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11-05-2019, 10:14 AM | #15641 |
天心の英雄たち
Join Date: Oct 2017
Location: Maryland
Posts: 939
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Quote:
It's only like 24 episodes and I feel like I could power through it for the sake of completion, but I'm only on like episode 6 or 7 and it's taking a long time to get through it. I think the fact the main rider really can't talk or anything makes the show hard to get through. There's no real story happening, he's an amazon, there's a monster of the week, he fights it. the end. But I'm determined to watch every episode of every series, but I'm struggling hard with this one. Honestly Tōbei Tachibana is the only character I keep watching for. I really liked him in the other Kamen Rider shows and of course in Ultraman as well. He's a great character, always a very likable person. But he's the only character in Amazon that's the least bit interesting. Last edited by KaijuUltraFan; 11-05-2019 at 10:17 AM.. |
11-05-2019, 11:07 AM | #15642 |
Dai Shogun
Join Date: Jul 2014
Location: Germany
Posts: 7,530
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Mole Beastman alone is worth watching Amazon for. You should see him soon or it's about time he becomes a returning character.
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11-05-2019, 11:43 AM | #15643 |
天心の英雄たち
Join Date: Oct 2017
Location: Maryland
Posts: 939
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thanks for the encouragement. I'm glad it's a short season.
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11-05-2019, 04:10 PM | #15644 |
Member
Join Date: Oct 2019
Posts: 462
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Oh, weirdly I watched episode 1 of Amazon probably around 10 years ago now and I actually liked what I saw of it! The only pre-2000 Kamen Rider show I've finished is Kamen Rider BLACK some time last year, now that's a good one!
Last edited by tomos; 11-05-2019 at 04:12 PM.. |
11-05-2019, 06:04 PM | #15645 |
I have a problematic type
Join Date: Jan 2012
Posts: 10,426
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Amazon does start talking eventually, too. It’s somewhere between episodes 11 and 13, if I remember correctly.
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11-05-2019, 07:30 PM | #15646 |
Some guy. I'm alright.
Join Date: Sep 2019
Location: Michigan
Posts: 4,428
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As much as I love Kuuga, if it's not your thing, it's not your thing. Personally I always hate it whenever people insist I try to slog through something when I'm not enjoying it.
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11-05-2019, 08:31 PM | #15647 |
The Immortal King Tasty
Join Date: Jan 2012
Location: Every diner you've ever been to.
Posts: 3,833
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Faiz 39-40:
I love these episodes so much. The whole reason Takumi is in the position he's in right now is because of how far he was willing to go to save Mari's life, so it's almost poetic that it's her faith in him that starts to turn things back around. It's just inherently satisfying to see how much these two care about one another considering they so did not start off the series that way. But now, not only is Takumi willing to basically throw away his entire life to save hers, Mari is just as willing to go talk to the guy who killed her if it will help Takumi. Seeing Takumi finally become Faiz again is likewise a fantastic payoff. The anticipation is at fever pitch. If you were watching this on TV at the time, you would've gone an entire month counting this episode without seeing the hero as the hero. You couldn't ask for a better time for a final form to make its debut. So when Takumi sees Mari in danger and grabs that belt, almost out of instinct, it's crazy exciting. They even use Faiz's epic hero theme straight out of the movie! Mind you, Takumi isn't totally over his issues at the end of 39. How could he be? He's dealing with problems big enough that they don't exactly go away all at once. What finally seals the deal for him are his interactions with Sawada, an Orphenoch who, in the end, couldn't let go of his humanity even when he was actively trying to. So by the end of 40, Takkun is back in action, fully determined and ready to do a sweet three Rider transformation to a remix of his own theme song (again, straight out of the movie). Oh, and about that third Rider. Mihara goes through some hard times here. You know, he's doubting himself too and everything. Kinda gets his girlfriend run over by a truck a little? But hey, when all is said and done, he's right there with everyone else, ready to fight. では、何の迷いもないファイズ翻訳ミスコーナーです~!今日の翻訳ミスはこれだ! 「俺は何度でも君に襲い掛かる、君が生きている限り」 This is supposed to be future tense. "As long as you're alive, I'll never stop attacking you", or however else you want to say it. The point is, Sawada isn't merely reminding Mari he's been a threat to her, but specifically saying he will continue to be one. It's a failed attempt to intimidate Mari, and likely a failed attempt to convince himself that he's more of a monster than he is. W 39-40: This is a goofy set of episodes that does a good job of elevating itself by making the standalone plot connect to the overarching drama, having Akiko trying to prove a point to Philip after the last arc's events. It's far from my favorite arc of W, but I really do respect how it keeps the tone light and gives you a breather without feeling disconnected from what's been happening in the rest of the show. あぁぁ、あとこれのこと話したいから、突然のダブル翻訳ミスコーナー!今回のミスは… 「亜樹ちゃんが変えた!」 Believe it or not, TV-Nihon's not the only sub group that messes things up. For context, this is the climactic scene in 40 where Tooru finally learns to speak up, and the line right before this is Philip noting that "Kawai Tooru has changed." A huge look of shock hits Philip's face, and he follows that up with this line, which should be "Aki changed him!". This line is basically the fulcrum of the whole story arc, where Philip realizes it is possible to change a Dopant, which gives him the push to commit to saving Wakana, but Over-Time (or W-Time or whatever, I'm watching the OZC version anyway) apparently misunderstood what Philip was so surprised about, and assumed he was pointing out that Akiko isn't around, as though he knows she's in danger already. This whole moment was my favorite part of the whole arc, so I was pretty upset seeing it botched like this. So much so that I broke the rule I set for myself of only doing one error per post. Err, uh, I mean... it was obviously implied I was talking specifically about Faiz, so this is totally fine! Yeah, that one.
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11-06-2019, 09:44 PM | #15648 |
The Immortal King Tasty
Join Date: Jan 2012
Location: Every diner you've ever been to.
Posts: 3,833
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Faiz 41-42:
One thing that really jumps out to me about episode 41 is just how... warm it is. It's very much a calm before the storm kind of deal, before the show moves into the last act, but again, it's always cool seeing fow friendly all these people have become over time. Takumi and Yuuji are finally bros, Takumi and Keitarou are bros, Takumi and Kusaka... uh, well, Kusaka isn't trying to kill Takumi anymore. Okay, not everything is going great, but there's a very clear emphasis now that Takkun is back with everyone on showing how much happier they are when they're together. It's sweet. Things start going south rather fast in 42, when the series-spanning, occasionally hibernating arc of Soeno and Sawamura's investigation into the murders caused by the Orphenohcs starts paying off in earnest. Look, I know it took them a while, but not everyone can be as competent as Ichijou from Kuuga, okay? Actually, I think Jinno and Makura would've gotten this done quicker. Although that depends on if Ryuu is there or not... Tell you what, I'll get back to actually discussing Faiz's plot as soon as I work this out. Riiiight after I mention Mihara's continuing adventures this time, now that he's cementing his position as Kaixa's unofficial sidekick. With a mentor like Kusaka on his side, I'm sure he's on the path to becoming a true hero of justice! では、いつものファイズ翻訳ミスコーナーです~!今日の翻訳ミスはこれだ! 「元気そうで良かったよ、本当」 The subtitles for these episodes were downright appalling . This line here, which should be "I'm really glad you're doing well" (the last time Keitarou saw this kid was in a burning building), is far from the worst offender, but since there are so many lines on this level, and since, even knowing the actual dialogue, I don't understand the police's mad scientist plan well enough to explain it, I've picked this one instead, largely for the cruel, ironic value. Because frankly, with subs like this, I am most certainly not doing well. It's worth noting that part of the problem here is that, the further I've gotten from episode 30, the more 1:1 Agony and TV-N's subs seem to be getting. Although Agony did make sure to add some extra color to this other line from 41, so that's something. W 41-42: Alright, before I run out of chances to mention this, Double's opening is perfect. Not the song I mean (well, that too), but visually, the way it's put together is simply flawless. It's flashy and cool with shots like the ones involving Double standing in front of those fans, but it's also exceedingly cleanly and easy to process, expositing a lot about the show entirely through visuals, as any good opening should. It even follows the basic narrative pattern of the show, going from "client shows up", to "investigation", and then "cool superhero stuff" at the chorus. It's so well thought out, I could pretty much write an entire paragraph like this describing why each individual shot is cool. But then I've got the actual show to talk about, so maybe some other time. Funnily enough, this arc is all about how cool Jinno is. They even play Nobody's Perfect once in each episode over flashbacks of him just to make it that much more clear. After the last arc's detour into wacky film antics, this one is a nice, familiar, straightforward detective story. The mystery at the core is very solid, with another memorable antagonist, and some good twists you probably won't see coming right away. At least, it fooled me for a second, and I've already seen these before. I touched on this back during the Virus arc, but since then it's also become a regular thing for Double arcs to have some line of dialogue or repeated phrase that keeps coming back up throughout, with the context around it always changing a bit each time. The one here, where Shoutarou keeps insisting that Jinno isn't easily fooled, but is instead great at being fooled, is a particularly nice example. By the end of the story, you really do come to understand what Shoutarou means by that, and I like that we got a plot that calls a bit more attention to the fact that these two are buddies. Their odd little friendship has always been fun in the scenes where it comes up. Also, it's no wonder I became so fond of Accel Trial when the show gets so much mileage of it. The absurd amount of times Ryuu has run in from offscreen just in time to save something/somebody from oncoming danger would almost be grating, if it weren't so awesome.
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11-07-2019, 09:53 PM | #15649 |
The Immortal King Tasty
Join Date: Jan 2012
Location: Every diner you've ever been to.
Posts: 3,833
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Faiz 43-44:
A whole lot of change happens in these episodes. But one thing that doesn't change is that Keitarou is the man. Seriously, I can't believe I ever used to think he was a lame character. It really should've been obvious when even Takkun has nothing but nice things to say about him at this point. One thing I think was done really well here was how the show balances all the misery and cruelty going on with a lot of genuine human kindness and compassion. It pulls the rug out from under that for drama, of course, but the emotions themselves are never... invalidated, I guess? A show that's going for cruel twists at the sake of everything else would probably reveal at least some of this stuff to be a lie or whatever, but that's never really happened in Faiz. I've still got a couple episodes left to eat my words, but this show hasn't done a lot to upset me. Although Mihara sure did a lot to upset Kusaka when he stood up to him to protect Takumi. See, this is the kind of spine I knew this guy had in him the whole time! Getting Kusaka to back down from one of his fits of murderous rage is something very few people can claim to have done. Mihara's the top dog, man. Kusaka even goes to him later for help taking on Kitazaki because he knows he can't cut it himself. では、おなじみのファイズ翻訳ミスコーナーです~!今日の翻訳ミスはこれだ! 「人の優しさや、好意が辛い時ってありますよね」 I'll say upfront that this isn't as bad as it looks just from this one line. You still get the broad idea of Yuka's monologue here from the ones after it, and compared to what a trainwreck the last two episodes were, these ones were fine. However, that doesn't change the fact that this is a mistranslation. What Yuka actually said here was considerably more blunt. It's, (very) roughly, "There are times when people's kindness and affection are painful". She goes on to elaborate that this is because she feels unworthy of being treated so nicely, which the subs got more or less correct. But this initial line, it's immediately impactful before she even starts explaining, and gives you a fantastic idea of the kind of headspace Yuka is in. The way it's translated here simply doesn't get any of that across, and given the context, the idea that Yuka would even have this thought to begin with is questionable. W 43-44: This is Keiichi Hasegawa's last arc, and I think he left on a high note. I'm very impressed with how long Double was able to keep doing standalone plots while still building the overarching storyline. The show handled a fairly tricky situation with aplomb. If you didn't have Shoutarou and Philip taking on new cases, it would stop feeling like a procedural show about detectives, and yet, if you only do that, you risk being unable to have a sense of rising tension as the end of the series approaches. These last few arcs have done a spectacular job still focusing on the episodic plots, while showing how the status quo is changing, and making it clear things are going to come to a head sooner rather than later. These episodes in particular also gave the plot loads of thematic cohesion, with an all around emphasis on revenge, as it pertains to the Dopant, the client, Shroud, and of course, Ryuu, who ends up taking center stage here, leaving behind his own past once again to prove a point about how anger isn't the only way to solve problems. There's not much to complain about here. I guess the action was relatively underwhelming, especially for something directed by Koichi Sakamoto. But if we're talking about Sakamoto and Double...
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11-08-2019, 10:54 PM | #15650 |
The Immortal King Tasty
Join Date: Jan 2012
Location: Every diner you've ever been to.
Posts: 3,833
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Faiz: Paradise Lost
Good to see this movie. Going back through ALL of it... is also part of this rewatch. No but seriously, you guys have no clue how much I LOOOOOOOOOVE Paradise Lost. This is without a doubt my favorite Rider movie, bar none. It's too freakin' good, man. I don't even which nice things to say first. I guess starting with the broad concept is logical, right? I've always been fond of the Rider movies like this that were explicitly off in their own world, and Faiz took it the farthest. It's like the show, but if things took a bad turn at some point. It's got a post-apocalyptic flavor you don't see often from this franchise, and yet, watching it again coming straight off of the show, what struck me was how well the narrative condenses so much of the series into a movie-sized package. Actually, the narrative is general is really good in Paradise Lost. The only hint of Rider movie nonsense is the weirdly elaborate explanation that has to be contrived for Takumi to not have his memories for the first half, but even that exists to serve an actual plot, rather than some pointless crossover or something. Aside from that, it's basically a bunch of character arcs more or less straight out of the show wrapped around a new context, resulting in something that, despite the huge difference in scale, stays true to the premise, themes, and characters of the source material. It's almost bizarre, in that it's the exact opposite of so many other Rider films. Instead of watching characters you barely recognize in a world that's allegedly the same as always, you see exactly the people you know and love, in a world you barely recognize. There's also an extremely tight focus on Takumi and Mari, further adding to the cohesion and giving things a clear emotional core. The decision to hold Faiz back in the Faiz movie was also just genius. It's like I'm always saying about the show not giving a crap about what you expect. You get Takumi in one fairly quick flashback where he gets horribly defeated going up against an army (the kind of absurdly huge scenario made for the big screen), and then it's not until almost exactly the halfway point (although it's less close in the theatrical cut) he properly enters the story. It's like the most hype thing ever. Or at least it would be, if all the action in this movie wasn't so amazing. You've got everything here. Faiz doing cool hero stuff while glowing in the dark. Faiz doing cool hero stuff in a big arena under a spotlight. Resistance dudes with machine guns going up against Orphenochs and squads of Riotroopers on dirtbikes. Kaixa's doing his thing. Psyga's there. Oh man is Psyga there. Is it any wonder this guy is my favorite movie Rider when he just strolls into scenes flying around on his jetpack shooting the place up? The direction throughout is also pretty stellar. It was directed by Ryuuta Tasaki, who's basically the director for Heisei Kamen Rider, and while I find a lot of his work on TV to be workmanlike and good without being particularly remarkable, a lot of the shot framing and everything here very much jives with me. If two people holding hands in the mud isn't the perfect summation of what Faiz is about, I don't know what is. The whole thing also screams production value, as all good Rider movies do. The movie sells the atmosphere of the bold new, Orphenoch-dominated world quite well, and of course, there's a climax that even Momotaros would be jealous of. The obligatory fight with a big stupid CG monster is one of my least favorite Rider movie tropes, because outside of a few exceptions, like True Ending and... uh, actually maybe it's just the one exception. The point is, I find this stuff drags things down, because it always ends up looking cheap, and less impressive than just two dudes in suits punching each other would be. So Paradise Lost wins major points for having its dumb CG monster be one of like half a dozen threads going on during the ending, which includes Faiz taking on two different Riders in separate fights, him trying to protect Mari (making the stakes much more immediate and tangible than usual), and of course, it's all happening in front of a crowd of 10,000 actual people, who I'm kind of jealous of for having the opportunity. Working in crazy amounts of extras, in contrast, is one of my favorite tropes in Rider movies, and I don't think they've ever quite topped this first go at it. It counteracts the cheapness of the dumb monster amazingly well, especially since at points Faiz is right up against the crowd. It just looks good. This movie basically has it all, with the notable exception of Delta, who isn't given so much as a cameo, despite being on TV by the time this originally came out. The belt, anyway. Mihara didn't exist quite yet, which is a shame. There IS a Mizuhara, but, pfffttt, come on, that guy's a total chump. Anyway, yeah, Paradise Lost is the bomb. I actually use Kaixa Day as an excuse to watch it at least once a year. No joke! Although I didn't quite make the time the past year or two... After all, I'm only human. もうかなり長くなってんだけど、劇場版でもファイズ翻訳ミスコーナーです~!今日の翻訳ミスはこれだ! 「オルフェノク全体を憎むのは、おかしいよ」 As usual, a lot of sloppy and occasionally straight up backwards lines abound here, like this one, where Mari is supposed to be saying it's wrong to arbitrarily hate all Orphenochs. She's sticking up for Yuuji in this scene and saying it's okay to trust him. The idea that Orphenochs exist who don't hate humans is not a hypothetical to Mari when she's friends with no less than three of them, all of whom are currently in the room. W Forever: A to Z / The Gaia Memories of Fate This one is also the bomb. It's right up there with Mega Max in terms of legendarily awesome Rider films. It totally rewrote the book on what the summer movies could be, and being Double, did it by being simple, clean, and effective. And also high-impact, in this case, because this is the movie where Koichi Sakamoto decided cameras don't need to be stationary. Like, ever. I think there might've been a couple entirely still shots, but even in the ones that are largely stationary, the camera is still subtly bobbing about. The sense of energy the entire movie has is nuts, even outside of the action scenes, which are all completely spectacular. Any Rider movie that has some good bike action is a win in my book, and that's only the tip of the iceberg here. It's all in support of a story that avoids overcomplicating itself so hard, it's basically a video game. I know when people say that, it's usually not a compliment, but hear me out. The strength of any given Double arc in the show is always directly tied to how interesting the villain is, so the movie takes it to the next level. We've got the final boss, and his gang of goon mini-bosses, who are introduced at the start, and spend the first half of the movie tearing up the place, before the heroes turn things around and start working through them one by one until the movie ends. It doesn't need to be any more complex than that in terms of structure, especially when Eternal is such a memorable bad guy. The emotional core of this movie revolves around Philip, taking his family woes straight out of the show and delivering a sort of extra chapter that doesn't change anything, meaning you aren't "forced" to watch the movie, yet on its own merits explores the characters in an interesting way. The parallels the movie draws between Philip and Daidou aren't particularly deep, but they work, and it gives the story a good hook. Shoutarou isn't left out either though, getting to do a ton of the heavy lifting in the back half as he single-handedly starts turning the tables back over after the darkest hour. The way the movie almost immediately presents you with that hole in the ceiling is some great foreshadowing, and even makes up for the fact that his new belt is given to him by a ghost (and you thought Faiz Accel's debut made no sense!), but really, even then, Kamen Rider Joker is just plain awesome. As is this movie, if you somehow aren't getting it yet. Like the show itself, it's the gold standard every other summer movie should be trying to live up to. Oh, and on a side note, it's hilarious to think people say Kamen Rider has gotten less dark over time when this movie's villain shoots his own mother to death with a handgun, onscreen.
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