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It is neither a marked improvement or regression from the previous episode, but this is simply not enough to make it enticing essential viewing. "The Two-Headed Flame Beast” is an unremarkable title for an unremarkable episode. However this plays out continuity wise, it will be very interesting to see. This is interesting, as it is made clear that this is Jeankiller, not Jean-9, which the mech is known as when it makes the conscious decision to turn from evil and fight the good fight. Mysterious and unsociable “exchange student" Ichijōji is revealed in the episode’s conclusion to be in alliance with Jeankiller, the robot mech first introduced in the Ultraman Zero gaiden KILLER THE BEATSTAR. To the episode’s benefit, a couple of interesting development are made in terms of the overarching plot. The monster’s climatic battle with Ginga concludes with the Ultra informing Yuuka that she has no right to decide the fate of Kenta’s dreams (of being a photographer). It’s more than disappointing to see such an iconic and popular Ultra kaiju wasted in such a downright boring way. Pandon’s fight against Ginga himself doesn’t fare much better, as physical combat is kept to a bitter minimal, and Ginga finished Pandon off in a swift and (despite the heavy CGI - there seems to be a distinct scene in each episode that’s obvious where the budget has gone) rather unceremonious coup-de-grace. This first fight consists of Pandon kicking the Kemurian to the ground a total of three times, and Kemur writing due to it. Yuuka uses Pandon as a vehicle to vent her frustrations over being “lonely”, and while this is a faintly touching cause, Pandon suffers through two extraordinarily boring and pedestrian fight scenes - the first against the Kemurian (whom Hikaru is now able to transform into after the events of the previous episode). However, the characterisation of this once-mighty monstrosity is its shortcoming. Pandon is rendered impressively, apparently utilising the same suit used in the aforementioned film. Of course, the week’s antagonist wouldn’t be complete without a weekly monster, and this week it is the turn of Ultraseven’s old nemesis Pandon, (or King Pandon, as it is here and was in 2008’s THE SUPER 8 ULTRA BROTHERS). One can only hope that GINGA ascends the first three episodes’ “villain of the week” structure and moves into more interesting narrative territory. The only problem is Yuuka as in league with Valkie, who returns from the first two episodes. Yuuka asks Kenta to stage a photoshoot for her, giving invigoration to his lost dream of becoming a photographer.
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It’s obvious from the moment she is introduced that Yuuka’s will be this week’s antagonist - like the “dumpers” from the first episode and the “road fiend” from the second", she has an overly antagonistic flair about her from the get-go, leaving absolutely no sense of mystery and suspense. This sequence introduces us to the episode’s guest antagonist, Yuuka, another alumni of GINGA’s run-down high school. This leads to a scene of Kenta, Misuzo, Hikaru, and Chigusa playing with fireworks and sparklers in a sequence of unanticipated and out-of-place frivolity. However, the way Kenta looks at Misuzo’s photos with a blank expression and neutral demeanour comes across more creepy than affectionate.
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However, it serves to make Kenta’s character just that little but more interesting instead of simply one half of a comic-relief duo. This development is a strange one, as this hasn’t even been merely hinted at in the first two episodes. The third episode find Kenta leafing through photographs of Misuzo, who he is apparently harbouring hidden feelings for.
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This loss-and-reclaiming-of-dreams storyline is nothing new to the Ultraman franchise, and serves as the basic premise for another overall lacklustre episode, with only minor interesting developments saving it.
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WARNING! This review contains spoilers for a new TV series! You have been warned!įinally by ULTRAMAN GINGA’s third episode, one of the severely underveloped supporting characters gets something to do, this character being Hikaru’s childhood friend Kenta, a once-aspiring photographer who has lost sight of his ambition.