I'm glad the gremlin artist is back, she didn't post as much last year

>>5292 >I find it weird how there isn't a lot of info about Boonboomger's production compared to other seasons. I think we must wait for one of those post-series book. Forgot the name, it's not the Complete Book which more of Televikun brand, but the one that show some designs etc.

>>5299 I thought she picked Bouquet as Gozyu's gremlin but seems like she also did lot of Hoeru too and Kinjiro in the latest one.

>>5285 Was sad to see the SRW thread here die the second 4chan opened up again, figured some people would stay since the threads before were fucking awful for a long time

>>5325 I don't know if it was the shitposting abstinence or what but it's like every retard has been posting twice as much as they used to, the new gundam show's general is particularly bad.

>>5326 I think it's because the 4chan's mods are trying even less or actively allowing shitposters. At least for /v/ I know that they would help schizos and ban perfectly normal threads like the ones for the video game Elin. 4chan's /v/ was already a shithole but it's even worse now because of that, I have to assume something similar happened to /m/ but I'm not sure if that's actually what's happening.

>>5328 >4chan's mods are trying even less or actively allowing shitposters. At least for /v/ I know that they would help schizos and ban perfectly normal threads like the ones for the video game Elin. 4chan's /v/ was already a shithole but it's even worse now because of that, I have to assume something similar happened to /m/ but I'm not sure if that's actually what's happening. That's insane of them to do those things. Sounds like the opposite of what a mod should do.

>>5337 4chan's jannies and mods are absolute fucking shithead faggots, doubly so after the hack. Pretty sure the only ones left are the worst of the worst

>>5337 I know, even after reading the leaks from the hacks I can't believe how mentally ill they are, and that one of the worst mods from /v/ was a SEGA employee

I can't help but find Gozyuger's NPCs memorable, besides picrel there's the Uber Eats guy and the chaosfag bully from a while back. While it's impossible for them to become universal warriors I hope they come back for the final arc or something.

>>5371 Hardly anything interesting I the interview: The 31st entry in the Super Sentai "VS Series", the V-Cinext film "Bakuage Sentai Boonboomger VS King-Ohger" will have a limited theatrical run starting Thursday, May 1, 2025. This dream crossover features the two major heroes: "Bakuage Sentai Boonboomger" which depicts the explosive exploits of the deliverymen, and "Ohsama Sentai King-Ohger" known for its unique worldview and intricate storylines. Their explosive story unfolds across Planet Trickle, Planet Chikyu, and Earth. To commemorate the start of this film's run, Animate Times conducted an interview with director Hiroyuki Kato! Director Kato, who also worked on both TV series, discusses highlights of this film, shares behind-the-scenes stories from filming the TV series, and talks about his passion for the Super Sentai franchise. >Interviewer: In this work, two Super Sentai teams with different worldviews are collaborating. How did you approach the overall story structure? Director Hiroyuki Kato (from here thereafter reffered as Kato): For the story structure, we primarily focused on the concept of "What if King-Ohger entered Boonboomger's world?", to create a meeting point for the two teams, we brought back Princess Nicola from "Bakuage Sentai Boonboomger: GekijoBoon! Promise the Circuit" . By introducing a "princess from another planet" as a bridge, we established a plausible connection with King-Ohger. The scene where the two teams meet was skillfully orchestrated by action director Jun Watanabe. >Interviewer: While the TV series King-Ohger primarily used set filming, Boonboomger seemed to rely more on location shoots Kato: Since King-Ohger was mostly filmed indoors, we rarely worked under scorching sunlight. However, this time, filming coincided with an intense late-summer heat, which was tough even for the Kings. Visually, though, I think we captured some exciting scenes. We intentionally chose locations that King-Ohger members had never visited, places clearly distinct from King-Ohger’s established world."ñ >Interviewer: The cross-series character interactions were also striking. Kato: For Shifuto Mira, the TV series had few scenes where female characters gathered for group activities. I thought pairing her with Himeno Ran and Rita Kaniska would create something engaging. Then there were ideas like "I wanted to pair Bureki Genba with Jeramie Brasieri" and "Akuze Joe and Kaguragi Dybowski could form a Black duo". Adding characters like the "macho Shop Street A and B" created visually engaging dynamics and potential for fresh interactions. >Interviewer: The shopping street scene also featured background characters from Boonboomger's TV series, didn't it? Kato: Yes, we intentionally maintained continuity from the main series. The shopping street was the perfect setting to show Joe's popularity, and since it doesn't exist in King-Ohger's world, I really wanted to use it. Keiko Hashimoto (tempura shop owner) and Shogo Teramoto (butcher) reprised their roles. Masashi Takada's appearance wasn't scripted, but I insisted, "We can't do this without him!" (laughs). >Interviewer: (laughs) Masashi Takada is also playing multiple roles here, like "Asada Keisuke" and "Soldier Masashi" right? Kato: It's become a fun element for fans. He appeared in the previous King-Ohger VS Donbrothers too, and we're grateful for his continued contributions. >The Sanseaters' role is another exciting aspect. Many fans seem curious about their fate after the series finale... Kato: This film was shot before Boonboomger's TV series finale, but we already knew the direction: "The five Boonboomgers go to space for the Big Bang Grand Prix, while the cleanup crew (Homura Sakito) remains on Earth". Naturally, we asked, "Where did the Sanseaters go?" We thought, "What if they ended up with Yamma Gast?" Additionally, by deliberately separating the trio (who were always together in the TV series), we highlighted their individual personalities. Working backwards from the TV series' framework, scriptwriter Atsuhiro Tomioka skillfully tied it all together. >Interviewer: The climactic explosion scenes and other signature VS Series elements showcasing the two Super Sentai teams were brilliantly executed. The mecha crossover in the trailer also felt uniquely fitting for this work. Kato: Exactly, we consciously aimed for "this is Super Sentai" stylization. The Boonboomger Robo Knight shares a silhouette with King-Ohger's mecha, so we replaced its face with King-Ohger's design and equipped it with the Insect Sword Shugodd Sword. We retained Boonboomger's essence by adding distinctive eyes. The Boonboom Macha Robo also received Shugodd attachments on both arms. >Interviewer: The ending dance with both teams was fantastic. Kato: While the Boonboomger cast was accustomed to dancing, this was new for the King-Ohger members. They rehearsed beforehand and performed flawlessly on set. When we explained the framing, they adjusted immediately – it was a joyful shoot. >Interviewer: Director Kato, you directed episodes for both TV series. King-Ohger had many serious episodes tied to its overarching narrative, right? Kato: King-Ohger often felt like it was building toward climaxes, even though we hadn't reached the actual finale yet (laughs). Episodes 25 and 26 stand out in my memory. Filming the God King-Ohger cockpit using the Skeletonicus exoskeleton robot was challenging but thrilling for us too. >Interviewer: Your episode 41, "The Time to Save the Universe" was deeply moving. In this film, the OhgerCalibur ZERO also plays a key role. Kato: In this film’s climax, there's a line referencing Rcules, and I was very particular about Gira's response. I explicitly requested, "this is exactly how I want it".

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>Interviewer: On the other hand, Boonboomger seemed to have many lighthearted comedy-focused episodes. Kato: I think Boonboomger itself had that kind of tone. For the baseball and football episodes, I studied and incorporated elements I personally enjoy. I might've gone a bit overboard… (laughs), but it was incredibly fun. >Interviewer: Filming scenes like baseball and football in full transformed suits must've been challenging? Kato: Definitely. Movements while wearing helmets don’t always go as planned, so we had to carefully plan camera angles and direction. That said, our generation grew up with baseball manga and anime, so those visual storytelling patterns felt natural. Whether it was baseball or football, those ingrained templates helped us create memorable scenes. >Interviewer: You've been involved with the Super Sentai series for a long time. Which TV series and VS series did you first work on? Kato: I joined the TV series as an assistant director starting with Mirai Sentai Timeranger. Before that, I worked on the Metal Hero series from Blue SWAT to Moero!! Robocon. My first VS series was Mahou Sentai Magiranger VS Dekaranger, followed by GoGo Sentai Boukenger VS Super Sentai. >Interviewer: Including your time as a viewer, could you share memorable Sentai works or filming anecdotes? Kato: I was a huge fan of Himitsu Sentai Gorenger as a kid. Looking back, every work holds special memories. Standouts include Samurai Sentai Shinkenger -my first rotation directorial role- where I worked relentlessly. The serious tone, especially the reveal of Takeru's identity in Episode 45, required careful direction. Ressha Sentai ToQger was fun too, as I incorporated Tsutomu Sekine's comedic bits. Kikai Sentai Zenkaiger was nerve-wracking but delightful because I'm a huge fan of Ikue Sakakibara. >Interviewer: Finally, a message for fans anticipating Bakuage Sentai Boonboomger VS King-Ohger? Katou: We blended the best of both teams without compromising their essence. I hope King-Ohger fans grow to love Boonboomger, and vice versa. Enjoy this explosive crossover!

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.

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>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?