With the tokusatsu scene largely dominated by the big name franchises it's always good to see something else come along for fans to sink their teeth into on top of that, and in the case of this late-entry 2024 series it's a particular love-letter to both the medium and superheroes in general. To celebrate the 40th anniversary of Masakazu Katsura's manga series Wingman, Toei Video joined forces with TV Tokyo and DMM TV to produce a ten-episode live-action adaptation - something that feels long overdue for a series so obviously inspired by the heroes we all know and love. This is the second onscreen adaptation Wingman has received (following a 47-episode anime series back in 1984), and stars Maito Fujioka (son of original Kamen Rider actor Hiroshi Fujioka and the young Hongo Takeshi in Kamen Rider: Beyond Generations) in the lead role.
High-school student and tokusatsu fanatic Kenta Hirono dreams of becoming just like the heroes he watches on television, so much so that he's even created his own superhero persona - "Wingman". Even though most other students just laugh at him, Kenta firmly believes in the teachings of his favourite heroes and uses Wingman to go out and fight injustice in the world.
Then one day a mysterious girl falls from the sky, carrying with her a strange notebook. After writing down all his ideas for Wingman in the notebook whilst the girl is unconscious, he suddenly finds that Wingman has become a reality! The girl identifies herself as Aoi, and reveals she comes from an alternate 2D universe named Podreams. After her father creates the Dream Note, a notebook with the power to make dreams come true, Podreams' evil ruler Rimel attempts to use its power for conquest - leading Aoi to flee with it into the 3D world. Kenta vows to help Aoi save her homeworld, fighting off Rimel's forces as Wingman whilst also navigating school life and his growing relationship with classmate Miku.
On paper ten episodes might not seem like a whole lot of time to tell a fulfilling story, especially when the manga series it's based on is considerably longer. However it's clear that the staff behind 2024's rendition of Wingman knew exactly what constraints they had, with Masakazu Katsura participating in its creation right from the planning stage. Though there are clear points in its run where you can see certain story aspects that are more fleshed out elsewhere, for the most part it just feels like natural, concise storytelling that's able to swiftly move from one plot point to another without lingering. But while larger world-building elements like delving into Podreams further are left unexplored, Wingman works so well because at its core it remains a relatively simple story about a boy becoming a hero. Although part of the fun comes from it using many of the tropes and conventions associated with the genre, the way it often utilises Kenta's knowledge of these to help save the day avoids it from ever becoming too predictable. So while a longer series might have been nicer (and for those looking for one after finishing this there's always the manga and anime to explore), pacing never feels like an issue.
But while the story works because it's one that any superhero fan should be able to get behind, the real reason Wingman thrives is thanks to its characters. Right from his very introduction Kenta is a character most viewers will be able to see themselves in - open and lively about his passions despite the raised eyebrows he receives from most of his peers, as well both valuing and practicing the life lessons that they teach. Although this makes him somewhat naive, he has a good heart and always thinks the best of everyone. This makes the character immediately likeable, but really it's Maito Fujioka's portrayal that propels Kenta to greatness. The energy and enthusiasm Fujioka brings to the role is almost palpable, as though he is bringing his own love of superheroes to the character as well. Just as a point of comparison, it is interesting how his father made his name playing a hero "robbed" of his humanity and thus (initially at least) viewed his powers as a curse of sorts, Maito Fujioka is now playing a hero who longed for and embraces his powers. That said comparisons are not something that should be made too closely here, because it should be felt here that Maito is both confidently and charismatically standing out to make the role truly his own, rather that standing in the shadow of his father's legacy.
That said, not too far behind Kenta are the show's two female leads - both of whom bring different strengths to create good character dynamics as well as a very believable love triangle. First we have Aoi Yume, who fights alongside Wingman to save her father and homeworld as well as teach Kenta the rules of the Dream Note. Konatsu Kato plays her as fierce yet vulnerable - ready to fight against all odds but also a clear sadness for both her situation and her feelings for Kenta. She can also be quite quick-witted and sharp, making for a great partnership and dynamic with Kenta. Meanwhile at first glance Miku Ogawa (played by Hina Kikuchi) is the exact opposite - quiet, reserved and regularly in need of rescue. But as she spends more time around Kenta, she begins to come out of her shell - refusing to have her mind repeatedly wiped of Wingman's deeds and instead becoming an additional ally to the pair. Though the story would easily work as well with just either character, the way Aoi and Miku mirror each other makes their arcs that much more interesting. More importantly neither character feels solely defined by just being the love interest either, even if that is undoubtedly Miku's main role in the show. Similarly despite said love triangle the pair aren't overtly battling for Kenta's affections either, them having a clear (albeit unexplored) friendship.
With so much care dedicated to these three characters there is significantly less time to spend on the remainder of the supporting cast, with nevertheless the Action Theatre Club do well with what little they have. The only other member with a designated arc as such is Kumiko, whose dream of becoming a journalist and the duty she feels comes with that clashes with Kenta's secret heroics. Though not especially overstated, it's a key thread that runs throughout the series and plays into both Kenta's mindset as a hero and the support he has for his friends. Comparatively Fujimoto and Momoko are a little less well-rounded, serving more of a purpose rather than having their own storylines. Fujimoto is Kenta's friend from the very beginning of the series, sharing in his friend's love of heroes even if it isn't quite to the same level. Meanwhile Momoko rounds off the Club by giving Kenta another diehard tokusatsu fan to bounce off of, as well as also providing a little more gender balance in that respect. But even if they don't get the same sort of focus they would get in a longer series, their presence both alone and as part of the Action Theatre Club helps cement that high-school setting and make the world of Wingman feel that much more populated.
The same can also be said of Wingman's villains, most of whom follow that tried and tested "monster of the week" pattern. While Rimel's appearance during the show's final episodes effectively displays his ruthlessness to make him a worthy endgame villain, the first half of the show still sees him mostly take a backseat to command his forces from afar. In the meantime however Wingman does have Keytackler, Rimel's right hand man and later self-appointed rival to the titular hero. Though not always directly responsible for the attacks on Kenta and his friends, the way Keytackler consistently involves himself to the point of obsession makes for a fascinating villain. This is also thanks to his portrayal by voice acting legend Mamoru Miyano (perhaps best known to tokusatsu fans as the voice of Ultraman Zero), who not only voices the character but also plays his human alter-ego Kitakura as well. As anyone remotely familiar with Miyano would expect he plays it with his trademark gusto, which just makes Keytackler seem all the more unhinged. But although the other villains may lack the same depth, that certainly doesn't make them any less fun as Wingman runs through a number of archetypes at breakneck pace.
And although Wingman features a strong character element, as a Toei-produced series directed by tokusatsu veteran Koichi Sakamoto it also has plenty of explosive action to offer as well - again utilising Kenta's in-show knowledge to play with the tropes of the genre. The fight sequences are often short but sweet, but if there's one thing Sakamoto has eye for it's spectacle - with Kenta's constantly evolving ideas about Wingman and his abilities constantly upping the ante. Both the Wingman and villain suits serve as the ideal updates of the original designs, not only adding extra detail but Katsura even going so far as to tweak the design to make it more manageable for a suit actor (based on his own experience of wearing Wingman suits in the past). From the Kenta's initial homemade suit through to his Dream Note realised version and its various upgrade/attack forms, Wingman truly feels like something a fan would create.
Kenta's status as a tokusatsu fanboy also adds a layer to Wingman - direct comparisons and references to the very shows that our hero has taken his values from. As with the anime adaptation Toei's involvement in the production of the series results in many of these shows not only being directly referenced by name, but also making more significant appearances in the series as well. Why only talk of Kenta's love for shows such as the Space Sheriff trilogy or Denshi Sentai Denjiman when you can also have an episode take place at a Space Sheriff Gavan live show? But while the most overt references clearly call back to the shows that Katsura himself was inspired by, its contemporary setting allows for shows release since the Wingman manga to get name checked as well - with even the likes of Choukou Senshi Changéríon getting dropped in as well. References don't just come in the form of dialogue either, with Kenta's bedroom (and later the Action Theatre Club) adorned with all manner of tokusatsu posters and memorabilia. Even Aoi's outfit feels reminiscent of the ones worn by the Space Sheriffs female sidekicks. For fans of the Henshin Hero genre it's a veritable smorgasbord of tributes, but that fact certainly shouldn't deter any less familiar with tokusatsu from watching Wingman. Ultimately it's not what Kenta is saying that's important - more that his encyclopaedic knowledge shows just how much he loves superheroes. Similarly while the direct parallels to his (or his enemies') powers or the obstacles he faces are fun nods, they don't influence the story. It's more about acknowledging the various tropes of the superhero genre - something that anyone can get onboard with no matter what their experience level may be.
As criminally short it may seem, Wingman is a fantastic series which exudes its love for tokusatsu (as well as superheroes in general) at every opportunity it can. While one could perhaps argue that certain areas of the story could be fleshed out simply for the benefit of getting more, it is nevertheless able to tell its story succinctly with plenty of character development across the board. This ultimately comes down to the great utilisation of its characters as well as the actors that portray them, with Maito Fujioka blazing his own path as a costumed hero rather than just following in his father's footsteps. Together with great action and plenty of references to past shows, it is both the perfect love letter for longtime tokusatsu fans as well as a strong entry point for those interested in the medium. But above all, Wingman is just plain old fun from start to finish. Even if a second season doesn't appear to be on the horizon, hopefully this adaptation has generated renewed interest in both the original manga and anime series for them to be enjoyed by a whole new generation of fans.
No comments:
Post a Comment