Thoughts and opinions on Post Millennial Tokusatsu programs

[Ultraman_Meta777]

Tokusatsu as a whole, whether it be Kamen Rider, Kaiju heroes, Metal Heroes or Sentai programs have had varying degrees of success over the years, but none can deny that many of the things we love come from the past, either the 70's, the 80's or the 90's.

Many programs from the early part of the 21st century also have a hit or miss quality, but lately there are some programs that seem to cater to a different sort of demographic than classic tokusatsu.

In classic tokusatsu programs, you tended to have a wide range of talented actors, very often a mix of ages in order to appeal to all sorts, you had some older and some younger people, but lately I've noticed that most of the programs tend to recruit people barely entering their 20's, and some of them not even started off with any acting training, some of them seem more like fashion models or pop idols that just happened to want a change in career. I could be totally wrong of course, but that just seems how it comes across.

In addition, most of the programs seem more inclined to sell toys and merchandise, this is especially true of most of the weaponry, in that they don't look like actual weapons, but more like toy props that look like they could easily break, even in a well choreographed fight scene. and another thing, some of the fight scenes don't even seem all that intense like older Tokusatsu programs. I've noticed this particularly with something like Shinkenger and Goseiger.

I don't know, maybe I'm just being too picky and maybe its just my imagination.

 

[Forever Knight]

The only thing I'm not really a fan of is how they've gone from actors who can do some stunts and know martial arts to girlish looking models. I'm good with everything else.

 

[lazycoconut]

I agree on everything in the OP. I also think that (with a few exceptions - I would exclude Timeranger, Gaoranger, Kuuga, Agito, W and K-Tai Sousakan 7 from this) the writers on most post-millennial series cannot tell the difference between emo-kid histrionics and good character development, so write the characters accordingly. People seem to think now that writing a series where the heroes are good and the villains are bad "just because" is a horrible thing, but that is the basis of any decent good vs evil plot

 

[Medivh]

I agree on everything in the OP. I also think that (with a few exceptions - I would exclude Timeranger, Gaoranger, Kuuga, Agito, W and K-Tai Sousakan 7 from this) the writers on most post-millennial series cannot tell the difference between emo-kid histrionics and good character development, so write the characters accordingly. People seem to think now that writing a series where the heroes are good and the villains are bad "just because" is a horrible thing, but that is the basis of any decent good vs evil plot

That seems to be a wide-spread thing, not only in Toku but in comics, anime, literature, just about anything. Noone wants to rule the world just because they want it anymore. Somehow it's not understandable by people today. They'll say it's not believable, when in reality it's simply that they're so used to complicated and convoluted characters, motives, and backstories, that they can't understand the simple ones. Personally I still find the explanation the Oracle in the Matrix gave perfectly acceptable:

"What do all men with power want? More power."

and OP, you're not entirely wrong in what you're seeing. What it is is what I've come to call the 'diamond in the sands' effect. More and more, people are forgetting that even the worst travesty may have a jewel hidden somewhere in it. But that's only if you search for it. The recent Goseiger episode is an example where even I got caught by the phenomenon. I'd put down Goseiger a long time ago, only to come back and download episode 45. Having seen enough to know the characters involved, I was very pleased with the episode, and I think I'll be watching the end of the series, as I want to see how a certain character's story ends, now that we know more about him...

What you're seeing, to me, is cross-culture pollination. Typically here in the states, production teams and writers have been basing their efforts off of the cash-cow prospect for years. They don't try incredibly to provide good entertainment, they're ultimately looking at 'how can I best market this?'. Everything from catchphrases in dialogue, adding or removing scenes and characters, plot, etc. Everyone's looking to be the next Harry Potter, the next Pokemon, the next Yu-Gi-Oh!. and really, I can't blame them. It's been proven, time and again, that it works.

What you're seeing is Japan adopting a bit of that philosophy, and it's hardly surprising. Last I heard, and I do believe it was shortly before Decade or around the time of Decade, viewership on Tokutatsu was at a real low. It's still a staple of course, and I don't know how the ratings are fairing nowadays, but it's only a natural train of thought to switch tactics and say: "well, we're getting less viewers, so let's figure out a way to get the most out of them for our money.". It's all an investment, so it does have to pay off in some fashion.

All that said, yes. In general it's been very hit or miss. and to me it typically seems to sort of alternate, at least with the two flagships. One year, you have a good, strong Sentai, while the Kamen Rider is a little awkward or a bit lacking. The next you have a Sentai that starts interesting but falls on it's face, however you have a strong and successful Kamen Rider series to counter it. This new trend of things starting at different times and all that is kind of throwing things off and blurring the line, but I think that's all for the better, at least in a financial sense. If a series is a dud...well...think of it as a slow hemorrhage as opposed to just a proverbial gushing artery in your profits. You spread the 'damage' across the last two quarters of the year and the first two, hopefully guaranteeing that both shows will make SOME kind of money in either the start of the next year or finish of the previous.

 

[Ultraman_Meta777]

I agree on everything in the OP. I also think that (with a few exceptions - I would exclude Timeranger, Gaoranger, Kuuga, Agito, W and K-Tai Sousakan 7 from this) the writers on most post-millennial series cannot tell the difference between emo-kid histrionics and good character development, so write the characters accordingly. People seem to think now that writing a series where the heroes are good and the villains are bad "just because" is a horrible thing, but that is the basis of any decent good vs evil plot

The complications of characters in that not everyone is entirely good or entirely evil can often be chalked up to certain programs that examine the psychology of individuals to find the motivations for why someone does something. Shows like 'Profiler', 'Millennium' or any number of crime procedurals deal with this idea of making people less black and white, and more grey, or at the very least gain some form of insight into the mind of madness or the heart of darkness.

that's all well and good, but the idea of men of power wanting more power is still a very delicious concept, because you see demonstrations of their power and it becomes something where you really want to see how these powerful villains can possibly be stopped by our heroes.

LazyCoconut, I'm glad you mentioned Agito and Keitai Sousakan 7, those are two of my favorite programs.

Medivh, your post was very well written and very insightful. And what you wrote regarding why the Japanese have taken on this 'diamonds in the sand' tactic makes sense. I just hate the idea of these programs becoming so commercialized that they lose all sense of originality, creativity and imagination.

 

[Beast King]

In addition, most of the programs seem more inclined to sell toys and merchandise, this is especially true of most of the weaponry, in that they don't look like actual weapons, but more like toy props that look like they could easily break, even in a well choreographed fight scene. and another thing, some of the fight scenes don't even seem all that intense like older Tokusatsu programs. I've noticed this particularly with something like Shinkenger and Goseiger.

Because Toei and whoever finally realized the truth that good quality fights and characters don't make them money so they gave up, Put yourself in their shoes and think about it from a business point of view, would you rather spend Millions on hiring the best talent and great stunt crews in return for nothing? Or would you make them buy masses of toys and receive billions in return? I don't like it anymore than you do but its the way the world works.

 

[Covar]

I think the fights might not seem as intense because they have become faster and more flashy over time. It's much the same way Kung-fu movies have changed over the decades, going from slower fights with each hit being that more brutal, to fast-paced fights against a half-dozen opponents.

 

[Ultraman_Meta777]

Because Toei and whoever finally realized the truth that good quality fights and characters don't make them money so they gave up, Put yourself in their shoes and think about it from a business point of view, would you rather spend Millions on hiring the best talent and great stunt crews in return for nothing? Or would you make them buy masses of toys and receive billions in return? I don't like it anymore than you do but its the way the world works.

But I've seen examples where a lot of money is put into something wisely and all of the elements come together, special effects, story, acting, and they still manage to do well in merchandising. The prime example I'm thinking of at the moment is 'Avatar'. granted it also started the chain reaction where everyone and their mother now wants to cash in on the 3D craze. I know this is how things work because that's why they call it 'show business', but if you are too focused on the business side of things, what you have left is just a product that is all style and no substance.

 

[NeonZ]

In classic tokusatsu programs, you tended to have a wide range of talented actors, very often a mix of ages in order to appeal to all sorts, you had some older and some younger people, but lately I've noticed that most of the programs tend to recruit people barely entering their 20's, and some of them not even started off with any acting training, some of them seem more like fashion models or pop idols that just happened to want a change in career. I could be totally wrong of course, but that just seems how it comes across.

They changed the type of people cast as protagonists, that's true, but I don't think there ever was an era where they actually had a great variety of people chosen for the main roles. Maybe the 90s, but I'd say that was mostly because it was transitioning into the current state.

In addition, most of the programs seem more inclined to sell toys and merchandise, this is especially true of most of the weaponry, in that they don't look like actual weapons, but more like toy props that look like they could easily break, even in a well choreographed fight scene.

I really don't agree with this idea. Today's weapons don't look any more toyetic than earlier ones, on average. In this case, aside from changing the themes (like Sentai not always sticking to futuristic pseudo military themes for the weapons, unlike in the 80s), I don't think there has been much of a change. I guess the one exception would be some of the later metal hero shows, but those few series can hardly define the entire genre.

More recently, it seems that we're often getting a wave of attachments to the weapons (cards, headers, gaia memorie, etc), but I don't think those make them look particularly more toyetic than before.

and another thing, some of the fight scenes don't even seem all that intense like older Tokusatsu programs. I've noticed this particularly with something like Shinkenger and Goseiger.

Choreography and suit actors haven't suffered much, especially if you're talking about in suit fighting. Older toku shows also had moments of special spamming, that's not just exclusive of post CG series.

They have been more conservative with the suits, avoiding doing too many things that might damage them. However, that's just a general trend that has been going on since very early shows in the 70s at least. Compare the first Rider series with a 80s Sentai show, and you'll see they avoid doing some of the early stuff that damage suits, sometimes on screen.

The prime example I'm thinking of at the moment is 'Avatar'.

Avatar was basically just a technical showcase. I guess the story technically "worked" in a superficial level, but only because it just got an old story and changed the setting. It really didn't attempt anything new aside from the technical side, which was the true focus.

 

[lazycoconut]

They changed the type of people cast as protagonists, that's true, but I don't think there ever was an era where they actually had a great variety of people chosen for the main roles. Maybe the 90s, but I'd say that was mostly because it was transitioning into the current state.

I know the actors being cast these days are a lot younger than in the '70s-'80s, but either way Toei has always cast idol-esque guys in the leads. Back in the day the fashionable look was slightly older, rough and ready, more "macho" guys - now the trend is for young, androgynous types. They've always hung onto the "Christmas cake" ideal that women over 25 are too old and unattractive to play the heroines, I'm surprised we even got a character like Saeko Sonozaki

The other difference is that in the past there was the occasional fat or "unconventional"-looking hero (such as Yellow Owl or the Ki Rangers.) We'd never get that now, not even as comic relief