[Androzani84]

Quote:

Originally Posted by Kamen Rider Die

That's really the heart of it for me, though. I could 100% be onboard with a Yuuji who decides that his earlier behavior was naive, that Yuka died due to his belief in coexistence, to become radicalized through a mix of regret and rage. I could embrace that whole-heartedly.

What I got, though, was an unemotional dude who suddenly cared a lot about all of the shit that Murakami cared about, things that were never brought up in Yuuji's storyline before now. It'd be like if Takumi was gone for an episode, and when he came back he was a disengaged bully who longed for excitement he couldn't feel. A heel turn is more than just making a good character play a villain character's part!



I did really like the outdoors scene with Yuuji and Kaido! It was almost hard to reconcile with everything else (Yuuji seems genuinely happy to see Kaido, but is also willing to use him in the fight against the Orphnoch King), but Kaido more than sold his half of the scene. He's so to-the-bone relieved to see Yuuji. It was emotional, character-based storytelling, and it's the bare minimum of what I want to see.



I guess I'm grateful that so much of this series worked for me, then!



Yeah, it's a problem inherent to telling a season-long story. It's way bigger than a Kamen Rider problem, but it's pretty consistently a Kamen Rider problem. It's just really, really hard to figure out how much plot a season-long mystery/arc needs. Too little, and you're killing time until the next phase can start. Too much, and you're having to rush twists or cram in exposition. It's the hardest part of making these shows!

Like, I love Build, but even that show had a couple episodes where I was like Maybe You Are Trying To Tell Too Big A Story Here My Dude.

One reason to try and get into Super Sentai or Pretty Cure: they generally go for a lower scale myth arc and hose that don’t (Timeranger, Gekiranger, Go-Busters) are more controversial in Japan.