Pokémon: Secrets of the Jungle (EN) Review

Hello everyone: after all the delays and much anticipation; here is my review of the latest Pokémon movie, "Pokémon: Secrets of the Jungle!" I have been eager to talk about this for a very long time, so let's open it up!

The film opens on the Okoya forest, home to all manner of Pokémon; including the Mythical Zarude. They're shown to be quite territorial; and it's kind of interesting how they managed to translate their chant (I did watch the fan subs for this as well).

Anyway, one of the Zarude finds a small child by the river one day. Brief grossout gags aside, the rest of the tribe is wary of letting the boy into their ranks. After consulting the tribe elder, the Zarude who found him agrees to take the child and watch over him; even at the cost of leaving the tribe. 

He's eventually named Koko, and this movie essentially follows Star Wars rules for communication: since Koko had Zarude as his surrogate "Dada," they all speak to each other as one pack. Otherwise, the people speak like people, and the Pokémon speak like Pokémon; with Koko essentially being a "bridge" between them like with Meowth. This whole prologue takes place 10 years before the events of the film proper, leading to our title card! 

The story proper opens on Ash speaking to his mother Delia on the phone, before he heads into the jungle with Pikachu. I rather like the visual style of this movie already; and the design of Ash’s outfit. I even did an OC cosplay of it last Halloween at home. Also, definitely loving Pikachu’s own adventure gear.

Elsewhere, Koko is now a young man; swinging through the trees with his “Dada,” Zarude. Zarude smells something and senses trouble; and I must say, Kilmlinh Tran and Edward Bosco do a good job in their respective roles.

Anyway, they’re making their rounds through the forest; and discover their berry hoard has been hit. Moreover, there’s an attack between a Flygon and a Pangoro; which they’re able to break up and heal Flygon. They decide to start growing their own berries.

Back with Ash and Pikachu, they encounter a Cramorant! That is one of my favorite monsters of Generation VIII; and not just because it can launch Pikachu like a projectile with Gulp Missile. The two are then approached by Sharon, and I totally understand why they changed her name from Karen for the dub (both due to the member of the Johto Elite Four, and the connotations that name has taken on as of late).

Sharon is a researcher for the Biotope Company; who is searching for the Spring of Healing in the forest. Team Rocket decides to go undercover at their lab; and also find out their leader, Dr. Zed.

Back with Koko, he and his father get into a fight with the other Zarude; and it’s a pretty impressive sequence all things considered. Much like his last movie, Tetsuo Yajima definitely understands how to make this work onscreen, based on what he’s learned from both Origins and the XY series.

After a brief argument with the elder and the other Zarude, his father takes him away; prompting Koko to ask, “what am I?!” He swings off into the forest, and this scene; along with another brief flashback tie into the movie’s main themes: childhood, parenthood, and identity. 

Koko crashes into one of the Biotope Company’s pipes, and falls into the river unconscious! Falling down a waterfall, Ash pulls him from the river so he can receive medical attention!

At the Biotope Company’s lab, Team Rocket has infiltrated the lab while disguised as interns; and I am amused by Meowth somehow being able to wear five-fingered gloves normally as someone who only has three fingers on each hand. When another researcher tells them not to go into Dr. Zed’s quarters, they immediately know something is suspicious; and set about making a key to get in.

Koko awakens in the hospital, and he seems to be all right, but he’s surprised at everyone and everything in the city! He runs out the door and narrowly gets clipped by a passing car before Ash pulls him out of the way, spooking a Dreadnaw in the process!

Koko is able to calm the Pokémon down, and the chase leads to the cameo of the recurring little girl and her mother.

Koko is then surprised by the idea of Poke Balls. Ash shows him one, and he notices they have the same hands in one of many parallels to Disney’s Tarzan.

Ash shows Koko around, giving him a new outfit and some ice cream; in a sequence that leads to a cameo from Rita and Phil from New Pokémon Snap! Photos of the setting of this forest even show up in the game: imagine that!

The sun starts setting, but there’s trouble with the fireworks show! With some quick thinking, they’re able to determine a Falinks is stuck in the cannons, and Koko is able to help get it out! I do like this scene, and it’s easily one of my favorite monsters of Generation VIII.

Night falls, and the fireworks show goes forward as planned. Koko is surprised, but does learn quick. I also like how the mayor resembles his Dubwool companion, and it turns out the fireworks are a wish to Celebi, the jungle guardian! This, as well as the “251” cape that Zarude wears are great markers of what lies ahead.

Elsewhere, Zarude is awakened from sleep by Skwovet; and senses something in the air. Knowing what lies ahead, I will say how the villains treat the Zarude is subconsciously why I root for Caesar.

Koko leads Ash into the forest, where he and Pikachu are caught by Zarude! When Zarude questions why they’re here, Koko replies by asking why he wasn’t told about how people outside the forest lived. This is another scene that ties into the themes of childhood, parenthood and identity that help shape the movie’s plot. Not quite the breath of fresh air that Yajima’s last movie was; but still quite impressive.

Zarude leads them elsewhere, and Team Rocket has finished the key to Dr. Zed’s quarters; but Cramorant then eats it! Hilarious, and this will be important later.

Back with Ash and Koko, Zarude leads them to an old research bunker. He also gives Koko the ring he wore around his neck when he was found, which will be important later. Zarude also never knew his parents, which will be important later as he passes Koko a photo of his own parents.   

Now, comes the part everyone was talking about: where Ash mentions his absent father. This scene is a small, but effective mention that provides a key moment for the series and the movie that's vital to the story at hand. Even factoring in the alternate continuity, the fact that it’s happened at all is simply world-shattering; and I’m glad to witness it. He inspired him to keep moving and improving; and even his own adventure is one I’d love to know more about.

On that note, it’s a scene that helps make this movie the antithesis of the classic episode “The Kanghaskhan Kid,” as is the next part at the Biotope Company’s mobile lab. Elsewhere, Zarude confers with the elder on his own to determine his next move; and we’ll come back to this later. The elder also reveals more of their connection to Celebi; and I definitely like this blend of old and new elements they’re making.

As Ash and Koko sleep, we get a flashback to Koko and Zarude in the past, where Zarude used Jungle Healing on an injured Rufflet. The move works, but it also takes a lot of energy to use. The next day, Ash and Koko pay the Biotope Company lab a visit; and Dr. Zed is alarmingly happy to see Koko. His birth name was actually Al Molybdenum; and his parents were named Chrom and Phossa, respectively voiced by Kaiji Tang and Lisa Ortiz. I have something prepared for when the time comes.

Dr. Zed recalls how they found the Spring of Healing, before the data was lost. He also reveals Chrom and Phossa died in a car accident; and even though the movie doesn’t physically say the “d-word,” it makes no attempts to hide what happened, and there’ll be more on that later. Dr. Zed asks for Koko’s help on the spring, but he understandably declines. He then runs back into the jungle, shocked and devastated at what’s happened.The Skwovet from before helps lead Ash to where Koko is, and Koko discovers a GPS tracking dot on his shoulder! 

An explosion occurs, and Dr. Zed has come in with a massive walking tank! Said tank is CGI that almost looks like it would be in of my video games; almost looking like it would be more at home in Metal Gear (no comment on the rumored remake).

Ash, Koko and Pikachu are taken captive; and Team Rocket gets a taste of what Dr. Zed is capable of. Rather than take Pikachu while they have the chance, they decide to free them; and use Pikachu to get the key they made from Cramorant’s gullet! 

The Zarude are prepared to defend their home, but despite a valiant effort; they can’t do it alone! Zarude makes an impassioned plea to help them defend the forest; and they agree! Even the Pangoro and Flygon from earlier are here to help! Realizing Dr. Zed planted the tracking dot on him when he spoke at the lab, Koko removes his civvies and goes to warn the Zarude before it’s too late! 

Even with the quasi-video game like CGI, the traditional animation in this battle is some of the best of the series. Yajima’s experience from the XY series and the Origins OVA comes through here; and I’m eager to see what happens with the new series with him returning to work on it.

Now that they have the key, they discover what the doctor was hiding in his quarters: as his video diaries reveal, he was the one that turned against Koko’s real parents; which shocks Jessie, James and Meowth. While they may be villains too, even they have lines they won’t cross.

A flashback also reveals that Chrom and Phossa were the ones that called off the experiments on the Spring of Healing; even destroying the research they did on it. In response, Dr. Zed was the one that caused the car accident that killed them; and though I was expecting them to cut this scene for the dub, they left it in. Helps Netflix doesn’t have S&P, though it does give me flashbacks to the “Mission Report: December 16, 1991” subplot in Captain America: Civil War. 

Dr. Zed has gone off the deep end, taking control of the tank and opting to finish what he started with Koko’s parents! He must be stopped- no matter the cost!

The final battle against Dr. Zed is here, and for the kind of movie it is; it’s quite spectacular. The combined might of all their attacks cripples the tank, as the Zarude have finally realized the true meaning of their chant!

Koko leads Zarude to the Spring of Healing, but his “Dada” has taken a lethal blow! As the life fades from his body, Koko is able to will himself to use Jungle Healing to revive his father! 

The remaining attacks are focused on the control circuits on the tank’s back; and much like the quality of its CG, the tank is downed like a video game boss it resembles! The traditional animation in this sequence is easily some of the best of not just this movie, but the entire last year of the series. 

Koko, having learned the sickening truth, decides to confront Dr. Zed! He tries to dive into the waterfall (whether to escape or drown himself isn’t made explicit), but Koko catches him with the rope on his arm as he and his “Dada” embrace.

The forest is restored, and in another element that makes this movie the opposite of “The Kanghaskhan Kid,” Zarude returns to his tribe while Koko goes off on his own adventure, in a very bittersweet end to their story. He’s given his civilian clothes and a satchel of berries as a parting gift, leaving the forest alongside Skwovet as the Zarude send him off with a chant and Celebi returns to the forest!

We close on an epilogue where Ash and Pikachu return his mother’s call, Dr. Zed is arrested after Team Rocket gave the information to the authorities and Sharon becomes the new head of Biotope Company in his stead.

There’s even a little bit over the credits where Skwovet and Cramorant are dancing. It’s not quite the same as the JP version (which also had fan art contest winners like the last movie); but the song played does at least fit, even if the tune does kind of remind me of the Crab Rave. Time to wrap this up. How about that: it's also my 600th post on this blog!

Dr. Zed is doing a double life sentence

While not on the same level of “Pokémon: The Power of Us,” I still consider “Pokémon: Secrets of the Jungle” to be a good movie and one of the better video game adaptations overall. Though the future of the series on film remains to be seen, I am enjoying how the recent entries in the anime canon are taking more of an all-ages approach like their video game source material. I didn’t need them to go to extremes, but this approach works in a similar vein to something like Star Wars or the Marvel Cinematic Universe; where it has elements that can appeal to all potential ages and backgrounds. The animation is quite showy even just watching it on my computer, and I’m eager to see what the franchise has in store next. Right now, I will keep enjoying this movie among the many I’ve seen in my fandom. I wish you all a Merry Christmas and a happy new year, and I will see you all again soon. Later.

Pokémon Brilliant Diamond Shining Pearl Sell 6M At Launch Worldwide+More

Hey everyone- as I'm at least a fifth of the way done with my review of "Pokémon Secrets of the Jungle," I thought I might give you an update on what else is going on in and out of this blog.

As someone who has been enjoying "Pokémon Brilliant Diamond and Shining Pearl" so far; I have been eagerly awaiting the launch sales numbers, and now I have them: as of this writing, the games have sold 6 million copies worldwide across all versions, placing them in line with the launch of "Pokémon Sword and Shield" and doubling the launch of other previous remakes. 

This definitely bodes well for the launch of "Pokémon Legends: Arceus" this January. It also suggests that even with the changes in graphics and gameplay, there's a considerable amount of people who are glad to have any modern Sinnoh remake at all. I am definitely one of them.

On a less successful note, the  compilation film "Yo-Kai Watch: The Meeting of Keita and Me" has debuted outside the top 10 at the Japanese box office, being displaced by a slate of other films led by "Sumiko Gurashi: The Magical Child of the Blue Moonlit Night" and Marvel's "Eternals."  Even factoring in the current state of flux moviegoing is in right now, the fact that it opened so low that the studio isn't reporting ticket sales and gross revenue is a bad sign. 

This suggests the movie is on track to make less than the Jam Project movie in 2019. Talk persists of a potential localization of Yo-Kai Watch 4; and now there's even rumors of the Jam project being localized under the imprint "Y School Heroes: Bustling School Life." 

As someone who found that area of the franchise flawed, but okay; I have no formal opinion as of this time. I certainly won't try to stop them if the rumors are true, but until there's official confirmation (so far, there's overseas patent filings that are pretty standard to make sure nobody tries to take them and not much else); I feel no need to address the matter further for now.

Likewise, apart from my spoiler talk about the recent live-action Cowboy Bebop series; I'm not going to be addressing the Gundam movie again anytime soon. I am glad the director and artists are at least enthusiastic; but much like what I just mentioned; I will not address the movie until I see a release window or at the very least, a target filming start date. I was under the impression that the current worldwide situation got the movie shelved again until social media feeds affiliated with the production showed otherwise. 

As for this rumored live-action Digimon movie, well: let's just say I'm hesitant to address content from Toei for the time being. Even the proposed pitch of filming the real-world scenes in on location and sets; then using CGI and special effects for the Digital World will really have to sell it on the technical wizardry, since the logline reads like they're going for something like the OASIS in Ready Player One or the WB "Server-Verse" in Space Jam: A New Legacy.

With the season upon us, my goal still remains the same: to have my full review of "Pokémon Secrets of the Jungle" done and ready to post by Christmas Eve among some other posts I've been drafting. That will be all for now, season's greetings.

PS: Go see Spider-Man No Way Home, it really is that good.

Cowboy Bebop (2021) Spoiler Talk- The Good, The Bad and the Radical Edward

OK- now that the dust has settled a bit from the live-action Cowboy Bebop; I thought I might talk about spoilers. Naturally, this will also involve spoilers for the anime to an extent. I will obviously be talking about any changes when relevant to this post; but to keep things simple, I will be talking about what I liked; what didn't work as well, and the reveal for a major character.

Let's start with the good first. Obviously, translating a series as visually-recognizable as the original anime would mean a lot of work would have to go into the production; and that aspect is easily one of the strongest. There are many instances of iconography from both the TV series and the "Knocking on Heaven's Door" movie that would be tricky for anyone to translate to live-action; but all things considered, the production does make it work. One of the recurring production designers of the series is industry veteran Grant Major (whose extensive credits include The Lord of the Rings trilogy); and I definitely liked the look of the sets and locations being portrayed. The retro-futuristic, 1970s-infused aesthetic is so baked into the material that I'm glad it was retained. Even the brief glimpses of 22nd century Earth I've seen look faithfully-recreated. 

I was also curious how the combat would be handled, and I can argue that it captures the unconventional approach from the source in a different way. Everything from pulp sci-fi to film noir to Chinese wuxia films influenced the fights in the anime; and all things considered, it does a decent job. It's not quite the hallway fight in the Daredevil series (fingers crossed about the potential revival with Charlie Cox reprising his role), but it's also not Iron Fist either (maybe that can be soft rebooted in a potential Shang-Chi sequel). I can at least identify each character by their fighting style, much as I could in the source. 

Of course, my favorite aspect is that Yoko Kanno and the Seatbelts came back to do the music; since the freeform jazz soundtrack is honestly hard to imagine the series without; or worse, someone else trying to replace it. I was honestly not expecting the story to be on the same magnitude as the original; but at the very least, it had more effort put into it than other adaptations I've talked about here.

That's not to say that the series doesn't still have room for improvement. While there were indeed a fair amount of violent scenes, sensual romances and dirty words in the anime as well; they were within reason. The source material understood that you can't rely solely on those elements to make something "adult," that you need a strong story and interesting characters to truly succeed at that. That's why even though Netflix rates the anime at TV-MA, it's not that different from other places I've watched it and fits that description way better than something like Future Diary does to me (apparently they're rebooting it soon, not looking forward to that). Granted, many of the source material's uses of these are retained; but the dialogue is even more sweary than the source material. Admittedly, the basic f-words and s-words aren't a deterrent on their own; but then there's plot points unique to this version about finding a lead to a bounty in the red light district, complete with gear that made me think: "well, somebody saw Pulp Fiction and remembered the scene with Zed." Let's just say that there's dialogues that even I think would feel more at home in an erotic parody of the anime rather than a straight adaptation. I won't be mentioning those here, which should give you an idea of how raunchy and unintentionally hilarious they are. I will state that Faye Valentine sharing her name with the infamous adult film star is no longer the filthiest thing about this 'verse. 

On that note, there is creative license taken with Julia and Vicious' arcs with Spike; and I admittedly have mixed feelings about it. On one hand, it's a change that gives me flashbacks to Jack Napier killing Bruce Wayne's parents rather than Joe Chill or another unknown assailant. On the other, I understand why they did it; even with my love for Vicious as a villain from the original anime. As for his "Death Note" line- as previously stated, this adaptation at least has more effort put into it than that; though that's a low bar to clear.

Now, comes the part everyone has been talking about: the live-action depiction of Radical Edward. 

"Wake the duck up, Cowboy: we have a city to burn."

So,  after Spike has his fateful fight with Vicious; he is approached by Edward (Eden Perkins) with a new bounty or several to collect. Seeing as Ed was among my favorite characters in the original; I don't know what to feel based on one scene, but at the same time; I'm curious. I don't know about any "Spy Kids" comparisons (personally wondering more if/when Machete Kills Again in Space is getting made); but this is actually not that different from a humanized version of L3-37 from Solo (as I compared that character to a droid version of Ed). As someone who had no real frame of reference of who I would cast, I could at least believe that much like her counterpart; she could gleefully bring down satellites like someone playing a game of Minesweeper.

Bottom line- I reaffirm this adaptation is an imperfect; if watchable take on an anime series I absolutely love. Not a complete trainwreck, but not exactly the adaptation that jumpstarts live-action anime adaptations either. Much as I sometimes wonder what could have happened if Shane Black made his version of Death Note (can you imagine Light finding the note at Christmas? I can.); I can only wonder what might have happened if the Wachowskis version of the story was the one we ended up getting. I guess I can think it over while I'm at The Matrix Resurrections; and contemplating what lies ahead. Until next time, see you cowgirl, someday, somewhere.

Re: Wired- Pokémon Commentators' Problems to Acknowledge Change

So, here we are again: another piece I wasn't planning on writing about another inaccurate take on the series. As someone who's nearing three full decades of life and is transitioning to writing professionally themselves; it is because of a recent Wired piece that I am responding to them and addressing a broader issue in the process: the problem is not that Pokémon is "refusing to grow up," rather, it's that people that hold that mindset aren't willing to do the due diligence and realize that it's done exactly that and more over the past 25 years. Here is a response to the article and the general trend at hand: Pokémon commentators' problems to acknowledge change.

Source: Switch OLED Reveal Trailer, Nintendo UK YouTube Channel

For the sake of argument, I shall be referring to the author of the "Arrested Evolution" article as "Rusty Shackleford" to protect their identity. That title means I can also dig up this brick joke: and now the story of a well-intentioned but misguided editorial, and one of many fans who had no choice but to prove the person who wrote it wrong. This is Arrested Evolution.

As with previous pieces I've done, I will include quotes from the article for context when needed; and to help illustrate my counterpoints. The best place to start would be right at the beginning.

Quote: "Before you exit your house in 1998’s Pokémon Red and Blue—the first set of localized games in what has become a franchise of sprawling, borderline-unimaginable proportions—you’re given the option of interacting with the TV set. Clicking the A button on your Game Boy brings up this text: “There’s a movie on TV. Four boys are walking on railroad tracks. I’d better go too.” This is a reference to Stand By Me, the 1986 film based on a short story by Stephen King about preteens who venture into the woods to find the body of a missing person—and its ties to your own upcoming adventure only become clearer with time."

Admittedly, this isn't a bad start; but not for the reasons Rusty is suggesting: in many ways, Stand By Me is something of an unconventional; but effective coming of age story, with the body and the other dangers faced by the leads representing the loss of childhood innocence. I've also argued it would be a good tonal template for these in-development live-action spinoffs; but I'm getting ahead of myself.

Quote: "It’s a story that couldn’t be told with adults. As grown-ups, we are far too burdened by responsibility and self-awareness to embrace the kind of journey that the kids in Stand By Me go on. The same goes for the journeys in most Pokémon games, journeys only a 10-year-old could do—battle trainers, stop evil, catch ’em all. These are goals uncomplicated by the things age throws at us. Pokémon isn’t a franchise about growing up as much as it’s about the lens we view the world through as children, one full of play and dreams."

Here is where the problems start: Rusty seems to be operating under the misconception that the series hasn't adapted to the changing entertainment landscape since it began; and it's a mindset that I once held. Thankfully, rediscovering what I missed and finding new ways of addressing it has given more than enough material to dispute this claim. It's not just the age of the character that makes the story, it's how that character is shaped by those who perceive it. It's one of the biggest advantages that the series has over other games of its type: how the protagonists can be interpreted by its players. I'm already working out how I will portray my avatars in my playthrough in BDSP; but the point still stands: while this assessment is one way of looking at the series, it certainly isn't the only one. Plus, I don't know anyone that could see someone like Mario or Link this way; and even though Sonic has been 15 for at least 30 years now, he clearly still has his fans even if he gets a shaky remaster of an otherwise good game.

Quote: "There are now multiple generations after them, whether they’re young adults or children, who are experiencing it all for the first time. They’re enraptured by the fantastical simplicity of the games and the current heightened state of its popularity, thanks to megahits like the Pokémon Go mobile game, the recent installments Sword and Shield, interest in the upcoming Pokémon Legends: Arceus, and the re-emergence of the Trading Card Game into headlines and broader cultural relevance. These new players have likely never touched Red and Blue. Their only relationship to Pokémon is the here and now."

This is kind of right, but mostly wrong: even with incidents surrounding the Pokédex changes and corporate having to drop the banhammer on those people making a mess of Walmart in Pennsylvania; these elements only appealing to newcomers is only half the story. The other half is made up of those who have been following the series in some capacity since Red and Blue (Hello!), who are also enthused by the new elements being brought to the table. Granted, there are elements that stay consistent through the years; but as I just stated, those fall under the banner of "not broken - don't fix it."

Quote: "Both sides of the fandom are enormous, which leaves the supposed aims of the franchise in a muddled state. Is it meant for the older fans, whose responses to the series range from deeply nostalgic to desperate for progress? Or is the Pokémon Company’s sight solely set on newer devotees, those yet to discover the ins and outs of the addictiveness that has ensured Pokémon’s popularity for more than two and a half decades? One of the main attractions of the franchise, along with one of its major pitfalls, is that it’s done little to keep up with those fans who have cherished it all this time. I don’t mean this in the sense of maturing its storylines. Giving Ash Ketchum, the lead character in the anime, a goatee, or filling the games themselves with surprise grittiness, is a silly way to capture the fleeting attention spans of an older crowd."

First of all: why not both? I know it's a tricky line to walk; but at this stage, I believe the first quarter-century of its existence is proof that it has appeal to all manner of age ranges and skill levels. I know I just brought this up, but this year also marks the 35th anniversary of both Zelda and Metroid; and we just came off the 35th anniversary of Super Mario Bros. as well. Seeing as the brand is also part of Nintendo's "big four," it is another one that can appeal to players of all ages and skill levels. Second, I don't really buy into the idea about attention spans getting shorter over time (that's the kind of thinking that got way too many people mistakenly prescribed Ritalin growing up); so the idea that it's done "little to keep up with fans" over all this time is just another way of saying "it's just a fad" with extra steps. Lastly, Rusty actually does raise some valid points in this passage which honestly should have been his opener. I still may not have all the details for the future ahead of me; but I am confident in saying this: if the games and anime are to be expanded, I still want it to be done organically. I definitely think the newer anime seasons and movies have done a good job with balancing old and new elements that other ones didn't quite stick the landing on (looking at you, Digimon Adventure reboot), so I agree you can't go too far with that (wasn't a fan of that "End of Pokémon" trailer, found it so depressing it made End of Evangelion look like Care Bears Nutcracker Suite). As for the games: I definitely agree The Pokémon Company, Game Freak and other partners aren't going to lose millions on an M-rated installment of the series. If I want a game like that, I can definitely go play Shin Megami Tensei and Persona, and recommend others do the same. The trick is to do it in a way that stays true to the spirit of the material. I am clearly seeing elements of both Breath of the Wild and GTA in the darker aspects of the upcoming Legends Arceus; but I agree copying them outright isn't the way to go. Using them as a reference to create something of their own is, and at this stage; I just hope the launch goes smoother than the Definitive Edition did.

Quote: "Rather, Pokémon relishes in the comfort it provides—with every new installment essentially serving as a soft reboot of the series. It’s why Ash Ketchum will remain eternally 10. He is meant to represent every new kid getting into the series for the first time. And it’s why—before Arceus was announced—any changes in the Pokémon games’ mechanics, difficulty levels, or game designs have been incremental at best."

Again, this tends to overlook the value brand consistency has. It is entirely possible to maintain the appeal of the series while adapting it to a changing market. I also don't understand the soft reboot analogy either- I know the timeline of the series has often been disputed; but that's typically not how that works. That's a more accurate way of describing something like Dragon Ball Super, which was a follow up to the original Dragon Ball and DBZ that disregarded the events of GT (which was already apocryphal due to Toriyama not being directly involved beyond a few designs). Rather, while I have maintained Ash and other characters do tend to work quite well as ciphers for the viewer/player (I tend to portray Ruby less as the effeminate fashionable guy from the manga and more of an adrenaline junkie in the vein of Spider-Man and young John Connor in T2); that's about as much an oversimplification as saying Batman is just some rich guy whose parents got shot in an alley beside an opera house. It's also disingenuous to suggest the changes have been incremental; when that's typically not how game design works. Even if a feature is only unique to one generation, it can influence later ones. Sometimes, design ideas that can't be implemented in one game can be revisited in later ones. It can be something as simple as monsters being left on the cutting room floor being revamped for later generations; or it can be something as big as fighting a professor in battle (not counting accessing the data via MissingNo). The point is, there's a difference between adding a new idea to the core gameplay and fundamentally changing the concept so much it becomes unrecognizable. DMC Devil May Cry was such a notorious example of this that its disappointing performance made it so Capcom didn't release a proper sequel for years; making clear that it was a direct sequel to the first four games that renders DMC non-canon.

Quote: "It’s an odd status, one that’s perhaps best represented by the games scheduled for release on the Nintendo Switch in the coming months. The first ones, Brilliant Diamond and Shining Pearl, were released today. They are updated versions of the Nintendo DS’s Diamond and Pearl, the duo that made up Pokémon’s fourth generation in 2006. The second is Pokémon Legends: Arceus, an open-world game set in the Pokémon universe’s distant past, which sends players on a quest to create the Sinnoh region’s first Pokédex (the encyclopedia where Pokémon information is kept). The former is the latest in Pokémon’s series of remakes, something it’s been doing since 2003 with the release of Fire Red and Leaf Green—updates to 1996’s Red and Green. With its chibi-style sprite work and familiar stylings, Brilliant Diamond and Shining Pearl have received a heavy dose of backlash. The aesthetic has become shorthand for technical laziness. However, this is likely due to the fact that, because looks toward the future (or what fans consider to be “the future”) seem so rare, a look back at the past feels needless."

Again, it's become increasingly clear the backlash has dissipated to such a degree that the only people still feeling like this (including those acting salty on Metacritic) are not the majority, but a vocal minority. I also don't care for the "laziness" criticism, and I strongly encourage other aspiring writers to retire it from their vocabulary. Given how the new remakes are currently this year's biggest launch for the Switch ever in the UK (US and Japanese sales have yet to be released, but it stands to reason they'd have a similar tally), I think it's safe to say that the impact the visual design had on the launch was effectively nil. As for fan consideration for the future, I think this interview does a good job about how even though it gets tough to deal with; that the developers are still committed to making experiences they might enjoy playing as much as players might. I've also argued that in many ways, this discourse is the reverse of the memetic "Sonic Cycle." Whereas the Sonic Cycle is often one of hype being met with disappointment, this franchise has one of concern being met with relief come launch day. 

Quote: "Pokémon’s nostalgia is inherent on an unavoidable scale. The games have to rattle the little part of our brain that enjoys nostalgia, because there really seems to be no other way to construct them otherwise. Pokémon’s conception was marked by nostalgia, something that was then built into the series’ DNA. Satoshi Tajiri, its creator, grew up in a rapidly urbanizing portion of Tokyo. As a young boy, he’d seek out and collect insects in the rural areas around his hometown—areas that were quickly being paved over for rampant cityscape. This youthful fascination with bugs, along with a burgeoning interest in gaming, led to him seeing the link cable hardware of the Game Boy and envisioning bugs crossing back and forth along a wire, as if traded among friends."

While that is definitely an element about the series and its original design philosophy (which has been present in the series since its inception); it's not the only one that makes it work, let alone the main one. In fact, knowing Tajiri's background for the series' concept (along with my own experiences, and me being elated to find out that he and I are both on the spectrum) still fascinates me, as it illustrates a large part of why I find his country and the art they produce so fascinating. It's always at a crossroads of past tradition and future innovation. I honestly don't know about the Monster Hunter comparisons to Legends Arceus either, I've only really played/enjoyed World and Rise. Heck, I've often pegged pop culture transitions with the franchise crossing generations; with the original series helping mark the end of the '90s and the beginning of the new millennium. 

Quote: "The resolution to figuring out your place in Pokémon’s future likely doesn’t lie in demands to grow up, though. Because there’s beauty to be found in the kind of comfort that Pokémon can provide to both a new player and a long-term player—the feeling of letting go of your forecasts for the series. "

Once again, Rusty Shackleford makes a statement I agree with the words of; but not the reasoning behind it. Hype culture is like a proverbial double-edged sword; equal risk of satisfaction and dismay. I'm not one to put too much stock in people getting huffy on imageboards and Metacritic user pages; I just want to do the best with what I'm given. It doesn't make much sense to me to play something over another title rather than in addition to it. I'm more likely to treat another game in the same vein as a companion title or alternative rather than a replacement. I'm still interested in getting Monster Rancher 1 and 2 DX along with BDSP and Legends Arceus, much as I am trying Nick All-Star Brawl and Multiversus now that I have all the fighters in Smash Bros. Ultimate. Given the current situation around the world, the main thing I want out of any future game is for it to be good. Whether it's someone like me who's a lifelong fan or a youngster discovering the series for the first time, what matters the most it what your experience means to you.

Quote: "That’s the point of Pokémon, after all: There’s a movie on TV. Four boys are walking on railroad tracks. You’d better go, too."

While this article did venture into "Cowboy BeBop at His Computer" territory in spots, it's an overall well-intentioned; if flawed take on the change the series has seen over the last quarter-century. Rusty Shackleford, you are more than welcome to visit and play online if the opportunity ever arises. Whether others acknowledge it or not with the series, everything changes. That's all for now, and I will see you in my full review of Pokémon: Secrets of the Jungle. Take care.

Cowboy Bebop Season 1 (2021) First Viewing Thoughts

So, now that I’ve got my hands on “Pokémon Brilliant Diamond and Shining Pearl,” I thought I would cover another recent reworking of a work I love- the first season of the live-action “Cowboy Bebop,” now streaming on Netflix alongside the original anime. This project has been in development for so long, it initially began life as a movie that would have starred Keanu Reeves as Spike, Laurence Fishburne as Jet, Carrie-Anne Moss as Faye, and directed by the Wachowskis. Basically, it would have been a Matrix reunion before the upcoming fourth movie.

I’ve done my best to reserve judgment until I got a chance to see it myself. Having spent this period alternating between the new series and rewatching the original for the umpteenth time since 2003; I will say this: while not the groundbreaking masterpiece the source material is, it at least held my interest with each episode. 

From left- Spike Spiegel (John Cho), Jet Black (Mustafa Shakir), Faye Valentine (Daniela Pineda), and Ein.

The creators described this as a “remix” of the original that still does its best to capture the overall look and feel. For the most part, it does a good job: while Jeff Pinkner and Christopher Yost may have also been involved with “The Amazing Spider-Man 2,” I will not hold that against them. The production design does a great job at capturing the visual style of the series in the new format. It’s the little touches that really help sell the “used future” aesthetic of the show, whether it’s a wood etching of a phoenix or Jet having to physically close one of the Bebop’s shutters before the ship makes a hyperspace jump. The Bebop itself is still every bit as beloved to me as the Enterprise, the Millennium Falcon, the Serenity and now the Benatar.

I’ll do my best to keep things spoiler-free in regards to the new show; so I’ll just focus on what stood out at me. Visually, it looks great: even just watching it on my computer, it’s clear the platform put down lots of money on the production. One of the things I was wondering about most was how they’d portray the visual style of the material; and they actually did a decent job there. The tone also manages to balance some of the more absurd elements from the source (such as one of Teddy Bomber’s followers wearing nothing but underwear, an explosive belt and a teddy mask); yet a serious situation is treated as such when it’s presented. It treads something of a line between the gothic style of the first couple Tim Burton “Batman” films and a more “neo-noir” approach you’d find in takes like the upcoming Matt Reeves film. The main cast fits their roles alarmingly well, and despite some comments about their costume designs; what I was most concerned about was their story and characters. With that in mind, I think what I’ve seen so far is okay. I’m especially glad they brought back Yoko Kanno and the Seatbelts to do the music; the arrangements of the intro are just incredible.

Bottom line: while not on the same level as the original anime, I’m at least willing to see where this goes in a potential second season. At the very least, it was better than the 2017 Death Note. If you’re curious and haven’t seen the source material, I recommend watching that first. If you have seen the anime like I have, I can at least say that while it’s not quite the real folk blues; it’s also not a total disaster either. At the very least, it’s a 4 out of 5. See you, space cowboy.

Pokémon Brilliant Diamond and Shining Pearl (Switch) Early Impressions.

 "Technology just blows me away!" -Twinleaf Resident, 2021

Hey everyone: so, I just got Pokémon Brilliant Diamond and Shining Pearl today; the newest main games in the series and the long-awaited remakes of the original “Pokémon Diamond and Pearl” on DS. As someone who’s a big fan of that generation of games, my early impressions are quite positive.

I’ve mentioned before that I’m not opposed to changes in a remake of a previous work; especially if a change fixes something from before. At the same time, I definitely have a “not broken- don’t fix it” approach to game design. There’s a reason why so many Mario, Zelda and Metroid games have become timeless classics.

With that in mind, while Game Freak clearly kept a close watch on series newcomers ILCA, Inc. (“Yakuza Zero,” “Metal Gear Rising: Revengeance,” “Nier: Automata”); they also gave them clearly recognizable ingredients, and even as someone who’s been more reluctant to farm the main series out to other developers; they definitely still made a meal with a good flavor out of it. It’s the difference between adding a little spice to the dish and dousing it in an overpowering sauce. With the main developers still occupied with next year’s “Pokémon Legends Arceus,” it’s the difference between giving them a new Bentley and starting them with a lightly used 2006 hatchback. The original DS games set numerous precedents still being used in the series today; and I’m honestly amazed how much the core gameplay still holds up after all this time.

That’s not to say there aren’t any worthwhile changes in the games: autosave is a welcome inclusion; and I’m glad I got my wish of the games not taking excessive time to save anymore. As for the visual style: I never had a problem with it, and I still don’t. I think it’s a nice balance between the graphics of “Let’s Go Pikachu and Eevee” and Generation VIII. Not an exact copy of the originals, but still recognizable. Maybe it’s because I still play retro games, maybe it’s the fact my pop culture age took hold in the 1990s and early-to-mid-2000s; but I was never going to have a problem with the style they went with. As for the XP Share being baked into the progression: I didn’t have a problem with it in Galar or other RPGs with similar mechanics, and I don’t have a problem with it here.

I will continue work on my full review of “Pokémon: Secrets of the Jungle” among other projects; and as I train for the first gym, I will keep you informed of any further progress as it happens. That’s all for now: take care.

Update 11-9-21: Switch at 92M, Pokémon Generation VIII Sales "Evergreen," 10 Days to Pokémon Brilliant Diamond and Shining Pearl

Hey everyone: I just finished a couple big papers for my class; so I thought I would give you something of a quick update while I work on other big projects.

First up: it’s 10 days till the release of “Pokémon Brilliant Diamond and Shining Pearl,” and as someone who has their preorders paid off; I’m glad the conversation towards the games has shifted in a more positive direction. I may not appreciate the leak, but as someone who only skimmed them; I look forward to playing them once they finally release.

On that note, the Nintendo Switch has now sold over 92.87 million units worldwide as of September 30 of this year across all its variants; which makes outselling the Nintendo Wii a lofty, but plausible goal.

Not only that, but the top best-selling games on the console have also been updated; with “Pokémon Sword and Shield” not only having sold over 22.64 million copies since its launch nearly 2 years ago; but is now considered one of the system’s “evergreen” titles. Other bestsellers with the “evergreen” status include the top-selling “Mario Kart 8 Deluxe” at 38.74 million copies, “Animal Crossing New Horizons” at 34.85 million copies, “Super Smash Bros. Ultimate” at 25.71 million copies, and “The Legend of Zelda: Breath of the Wild” at 24.13 million copies; with “Super Mario Odyssey” rounding out the top 5 at 21.95 million copies.

I leave you with links to the information where I got the sales data; and I will see you all again after a brief sabbatical tomorrow. Take care, everyone.

Why Yo-Kai Watch Failed To Be "The Next Pokémon" Outside Japan.

The Yokai realm, a new frontier to reshape the entertainment landscape. I try to picture spirits as they move between realms. What do they look like: cats? Komainu? Were their homelands like other times? I kept dreaming of a place I thought I'd never see. Then, one day, something happened: I got in.

Now that I have that preamble out of the way, another year has passed since the initial rollout of Yo-Kai Watch outside Japan. People were expecting the series to be as big a hit internationally as it was in Japan: it was not. Though some hold out hope the series can be saved, thinking realistically; it honestly doesn't look good. I even previously wrote an entire post about why the series doesn't work in the US like Pokémon does, and now I'd like to further detail this today. With the future of Yo-Kai Watch still uncertain and Pokémon celebrating its first quarter-century of success, let's explore why Yo-Kai Watch ultimately failed to be "the next Pokémon" outside Japan.

1. A Co-existence that (Largely) Wasn't

One thing I've learned over the last nine years of writing here and the last six of addressing this franchise in some capacity is that not even the most optimistic fans can create common ground out of nothing. While some Pokémon fans were onboard, many others were not. Though at the time and to a thankfully lesser extent since; YKW fans believed that it was merely being dismissed as a ripoff that damaged its reputation, but I never bought into that narrative and I still don't. The piece I just linked also claimed a similar mindset is what impacted Digimon in its initial run. 

However, I submit that also wasn't the dominant narrative in my experience, as I enjoyed both of those series for different reasons on the same concept (Star Wars and Star Trek, DC and Marvel, et al); and Pokémon was able to sustain its impact on pop culture (especially when the Game Boy made way for the DS); while Digimon did not for much more varied reasons (divisive reception to certain seasons; messing with the schedule for Frontier, mishandling the dub of Savers/Data Squad and declining toy sales to name a few). Even if some fans of both series exist, to this day; the majority of fans of both series get along about as well as oil and water. Before I move onto my next point, you can't always make a community of two different series, it just happens sometimes; much as it did with Doom Eternal and Animal Crossing New Horizons.

2. Marketing Confusion

You know that your marketing missed the mark when it shows up on "Cursed Commercials." I'm not saying that it would have been impossible to translate the marketing appeal of the series in hindsight, but the execution killed it at square one. The results were admittedly confusing. Sure, they did point how being inspirited can encourage competitive edge and passing gas in an elevator; but they never explained what a yokai was to the uninitiated. To those outside Japan who did know, claiming they were "not ghosts, spirits or monsters" when they were in fact all of these and more was personally one of the biggest mistakes they made in this process. 

On top of this, the target audience never really clicked no matter how hard they tried. I've mentioned this before, but it bears mentioning again: your average kid in the US likely doesn't care that much about yokai; and your average enthusiast of JRPGs and Japanese culture likely won't derive much pleasure from their parents arguing about a pudding cup. I'm pretty sure the likes of Don Draper or even the infamous "Mr. Caffeine" would be hard-pressed to sell this concept to the Anglosphere. 

Put simply, yokai are as well-known in Japan as zombies or werewolves here. Outside Japan: not so much. It wouldn't even be the first franchise that met this fate- Case Closed/Detective Conan was simultaneously too childish for Adult Swim, yet too gruesome for Cartoon Network (this was a pre-revival Toonami timeframe obviously). Lupin III, despite its influence on both sides of the pacific only has a cult following at best; and One Piece has only really gotten the international recognition it deserves over the past decade. 

Yet, amid all the hype; there would be a new franchise that would quickly become a key part of Nintendo's stable that managed to simultaneously mesh Western and Japanese concepts in a hit game: it was called Splatoon. It got a successful sequel on the Switch and a highly-anticipated third game coming soon; and it got people to understand its premise within moments. The marketing that was integral to the series' success overseas arguably ended up sinking it more here, and eventually dried up as the series went on. Their official social media accounts haven't posted anything since 2019; and I don't expect much more coming beyond that. The Super Smash Bros. Ultimate fighter pass had its second volume come and go; and even though Jibanyan was a long shot; the series didn't get so much as a spirit or Mii Costume compared to Kazuya Mishima or Sora from Kingdom Hearts; which makes a good enough shift to my next heading.

3. Fear and Threats< Indifference

At the time the series was initially being brought to regions in the West; it was believed that "fear" and a "threat" of Yo-Kai Watch becoming the dominant monster JRPG brand is what caused the series to be largely shunned. However, as previously stated, that is very much not the case at all. Rather, outside people who were already interested in the series; indifference among the public was in many ways; for more common and detrimental to the series' prospects outside Japan. 

In hindsight, I'm not saying that the same genre immediately means there isn't room for a different take on the same gameplay concept. There's room for Street Fighter and Mortal Kombat. There's room for Mario and Sonic. In my case, there's definitely room for Horizon Forbidden West and the Breath of the Wild sequel. I would also suggest there's room for Super Smash Bros. and Nick All-Star Brawl. 

The key difference is that a different title has to convince people that it's worth playing with what you have; if not more so. While some people were convinced; most others were not. At the time, I legitimately did not understand what these people saw in it; and I still don't. This is further compounded by the anime. In hindsight, many of my prior recaps did come off as rather harsh given what I was going through offline at the time. However, that said, I still don't like the original anime and I will not hold back in explaining why. 

4. What if they launched a new franchise, and nobody came?

Even as the series was being sold as a new franchise, despite the recommendations from the publisher; not a lot of people took to it. Even among the main demographic of children, the response was quite muted compared to the likes of  Minecraft, Mario and Marvel (lots of m's there). The article I linked in this header also pointed out that Pokémon has an appeal as both a fantasy quest and a surprisingly complex competitive aspect that can reach across age and regional barriers. 

By contrast, Yo-Kai Watch was always going to be facing an uphill battle to sustain itself after its initial peak and its international launch. As I type this, the lack of a new main game has been conspicuous by its absence; and we still have no word on any more content being released outside Japan, least of all an official release of "Yo-Kai Watch 4." Ultimately, this whole community of other games in the same genre never happened beyond a small contingent of players. Though it isn't impossible for a series to grow thanks to grassroots fan efforts (Ni No Kuni, Yakuza and Persona/SMT are good examples); so far, that hasn't panned out either. 

Beyond one of the dub writers acknowledging an online trend earlier this year, the response at the top hasn't yielded the results expected. The movie and the first season of the anime were delisted from Netflix; no other licensee has picked up the toys after Hasbro dropped the license; and Level-5 has seemingly exited non-Japanese markets after the closure of Level-5 Abby and the potential closure of their International operations overall. We will come back to this in a few moments; but it seems the calls to "save Yo-Kai Watch" may yet go unheard. 

5. Inability/Unwillingness to Learn From Mistakes

Though a small, but vocal contingent of fans continues to insist the series only failed due to attacks from Pokémon fans who disavow any other monster RPG (something demonstrably false in my experience, here are my favorite alternatives in ascending order: Custom Robo, Baten Kaitos, Monster Rancher, The World Ends With You, Ni No Kuni, and Shin Megami Tensei/Persona, with an honorable mention going to Pocket Mortys); I submit in hindsight, the wounds dealt to Yo-Kai Watch were ultimately ones that were self-inflicted. 

This passage is also going to be dealing with material that I've considered before, but held off actually posting until now. I've wondered before why Level-5 didn't simply forego localizing Blasters (Busters in Japan) when they were developing the third main game to appeal to the West, especially after the second game underperformed in sales outside Japan. Again, this comes from sources who used to work for the Abby who I found online in forums (and shall respect the anonymity of); but apparently the contracts drawn up precluded the possibility of skipping a localization, hence why all the previous main titles up to that point also had to be localized first as well. The Moon Rabbit Crew and Iron Oni Force expansions being included as free DLC for Blasters and Yo-Kai Watch 3 containing content from all three versions in one international release were admittedly good moves; but at the same time, it's the very definition of "too little, too late." 

Even as a potential release of "Yo-Kai Watch 4" has been impacted by the events of the past year, I've noticed the same mistakes being made throughout the tenure of the series outside Japan. Why Level-5 hasn't just sold the international rights to other companies still eludes me if they no longer have the means to release content outside Japan themselves. That way, the fourth game could still get released alongside the movies key to its plot with a minimum of worry; especially given the current situation. Instead, each international release sold less than the one before it and was launched in the shadow of other big games. 

Even removing the "P-word" from the equation, YW1 was outsold by Black Ops III at launch. YW2 was outsold by Final Fantasy XV. Blasters was outsold by Marvel's Spider-Man, and YW3 was done in by the combined might of Kingdom Hearts III, the remake of Resident Evil 2 and people moving on from the 3DS to the Switch. Even the Psychic Specters port of YW2 was outsold by last-generation versions of that year's FIFA. That's to say nothing of YW4 launching at #1 in Japan; but quickly falling after the release of Super Mario Maker 2, which sold more in its first 3 days than YW4 did in its first five months. Then there's the anime, which keeps waffling between its initial premise (slice of life with yokai shenanigans) and rebrands to focus on everything from supernatural horror to superheroes of all things; then hitting the reset button whenever things don't pan out. 

Yet, it never seems to click that maybe this haphazard approach to each relaunch isn't really working; and maybe the diminishing returns are the result of over-saturation in the time before, and that there's a middle ground between drowning international markets in content and pulling all marketing completely. 

6.  A Lack of New and Sustainable Audiences

In my post about why the series didn't work in the US, I ended by stating a major problem was the uncertainty of its target audience. Now, three years later; that still holds true. While this 'verse clearly has a dedicated audience; that isn't the same as being able to find a new audience over time or a to keep a sustainable one. The saddest part is that Hino wanted Yo-Kai Watch to have a sort of cross-generational appeal; but that hasn't really happened. It hasn't even been a full decade, and even in Japan; the series has faced a considerable decline. I mentioned these brands earlier in the post, and it's key to mention them again: brands like Marvel, DC and Star Wars definitely practice something called "generational investment," making works that can be enjoyed not only by the current generation; but future ones for years to come. 

Pokémon has managed to rise above the stigma of being dismissed as a "fad" and has become something of an "all-ages" series in the way Mario or Dragon Ball have been viewed as; which I genuinely believe gives it an edge over other entries in its genre. I honestly am not inclined to believe the rumor about Level-5 betting against the Switch; as that raises all manner of questions (least of all: why would they even bother releasing games there at all if that's the case, as opposed to backing Sony or Microsoft instead?). However, if Pokémon could make the transition to the Nintendo Switch and Yo-Kai Watch could not; then that clearly indicates a different depth of feeling in the fanbase. 

It's like this: if a Sonic game doesn't do the best, then it's ultimately not a big deal in the grand scheme of things: the next can always be better. On the other hand, if a Metroid game doesn't do the best; then that's when the series might have to go on hiatus for a while to determine their next move. This also applies to the US market- it clearly had a dedicated fanbase for YKW; but not one that could draw in newcomers or sustain itself, given how the series didn't just bleed sales as time went on; it hemorrhaged them. 

Admittedly, this is something that's been a recurring concern with Pokémon as well ever since Generation III (speaking from experience here); but over time, I notice that concern often is met with relief whenever the content does release (in many ways, it's the reverse of what happens with Sonic as I just mentioned). 

This leaves Yo-Kai Watch at an interesting juncture as I type this. The most recent movie was a box office bomb, making half of what the previous film did amid competition from "My Hero Academia: Heroes Rising" and "Shijin-so no Satsujin," along with the Japanese releases of "Frozen II," "Jumanji: The Next Level" and "Star Wars: Episode IX- The Rise of Skywalker." That's quite the drop from how previous movies outgrossed the Japanese releases of both "The Force Awakens" and "Rogue One." It remains to be seen how this year's movie will fare. The most recent anime has also met with relatively muted reception; toy sales significantly declined, and after the disappointing sales of both the fourth main game and the Jam Project spinoff; there is currently no word on a fifth main game. Even though I have no objections to localizing the fourth game, the limbo of any news over the past two years; combined with the challenges in the current landscape makes it an uphill battle. 

Given how things have gone; at this current stage, I honestly don't know if the most recent main game merely failed to stop the series' decline or cemented its downfall. The series has a dedicated western fanbase, but clearly not a sustainable one. I didn't hate the previous games in the series I played, but I honestly had no problem trading them back in towards the seventh generation of Pokémon games. Even with the furor over certain decisions made, it's easily often forgotten that for many people; the latest iterations of Pokémon can often be someone's first. 

Sadly, this new influx of fans hasn't happened for Yo-Kai Watch; and even in Japan, the series is clearly going through something of an identity crisis; as is Level-5 itself. The developer was once seen as something of an antidote to larger AAA companies; but has now ironically fallen victim to many of the same mistakes that contributed to other studios closing entirely. I have stated before I really don't want them to go through that; and that I wouldn't object to a vanilla release of YW4 on eShop/PSN Store, along with maybe selling the rights to the fourth and fifth movies to a streaming service. That's not an ideal outcome, but when the alternative is not having an official release at all; it's something worth considering. Akihiro Hino is also supposedly taking control of their international operations (meaning their previous head, who I have only referred to before as "Crusty Demon" is stepping down); but it remains to be seen how that will go. Even Specter Subs, a longstanding group in the fan community is winding down their operations; announcing on their Twitter account that after they finish their backlogs, their work will not continue.

For now, with Pokémon set to release both a long-awaited pair of remakes along with a highly-anticipated prequel; and Yo-Kai Watch having yet to announce a fifth new main game, let alone an update about an official NA release of the fourth, that is why Yo-Kai Watch failed to be "the next Pokémon" outside Japan. Whatever happens next for the series, it's clear that Level-5 will definitely have to make the next main entry work towards the future; and seriously consider trying not to chase the peak of the second game's success. Most of all, they shouldn't keep trying to make every single game another multimedia package. I've mentioned this before, and it bears mentioning again: just make and release the work, and let people make their own judgment. That will be all for now. Later.

Shaman King (2021) First Impressions.

Well, this is interesting: I was expecting/hoping for/would have been fine with an uncut and subtitled release of the original, but instead; this anime is getting a full-on new adaptation directly from the manga. As a fan of the material and the previous anime, here are my first impressions on the 2021 version of Shaman King! The version I watched was the Japanese subtitled one (which I usually do when introducing myself to a new series); I will likely watch the dub later. So, let's get this started.

Promotional poster for the series.

While the original manga was not yet complete at the time of the original anime's airing; this one is a direct to manga adaptation. In many respects, watching the original is akin to watching the 2003 version of Fullmetal Alchemist; while watching this one is akin to watching Brotherhood.

With that in mind, the show does a decent job of staying true to the original manga. Though it's been a while since I've read it (especially the early chapters), I remember it quite well. The first episode, "The Boy Who Dances With Ghosts" does a good job of establishing the world, characters and the role of a shaman in the story. Though some commentators bemoaned the approach it took, I actually find this anime's fidelity to the manga and stark contrast to other series with a similar premise kind of refreshing. It's not like there are no dark moments, it's just this one uses them differently. 

Moving onto the second episode, "Another Shaman," it does a decent job of introducing Tao Ren, a rival Shaman and one of the first rivals of the series. Much like Vegeta, Hiei from YuYu Hakusho and many others; he starts out as antagonistic before later becoming an ally; and his partner Bason definitely makes an impression on some gangsters. "To show you the power of Bason- I CUT THIS CAR IN HALF!"

Anyway, after Yoh Asakura wins his first fight with Ren, we're introduced to his fiancee Anna Kyoyama; leading us into the events of the next episode, "Anna and Tao Jun." Admittedly, I was not expecting the confrontation would be this quick as a prelude to the first tournament arc, but I was kind of amused by the screening of "Lee Pyron" in "Strike of Fury" they took in during a training break. Name kind of reminds me of Darkstalkers.  Yoh's classmate Manta is also into Lee Pyron. Personally, I just saw the new Venom. Dune and Bond; working on getting tickets to Halloween Kills; but you do you. This also leads to another engagement with Ren's older sister Tao Jun, who happens to have Pyron as her spirit partner. Though, given the appearance resembles a Jiangshi, maybe it's more like Hsien-Ko than Pyron. I guess I must have Darkstalkers on my mind right now.

After that, the next episode is "Happy Place," where a local punk named "Wooden Sword" Ryu and his gang make a hideout in abandoned bowling alley known as "Funbari Bowling." He also unsuccessfully attempts to chide Anna for "living in sin" and come onto her; to no avail as he finds out about the arranged marriage and Anna turns Ryu down. Though, Yoh does at least buy Ryu a replacement wooden sword after the events of the previous episode. Again, I'm kind of surprised they accelerated Togakeroh's takeover of Ryu this quickly; but they do a solid job at showing why Ryu turns to a power he doesn't fully understand. Sure enough, Togakeroh takes the wheel; stabs Ryu's colleague "Muscle Punch;" and has a beef with Amidamaru. Of course, his attempts to blackmail him don't exactly work; but that doesn't matter as long as he has a shot at taking down Amidamaru. I would have liked to have seen him actually raid the museum for Harusume, but the ensuing fight does stay tonally close to the manga at the very least. Again, it's been a while since I've read these chapters; but once I saw what was going down, I did recognize these events.

Before I finish, one complaint I've sporadically seen and kind of have to scoff at is some questioning why this version hasn't taken more cues from modern takes... while simultaneously admitting they didn't read the manga. To which I respond: why would that be necessary? Personally, I like when a series can be revisited and more faithfully adapted when previous versions were limited by the time they came out (or, in the case of some versions of Jojo's Bizarre Adventure; considered such a travesty the publisher had them quite literally destroyed).

So, with that, let's wrap this up with episode 5; "Over Soul," in which Yoh is given a trial by Silva before he can enter the Shaman Fight. It picks up roughly where the previous episode left off, with Ryu temporarily staying at Yoh and Anna's place to make up for his transgressions. Harusume has also been reforged since then, but Yoh is now the one that must wield it (it's a plot thread I've seen before, but it works). Again, kind of surprised the first tournament arc is being set up this quick; but I am rather amused by Amidamaru sparring with the essence of his friend Mosuke. It gets a similar effect on me the memetic handshake in "Predator" does.

Overall, while this approach is not entirely what I was expecting; I do think this anime is a good adaptation at this stage on its own and as a fan of the original manga. I'm at least willing to see the remainder of this volume and the next course whenever it gets officially released. I just thought I would start this weeklong leadup to Halloween, since another anime I've been considering talking about didn't fare nearly as well. That's all for now, and take care everyone.

Chris Ayres dies at age 56.

It is with great sadness I report the death of Chris Ayres, who has succumbed to COPD at age 56. His girlfriend, voice actress Krystal LaPorte broke the news on Twitter. 

Ayres is best known as the most recent English voice actor for Frieza in the Dragon Ball franchise; and has also starred in series such as Fairy Tail and video games such as The Last Remnant.

As a fan of Ayres' work, I wish the best for his friends, family and fellow voice actors at this difficult time. May he rest in peace.

Digimon Tamers: Runaway Locomon (2002) Revisited.

Before I get into this post, I honestly don't think the fallout of that table read this summer proves anything; much less the arguments that nobody is really making. Rather, it just proves that for the majority of fans of that series; it was a specific kind of followup that nobody really wanted, needed or asked for. Honestly, I didn't think Digimon Tamers needed a sequel, yet they keep trying anyway. The one silver lining to that black raincloud is that the disastrous script isn't canon; so my memories of the show will remain untarnished. That, and the writer has walked back his more divisive comments after fans reacted negatively toward the play.

This brings me to our subject today, the short film "Digimon Tamers: Runaway Locomon." It's been a while since I've seen it, and I only fairly recently found out it had an English dub that sees the cast reprise their roles (though it was recorded long after the anime itself dubbed its final episode). So, let's get to it.

Japanese promotional poster for the film.

While not feature-length, the film; much like the original pilot for Digimon Adventure; is an OVA with a larger animation budget than the show proper. Also, for some reason; the dub uses the Frontier opening, which I've previously stated would be more appropriate for a commercial jingle. I prefer the industrial metal sound of the Tamers dub theme; so let's play that instead.

Anyway, there are two major stories in this movie: one is the eponymous Locomon, who must be stopped from going rogue before he makes it to the Digital World; and the other story is one that is a more interesting one in many ways: Rika coming to terms with her father leaving her mother. It's admittedly not a bad idea to explore, but unfortunately; the movie doesn't do that much with it. I'm about to explain why.

At the same time, Takato and Henry are trying to plan a birthday celebration with her mother and grandmother; but Rika, predictably doesn't like being kept out of the loop. Of course, Takato is still trying to hide Guilmon inside a box like a discount Solid Snake; and another recurring problem with this movie is that none of the writing staff from the TV anime were involved, hence it being considered non-canon. Their argument is broken up by Locomon barreling through the station; springing the Tamers into action. (sighs) Kind of underwhelming given how the anime itself ended, feels kind of like a side story more than anything.

After digivolving to Growlmon, he and Takato start looking for a way to stop the train. While this is going on, Takato boards the beast in an attempt to slow it down; while Locomon just wants to run. That is something I just typed; and I once again lament how inconsistent this franchise's cinematic track record is.

Conveniently, Henry is with his little sister Suzy while all this is going on; and joins the effort to quell the chaos alongside Terriermon. The continuity of this film is also quite strange: Suzy has Lopmon with her, yet they don't seem to mention what they just went through in the digital world at all.

Takato realizes he needs to get to the engine to stop the train. Rika also sees Locomon from the hills and runs off toward it, with her opting to improvise when questioned about her plan by Renamon. This is another issue with the movie: even though this isn't something her character would normally do, they don't even delve into this behavior as unusual. I've made no secret of the fact that Rika is among my favorite characters in the franchise; so making her the focal point of this story should have been an easy win. Though I may not be as hard on this movie as I once was, unfortunately; that's not the case.

A digital zone opens in the sky (this movie was kind of ahead of the curve of using openings in the sky as a plot device); though I admit that I do kind of like this scene of Suzy, Terriermon and Lopmon riding on Henry's back. That is just simply adorable.

As the central control at the train station tries to figure out what's happening, Chief Yamaki enters the scene to take over. This movie may have a lot of issues, but hearing the audible chocolate of Steve Blum in the role is not one of them.

Anyway, Yamaki contacts his colleagues and manages to get ahold of Takato; giving him instructions on how to stop the train before it reaches the Digital Zone and a rundown of all the routes it's crossing. Admittedly, not a bad plan; and it is one detail that does show how their relationship has changed since the anime's start and this movie.

Beelzemon also offers an assist on his motorcycle; firing at the train with a shotgun! OK, movie, you get one, as he is my favorite Digimon after all.

The digital zone changes trajectory, and Yamaki now is working on trying to get the train back to the digital world before it can cause more harm! Elsewhere, Guardromon offers an assist to intercept the train with another engine! As previously-stated, the chronology of this movie is kind of weird. The fact Kenta and Kazu have partners, Suzy having Lopmon and other details kind of make me glad this isn't canon.

Less so, is how this film wastes a plot element which I think could have made for a really good story: exploring how Rika is dealing with the absence of her father. Her personality and attitude towards Digimon are both rooted in how he left home; and the day she realized he isn't coming back.

Anyway, the plan is to get off the train before it reaches the downtown area; but Rika; who got a whiff of something that leapt from Locomon's firebox has other ideas, swinging at Takato with a wrench! We're just about halfway through this thing; and I'm already wondering if she's going to be like the abridged Yugi and bust someone's kneecaps with it.

That said, this scene in Rika's memory is effective; especially with the song that she and her father used to sing before he left. This detail actually did make it into canon expanded universe material; and offers a glimpse of what this movie could have been.

Regrettably, the second half of the movie doesn't really reach that far; which has been a recurring issue with many stories involving Tamers made after the show's end. It's not quite like Young Hunters Leaping Through Time making Takato (among other series leads) a glorified Assist Trophy; but it still has this stock, "monster of the week" vibe to it.

Guilmon boards the train as Guardromon follows Locomon; and picks up Terriermon after dropping off Lopmon back with Suzy. I know that attitudes towards leaving someone her age alone are different on the other side of the pacific; but even in 2002, if I didn't know where my kid was; I'd probably have a heart attack. 

Guilmon busts down the back door with his flame breath; and Kenta comments that "he sure knows how to make an entrance." He sure does: watch him swooce right in.

Takato and Rika continue their brawl on top of the train, and Guilmon lets out another Pyro Sphere to get topside! With 10 minutes left, Rika starts sprouting spider legs from her back! ... I may have been going easy on this movie; but I'm not above admitting that's really dumb, especially after a previous story I looked at a while back,

This is actually the result of Parasimon, who is also attached to Locomon! Screw it- got other stuff I want to do on and off this blog and I'd rather not drag this out much more; so let's do this.

I will say this- the animation itself in this last fight sequence actually is pretty decent: not mind-blowing, but certainly not terrible either. Just wish the script was stronger is all.

Guilmon frees Rika; and the train is shifted to another junction point! Unfettered, Locomon turns into Grand Locomon! Gotta say- I actually like this design, and I would not object to owning a model of it if Bandai made one. That, and it reminds me of the album cover for Judas Priest's "Painkiller."

My usual joke about "Crazy Train" would have been way too obvious.

As it's a Mega level Digimon, the finale now revolves around trying to get the train to the digital world before it can cause further damage! It's also not a good sign when even Takato is mentioning how out of character Rika is right now. Renamon boards the train with her partner, and our heroes biomerge to send Grand Locomon back to the digital world! It was time for Locomon to leave: He had seen everything.

So, with the day saved; the film ends on Rika's birthday party; and though she's reluctant, we do close on her singing the song she sang with her father on her porch, reflecting on what has transpired.

This year marks the 20th anniversary of Digimon Tamers; which still remains my favorite entry in the series after all this time. People have been speculating about a follow-up, but even though I intend to address this in the near future in greater detail; I don't think we need one. I certainly don't, and though this movie isn't the worst (it's at least better than the 2000 movie and that failed fan fiction masquerading as a script earlier this year); it still wastes a potentially good way to examine Rika's character and fails to live up to the pedigree of the TV anime. I'm not saying that it had to go as far as they went with Jeri's trauma and the denouement of the series; but this has been a recurring experience I've had with the franchise as a whole, and why I don't agree with it being the "better monster franchise." It has the potential to be better, and individual entries have been great; but that potential has more often that not, never been entirely realized. 

Given the disappointment of the 2020 reboot of Adventure (which I will also address in greater detail in the future), the distribution issues with the card game and Digimon Survive being delayed again till 2022 joining the compounding missteps I previously cataloged; Digimon is now a brand that doesn't automatically get me excited, and instead has to earn my trust with each new element. Ghost Game definitely has potential (I've seen the first two episodes and will know what to think after the third goes live); but in an anime landscape where it has to contend with the likes of One Piece, My Hero Academia and especially Demon Slayer (getting a 10% ratings share is quite impressive in this age anywhere), I can only hope it maintains its momentum. This also took a bit longer than I hoped, but I should have other posts hopefully out to you a bit quicker to help celebrate this spooky month. That's all for now, take care.