Ok, that makes ALOT more sense.
I swear, Akira Date & Shintaro Goto better show up as a Cameo then if that's going to be the new main rider's gimmick.
I wouldn't mind if Erika Satonaka also showed up too!
Hasbro's Power Rangers era and General Tokusatsu discussion
- Thread starter Samurai8472
- Start date
I swear, Akira Date & Shintaro Goto better show up as a Cameo then if that's going to be the new main rider's gimmick.
I wouldn't mind if Erika Satonaka also showed up too!
Memorial dyno buckler revealed
Last edited:
Very insightful interview with the producer of Gozyuger. Spoilering because it's a bit long
news.mynavi.jp
Interview- No. 1 Sentai Gozyuger- Producer Matsuura Daigo's policy for the "50th Anniversary Super Sentai" is "Go Beyond the Frame!"
The Relationship Between Showa Veterans and Young Producers
Main Writer- Inoue Akiko's "Weapons"
Universe Warriors facing each other with the "feeling of love song lyrics"
『ナンバーワン戦隊ゴジュウジャー』プロデューサー松浦大悟が掲げる「50年目のスーパー戦隊」のポリシーは「フレームから”はみ出してけ”」!
カラフルに色分けされた仮面のヒーローがチームワークを活かし、人類を脅かす邪悪な敵を倒す「スーパー戦隊シリーズ」。子どもたちが生まれて初めて目にする実写キャラクターアクションドラマと言われ、安定した人気を誇るこのシリーズは今年(2025年)、第１作『秘密戦隊ゴレンジャー』(1975年)放送開始50年という、大きな節目を迎えた。スーパー戦隊50周年記念インタビューの今回は、最新作『ナンバーワン戦隊ゴジュウジャー』のチーフプロデューサーを務める松浦大悟氏にご登場いただいた。
Interview- No. 1 Sentai Gozyuger- Producer Matsuura Daigo's policy for the "50th Anniversary Super Sentai" is "Go Beyond the Frame!"
"Super Sentai" is a series involving colorful, masked heroes who use teamwork to defeat evil enemies threatening humanity.
It is said to be the first live-action drama a child will ever see, and the consistently popular series has reached a major milestone
this year (2025), as it marks 50 years since the premier of the show's first iteration, "Himitsu Sentai Goranger."
In this interview to commemorate Super Sentai's 50th anniversary, we are joined by Matsuura Daigo, the chief producer of
the latest series, "No. 1 Sentai Gozyuger."
(Image; Matsuura Daigo holding TegaSword) - Matsuura Daigo was born on November 8th, 1996. He began working for Toei in 2019, and worked as a producer on "Kikai Sentai Zenkaiger" (2021), "Avataro Sentai DonBrothers" (2022), "Kamen Rider Gotchard" (2023), V-Cinext "Kamen Rider 555 Paradise Regained" (2023) among other works. "No 1. Sentai Gozyuger" is the first time he is serving as Chief Producer for an ongoing TV Drama.
(Image; Gozyuger Main Poster) - No. 1 Sentai Gozyuger commemorates the 50th anniversary of the Super Sentai series. It is a story about 5 "outcasts" who become friends through a peculiar bond, all aiming to become "number one" in various ways, while trying to collect the "SentaiRings", rings that will grant the winner any wish they desire, provided they have collected all of them. It is a "rule-breaking" battle to become number one, as also joining the struggle is the evil army, Bridon and Reds of past Super Sentai teams! It is broadcast every Sunday at 9:30AM to 10:00AM on TV-Asahi.)
---Next part repeats text of first two images---
How do you create the heroism in Gozyuger, which has an ambitious setting involving a group of outcasts, who are far from "good students." We asked Matsuura about his approach to his work and his methodology for creating an interesting work.
It is said to be the first live-action drama a child will ever see, and the consistently popular series has reached a major milestone
this year (2025), as it marks 50 years since the premier of the show's first iteration, "Himitsu Sentai Goranger."
In this interview to commemorate Super Sentai's 50th anniversary, we are joined by Matsuura Daigo, the chief producer of
the latest series, "No. 1 Sentai Gozyuger."
(Image; Matsuura Daigo holding TegaSword) - Matsuura Daigo was born on November 8th, 1996. He began working for Toei in 2019, and worked as a producer on "Kikai Sentai Zenkaiger" (2021), "Avataro Sentai DonBrothers" (2022), "Kamen Rider Gotchard" (2023), V-Cinext "Kamen Rider 555 Paradise Regained" (2023) among other works. "No 1. Sentai Gozyuger" is the first time he is serving as Chief Producer for an ongoing TV Drama.
(Image; Gozyuger Main Poster) - No. 1 Sentai Gozyuger commemorates the 50th anniversary of the Super Sentai series. It is a story about 5 "outcasts" who become friends through a peculiar bond, all aiming to become "number one" in various ways, while trying to collect the "SentaiRings", rings that will grant the winner any wish they desire, provided they have collected all of them. It is a "rule-breaking" battle to become number one, as also joining the struggle is the evil army, Bridon and Reds of past Super Sentai teams! It is broadcast every Sunday at 9:30AM to 10:00AM on TV-Asahi.)
---Next part repeats text of first two images---
How do you create the heroism in Gozyuger, which has an ambitious setting involving a group of outcasts, who are far from "good students." We asked Matsuura about his approach to his work and his methodology for creating an interesting work.
The Relationship Between Showa Veterans and Young Producers
Q- In recent years, Super Sentai seems to be conciously breaking away from the pattern of a "standard Sentai show," but the first episode of Gozyuger was particularly unconventional. I was also surprised that only GozyuWolf/Tohno Hoeru transformed, out of the core team members. Previously, there has only been one season where this has happened, "Choriki Sentai Ohranger" (1995)'s first episode, but all 5 Ohranger assemble in the second episode. Gozyuger's uniqueness is highlighted by the fact that the main members do not appear all together until episode five.
A- Technically speaking, the Gozyuger don't officially assemble and do their "roll call" until episode 7, right? (laughs)
(Image; The 5 Gozyuger assembled) - In Episode 5, "Torimodose Soul! Sumi ni okenai osekkai", Sumino engages (transforms) into GozyuUnicorn for the first time, and the 5 Gozyuger are finally assembled.
Q- From the world view displayed in episode 1, we are introduced to what is the equivalent of Super Sentai's giant robo with the god, "TegaSword." TegaSword also functions as the Gozyuger's transformation item and weapon, and we also learn that those who bear SentaiRings must fight and steal other rings to make their "wishes" come true. When I first heard the setting, I thought it would be something like a brutal "life-stealing" story in the vein of "Kamen Rider Ryuuki" (2002), but when the show started, it was a bit more laid back with a unique atmosphere; Hoeru, Rikuo, Ryugi and the others who are supposed be fighting over the rings are just hanging out at the cafe, "Tega Sword no Sato".
A- Although they say they don't want to get along with each other, they actually get along quite well, don't they? There's been a theory put forward that they're all actually tsundere. (laughs). It's true that they're all involved with fighting their opponents and collecting the rings, but they're not really fighting for their lives or anything like that. In that sense, it's more "sport-like", and as a Super Sentai series, I was conscious of not giving it a sense of tragedy.
(Image- Gozyuger at TegaSword no Sato) - The cafe, "TegaSword no Sato", where Ryugi acts as manager, is the natural hangout spot for the Gozyuger, as we first meet Hoeru with him living on its second floor. Image is from Episode 5, "Torimodose Soul! Sumi ni okenai osekkai".
Q- I was surprised when the "cheering squad" suddenly appeared and cheered for both sides before Hoeru and Fire Candle fought each other. It feels like the show has inherited some genes from "DonBrothers."
A- It's definitely true that in "DonBrothers", the "celestial maidens" appear without any explanation when Don Momotaro first shows up. Because of that, it was easy for the staff to explain that the "cheering squad just appears here." (laughs) If celestial maidens can appear, then so can a cheering squad. That argument had a very mysterious persuasive power.
Q- This is the first TV series where you've served as Chief Producer- did you have any ideas about what kind of work you'd like to do if you were ever given this kind of opportunity?
A- Not at all. Firstly, with "character works" like Super Sentai, things are often decided upon by various "external frameworks" such as product planning, so you can't really put a show together by thinking you want to create a certain work with certain content, independent of that. Since fundamentally, it's a business, the framework gets created first and the producer's job is then to think about what can be done within that framework.
Q- Since becoming a chief producer, what has changed from your time as an assistant producer?
A- I now spend a lot of time focused on the scripts for each episode. Because of that, I have less free time to play around with aspects outside of the main story (laughs). But as for the basics, the main things I'm responsible for haven't really changed much since working on "Kamen Rider Gotchard." "Gotchard is over, so on to Gozyuger, and I'll do my best with it!" The feeling is still the same.
Q- As chief, do you sometimes have to make the final call on various "decisions" when creating a work?
A- Even during Gotchard, I was able to do what I wanted thanks to Minato (Chief Producer of Gotchard), so the vibes have not really changed much. I was a bit cheeky and spoke up all the time there in a lot of instances, but Minato accepted that and respected it. I'm still incredibly grateful to him.
Q- Once more, please tell us about the difficulties and rewards of the job of producer.
A- A producer is not the director, nor are they the screenwriter; they're not a job that can "do something", but rather a role that requires telling everyone "I want you to do this something." Due to that, if you're too selfish, people working under you might feel uncomfortable and think "Then you do it!!". In that sense, I think a producer's job is difficult.
(Image- Producer Matsuura Daigo)
A (cont'd)- There's nothing you can do by yourself, so I think that the role of a producer is to get help from many people and turn everything into a work. When I convey my thoughts to them, begging, crying, etc, saying "Pleeeease!", and they answer "Well, since you say so, I guess I'll do it", it makes me really happy.
Q- You're still in your 20's, but the people you work with, such as Director Tasaki Ryuta, Special Effects Director Butsuda Hiroshi and Action Director Fukuzawa Hirofumi, are all veterans from the Showa Era. Do you feel the generation gap when you work with them?
A- I do, but don't really mind it at all. I think the older generation is probably kinder to younger people like me now versus in the past, so I guess that's where the sense of times helps (laughs). As far as age difference goes, I'm kind of like their son, or maybe their grandson, but personally I like special effects and anime works from Showa, and we get excited talking about them together. I am also partial to alcohol, so maybe I'm on the same wavelength as these people from the Showa era. As far as asking for work goes, it's always easier to rely on older people. Maybe I'm good at being spoiled (laughs).
Q- What was the intention behind the robot battles featuring the cast piloting the robo with their faces showing? The impact of TegaSword, which transforms from a giant "hand" to a humanoid form is amazing; what did you discuss with Special Effects Director Butsuda regarding that?
A- This time, we focused on the giant robots, so I watched "Brave Raideen" (1975/Tohokushinsha) to re-study past works with robots. I noticed that it contained elements of the "mysterious mecha" angle that we were aiming for with Gozyuger, and I shared that awareness with Butsuda. When I suggested doing something like Raideen, where a giant stone statue splits in half and moves with a rumble, he gave me a confused look, like "What are you talking about?" (laughs). I was thinking, "what can we do with a mecha in the shape of a hand!?", but then I realized that "Gante", the enemy fortress in Raideen, had done it first (laughs). I've always loved robots, so when I told Butsuda, "Let's do something with real robos", he told me, "It won't work if it's too close to a real robo." However, as I was talking with him, I started to have doubts and realized that recent "Sentai Robos" are only focused on the design and motif, and don't really look/operate like "robots." For example, are they designed with consideration for "where is the cockpit?" and "where is the pilot sitting and driving it"? Since it's not a real robo, there's no point in focusing too much on that, but I wanted to incorporate that kind of "realism" into this robo. So I suggested, "why don't we do something like Voltes V (1977) ?", where the cockpit is shown out of the "eye", and so that's done with TegaSword Red.
Q- "Super Sentai" is characterized by two main highlights: the action of the human-sized team of heroes and the special effects battles of the giant robos. Are you concious of both of those in Gozyuger as well?
A- In Gozyuger, we're trying to do both human-sized action and giant robos, so if you're not careful, there's a danger that you will get neither. There's a risk there that the show will stop working due to too many elements involved, or it just being overloaded. However, we're trying to figure out how to make the giant robot battles look like an "addition" to the human-sized action, and we're doing so by trial and error. In past works, there are shows like "Choudenshi Bioman" (1984) and "Tokumei Sentai Go-Busters (2012), that tried to avoid falling into the same-old pattern. I don't think we'll know whether Gozyuger was a success in this regard until it's finished.
(Image; DaiZyuJin and TegaSword Red) - TegaSword Red standing beside DaiZyuJin, who fought alongside Kyoryu Sentai Zyuranger. From episode 7, "Kokoro tokimeke! Kesshu, Gozyuger!".
Q- Up until now, it was pretty much a given that the pilots of the Robo would be transformed into their suits, but with Gozyuger's TegaSword, the actors are in special costumes showing their faces to pilot it. What is the aim of this?
A- The movement and emotional expressions of the characters in the cockpit is the territory of the director, and I felt that once the robo battles started, there was a tendency to leave it up to Butsuda's special effects team, and people started to lose interest with that. I felt that this situation was not ideal, especially when we are trying to make a robot show in earnest. So we had the actors with their faces showing board the cockpit; first to raise the awareness of us on the "production side", that the robot scenes are not the propriety of the "special effects team" alone; i.e. the main team has to be involved there, and also to reaffirm the scenes as it's something that concerned us personally.
Q- In 1977's "Little Superman Ganbaron" (Soeisha), the masked hero Ganbaron changes into a helmet that shows his real face when he pilots the giant robot Daibaron, creating a direct effect that lets the pilot's emotions be seen. Super Sentai has attempted this before, in works such as "Chojin Sentai Jetman" (1991) and "Gekisou Sentai Carranger" (1996), but there has never been an example as thorough as Gozyuger is doing.
A- It's interesting to see a masked character pilot a robot and for their reactions to be acted out, as in the past. Since it's a choice between two options, and you have to decide on one, we went with the idea of having an unmasked pilot this time.
Q- Depending on how well Gozyuger is received, it's possible that the trend will change to it being more natural for an unmasked human to pilot the giant robos.
A- Thanks to everyone, the start has been well received in all directions. I heard that sales of TegaSword, and personal weapons like LeonBuster 50 are going well, as well as the SentaiRings being an unexpected hit. I guess it was a good thing that PLEX worked so hard on the individual designs. Anway, it seems to be exceeding expectations everywhere, with the numbers coming in, so I'm relieved for now.
A- Technically speaking, the Gozyuger don't officially assemble and do their "roll call" until episode 7, right? (laughs)
(Image; The 5 Gozyuger assembled) - In Episode 5, "Torimodose Soul! Sumi ni okenai osekkai", Sumino engages (transforms) into GozyuUnicorn for the first time, and the 5 Gozyuger are finally assembled.
Q- From the world view displayed in episode 1, we are introduced to what is the equivalent of Super Sentai's giant robo with the god, "TegaSword." TegaSword also functions as the Gozyuger's transformation item and weapon, and we also learn that those who bear SentaiRings must fight and steal other rings to make their "wishes" come true. When I first heard the setting, I thought it would be something like a brutal "life-stealing" story in the vein of "Kamen Rider Ryuuki" (2002), but when the show started, it was a bit more laid back with a unique atmosphere; Hoeru, Rikuo, Ryugi and the others who are supposed be fighting over the rings are just hanging out at the cafe, "Tega Sword no Sato".
A- Although they say they don't want to get along with each other, they actually get along quite well, don't they? There's been a theory put forward that they're all actually tsundere. (laughs). It's true that they're all involved with fighting their opponents and collecting the rings, but they're not really fighting for their lives or anything like that. In that sense, it's more "sport-like", and as a Super Sentai series, I was conscious of not giving it a sense of tragedy.
(Image- Gozyuger at TegaSword no Sato) - The cafe, "TegaSword no Sato", where Ryugi acts as manager, is the natural hangout spot for the Gozyuger, as we first meet Hoeru with him living on its second floor. Image is from Episode 5, "Torimodose Soul! Sumi ni okenai osekkai".
Q- I was surprised when the "cheering squad" suddenly appeared and cheered for both sides before Hoeru and Fire Candle fought each other. It feels like the show has inherited some genes from "DonBrothers."
A- It's definitely true that in "DonBrothers", the "celestial maidens" appear without any explanation when Don Momotaro first shows up. Because of that, it was easy for the staff to explain that the "cheering squad just appears here." (laughs) If celestial maidens can appear, then so can a cheering squad. That argument had a very mysterious persuasive power.
Q- This is the first TV series where you've served as Chief Producer- did you have any ideas about what kind of work you'd like to do if you were ever given this kind of opportunity?
A- Not at all. Firstly, with "character works" like Super Sentai, things are often decided upon by various "external frameworks" such as product planning, so you can't really put a show together by thinking you want to create a certain work with certain content, independent of that. Since fundamentally, it's a business, the framework gets created first and the producer's job is then to think about what can be done within that framework.
Q- Since becoming a chief producer, what has changed from your time as an assistant producer?
A- I now spend a lot of time focused on the scripts for each episode. Because of that, I have less free time to play around with aspects outside of the main story (laughs). But as for the basics, the main things I'm responsible for haven't really changed much since working on "Kamen Rider Gotchard." "Gotchard is over, so on to Gozyuger, and I'll do my best with it!" The feeling is still the same.
Q- As chief, do you sometimes have to make the final call on various "decisions" when creating a work?
A- Even during Gotchard, I was able to do what I wanted thanks to Minato (Chief Producer of Gotchard), so the vibes have not really changed much. I was a bit cheeky and spoke up all the time there in a lot of instances, but Minato accepted that and respected it. I'm still incredibly grateful to him.
Q- Once more, please tell us about the difficulties and rewards of the job of producer.
A- A producer is not the director, nor are they the screenwriter; they're not a job that can "do something", but rather a role that requires telling everyone "I want you to do this something." Due to that, if you're too selfish, people working under you might feel uncomfortable and think "Then you do it!!". In that sense, I think a producer's job is difficult.
(Image- Producer Matsuura Daigo)
A (cont'd)- There's nothing you can do by yourself, so I think that the role of a producer is to get help from many people and turn everything into a work. When I convey my thoughts to them, begging, crying, etc, saying "Pleeeease!", and they answer "Well, since you say so, I guess I'll do it", it makes me really happy.
Q- You're still in your 20's, but the people you work with, such as Director Tasaki Ryuta, Special Effects Director Butsuda Hiroshi and Action Director Fukuzawa Hirofumi, are all veterans from the Showa Era. Do you feel the generation gap when you work with them?
A- I do, but don't really mind it at all. I think the older generation is probably kinder to younger people like me now versus in the past, so I guess that's where the sense of times helps (laughs). As far as age difference goes, I'm kind of like their son, or maybe their grandson, but personally I like special effects and anime works from Showa, and we get excited talking about them together. I am also partial to alcohol, so maybe I'm on the same wavelength as these people from the Showa era. As far as asking for work goes, it's always easier to rely on older people. Maybe I'm good at being spoiled (laughs).
Q- What was the intention behind the robot battles featuring the cast piloting the robo with their faces showing? The impact of TegaSword, which transforms from a giant "hand" to a humanoid form is amazing; what did you discuss with Special Effects Director Butsuda regarding that?
A- This time, we focused on the giant robots, so I watched "Brave Raideen" (1975/Tohokushinsha) to re-study past works with robots. I noticed that it contained elements of the "mysterious mecha" angle that we were aiming for with Gozyuger, and I shared that awareness with Butsuda. When I suggested doing something like Raideen, where a giant stone statue splits in half and moves with a rumble, he gave me a confused look, like "What are you talking about?" (laughs). I was thinking, "what can we do with a mecha in the shape of a hand!?", but then I realized that "Gante", the enemy fortress in Raideen, had done it first (laughs). I've always loved robots, so when I told Butsuda, "Let's do something with real robos", he told me, "It won't work if it's too close to a real robo." However, as I was talking with him, I started to have doubts and realized that recent "Sentai Robos" are only focused on the design and motif, and don't really look/operate like "robots." For example, are they designed with consideration for "where is the cockpit?" and "where is the pilot sitting and driving it"? Since it's not a real robo, there's no point in focusing too much on that, but I wanted to incorporate that kind of "realism" into this robo. So I suggested, "why don't we do something like Voltes V (1977) ?", where the cockpit is shown out of the "eye", and so that's done with TegaSword Red.
Q- "Super Sentai" is characterized by two main highlights: the action of the human-sized team of heroes and the special effects battles of the giant robos. Are you concious of both of those in Gozyuger as well?
A- In Gozyuger, we're trying to do both human-sized action and giant robos, so if you're not careful, there's a danger that you will get neither. There's a risk there that the show will stop working due to too many elements involved, or it just being overloaded. However, we're trying to figure out how to make the giant robot battles look like an "addition" to the human-sized action, and we're doing so by trial and error. In past works, there are shows like "Choudenshi Bioman" (1984) and "Tokumei Sentai Go-Busters (2012), that tried to avoid falling into the same-old pattern. I don't think we'll know whether Gozyuger was a success in this regard until it's finished.
(Image; DaiZyuJin and TegaSword Red) - TegaSword Red standing beside DaiZyuJin, who fought alongside Kyoryu Sentai Zyuranger. From episode 7, "Kokoro tokimeke! Kesshu, Gozyuger!".
Q- Up until now, it was pretty much a given that the pilots of the Robo would be transformed into their suits, but with Gozyuger's TegaSword, the actors are in special costumes showing their faces to pilot it. What is the aim of this?
A- The movement and emotional expressions of the characters in the cockpit is the territory of the director, and I felt that once the robo battles started, there was a tendency to leave it up to Butsuda's special effects team, and people started to lose interest with that. I felt that this situation was not ideal, especially when we are trying to make a robot show in earnest. So we had the actors with their faces showing board the cockpit; first to raise the awareness of us on the "production side", that the robot scenes are not the propriety of the "special effects team" alone; i.e. the main team has to be involved there, and also to reaffirm the scenes as it's something that concerned us personally.
Q- In 1977's "Little Superman Ganbaron" (Soeisha), the masked hero Ganbaron changes into a helmet that shows his real face when he pilots the giant robot Daibaron, creating a direct effect that lets the pilot's emotions be seen. Super Sentai has attempted this before, in works such as "Chojin Sentai Jetman" (1991) and "Gekisou Sentai Carranger" (1996), but there has never been an example as thorough as Gozyuger is doing.
A- It's interesting to see a masked character pilot a robot and for their reactions to be acted out, as in the past. Since it's a choice between two options, and you have to decide on one, we went with the idea of having an unmasked pilot this time.
Q- Depending on how well Gozyuger is received, it's possible that the trend will change to it being more natural for an unmasked human to pilot the giant robos.
A- Thanks to everyone, the start has been well received in all directions. I heard that sales of TegaSword, and personal weapons like LeonBuster 50 are going well, as well as the SentaiRings being an unexpected hit. I guess it was a good thing that PLEX worked so hard on the individual designs. Anway, it seems to be exceeding expectations everywhere, with the numbers coming in, so I'm relieved for now.
Main Writer- Inoue Akiko's "Weapons"
Q- By the fifth episode, the five main characters: Hoeru, Rikuo, Ryugi, Kinjiro and Sumino had been introduced, and I think viewers are gradually becoming more familiar with the world of this work. Each character carries a lot of weight on their shoulders and sometimes have a sense of tragedy about them, but they all seem to have a bright and cheerful personality.
(Image; The Gozyuger playing dress-up) - In Episode 6, "Kessen! Tokonatsu Jou no DaiBouken" the five Gozyuger dress up as a "family" and give it their all "playing house."
A- When making Gozyuger, I had a stronge desire to make it a "cheerful" work. It would be no good if the relationships were too tense or if everyone was frowning all the time. Even if the story ahead unfolds in a more tense way or some of the scenes presented are tough to deal with, I thought it would be okay as long as everyone is smiling (laughs). I think the appeal of "Super Sentai" is its "cheerfulness" and it's "well-intentioned vagueness".
Q- What do you think about the characters created by main writer, Inoue Akiko?
A- It's no exaggeration to say that Akiko fleshes out almost of her characters. I was able to see that her character creation skills exceeded my expectations, and I'm really glad that I asked her to be the main writer. She's currently working on the script, and I feel that her accuracy is only improving as she goes along. I think that with any show, not just Super Sentai, you "win" if you can get people to like your characters. Once people to start to like them, even if there's no story, it becomes interesting just because you're following the actions of those characters. I think the key point is how well you can create characters that people love.
Q- Are there any similarities between her and her father, Inoue Toshiki, who has captivated viewers with his strong character personalities in works such as "Kamen Rider 555" (2003), DonBrothers, and others?
A- She's completely different from Dai Sensei (Inoue Toshiki's nickname)...in the sense that, I think you can still categorize Akiko as a sensible screenwriter (laughs). She listens carefully to what we have to say, and takes her time during meetings. Unlike Dai Sensei, she doesn't just say "Okay, Okay, I'll write it then" and disappear from a meeting only 30 minutes in (laughs). I don't think Dai Sensei and Akiko are similar, but, she has been a huge reader since she was a child. I think that's largely due to the fact that she grew up under the guidance of Inoue Toshiki, who is also a reader. I think it's amazing she grew up in an environment where a large number of books were within an arm's reach; from classic literature, to modern novels, to manga. I don't really like to compare similarities based on blood ties alone, but I feel like there are certainly similarities when it comes to "environments". Even if she hasn't read Inoue Toshiki's books, I'm certain she's read the books that he's read. Akiko's human depth comes from that extraordinary reading environment, and I feel like that is her "weapon."
Q- From episode 8, Karuma, who plays the older brother of Hoeru, Kuon, will appear. At the press conference before the show premiered, the details of his mysterious character were not revealed at all, but Karuma's presence certainly raised expectations. Please tell us how Karuma became part of the regular cast.
A- I was watching the TV-Asahi drama, "Densetsu no Atama Sho" (2024) with Komagine Kiita from "Zenkaiger" and Shida Kohaku from "DonBrothers", and I thought that he was a very interesting actor, so I paid attention to him. He is the only actor in the main cast who was invited to play the role by our side, versus auditioning. Akiko said that Kuon was "fun to write" and I think he is the kind of character that she excels at writing. I was not aware of it at all, but she told me that I "am attracted to characters like Kuon, who are strongly bound by love" (laughs). He's become a very fascinating character, so I have high hopes he will become a huge hit among fans once he appears.
(Image; Kuon) - In episode 8, "Seija yurameku, Yubiwa no Kariudo", Hoeru's older brother Kuon appears. His other identity is the Ring Hunter, "Garyudo", known as Queen of Bridon, TegaJune's, trump card!
Q- Around episodes 5 and 6, the pasts of each Gozyuger as well as some "mysteries" that will lead to future plot points begin to be scattered in to the show; it seems that various speculations have already been made on social media about who the man with grey eyes that Sumino is looking for actually is.
A- It's complicated, isn't it? We have to be careful not to have the show end with it still being complicated... it's just my personal preference, but even though I have an otaku temperament, I also have a weakness for "logic" and "details" (laughs). I don't really feel that the reasons or meanings of why things turned out the way they did are important...rather than what happened in the "past", I focus on what the characters in the show do "now" to be exciting or "moe" (laughs). Of course, I intended to properly resolve the necessary causal relationships set up within the show, and we have to do so, but I don't think it will be done in a way where things just simply add up. However, I don't want to say something arrogant and have it cause a stir on the internet without doing anything to resolve such things, so I will definitely resolve the "gray eyes" plot point, and other elements! Please look forward to it! (laughs)
Q- Recently, yourself and other producers have been provided detailed explanations and commentary on the official website for the complicated mysteries and events that were not revealed through the tv show. I think that when hidden information like this that you didn't clock when originally watching the show is revealed on the website following the broadcast, it makes you want to watch that episode again through a new lens.
A- I feel that people who like the show will enjoy it if they can learn more about the world of the show, so I am happy when the website gets a good response. On the other hand, I also try and make sure that it's possible to understand the content by watching the tv show without said website info, even if it's just vaguely. I think that children will be engrossed in watching the TV show, but I also want mothers who are hanging laundry or doing dishes during the broadcast to be interested and watch it; to think of it as a "noisy show." As long as they watch the show, we're content. For me, the ideal situation would be when they were thinkng of going to hang laundry, but then they find the show so interesting that they end up watching it for 30 minutes straight (laughs).
(Image; The Gozyuger playing dress-up) - In Episode 6, "Kessen! Tokonatsu Jou no DaiBouken" the five Gozyuger dress up as a "family" and give it their all "playing house."
A- When making Gozyuger, I had a stronge desire to make it a "cheerful" work. It would be no good if the relationships were too tense or if everyone was frowning all the time. Even if the story ahead unfolds in a more tense way or some of the scenes presented are tough to deal with, I thought it would be okay as long as everyone is smiling (laughs). I think the appeal of "Super Sentai" is its "cheerfulness" and it's "well-intentioned vagueness".
Q- What do you think about the characters created by main writer, Inoue Akiko?
A- It's no exaggeration to say that Akiko fleshes out almost of her characters. I was able to see that her character creation skills exceeded my expectations, and I'm really glad that I asked her to be the main writer. She's currently working on the script, and I feel that her accuracy is only improving as she goes along. I think that with any show, not just Super Sentai, you "win" if you can get people to like your characters. Once people to start to like them, even if there's no story, it becomes interesting just because you're following the actions of those characters. I think the key point is how well you can create characters that people love.
Q- Are there any similarities between her and her father, Inoue Toshiki, who has captivated viewers with his strong character personalities in works such as "Kamen Rider 555" (2003), DonBrothers, and others?
A- She's completely different from Dai Sensei (Inoue Toshiki's nickname)...in the sense that, I think you can still categorize Akiko as a sensible screenwriter (laughs). She listens carefully to what we have to say, and takes her time during meetings. Unlike Dai Sensei, she doesn't just say "Okay, Okay, I'll write it then" and disappear from a meeting only 30 minutes in (laughs). I don't think Dai Sensei and Akiko are similar, but, she has been a huge reader since she was a child. I think that's largely due to the fact that she grew up under the guidance of Inoue Toshiki, who is also a reader. I think it's amazing she grew up in an environment where a large number of books were within an arm's reach; from classic literature, to modern novels, to manga. I don't really like to compare similarities based on blood ties alone, but I feel like there are certainly similarities when it comes to "environments". Even if she hasn't read Inoue Toshiki's books, I'm certain she's read the books that he's read. Akiko's human depth comes from that extraordinary reading environment, and I feel like that is her "weapon."
Q- From episode 8, Karuma, who plays the older brother of Hoeru, Kuon, will appear. At the press conference before the show premiered, the details of his mysterious character were not revealed at all, but Karuma's presence certainly raised expectations. Please tell us how Karuma became part of the regular cast.
A- I was watching the TV-Asahi drama, "Densetsu no Atama Sho" (2024) with Komagine Kiita from "Zenkaiger" and Shida Kohaku from "DonBrothers", and I thought that he was a very interesting actor, so I paid attention to him. He is the only actor in the main cast who was invited to play the role by our side, versus auditioning. Akiko said that Kuon was "fun to write" and I think he is the kind of character that she excels at writing. I was not aware of it at all, but she told me that I "am attracted to characters like Kuon, who are strongly bound by love" (laughs). He's become a very fascinating character, so I have high hopes he will become a huge hit among fans once he appears.
(Image; Kuon) - In episode 8, "Seija yurameku, Yubiwa no Kariudo", Hoeru's older brother Kuon appears. His other identity is the Ring Hunter, "Garyudo", known as Queen of Bridon, TegaJune's, trump card!
Q- Around episodes 5 and 6, the pasts of each Gozyuger as well as some "mysteries" that will lead to future plot points begin to be scattered in to the show; it seems that various speculations have already been made on social media about who the man with grey eyes that Sumino is looking for actually is.
A- It's complicated, isn't it? We have to be careful not to have the show end with it still being complicated... it's just my personal preference, but even though I have an otaku temperament, I also have a weakness for "logic" and "details" (laughs). I don't really feel that the reasons or meanings of why things turned out the way they did are important...rather than what happened in the "past", I focus on what the characters in the show do "now" to be exciting or "moe" (laughs). Of course, I intended to properly resolve the necessary causal relationships set up within the show, and we have to do so, but I don't think it will be done in a way where things just simply add up. However, I don't want to say something arrogant and have it cause a stir on the internet without doing anything to resolve such things, so I will definitely resolve the "gray eyes" plot point, and other elements! Please look forward to it! (laughs)
Q- Recently, yourself and other producers have been provided detailed explanations and commentary on the official website for the complicated mysteries and events that were not revealed through the tv show. I think that when hidden information like this that you didn't clock when originally watching the show is revealed on the website following the broadcast, it makes you want to watch that episode again through a new lens.
A- I feel that people who like the show will enjoy it if they can learn more about the world of the show, so I am happy when the website gets a good response. On the other hand, I also try and make sure that it's possible to understand the content by watching the tv show without said website info, even if it's just vaguely. I think that children will be engrossed in watching the TV show, but I also want mothers who are hanging laundry or doing dishes during the broadcast to be interested and watch it; to think of it as a "noisy show." As long as they watch the show, we're content. For me, the ideal situation would be when they were thinkng of going to hang laundry, but then they find the show so interesting that they end up watching it for 30 minutes straight (laughs).
Universe Warriors facing each other with the "feeling of love song lyrics"
Q- The Universe Warriors, Red Rangers from past sentai teams that have been completely transformed into new and different characters for this work, are also a highlight of each episode. The regular characters like the Gozyuger and Bridon, have strong personalities as it is, so it must be pretty difficult to have the Universe Warriors appear as guests or semi-regulars and have them interact with each other.
A- I knew from the beginning that there were a lot of elements to this show. I just wanted to do what I could and then think about if I'd have problems to deal with later. It's not like I haven't had problems already.... (laughs) I'm well aware that I'm overloaded, but my aim is to run through the year while using the momentum to make it seem like it's not too heavy for us to handle at first glance!
(Image; GozyuWolf VS KuwagataOhger) - In episode one, Tsutsumi Natsume transforms into KuwagataOhger, one of the Universe Warriors. Only "Red" Universe Warriors exist, and the Gozyuger are the only warriors that have different colors. From episode one, "Kyuuseishu Number One!"
Q- With regard to the Universe Warriors, whose personalities have changed drastically as you're not bound by the previous works, do you have the character settings for all the warriors pre-planned and complete already?
A- Not at all. I think about each episode's story and create the Universe Warriors and the characters who transform into them one by one. However, the task of "remaking" the Super Sentai reds up until now can be quite troubling. For example, I personally love LupinRed (Kaitou Sentai Lupinranger VS Keisatsu Sentai Patranger) and ShinkenRed (Samurai Sentai Shinkenger), and I have to make them new characters that are different from the original ones... As an otaku, I love the original works and want to immerse myself in their worlds, but as a producer, I have to reinvent them into characters that are in the here and now. I'm torn between "Should I make a LupinRed who isn't Yano Kairi...?" and "Should I make a ShinkenRed who isn't Shiba Takeru...?" (laughs) I almost think that if I was going to feel this sad, I shouldn't have fallen in love with them in the first place.... (laughs). I face the Universe Warriors with emotions that are just like the lyrics in a love song.
Q- In a recent interview, Director Butsuda said "if the creator isn't having fun, nothing interesting will be made." Do you agree?
A- That's very true. The good thing about Super Sentai is that it's bright, fun, and you can do silly things to your heart's content. It's simply fun to make, and I think that's it's greatest weapon. Super Sentai has the "depth" to become a Super Sentai no matter how you make it, as long as you keep a few "rules" in mind. That being the case, it's a series that allows you to try anything you can think of, and is open to new challenges. That's why it would be a waste to repeat the same thing we've seen before. I want to continue putting more and more new things into my work.
(Image; Matsuura Daigo)
Q- Gozyuger's appeal is its turbulent and unpredictable developments, but have you decided, even roughly, how the show's final episode will end?
A- Not even a little bit. Or rather, I've never done it that way before, so I don't know any other way to do it other than what I've done. In the first place, if you decide everything in detail, like how the show ends, it becomes less fun for the people making it. I think it's more "Toei-like" to not know what's going to happen until the time comes (laughs).
Q- Please tell us if there is a philosophy that you hold most dear when it comes to making "Gozyuger"
A- We make the show with the thought that we don't want to be "good students" in any way. The lyrics "Go Beyond!" from the theme song (Wienner's "Winner! Gozyuger") is what keeps me going, so I'm always working while scrutinizing, and asking myself "is what I'm doing right now going beyond the frame? Or not?" With that said, all the staff and cast of "No. 1 Sentai Gozyuger" are determined to "go beyond" with all their might and have fun, so please send us your support!
A- I knew from the beginning that there were a lot of elements to this show. I just wanted to do what I could and then think about if I'd have problems to deal with later. It's not like I haven't had problems already.... (laughs) I'm well aware that I'm overloaded, but my aim is to run through the year while using the momentum to make it seem like it's not too heavy for us to handle at first glance!
(Image; GozyuWolf VS KuwagataOhger) - In episode one, Tsutsumi Natsume transforms into KuwagataOhger, one of the Universe Warriors. Only "Red" Universe Warriors exist, and the Gozyuger are the only warriors that have different colors. From episode one, "Kyuuseishu Number One!"
Q- With regard to the Universe Warriors, whose personalities have changed drastically as you're not bound by the previous works, do you have the character settings for all the warriors pre-planned and complete already?
A- Not at all. I think about each episode's story and create the Universe Warriors and the characters who transform into them one by one. However, the task of "remaking" the Super Sentai reds up until now can be quite troubling. For example, I personally love LupinRed (Kaitou Sentai Lupinranger VS Keisatsu Sentai Patranger) and ShinkenRed (Samurai Sentai Shinkenger), and I have to make them new characters that are different from the original ones... As an otaku, I love the original works and want to immerse myself in their worlds, but as a producer, I have to reinvent them into characters that are in the here and now. I'm torn between "Should I make a LupinRed who isn't Yano Kairi...?" and "Should I make a ShinkenRed who isn't Shiba Takeru...?" (laughs) I almost think that if I was going to feel this sad, I shouldn't have fallen in love with them in the first place.... (laughs). I face the Universe Warriors with emotions that are just like the lyrics in a love song.
Q- In a recent interview, Director Butsuda said "if the creator isn't having fun, nothing interesting will be made." Do you agree?
A- That's very true. The good thing about Super Sentai is that it's bright, fun, and you can do silly things to your heart's content. It's simply fun to make, and I think that's it's greatest weapon. Super Sentai has the "depth" to become a Super Sentai no matter how you make it, as long as you keep a few "rules" in mind. That being the case, it's a series that allows you to try anything you can think of, and is open to new challenges. That's why it would be a waste to repeat the same thing we've seen before. I want to continue putting more and more new things into my work.
(Image; Matsuura Daigo)
Q- Gozyuger's appeal is its turbulent and unpredictable developments, but have you decided, even roughly, how the show's final episode will end?
A- Not even a little bit. Or rather, I've never done it that way before, so I don't know any other way to do it other than what I've done. In the first place, if you decide everything in detail, like how the show ends, it becomes less fun for the people making it. I think it's more "Toei-like" to not know what's going to happen until the time comes (laughs).
Q- Please tell us if there is a philosophy that you hold most dear when it comes to making "Gozyuger"
A- We make the show with the thought that we don't want to be "good students" in any way. The lyrics "Go Beyond!" from the theme song (Wienner's "Winner! Gozyuger") is what keeps me going, so I'm always working while scrutinizing, and asking myself "is what I'm doing right now going beyond the frame? Or not?" With that said, all the staff and cast of "No. 1 Sentai Gozyuger" are determined to "go beyond" with all their might and have fun, so please send us your support!
Interesting discussion about the decision to show the characters' faces in TegaSword's cockpit. I think that's a good idea and I hope it catches on in future seasons.
That was a definitely interesting change of standard procedures. I like it.
Japan's NHK broadcasting company ranked the past 50 years of Super sentai
The final NHK poll results are in.
Top 10 Mecha
1. DonOnitaijin
2. GokaiOh
3. King-Ohger
4. Boonboomger Robo
5. ShinkenOh
6. TegaSword
7. Kyoryuzin
8. ToqOh
9. Muteki Shogun
10. Byunbyun Mach Robo
Top 10 Rangers
1. ShinkenRed
2. GokaiRed
3. DonMomotaro
4. SpiderKumonos
5. DekaMaster
6. KyoryuRed
7. Bun Red
8. Gokai Blue
9. Patren #1
10. Lupin Red
Top 10 Series
1. Gokaiger
2. King-Ohger
3. Shinkenger
4. Boonboomger
5. LuPat
6. Donbrothers
7. Dekaranger
8. Kyoryuger
9. Toqger
10. Goranger
More data
The final NHK poll results are in.
Top 10 Mecha
1. DonOnitaijin
2. GokaiOh
3. King-Ohger
4. Boonboomger Robo
5. ShinkenOh
6. TegaSword
7. Kyoryuzin
8. ToqOh
9. Muteki Shogun
10. Byunbyun Mach Robo
Top 10 Rangers
1. ShinkenRed
2. GokaiRed
3. DonMomotaro
4. SpiderKumonos
5. DekaMaster
6. KyoryuRed
7. Bun Red
8. Gokai Blue
9. Patren #1
10. Lupin Red
Top 10 Series
1. Gokaiger
2. King-Ohger
3. Shinkenger
4. Boonboomger
5. LuPat
6. Donbrothers
7. Dekaranger
8. Kyoryuger
9. Toqger
10. Goranger
More data
So it's a show aimed at preteens, and most of its audience is adults. I guess I shouldn't be surprised, given my own age...
I don't give much credence to top-10 lists, which tend to be heavily biased in favor of recency. But there are a few notable exceptions there, like Dekaranger.
I don't give much credence to top-10 lists, which tend to be heavily biased in favor of recency. But there are a few notable exceptions there, like Dekaranger.