[Kamen Rider Die]

Quote:

Originally Posted by Fish Sandwich

I kinda think this is a scenario where it might be because of it being a fill-in story that it turned out so good? Like Yonemura realized this was his one shot to write Kiva and tried to essentially put the entirety of the show as he saw it all in that single script. Hence all the characters being peak themselves, and the narrative structure that makes such textbook use of the dual time periods.

I've mentioned that I'm skimming back through all these episodes to pick out music for them, and these two ended up being a lot more gripping than most so far? I can't remember much about my initial reaction to this two-parter; I'm pretty sure I liked it quite a bit because Kiva as a whole was still very much riding high for me in this stretch, but nothing about the plot stuck too much with me. While I basically got the highlights reel version jumping all around from scene to scene, and haven't rewatched it in full, I have a feeling I'd be echoing a lot of your thoughts here, because many of those isolated moments I was catching really commanded my attention in a good way. It even gave me a new appreciation for the overall themes of the show, in fact!

There's a lyric in the first verse of Break the Chain that's rather cruelly cut out of the TV-Size edit despite summing up the nature of Kiva's plotting so perfectly: "everything that surrounds you in the present is a message from the past." And that's so much of this show, of course, from the scars left on bits of the environment from battles in 1986, to something used to great effect in this episode, which is Wataru being taught something by someone who learned it from Otoya. I don't know why it was looking back at this particular episode that convinced me of this, but I'm starting to guess Kiva's whole thing about connections is something I would appreciate significantly more on a rewatch in a post-Ghost world.

There's stuff about that central gimmick of the show taking place across two years so far apart where I think people like to look at it very literally and poke fun ?€“ the constantly escaping '86 Fangire being a particularly popular subject for that ?€“ and while I'm always down to poke fun at Kiva, it's becoming apparent to me there are genuine thematic strengths to emotional parts of that gimmick I feel like I've been underestimating. There's this real beauty in the idea of Wataru as a character desperate to connect with his father as he makes his way through a turbulent life, scarcely realizing how often the love of that father keeps finding its way back to him when he needs it most. Otoya looking out for his son without even trying. Being there for him without being there at all.

I don't know. Whatever point I'm trying to make, it's obviously underdeveloped having such an incomplete recollection of the series, but there's something very poetic going on here that I'm pretty sure I like.

I'm pressed for time, and I'm trying to get 19 done before I've got non-Kiva stuff to do later tonight (it's a very busy night!), but I wanted to post real quick for two reasons.

The first is to basically agree with everything Fish said. I love all of this post: the idea that this random two-parter is another writer aiming for their perfect Kiva story; the perspective on certain heightened attributes working as idealized versions of the characters, touchstones and thematic representations; and just someone else besides me linking Kiva to Ghost. Thanks for such well-stated praise for this story!

The other reason is OH MY GOD:

Quote:

Originally Posted by Kamen Rider Die

I... this is a dream? Is this emotion joy? It can't be; it's far too pure.

I thought They Did Trinity Form Again was going to be the happiest Kiva made me this week, and I was wrong. I audibly gasped when I heard Kengo shouting at bullies, and then it got better from there. In fact, I'm pretty sure I reflexively shouted GASP to the screen. So thrilled. You guys.