Jetman 19-21

EPISODE 19

As weird as this episode is...I always liked it. It's one of only two good episodes of this show that Arakawa writes. And this is the first episode since episode 2 that Amemiya's directed. It's weird for a main director to handle an episode like this, which doesn't really play into Jetman's overall narrative, but I think it works out since Amemiya's into supernatural stuff. He brings a great sense of style to it, though, especially in the off-kilter visions Kaori has of her death in battle.

When Kaori makes the mistake of seeing a fortune-teller who has nothing but bad things to say, it's up to her butler, Jiiya, to save the day. I like that this is the first episode that gives Jiiya a bigger role than he's ever had before; he's the Alfred to Kaori's Bat(wo)man, pretty much raising her and instilling within her a set of values. And when Kaori's withdrawn in fright from the fortune-teller's words, Jiiya gets her to find her inner-strength, and she saves the day. (Well, Jiiya helps save the day, too.)

I think Amemiya kept this episode in mind when doing GARO, with Jiiya a prototype for Gonza. (Yeah, they're both Alfred knock-offs, but...hey, the Saejimas even live in Kaori's mansion!)

EPISODE 20

A lighthearted episode, and an episode really unlike Amemiya. But it's a fun one, if you're willing to go with the flow. And almost everyone gets some humorous moments in this one. (Particularly Ako, who at one point teases Kaori for being a runaway bride way back in episode 4. Continuity!)

Gai saves a girl whose sister was the recent victim of the latest Vyram monster's attack, which is to suck the loving hearts from women. (This is a Maria plan; she hopes it succeeds in the long term, in that heartless women won't marry and have kids and, thus, end mankind. This was a better opportunity to explore some deep-seated feelings of Rie, feeling like maybe she's been abandoned and forgotten by Ryu, but...why remember that one of your main villains is the main hero's girlfriend now?)

When the girl presents Gai with her theory of the monster attacks, and photographic proof, he doesn't buy it. I covered this in some of my Kamen Rider Black thoughts, but I frigging hate this cliche in tokusatsu. Jeezum Creezum, Gai -- you've fought sewing machine monsters who turned people into pirates. You've fought a vending machine monster that sold you evil juice. You've fought a giant fucking cup noodle. Why do toku heroes, who continuously experience strange, wacky, weird shit, always be so dismissive? This girl has proof! Meanwhile, in other episodes, a toku character will be talking to a room of seemingly normal scientists, but be like "Wait! He bowed just a centimeter away from what polite society demands. He must be working for Golgom!"

This is a fairly comedic episode, and I think Toshihide Wakamatsu deserves credit for playing Gai just right. It's a balancing act in an episode of this tone. So many shows will give the cool guy a comedic episode, and it either is to try to make him look uncool or the actor will just lose the character, trying too hard to show how funny they can be. (Sometimes an actor is unwilling to lose the cool image, to the point where you kind of roll your eyes at the character -- the actor will be trying so hard to be so cool all of the time, it's forced, and makes the character UNcool. Am I making sense? Too bad! But, to give you a couple of examples, think of Ren/Knight in Ryuki or Hiroto/Go-on Gold. Two guys who tried to act cool ALL the time, but rarely ever were.)

Wakamatsu handles lighter scenes in this show just right. He doesn't lose the character, he stays honest to the character, but also honest to the situation. He's not overly conscious about being cool ALL of the time. If there's a lighter situation, he'll have Gai react in an appropriate way. A lot of the comedy here comes from Gai's stubbornness and his irritation at the kid's persistence, but he comes around to liking her and gets that bad-ass fight scene after she falls victim to the monster. (Set to the song sung by Wakamatsu, with lyrics written by Inoue and music composed by MAKE-UP's guitarist, the late Hiroaki Matsuzawa. An awesome mix of people; unfortunately the song's not the rockin' or jazzy song that would suit Gai more. Nowadays, Hideaki Takatori would have probably composed his song, and gotten the feel just right.)

Random note: This episode is the first since practically the show's beginning that remembers the Jetman's super-strength! Gai uses just his hands to stop an oncoming vehicle from running over the girl. The Jetman have been punching a lot of ordinary people these past several episodes. Remember in episode two, when Gai's punch knocks a goon across an alley? And you can't say that the Jetman are like Superman, who's able to control his strength. Do you really think the Jetman have the discipline that Superman does?

EPISODE 21

Another lighthearted episode, written by Kenichi Araki just as the previous one was. I've gotta say, I enjoy more of Araki's episodes than I remember. I used to think his best and only good contribution to the series was the Neo-Jetman two-parter, but he has a lot of enjoyable ones. (And is probably the only sub-writer who keeps mostly in tune with Inoue.)

This episode could have easily become an eyerolling and hokey Captain Planet-styled preach-a-thon, but it's instead more about how quickly people dispose of stuff. It's more about good things going to waste than preaching about pollution or anything. It's more about the casual disposal of something with immense emotional attachment, in this case Ako's stuffed bear, which comes to life as part of the latest Vyram plot. (Unfortunately for Vyram; her bear being in the heap of garbage they bring to life is their plan's downfall, as the love Ako showed the bear all her life causes it to be a kind and innocent monster.)

As much as I complain about the monster designs in this show -- which can be lazy or incredibly dumb -- Garbage Jigen's design is pretty funny and clever. That detached eyeball gives it such a sad and pathetic look; I like the VHS tapes and beer bottles and cigarette cartons strewn across its body; and I especially like that its right leg is a stack of discarded magazines. It's a well thought out design. (And the fact that Rika Matsumoto gives the monster its voice is another good choice, because she makes it instantly endearing.)