(Spoiler Warning)
Okay, this needs to be addreased first. Kento Shinoyama can be a GOOD writer when it's not Toei's stupidity making him feel misrable.
Shinkansen Henkei Robo Shinkalion The Animation is the example of how to make a good kid show once in a life time by having the writer be giving free will.If you're looking for anything deep, this would be it.But take notes I will make you understand why Kento can also screw up sometime when it comes to anime, but not all the time.
Case and Point: Shuriken Sentai Ninninger and Kamen Rider Zi-O
With the Toei staff being beyound terrible from newcomers trying
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to gain mentor wisdom is hard in a post deviant era that doesn't allow that. Toei over the last 10 years has been screwed up alot of good that are either Kamen Rider Or Super Sentai.It also really annoying to deal with Toei's idiot red ranger troupe for over 10 years in a row. That's right.I can go on hours of talking about this one, but i'll write it short.
Shuriken Sentai Ninninger was a total disater of a show i'd say. It was sexist and nothing good or right ever came out of it. Mostly because it's leader Takaharu was played by a horoble actor who stole the screentime of his teamates. This was because Toei wanted to bring back the that troupe and kill whatever interest was good in the show. Also, Ninninger killed the franchise and thus making any new show after it get less viewers and toy sales not above avarage. In short. People with out a
senior guiding hand to not mess up–ESPECIALLY for things part of a larger franchise. He wrote some of the worst episodes of Toei's Goseiger, Gokaiger and Go-Buster and few Spring films, but the guy who killed the Toei genre was Shoji Yonemura the Taisen writer who wrote the spring Kamen Rider X Super Sentai films back when i was still new to this. Well it has to do with their history on longrunning stuff…in that they’re better with adapting material than production of their own content, and if they’re writing their own original stories then they need a senior guiding hand to not mess up–ESPECIALLY for things part of a larger franchise. In example…believe it or not, as much as I’ve bashed Shoji Yonemura for the Taisen movies as it was clear he did no research and was writing what someone else wanted ad nauseum the entire time, I REALLY liked his work as the main writer for Kamen Rider Kabuto, as he gelled well with Toshiki Inoue’s works on it and for the most part both reigned each-other in, especially since Toei’s problem producer Shinichiro Shirakura (despite being credited on it) said himself he had no actual involvement with it which would have screwed it up. Normally though? Yonemura does not work well in writing original work that contains other people’s characters if he doesn’t grasp an understanding of them, and has gotten worse in writing original content over time. But beyond that Yonemura actually wrote a couple good Lupin TV specials in the late 90′s/early 00′s, and consistently does good work contributing to the Pokemon Anime from near its beginning up to this day–even doing Damage control for the godawful ending to The Kalos-related seasons. He Also did the adaptation for most of FAIRY TAIL, including writing its movie Dragon Cry. And now he’s involved in Adapting One Piece, and doing it well. As a proper adaptation? Yeah, involves reading/watching the prior content to get an understanding of them, thus it gets past one of his bigger achilles heels. But its clear to see he’s a writer that does better with guidance and training wheels on, than if you let him loose.
Maekawa another Toei writer ends up much that same way. You know what else he did outside of Magiranger or Yugioh stuff? DIGIMON ADVENTURE 02 AND DRAGONBALL GT, much of what he wrote being the derailing stuff people disliked or content that didn’t treat past characters/events particularly well. His most well-received work was the first year of HunterXHunter(2011), but that’s about it. If a series is heavily producer mandated he’ll do what he’s told, but if its original writing it’ll end up in a way that the audience generally doesn’t like…with the bucking blame more likely to stop at the producer.
Case in Point: Toei doesn't allow free will anymore, but only money making shill. Toei is just money 101 and never changees. WHen they a good show they get worse.
Toei’s problem producer Shinichiro Shirakura since the 90's series that include Zyuranger has aways got over-barring at times who thinks Tokastsu is juvinale and doesn't give damn if its target demograhfics are either children or young adults.
And back to the topic. Kento while having writing flaws in this show he alteast doesn't screw up important episodes plot points and one major thing he did was make the MC not open his god damn mouth.
This show while having plots holes galore, filler and plot, deux ex machina and etc. Still made a good job in understading what trains are about and having your own family and team makes it far better than anything he wrote in Toei's trash days.
I have nothing to say much to the show because i love the cast, and mostly the villians.
My point was to prove that Kento can be giving good material to work on it when it's sourced and not original like Toei's Kamen Rider and Super Sentai being writen by morons weekly basics.
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Aug 17, 2020
(Spoiler Warning)
Okay, this needs to be addreased first. Kento Shinoyama can be a GOOD writer when it's not Toei's stupidity making him feel misrable. Shinkansen Henkei Robo Shinkalion The Animation is the example of how to make a good kid show once in a life time by having the writer be giving free will.If you're looking for anything deep, this would be it.But take notes I will make you understand why Kento can also screw up sometime when it comes to anime, but not all the time. Case and Point: Shuriken Sentai Ninninger and Kamen Rider Zi-O With the Toei staff being beyound terrible from newcomers trying ... |
