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What are you watching? (Kamen Rider Edition)
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06-23-2019, 05:21 PM
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15416
Fish Sandwich
The Immortal King Tasty
Join Date: Jan 2012
Location: Every diner you've ever been to.
Posts: 4,016
Ryuki 33-34:
Okay, so after this last stretch of episodes, I know what you're thinking. Wacky adventures with Zolda? Ouja hanging out with a little girl? This show was supposed to be serious, right? Well don't you worry, because starting right here, things are heating back up.
This entire scene is legendary, by the way. Having it be the debut of the show's (awesome) second insert theme on top of Ryuki Survive makes it double memorable, but what amazes me even more than the perfect timing of the song starting up is that he doesn't actually do anything
besides
transform before 34 ends and it still works.
I've always really loved the simplicity of the Survive forms. Not the designs themselves, I mean, although they are pretty streamlined, but how the show keeps it simple with all the Riders. Everybody gets exactly one form except the two leads, who get a single, straightforward power-up to further emphasize them as a duo, and the core of the story above all else. While also letting them look totally awesome, which is a plus.
Den-O 33-34:
This arc is by far the most memorable Victim of the Week plot to me. It's another one of those plots that really defines Den-O to me, that begins with a concept as simple as a man playing a piano, and tells a fairly bittersweet story that still ends on an optimistic note. The show draws some comparisons from there to Yuuto's dilemma, but for once the emphasis doesn't feel completely lopsided in favor of the main characters. Which is great, because for a guy with no name and not a lot of dialogue, it's hard not to like the piano man. There's a real melancholic atmosphere to a lot of these episodes, which is something Den-O excels at creating in a way I don't think any other Rider show does.
This is also where Hana becomes a child due to a case of "adult circumstances", as Sento would put it. Den-O did an admirable job working that into the plot on short notice, and maybe it goes to show how much of these characters is in Kobayashi's scripting, but it's actually weirder how much of an adjustment it
isn't
. I honestly buy that this is still the same person, even though it literally isn't, and that's pretty impressive.
OOO 33-34:
Firstly, at a whopping 5 minutes and 45 seconds, episode 33 has the longest cold open yet, and now that I'm over halfway through the show I can confirm that OOO makes just as much of a habit out of this kind of thing as I remember from back in the day. See, the point of a cold open is to quickly establish the central premise of an episode before the opening, usually in a way that gets the viewer invested in the outcome, but this is OOO. There are several equally "central" bits of any given episode, so instead of one quick scene to establish one quick thing, the vast majority of episodes show what everybody is up to in turn. It manages to keep them around 2-3 minutes a lot of the time, but just as often they push the 4 minute mark. Mind you, I'm not saying all this to complain. Quite the opposite, actually. I think it's a very good sign for a show's quality if I get invested enough in a couple minutes that I get surprised when the theme song plays.
Secondly, Nobuhiro Mouri is back once again, and I'm just as impressed this time at his ability to meet OOO's high standards. There are maybe some extremely,
extremely
petty nitpicks I could raise about the specific details of exactly how parts of it are written differently than I feel they would've been by Kobayashi, but if I have to go through that much trouble to say something is off, it only proves how good of a job he did. Not that I'd expect any less from the guy who went on to write some of my favorite episodes of Go-Busters, and is currently killing it on Zi-O.
And thirdly, just like the last time he got a chance to write for this show, Gotou's arc gets quite a bit of attention. It's plain to see how much more humble he's become over the course of the series, and these episodes make it clear that he's actually swung maybe a bit too far in the other direction, being uncertain about his ability to potentially replace Date as Birth, even after all he's been through. Date, of course, has plenty of faith in him, and you can really tell how much mutual respect these two have for each other, despite seemingly being such a mismatched duo. It's fascinating stuff, but it's hard to call watching their relationship play out a highlight of the series when basically everything is that good.
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