[Mesnick]

This is my big subjective and honest review on the show. Once again: subjective and honest. You can doubt everything about him except those two words.
Zolda (who is a user, not a rider from Ryuki) wrote that Geats is worthy of an entire critical dissertation. I'm not sure about this, but I clearly got the abstract. Hopefully not too boring.
I have changed my mind about this show many times. The enjoyment of watching disappeared somewhere towards the end of the second quarter, but the interest in the plot remained right up to the last five episodes. I'm watching because there's too little left, and I don't like unfinished business.
Now (right now), if I were asked to describe this show in one sentence, I would say that this is a series where there is one bike for a hundred riders. This is new and also ridiculous. And, perhaps, these two words best describe Geats as a show for me: novelty and absurdity.

GOOD



Let's start with the positive: Geats was needed by the franchise. He refreshed the story, showed a hero radically different from the three previous good people of the Reiwa era. Also, the show finally managed to handle the sheer volume of toys in the first quarter, thanks to the competitive element. And the DGP concept! Re-read the comments under the first episodes (and even recent ones!). Some commentators were ready to participate in this game themselves. The screenwriter managed to seduce with the fulfillment of desires not only the characters, but also the audience. And this is in a franchise where the organization always turns out to be completely or partially evil (Hibiki is an exception, although even among the Oni there were villains). Brilliant!
And Jamato? I really think they are the best monsters in the franchise. They're basically just DGP personnel meant to be sacrificed. They are created artificially, for the sake of a certain role, like Tsumuri or Jitta. That's just their role to die.
And they start to develop. Watching their evolution is truly breathtaking. You involuntarily ask yourself: is Archimedel right or not? Are they capable of real intelligence, or will they continue to play roles, just more complex ones. And, best of all, we never know the answer. Is the Daichi at the end of the show a reformed Nadge with Jamato's abilities, or is Jamato based on Nadge overcoming the original program thanks to a mixture of other people's memories? I think each viewer will decide for himself. Well, or Takahashi will tell in an interview.
Of course, I would probably like more attention to this particular concept of the show. Do Jamatos have the right to life? Yes, they are dangerous, but only because people made them that way. Abandoned at the end of the DGP, the Jamato inspired legends, but that means they were exterminated by humans without the strength of the riders and the memory of it. Although Ace may have contributed to the cleanup. Anyway, I'm glad Jamato has found a place in Ace's happy world.
Final was not bad. Although, not great also.

BAD



However, the show's problems outweigh the positives for me. His world is full of mistakes, and I'm not talking about some innuendo and unexplained places. For example, Mitsume was the Navigator before Tsumuri. The same Mitsume became the Goddess of Creation two thousand years ago. So Tsumuri has been a Navigator for 2000 years? And she was not embarrassed by the frequent winners with the initials Uk. Ac.? Whose fighting style was the same, and whose desires were strange and repetitive? Does Tsumuri have the memory of a goldfish?
Okay, another option. Tsumuri was created artificially specifically for the work of the Navigator. Obviously, there were many of the same Tsumuri before her, and only ours had to awaken the power of the Goddess, for Mitsume worked her own. But then why so much fuss with her submission? Take another Tsumuri and put her to work until she evolves. Ace bothers? Conduct two parallel DGPs in the same era in different parts of the world. Sueru has no restrictions on resources, because he controls desires.
Also, Win gives this information to Ace. And it is logical to assume that he subtracted it from the DGP archives. Later in the show, we find out that he is good at it and in general this is his main purpose in the show. But, if the translators are right, he tells Ace that he heard about it. Heard!!! This is who and with whom from the top of the DGP decided to remember the events of 2000 years ago, also speaking of Mitsuma only as a Navigator, and not about the Goddess of Creation. And in front of Win. I just can't imagine this conversation. Seriously, the archive option is much simpler and smarter. What's the matter?
And the point is in the unfinished script or its sharp correspondence. Another such example that I remember is connected with Neon. After we learned about the tense family situation in the Kurama family, the next logical step in this side line was to show the viewer that Irumi is not just an abusive hysteric, but a paranoid, obsessed with her daughter's safety. It was necessary to show that she reprimands not only Neon, but also John and Ben, installs bars on the windows, regularly disturbs the police. But remember the episode in which the Sae family was held hostage. The emphasis there is not on: “Immediately run away from the bomb, you fool!”, But on: “These people are trash, they don’t deserve your attention!”. And this has no place in the current version of the history of the Kurama family. This scene adds nothing to Neon's plot: she confronted her mother face-to-face before, of course, she will be able to argue with her on the phone. And it does not work for Irumi's character in any way, because fear for her daughter does not explain her snobbery. It's just an unnecessary appendix, the existence of which is only due to the fact that when it was filmed, the redemption of the parents was not considered as an ending.
The pace at Geats is also terrible. As previously mentioned, Girori's guide can be easily skipped, as the story only starts with Dezastar. Of course, it can be argued that the first episodes establish the characters' personalities, but all the important characteristics are still repeated later (sometimes more than once). Although, I must admit, most often less spectacular and successful.
The ending except the nice, but speed final is more like a self-parody. Almost every day, people are being told from the screens about another deadly game with their participation, to which they react ... in no way. In fact, this is one of the most passive societies in the franchise. They are passive even in matters not directly related to riders and monsters. For example, Kossey escaped from prison, ended up in the hospital and, having recovered, returned home. I understand, Apocalypse, but he should have been returned to jail already from the hospital.
Also, due to the fact that the show shows the paths of different characters, mixed up with each other, they have to adapt to the plot, which leads to complication and absurdities. For example, here is the most obvious story path: Neon finds out about her father's arrest - goes home to her mother - goes to prison with her father - disappointed, goes to Ace and learns about Sara's death - calls Keiwa and arranges a meeting.
Here's what happened on the show. Neon meets with his mother, then with Ace, from whom he learns about Sara's death. Then he goes to prison with his father. And in the next episode, she accidentally remembers Sara and decides to meet with Keiwa.

And it can be justified that Neon had an appointment with her father in advance, and then the conversation upset her so much that she remembered Sara only much later. But it will be just excusing for mistakes that should not have been made.
The show's time travel theme is not used in any way. I understand that in Zi-O the concept: “We changed time so often that the rules for changing time have changed” was not appreciated by everyone (although this effect should be familiar to toy collectors), but you should not go to the other extreme either. No one is transported through the timeline of the show, or to other times, trying to change the current situation. No one from the future makes an appointment to meet the enemies at the crossroads where the accident will happen. None of the riders turns out to be the ancestor of a DGP employee whose life must be protected. Yes, this is impossible, because they are all artificial. Even bribing businessmen wastes the power of the Goddess, although one could simply advise them to start stockpiling medical masks in 2017. By the way, why negotiate with them at all if you can make a wish so that civilians do not pay attention to the DGP?
But back to time travel. Why can't Sueru go back in time and stop all of Ace's previous incarnations from participating in the DGP? Their names are on file. Without the experience of 2000 years, Geats will simply disappear. The show should at least somehow explain why this is impossible.
As with Win's revelation, it would be much easier to make them aliens. Even Sueru's reverse technology would explain that. And the thought: “Are we really going to turn into these heartless monsters someday?” it won't disappear either. In short, I think the future idea was chosen because it's more impressive, even though it leads to huge plot holes. But who knows what happens in the movie.

REFLECTIONS ON DECEPTION



Now I want to talk about deception. This is an important component, especially at the beginning of the show, and therefore I want to talk about it separately. There will be more reflection here than a direct discussion of the events of the show. So, those who don't like lengthy philosophy can skip this part.
For the rest, I will ask you to remember two important words from the beginning of the review. One of them is honesty. I do not accept deception, and therefore I often disagreed with commentators who justified it.
A few years ago, Infinity War introduced the concept of overpopulation to the general public. The concept is outdated, and on the scale of the universe, to which the film extended it, it is completely meaningless. As well as solutions. The Spiderverse did better because it showed that extremism is really bad. But you know what is worse than extremism? Deception.
And here it will not be possible to argue, because deceit has ruined many more lives. There was no extremism in the Paleolithic, but they were already suffering from deceit. In more recent times, their sacrifices are common. Because there is not a single radical organization, action or idea that would exist without deception.
And extremism is just an example. In all villainy there is deceit. Murder? With rare exceptions, all murderers are deceivers. Abuse? They deceive both the victim and the environment.
Deception is the parent of all evil, deception is bad, deceivers are bad people. All? No, but most. It's like children who torture animals. Someone will outgrow this and become a beautiful person with shameful memories. But most will do terrible things later.
Having digressed a little more, I often see the phrase in the comments: “Egoism does not always mean evil, and altruism does not always mean good.” And I agree that you should always keep your eyes open and be ready to accept the new. But to be really useful, this phrase needs a little addition: "Not always, but most often." Contrary to false impressions, egoists and altruists are equally divided among successful people, just the former is more noticeable. But among criminals, crazy and dependent egoists are actually in the majority. And this is worth remembering.
In general, selfishness and altruism are a rather interesting topic, with a lot of myths and misconceptions. But it is, in my opinion, far enough away from the main theme of the show, so back to the deception. And before you start justifying him, think about this: Geats himself admitted that cheating is bad. Just as Neo, having discovered the power of the Chosen One, abandoned firearms, so Ace, becoming the Nine-Tailed Fox, stopped deceiving. The final hoax in the show is the kidnapping of Keiwa Tsumuri and is meant to disgust the viewers. And calls. The problem is that they have justified cheating too often before and therefore consider it to be an aversion to a particular case, not a general one.
Now I'd like to talk about what I think is Ace's biggest lie. Remember how Ziin first experienced the fear of death and Ace consoled him with stories about his reincarnations? Ziin then felt deeply and decided that his grief was nothing compared to the transferred Ace, who died about fifty times. Now, this is complete nonsense.
Ace's deaths are a dream, after which the situation around changes greatly. Yes, he does not know the reasons, he does not know whether he will come to life next time, but this has nothing to do with the real fear of death. We are not afraid to wake up as a child with a different name and relatives. We are afraid of non-existence. So, Ace's fate is a gift, not a curse.
Continuing the theme of deception, it should be noted that there is not much of it in the show and sometimes it is given as a simple trick. A good example is Ace's memory recovery. It would be a hoax if Girori asked him:
- You didn't leave any secret clues to restore your memory in case of retirement, did you?
And got a negative answer. And so, I don't see it as cheating.

ACE



I think this is a good moment to move on to character analysis. And I'll start with the main character.
Someone wrote to me that Ace is a braggart, a liar and a cheat. I think this characterization is unfair. For starters, Ace is not a braggart. His claims of victory are backed up by statistics and experience (although he was wrong a couple of times). And he doesn't even call himself the best shooter (although maybe Dapan is more accurate). And in general, Ace has many positive qualities. He is brave, competent, empathic, reasonable, purposeful, sacrificial (I know Sh Ranger will not like this, but Ace went to barbed wire and turning to stone, if not voluntarily, then definitely consciously). He grants his wish, and then decides to create a world where everyone can be happy. And I don't have a problem with that. This statement is not always true, but it has the right to exist. The problem here is in the implementation.
2000 years. I will often return to this figure, so try to imagine what a huge period of time this is. 2000 years Ace went to fulfill his desire. No retreat, no doubt. Fighting and winning. Deceiving and destroying other people's dreams.

Again, the whole snag is 2000 years. It's too much. No one but Ace can fulfill his dream and become a benefactor in a similar situation. He'll just die a lonely bastard.
Therefore, Ace is a bad example of a “first me, then the world” approach. Others will not even have enough time for "I". But at the same time, the show does not try to enter at all, on the other hand. It does not ask what Ace brought to this world more: happiness or grief. Will the happy reality redeem all those who could not fulfill their dreams because of him? What about their loved ones? What about the parents abandoned by his reincarnations? I can understand that Ace was embarrassed to portray the child of people much younger than him, but this does not cancel their suffering.
Plus, Ace is terribly passive and dependent on those around him along the way. In 2000 years of playing DGP, he never knew anything about his mother. That she is a former Navigator, he learns from Win, that the Goddess of Creation is from Beroba. And many criticized me for demanding that he figure it out on his own. Here I repeat again: 2000 years. It's too much.
I know it's nice to feel smarter than the character, but you know how driven Ace is. He constantly thought about his mother. Therefore, the solution should not have been so obvious.
Perhaps if they called her the Supercomputer and get rid of the resemblance to a woman, the secret could be kept. Then Niram's rebellion would have looked less ridiculous.
Resurrected Ace by Tsumuri. This character, our determined protagonist, only gets what he wants because of other characters and a combination of circumstances. Remove even one domino from his path and he loses. Personally, I like more active heroes, if only because in reality they are so unlucky.
And this passivity does not disappear even with the transformation into the Nine-Tailed Fox. Tsumuri was kidnapped from him and he needs a cure for the infected. What's up with Ace? Looks at the water. Does he think the DGP has an underwater base? Any other mainstream rider would either be running around town or crying. Ace is looking at the water.
I also can't help but note that Ace needed to spend a wish to become a celebrity. Let me remind you: 2000 years. He could just upload videos with stories about the past and become famous. On the other hand, this requires charisma. And Ace is essentially a very nondescript guy who has not learned to communicate with people in 2000 years. And that would be fine, but when the plot needs it, it becomes quite charismatic and convincing. That's why he couldn't repeat to Keiwa what he had said to Ziin about death before? Not even something new to tell, but the same. This would help to avoid drama and betrayal.
I don't know if it's the actor's or the script's fault (most likely both), but Ace mostly has two emotions: an arrogant calmness and an indignant scream. And sometimes a smile. I only realized much later that, after discovering the truth about his mother, Ace was furious and only thanks to this Michinaga managed to defeat him and Geyser. And so, in the final, we have a rider with a brick face fighting against a rider without a face. Very emotional.
You can write as much as you like that Hibiki and Tendo are not the main characters of their shows, but when they appeared on the screen, all attention was riveted on them. Ace is not like that. Add to this the slow development of a character that doesn't fully develop, and his bad deeds at the beginning of the show, and you have a very unpleasant character. At least for me.
I have rebutted many criticisms, but I must acknowledge the one that is fair. I really wish Geats was more vulgar. Or awkward. Or cheerful. Or whatever. But for some reason, the authors decided to reveal it through eating onigiri. And for me it is somehow ... no, not empty, but not full. The character desperately needs more stats, but he loses them over the course of the show, becoming completely cardboard at the end.

It's also surprising that with so much talk about Ace believing in a happy world, he doesn't try to get support from his fans. The transition from celebrity to deity would be an interesting parallel, and helped make it look like the plot was following the original plan. Or did Takahashi hint that his argument with Anno is cool, but the cult of happiness should not be shown in a positive light?
To sum up, Ace is far from the worst rider in the franchise. Not even the worst main one. But as I wrote above, this review is subjective, which means that after many years I can call him my new least favorite rider. At least Tendou managed to make me laugh sometimes.

KEYWA AND MICHINAGA





I thought for a long time how to write about Keiwa and Michinaga and decided to consider them together. They are two opposites going through a complete transformation during the course of the show. The idealist Keiwa, who cares for others, finds himself unable to cope with the loss and plunges into darkness, from which he gets out only thanks to Ace's sacrifice. Aggressive pragmatist Michinaga tries to carry the unbearable burden of necessary sin, but realizes his helplessness and decides to follow Ace. Both of these positions are not close to me, and I do not want to talk much about them. Thinking who's worse: Michinaga clearly did more mischief (I'm still sure he was willing to betray Ace during his hunt for the riders, but Archimedel's threat got in the way). On the other hand, he apologized to Sara (although his fault for her death is minimal), while Keiwa is not in front of Tsumuri.

NEON



Kamen Rider 8/11. That is, Naago. So Akari lived for 8 years first… Ok, sorry. I have a terrible sense of humor, but this is the funniest part of Geats for me. In fact, it is amazing how such a sad and even creepy story in just two episodes managed to turn into a comedy. Even if only for me alone.
But I'll try to take it seriously. Neon's only wish came true without the help of DGP, which means that the outcome of her storyline can be assessed from the standpoint of realism loved by Niram. And what do we get? The daughter did not feel love from her parents, but then she was in danger and finally received it. So, instead of running away, she should have attempted suicide? Morality is vile and dangerous. Even if you look at the situation from the point of view of the main age category of the show, it turns out to be nonsense. Parents may scream, but they still love you. So, the situation is not suitable for such a message. Or did Takahashi want to create a story where children would see one thing and adults would see another? If so, it turned out so smart that even stupid.
I like her final. Yes, Kyuun is weirdo and stalker, but he is only one guy in the show, who think about Neon more, than about himself. Although, they could show that Sae is also friends with her.
Also, perhaps, I can call her my favorite rider in the show. But in this case, it's like a lactose intolerant person's favorite yogurt.

DAICHI



Unlike many, I never hated Daichi. He seemed to me such an ideal villain, against which all the riders should unite. He was strong enough, nasty enough, with a clear enough motive for the role. But the riders in this show are extraordinary, so Daichi got his redemption. And I'm not against the very fact of redemption. The problem, as always, is with Geats, implementation.
After absorbing Sara's memories, Daichi learned that even an ordinary "boring" life could make him happy. The fact that he did not have such a life is acceptable. But here's the catch: before that, it was established that Daichi brings happiness knowledge. And it didn't go anywhere. A person can receive happiness in different ways, and if they are very different, it will not work to choose one.
I'll give you an example. Some people like skydiving and fishing. Both of these actions make a person happy, both of which release dopamine. But can he be happy if he gives up skydiving? No, and more frequent fishing will not help, because it is a completely different physical and psychological experience. Same thing with Daichi. From the fact that he will strive for ordinary life, his craving for knowledge, and, consequently, for the accumulation of other people's memories, will not go anywhere. The process may slow down, but nothing more.
However, another option is possible. Namely, that knowledge for Daichi is a means, not an end. That is, knowledge does not make him happy in itself, but only helps to understand how to achieve happiness. He understood and therefore no longer needs to accumulate memories. But here, too, is a snag.
It should have been installed earlier. And this was a wonderful opportunity. When at the beginning of Desastar, Daichi himself provoked a conversation about desires and shared his own. He could simply say that his wish to know everything is the only wish to be made. Because if he knows everything, he will be able to fulfill any of his desires on his own, without turning to the DGP. This is just one extra line of text and quite in the nature of the character, but it was not added. Because then there were no plans about what to do with this rider.

WIN



I already wrote about Win that he is a plot tool, not a character. This is understandable, if only because his actions have nothing to do with his character. After all, rock music and searching for information in archives have little in common, right? Yes, and how did his grandfather, a businessman, react to the news that his grandson was turned into a guided bomb at the behest of the Gamemaster? Somehow, I feel like the whole DGP story would have been in the news, despite the efforts of Kurama and others like them.
I should also mention why I am against his desire to become a famous musician. And in general, all similar. Because a popular musician should be popular for his music, not his ability to take down monsters. Just imagine the reverse situation: Ace destroys Jamato Knight and Tsumuri announces that BTS is the winner of the DGP. Yes, they did not participate, but they deserved to win with their music. Would you resent such an outcome? Well, it's the other way around, too.
Here it is worth praising Sae for the desire to stay at the peak of her own physical form. She, too, could just think of always winning sports competitions. This would strengthen the family budget much faster. Of course, her desire is also dishonest in relation to ordinary athletes, but experience does not help in all sports.
However, I want to mention that I liked the PunkJack special. Most likely, due to the fact that he is a lively emotional character and it was pleasant to watch him in the lead role.

RETTA



Retta needs a wedding special with Scissors. And yes, I remembered her just for the sake of this picture. At this point, I would like to limit the mention of additional riders, because otherwise this review will become endless. Moreover, there is nothing special to say about most of them and they serve only to set a record.

VILLAINS



I don't have much to say about the supporters. They were an interesting addition, but perhaps their screen time should have been shortened. Plus, they never got together as one Future MegaRider, which is frustrating.
Speaking of villains in general, the good ones (or rather average good ones) are Archimedel and Daichi. They have a goal, a motive, a charisma, a plan of action, a conflict with the characters. Beroba and Kekera are mean villains. They're not bad, but they got too much screen time. Especially Kekera, in fact, interacting only with Keiva. The rest of the villains is a complete disappointment.
Gamemasters are boring guys in suits. Yes, Chiramu is also boring, he just has something to post on TikTok. They do not have kaijin forms and rarely turn into riders. They have no background, no interests outside of the DGP, and their personality can be summed up in a few simple words. I thought about the purpose of this trinity and came up with two crazy theories:
1) Gamemasters are a reference to the generals from the original Kamen Rider. Girori lied to the riders that they were at war and Colonel Angry was in the military. Chiramu and Doctor Shinigami are both funny uncles who turn into something creepy. The combat uniforms of Jitt and the Ambassador of Hell are red and gold, and in human form, this two overuse eyeliner.
2) Gamemasters symbolize Ace's negative traits. Girori his arrogance; Jitt - indignation; and Chiramu... a smile out of place.
Producers are no better off. Why separate Niram and Samas? Why do you need a producer at all if there is Sueru? As a result, compared to Geysers, even Gamemasters do not seem so hopeless.
And the rotten cherry on that sour cake is Sueru. As I wrote earlier: he fits as the final boss. It was he who turned Mitsume into the Goddess of Creation and exploited her for 2000 years. All the victims of the DGP are on his conscience. A future of sadists and blind kittens like Ziin and Kyuuin probably will too. Plus, he dresses in the style of the Shocker Leader.
But at the same time, Sueru is not only faceless, but also empty. Absolutely. He is worse than last year's Giff, because he has no motive. Giff had a motive: he wanted to worship people, and when they refused, he decided to destroy them. Sueru took control of the Goddess of Creation 2,000 years ago and used her... for a show? For what? Why would he want to entertain the viewers of the future instead of ruling them? Why does he need troubles with the past at all? Goddess can't be moved in time? But then there were much simpler and more effective ways to reach out to the future. Especially since he still couldn't handle it. In a word, the character raises only questions that you don’t even want to know the answers to. And at the same time, Sueru is so bad that he can’t even be called the worst villain, because he is too plain for this title.
Jamato, as I mentioned above, pleased me like monsters with their atypical position of yet another victim of the DGP. They also have an eye-catching vegetal design, which will help you recognize them later. But at the same time, of all of them, I visually remember only Jamato-Knight and that red monster with a piece of iron, which became Archimedes. Michinaga's friend seems to be an important enough character, but I can't remember his Jamato form. However, this is due to the general crisis of kaijins in the franchise and it is unfair to scold for this particular show.
I don't know, but I somehow missed the moment when the Sentai villains became better than the Riders. Although, I'm sure someone will object to me that they have always been better.

TSUMURI



Tsumuri, in my opinion, will not reach the level of popularity of Poppy and Isu. This is partly due to the fact that she is not assigned the role of a fanservice assistant, like these two. Partly because their interaction with Ace is much less time-consuming and much less emotional. In any case, it seems to me that she was greatly damaged by the show's overabundance of characters, which often rendered her useless. It would be quite possible to transfer the function of working with the DGP archive from PunkJack to her. True, then Win himself would be unnecessary.
Also, the fact that she ended up being a Navigator anyway confirms my theory that artificial humans are incapable of changing their role, even if they really want to. By the way, this even answers my claims to Suer. Although he did reject the audience. But it took him 2000 years to do so.

ADDITIONAL CONTENT



In general, I have no complaints about him. Although the winter film came out as the worst crossover of the Reiwa era, it does not deserve serious criticism. Unless it confuses with its indefinite canonicity, because on the one hand it introduces the concept of Desire Royal and appears as flashbacks in the show; and on the other hand, in it, desires are fulfilled immediately, without the Goddess of Creation and the approval of the producer. Otherwise, a banal, but peppy and dynamic action movie.
HBV was fun, the Shinobi crossover too. Special PunkJack, as I mentioned above, I liked it. Another thing is that his events no doubt should have been part of the main show. I would even say that they are more important than about a third of all episodes of Geats. AGP turned out to be boring, but this is most likely due to the promotional nature of the first episode. I'm sure the next one will be better.

SMALL TECHNICAL NICKINGS



I must also say that this is the first show where I like the final forms more than the main ones. And for all the characters who have them. This is partly due to how good and thought out the final forms are (because, unlike the plot, they were not changed on the fly), partly because the main one’s suck. I have no complaints only to Zombie and Magnum. Ninja and Beat only work at full power on a full moon or something like that, which is rare. I understand the special effects are expensive, but, for example, Kenzan remained a jumpy, nimble ninja without CGI and even without a suit. As for Beat, this post-Hibiki version of the thunder ax guitar looks very frivolous. Monster is a weird one.
Continuing the topic of buckles, I will write again that I was annoyed when they were pulled out of the belt. Take them before use or after victory, but do not just pull them out. For, if this is possible, then the whole battle should be reduced to attacks in the area of \u200b\u200bthe belt in order to quickly neutralize the enemy. Also, in the penultimate series, Ace for some reason, instead of this technique, took away the weapons from the controlled riders. I wonder if this even works? That is, if one of the riders resets his buckle, the weapon will return to him or reappear in Ace's hands? Questions without answers.
Also, DGP didn't have a kick or die game. An annoying flaw.

FINAL THOUGHTS



To sum up, Geats was no doubt needed by the franchise to rid it of the repetitive effect. He was also needed by Takahashi to convey that this writer is able to work outside of his template. And I really think that the rider competition storyline can enrich and renew the franchise. Only in the future it is better to do a tournament arc, and not focus the whole show around the competition. Moreover, Geats did not succeed in this either. Overall, this is clearly not the worst show in the franchise. Perhaps even deserves a place in the top of the best. Last.
If we talk about the Reiwa era, then Geats, as for me, is better than Revice. Although if you could combine the soulfulness of family-demonic adventures with the swirling, twist-filled plot of a survival reality show, it could make a good show. Compared to Zero-One... Geats is clearly more professional and delicate. The drama at the end is surprising, but it doesn't seem to come out of nowhere. But at the same time, the characters of Zero-One wanted to empathize. They looked like real people, not limited by their desires. It was a complex and dangerous, but living world, while in Geats, civilians are striking in their amorphousness. Therefore, I still subjectively declare that Geats is worse than Zero-One and the worst work of Takahashi in riders. But that doesn't stop Geats from being his most important work at the same time. And Geats`s final is better.
I really hope that in the future this show will be inspired little by little, without trying to copy it in a different setting. And I am also infinitely glad that in the next show, even before the release, it set the most distant and even directly opposite rules for itself (One rider on the poster! For the first time in the Reiwa era!) So, I look forward to immersing myself in the world of cards, alchemy, magic rings and school everyday life.
And, anticipating that this may come up in the future, if it seems to you that I am more lenient with Gotchard than with Geats, then the reason is not at all in my sympathies. It just seems to me that it is more logical to forgive a teen for mistakes that are unacceptable for a person who has lived 2000 years.