMAwould help Toyotarou prepare for a continuation ofSuper’s original story with Black Frieza, then fans might be more inclined to begrudgingly accept such a prospect. This is especially the case if this would result in a better product. Toyotarou could even improveDAIMA. After all,DAIMAdidn’t just fail to address the many plot holesthat conflict withSuper. There are also many points that would have benefited from more explanations, like the rushed episode on planet Mega that serves no other purpose than as a nod toGT’s planet Mommath.
Toriyama’s Super Saiyan 4 Deserves Toyotarou’s Magic Touch
Toyotarou Is Already Important to Dragon Ball
But most importantly, even viewers who enjoyedDAIMAare still left scratching their heads over the sudden canonizing of Super Saiyan 4 without an explanation as to why Goku never uses the transformation again inSuper. There are many instances inSuperwhere Goku goes Super Saiyan 3 and then Super Saiyan Blue, where it would have made more sense for Goku to first try Super Saiyan 4 first - or after Blue if Super Saiyan 4 is stronger.
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Ironically,DAIMAdid create an opportunitythat would have naturally explained why Goku never went Super Saiyan 4 in Super. The first time he unleashes Super Saiyan 4, it was seemingly because Neva had somehow helped him. Super Saiyan 3 Goku had been knocked out, and Neva engulfed Goku in a white ball of light that suddenly culminated in the Saiyan’s ascension. This presented the possibility that Goku wouldn’t have been able to transform without Neva. But then later on in the battle, Goku is able to transform without Neva’s help.
Artist Toyotarou could address this inconsistency in a prospectiveDragon Ball DAIMAsequel by explaining why Goku never transforms into Super Saiyan 4 later on inSuper. After all, Toyotarou is the best person to trust with Toriyama’s canonization of Super Saiyan 4.Dragon Ballhad always been Toriyama’s masterpiece beforeDragon Ball Super, and the fact that Toriyama was able to entrust not just the artwork but a great deal of the story to Toyotarou means that the artist should be given this opportunity if he wants it.
