Kamen Rider

2021 is the fiftieth anniversary year for Japanese live-action superhero franchise Kamen Rider. For half a century, heroes bearing name Rider have battled rubber suited monsters and defended smiles of children. Unlike many superheroes, however, Riders are grotesque heroes, usually drawing their powers from same source as villains they battle. Grotesque human-machine-animal hybrids, differ opponents only in kindness hearts strength spirits. Although includes variety texts including manga, novels, movies, stage musicals, central text Sunday morning children’s television program. This article focusses exclusively on series. Each season program comprised around fifty twenty-five-minute episodes, each features an entirely new cast, title, premise. was originally created at time economic downturn social unrest, unease zeitgeist reflected figure no longer human hero. A little over thirty years later Japan again facing crises intense debate what, if any, role it should play wars Afghanistan Iraq. The 2002 season, Ryūki, tackles difficult questions about what justice, heroism, monstrosity mean, through medium martial arts live action special effects hero explores blurred boundaries between monster Rider, context attitudes toward First inaugural (protagonist 1971 season), Hongo Takeshi, university student who gains superpowers after being abducted experimented by Shocker, terrorist organisation founded Nazis. Their medical experiments part plan to produce army capable world domination. Takeshi’s body modified with grasshopper DNA cybernetic enhancements, but he able escape before mind control portion operation. appears human, Takeshi transforms via belt into (masked) order fight. His face obscured insectoid helmet red compound eyes antennae. transformation scene highlight every episode, most important (many) tie-in toys. primary audience children two seven, media-mix (Steinberg) sale toys branded products vital. Anne Allison (105) identifies blending or crossing bodily borders entails “money shot” anticipate enjoy. There also substantial tertiary audience, which older adults. During early 1970s, when first few seasons were broadcast, ‘employment trains’ transporting teenagers (immediately following graduation middle school) rural areas large cities, where worked factories construction far families (Alt 54). Rider’s creator, Ishinomori Shōtarō, had debuted manga artist while still school himself, his works particularly popular among this disenfranchised demographic. young man taken changed against will left forge own path aftermath may been resonant these teenagers. member yakeato (burnt ruins) generation, during Second World War experienced fire- nuclear bombings grew up amidst burned-out ruins. Roman Rosenbaum (Redacting 97-98) argues that generation (or perhaps more accurately, micro-generation), “later subconsciously released bent-up trauma childhood experiences throughout adult lives work”. not alone experience, course; other members creative team motivated trauma. Hirayama Tōru, helped bring concept producer, sixteen hometown Nagoya firebombed. He schoolboys dispatched dispose bodies civilians died trying flames die river (Oda Muraeda 41-2). Members prominent anti-war activism opposing Japan’s entanglement Vietnam (Rosenbaum Generation 284). Violence meaning justice urgent issues generation. along subsequent seasons, classifiable horror text, numerous Gothic elements (Staite). Many battles “designed elicit specific reaction: abject horror” (Kim 28). While some prosthetic suits quite silly-looking contemporary standards, remain compellingly disturbing fusion animal-human-machine. proceeds chain command eventually battle leaders always aware battling victims Shocker experimentation difference himself them losing will. He, like them, has become unfortunate must defeat. As Miura Shion (180) puts (translation mine), “Kamen entity evil. reality enemy front you actually same. fate fight struggling this”. Noting social, economic, political upheaval Japan, Hirofumi Katsuno (37-38) links rise ambiguous decline ‘grand narrative’ modernity belief kind absolute represented traditional superheroes. instead inhabits “an space nonhuman, good evil” (Katsuno 44). In ambiguity remained largely centred – responsible unambiguously evil unsympathetic. ordinary people subjected there compassion, terms conflict question destroying correct moral. predominantly fascists cultists bent domination until late 1980s, antagonist 1987 Black protagonist’s beloved brother. RX, environmental themes. take doing so because planet too polluted sustain life. They argue, somewhat persuasively, since humans global destruction justified taking ruined. gradual shift sympathetic became explicit Ryūki’s ambivalent response Bush administration’s so-called Terror. Justice Is Thing Teeth Claws Ryūki (hereafter Ryūki) planning stages 9/11 attacks occurred, twin towers. TV Asahi, station airs immediately sent directive producer Shirakura Shinichiro stating “now than ever we teach justice” (Salas). Seemingly uncomfortable implications idea “justice” light administration's actions, says: mood I wondered could repeat sort story made far, ‘good person’ beats ‘bad one another finally hits headquarters It very dangerous plant mentality Cold era time. ‘Ryuuki’ hope eye means. (Cited Uno 261-2, translation mine) Since its creation forging opposition Jonathan Abel external attitude programs 1950s 1960s. programs, argues, something imposed outside (by alien example, Allied Occupation forces). American superheroes various approaches vigilantism well known Timothy Peters highlighted. depiction closely resembling battles, rejected notions distinction categories monster. (46) “in postmodern, liquid society, lack unified, self-evident navigate multiple conceptions … . embodiments relativized seeds enduring trends culture”. takes relativised extreme, questioning existence ‘justice’ exists independently impacts. impossible summarise plot both briefly accurately; attempt prioritises former latter. thirteen royale, competing granting single wish. gain forming contract mirror monster, feed defeating less powerful (who themselves feeding helpless humans). If defeated can creature consume them. Mirror called come world, parallel dimension connected ours reflective surfaces mirrors and, significantly, gleaming skyscrapers. controlled Kanzaki Shiro, save life younger sister Yui. Protagonist Kido Shinji tries stop fighting another, delays Shiro’s plans leads Yui’s death. Shiro repeatedly loops restart Yui, disrupts timeline. alternate endings story, televisual print versions. Because involve uncovering reason resolution explanations why how began. versions origin lies experience abuse hands parents, inadvertently sets events motion breaking promise Which origin, ending, time-loop ‘true’ never resolved. Viewers invited vote ending telephone; prepared winning option inserted end broadcast (Uno 271). moral confusion intentional critique simplistic ideas justice. participates believe wish enough justify means employed obtain it. problematises objective division focusing subjective righteousness individual characters’ motivations, irony Shinji’s sake stopping war. feel themes, couches firmly within interpretation teaching explaining sometimes envision think might be often don’t accept wrong, one’s ‘I am myself, I’m wrong’ prevailing thought process. These thoughts lead selfish patterns kids see heroes. (Salas) Tsunehiro (263-4) fact villain simply desires. does make judgements desires worthy, writes, displays all Riders’ motivations equally, just Google search results displayed Amazon. Just Capitalism, suggests, treats (justice / evil) equally desire (as product). frightening; using combination Godzilla-style CGI based animals spiders, crabs, cobras, combined cyborg such guns embedded parts. However, behaviour straightforwardly animalistic. hungry; kill feed. truly monstrous characters clearly themselves, use lend power complex twisted. saving loved one, Ōja enjoys violence. points out character essentially Joker 2008’s Dark Knight; Joker, tells stories origins psychopathy past traumas mock credulity those eager 274). Crucially, alongside ensemble-cast films games. line beyond comprehension. Monsters Children, Children Shirakura’s comment danger uncritically viewing actions draws attention place turn millennium. protect from, increasingly becoming viewed potentially monstrous. Five release rocked discovery murderer elementary fourteen-year-old child dubbed ‘Youth A’, described game, taunting police media capture (Arai 370-1). violent crimes perpetrated shocking, stands particular incident Youth manifesto local newspaper lambasting education system him. survey conducted Ministry Education percent students surveyed sympathised identified (cited Arai 371). Lindsay Nelson (4) notes prevalence child-monsters 1990s 2000s, writing “the cinema stand crossroads past, present, future, crying compassion even drag death” (Nelson 13). course depictions media, media. do mean conflate confuse two. Both kinds are, influenced influence wider discourses anxieties. characterised dual address, narrative mode addresses adults simultaneously (in contradistinction double talk heads exclusionary way (Wall). featured actors (teenagers began appear leading roles increasing frequency mid-2000s), foreshadows shifting intertextual references film Battle Royale (2000), distributed Toei. centres class (without prior knowledge) selected lottery participate ‘survival game’ isolated island. survives; fitted explosive collars, any refusing collar remotely detonated, killing Director Fukasaku Kinji comments felt connection thematic linking violence munitions factory war frequently targeted bombs, describes hiding under having friends (Rose). biting commentary relationship collapse, school-based violence, failures governance. Andrea Arai’s (368) analysis, tropes battle, survival, schoolchild, reflect refract anxieties future globalisation neoliberal reform, historical conundrums twentieth-century past”. royale; although core would probably link 1999 novel on), association strengthened viewers "those don't won't survive!" catchphrase Ryūki. Conclusion stood rejecting externally imposed, enforced unassailable virtue, favour find metaphorical forest misadventure victimisation. grotesque, damaged fought whom alike different. 2000s blurring heroic further, concepts monstrosity. Much original responded upheavals reassessment hero, fears domestic disaster events. trope unwitting victim turned biomechanical enhancements discarded entirely; anyone entering No control, choose grotesquery risk desire. Anyone viewers, And, perhaps, References Abel, E. "Masked Justice: Allegories Superhero Japan." Forum 26.2 (2014): 187–208. Allison, Anne. Millennial Monsters: Toys Global Imagination. Berkeley: U California P, 2006. 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