My Thoughts and Concerns for the Netflix Gundam Movie.

I've resisted addressing this topic for years, given how this project has been in development Hell for almost as long as the franchise's entire existence; but now; it seems something might be happening. I was personally under the impression the project had even been shelved again (partially due to the pandemic, mostly due to the fact previous pitches never got made), though I've just now found out this isn't the case. As of this writing, Netflix and Legendary Pictures are moving forward with a live-action remake of Sunrise's "Mobile Suit Gundam" franchise; with the script being written by Brian K. Vaughn and Jordan Vogt-Roberts being tapped to direct.

Courtesy: IGN/Sunrise Pictures

Much as I did with the Gantz film being announced, I'm honestly more concerned than excited. While I do respect the Gundam franchise; I still am uncertain about what the project will entail. I never really had the same level of excitement for the idea as others (you're talking about someone who was more enthused about seeing the Monsterverse version of Mechagodzilla than this); and I will explain in detail why. It won't be a straightforward list like before; but it's something I've been cautious about for a while now. Here are my thoughts and concerns for a live-action Gundam movie.

The most obvious concern I have with this news is the method of distribution: though I have appreciated the variety of content of anime and other material on Netflix along with other streaming platforms; the flip side to the coin is one I learned about very early on as a user: not everything the platform has is gold. For every Devilman Crybaby on the service, we've gotten a live-action Death Note (still wish we lived in the timeline where Shane Black got his pitch made). I'm not one of those people who would cancel their subscription over one unsatisfactory show or movie; especially seeing as there's quite literally thousands of others to choose from (that's like not wanting to shop at a store full of stuff you want because there's one item you don't). On that note, given how the platform already has some of the anime movies and TV series on there; I am worried about what could happen there. It's one thing when the platform bought the rights to Pokémon Mewtwo Strikes Back Evolution and new seasons of the anime (still planning to review the new one when it gets dubbed); it's another when you're filming a new adaptation out of whole cloth; which brings me to my next concern.

While normally a new adaptation of a long-running series; particularly one as significant as this would naturally be expected to be an improvement, it's not that simple. G-Savior, the previous version; is a textbook example of how not to adapt any work into live-action; to the point where Sunrise refused to sign off the movie rights unless they were given confidence they wouldn’t repeat the mistakes made before. Though Legendary has promised as such, myself and others have remained unconvinced. Before that, there was the infamous FMV game "Gundam 0079: The War for Earth." That game predated the English dubs of the anime (not counting the failed Doozy Bots pilot; which, much like the failed "Saban Moon" pilot for Sailor Moon; thankfully never went to series), and Rerez can definitely attest to how bad it is. You should check them and their video on the game out; but the short version is that the story changes made no sense; the game was full of really bad acting and CGI, and the franchise is definitely not suited for a point-and-click game. I am kind of amused by the stinger in hindsight: it's actually kind of cute they thought they were getting a sequel. Yeah, Mortal Kombat Mythologies: Sub-Zero says hi. Suffice to say, I'm approaching it with the old saying as follows: hope for the best, but expect the worst. 

From the service that canceled "The Dark Crystal: Age of Resistance" and greenlit "Thunder Force!"

Then there's the issue of tone: while IGN made the case that the different interpretations of the series would make this an ideal choice for an adaptation (whether it's adapting existing material or writing their own story); I'm not so certain. I have long respected the bulk of the anime for its story (SEED Destiny aside) for how it's able to approach the idea of a robotic war and making it feel believable; no matter what timeline they've used. That being said, I honestly don't want to see this series approached the same way as the live-action Transformers films; which, for all their spectacle, are on the same rough level of intellect as the battles my brother and I had with my Optimus and his Cyclonus growing up (really glad the rumors of Bay directing Evangelion have long since been debunked). I certainly hope Roberts and Vaughn actually do have the respect for the material they claim to have; because I honestly don't want this to be turned into another campy YA story. If Sunrise is directly involved, hopefully they can stay true to what made the material work to begin with.

However, beyond all this; is the long shadow cast by the numerous failed pitches in the past. There were drafts of the script dating back to 1985 that ultimately never got made; and even with this one finally starting production (I've made a habit of refusing to address anything that hasn't started filming at the very least, which is why I actively chose not to address it till now), there is an inkling that this might not be the adaptation that people have been waiting for. This is also applicable to other proposed adaptations such as Voltron; and I've often suggested that it would be better to make the films animated instead of live-action. In fact, I'm honestly way more interested in the next anime film in the series that's coming out than this one. Bottom line: if more than 35 years of attempts haven't panned out, I'm not going to be surprised if this one doesn't either. Given the circumstances, I don't know how I'll be disappointed given that my expectations can't really go much lower.

Suffice to say, even as someone who has appreciated Roberts' work in the past; I'm reserving judgment on this film until I actually get a chance to see it myself. That will be all for now, take care everyone.

Fact-Checking "Level-5 Abby: A Real Look at the Situation."

I honestly wasn't expecting to do this before July 5, but now; I'm elaborating on something I mentioned on the previous post I did on this matter. I just needed to find where the information was, and much as I did on a previous post; I will be including quotes when necessary. I will be linking to the post on Amino, but to protect the identity of the author (and since their name includes a term I find increasingly unsavory given recent events), I shall be referring to them as "Mineta Minoru" from here on out. So, let's get this started.

Level-5 Abby I 

Claim: "Many people before this situation had absolutely no clue what Level-5 Abby was. They then learned that it was in charge of all western localization. So, putting two and two together, that must mean that they shut down virtually all localization operations, correct? Well, dear reader, the answer isn’t as plain as you’d expect. While yes: this WAS the original intent of Level-5 Abby, it has since grown into just kinda being there."

Fact: The Abby was specifically set up for the purpose of handling operations outside Japan in North America; as one arm of Level-5 International. Different branches existed in Europe, and this was the intent upon its formation in October 2015. However, it's a bit facetious to dismiss the current state of the Abby so flippantly in the context of the anonymous former employees working there. Likewise, suggesting that people had no clue what the Abby was significantly undermines the situation at hand; as most people looking at the situation would draw the conclusion that they helped localize video games and other media. It's not like a mobster using "sanitation" or "meatpacking" as a front to hide the remains of their enemies.

Claim: "So then, if this is false, how did it spread like a wildfire? As aforementioned, many people had absolutely no clue what Level-5 Abby was before this situation, so, craving information regarding the fate of their beloved franchise, they clung onto the first things they heard that sounded semi-logical. This is basically all a result of the 𝘐𝘭𝘭𝘶𝘴𝘰𝘳𝘺 𝘛𝘳𝘶𝘵𝘩 𝘌𝘧𝘧𝘦𝘤𝘵, where when a bit of information is repeated and relayed countless times (be it false or not), it is regarded to be the truth. This is especially true considering that much of this info has reached the most impressionable portion of our audience: children."

Fact: There are far too many external factors to dismiss the information as false; and for someone like Minoru trying to invoke the "Illusory Truth Effect," they certainly are quick to claim that this has been heard by children and to dismiss the story as false. I am well familiar with that fallacy; but it manifests in other ways as well, when someone is unable/unwilling to admit their mistakes; let alone correct them and learn from them; even going so far as to pass them off as "alternative facts" despite being blatantly wrong. The reality is this: the source cited has long been a reliable and respected source in and out of the industry, and Minoru's claim otherwise also contradicts the former employees who have been corroborating the story after being let go from the company. Given how most of the company's offerings outside Japan have garnered nowhere near the success in their homeland, the information that's the cause of concern is no more "semi-logical" any more than someone can be "a little bit pregnant." Before I address the next heading, while I do not claim to speak for the children (even as I've been known to deconstruct material meant for them); I'm fairly certain they have other problems that are of more pressing concern than a video game company pulling out of the states. That said, I also believe they're far more resilient than many give them credit for; so even if a kid was aware of the situation, they'd probably understand.

Level-5 Abby II

The second heading then tries to justify there still being a place for the company on the grounds that they had an annual profit of around $58 million USD for a smaller company. This may have been true at one time; but the problem is that the information he's basing this on is at least three years out of date. Yet, he somehow equates that money to being the equivalent of over 1 million units on 3DS; and even attempted to preemptively double down on people verifying his statements in the comments as follows: 

"To who it may concern (and before someone tries debunking this post with a single tidbit of info), if you research the exact revenue itself then there will be different numbers that pop up at times. That’s just how that sort of stuff works; many different places come up with different estimates, so I’ve simply gone with the one I felt was most accurate. Even outside of the revenue though, it wouldn’t change the other points in the slightest, as all of the revenue is still fair enough from every estimate to where it could not be the key source of a full shut-down. And additionally: we know that the number is indeed the $58 million because we can do the math with the released sales numbers since the start of Abby, which match up just fine."

Does the name "Filip Miucin" mean anything to you, Minoru? Pretty sure this approach didn't work for him and it's not going to work here either. At any rate, while the company may have had that profit margin at one time; more recent data posts their earnings at the time of closure at $3-5 million. Also, the size of a company and profitability do not automatically a good company make. Though Minoru does acknowledge the toxic behavior of the COO (who I have previously referred to as Crusty Demon); downplaying that on the belief that the localization was done in Japan isn't exactly a good look.

Level-5 Abby III

Before I go further, I shall note someone on Twitter found my recap of the first movie; then shared an excerpt in a screenshot. I'm not taking it personally, since it's not that much longer or coherent than something written on a bathroom stall.

Now that I have that out of the way, Minoru then tries to keep up the facade by suggesting there are no concrete plans; then suggesting alternate adjectives such as "solid," "absolute," "unchangeable," or "stable;" then dismissing the very real doubts about the situation as "mass hysteria." As an English major myself who's been seeking out as much info as I can (including watching every single piece of material released since Shadowside even though I don't plan on formally reviewing it); that won't be enough to dissuade people's concerns. Even if I don't know what things are going to look like post-coronavirus for games (other than the fact I'll probably be spending a fair amount of time after I get my shots playing New Pokémon Snap and Resident Evil VIII), I'm not pretending like I do compared to some people I know. Minoru's argument is worth about as much as trying to use old Chuck E. Cheese's tokens at the Bellagio. 

Though his request is not a bad one at the end, his claims are full of inaccurate information. I know I've been channeling my inner Jim Sterling for this post; but I will offer a counterpoint ahead of this coming July, which will mark two full years since the announcement initially came: if you don't have concrete plans to localize something, then don't announce them until you do. Otherwise, we'll just have more of the same problems we've been having before.

Overall, this so-called "real look at the situation" is anything but. Rather; it's just a further example of how far things have fallen for the company. I've mentioned this before, and it bears mentioning again: success in Japan does not, if ever; guarantee success overseas. Nor does the ability to localize something in Japan guarantee it will happen anywhere else. Right now, the only ways I see further localizations happening are being digital-only and/or selling the international rights to other publishers. I'm going back to work on my other posts, that will be all for now; since I really don't expect to hear anything else before summer. Later.

 

Yo-Kai Watch Six Years Later- What Is Happening With the Series and Level-5?

Hey fellas: another year has come and gone; and what a year it was. I never thought I would have an experience like that before; yet here we are. Likewise, I never thought even after I retired from doing recaps of Yo-Kai Watch; that the series is still producing content. With the Jam Project winding down and a new anime with a music note on its title (not sure whether it means the show is now a musical or just an odd title); I think it's time to look over just what is happening with the series, and Level-5 as well. To do that, I will briefly go over how we got here; with new tidbits that emerged since last year and see where things are going now. So, let's check in with Yo-Kai Watch six years later, to see what is happening with the series and Level-5.

The year 2015 was when the localization plans were being set in motion for the series after it became a hit in its native Japan. Though the people in charge were confident the success of the games, anime and toys in Japan; there was a shadow of doubt of the series succeeding outside Japan. I was one of the people doubting it would work, though in hindsight; had I known the trajectory the series would follow, I might have said things differently. Despite this, however; I still dislike the anime and will not hold back in explaining why. I never understood how the people in charge marketing felt this would be "the next Pokémon;" and I submit that was a mistake. It wasn't even the next Monster Rancher; and even that series had enough to stand on its own merit (I'm also open to Tecmo Koei localizing the reboot games if they're so inclined). This skepticism, along with launching the game directly against multiple different titles (Call of Duty: Black Ops III being the most notable) put the series on rocky ground right out of the gate. The game ultimately sold 440,000 copies domestically; less than the 1 million it sold in Japan.

The year 2016 saw the full release of the toyline; the second season of the anime and most notably; the release of the second main games. Even though the performance of the first game provided some room for thought, rather than re-evaluate their strategy; Level-5 decided to double down on what they had done, with Akihiro Hino himself claiming the series would "bloom like a flower" in the time frame of six months to a year. For many reasons already discussed, that didn't happen. Instead, the games sold significantly less than they did in Japan; selling just 220,000 copies domestically. Launching right before Pokémon Sun and Moon and the same time as Final Fantasy XV didn't exactly help the sequels' chances either.

In 2017, the second season of the anime's English dub concluded and the third version of "Yo-Kai Watch 2" released as "Psychic Specters" outside Japan. Yet again, the game sold poorly despite being relatively well-received (I personally think that it's the most-polished version of the.game); taking only 120,000 copies domestically. This game ended up selling less than previous-generation versions of that year's FIFA; let alone Pokémon Ultra Sun and Moon. 

The year 2018 was where the Western side of the franchise really went downhill. Despite initially promising more merchandise, Hasbro ceased manufacturing the toyline and moved onto other licenses. As of this writing, no other licensee has picked up the rights and the unsold tie-ins are frequent fixtures of bargain bins; dollar stores and crane machines everywhere. Due to low ratings, the third season of English dub was recast using actors and crew based in Canada under SDI Media. Numerous segments, totaling 18 episodes worth of content ended up not getting dubbed; and the series was canceled after the third season concluded. The spinoff games "Yo-Kai Watch Blasters" sold just 70,000 copies in another decline from the previous year; not helped by launching directly against the acclaimed PS4 "Spider-Man" game. Even official confirmation of "Yo-Kai Watch 3" getting localized was dampened by reports of mismanagement from within Level-5 Abby, and we'll come back to that.

In 2019, "Yo-Kai Watch 3" finally launched in North America. Despite being regarded as the best of the trilogy by critics and players alike; and being designed specifically to appeal to Western audiences; the game utterly bombed commercially, selling just 4,000 copies overall. Of course, releasing right after Kingdom Hearts III and the Resident Evil 2 remake didn't help its sales either. That, and the fact that many were moving on from the 3DS to the Switch wasn't a help for the game either. In Japan, things were also not looking good for the series. That year's film, launching the "Jam Project" ended up the lowest-grossing installment to date amid competition from "My Hero Academia: Two Heroes," "Shijin-sou no Satsujin," and the Japanese releases of "Frozen II," "Star Wars: Episode IX- The Rise of Skywalker" and "Jumanji: The Next Level," making back about half the previous year's film. A brief revival of the original anime was also aired, and the newest main game launched on June 20 of that year: "Yo-Kai Watch 4." The game also got an expansion alongside a PS4 port; and an HD remaster of the first game on Switch. They kind of Sega'd themselves here, as launching all three in less than a year contributed to having the lowest sales of the series to date, despite the install bases of the Switch and PS4 (80M and over 100M worldwide as of this writing). Super Mario Maker 2 launched the same month and has sold over 6M worldwide to date; to say nothing of the numerous sales records broken by "Pokémon Sword and Shield" despite the changes and behaviors in sections of the fandom. Bringing up "Super Smash Bros. Ultimate" and "Mario Kart 8 Deluxe" just seems like overkill, so the Jam Project also getting a TV anime should make a good enough segue into my next heading.

The year 2020 was one marred by uncertainty and upheaval (and that's even if I were to exclude the pandemic); and this franchise was no exception. Moreover, an entire year had passed since the informal announcement of Yo-Kai Watch 4 and its accompanying anime films; and details began emerging to corroborate the mismanagement of Level-5 Abby. First, the Abby itself closed down as of this past September. Then, reports began emerging of Level-5 pulling out of their non-Japanese markets; apparently operating with a skeleton crew since August of 2019. I've also asked this before, and now accounts of former employees have been shared. Though some undisclosed fans have tried to downplay and deny this news, insisting that a localization of Yo-Kai Watch 4 is still in progress and the company is still turning a profit; personally, the reports behind the scenes paint a rather troubling picture. I will not be revealing any of the names in this case. For the sake of argument, fans speculating about release will be referred to collectively as "Faygo Strawberry," the head of Level-5 IA/former head of Level-5 Abby will be referred to as "Crusty Demon," and the anonymous Level-5 employees shall be referred to as "MC Scat Cat."

These details include a litany of issues from Crusty Demon, regularly giving contradictory orders on any given localization demand; often picking actions that would be far more difficult to implement, then getting angry at MC Scat Cat whenever the changes went down poorly. Crusty Demon also reportedly refused to learn the new market, insisting on trying to use the same mindset they had in Japan for North America. Crusty Demon was not only awful to the workforce, they were the ones responsible for the more infamous changes in the English translation of not only Yo-Kai Watch; but Snack World as well (the "Covfefe Cafe" was a dated joke before last November; now it's just painful). MC Scat Cat revealed their experiences via forums on NeoGAF, ResetEra and GameFAQs; and I shall respect their anonymity. Though I am not at personal liberty to confirm or deny the current status of localization or the company itself; I do submit that it makes far too much sense to simply dismiss as rumor. The pandemic may not be the only reason why the localization and Level-5 outside Japan as a whole are now in limbo; but like many other things, it is a significant factor. 

Seeing as how it's been over a year since the initial announcement and any further news has been conspicuous by its absence, at this point; the only way I could see it still happening is if Level-5 sold the rights to someone else to handle the distribution outside Japan. I am well aware of the persistent murmurs from Faygo Strawberry and others about saving the series; but with the first movie being delisted from Netflix earlier this month and the first season of the anime following suit in April (presumably due to the rights expiring), at this point it's like trying to push a boulder up the side of Mt. Fuji. As such, I will not address this manner any further unless someone in charge of the series provides an update on the proposed international release of "Yo-Kai Watch 4." I also do not intend to review any of the Jam Project TV anime, nor the 2021 revival of the original series (music note in the title aside, two years since the previous revival seems less of the timeless appeal Hino envisioned and more of a fleeting demographic). Barring any announcements before long, I don't intend to address this again until July 5; which will mark two years since the initial announcement. I will say this: short of simply releasing the game on eShop and Playstation Store only; I honestly don't know how they're going to pull off the international release. That will be all for now, take care.

Anime Expo 2021 Cancelled Amid COVID-19 Concerns.

I was hoping to lead this month off with better news; but this is important for everyone to hear. Following the cancellation of last year's show; this year's Anime Expo has been cancelled due to concerns over the novel coronavirus/COVID-19 pandemic. The announcement has come directly from Ray Chiang on the convention's official website and their social media feeds, and another online event will be held in its stead on the intended physical dates in July.

As the pandemic continues to impact our daily lives, I continue to urge everyone to do what they can to get through this. Stay safe, reject fear, and embrace facts.

#Pokémon25 - Presenting an End of February "Pokémon Presents" Riff.

Hey fellas: this may be the shortest month of the year, but for fairly obvious reasons; it sure didn’t feel that way. Nevertheless, I was pleased with how my previous “Pokémon Presents” post turned out; so here’s another one addressing the presentation that streamed this past Friday.

After a reel celebrating “25 years of nonstop adventure,” the presentation contained three major announcements that I’m eager to share my thoughts with you all about. The first is more information on “New Pokémon Snap,” the long-awaited followup/re-imagining of the beloved Nintendo 64 game. On top of expanding on elements from the original game, the gameplay and scoring system have been completely reworked for a new generation: it’s way more elaborate than just making sure it’s in the middle of the frame. I also like the aspect of sharing the pics you take online: as someone who remembers printing out shots at Blockbuster (or remembers Blockbuster at all for that matter), I think that alone could have the same impact online the likes of “Animal Crossing New Horizons,” “Fall Guys" and “Among Us” have had. This definitely has me looking forward to launch on April 30.

Next is not one, but two announcements that finally see the Sinnoh region being revisited on Switch. The first is “Pokémon Brilliant Diamond and Shining Pearl,” slated for release in late 2021 (presumably during the holidays in Q4). In a series first, not only will the lion’s share of the  content from the original Nintendo DS games be preserved for a new generation of fans as well as existing ones of Generation IV (Hello!); but the games will be developed by relative newcomer ILCA. They not only developed the Pokémon Home app for both Switch and mobile phones; but they also worked on titles including “Metal Gear Rising Revengeance,” “Yakuza Zero” and “Nier: Automata.” As someone who is a big believer in the “not broken- don't fix it” approach to game design; I rather like how they’re giving the games a higher resolution along with the right amount of technical improvements. Even as someone who is often apprehensive of farming out development to other companies (for every Sonic Mania or Metroid Prime we’ve gotten from that; we’ve had dozens of failures like Metal Gear Survive and DMC Devil May Cry), I’m actually glad with this approach. I’ve seen plenty of people (myself included) compare this to the 2019 remake of “Link’s Awakening;” which I rather enjoyed as a big fan of the original. This also brings me to my next point.

The last reveal is a new experience slated for early 2022 (most likely within the ballpark of Q1): rather than a reversion of Platinum or the rumored “Arceus episode,” Nintendo and Game Freak will instead be creating a new title in the main series: “Pokémon Legends: Arceus.” Set centuries before the events of other games in the series; you take up the role of a young researcher venturing through an open world in ancient times of Sinnoh. This not only builds upon the “Wild Area” concepts of Generation VIII and its expansions; but provides a window into what lies ahead for Generation IX. The player characters also appear to be ancestors of the players in Generation IV; so that aspect intrigues me. I’m very eager to experience the game upon its release.

I’m looking forward to all three of these titles; and plan on getting them all upon release (especially once the Sinnoh games have concrete release dates). I look forward to bringing you more content in March, so be ready for it. That will be all for now, take care.

Pokémon Live (2000) Review- Turn off the Dark-Type

Hello everyone: with the 25th anniversary of Pokémon upon us, I thought I would do another bizarre, yet surprisingly intriguing take on the series in live-action: the stage musical Pokémon Live! Only running briefly onstage in the year 2000, this play has never been officially released on home media, so that adds another layer of interest. I would also like to thank Chris Mitchell before I get started for his footage of the play. I know I wasn't planning on looking at this before, but my exact words were that I wasn't going to recap it. I didn't say anything about reviewing it. So, let's open it up.

The curtain hasn’t even been raised yet, and I’m amused by the announcer saying to power down your cell phones and pagers. For those who are unaware or just were not around in that time, it was basically that generation’s version of instant messaging. 

The first song is the Orange Islands intro, “Pokémon World,” followed by an advert for the latest gym challenge for the “Diamond Badge.” Are there Pearl or Platinum ones as well?

The ad continues to say that it’s the hardest badge to win, and that diamonds are the hardest substance on earth. Clearly, they’ve never fought Whitney, or seen a Ponyta’s hooves. The way this ad sounds is almost as over the top as the ad for that old Crossfire game.

The ad ends on a prompt for their website, and to download the map to their location. Ah, that takes me back. Downloading info on a dial-up modem for games and TV airings: now I can stream footage and episodes any time I want. A Dodrio crows, and Professor Oak and Delia Ketchum come to wake up Ash. This is already going to be insane, I can tell. As for Ash telling the professor not to bring his mother home too late: hold that thought for later. Same with Delia’s comments about Team Rocket.

So, Ash turns on his stereo; and as the Pokémon theme blares as it has many times for me, I can’t even begin to tell you how many fan arts there are of him doing scissor kicks in his boxers like a discount Risky Business dance. Brock and Misty enter, and while the play may not have the best characterization, we’ve got the basic archetypes of a hot-blooded hero, a Casanova wannabe and redheaded short-tank, so we’re good there. 

Ash then awkwardly suits up in quasi-Schumacher Batman fashion, and Misty and Brock reaffirm how widespread the ad is, even on PBS! Yeah, that kind of insane battling is made possible by viewers like you; and brought to you by the number 151! Sorry, I couldn’t resist.

Pikachu then appears in a flash of sparks, and I must say, the suit actually isn’t that bad for the time. Also, the onstage effects are actually pretty impressive.

Anyway, their banter segues into the next song; “One World,” which is actually a pretty good track. I’m more familiar with the version they did in the fifth movie, but I’m getting ahead of myself.

More Pokémon hit the stage, and  the costuming is surprisingly on point. Some people may be weirded out by this, but it’s at least not as odd as Spider-Man fighting to a soundtrack from Bono and the Edge of U2.

Team Rocket enters the scene, hammy as ever; and I can tell the actors they cast for Jessie and James sure like their ham. I definitely miss Maddie Blaustein as Meowth too. I don’t know how Danny Devito would have fared as Pikachu, but he’d definitely make a good Meowth; even more flexible for Always Sunny in Philadelphia edits. Apparently, they’re also not fans of Wisconsin audiences; since this copy is from the Milwaukee performance. For reasons I shall address later, the copy from the performance at Radio City Music Hall in NYC has yet to surface as of this writing. This leads to the curtain opening to Giovanni’s song, “It Will All Be Mine.” Even in a series like this, I wasn’t expecting that. Anything someone might have against the Sun and Moon series’ artwork and tone; it’s nothing compared to Team Rocket grunts dancing in front of Giovanni’s plan: Mecha-Mewtwo!

After Team Rocket is dispatched, a trainer enters to challenge for the Diamond Badge; sending out Alakazam in a puff of smoke and pyrotechnics. Again, the attention to practical details also gives off the influence of tokusatsu as well. The special move of Mecha-Mewtwo is “Learn,” which lets it take the abilities of its attack and reflect them back at them!

The next challenger is Venusaur, and even though I never saw this play or even heard of it when I was younger; this is some pretty creative costuming and onstage FX work for the time. Though I admit I do have to call “HAX” on Venusaur being defeated by its own Poison Powder attack. The last one uses an Electrode and its Self-destruct; and I’m just glad Michael Bay isn’t handling the live-action Red and Blue movie.

Back with Ash, Misty and Brock; everyone is still searching for the gym, and hilarity ensues as a result. It’s all very strange, but not as strange as Jim Carrey as Dr. Eggman.

Just as well, as Brock gets a taste of some girls’ pimp hand; the banter of the three leads into the track “My Best Friends” from the 2BA Master album. I never had it when I was younger, but that was a catchy tune whenever it was on the show’s “Pikachu’s Jukebox” segments.

After that, Team Rocket sets up their old reliable pitfall trap; and I wonder if Tom Nook had those on sale. Ash, Brock, and Misty are able to elude the trap; and Jessie and James end up falling in themselves after James pulls out the supports. It’s a fair cop, as Meowth gets a rope.

Psyduck walks across the stage, and we then see Professor Oak and Delia Ketchum heading to their lecture; and they realize they’ve been had in a “bombed-out back alley.” I would say this is like PCL Labs, but at least they wouldn’t come up with Aipom and Greninja for a while. This leads into the song “Everything Changes,” a surprisingly emotional track from the 2BA Master album. This play may not be Tony Awards material, but I can’t deny these people are dedicated to their parts.

After the song ends, they’re ambushed by Giovanni and his grunts! If it was anymore of a trap, you could hear Admiral Ackbar. Now, comes the part that makes this play so infamous: apparently, Giovanni and Delia have some history together, and they apparently used to date! More on that later, as Giovanni whisks them both to his chopper and we get a darker refrain of “Everything Changes.”

Back with Ash, Brock and Misty, they’re still trying to find the gym; and they run into a deaf mute who knows the way; and agrees to show them if they can beat him in a battle. Jigglypuff is sent out, and cue everyone being put to sleep with Sing.  This leads into the ballad “Misty’s Song,” and it’s only slightly as campy as most other given ballads in my collection of songs from the ‘80s and ’90s. Everyone wipes the marker off their faces; and they’re able to find the way from the deaf-mute trainer’s directions. 

Meowth returns with the rope, and Jessie and James are able to crawl out of the pitfall trap. Again, I’m very surprised how spot on the live actors have their mannerisms down. As they bemoan their status as villains, this leads into the next song; “The Best at Being the Worst.” So, basically in the same boat as Snidely Whiplash, Wile E. Coyote and Sheldon J. Plankton, et al.

Ash, Brock and Misty have reached where the gym is; leading to the song “Pikachu, I Choose You.” Again, I’m more familiar with the version used in the fifth movie and the short-lived Karaoke -Mon segments on the show. 

It also turns out that Pikachu has been taken, and even the Pokédex program gets a song; in a rendition of “What Kind of Pokémon Are You.” I guess if Roto in the Sun and Moon series likes detective shows; this works too. This is also a catchy song, even if they had to edit some lyrics because of some people misunderstanding them. To be fair, we’re still having this problem; if that editorial about the Persona music in Super Smash Bros. Ultimate is any indication. As our heroes split up to look for Pikachu, this leads to “The Time Has Come” from the episode “Pikachu’s Goodbye.” That’s definitely my favorite episode of Kanto, which puts it in the running for my favorite of the entire series.

Delia and Oak are still being held hostage in cages in Giovanni’s compound, and Delia then reveals they used to date when they were younger; going their separate ways when she met Ash’s father. However, this has contributed to many fan theories about Ash’s parentage; though since this play was made without the direct involvement of anyone involved with the series’ canon; I am not at liberty to confirm or deny anything about that.

Giovanni unveils Mecha-Mewtwo to Delia and Professor Oak, and we get a dark reprise of “One World” with an industrial metal sound to it. … Anyone else having flashbacks to when Neo met Trinity?

Jessie and James enter the space, and cue another great track: “Team Rocket’s Rockin’!” Every time that was on the Pikachu’s Jukebox segments, I thought it was a fitting villain song. It turns out that Pikachu is the last piece they need to complete Mecha-Mewtwo’s move pool! Huh. It took me days to get the 7-Eleven app to work for the Detective Pikachu promo.

Yet, Pikachu is able to free Delia and Oak in a flash of sparks; and it turns out that Pikachu won’t comply without Ash! So, they go to find him as the next stanza of “Team Rocket’s Rockin’” plays.

Back with Brock and Misty, they’re still trying to find Ash and Pikachu; which leads into the song “Two Perfect Girls,” which I’m again more familiar with the version on the Karaoke-Mon segments.

Oak and Delia are still searching for Ash and Pikachu, and Oak encourages Delia to tell him about her and Giovanni. Misty’s unrequited love also leads these two into our next song, “I’ve Got a Secret.” Ash also joins in, and this almost sounds like one of those soft rock compilations they used to advertise on late-night TV.

Before Ash goes to rejoin Pikachu and face Giovanni, Delia tells him the truth about her past; and Team Rocket comes rolling up on Razor scooters. If this was any more 2000, they’d be doing it while wearing Sketchers and listening to Creed. Even funnier, Ash doesn’t even bat an eye at their threats; since he wants to fight! Guess this play can add how used to this scenario everyone is to the list of things in newer versions. The curtain is drawn, and we get another somber verse of “Everything Changes” from Delia. 

Giovanni then refers to Mecha-Mewtwo as a “Mechanical Marvel,” which happens to be the subtitle for the Volcanion movie… probably a coincidence. Ash confronts Giovanni, and I do like the way he demands Team Rocket “shut up and leave us alone.” Guess that’s also why he sends them away to other regions; so they can stay out of his hair.

Giovanni returns Pikachu, and now the time has come for their final battle; set to the song “You Just Can’t Win.” It’s pretty silly, but it still makes more sense to me than the finale of Ready Player One.

Then, the real Mewtwo takes the stage; and showing this overblown Tinkertoy who’s boss! With a single stroke, Mewtwo overloads Mecha Mewtwo and makes it self-aware! The mech self-destructs in a flash of pyrotechnics; and we close on Ash winning the Diamond Badge; giving it to Misty for her birthday. Huh, for a play that the Pokémon Company doesn’t seem to want to acknowledge and had no direct hand in; it did inspire an awful lot of Pokémon moments even today.

Supposedly, there was going to be a TV airing and home media release of the play; but even though there is supposedly an HQ copy of the play, to this day; it has yet to see an official release. In age of digital streaming, home media releases and being able to download your favorite shows; this play has become another fascinating piece of lost media. There are also versions made for audiences in Latin America and India; but that’s a whole other can of Wurmple. Still, with the 25th anniversary upon us; this is definitely fascinating as a longtime fan and someone who has been known to seek out the strange and the obscure in even the most mainstream series and genres. Regardless of whether or not this play ever gets an official release; this and other lost media will continue to be the subject of fascination.

I look forward to what lies ahead, and I will bring you anything else as it's ready. That will be all for now, later.

#PokémonSwordShield at 20M Sold, Nintendo Switch outsells 3DS!

Another day, another dollar, another sales milestone crossed. Hey fellas: I thought I would share a piece of updated sales data that just got published from Nintendo after their last fiscal quarter of 2020; one of the few good things to come out of the last year.

As of December 31, 2020, Pokémon Sword and Shield have sold a combined 20.35 million copies worldwide across all versions; cementing their status among the top 3 bestselling titles in the entire franchise; alongside Pokémon Gold, Silver and Crystal at 23 million sold and the original Pokémon Red, Blue and Yellow at 31 million sold. So much for having given way: to think people called a “fad” all those years ago! The games have even outsold Super Mario Odyssey at 20.23 million copies. 

The Switch itself has also sold over 79.87 million units worldwide; outselling the 75.94 million units the 3DS sold in its lifecycle; in less than half the time on the market! Other games on the list include The Legend of Zelda: Breath of the Wild at 21.45 million copies, Super Smash Bros. Ultimate at 22.85 million copies; and Animal Crossing New Horizons at 31.18 million copies. The top-seller remains Mario Kart 8 Deluxe at 33.41 million copies.

Given this latest update, I am very confident about the future of the franchise as the first quarter of a century it’s been around; and I’m not worried one bit about what lies ahead (talk persists of the long-gestating Sinnoh remakes finally being made). I will be eager to bring you any further developments as they happen, and I still intend to review the newest move whenever the film is dubbed and officially released stateside (hopefully with an encore Zarude event for people like me who haven’t yet resolved the issue with the last one). That will be all for now, and I will see you again soon with more content. #Pokémon25