Kamen Rider Gaim - Lock 01 "Transform! An Orange From The Sky!?"

Considering that the Lockseeds that are used in the Inves Game is one for kids, the real Lockseeds would take on the appearance from the ones from the Inves Game itself, the Sengoku Driver would follow suit.

That... really has nothing to do with what I said. Yggdrasil is supposedly a reference to SMART BRAIN. SMART BRAIN's gears had better-sounding voices than the stuff in Gaim.

Why would he not be formal? Being formal is better when you are speaking with someone you do not know. Koto and I both think Mai changed her appearance, before it was shown that they are different people, maybe... I never see any plot twists. But, not knowing is what makes it better!

Well, if he knew it wasn't Mai, then being "formal" would have been the way to go. Remember the default nature of Nihonggo when speaking to someone you don't know would be "formal".

But I don't really think it was formal at all. He did think (at least at that moment), that it was Mai. I don't think there's any other way of saying what he wanted to say at that moment: "You seem to know something that can help me protect you, and I really really want to protect you. So, tell me how to."

It's someone who just comes out of nowhere and looks like someone he knows, and he talks about protecting her as though it's some grand duty. Maybe it is in a sense, but... it's just an odd reaction. A "What are you talking about?" would have been a more expected response.
 
It's someone who just comes out of nowhere and looks like someone he knows, and he talks about protecting her as though it's some grand duty. Maybe it is in a sense, but... it's just an odd reaction. A "What are you talking about?" would have been a more expected response.

Maybe it IS a "grand duty" for him? That's exactly how I saw it.

Watching that scene tells me that he's in love or has great affection for the girl (or at least, the idea of her). Of course, as the show goes on, it may tell us something else, but that scene certainly gives me that feeling.

Your question was exactly what I was thinking about when I heard "Demo ore wa mamoru tame nara". The only way I thought anyone would say "I don't care about the consequences as long as I get to protect you", is some sort of attraction. Or at least some sort of blind altruism or messianic complex.
 
A LOT of exposition, even for a 1st episode. Still, it grabbed my attention and I can't wait for the subs.

Gigantic gobs of exposition are one of Urobuchi Gen's calling cards as a writer. I'd go so far as to say it's part of what made him popular, since anime fans love that stuff. Tokusatsu writing tends to be more kinetic and light on explanations, so that's probably why it strikes you as odd.

Likewise, the idea of doing two non-representative episodes and then revealing what a show is actually about in episode three is also classic anime stuff (based on anime fans who tend to follow the three episode rule, i.e., they'll watch a show for three episodes before they drop it).

Urobuchi has mentioned in interviews that making the transition to tokusatsu from anime has been difficult, and we'll probably see more out-of-place stylistics like this throughout the show. They're not bad, exactly, but they play really weird in live-action.

That's seems to be a pretty common troupe amongst super heroes though.

It's a common trope with characters in adventure stories. Minimizing the number of a hero's family ties means that hero isn't "tied down," and won't be viewed as irresponsible if they decide to risk their lives on something dangerous. (Of course, Kota has his sister... but I also think we're meant to view Kota as a bit irresponsible at this point in the story.)
 
Maybe it IS a "grand duty" for him? That's exactly how I saw it.

Watching that scene tells me that he's in love or has great affection for the girl (or at least, the idea of her). Of course, as the show goes on, it may tell us something else, but that scene certainly gives me that feeling.

Your question was exactly what I was thinking about when I heard "Demo ore wa mamoru tame nara". The only way I thought anyone would say "I don't care about the consequences as long as I get to protect you", is some sort of attraction. Or at least some sort of blind altruism or messianic complex.

There was a rumor going around that the Gaim seen in the opening scene of the first episode was the blonde girl's ex-lover, so ...

Although "blind altruism/messianic complex" would apply to pretty much all Heisei-era Riders not named Tendou, Tsukasa or Takumi
 
There was a rumor going around that the Gaim seen in the opening scene of the first episode was the blonde girl's ex-lover, so

That's one of my working theories, too. The battle shown in the first scene was a Trojan War-esque scenario from the past which she did not want to happen, but happened anyway because of past Gaim's feelings for her. And that that Gaim wasn't exactly "good".

There's a lot more to it, but I don't want to write a long theory based solely on what I've seen in a 20 minute episode :laugh: Though I find it a good thing that from one episode I have enough material to let my imagination run wild.

Although "blind altruism/messianic complex" would apply to pretty much all Heisei-era Riders not named Tendou, Tsukasa or Takumi

True. I frankly hate to call it a complex, or that it was "blind" but I can't deny that indeed most of them pretty much discarded rationality in their quest to "save the world".
 
I miss Riders like the original guys, who were just brave badasses fighting evil because it was evil. They weren't sappy or overly emotional, and some of them could be down right vengeful.

And of course V3 was the world's biggest goddamn troll.
 
Although "blind altruism/messianic complex" would apply to pretty much all Heisei-era Riders not named Tendou, Tsukasa or Takumi

That strikes me as an excessively dismissive view of what came before. I don't think really describes Godai or Shouchi unless you really stretch it; Godai agonized over the consequences of his actions, and Shouichi quite literally was the messiah. The idea of Rider kindness being blind and a little bit self-destructive doesn't come into the franchise until Shinji, where those are explicit traits of his character. Shinji is what he is as satire of guys like Godai and Shouichi, meant to show how Ryuki was inverting all expectations people had developed for Heisei Rider.

"Blind self-destructive alturism" doesn't really apply to Hibiki, Tendou, Ryotaro, Wataru, or Tsukasa. The idea of pathologically needing to help people doesn't come up again until W, which spins it as positive self-sacrifice, or OOO, which is basically just Shinji's creator going back over familiar territory. Fourze and Wizard really play up this idea of noble and terrible self-sacrifice, Wizard to the point of utter obnoxiousness. So the idea that Riders tend to be blindly and self-destructively altrustic folks suffering from messiah complexes is really more of a recent Heisei Rider deal. It just does not apply to most of the older shows in anything but an extremely superficial way.
 
Gaim 1:
- Can't Bandai go back to voices for toys that don't sound... blatantly toyish? The Lock Seeds are only slightly better than the annoying Wizard bets. If Yggdrasil is supposed to be a throwback to SMART BRAIN, then at least make your gears sound like the Faiz belts.

I get the impression that Yggdrasil is foisting the Lock Seeds on the unsuspecting youth as part of some plan (for the sake of Museum and the evolution of humanity so I- err... WE can meet the Presenters!) to ascend into the highest realm or something. what better way to get people to do something to which they may other wise object than sugar coating and gamifying it? I have to imagine that all these people using the Lock Seeds serves Yggdrasil's (or someone with in the company's) goals. The Lock Seeds are in a sense toys in the show itself. Sid also presents Yuuya with the Driver, perhaps the dark aspects of what can be done with this gear are being masked with a toyetic facade... or at least let's hope Urobochi writes it dramatically enough to eschew our irritation with any of the more egregious toyetic features.
 

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