Series REVIEW: Kamen Rider Zeztz
(Spoiler warnings from this point forwards)
In his everyday life Baku Yorozu is a seemingly ordinary person, struck down with incredibly bad luck every time he tries to help someone. But in his dreams he’s Code Number: Seven – a suave secret agent whose lucid dreaming skills make him near invincible. After an accident leaves Baku hospitalised, he’s chased down in his dream by a creature identifying itself as a Nightmare. Whilst fleeing Baku finds a mysterious device, using it to transform into Kamen Rider Zeztz to defeat the monster. But when he wakes up in the hospital, he finds the Zeztz Driver still attached to him!
From there Baku is plunged into the dreamscape, using his new abilities to prevent the Nightmares from manifesting into reality. In turn he discovers CODE, the secret organisation formed to maintain world peace, is actually real. Also opposing him is Nox, a former agent now determined to bring down the organisation. Allegiances are tested as CODE’s true nature is revealed, but no matter the enemy at the centre of the fight is Nem – a celebrity who appears to Baku in all his dreams.
Kamen Rider series have had a certain structure to them for many years now, which for fans who've struck by the franchise throughout the years means they're able to expect some of the twists and turns that come over the course of a series. Likewise writers also like to have their own tropes that they to repeat and or/remix, so when Yuya Takahashi was confirmed to be returning to the franchise for a fourth time in the last ten years again that came with certain expectations. And when Kamen Rider Zeztz first started, it seemed like a fairly straightforward series. Beautifully blending its dream world and secret agent themes, the show adopts the usual two-part victim of the week format to tell some great self-contained stories, all while the undercurrents of the main plot are bubbling underneath. It does a great job of establishing the characters and setting, but while Takahashi delivers a really solid Kamen Rider series it could also be argued that it doesn't necessarily feel like anything out of the ordinary either. Even twists like CODE not being all that they seem don't come as that much of a surprise. That is at least until the mid-point of the series, where we find our hero in a seemingly inescapable position and it all fades to black...
...only to reveal that everything up to this point has been a dream, or rather a premonition of how these events could have unfolded. As cliché as that may sound, if you're going to pull that sort of twist in any kind of series one that centres around dreams is definitely the one to do it in - and with it brings a whole new whole new attitude to Zeztz, complete with a brand new opening theme. The structure of the show shifts to a slightly more serialised format, the main plot taking centre stage with multiple factions all facing off against one another. The twist injects new energy into what was already a very solid show, completely upheaving the initial dynamic. Such a tactic doesn't come without its risks though, with an effective reset of the show also meaning character dynamics and development are rewound as well. While some are able to quickly recover in the transitionary period where everyone else is brought up to speed, others instead feel like they're simply re-treading the same ground. Restarting from square one also means the story that follows is crammed into just 25 episodes, leading it to rush though some aspects while getting too caught up on others. Overuse of amnesia plot threads is one of Zeztz' biggest flaws, with multiple instances of characters temporarily losing their memories even after the big mid-season reset. While it's not enough to completely throw Zeztz off course, it did begin to feel repetitive even if they were each being used in different ways.
Much of the success in Zeztz being able to navigate its twists lies in Baku (Ryutaro Imai), who is perhaps Takahashi's most interesting Kamen Rider yet. The opening episode delivers a fantastic juxtaposition between Baku and Seven, the former a seemingly average person who can't even hold down a job whilst the latter a culmination of every spy trope - the kind of persona one could only dream of being. Imai is also fantastic at conveying this through his body language, his mannerisms as Seven exuding a whole different level of confidence and charisma. Though the show doesn't capitalise on the idea that Baku is struck down by bad luck every time he helps someone in need (in fact its cast aside pretty quickly, albeit with explanation), there's still a clear evolution to his character - the lines between Baku and Seven beginning to blur as reality and the dream world begin to seep into one another. Over the course of the series Baku's mastery over his dreams reaches unbelievable levels, but never do these abilities feel unearned. The shift between pre and post premonition Baku is particularly interesting, the balance of power shifting as he suddenly becomes the one with a more detailed understanding of the events unfolding around him. At times the suave Seven persona can feel like a mask that hides the trauma and manipulation Baku suffers, but no matter what he remains steadfast in his resolve to protect people's dreams no matter the cost - undoubtedly his most endearing trait no matter how undeniably cool he is when he's reciting his missions in English.
Straddling the line between protagonist and plot device is Nem (Maho Horiguchi), whose importance over the course of Zeztz arguably justifies her place as a main character. Even from her initial introduction there's the sense that there's something more to this nationally popular celebrity appearing in Baku's dreams, and the show does a good job of teasing this mystery out and how it relates to the all the major players whilst also having fun with all the different roles she takes within the dreams. Her backstory, abilities and entrapment within the dream world make her a target, and as such she does spend a lot of the series in a damsel in distress role. However it's both through her relationship with Baku and watching others fight over her that she's able to gain that agency that she initially lacked, the second half shifting focus so that at times it sometimes feels she is the central character rather than Baku. This journey towards fully asserting her right to live not only feels like one of the best realised character arcs in the show, but also makes her a thoroughly engaging character throughout.
Another one of Zeztz' more interesting aspects is the way it handles its Riders, which again feels quite different to what fans have come to expect from more recent shows. With the CODE agents instead adopting a pseudo-Rider system to become Lords instead (although visually there isn't a huge distinction between them), the show actually only has three named Kamen Riders. But it's not the smaller number that's especially unusual, but rather the dynamic between them. Nox aka Nox Knight/Kamen Rider Nox aka Kensei Odaka aka the former Code Number: Four (Yuri Furakawa) is first introduced in an antagonistic role, actively opposing Baku as CODE's mission interfered with his own plans. Even though Nox's backstory and interference is instrumental in revealing CODE's true nature, throughout show's initial half the two never fully see eye to eye - with Nox attempting to deter Baku from following CODE but at the same time ruthlessly taking down anyone in the organisation that stands in his way, in turn leading to a fatal confrontation between the two Riders. Although the Nox we see beyond Baku's premonition is much less ruthless in his methods (having seen his fate in the dream), there's a still a distance between the two Riders - with Nox's more hard line approach leading him to still operate alone rather than fully alongside Baku. Communication between the pair is also strained, with Nox constantly offering vague/cryptic warnings to Baku rather than just outright explaining things. While this can be frustrating to watch at times, but it's fascinating that Zeztz chooses to keep this dynamic right up until the very end when it could have just as easily brought them together following the premonition arc.
Throwing a spanner in the works following the premonition arc however is Sieg, the former Code Number: One who now operates as Kamen Rider Dawn (played Kousei Amano, best known for Sakuya Tachibana/Kamen Rider Garren in Kamen Rider Blade and Kouhei Hayami/Libra Zodiarts in Kamen Rider Fourze). Contrary to the characters Amano has previously played, Sieg is a true agent of chaos - opposing anyone who gets in the way of him inflicting the ultimate nightmare. Sadistic, sociopathic and without mercy, Sieg quickly proves even more of an antagonist than Nox once was - actively revelling in Baku's despair. He is perhaps however the character where Takahashi's writing tropes are the most prominent, eventually leading to a questionable redemption arc akin to Kuroto Dan in Ex-Aid or Gai Amatsu in Zero-One. Like them it also results in the character losing a lot of that initial edge, becoming often played for laughs instead. To its credit Zeztz actually offers a far more nuanced take than its predecessors, his background working as an explanation for his actions but not justifying them. With a lesser actor this probably wouldn't have worked quite as well as it does, but Amano shines from the minute he first appears onscreen - fully embracing the mania of the role to make Sieg one of Zeztz' most memorable characters.
The strength of its lead characters does however come at a cost, with many of the supporting characters feeling both underdeveloped and underutilised. Baku's sister Minami (Miki Yagi) is both likeable and works perfectly well in a secondary role, initially unaware of her brother's double life but eventually becoming a valuable ally. However the plot twist surrounding her feels as though its more there to further emphasise Baku's suffering rather than developing her as a character, with it only really slightly recontextualising her in the rest of the series following its revelation. Elements of Minami's character are also further explored in the Series of Sister's Substory Agent Minami miniseries, a more light-hearted spin-off which runs parallel to the events of the main show. The far bigger victims in all this however are Tetsuya Fujimi (Kenta Mishima) and Nasuka Nagumo (Rina Onuki, who previously played Sae Ganaha/Kamen Rider Lopo in Geats), the police's Paranormal Affairs Division who are pulled into the fight whilst investigating unexplained "Black Cases". Despite the pair both having strong ties to current or former members of CODE, the show does little to fully capitalise on either of relationship - resulting in the pair often feeling like dead weight. At the very least Tetsuya's desperation to find the truth Nox's disappearance is a thread that runs throughout, leading to a few interesting scenes between the two despite Nox's hesitance to properly explain anything over the course of the show. Nasuka's discovery that her best friend from high school has become a CODE agent however is perhaps the most underdeveloped plot thread in the entire show, with the two barely even interacting.
CODE is another aspect of the series that's rather uneven, in some respects mirroring the organisation's questionable morality and shady practices when it comes to its mission. At the head of the organisation is Zero (Jay Kabira), a morally complex character whose role as Baku's commander and mentor is revealed to go far beyond simply guiding via the avatar of a transforming robot motorcycle. Zero's true identity is a tried and tested Kamen Rider trope, but the show does a good job of balancing his earnest dream with the twisted way in which he carries it out. It's another area where the show tries to explain actions without justifying them, making his dynamic with Baku that much more interesting in the process. Kabira is another actor clearly having a lot of fun with the role, using his fluency in English to great effect. Comparatively Three (Yuki Tamaki) is a far more straightforward character, the ruthless way in which he carries out CODE's mission emphasising the corruption within the organisation and bringing its supposed benevolence into question. There isn't a lot of depth to Three as character, but works well as a villain that's just very easy to despise. Much of which is also helped by the agents Five (Shin Koyanagi) and Six/Kureha Miyamoto (Yuzuki Hirakawa, previously Rita Kaniska/Papillion Ohger in Ohsama Sentai King-Ohger), who are brought in to deal with both Baku and Nox. Both characters are criminally underdeveloped, something which is particularly frustrating in Kureha's case given her ties to Nasuka. They serve their purpose in being agents still loyal to CODE's cause, but the fleeting moments they're allowed to stretch beyond that simply aren't enough.
One thing Baku and CODE see eye to eye on though are the Nightmares, which as an obvious threat for a dream-based series work well as its overarching villains. In its opening half particularly Zeztz makes good use of them as monsters of the week, preying upon the insecurities of their victims or distorting their desires. As the series progresses and the main plot unfolds, we're introduced to The Lady - former CODE agent, Nem's mother and one of Zeztz' most compelling characters. Her story is a parallel to that of Zero and Baku - the genuine love she has for her daughter becoming more and more twisted as her actions more and more questionable. Yet even at the height of her madness, that love still remains - because ultimately, fear can make a monster of us all. Eventually the threat of the Gore Nightmares takes over as these become the overarching villains for the show's final stretch, but the connections they share with the characters they were born from and how they represented twisted aspects of their own psyche kept the battles personal. In Zeztz we see characters' nightmares manifest into physical beings, making the notion of being consumed by them all the more visceral.
Aesthetics also play a big part in Kamen Rider Zeztz’ appeal, starting with the simpler style of suits it adopts for both the Riders and Lords. Kamen Rider’s ability to evolve is key the franchise’s longevity, with the designs constantly changing and (in more recent years) varying wildly in complexity depending on the theme. Zeztz dials that complexity back, the suits each sporting sleek designs and similar silhouettes. Zeztz himself, especially his base Physicam Impact form, almost feels like a futuristic interpretation of the original Kamen Rider 1 suit – something that on the one hand feels like an oddity for a show not celebrating a specific anniversary but rather fitting for a show being distributed to a wider audience. One little detail can make all the difference though, and in Zeztz’ case it’s simply moving the Drivers a few inches up the body and changing the orientation. Having them work as sashes rather than belts manages to create a fresh look, while at the same time retaining those distinctly Kamen Rider visual cues. The suits also make excellent use of glowing parts, leading to some particularly striking visuals during both transformation sequences and night-time fight scenes. Form changes for the most part are also kept relatively simple, with the earlier forms opting for basic palette swaps rather than wholly different designs. As tends to the be the case these are slowly phased out as the series progresses, but helps give the later upgrades (which do play around with the overall design/silhouette) more impact. In turn while Nox, Dawn and the Lords may feature their own unique designs, they all follow the same sensibilities to give the series a coherent look. As appealing as some of these suits look in static images, it’s in motion that they really shine.
Aesthetics also play a big part in Kamen Rider Zeztz’ appeal, starting with the simpler style of suits it adopts for both the Riders and Lords. Kamen Rider’s ability to evolve is key the franchise’s longevity, with the designs constantly changing and (in more recent years) varying wildly in complexity depending on the theme. Zeztz dials that complexity back, the suits each sporting sleek designs and similar silhouettes. Zeztz himself, especially his base Physicam Impact form, almost feels like a futuristic interpretation of the original Kamen Rider 1 suit – something that on the one hand feels like an oddity for a show not celebrating a specific anniversary but rather fitting for a show being distributed to a wider audience. One little detail can make all the difference though, and in Zeztz’ case it’s simply moving the Drivers a few inches up the body and changing the orientation. Having them work as sashes rather than belts manages to create a fresh look, while at the same time retaining those distinctly Kamen Rider visual cues. The suits also make excellent use of glowing parts, leading to some particularly striking visuals during both transformation sequences and night-time fight scenes. Form changes for the most part are also kept relatively simple, with the earlier forms opting for basic palette swaps rather than wholly different designs. As tends to the be the case these are slowly phased out as the series progresses, but helps give the later upgrades (which do play around with the overall design/silhouette) more impact. In turn while Nox, Dawn and the Lords may feature their own unique designs, they all follow the same sensibilities to give the series a coherent look. As appealing as some of these suits look in static images, it’s in motion that they really shine.
To go along with that Zeztz also has some fantastic Nightmare designs courtesy of Tomo Hyakutake, as well as thrilling fight scenes that make great use of both the aforementioned glowing parts of the suits and the dream setting. The latter also the show to get quite creative at times with how the fights unfold, with the debuts of Paradigm Wonder and ultimate form Exdream among the highlights. Combine this is a great musical score from Go Sakabi and Hiroshi Takaki that underpins the pivotal scenes, as well as two great opening things and you have all the makings of a series that hits all the right notes on a technical level.
Kamen Rider Zeztz is a series that isn’t afraid to be bold even if it doesn’t always quite work out. Resetting both the story and cast halfway through is one hell of a gamble, with the momentum it generates at times almost enough to overlook the show spinning its wheels in the latter half or the underdevelopment of its supporting cast. Thanks to its distinct aesthetic, slick visuals, incredibly likeable protagonists and nuanced character dynamics Zeztz is certainly never boring, even if some of its twists may come as less of a surprise to those more familiar with Takahashi’s previous work. For a series that is attempting to launch the franchise to a wider audience, Kamen Rider could certainly do worse. With the groundwork now laid, Kamen Rider My-Th and the 55th anniversary celebrations have the potential to be bigger than ever.
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