Plotting “Pokemon Silver and Gold”

This week is the first week of the rest of our lives. What follows can’t be like what came before. Naturally, if you’re a longtime reader who has meticulously read and internalized every last phrase I’ve written here, you’ll know I’m talking about the release of a Pokemon game. This past weekend was the US release of Sun and Moon. And while nothing will ever match the pure joy and wonderment I experienced through the first 3 games of this venerated franchise, I still crack a smile every time I step back into the ever expanding world of Pokemon. Like I said 2 years ago, we’ll see how the nostalgia compares when the remakes of Diamond and Pearl come out, but I don’t think they can match what Red and Blue or Ruby and Sapphire did.

Hold on, I’m getting a little teary eyed…

And if the new games can’t touch Generations 1 and 3, you know they’ll have a hard time holding a candle to Gen. 2, what I consider the most complete games of the entire series.

If after all this time (especially in a post-Pokemon Go world) you’re unaware of what Pokemon is and you’re too incensed that I prefer Silver/Gold over Red/Blue to go read my summary of Gen. 1 all the way back in 2014 (at which point I’m wondering… how?) here’s the Sparknotes. In a different world, not completely dissimilar from our own, humans live alongside all manner of animals known as Pokemon. Most Pokemon are highly intelligent and possess all manner of amazing powers. People live with Pokemon, collect them, trade them, battle with them, and so on, and life is generally awesome.

Silver/Gold continues the long running adventure-game theme of the silent protagonist. That is to say, the main character doesn’t engage in any meaningful dialogue other than the rare “Yes/No” “A/B” answer to a straightforward, binary question. All the real talking is handled by everyone else, including their responses to vague ideas that your character might express in response to whatever it is they’re saying. The technique is very useful in gaming for immersing the player into the world of the game by not forcing words into their mouth. In general, most players who are willing to go along with the world and the story being told to them will all have similar thoughts. But as we know, people express thoughts in many different ways. The technique of the silent protagonist allows for continued immersion by taking away the player’s ability to think to him/herself: “I wouldn’t say it that way.”

A blank slate of a character is much easier for a player to project themselves upon. Because we are able to take direct control of this character, we can effectively become this character. This is why the silent protagonist technique is really only effective in video games. From a mechanical standpoint, the audience is able to build empathy with the character by sharing the experience directly and to an extent even becoming that character. Every input receives an in-game response 1:1. In books and movies, there is a disconnect in the medium between audience and characters, so specific character development is required to generate any interest from the audience.

You, the protagonist, are a 10 year-old having grown up in the quiet town of New Bern. One morning, your mom tells you Professor Elm, your neighbor, wanted to talk to you. You go to check his lab and find he’s ready to give you your first Pokemon, who will be your constant companion through your journey. He then tasks you with completing the Pokedex (the encyclopedia of Pokemon) by catching all 250 (plus Mew and Celebi) Pokemon.

Wait. That is (nearly) verbatim the opening I gave for Red/Blue. What gives? What is it that separates this game from the originals if the premise is literally the exact same. I mean, it’s a great premise, thus the reason Nintendo has sold over 280 million copies of the games over the course of the franchise, but what is it that separates Gen. 2 from all the others, at least to the degree hyped in the intro?

Plot and Setting. And I’ll briefly tackle the latter before getting back to the former.

First of all, this game is set in a completely different setting from the original game: Johto, the neighbor of Kanto (where the first games were set). This means that there are plenty of familiar faces to go along with all the new ones. These games also introduced a 24 day/night cycle for the first time, where different Pokemon would appear depending on the time of day. While I have nice memories of the originals, my fondest memories playing Pokemon was in bed, at night, roaming around in the calm after-hours of Silver. It added this complete level of immersion I haven’t felt since. In my mind, there’s something deeply poetic about a solitary journey through the night to reach your destination as the sun is rising… my entire play-through of Silver/Gold felt like that.

So is there any reason other than nostalgia I can point out to communicate why Gen. 2’s setting is the best? Continuity. And not just in the sense that there are some old Pokemon accompanying the new ones. When all was said and done in Johto, you could go back to Kanto and run through the gyms there. It’s something no Pokemon game since has done (much to my growing frustration). Like no other entry in the series, Silver/Gold succeeded in truly capturing the scope of your journey and truly made you feel small in this wide-open world.

But as we should all know, a colorful world don’t mean anything if there aren’t even more colorful characters to fill it. I got you covered.

Starting with our primary antagonist… uh…

So in the first games, we had Blue. As far as I am aware, the rival in Gen. 2 has no canonical name. Off to a great start painting him as a great character, I know. But when you get down to it, he’s a far more complex and developed character than Blue was. All Blue had going for him was he was a braggadocios and was always 1 step ahead of you. He had memorable lines and always showed up when you were at your most vulnerable to try and break you, and in beating him, you could feel yourself growing stronger. But there was nothing malicious about him. He was on the exact same quest as you, a true rival rather than an enemy. There’s a sort of shared experience to Red’s and Blue’s journeys.

Not the case here. Your first battle with your rival is a very abrupt one. You don’t even know his name at the time, he’s very rude, and you’re in his way. It’s not until afterwards that you discover that he actually stole his Pokemon from Professor Elm. He’s an admirer of Team Rocket and as such only desires one thing in this world: strength (no not just the HM you silly Zangoose). Throughout your journey, you butt heads repeatedly. Sometimes he’s a little ahead, sometimes he’s just catching up. Rather than being constantly at different points along the same path (like the relationship between the player character and the rival in Gen. 1), this iteration feels more like two characters on distinctly different journeys, whose roads just happen to intersect violently from time to time.

Even more so than the originals, it leads to this iteration of Pokemon feeling lonelier. There is no shared experience. You, the solitary trainer, walk your path alone. And I love that. Not enough kids’ stories are brave enough to explore loneliness in my opinion, at least not for any length of time.

And as your paths intersect, and as you beat him time and time again, he comes to question his beliefs and his values. He comes to see a bit of strength in love and compassion. And maybe, just maybe, by the end of the game you’ve actually changed a heart for the better… something other games in the series tend to lack (at least, without the heavy handed approaches of say X/Y or Black/White)

But what about Team Rocket, the true villains of this series? Rather than appearing as an international organized crime syndicate, Team Rocket this time around is in total disarray. Their bosses have disappeared, leaving them to perform small-time tasks like selling Slowpoke tails, hijacking radio broadcasts, and driving Gyrados insane. And yet, they are somehow able to feel more menacing, more real. This time around, they are a villainous organization not in principle, but in action. In the first game, they run casinos, try to take over corporations, and steal fossils. Their ends are obscure, their grand scheme is a mystery. In this game, they cut off the tails of still living animals and sell them for food! Yes the Team Rocket of Red/Blue killed a Pokemon, but you don’t catch them until after the act. Here, they’re in your face.

That’s actually the best way to sum up the differences between Team Rocket in Gens. 1 and 2. In Gen. 1, you get told a lot about Team Rocket. In Gen. 2, you are shown a lot about Team Rocket. And as the classic rule of story-telling goes: show don’t tell.

On top of all that, you have to battle your way through 8 gyms, foiling Team Rocket every chance you encounter them, and delivering medicine to a sick lighthouse worker once. Though the journey may be a lonely one, the world is far from empty. And at the end of the road sits the Elite Four, based on the slopes of the mountain range that divides Kanto from Johto. So once you’ve defeated them, you guessed it, you can cross into Kanto and beat the 8 gyms there (including Blue, who took up residence at Gym #8), come back and defeat an Elite Four that’s grown even stronger after losing to you.

And that’s that right? You’re the champion of both regions and have no other mountains to climb.

Wrong! You get to climb that dividing mountain range now. And who do you find at the top? The protagonist from Gen. 1, Red. And he is no slouch. More so than any other game in the franchise, Silver/Gold allows the player to explore a brand new setting, plays to nostalgia with a chance to go back and retrace your steps, and then ultimately exceed whatever you were the first time around. Like no other Pokemon game, Silver/Gold expects you, no demands of you, to be better than you were last time.

Because that’s like real life. There are no true restarts. Even if you change jobs and change towns, the world doesn’t reset and what you left behind endures. We’re always left to strive to be greater than we were yesterday. We can climb that mountain and exceed what even we thought was possible when we first set out. Don’t stop being surprised. And don’t let fond memories keep you from making even fonder ones.

Now if you’ll excuse me, I have some fond memories to make in Alola.

For further playing:
Pokemon Silver and Gold on the Gameboy Color (1999/2000) AND/OR Pokemon Heart Gold and Soul Silver on the Nintendo DS (2009/2010)

A Top 10 for 100: Story Recommendations

After about 2 years, I’ve hit post number 100 on this blog. Obligatory reflections are as follows: This blog now contains about as many words as A Tale of Two Cities. To anyone and everyone who has ever stumbled upon this humble wordpress blog, thank you. To anyone and everyone who ever happens to stumble upon this humble wordpress blog from this day on, thank you. This place has only ever existed for me to practice an aspect of my art and to share what little I may claim to know about the art of storytelling with all of you.

Also, we’re nearly halfway through NaNoWriMo. How’s everyone’s 50k challenge going? I’ll front with you all, there’s some serious effort re-quadrupling that’s going to need to be done on my part.

Anyway, today I’m getting a little bit more personal. Today I offer you 10 of my favorite stories of all time. They have all been discussed at some length on this blog (save for one), so this will be a series of brief overviews of why I would recommend some of the things on here. The first five are in no real particular order, but you could say the last five will be essentially counting down my favorite stories with Number 1 being at the bottom. After 100 posts, let’s boogie!

10: Troy (2004 Film)

Not off to all that convincing a start are we? I’ve discussed the plot of this film at length a few months ago, and lost in all the babble about recreating myth in a historically plausible manner may have been the fact this is one of my 3 favorite movies all-time. Now before you storm off with what remains of my credibility, hear me out. As a history major, I found the manner in which the film was shot and the story told fascinating, considering our primary source of knowledge about the Trojan War is an epic poem, more rooted in myth than history. And before everyone gets their feathers ruffled, there is solid evidence that a war was fought around the city of Troy around the year 1200 BCE. Whether that means the Trojan War of myth actually happened, I’ll leave to you.

In addition to the myth building, the dialogue and monologues in this film are top notch. As soon as I hear Odysseus give that opening line: “All men are haunted by the vastness of eternity” I’m strapped in. If this film had released a couple years earlier, the fight scenes (particularly the large scale battles) would’ve been revolutionary (a la The Two Towers). As it stands, Troy does a fantastic job of fusing the grandiose battles that one would expect involving a war where a face launched a thousand ships, but also highlighting the duels and romantic vision of The Iliad.

9: The Invasion Cycle (Invasion (2000), Planeshift (2000), and Apocalypse (2001) Books)

For any of you Magic: The Gathering fans out there, back in the day every new expansion bloc had a novelized trilogy associated with it. Right around fifth grade, when I was first getting into MTG, I discovered this little dark fantasy saga, and my readings of not only The Invasion Cycle, but also The Onslaught Cycle, The Mirrodin Cycle, and The Kamigawa Cycle, have informed the types of stories I tend to tell ever since. Of these, Invasion and Mirrodin are my favorites, and for nostalgia purposes, let’s discuss the former rather than the latter.

As I mentioned above, The Invasion Cycle is firmly within the realm of dark fantasy. It is brutal, ugly, and at times downright depressing. Whereas Troy blends the poetic elements of war with a bit of the ugly reality, Invasion pulls no punches. Within the first two pages, you are thrust into the total war between the two planes of Dominaria and Phyrexia. The former contains everything that is beautiful about MTG, all the diversity (both beautiful and otherwise) and the latter contains monstrosities out of a realm of nightmares. There are reluctant heroes, all powerful planeswalkers, epic battle after epic battle, and a captured sense of what it might actually look like if two entire worlds went to war with one another. And yet, it’s the quiet moments where Invasion truly shines. While they don’t happen all that often, there’s a heart-wrenching look at infectious disease through the eyes of the main characters. There’s betrayal, there’s a series of questions regarding what is worth sacrificing to save what’s left. As action packed as it all is, The Invasion Cycle is a relatively quick read and comes with a recommendation from me, especially if you want to improve your action scenes and descriptive voice as a writer.

8: Avatar: The Last Airbender (2005-2008 TV Series)

Back in the realm of familiarity for you long time readers. There is no family TV series I can praise more than The Last Airbender. With a plot straight out of the original Star Wars trilogy, a colorful cast of characters from multiple sides of the conflict, this show takes what Star Wars did well, and explores the themes a bit more deeply. It’s a show where you can see the characters’ growth from episode to episode, it’s not afraid to have its main characters fail, and in the end it has a powerful message regarding perseverance in the face of adversity, second and third chances, redemption, and the ultimate triumph of not only good over evil, but the triumph of right over wrong and justice over revenge. I’ve already typed out way too many words on this subject, so if you’re feeling adventurous, hunt down all the old pieces on this series on this blog.

7: Honey and Clover (2005-2006 Anime)

Despite my love of Shonen Battle animes like BLEACH and Akame ga Kill, my favorites are the quirky, borderline slice of life ones like Shokugeki no Soma and The Melancholy of Haruhi Suzumiya. And my favorite of them all is Honey and Clover, which is full-on slice of life. The story of five kids at varying stages of their young lives going through art school and finding jobs and personal direction afterwards. My go to example for producing a story full of drama and emotion, without the presence of a single villain. There can’t even really be said to be an antagonist either (for you wisecracks who would point me in the direction of my own post on Princess Mononoke where I discussed the lack of villains there). If you’re looking for something to experience in a relaxing manner, where you can find high drama in a group of kids searching a clover patch for a four-leafed shamrock, this is the anime for you.

From a storytelling perspective, this is a prime example of a narrative that is entirely character driven. The only outside force acting upon the characters is the ever present forward march of time. And it’s a show that takes it’s time, but like life, it’s never going to let you linger in a moment for too long.

6: To the Moon (2011 Game)

Where do I even begin to express my love for this masterwork of the visual novel genre? To the point where I recommend it to non-gamers wholeheartedly and trampling over the “but really I don’t play video games” excuse. Play this one. It takes 4 hours. Come back to me when you’re done and we can share a box of tissues.

To the Moon is a tightly weaved story in the vein of Inception and Eternal Sunshine of the Spotless Mind (both of those incidentally have my recommendation). It takes full advantage of the world it builds, namely the existence of a company that can go back and alter dying people’s memories to fulfill their final wishes. It avoids questions of morality and elects instead to focus on the mystery of one man’s life, namely: why does he want to go to the moon? For you writers out there, this is how you revolve a story around outside narrators who are simultaneously the protagonists of the story and not involved in any way. As beautiful as it is heartbreaking, tears will likely be shed, To the Moon can’t be praised enough from my point of view.

5: Final Fantasy X (2001 Game)

But my favorite game of all time has to go to the first Final Fantasy I played. As I replay it now, I’ve come to realize that Tidus’s narration throughout the game is actually spot on. It provides a sense of retrospect that by the time the final act comes around, the decisions that are made carry that much more gravity. At the same time, it never completely removes the player from the moment. It could almost be taken as his thoughts immediately following an event, which for someone who isn’t aware that he is, in fact, telling the story as the player plays it, keeps them from getting lost.

At the same time, FFX utterly nails pacing. It takes advantage of the fact that the player-characters are on an epic quest that spans their entire world. The amount of information and plot isn’t drip fed through player exploration and having to puzzle everything out yourself, but at the same time there are very few exposition dumps. Everything that can possibly be communicated through gameplay is. And to top it all off, for a 15 year-old game, the cut-scenes are to this day, extraordinary. In short, if you’ve got 40-60 hours to throw into something and care to know how to write a good epic, almost any Final Fantasy game can give you that. This just happens to be my choice.

4: The Scott Pilgrim Series (2004-2010 Graphic Novels)

While the film is a fantastic adaptation of the novels, it’s really more of an entry point to the series than anything else. It introduces you to the everyday, yet completely bonkers world that these characters inhabit. It covers the visual spectacle and the struggle of young adults trying to find their way in the world. But if it’s context, depth, and pacing you’re after, then the graphic novels are for you. The character development is sublime, the pacing between everyday drama and high-spectacle action is a thing of wonder, and by the end you will have a complete understanding of everyone involved in this saga, for better and for worse. Like what I said about FFX above, the graphic novels take advantage of the length they are allowed to make the reader feel the length of the journey. Entire characters and backstories that aren’t included in the movie can be found in the novels. Here, the fights against the evil exes are not the main attraction, but rather the climaxes of each episode. The lie and share of the pages you’ll flip through are day to day life more in the vein of Honey and Clover than BLEACH.

Of note here, pay attention to the balancing act between providing flashbacks and context, and actually pushing the story forward. Exposition is something that doesn’t need to come right away. It only needs to be known to the audience by the time it will be relevant. The trick is making the exposition entertaining without a flashback sequence coming out of nowhere. O’Malley nails it here.

3: Star Wars (1977-Ongoing Films, Books, Video Games, TV Series, etc.)

The first movies I can remember watching as a kid were the original Star Wars movies on VHS. I couldn’t tell you how many times I’ve watched them. I love the prequels too and the expanded universe books. I’ve played my share of Star Wars video games, watched my share of TV series, and have pretty much loved all of it. The amount of depth that has been put into this universe is something that no single individual can do. It is the result of not only George Lucas’s original vision, not just the additions made by Disney, but combined the efforts of thousands of fans producing their own content to flush out an entire galaxy worth of history, and millions more adding their thoughts and interpretations as well.

At the end of the day, the original trilogy is a fairly straight forward “I Am the One” arc plot. If you were to remove the setting and philosophies of the series, you’d have something that’s actually quite stale. So that means that the setting and themes are A+ grade and are worth studying for all you storytellers out there. As expanded upon in the prequels, Star Wars is less about the battle between good versus evil and more about the rise and fall and redemption of its characters. It’s more interested in the drama between its protagonists and antagonists than it is about the galactic conflicts happening all around them. It’s an important lesson in the value of producing a high quality world, but also creating higher quality characters to inhabit it.

2: Spirited Away (2001 Film)

For anyone who has skimmed just the titles of the posts that I… uh… post here, you should get a sense of the fascination that I have for this type of arc-plot. While not the first instance in the history of story telling of a character getting zipped away to another world and forced to find their way back home through myriad adversities, it is in my opinion the defining one. Everything about the story, the characters, the pacing, the visuals, the themes, is perfect. As we’ve progressed through this list, I’ve spotted a common theme in a lot of these recommendations: the storyteller takes their time. There is no rush to get to the end, no concern that the reader will get bored, but at the same time there is very little in the way of extra fat added on to fill out the story. Everything that is presented to the audience is to the betterment of the audience’s understanding of the world, characters, and circumstances that they find themselves is.

Furthermore, this is a movie of pure imagination, and it allows the audience to immerse themselves in it. Visually, this may be the most stunning movie I’ve ever seen (of course, I’m biased towards animated films so take that with however much salt you need). While the characters are colorful and fantastically realized, this is a story with a distinct focus on the journey, and overcoming all the trials the spirit world can possibly throw at you.  And it passes those trials with flying colors.

1: The Wheel of Time (1990-2012)

And despite all of that, my favorite story, the one that has most certainly influenced my writing the most over the years, is Robert Jordan’s The Wheel of Time. I’m not entirely sure where to begin, so I’ll start by pointing you to the handful of retrospectives (I’ll finish them someday, promise!) I’ve already posted here. This is a fantasy series that fuses everything about the high fantasy genre perfectly. From world-building, to character arcs, to political intrigue, explanation and exploration of everything other-worldly to the point where by the time you’re done it seems everyday. The Wheel of Time immersed me like no other book series ever has into its world. Phrases that out of context are little more than gibberish produced audible gasps, and to this day I’m convinced no one has mastered the art of the cliff-hanger to quite the extent of Robert Jordan. Furthermore, I have yet to find a story that uses prophecy to its advantage this much. Because of the story’s themes and nature of the world’s history, prophecy is able to be both completely accurate and completely surprising when it is fulfilled.

To compare to the flavor of the day, A Song of Ice and Fire: both Jordan and Martin produced incredibly detailed worlds, with deep history and varied cultures and characters. Suppose that the act of storytelling is like casting a net. The grander the story, the more characters, the bigger the net has to be to contain it all. The net is made of plot threads that must be navigated correctly or else you end up with a tangled net and muddled story. Martin has solved this problem by cutting the threads and killing characters, not to imply that this is wrong or an ineffective means of storytelling, but after a while you can’t help but wonder if such a grand net was needed in the first place. Jordan, with pretty much no exception, casts his net, flushes out his world, tells his story, and then pulls the net back in undamaged. Every single character has a complete arc, from the main character to a random palace guard you meet on one page in book 3.

Yeah. He comes back.

And it all makes perfect sense. That’s something I feel I can’t stop reemphasizing about The Wheel of Time. Every arc is natural. Yeah there are 14 books and some of them feel like not a whole lot is happening, but I can’t imagine the characters arriving at the endings they arrive at if even a single chapter were removed. And somehow, despite all the immersion, and all the prophecy, the ending is somehow a complete surprise while at the same time being completely in line with everything contained in those books.

So concludes this round of recommendations. Here’s to hoping I’ll have 10 more to provide 100 more posts down the line. Thanks again for reading. If you like what you find here, why not try and share it? Writing and storytelling tends to be a solitary act but you should never have to go it alone. I’ll see y’all next week for a return to business as usual.

In the meantime, I’ve got a few dozen… thousand… more words to write for NaNo. Happy writing!