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7/14/2025, 12:23:04 AM
>>23384260
Additionally, while ZX's radio stuff and magazine works were still around during the gap, there were numerous hero shows and crossover events that are lost media focused on already established Kamen Riders. Toei also was experimenting heavily with new tokusatsu heroes constantly because most of them weren't meant to be long term franchises but instead actor portfolio fillers and production team make-work. The biggest example of this is the Toei Fushigi Comedy, which Ishinomori was HEAVILY involved in and also conveniently filled the "Kamen Rider gap" of the mid-80s. With four different franchises to juggle across a limited number of timeslots and stations, it's just common sense that Toei won't constantly be carrying all of them, especially when one is a sole-creator property they have less creative authority over (something that was always a point of contention between Ishinomori and Toei as far back as Goranger).
>>23384282
There's a few reasons but there's no core "This is the issue" thing because Kamen Rider and Super Sentai have had most of the same ones lately and they're still going strong. The biggest ones are that the JAC were losing "political" power with Toei, stuntmen were just not the focus anymore compared to dubiously athletic models, and the last few Metal Heroes shows were indistinguishable from the Fushigi Comedy stuff, which pushed the question of why keep both of those properties.
At the same time, Shirakura had been making power plays using the "lack" of Kamen Rider, with Jetman and Zyuranger under his belt he had the political sway to get the three Movie Riders and convicne Ishinomori to look back into the property again, bequeathing it to his student Masato Hayase and Shirakura's creative agent Tsuyoshi Nonaka, while Shirakura commissioned Takatera (who was very influential at the time) to act as the final driving force to justify renovating their IPs, before he took over with Agito and give himself a permanent anchor.
(1/2)
Additionally, while ZX's radio stuff and magazine works were still around during the gap, there were numerous hero shows and crossover events that are lost media focused on already established Kamen Riders. Toei also was experimenting heavily with new tokusatsu heroes constantly because most of them weren't meant to be long term franchises but instead actor portfolio fillers and production team make-work. The biggest example of this is the Toei Fushigi Comedy, which Ishinomori was HEAVILY involved in and also conveniently filled the "Kamen Rider gap" of the mid-80s. With four different franchises to juggle across a limited number of timeslots and stations, it's just common sense that Toei won't constantly be carrying all of them, especially when one is a sole-creator property they have less creative authority over (something that was always a point of contention between Ishinomori and Toei as far back as Goranger).
>>23384282
There's a few reasons but there's no core "This is the issue" thing because Kamen Rider and Super Sentai have had most of the same ones lately and they're still going strong. The biggest ones are that the JAC were losing "political" power with Toei, stuntmen were just not the focus anymore compared to dubiously athletic models, and the last few Metal Heroes shows were indistinguishable from the Fushigi Comedy stuff, which pushed the question of why keep both of those properties.
At the same time, Shirakura had been making power plays using the "lack" of Kamen Rider, with Jetman and Zyuranger under his belt he had the political sway to get the three Movie Riders and convicne Ishinomori to look back into the property again, bequeathing it to his student Masato Hayase and Shirakura's creative agent Tsuyoshi Nonaka, while Shirakura commissioned Takatera (who was very influential at the time) to act as the final driving force to justify renovating their IPs, before he took over with Agito and give himself a permanent anchor.
(1/2)
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