Why Pokémon Chronicles Didn't Work (And How It Can Be Fixed)

Hello again everyone: I've been contemplating doing this for a while, and now I've finally worked out how. In the past, I've made a couple recaps on Pokémon Chronicles while detailing how it didn't pay off as an extension of the franchise. Now, with time having passed and much better spinoffs having seen release; it's time to finally examine in detail why Pokémon Chronicles didn't work, and explore how it can be fixed.

1. Haphazard characterization

On paper, the idea of focusing on different characters other than ones in the main series isn't inherently a bad one; as more recent spinoffs such as Origins, Generations and the Detective Pikachu movie have shown. Unfortunately, whether or not it's the Legend of Thunder or most of the subsequent episodes that followed; the way the characters were written effectively nullified that appeal. I've argued before that introducing another character isn't the same as establishing them; and that replacing one character with another doesn't always solve the problem; it can just as often create a different one. The solution is simple-if you're using existing characters; build on their existing and pre-established characterization instead of just jettisoning it. Conversely, if you're introducing new characters; make sure to establish them. Contrary to popular belief, they're not the same thing.

2. Inconsistent approach to the source material

This ties into the previous point: while taking some creative license isn't a deterrent in itself for an anime (both Dragon Ball and Sailor Moon vary significantly from their manga in many aspects), the resulting changes should still make your output able to be enjoyed on its own merit. I have argued this before, and it bears arguing again that this spinoff's inability to decide whether it wants to be its own thing or adhere to the already-established canon actually does more harm than good as a spinoff. People who want a standalone story aren't going to know what's going on, and people who want a different take on Pokémon aren't going to like the creative liberties taken with the source material. The solution here is twofold- if you want to make a standalone story set in the same fictional universe; you need to make sure it can accomplish that goal. Even though the Detective Pikachu followup is still in limbo (partly due to pandemic, partly due to WB changing up leadership), that still presents a great example: though it's tailor-made for fans like me, even if you never played the 3DS game; you could still understand that Tim's goal is to find out what happened to his dad and enjoy it as a neo-noir detective story. If you want to adhere to what the existing canon has done, you need to keep the details consistent. There's a reason why I cited "Training Daze" as the episode I disliked the most: even though Team Rocket may not be my favorite characters (that honor goes to the professors), I cannot defend how that episode handled them. It's telling that each subsequent depiction has gone back to the previously-established backstory (Jessie being an orphan in Foster care, James running away from his arranged marriage, Meowth being a stray in Hollywood).

3. Lackluster animation and production values

This is one of the more noticeable issues with Chronicles, but it always seemed like it was lacking in production value; and even looked worse than the main series in most given days. The Christmas specials were spared, largely due to already being made and repackaged for this spinoff; but for the most part; it looked more like one of the anime's imitators than part of the same fictional universe. Later spinoffs had the time and money to make their stories work; and were explicitly treated as distinct in the case of Origins; Generations and now Evolutions. Even the Strongest Mega Evolution, for all the issues I had with it; at least looked better than this. So, that solution is already in place.

4. Mishandling potentially good stories

Even in stories that had potential, the few ones I kind of liked and might consider reviewing in the near future have a litany of issues. There are times when the best ideas can be ruined by poor execution; with The Legend of Thunder not really dropping the ball so much as hurling it into the coach's windshield. I can understand that sometimes you have to take ideas as they come; but other times your script needs more rewrites. I've spent the last decade or so not posting anything until it's ready; but most of this spinoff feels like they submitted their first drafts as final drafts before punching out for the day. Sorry to any fans of this spinoff; but I don't consider whoever Misty might have dated to be as important to her character as how she earned her sisters' respect. Even if some details did become part of the main anime's canon (Misty's post as Cerulean gym leader; Brock's mother Lola returning after her absence); most of them are such a mess that I've argued that the details are apocryphal. I will address this more in the next couple points; but this is an issue I've had with Chronicles for ages.

5. A Horrendous English dub

I've never been one to engage in the whole "subbing VS dubbing" discourse. Short of using the subs to introduce myself to a new series or keep up with existing ones; I believe an English dub should be able to stand on its own. Like any adaptation, it's no good if it can't do that. Regrettably, this is one of those cases. It's the worst kind of dub that not only fails to be enjoyable on its own merit; but also exacerbates issues from the original JP dub. An associate of mine actually went to so far to compare it to the 4Kids One Piece of the Pokémon franchise- Harsh. Warranted to be sure, but the point still stands. Sadly, there's not much that can be done about that; and it's tellingly one of the few bits of content that hasn't been given a US DVD release or made available for download/streaming officially. This leads to my final point on why this didn't work; and how it can be fixed.

6. Mismanaging the premise 

All the reasons I cited can be tied into this last point about why this spinoff fundamentally did not work as an adaptation of Pokémon. While spinoffs focusing on different characters or aspects of the franchise are not a bad idea on paper; the execution of this one is like said paper being shredded and burned in a mix of kerosene and lighter fluid. When Misty has Gyarados as her ace in many of the games and other adaptations; I can't really suspend disbelief about her being scared about a mishap as an infant. I may like Ritchie and Casey fine; but I don't think those characters were the best options to focus on; nor to make a case for spinoffs focusing on other characters at all. For better recent examples, Generations and Evolutions found ways of keeping the player characters out of focus while letting ones like Cynthia, Green and the Kimono Girls advance the story. In particular, "The Scoop" deliberately kept it ambiguous whether or not it was Brendan or May in the spacesuit during the engagement with Rayquaza and Deoxys. In the Detective Pikachu movie, it was also consciously made ambiguous whether it was Ash or Red in the stadium cameo; with the credits referring to the role as "Male Pokémon Trainer." My favorite episode of Origins was the Giovanni segment, and I wouldn't object to a story about him in the vein of Joker or Cruella; with him as an antihero or outright villain protagonist. When the stories weren't being inconsistent, they were simply just a mess. They didn't feel like extensions of the fictional universe so much as being a square peg fitted into a round hole- with a sledgehammer. 

One key example I can give about a series that is good at making distinctive spinoffs to explore its fictional universe through a different lens is Star Wars. Both the Tartakovsky and Filoni versions of Clone Wars (as well as Rebels, Resistance and The Bad Batch) focused on the camaraderie of the heroes. Rogue One played more like a war movie than a space opera. Solo had elements of both a heist caper and a space western, with The Mandalorian going all in on the latter aspect. The Book of Boba Fett continued that concept while also having elements of a crime drama; and the Obi-Wan event series definitely looks to further bridge the gap between the dark times of Revenge of the Sith and the fantasy of the original trilogy. There's even the Visions anime anthology; which I intend to look at after I finish it.

My point is that if you're going to do a spinoff of this nature, you need to do more than just focus on other characters. You need to make your stories and production values the best quality they can be, to respect the material you've been given; and to be consistent with how you use the characters you do focus on. Instead of Misty's toddler troubles with Gyarados, I usually portray her with elements from Electric Tale of Pikachu in her character; with shades of Lara Croft in both personality and looks (the wetsuit in the EN release especially; given the more revealing JP one was partially due to the fact the artist previously drew adult manga stories. No, I am not making that up.). I'm skeptical about Journeys and the series a whole shifting focus to Goh; but I will state that I do like his character, and the upcoming Scarlet and Violet should have an interesting impact on what comes next. 

Though Chronicles may have been a failure, it doesn't mean the concept it was suggesting is beyond help. Maybe it failed so later stories such as Origins and Detective Pikachu could succeed. When I started this blog a decade ago, it wasn't just to complain about problems I had with certain stories- it was also to find solutions whenever possible. My suggestions aren't always the same as others (be way more likely and useful that Team Rocket is phased out rather than Ash); but I want to keep expanding on this topic. As this year marks the 25th anniversary of the original anime as of this Friday; I will review more material throughout the year, including my full reviews of the Sinnoh remakes and Pokémon Legends Arceus. I may even go into more detail about the points I mentioned in this post; I just need to figure out how I could approach that. I will see you all again soon, take care everyone.

Masamitsu Hidaka dies at age 61.

It is with great sadness I report the death of Masamitsu Hidaka, who passed away earlier this month at age 61. 

Hidaka was a prominent animator for the Pokémon anime, rising to the role of director from Battle Frontier to the first season of Black and White. He was also prominent among animation for Mobile Suit Gundam Wing.

As a lifelong fan of his work, I wish the best for Hidaka’s friends, family and fellow artists at this difficult time. May he rest in peace. 

Re: Screen Rant- Why Yo-Kai Watch 4 Should Be Localized, But Might Not Be

Hey everyone: it's been a while since I addressed this game. I have been largely retired from covering the series; and as I write this, it has been over two years since the informal announcement of "Yo-Kai Watch 4: We're Looking up at the Same Sky" was made at the 2019 Anime Expo, along with the movies that tie into its plot. Since then, not a whole lot has been said on the matter; and Level-5 has had a lot to deal with as well.

In the absence of any official news, there has been an editorial written on Screen Rant entitled: "Yo-Kai Watch 4 May Never Come West, But it Should." The piece argues in favor of an official localization of the game and material connected to it while also lamenting the difficulty of such a task and the increasing unlikelihood of it still happening. While I may not use their site the most frequently (I do like the Pitch Meeting sketches on their YouTube channel though); it does make some good points. Today, I will be expanding on them while writing my own take that I honestly never would have expected doing in the past: why Yo-Kai Watch 4 should be localized, but might not be.

Courtesy: Level-5

Let's set the scene: Yo-Kai Watch 4 was initially released on June 10, 2019 in Japan on the Nintendo Switch; marking the first main series game on a home console. Delayed from its initial planned release in December 2018; the game, while not perfect; was decently received by those who have played it. Though not the same level of sales as previous titles; the game still launched at #1 in Japan; even if it marked a decline from the previous game. On June 18, just eight days later; Super Mario Maker 2 launched; a title which sold more in its first three days than YW4 did in its first five months.

Still, at this time, Level-5 was confident enough to announce an English localization of the game at Anime Expo on July 5, 2019. They also expressed interested in releasing the fourth and fifth movies alongside the game, as they are key to the game's plot.

As of this writing, 32 months have passed since then; and not a whole lot has been said. It doesn't help that Snack World, a game that was meant to be another attempt at appealing to the West launched with little fanfare (the game launched against numerous competitors, the "Jara" toys didn't get localized and the anime got dumped on Crunchyroll after CN, Nick and Disney all balked at its content) and the Level-5 Abby closed down in 2020 due to difficulties caused by the COVID-19 pandemic. 

Yet, at the same time, part of me does want the game to officially come to the West. Even though I've made no secret of my feelings toward the series in the past, I still think the game should be localized; even though it might not be. Here are my reasons why I think the game should at least get a release on eShop and/or PSN.

First, let's take a look at its context in not just the franchise; but the current landscape as a whole. I've argued this before, but it bears arguing again: continuing to claim that all westerners don't care about yokai and that Pokémon fans just dismissed it as a copy doesn't give things enough due diligence; and after nearly seven years has long since been replaced by its status as an international failure. Meanwhile, Demon Slayer: Kimetsu no Yaiba managed to take Japan and the world by storm; by and large embracing its roots in both dark fantasy, ancient folklore and Taisho-era period drama. Though it's just as likely that the fourth game could still follow what's been done before with the series,  I think it's a great opportunity to soft reboot the brand outside Japan. The fact that it draws less from the automated battles of the first three games and resembles a more active, real-time combat system in the vein of Level-5's own Ni No Kuni games alone is enough that it could stand out. Active combat mechanics and embracing your heritage aren't your enemy, the fact that PLA and Monster Hunter Rise were such big hits proves that.

On that note, let’s examine how the game's plot is connected to the fourth and fifth anime films. While cross-media content in games is by no means uncommon these days (Fortnite avatars attending a virtual concert while dressed as Superman, Rick and Morty and Lebron James in his Tune Squad uniform is easily the most 2021 image I conjure of that), it's another one entirely to make another piece of fiction canon to your game. Akihiro Hino has acknowledged this issue, and wants to localize the game with those movies so as not to confuse audiences who haven't seen them. Though the anime didn't too well on legacy formats, I think selling the rights to a streaming service could work for a direct-to-consumer approach. Even though Netflix delisted the first movie and the first season of the anime;  Crunchyroll has reportedly expressed interest in picking up where the previous run left off. So, whether it's them or any other company (be it Funimation, Shout Factory, Sentai Filmworks or even Discotek Media); that is one way to get the key content out.

There's also the fact that both the Switch and the PS4 are consoles that are very friendly to RPGs. The potential to tap into that audience alone is definitely one reason I am actually onboard with a possible, however unlikely localization.

Beyond all this however, is the potential it has to close the book on the main series outside Japan. I am aware of the potential localization of the Jam Project under the imprint "Y School Heroes: Bustling School Life," but that isn't really a sure thing (I'm old enough to remember Chrono Break after all). The article I'm linking to suggests that releasing the fourth game and the movies key to its plot could revitalize the series in the west. However, I am not going to say that, but I do have a counterpoint: even if it's only a vanilla release on eShop and PSN, I believe the fourth game should be localized to provide closure to people that want it. 

As I type this, there has been no further word about the game's localization or any further official content for the series. To wrap this up, I will say that if Yo-Kai Watch 4 is officially localized; I will address it. However, I acknowledge that it might not be; especially as I have retired from addressing the anime. That will be all for now, and I will be back another time.

P.S.: Go watch Turning Red, it really is that good.

The Curious Case of Digimon Survive.

Before I get started, let me just say that The Batman was impressive and I recommend seeing it. Now, onto today's topic. During this year's Digimon Con Online; there was a segment dedicated to upcoming games in the series. One of which is a title that's been a source of both intrigue and concern ever since it was first announced: Digimon Survive.

Courtesy: Bandai Namco

First announced in 2018; the game has seen numerous delays and changes in developers, with new information promised at the convention. While many of these details do show promise (such as the darker tone and the approach to the branching storylines); there's still the fact that the game has yet to see a release date beyond simply 2022. The statement from the developers and the request to be patient has done little to assuage these feelings; so today, I'm going to take a look at the curious case of Digimon Survive.

Let's start with the 2018 announcement. At the time, the game seemed like it was on track to release for the 20th anniversary of the brand in 2019. Even as someone who openly admitted to not having played many of the other games in the series, it showed potential. I was especially interested in the game including a permadeath feature for both Digimon and human party members. Time passed, and the game was delayed to 2020 because of production issues.

As you may recall, that date didn't see the game release either. Instead, the game was one of many titles impacted by Bandai Namco being reorganized as a result of the novel coronavirus/COVID-19 pandemic. Though games have arguably been one of the facets of pop culture that's flourished in this landscape, it hasn't been perfect. It emerged late in the year that the game would be restarting development with a new team; something that would happen more than once. The game would then be delayed to the year 2021.

Said year came and went, saw the project change developer hands again; and here we are in 2022. Though I haven't played the Complete Edition of the Cybersleuth games (looked interesting though, might pick them up sometime); the developers are now Hyde, primarily known for the Rune Factory series. They are succeeding Witchcraft, who were involved with the project as early as its initial announcement in 2018; and mainly developed mobile games before and since. Their staff were reorganized multiple times even before the lockdowns and work-from-home orders began; which typically isn't a good sign. 

This brings us to Digimon Con Online on February 26, 2022. Though producer Habu Kazumaza did outline many details about what Digimon Survive will contain (key ones being the main quest taking 40 hours, at least 80-100 hours for 100% completion and 113 Digimon to partner with), the fact that there still isn't a release date is a concern that hasn't been really dealt with. While Kazumaza did stress that it's good to be patient and keep waiting; I don't think that's the problem. The problem is that it's been delayed for nearly three years and has seen multiple changes in developers; with the project being restarted from scratch each time. I'm not the kind of person that makes decisions based on unconfirmed details; but when there's been this much upheaval in such a short time, it's definitely not surprising that Kazumaza's statement did not really reassure fans at all.

So, where do we go from here? Well, that still remains uncertain. Even as someone who's been low-key intrigued by the game; I'm not going to mince words when I say that the information coming out about development suggests a very troubled production. By the developers' own admission, the game largely resembles a visual novel in terms of story presentation with turn-based strategy gameplay; both of which I think should suit the project well. Those kinds of titles have done fine and have turned out good; with examples ranging from Fire Emblem to Final Fantasy Tactics; even arguably more niche titles like Disgaea. At the same time, the lack of concrete details or even a fine release window is concerning. I don't really pursue a topic of any kind unless I have something to contribute to the conversation; and I may not agree with every issue that's raised (I don't really agree with the complaints some have about Pokémon lately, for example); but even as someone who's been hoping for this game to be worthwhile (especially as someone who openly admits to not having played many other Digimon games), I can say I won't be surprised if they have to delay the game again.

This isn't the last Digimon article I have in mind for this year, nor will it likely be the last time I address this game. I will bring you any further information as it becomes available, but given the messaging so far, I don't expect to hear more for a while. That will be all for now. Later.