History Awesome / DigimonTamers

* In a meta perspective, the fact that the show, and by extension, the English dub, dared to tread ideas that no 7-to-13-year-old had ever really considered: concepts such as family drama, more-than-friendship, government plans and politics (in the form of Hypnos); religion (in the form of the Digi-gnomes, Calumon himself, and Impmon + Beelzemon); sublime and celestial personal concepts of love, merging, openness, and connection (in the form of Biomerge Digivolution); computer, artificial intelligence, and quantum science; [[BreadEggsMilkSquick mature violence (albeit bloodless), emotional and familial death and loss-of-self, PTSD, questions of identity (are we dealing with lifeless computer information, or actual beings with life force?), the nature of our universe and existence, metaphysicality, and philosophies of nihilism (nothing matters because it has no inherent or obvious purpose) and objectivism (the right to determine and produce one's destiny and happiness)]], all tying into a coming-of-age narrative for children. ''[[ShownTheirWork And even the fictional science has a very real and studiable basis in fact and reality!]]'' [[WhatDoYouMeanItsForKids Even more awesome is the fact only a smattering of visuals in the English Dub (mostly explicit blood and excessive violence) were censored]], ''and about 98% of the grand total of concepts and mature material featured (by children's standards) were'' '''''preserved'''''. "It's not just a game", indeed!
* Extending on that... Yes, anime translated and dubbed under Saban was generally of good quality, but this season takes the cake, because when you hear the voices of the characters, you FEEL their emotions, especially the serious, dramatic ones. Of special note:
** Episode 34 and 35's voice acting:
*** Derek Stephen Prince's role as Impmon was goofy and endearing, but here, as Beelzemon, you can really feel his anger, that drunk-with-power aspect, his complete loss of control, and the pain and exertion he's having to endure not only from keeping Megidramon from consuming him, but also having to prevent the power he's absorbed from Makuramon, Taomon, and Rapidmon from tearing him apart from the inside!
*** Brian Beacock pulls off a convincing, and frankly disturbing rage, for Takato, at Beelzemon killing Leomon, and wanting to see him, for all-intents-and-purposes, dead.
*** Bridget Hoffman perfectly embodies Jeri's sadness, fear, and traumatic frustration and draining stress of losing Leomon, and at seeing everything fall apart with Takato's rage and Guilmon's corruption.
*** Jamieson Price may have provided a worried voice before (with the Devas-in-Shinjuku portion of the arc), but he really sells it here depicting Janyu Wong's fear, worry, and panic at the thought of losing Henry and Suzie (the latter of whom was recently drawn into the Digital World), in addition to the other children.
** The D-Reaper Arc:
*** This is where Bridget Hoffman really gets to shine, as she keeps that traumatized downtrodden voice, but in addition to that, she really nails it multiple times as the coldly logical voice of the D-Reaper itself, which gets more distorted and less child-like as the arc progresses, with the final voice of the faceless J-Reaper Agent (pictured at the top of the page) losing all of its previous innocent-sounding qualities, now more like an extra-dimensional evil goddess from Hell with an ''adult'' voice, while still retaining that coldly logical demeanor.

* In a meta perspective, the fact that the show, and by extension, the English dub, dared to tread ideas that no 7-to-13-year-old had ever really considered: concepts such as family drama, more-than-friendship, government plans and politics (in the form of Hypnos); religion (in the form of the Digi-gnomes, Calumon himself, and Impmon + Beelzemon); sublime and celestial personal concepts of love, merging, and connection (in the form of Biomerge Digivolution); computer, artificial intelligence, and quantum science; [[BreadEggsMilkSquick mature violence (albeit bloodless), emotional and familial death and loss-of-self, PTSD, questions of identity (are we dealing with lifeless computer information, or actual beings with life force?), the nature of our universe and existence, metaphysicality, and philosophies of nihilism (nothing matters because it has no inherent or obvious purpose) and objectivism (the right to determine and produce one's destiny and happiness)]], all tying into a coming-of-age narrative for children. ''[[ShownTheirWork And even the fictional science has a very real and studiable basis in fact and reality!]]'' [[WhatDoYouMeanItsForKids Even more awesome is the fact only a smattering of visuals in the English Dub (mostly explicit blood and excessive violence) were censored]], ''and about 98% of the grand total of concepts and mature material featured (by children's standards) were'' '''''preserved'''''. "It's not just a game", indeed!

** Hindsight makes the Gallantmon vs. Beelzemon fight even more awesome: this is a battle between ''[[CoolVersusAwesome a Royal Knight and a Demon Lord.]]''

* Gallantmon Crimson Mode. Base Gallantmon is already impressive, being a Royal Knight whose ''shield'' can emit a WaveMotionGun, but Crimson Mode is a [[RedIsHeroic red-clad]] EleventhHourSuperpower that gives Gallantmon six angelic wings and ''two {{Energy Weapon}}s'' to fight with. And it proceeds to go to town on the D-Reaper.

* Gallantmon Crimson Mode.

** Beelzemon beating through the D-Reaper's agents to get to Jeri, culminating in him reaching deep inside and using ''Leomon's'' attack to break through. Even though it has the tragic and unintended (but understandable) consequence of causing Jeri to freeze up at the memory of Leomon, it proves that he's reached the apex of his redemption.

*** This is where Bridget Hoffman really gets to shine, as she keeps that traumatized downtrodden voice, but in addition to that, she really nails it multiple times as the coldly logical voice of the D-Reaper itself, which gets more distorted and less child-like as the arc progresses, with the final voice of the faceless J-Reaper Agent (pictured at the top of the page) losing all of its previous innocent-sounding qualities, now more like an extra-dimensional evil goddess from Hell, while still retaining that coldly logical demeanor.

** Janyu and the Monster Makers/Wild Bunch showing that they are extremely intuitive (without being perfect characters themselves) and '''''more'''''-than-capable of adapting to problems in their line of work, by outsourcing individual extra calculations (presumably simplified for average computer users) tied into the network of thousands upon thousands of computer users all over the planet (a precursor to our cloud computing today!), rather than depending on the now-trashed Hypnos main computer core, to generate the transit system for the Ark. It's so effective that Yamaki calms down enough to put his Zippo lighter [[note]]which he's been seen fidgeting with throughout the series, especially in his first appearances[[/note]] on one of the office desks and walk away for a bit.

** Janyu and the Monster Makers/Wild Bunch showing that they are extremely intuitive (without being perfect characters themselves), and '''''more'''''-than-capable of adapting to problems, in their line of work, by outsourcing individual extra calculations (presumably simplified for average computer users) tied into the network of millions of computer users all over the planet (a precursor to our cloud computing today!), rather than depending on the now-trashed Hypnos main computer core, to generate the transit system for the Ark.

** Janyu and the Monster Makers/Wild Bunch showing that they are extremely intuitive (without being perfect characters themselves), and '''''more'''''-than capable of adapting to problems, in their line of work, by outsourcing individual extra calculations (presumably simplified for average computer users) tied into the network of millions of computer users all over the planet (a precursor to our cloud computing today!), rather than depending on the now-trashed Hypnos main computer core, to generate the transit system for the Ark.

* The monster makers final plan to defeat the D-reaper. To devolve the D-reaper they installed Juggernaut into Megagargomon to use in the D-reaper's weak spot. But in order for Megagargomon to pull it off he had to create a spin faster than the freaking speed of light! He does...

** The tense 40 minute (in-show) countdown to the arrival, and one singular chance of boarding, of the Ark.

** Janyu and the Monster Makers/Wild Bunch showing that they are extremely intuitive, and '''''more'''''-than capable of adapting to problems, in their line of work, by outsourcing individual extra calculations (presumably simplified for average computer users) tied into the network of millions of computer users all over the planet (a precursor to our cloud computing today!), rather than depending on the now-trashed Hypnos main computer core, to generate the transit system for the Ark.

* Episodes 40 and 41 ("Janyu's Ark" and "Homeward Bound"); If it weren't for the fact that this was a weekly series, one could mistake these two episodes as part of a major anime movie. There is one simple goal for the Tamers that is set in the viewers' minds: '''''GET HOME'''''. And that's not including the many natural story developments within those two episodes, and natural obstacles to overcome:

** The tense 40 minute (in-show) countdown to the arrival of the Ark.

** Janyu and the Monster Makers/Wild Bunch showing that they are '''''more'''''-than capable, and able to adapt to problems in their line of work, by outsourcing individual extra calculations (presumably simplified for average computer users) that they tie into the network of millions of computer users all over the planet (a precursor to our cloud computing today!), rather than depending on the now-trashed Hypnos main computer core, to generate the transit system for the Ark.

** The tense moments of the Ark starting to leave without Takato and Rika, Renamon, and Impmon, with everyone trying to get Takato on-board hanging from the vehicle in mid-air!
** Wait, the Ark is a self-aware and intelligent being too, and it wants to help all of the Tamers get home?!

*** Bridget Hoffman perfectly embodies Jeri's sadness, fear, and traumatic frustration of losing Leomon, and at seeing everything fall apart with Takato's rage and Guilmon's corruption.

* In a meta perspective, the fact that the show, and by extension, the English dub, dared to tread ideas that no 7-to-13-year-old had ever really considered: concepts such as family drama, more-than-friendship, government plans and politics (in the form of Hypnos); religion, in the form of the Digi-gnomes, Calumon himself, and Impmon + Beelzemon; sublime and celestial personal concepts of love, merging, and connection; computer, artificial intelligence, and quantum science, [[BreadEggsMilkSquick mature violence (albeit bloodless), emotional and familial death and loss-of-self, questions of identity (are we dealing with computer information, or actual beings with life force?), the nature of our universe and existence, metaphysicality, and philosophies of nihilism (nothing matters because it has no inherent purpose) and objectivism (the right to determine one's destiny and happiness)]], all tying into a coming-of-age narrative for children. [[ShownTheirWork ''And even the fictional science has a very real and studiable basis in fact and reality!]] [[WhatDoYouMeanItsForKids Even more awesome is the fact only a smattering of visuals in the English Dub (mostly explicit blood and excessive violence) were censored]], ''and about 98% of the grand total of concepts and mature material featured (by children's standards) were'' '''''preserved'''''. "It's not just a game", indeed!