Listing from Vinz, this aligns with what the guy from the fair said but according to Vinz this listing has yet to be comfirmed: July >DX Sentai Ring Set GoGoV & Toqger >DX Sentai Ring Set Shinkenger & Gobusters >DX Sentai Ring Set Polar Gokaiger & Boomboomger >DX Universe Tega Sword August >DX Sentai Ring Wild Gozyu Wolf >DX OlgaBuster 50-50 >Gozyu Wolf Wild power-up Set >DX Sentai Ring Set Lupinranger & Patranger >DX Sentai Ring Polar Zyuranger & Hurricaneger September >DX Sentai Ring Set Magiranger & Zenkaiger >Gozyu Wolf's power up form "Wild Gozyu Wolf" >The special weapon is the orca gun "OlgaBuster 50-50" >Universe Warriors: Shinken Red has recruited A-List actors to star in the film >September Magiranger 20th Anniversary Surprise

>Wanderview! >By registering as a friend on Toei's official LINE! You can read special crosstalk from the production team on the 50th anniversary like this! >We hope you'll give it a read! https://twitter.com/TOEI_PR/status/1917498660872675508

So with these Go On Red is the only remaining bird ranger?

Wonder whose idea was it this underlying music motif that some characters in this show have?

How was the 11th episode?

>>5515 How will the cockpit work during combinations?

>>5519 It was good but although Hoeru was cool I still don't like that the no 1 games are pretty much pointless. I thought they would bypass the issue this time by making the game more action focused but they still managed to make it pointless.

Test

>>5535 What a thumbnail

>>5548 I thought pterosaurs were dinosaurs?

https://news.mynavi.jp/article/20250509-super-sentai/ >Matsuura-san, who steadily honed his skills by participating as an assistant producer in works such as "Kikai Sentai Zenkaiger" (2021), "Avataro Sentai Donbrothers" (2022), and "Kamen Rider Gotchard" (2023), took on his first role as chief producer for the year-long drama "Gozyuger", which also serves as the 50th anniversary commemorative work of the Super Sentai series. The series features an ambitious setting of a group of "outcasts" who are by no means model students. We asked Matsuura-san about how he constructed the heroism of Gozyuger and his approach to the work, as well as his methodology for creating engaging productions. >The relationship between the veterans of the Showa generation and the young producers >Interviewer: In recent years, it feels like the Super Sentai series has been consciously breaking away from the standard "so-called Sentai" patterns, but among them, the unconventional feel of the first episode of "Number One Sentai Gozyuger" was exceptional. It was quite surprising that only GozyuWolf/Tono Hoeru transformed, and none of the other main members did. There was a previous case where only one main hero appeared in the first episode in "Chouriki Sentai Ohranger" (1995)- but even then, all five members were assembled by episode 2. The distinctiveness of "Gozyuger" stands out because the main members don't come together until as late as episode 5. Matsuura: In fact, the first time all the Gozyuger members fully assemble and introduce themselves is in episode 7 (laughs). >Int: What we understand from the worldview presented in episode 1 is that the traditional "giant robot" is replaced by Tegasword, a "god", which also functions as the transformation item and weapon for the Gozyuger team. Moreover, those who possess Sentai Rings fight and compete with each other to fulfill their wishes. When I first learned this setting, I anticipated a grim, life-or-death battle similar to "Kamen Rider Ryuki" (2002). However, once the show started, it felt somewhat laid-back-for example, although Hoeru, Rikuo, and Ryugi are supposed to be competing over the rings, they hang out together at the café "Tegasword Village", creating a unique atmosphere. Matsuura: Although they say they don't want to get along, they actually get along quite well. There's even a theory that they're all tsundere types (laughs). It's true they fight each other and try to collect the rings, but they're not literally fighting to the death. In that sense, it's more sporty, and as part of the "Super Sentai" series, we consciously avoid giving it a tragic or grim tone. >Int: Just before Hoeru and Fire Candle were about to fight, I was surprised when suddenly a "cheering squad" appeared to support both of them. That kind of moment felt like it inherited the spirit of "Donbrothers". Matsuura: Indeed, in "Donbrothers", when Don Momotaro appeared, a "tennin" (heavenly maiden) showed up without any explanation, so it was easier to explain to the staff that "a cheering squad will appear here" (laughs). If a tennin can appear, then a cheering squad can too. It had a mysterious kind of persuasiveness. >Int: This is your first time serving as chief producer for a year-long TV drama. Did you have any ideas or visions for the kind of work you wanted to create when you became chief? Matsuura: Not at all. In shows called "character dramas" like Super Sentai, many things are decided by external factors like product planning, so you can't just make a show based on what you want. Fundamentally, it's a business. The framework is set first, and within that frame, you figure out what to do- that's the producer's job. >Int: How did your role change after becoming chief compared to when you were an assistant producer? Matsuura: I spend more time facing each script. Because of that, I have less energy to play around outside the main work (laughs). But basically, what I do hasn't changed much since "Kamen Rider Gotchard". After "Gotchard" ended, I thought, "Okay, next is Gozyuger, let's do our best!", that feeling is the same. >Int: As chief, are you entrusted with making final decisions on various "rules" in production? Matsuura: Even during "Gotchard", thanks to Minato (Yousuke, chief producer of that show), I was allowed to do things fairly freely, so emotionally, not much has changed. I was a bit cheeky and meddled in many areas, but Minato accepted and respected that. I'm still very grateful. >Int: Please tell us again about the difficulties and rewards of being a producer. Matsuura: A producer neither directs nor writes scripts, nor is someone who can say "I can do this!" in a special way, yet they have to tell everyone "I want you to do this". So if you say too many selfish things, people might get annoyed and say, "then you do it", in that sense, I think being a producer is difficult. Since I can’t do anything by myself, I recognize that a producer's role is to shape the program with the help of many people. To get them to do what I want, I often have to plead tearfully, saying, "Please~~!" When they finally say, "Well, if you insist, I guess we'll do it", it really makes me happy. >Int: You're still in your twenties, Matsuura-san, but you work with veteran Showa generation professionals like director Ryuta Tasaki, special effects director Hiroshi Butsuda, and action director Hirofumi Fukuzawa. Do you feel any generation gap working with them? Matsuura: I do feel it, but I don't worry much about it. Compared to the past, I think the older generation is kinder to young guys like me, so maybe the times have helped (laughs). Age-wise, I'm like a son or even a grandson generation, but I love the tokusatsu and anime works made in the Showa era, so we often bond over that. I also like drinking, so maybe that helps me get along well with the Showa generation. When I ask them for work favors, it's easier to rely on the older folks. Maybe I'm good at leaning on others (laughs). >Int: The impact of Tegasword transforming from a giant "hand" into a humanoid robot is amazing. What kind of discussions did you have with special effects director Butsuda about it? Matsuura: This time, we decided to push the giant robot aspect, so I rewatched "Yuusha Raideen" (1975) to study past robot shows. We found it had elements of the "mystical mecha" we wanted for Gozyuger, so Butsuda and I shared that vision. When I suggested doing something like Raideen's giant stone statue splitting and moving, Butsuda gave me a skeptical look like, "What are you talking about?" (laughs). He wondered how to make a robot shaped like a "hand", but it turns out Raideen's enemy fortress "Gante" had done something similar before (laughs). I love robots, so I told Butsuda I wanted to do a serious robot show, but he warned me that going too realistic wouldn't work. Still, talking with him made me realize recent Sentai robots focus too much on design and motifs without really being "robots". For example, do they even consider where the cockpit is and where the pilot sits? Of course, it's not a real robot, so obsessing over that isn's necessary, but I wanted to add some sense of "reality" to this robot. So I proposed a scene like in "Choudenji Machine Voltes V" (1977), where the cockpit dramatically appears in the "eye" of Tegasword Red. >Int: Super Sentai is known for showcasing both human-sized hero action and giant robot battles. Are you conscious of this balance in Gozyuger? Matsuura: In Gozyuger, we're trying hard on both fronts, which risks doing neither well. Too many elements can overload the show. We're experimenting to avoid making the giant robot battles feel like mere "extras" to the human-sized action. Some past shows like "Choudenji Bioman" (1984) and "Tokumei Sentai Go-Busters" (2012) have challenged this pattern. Whether Gozyuger's attempt succeeds or not, we won't know until it’s over.

>>5603 >Int: Until now, it has almost been a given that the transformed heroes pilot the giant robots, but in "Gozyuger" the Tegasword is piloted by unmasked characters wearing special costumes. What is the intention behind this? Matsuura: The movements and emotional expressions of characters inside the cockpit are usually the domain of the director and the main production staff. However, once the robot battle starts, it tends to become something left entirely to Butsuda's special effects team, and the main team's involvement drifts away. Since we are seriously trying to do a robot show, I felt that attitude wouldn't be good. So by having unmasked cast members ride inside the cockpit, we wanted to remind ourselves on the production side that robot scenes aren't just the special effects team's responsibility -the main production team must be fully involved. This was a big part of the reason. >Int: In the 1977 show "Little Superman Ganbaron", the masked hero Ganbaron would switch to a helmet revealing his face when piloting the giant robot Daibarun, allowing the pilot's emotions to be directly seen. Several Super Sentai shows like "Chojin Sentai Jetman" (1991) and "Gekisou Sentai Carranger" (1996) have tried similar portrayals of untransformed characters piloting robots, but nothing as thorough as "Gozyuger". Matsuura: While it's interesting to have masked characters pilot the robots and act out reactions, I had to choose one or the other, so I decided to have unmasked actors pilot the robot this time. >Int: Depending on the reception of "Gozyuger" there might be a shift toward the idea that it's more natural for untransformed characters to pilot giant robots. Matsuura: Thanks to everyone, the show's start has been well received in many areas. I've heard that sales of individual weapons like the DX Tegasword and LeonBuster50 are strong, and unexpectedly, the Sentai Rings have become very popular. I think the great designs by Plex really helped. Overall, the popularity has exceeded expectations, and seeing the numbers come in is a relief. >Int: By episode 5, the main characters: Hoeru, Rikuo, Ryugi, Kinjiro, and Sumino have all been introduced, and viewers are gradually getting familiar with the world. Each carries various burdens and sometimes a sense of tragedy, yet the characters come across as bright and cheerful. Matsuura: When working on "Gozyuger", I had a strong desire to make it a "bright" show above all else. It wouldn't do for relationships to be too tense or for everyone to be scowling all the time. Even if some story developments or scenes are quite tough, I thought it would be okay as long as everyone is smiling (laughs). I believe the charm of "Super Sentai" lies in its brightness and, in a good way, its looseness. >Int: What do you think about main writer Akiko Inoue’s character creation? Matsuura: It's no exaggeration to say that Akiko has fleshed out almost all the characters. Her character-making ability has exceeded expectations, and I'm really glad we asked her to be the main writer. She's currently submitting scripts in real time, and I feel her precision is improving as she goes along. For any show, not just Super Sentai, I think it's a "win" if viewers come to like the characters. Once they like the characters, even if the story is minimal, just following their actions can be interesting. Creating lovable characters is a crucial point. >Int: Are there similarities between Akiko Inoue and her father Toshiki Inoue, known for his strong, distinctive characters in works like "Kamen Rider 555" and "Donbrothers"? Matsuura: They're completely different (laughs). In that sense, Akiko is still a fairly sensible writer. She listens well and spends plenty of time in meetings. Unlike her father, who might say, "Okay, okay, I'll write it," and leave the meeting in 30 minutes (laughs). I don’t think they're similar, but Akiko has been an avid reader since childhood. I believe growing up with Toshiki Inoue, who is also a big reader, played a big role. She was surrounded by a vast range of books-from classic literature and modern novels to manga. That environment is impressive. I don't like to assume similarities just because of blood relations, but I do think there's a similarity in their environment. Even if she hasn't read Toshiki's scripts, she's probably read many of the books he read. Akiko's depth as a person likely comes from that extraordinary reading environment, and that's her "weapon". >Int: From episode 8, Karma-san's character "Kuon", who's Hoeru's older brother, appears. At the pre-broadcast press conference, he was introduced as a mysterious character with no details, but Karma's presence raised expectations. Could you tell us how did you decide to cast Karma as a regular? Matsuura: Since Kiita Komagine from "Zenkaiger" and Kohaku Shida from "Donbrothers" were appearing, I was enjoying watching TV Asahi's drama "Densetsu no Head Sho" (2024) and noticed Karma as a very distinctive actor. Among the regular cast, he is the only one we invited without an audition. Akiko Inoue mentioned that writing Kuon was fun and that he is a character she's very good at. I hadn't really been conscious of it, but someone told me, "What Matsuura really likes are characters like Kuon, who are 'lovingly possessive' types" (laughs). He has become a very attractive character, so I have high hopes that when he appears, he will steal the fans' hearts. >Int: Around episodes 5 and 6, several "mysteries" related to each member's past and future developments began to be scattered throughout the story. For example, who is the man with the "gray eyes" that Sumino is searching for? Various theories about this are already circulating on social media. Matsuura: It's quite complicated, isn't it? We have to be careful not to leave things tangled up without resolution... Personally, I have an otaku tendency but I'm weak on "logic" and "details" (laughs). I don't place too much importance on the reasons or meanings behind why things happened. Instead of focusing on what happened in the "past", I tend to think about what actions by a character in the "present" would be exciting or appealing (laughs). Of course, necessary cause-and-effect relationships will be properly resolved in the story, and they have to be, but I don't think the show will be made just to tie up loose ends. However, I don't want to say big things and then leave things unresolved, causing a fuss online, so we will definitely address elements like the "gray eyes"! Please look forward to it! (laughs) >Int: Recently, producers including yourself have been providing detailed explanations and commentary on official websites about complex mysteries or events not fully explained in the TV episodes. When hidden details are revealed online after broadcast, it makes viewers want to watch again. What do you think about this? Matsuura: We do it with the feeling that fans who love the show will enjoy it more by learning deeper about the world. So it's nice when the web reception is good. At the same time, we try to make the show understandable just by watching TV casually. I believe kids will be absorbed in watching, but I also want moms doing laundry or dishes during the broadcast to think, "Wow, there's an interesting noisy show on" and get curious enough to watch. If they just watch the screen, that’s all we need. My ideal is that someone goes to hang laundry but ends up watching the whole 30 minutes because it's so interesting (laughs). >Int: The "Universe Warriors", where past Super Sentai Red warriors are completely reimagined with different transformees as if new characters, are a highlight every episode. Given that both the main characters of Gozyuger and Bridan have strong personalities, isn't it difficult to introduce and involve Universe Warriors as guests or semi-regulars? Matsuura: I knew from the start there would be a lot of elements. I just try to do what I can and worry about problems later. There are already some difficulties (laughs). While fully aware of the overload, I plan to muddle through the year with momentum so it doesn't feel too heavy at first glance! >Int: Regarding the Universe Warriors, who boldly change their personalities and other traits without being bound by previous works, do you, Matsuura-san, have the settings for all of them completed in your concept? Matsuura: Not at all. We create each Universe Warrior and the person who transforms into them one by one as we plan each episode. However, the task of "remaking" the past Super Sentai Reds is quite challenging. For example, even characters I personally love, like Lupin Red (from Kaitou Sentai Lupinranger VS Keisatsu Sentai Patranger) and Shinken Red (from Samurai Sentai Shinkenger), have to be made into new characters different from the originals... As an otaku, I want to cherish and immerse myself in the original works, but as a producer, I have to reinvent them as current characters. I sometimes struggle, thinking, "This isn't Yano Kairi's Lupin Red..." or "This isn’t Shiba Takeru’s Shinken Red..." (laughs). It's such a bittersweet feeling that I sometimes think I shouldn't have fallen in love with them in the first place... I face the Universe Warriors with a mindset like the lyrics of a love song.

[Expand Post]

>Int: Director Butsuda said in an interview, "If the creators don't enjoy making it, interesting things won't be born." Does that align with your thoughts, Matsuura-san? Matsuura: Absolutely. The great thing about Super Sentai is that you can have fun, be bright and cheerful, and go all out even with silly things. It's fun to make, and I think that's the greatest strength. As long as you follow a few "rules", Super Sentai has the depth and flexibility to become Super Sentai no matter how you make it. That means you can try any ideas you come up with, making it a very challenging series. Because of that, it would be a waste to just repeat the same things as before. I want to keep incorporating new things going forward. >Int: "Gozyuger" is known for its turbulent, unpredictable developments. Do you, Matsuura-san, have even a rough idea of how the final episode will end? Matsuura: Not at all. Actually, I've never worked that way before, so I don't know any other method. If I decided everything in detail from the start, it wouldn't be fun for those making it. I think it's more Toei-like to not know what will happen until the time comes (laughs). >Int: What is the most important philosophy you hold when creating "Gozyuger"? Matsuura: No matter what form it takes, I don't want it to be a "model student" kind of show. I take the phrase "Hamidashiteke" (Break out of the frame) from the theme song (Wienners’ "WINNER! Gojuuger!") as my support, and I always check myself, "Am I breaking out of the frame right now? Or am I not?". So, the entire staff and cast of "Number One Sentai Gozyuger" are determined to have fun and "break out" to the fullest, so please support us!

Considering how far the show is into filming, around when do you think the contest's winner will appear in the show?

True Queen

Tega june red blue and yellow plus Tega together

Vinz posted in his wechat group that the duration of summer films have swapped for the first time. Gozyuger will have an extended 1 hour movie while Gavv will have an extended 40 minute episode. All of the returning Reds are the ones that have posted celebratory messages on SNS. The premise is similar to Super Sentai Saikyo Battle but for all purposes it's intended to be a proper Episode Zero for Gozyuger explaining how the Sentai powers have been scattered

>>5745 Didn't he later say it was fake?

/ssg/ back on 4 is a cesspool currently Is anyone else here?

>>5998 Alright, what's going on over there on 4chan /ssg/ now?

How will the franchise rebranding affect crossovers? I'm worried of the possibility of Sentai not airing in TV Asahi anymore

>>6145 Toei talks about making things for a world wide appeal, and you're most worried about Asahi?

>>6155 >a world wide appeal what does that look like? blacks and lesbians?

>>6156 Why are you like this? >>6155 Zeztz is so far good and between the interviews and the new laws from the prime minister I'm honestly not that worried about globalization since the core focus will never change and wether globalization affects a show negatively or not depends on what producer we get, I really want to believe that most producers aren't morons

>>6168 I really think most of the people who bitch about the Western push for Toei toku are just concerntrolling or outright disconnected from reality. Unlike that weird period in the 2010's where a bunch of Japanese devs tried to appeal to the American market, by making games that appealed neither to American nor to Japanese audiences, karate bugmen have an inherently niche appeal to adults which means trying that would be fucking retarded because the prinary audience is 5-10 year old Japanese boys. So far their Western push seems to be >have the main Rider wear a suit that's a bit reminiscent of American capeshit outfits >have a spy theme with specialized organizations working outside the public eye >stream it on YouTube with official so people in the West don't have to pirate it anymore >also stream older toku series and sell blu rays of them Wow. They might as well move their headquarters right in the middle of downtown Hollywood. Truly the downfall of grorious nippon culture folded 1000 times.

>>6173 >primary audience these days are 5-10 (maybe 12 at most) year old Japanese boys True for the most part, on the age demographic. However, >implying that even 5-10 or, for that matter, 11-15 year-old Japanese boys have that much of the same interests in media as Canadian, American, British, Irish, French, Dutch, Belgian, Swedish, Danish, Finnish, Aussie, New Zealander, Italian, German, Swiss, Magyar or Slav kids of the same age demographic. Nah. I'm not so sure about most of your Western Push, except for 2 at the most. The new Prime Minister-approved laws should never have existed. In The UK, many EU Member nations, Belarus, Russia, New Zealand, and here in the USA, kosher nonsense aka Judaized trash culture, be it Leninism/Bolshevism and its butchering of Czar Nicholas II, his family, practically all the pre-existing gov't ministers, including Duma members who didn't think in the way of the ""revolution"" as well as any other Intelligentsia, plus art and books deemed as threats to their power and goals. Very similar shit happened with the rise of the Abrahamic programs thousands of years prior, not just in Rome but throughout the rest of Europe over hundreds of years, Armenia, Egypt, Berber lands, Iran/Persia, Arabia, Somalia, Malaysia, Brunei, Afghanistan, The Philippines, the parts of Northern India now called Pakistan. The later Frankfurt School social Marxist "gradually but surely" method of dripping Kosher nonsense akin to being boiled like some frog or rat in a Skinner box stimuli and mental conditioning; truly such unbound levels of open borders immigration and rash multiculturalism, and Kosher control of State universities has fried and deluded a multitude of minds. Deliberately pushing or inching towards western tastes is not all that its cracked up to be. Why not focus instead on dubbing and subbing for audiences in SE Asia, and South Asia?

I'm really sad that Gozyuger, and Sentai for that matter, is ending such a way. I want to be excited because next year we'll get Kamen Rider, Universe Heroes, Gavan, Garo, Ultraman, Koseidon, Japanese Godzilla plus anniversary productions like Kabuto, Boukenger and Ultraman Zero. But Sentai really didn't deserve to end on a 50th anniversary that has a chance of becoming lost media, I really didn't know that agencies had that much power you'd think they'd just edit the last quarter and leave the already released episodes as they are.

What happened in these past two months that it feels like proper internet discussion is dead now? Even beyond Sentai?

>>6183 I legitimately don't know but I've been feeling that too, whenever I attempt to discuss games people try to derail conversation as much possible, same with manga translations and tokusatsu

Rumors: >Universe Heroes = Metal Hero + Super Sentai >Super Space Sheriff Gavan Infinity will be the first story of this seriesGavan Infinity >Gavan will transform using cards and a magic staff >Gavan will be red and have a color theme similar to Gatchaman >Gavan will have a robot that is a red salamander, which can combine with the staff to become a dragon >Gavan will be able to grow in size and combine with other robots like Gridman >Other characters >A white wizard who will be a main character alongside GavanBlue, black, and green characters have no information yet >The black character is a rival and wizard >There will be many wizard students >The main theme is capturing monsters similar to Gotchard >The gimmick item is cards in various styles >The main toy of this series is a robot that can combine with the staff to become an animal-shaped robot and can also combine with the main characters

>>6191 General troll lowlives along with 1) bot spam 2) underage Gen Alpha kids with brain damage I suppose