Lost in Translation is approaching a major anniversary mark, so it’s a good time to look back over the years. Today, let’s start at the beginning, with the first review posted, Star Trek: The Next Generation. In the early days of Lost in Translation, I went after the easier, low-hanging fruit, and ST:TNG was well in reach. I had watched both the original and the then new Trek when TNG first aired in 1987.
When TNG’s pilot episode, “Encounter at Farpoint”, first aired, the original had been in syndication for eighteen years, gaining a fan base that was too young to watch the series when it first aired. In between the last original Trek episode and “Encounter at Farpoint”, there had been an animated series and four films, beginning with Star Trek: The Motion Picture, all with the original cast. TNG, though, guaranteed a weekly hit of Star Trek, thanks to first-run syndication; ratings weren’t going to be an issue, just sales to TV stations.
The first two seasons were rough. TNG re-used some scripts for a proposed but unfulfilled Star Trek II TV series with the original crew of the Enterprise. The Star Trek II series ultimately became ST:TMP, and the mappings of characters can be seen between the movie and TNG. The obvious ones are Kirk and Decker to Riker, Xon, the Vulcan science officer who died in a transporter accident, to Data, Ilya to Troi, and Argyle and MacDougal to Scotty. The mappings aren’t perfect; there was an effort to make the new characters their own selves. With Troi, some of the Deltan culture, such as openness to sex, had to be toned down for television. Data’s quest for humanity mirrors Spock’s quest to balance and integrate his Vulcan and Human halves, but the paths each took are different.
It does take time for a TV series to get settled in, for character to develop to what fans will remember. TNG was no different. Season three was when the characters sorted themselves out. Still, the worst episode of TNG, the second season flashback episode “Shades of Gray”, is still better than TOS‘ worst, the third season’s “Spock’s Brain”. Meanwhile, the best of TNG pushed the envelope of Trek storytelling. “Darmok” explored the language gap in first contact while bypassing the universal translator.
In the time since the last TNG episode, the two-parter “All Good Things…”, in 1994, more Trek has been made. Star Trek: Deep Space Nine, which began during TNG‘s run and Star Trek:Voyager began the year after TNG‘s end. Star Trek: Enterprise began after Voyager‘s run ended. Today, there are three concurrent Trek series, Star Trek: Discovery, Star Trek: Picard, and the animated Star Trek: Lower Decks. Picard is a direct sequel to TNG while Lower Decks follows the crew of another starship in the same era. At this point, TNG is the more familiar Trek series, thanks to having a longer run and and the subsequent series set in the same era.
Star Trek: The Next Generation is a good example of a successful reboot, matching the original series in quality, both highs and lows, and becoming its own entity.
Some series can be influential on the generations of creators who grew up with them. Anime, which while known prior to 1995, exploded in popularity in the late 90s and continues to have a large audience. Western animation is now taking at least cues from anime, if not fully emulating it the way Avatar: The Last Airbender and its sequel, The Legend of Korra did. In the realms of fully CG animation, ReBoot is the forerunner.
Released by Mainframe Entertainment in 1994, ReBoot was the first fully CG animated TV series. The series covered the adventures of Bob, Dot, Enzo, Frisket, AndrAIa, and the citizens of Mainframe against the machinations of viruses Megabyte and Hexadecimal and against games sent by the User. The first season and most of the second was mostly episodic. The change to a continuing series had the seeds laid out during the second season and started with the episode “Nullzilla”, where a web creature invades Mainframe. The fight against the web creatures forces Bob and Megabyte to work together. The second season ends Megabyte turning on Mainframe’s defenders and sending Bob into the Web.
Season three breaks down into four four-part arcs. The first arc has Enzo taking over the role of Guardian, fighting off incoming games and Megabyte’s propaganda, both with the help of Dot, AndAIa, and Frisket. The arc ends with Enzo losing a Mortal Kombat-style game. The second arc starts with Enzo, AndrAIa, and Frisket already in a Mars Attacks-style game. When the game ends, the Enzo and AndrAIa having compiled up and him going as Matrix. The arc covers the trio’s search for a way back to Mainframe and Matrix’s growing doubts about his abilities, and ends with the return of a character. The third arc begins with re-introducing the Crimson Binome and the crew of the Saucy Mare, first seen in the first season episode, “The Crimson Binome”. The arc then shows Matrix, AndrAIa, Frisket, and the Saucy Mare reaching Mainframe and seeing the devastation Megabyte made in creating Megaframe. The final arc is the final showdown, as Guardian Bob, Renegade Matrix, and the survivors in Mainframe once and for all put an end to Megabyte’s reign as the virus tries to find a way out to go infect a new system.
The fourth season was done as two movies, each broken into four parts for rebroadcast. The first, Daemon Rising, introduces a new threat, Daemon, while Mainframe tries to get on with normal life. Daemon, as the characters learn, is a cron virus that will destroy the entire Net if not stopped, and ends with a second Bob appearing. The second movie, My Two Bobs is a bit lighter, with Dot trying to figure out which Bob is the real one, a wedding, and ends with the return of Megabyte and him taking over the Principle Office in a still unresolved cliffhanger.
Throughout its four seasons, ReBoot through in what fans call DYNs, for “Did You Notice?” Popular culture references can be found in almost every episode, with several eps based on something specific. Season two’s “Bad Bob” took the premise of Mad Max 2, aka The Road Warrior, and added a plot that was relevant to ReBoot. Season three upped the ante, making a number of direct comparisons to other works, including the *007* franchise in “Firewall” and The Prisoner in “Number 7”. The games themselves often referred to actual video games or films, including Pokémon in My Two Bobs, The Evil Dead in “To Mend and Defend*, and games like Crash Bandicoot and Sonic the Hedgehog with Rocky the Rabid Raccoon in “Between a Rock & a Hard Place” and My Two Bobs.
Of particular note is the use of Star Trek in several episodes. There are binomes based on Captain Picard, Captain Kirk, and Commander Riker that reappear throughout the series. Lines from Trek have come ffrom several characters, including the Crimson Binome and Megabyte. The third season episode, “Where No Sprite Has Gone Before” written by fan and later Trek scriptwriter and script consultant DC Fontana, is a parody of both Star Trek and silver age comics. The destruction of the Saucy Mare in “Showdown” is straight out of Star Trek III: The Search for Spock, including the Crimson Binome’s lamentation, “What have I done?” and AndrAIa’s response, “What you had to do. What you have always done.”
In 2018, Mainframe in conjunction with Corus Entertainment1 produced a live-action ReBoot reboot, called ReBoot: The Guardian Code. The series starred Ty Wood as Austin/Vector, Ajay Friese as Parker/Googz, Sydney Scotia as Tamra/Enigma, Gabriel Darku as Trey/Frag, Hannah Vandenbygaart as the Virtual Evolutionary Recombinant Avatar or Vera, Bob Frazier as the Sourcerer, and Timothy E. Brummund as Megabyte, taking over the role from the late Tony Jay. The series is et twenty years after the events of the original ReBoot, with the Net and cyberspace far more developed, like today’s Internet is compared to when the original first aired.
The series begins with Austin, Parker, Tamra, and Trey arriving at the Alan Turing High School, a magnet school for computer science. Tamra is a social media guru. Trey is a basketball star. Parker is a natural at coding. Austin is the son of Adam Carter, who developed new technology that was never released, especially to the Department of Internet Security. The four students get a late notice that their homeroom as been moved to room zero, in the school’s basement. Room zero is hidden behind a hologram of a wall. Inside is Adam Carter’s technology.
Turns out, the four students already knew each other by code names in a video game, which was used to find candidates to become a new type of Guardian. Carter’s technology would let users transport themselves into cyberspace, with Guardian code to keep them safe from the dangers of the Net. Their first mission is to stop the Sourcerer and his dark code locusts, who have caused a power outage.
The Sourcerer realizes the new Guardians are a threat and brings back a virus with experience fighting them, Megabyte. Megabyte is given an upgrade reflecting the twenty years that have gone past since he was last active in Mainframe. However, the Sourcerer has also done his research and adds extra code to the virus, a delete routine. Failure to obey orders and the Sourcerer can delete Megabyte with a press of a key.
Megabyte’s first act of his own volition is to set up his own base of operations, replacing Silicon Tor with a new castle. He sees cyberspace as a realm to be corrupted and brought under his silicon fist. There is a war of wills between the main villains, with the Sourcerer having the upper hand thanks to the delete routine. However, Megabyte does find a way to equal the odds, possibly even give himself the upper hand.
In a brazen act, Megabyte breaks through the outer walls of Mainframe and finds his sister, Hexadecimal, voiced again by Shirley Millner. While tracking Megabyte, Vera and Parker realize that the system he’s infecting is close, as in practically inside room zero. Parker finds an old computer and flips the switch marked “Reboot Mainframe”. The new Guardians go into the old system, only to be stopped by Bob, voiced by the original Bob. Dot and Enzo join the group, explaining what is happening and what, exactly, Lost Angles is and who Hex is. However, the User notices that Mainframe is back online and downloads Starship Alcatraz, last seen in the original season one episode, “The Tiff”. Bob, Austin, and Parker are trapped inside the game and must stop the User from winning. This time around, Austin and Parker use their knowledge of the game as users to squeak out a win.
The Sourcerer, though, has other plans. Ultimately, he wants the destruction of cyberspace. He eventually makes a deal with Megabyte to gain information, removing the delete code from the virus. the Department of Internet Security gets more involved as they recognize both the Sourcerer’s dark code, the Guardian code, Megabyte’s viral code, and how often they appear near each other. And the Guardians have lives outside the Net, including teaching Vera, who transitioned from cyberspace to the real world, how to act human, crushes, academics, and other foibles of existence.
Back in 2018, I did a preview of the series. The trailer then wasn’t promising. Turns out, trailers lie. The series is worth a watch. The question, though, is, “Is it ReBoot?”
The elements from the original that do make it in are done well. Unlike the first glance, Megabyte isn’t an attack dog. He has his own goals, restricted by the Sourcerer’s foresight. Hexadecimal is very much recognizable, helped greatly by having Millner and her cackle return for the role. While Megabyte doesn’t have his heavies Hack and Slash, he does have his army leader, the Alpha Sentinel. He has a series of them; being promoted to Alpha Sentinel usually means being destroyed, most likely by Megabyte.
However, the rest of the series might be better off without the ReBoot label. The idea of users in a computer system isn’t new; Disney did it with Tron in 1982. The Sourcerer’s plot and the fight to stop him doesn’t really touch on Mainframe, though someone had to program the viruses, the sprites, the binomes, everything in the original.
At the same time, the series leans heavily on the ReBoot mythology, using terms like Guardians and using the original series’ iconography. The Sourcerer could have coded his own virus, but instead upgraded an existing one. Sure, a new virus character out to corrupt and dominate cyberspace, but that is Megabyte’s wheelhouse. Why create a pale copy when the original is around. That goes double with Hexadecimal; the Queen of Chaos is one of a kind, and having the pair brings the spectre of Gigabyte, their combined, upgraded form, into the audience’s mind. The reboot brings back two of the greatest viral villains in entertainment.
The cast of the series is strong. The Guardians and Vera have feel like a natural group, despite being thrown together, sort of, at first. The late Tony Jay is a hard act to follow, but Timothy E. Brummund is up to the task. Bob Frazier is creepy as the Sourcerer and puts in a credible work playing two different characters in one body late in the second season. Bringing back Shirley Millner as Hex is the icing on top of the cake.
Still, is it ReBoot? Yes and no. The series does work as a sequel after a gap of twenty years, and if the original split prior to the second season episode, “Nullzilla”, when a web creature infects Hexadecimal. The reboot doesn’t answer the cliffhanger at the end of My Two Bobs. Some fan favourite characters don’t appear at all, but some, like Mike the TV wouldn’t fit the new tone. The action moves from systems into cyberspace, but the Internet has evolved greatly since 1995, and even since 2001. The series also shows what a battle between Guardian and virus in a game looks like from the user’s perspective. It may be up to the individual to decide if ReBoot: The Guardian Code is a proper adaptation.
- A correction has been made since first publication. Originally I had Netflix as a co-producer when I should have had Corus Entertainment, the owner of YTV who aired both the original ReBoot and ReBoot: The Guardian Code in Canada. Thanks to GlitchBob on Twitter for the correction.
Apologies for the lack of content this week. The review I’m working on is turning out to be more complex than expected. Lost in Translation will return next week.
On Her Majesty’s Secret Service
Bond: George Lazenby
Release Date: 1963
Original Story: On Her Majesty’s Secret Service
Publication Date: 1963
Previous Story: The Spy Who Loved Me
Next Story: You Only Live Twice
Villain: Ernst Stavro Blodeld (Telly Savalas)
Heavy: Irma Bunt (Ilse Steppat)
Bond Girls: Tracy di Vicenzo (Diana Rigg), Ruby (Angela Scoular), Nancy (Catherina von Schell). plus ten more unnamed including one played by Joanna Lumley
Other Notable Characters: M (Bernard Lee), Q (Desmond Llewellyn), Miss Moneypenny (Lois Maxwell), Marc-Ange Draco (Gabriele Ferzetti)
Gadgets: None
Opening Credits: “On Her Majesty’s Secret Service“, composed, arranged, and conducted by John Barry.
Closing Credits: “All the Time in the World“, written by John Barry and Hal David, performed by Louis Armstrong.
Plot of Original: Bond’s hunt for Blofeld since the end of Operation Thunderball, as per the novel Thunderball, is going nowhere. There is no sign of the head of SPECTRE. Bond is getting tired of his job and is thinking of resigning the service, having gone far enough to compose a letter of resignation. Said composition is while he’s driving his Bentley through France, and is interrupted by a young woman who goads him into chasing her through the twisting countryside roads.
Bond does catch up to the young woman at the baccarat tables, where he bails her out of financial problems after she cannot cover a massive bet. He trails her out of the hotel to the beach, where he prevents her from walking into the rough surf and killing herself. However, Bond wasn’t the only man watching her. Others from the Unione Corse, a European crime syndicate, are also on hand and take Bond and the young woman to the offices of Marc-Ange Draco, the head of the Unione and the father of Tracy, the young woman. Draco convinces Bond the only way to keep Tracy safe is for the spy to marry her.
An arrangement is worked out, and Draco uses his connections to assist Bond in his search for Blofeld, placing the villain in Switzerland. Bond returns to England and is informed that a Blofeld is claiming the title of Compte de Bleuville. He works with the College of Arms to learn the details of heraldry and assumes the role of Sir Hilary Bray, with the real one being given a vacation to go hiking in the countryside.
Bond arrives at Piz Gloria, where the would be Comte is waiting. The Comte’s assistant, Irma Bunt, handles the day-to-day business of the site as the Comte himself is busy with a project to help ten young women, all of British or Irish citizenship, overcome allergies. Bond investigates, hooks Blofeld on the possibility of being the heir to the title, and gathers intelligence. He discovers that the young women are being set up to be the vectors of biological warfare, later confirmed when an eleventh had to leave the project early and a large turkey cull was needed due to a virulent disease.
With this knowledge, and with Bunt becoming more suspicious of him, Bond leaves Piz Gloria, though not undetected. He survives the ensuing avalanche and runs into Tracy, who is feeling much better than before. They escape in her car, Bond proposes, and he returns to England.
On consulting M, the plan is to stop the young women as they return to England and raid Piz Gloria. However, going after Blofeld in Piz Gloria will need unofficial assistance; getting Swiss help may delay matters and lose Blofeld. Bond calls Draco to arrange a team from the Unione. They fly in, claiming to be on a medical mission to throw off Swiss air traffic control, then storm Piz Glora. Blofeld escapes down the bobsled run, Bond not far behind, but the villain gets away.
With the mission semi-successful – the lab at Piz Gloria is destroyed but Blofeld escaped – Bond and Tracy get married. As they head out on their honeymoon, they are shot at in a drive-by shooting by Bunt and Blofeld. Bond recovers but Tracy is fatally wounded.
Differences:
The pre-credits sequence has Tracy’s attempted suicide, though not described as that. Bond meeting Tracy at the casino is after the credits; in the novel, the order is correct but Bond first meets Tracy at the casino, with their initial meeting done as a flashback. This change of order requires Bond to be kidnapped on his own, being taken to meet Draco. The meeting is condensed, but the beats are kept. The change in order makes sense in that 007 movies tend to open on an action sequence to get the audience’s blood going.
Bond does try to resign, though Moneypenny changes the resignation into a request for time off. Bond spends the time with Draco, where he learns of a potential lead instead of just being told outright by Draco. Again, this is to keep Bond as the active character instead of just being given the info. In the novel, Bond takes the info to M and formulate a plan to go undercover as Sir Hilary Bray of the College of Arms, which does happen in the movie, though, again, condensed.
Blofeld’s plot is more or less the same, except instead of targeting Great Britain and Ireland, he’s going after the world’s food supply. The twelve young women, not ten as per the novel, are from around the world, though Ruby remains British. Bond’s escape follows the novel’s version, though details are lost due to the change to a visual medium. Bond does run into Tracy, though the chase scene is more elaborate than in the book; the demolition derby was not in the novel.
Bond’s return to England is cut completely. Instead of reporting to M and getting various departments involved, Bond contacts Draco to get an assault team together to storm Piz Gloria, more or less as per the novel. Again, some details are condensed for time purposes, but once at Piz Gloria, the assault plays out as per the novel.
The movie also dropped a character. Bond’s secretary, Mary Goodnight, isn’t a significant character, but she does handle some of the paperwork needed. Moneypenny instead appears as M’s secretary, as usual, mainly thanks to having Lois Maxwell available. Goodnight will make her film debut in The Man With the Golden Gun.
Commentary:
OHMSS is George Lazenby’s only outing as 007. Sean Connery retired from being Bond after You Only Live Twice, but would return for Diamonds Are Forever in1971, thus having the same problem 007 had in leaving the service. The opening sequence calls out the new 007 with the line, “This never happened to the other fellow.“
Most of the differences between novel and film come from the change to a visual medium. A novel’s pace allows for more introspection by the main character, more details added to explain how the various moving parts work together. However, a movie audience isn’t going to sit still for a discussion on how the various parts of the British bureaucracy fit together. Likewise for an in depth explanation of European organized crime. It’s enough to state that Draco is a crime lord and has connections.
OHMSS is back to basics for Bond. No gadgets, in fact, going undercover as Sir Hilary Bray meant leaving the gadgets and gun behind. With a new Bond, it’s a chance to show another side of Bond. The 007s of Roger Moore, Timothy Dalton, and Pierce Brosnan all paid respect to Tracy in one way or another during their time. On Her Majesty’s Secret Service is a key film in the EON continuity, despite Lazenby only being a one-time Bond.
Netflix, working with Kevin Smith and Powerhouse Animation, have been working on Masters of the Universe: Revelation since 2019, continuing the classic series from the 80s. Stills have been released and a cast has been announced. Playing Prince Adam/He-Man is Chris Wood, with Sarah Michelle Gellar as Teela and Mark Hamill as Skeletor. The series premiers July 23 on Netflix.
The released stills reflect Filmation’s original, but with more detailing. Filmation’s Masters of the Universe tended to re-use models and animation to save on costs. Characters tended to be a bit stiff as a result. Granted, the stills are stills and not animated, but the characters look more fluid, more dynamic. Combined with a strong cast, the Netflix series should gain an audience.
The only caveat is that the new series may not interface well with Netflix’s She-Ra and the Princesses of Power series. The new She-Ra created a new cosmology for the show, shunting the characters beyond the universe, though they did return to one in the final season. Audiences should not expect a crossover right away. The new Masters of the Universe should be judged on its own merits, not in comparison.
Lost in Translation has covered BattleTech a couple of times, once for the animated adaptation, the other for the fan-made Tex Talks BattleTech series. BattleTech started as a tabletop wargame, featuring BattleMechs, giant piloted mecha that are the kings of the battlefield of the future. The wargame spawned RPGs and video games, the most recent of which being published by Harebrained Schemes.
Among the various video games was MechWarrior 4 series, with MechWarrior 4: Mercenaries being released in 2002. The game allowed the player to become Spectre, the leader of a mercenary unit. The unit takes on several contracts in the region known as the Chaos March, the border between the Capellan Confederation and the Federation Commonwealth during the time of the FedCom Civil War. However, one of missions for the players takes place on Solaris VII, the Game World, where individual and teams of MechWarriors battle in arenas much like combat sports today, except with giant mecha. Matches are recorded and sent through the known galaxy, allowing for massive revenue for the licensor and licensees.
Of course, when there’s a sport, there is a sports announcer. In the game, the announcer is Duncan Fisher, voiced by George Ledoux. Ledoux wanted to get into Duncan’s head a little better, so he commissioned Cody Ouellette to write a short story about Fisher’s past. Ouellette at the time was a writer for BattleCorps, a subscription-based website that provided stories, news events, and scenarios for players. However, the story, “The Last Contender”, isn’t considered canon. It also doesn’t quite fit as fanfiction, considering what the story was commissioned for. It is an adaptation, though.
The story leans heavily on setting knowledge. As mentioned, Solaris VII is the Game World, along the lines of Las Vegas or Atlantic City. Silesia is the main city, home to the major arenas and split into sectors controlled by the major Houses/nations. Kai Allard-Liao and his customized Centurion, Yen-Lo-Wang, appear in a number of BattleTech works, including Michael Stackpole’s Blood of Kerensky trilogy covering the Clan Invasion. Allard-Liao was considered the best in the Solaris games, having won the Grand Championship two years in a row. Naturally, any MechWarrior in the games would want to test his mettle, much like Duncan does.
Like the early years of Vegas and Atlantic City, organzied crime has a foothold on Solaris VII. Fixing games isn’t unheard of. However, strong arming a pilot who has a massive walking tank tends to not go well. The media is also pervasive on Solaris; there is a demand for the games throughout the known galaxy, though there are elements that are not happy with them.
The story’s focus on Duncan Fisher is its strength. “The Last Contender” is about how an ambitious man became a popular announcer, bitter but still in love with the games, the former athlete now in the broadcast booth. All to get into the mind of a character for a small portion of a video game. But it works.
Duncan Fisher’s legacy continues, though. The character is memorable and has appeared in a number of the Black Pants Legion’s videos and is the arena announcer in Mechwarrior Online. Ledoux’s portrayal of the character gives nuance that is unexpected for an announcer role.
“The Last Contender” is a bittersweet story. One door closes, opening a new door for Duncan, who may not be ready for the change. There’s no doubting that Ouellette knows the setting, having worked with it prior to writing “The Last Contender”. Ledoux’s reading fits the grittier parts of Solaris VII, the side that the media would never show to offworld viewers. Combined with Shaw’s art, the story paints a picture of a man thrown off stride and trying to deal with the hand life dealt him.
This review might be a little shallow. The Pokémon franchise is huge. Starting with the video game Pocket Monsters: Red and Green on the Nintendo Game Boy in 1996, there have been twenty-two games in the main series, easily more than that with spin-off games, mobile games for smartphones, a trading card game, an anime series with just under 1150 episodes, and several movies, including the live action Pokémon Detective Pikachu. Twenty-five years of Pokémon is a lot. Pokémon is the biggest media franchise.
The general idea of games in the Pokémon franchise is to become a Master Trainer, catching, training, and evolving Pokémon to use in fights against other Pokémon trainers. In the anime, Ash Ketchum is on a quest to do just that, starting in the Kanto region before going off into the world with his army of Pokémon, all trapped in Pokéballs except for Pikachu. The pika-style Pokémon doesn’t like being confined, but still travels with Ash and his friends as they confound Team Rocket.
The video game, Detective Pikachu introduces a new character, Tim Goodman, who arrives in a different city, Ryme City, to search for his missing father. The first being he meets in a Pikachu in a deerstalker hat. The Pokémon greets Tim, introducing himself as Detective Pikachu and Tim understands him. However, Tim is the only one who does. Tim also can only understand Pikachu. The first case they tackle, as a training mission for the player, is to track down an Aipom that has stolen a necklace from a little girl. As Tim and Detective Pikachu follow the trail left by the Aipom, they discover that something is amiss among the Pokémon.
While looking for Tim’s father the duo discover the existence of a drug called “R” that was meant to be a miracle drug. However, the creation of R involved genetic material from Mewtwo, not the Mew that was intended. The Mewtwo genetic material causes Pokémon to rampage. The investigation leads to the detective duo tracking down all of Mewtwo’s cells to return, finding the culprit responsible for R, and preventing the release of R from a large machine. Once done, Tim and Pikachu head off to continue to look for Tim’s father.
Naturally, something popular will be adapted as a movie. The live-action Detective Pikachu debuted in 2019, starring Ryan Reynolds as the title character, Justice Smith as Tim Goodman, Kathryn Norman as Lucy Stevens, Bill Nighy as Howard Clifford, Chris Geere as Roger Clifford, and Ikue Otani reprising her role as Pikachu when others need to hear the character. Detective Pikachu is Nintendo’s first live-action film since Super Mario Bros. This time around, Nintendo had, via The Pokémon Company, had more control over the film.
The movie starts similarly to the video game, with Tim travelling to Ryme City. When he was younger, Tim wanted to be a Pokémon trainer, but could never get one of his own. His dreams faded, and he became an insurance adjuster. News of his father’s death, though, hit him hard as he travelled. Tim’s first stop after visiting the police for details, where he finds out his father died after a car crash. He then heads to his father’s office where he finds a vial marked “R” which gets opened. Tim tosses the vial away after inhaling the gas. He continues to explore the office and sees motion. Being careful, Tim arms himself with a stapler and calls out the intruder. The intruder is a Pikachu wearing a deerstalker hat, who tells Tim to drop the stapler. It takes a bit of work to convince Tim that he isn’t hearing things, that Pikachu is talking to him. Pikachu is as amazed as no one has ever understood him before.
Outside, several Aipom are around where the vial lands. The Aipom begin a rampage and head up to the office. They break in, and chase Tim and Pikachu out of the office and up to the roof. The rampage doesn’t last long, but is long enough to force Pikachu and Tim to dive into a garbage chute to escape. However, a discussion afterwards between Tim and Pikachu leads Tim to believe that his father may still be alive, as Pikachu was also in the car crash.
The search for Tim’s father leads to meeting Lucy, an intern at GNN, and her Psyduck. While Lucy’s main duties are the network’s social media and puff pieces like, “Top Ten Cutest Pokémon”, she senses that there is a deeper story happening. She and Tim follow a few leads that point to a lab owned by Clifford Industries. The remains of the lab still have some of the Pokémon being experimented on.
The clues come together and the villain’s plot is revealed. The R gas will be released during Ryme City’s anniversary, fusing Pokémon and their partners together. Only Tim and Pikachu can stop the plot and finally find Tim’s father.
The Pokémon in the game are rendered to appear three dimensional while still resembling their original appearance. The opening credits show the Pokémon as being integral to the setting, with a herd of Bouffalant corralled in a farm and Pidgeot flying over fields. Pikachu is easily identified, as is Psyduck. Having Ikue Otani reprise her role as Pikachu’s voice is a nice touch.
The movie leans heavily on Pokémon lore. The “R” on the vials of R gas is the logo for Team Rocket, though they don’t appear. Mewtwo is specifically mentioned to have been retrieved from the Kanto region, the setting for the early seasons of the anime and for Pokémon The First Movie: Mewtwo Strikes Back. Pokémon Detective Pikachu is effectively a sequel of sorts to Mewtwo Strikes Back. However, Pokémon Detective Pikachu can stand alone; the movie explains things along the way for the Pokémon rookie.
Adapting mystery and horror works have their own tightrope to walk; the audience is there for the hidden. It is possible to adapt a mystery faithfully; Mystery on the Orient Express is a good example. Brannagh was faithful to Agatha Christie’s novel, but the novel is considered a classic. The Evil Dead remake used the same beats as the original, but threw in new twists to keep the movie fresh. Pokémon Detective Pikachu uses a similar method as Evil Dead; the elements are there, but with twists to keep anyone in the audience off-guard from knowing the ending during the opening credits.
Casting usually makes or breaks a film. The movie’s cast is solid. Ryan Reynolds is believable as Detective Pikachu, portraying the Pokémon as a determined, caffeine-addicted character. Justice Smith holds his own against Reynolds, showing his chops during the questioning of Mr. Mime. The two have chemistry despite Reynolds doing voice work as Pikachu.
Because it is a mystery, Pokémon Detective Pikachu isn’t an accurate adaptation of the video game. However, it does keep the beats from the game. The movie also uses the Pokémon franchise to both fit in and expand the setting. Unlike Super Mario Bros., Pokémon Detective Pikachu made an effort to reflect the original work, and the effort pays off.
Remakes and reboots tend to come after about a generation after the original, typically about 30 years. Prior to the invention of affordable home entertainment, such as televisions, VCRs, and DVDs, the time allowed for a new generation to grow up and the previous generation to forget details about the original. With VCRs, DVDs, and streaming, the only limitation in getting an original work is availability. Studios may remove a work from being available, but while that may affect streaming services, physical media can still be played.
The remake is still a viable approach today, though. Breakthroughs in technology all for a new look at a work that is generally available in one for or another. Actors aging up or getting popular and thus more expensive does happen. No studio is going to get Tom Hanks for what he was paid when he starred in Bosom Buddies.
In 2002, Jason Statham starred in the French-produced film, The Transporter; his Frank Martin, the title character, was a breakout role for him. The movie was written by Luc Besson and Robert Mark Kamen and was directed by Corey Yeun and Louis Leterrier. Frank, in the movie, is a getaway driver for hire who calculates his role precisely. He has three rules; 1) once a deal is made, it is final; 2) no names; and 3) never open the package. The opening scene, where Frank is the getaway driver demonstrates the professionalism and preciseness he has. Three bank robbers need him after a robbery, but they break the deal by bringing a fourth. Frank refuses to leave until the fourth is dealt with. Once the fourth is gone, by being shot by his comrades, Frank begins his getaway.
Of course, a movie where nothing goes wrong will get dull. Frank breaks one of his rules during a job and opens the package. Turns out, he was transporting a young woman, Lai Kwai, played by Shu Qi. Frank still makes the delivery, but the guy who hired him, Darren Bettancourt (Matt Shulze), tries to eliminate loose ends. The explosion destroys Frank’s car, but not Frank, who was out of it at the time.
Since Bettancourt broke Frank’s first rule, never change a deal, by trying to kill him, Frank heads back to get vengeance. Bettancourt is out but his henchmen aren’t. When Frank is done Bettancourt’s villa, he has left behind broken and dead henchmen and taken Bettancourt’s car, where Shu Qi just happens to be. The action escalates as Bettancourt tries to kill Frank and Frank tries to get away. Car chases, martial arts sequences, including a fight on an oil-filled concrete floor where Frank is using bicycle pedals as skates, and gun fights lead to the breathless climax.
The plot of The Transporter is thin, but serves to deliver on the action. Audiences who saw the trailer came in with the expectation of an action flick, and that’s exactly what they got. An action flick with the stakes at the personal level. No threat to destroy the world, no corporation trying to upset democracy, just one man versus another and his henchmen. The movie would go on to have two sequels.
As mentioned above, remakes take about a generation. A remake of The Transporter would be expected anywhere between 2022 and 2042, but in 2015, Luc Besson, along with Adam Cooper and Bill Collage, penned The Transporter Refueled. Released by the same studio, the new film introduced a new Frank Martin, this time played by Ed Skrein. Joining Frank is his ex-spy father, Frank Sr, played by Ray Stevenson. The Refueled Frank has the same rules as the original. It’s when the rules are broken when things get interesting for Frank.
Frank’s latest job involves three women all dressed the same, all wearing the same wig. They need him to drive them away from a bank robbery, leading to a car chase that leaves several French police cars broken on the streets of Nice. The client, though, changes the deal by getting Frank’s father involved. Frank Sr is interested beyond just the need to get an antidote to a poison he was given. Frank Jr isn’t, sticking to his professional rules. Eventually, Frank Jr does involve himself, first for his father’s life and, when the poison turned out to be a hoax, to be able to live with himself.
Much like the original’s plot, the plot of Refueled is thin, an excuse for the action. The client is responsible for most of the motive behind the action, with Frank along for the ride, though once he decides to get involved, he has his own agency. Frank is given more background, from having a family member with him to hints of being a mercenary before becoming a getaway driver for hire. The antagonist has ties to Frank, having a shared past.
Skrein bring to the role of Frank the same energy Statham did in the original. Bioth portray Frank as professional in his dealings as a contract getaway driver. Skrein’s Frank also does not pick up a gun during the film, becoming a problem in a climactic fight. Frank, though, has no problems with picking up pipes, hoses, ropes, or axes when his opponents are armed. Frank is unique in the film in not using firearms; he’s the driver, not the muscle, though he can defend himself when needed.
Adding Frank Sr allowed the film to include a chemistry that was sparse in the original. While Statham’s Frank could sit down with Inspector Tarconi to talk, Skrein’s had a good relationship with his father, humanizing Frank and giving a contrast to his professional persona. The chemistry between Skrein and Stevenson works on screen to emphasize the relationship between the characters. Indeed, a film about Frank Sr would be interesting to see, either before his retirement as a spy or what he does after Refueled.
With Besson on board, Refueled has an anchor to the original. The plot would fit with Statham, even if some details would have to be changed. Skrein’s portrayal of Frank fits in with the previous films. Refueled isn’t deep, but it does deliver on the promise of action. As a reboot, The Transporter Refueled adds to the character without skimping on what audiences are expecting. Despite being an early reboot, the movie succeeds at being one.
Apologies for the lack of review. Real life interfered, mostly work-related. Lost in Translation will return next week.
Giant monsters have existed in film ever since King Kong fell in love with Fay Wray in 1933. Japanese cinema has been the prime producer of giant monster, or kaiju media, from Godzilla in 1954. The Godzilla franchise has produced a rogues gallery of kaiju, including Mothra, Rodan, and King Ghidorah. Godzilla isn’t the only kaiju; Gamera has his own franchise and gallery of fellow kaiju. Other nations have tried making their own kaiju works; the 1961 Danish film Reptilicus is such an example. Giant robots are also a mainstay of Japanese media, through live action sentai works and anime. The mecha can range from large but still human scale, such as in Armored Troopers: VOTOMS and Bubblegum Crisis to towering units such as those from the Gundam franchise.
Naturally, works will inspire creators. Guillermo del Toro was inspired by the various kaiju and mecha productions, including Godzilla and Neon Genesis Evangelion, and HP Lovecraft’s At the Moutnains of Madness, leading to the 2013 film, Pacific Rim. The cast includes Charlie Hunnam as Raleigh Becket, Rinko Kikuchi as Mako Mori, Idris Elba as Marshal Stacker Pentecost, Charlie Day as Newt Geiszler, Ron Perlman as Hannibal Chau, and Burn Gorman as Dr. Hermann Gottlieb.
In the film, the Earth is under assault. Kaiju are coming through a breach in the the Pacific Ocean, wreaking havoc and destroying coastal cities. Conventional weapons are ineffective and the use of nuclear weapons would destroy more than just the kaiju. To combat the kaiju, giant mecha called jaegers were developed, capable of standing toe-to-toe with the monsters. However, the jaegers are too much for one pilot to handle. Two pilots must mesh in the drift, a merging of minds, and each handles one hemisphere. The nature of the drift means that a pair of pilots need to be close. One of the jaegers, a Mk III called Gipsy Danger, is piloted by brothers Yancy and Raleigh Becket and is dispatched to stop a Category-3 kaiju codenamed Knifehead from destroying Anchorage, Alaska. Gipsy Danger‘s victory is Pyrrhic; Knifehead is stopped, but Yancy is pulled out of the cockpit, leaving Raleigh to finish the fight on his own.
Five years later, and the battle isn’t going well. A new defense is in the works, known as the Life Wall. The idea is that with the Life Wall in place to stop the kaiju, the jaegers would no longer be needed. Raleigh, though, is already out of the service, his brother dead and Gipsy Danger too damaged. He’s now one of the labourers working on the Life Wall in Alaska. Before his latest shift begins, a military helicopter arrives with Marshal Pentecost. Pentecost has an offer for Raleigh, a return to action.
In the Shatterdome in Hong Kong, the last four jaegers are waiting for their standdown orders. Three have crews – Crimson Typhoon piloted by Chinese triplets, Cherno Alpha piloted by a husband and wife team, and Striker Eureka, piloted by father and son Herc and Chuck Hansen. The fourth, Gipsy Danger rebuilt, has no pilots but Pentecost is hoping that Raleigh can find a partner. After testing several potential partners, Raliegh chooses Mako Mori, a survivor of a kaiju attack on Tokyo.
The Shatterdome is also the home to kaiju researchers. One, Newt, has figured out a way to drift with the hindbrain of a kaiju. After a somewhat successful first drift, he discovers that the kaiju are planning on moving to Earth en masse, to destroy all life here and then to find a new home to invade. Pentecost is informed of the breakthrough and tells Newt to get in touch with Hannibal Chau, a black marketer dealing in kaiju organs and parts. It’s Chai that realizes the problem with Newt drifting with the kaiju brain; the kaiju have a hive mind. What Newt knows, every kaiju knows, including the plan to use a nuclear bomb to seal the bridge between the kaiju‘s world and Earth.
Two more kaiju attack, the target being Hong Kong. All four jaehers are sent to stop the Category-4s. Both Crimson Typhoon and Cherno Alpha are destroyed in the attack. Herc in Striker Eureka is injured, but the attack is stopped, with one kaiju laying dead in Hong Kong. Newt grabs the opportunity to get more information and, with Hermann as co-pilot, drifts into the the dead kaiju‘s hindbrain.
The plan to seal the bridge between worlds is still a go, though. Gipsy Danger and Striker Eureka are repaired and re-armed. Since Herc is out of commission, Pentecost steps up to co-pilot with Chuck Hansen. The Marshall had been a pilot of a Mk I jaeger, having been the one to stop the kaiju stomping through Tokyo. The two jaegers head out to sea, marching underwater to the breach. During the trip, Marshall and Newt return to the Shatterdome to pass along new information – the bridge won’t open unless there’s kaiju DNA.
Fortunately, a third kaiju attacks, a Category-5. Gipsy Danger barely survives, but with damage to oxygen tanks. Raleigh hooks his oxygen supply to Mako’s, then sends her up. He then pilots Gipsy Danger into the breach. Once through the dimensional barrier, Raleigh sets the time on the bomb, then escapes himself.
Pacific Rim delivers on the promise of giant robots fighting giant monsters. The effects show the mass of both, with plenty of collateral damage. Del Toro’s influences are obvious, but don’t get in the way of the story. Pacific Rim remembers that the key in a work featuring giant mecha is the characters. The audience is given a reason to root for the mecha over the kaiju. The worldbuilding is set up in the first fifteen minutes. Everything else is a visual feast with depth that one wouldn’t expect in a movie with giant robots and giant monsters.
Pacific Rim was popular enough to get a sequel, Pacific Rim: Uprising, and a mockbuster, Atlantic Rim. There was enough interest that Netflix produced an anime series, Pacific Rim: The Black in conjunction with Polygon Pictures and Legendary Television. The work began in 2018 with the series released in March 2021.
The series begins with Australia under attack by kaiju. The Pan Pacific Defense Corps, or PPDC, orders all coastal cities are evacuated and the inhabitants moved inland away from the Pacific Ocean. The last of the evacuees are students, including Taylor and Hailey Travis. Their parents, Ford and Brina, are jaeger pilots who are covering the evacuation; they also trigger The Black, a way to try to stop the kaiju from going beyond Australia. The bus with the last of the survivors is able to escape to a hidden base. Ford and Brina, though, need to leave to fight kaiju and find more survivors.
Five years later, Ford and Brina have not returned. The base has grown into a community, with farms to feed the inhabitants. Scouts are being sent out to various locations to look for other survivors. Taylor, though, isn’t one of them. He is still waiting for he and his sister’s parents. Hayley is the more adventurous one. She explores and during one of her explorations of the base, she finds a jaeger, Atlas Destroyer that had been left behind when the base was evacuated. Activating Atlas and its AI, Loa, Hayley begins a very quick training. The activation of the jaeger also summons Copperhead, a Category-4 kaiju. Copperhead destroys the settlement, leaving only Taylor and Hailey as the sole survivors. They only survived because they piloted Atlas to fight the kaiju, but the jaeger is set for training and is unarmed. The fight is a draw.
With no home, the siblings decide to look for their parents and begin a journey to Sydney. The trip is dangerous. A stop to get a new energy cell for Atlas leads to finding Boy in a lab in an abandoned PPDC facility. Hayley insists on rescuing him, breaking him out of the glass tube holding him. An encounter with more kaiju leads to meeting a black marketer, Shane, and his right hand woman, Mei. Shane has his own designs on Atlas, but his machinations leads to Mei questioning her own memories. Taylor and Hayley escape and continue on towards Sydney, with the threat of Shane behind them. The final battle against Copperhead reveals more secrets, ones that have no immediate answers. The season ends with a victory, a loss, more questions, and another group of humans watching the siblings. A second season has been announced.
Like the original film, the animated series has several themes. Some it shares with the original; including not letting the past hold you back. The series also introduces the idea that humanity can be more dangerous than the kaiju. The story in the series is also personal, like the original. While there are battles between Atlas Destroyer and kaiju, the characters are the ones driving the story.
Taylor and Hayley are young, and their inexperience does lead them to make rash decisions. Loa provides a sober second thought, sometimes through snark. The supporting cast is three-dimensional; their motives dictating their actions. Even Boy, whose secret is foreshadowed through the series, has an arc.
Overall, the series adds to Pacific Rim, expanding the world laid out in the film. Animation allows for a lighter budget, especially on a streaming service, which then provides for more time spent on exploring the world. Pacific Rim: The Black builds on what came before, leading to a fuller experience of Pacific Rim and the dangers of the kaiju.
Pacific Rim: The Black expands the setting, showing more of the world introduced in Pacific Rim and the effects of the kaiju invasion on people. The core characters are young, venturing out from their safe home into the wilds of Australia, already a dangerous place to wander in even before giant monsters are added. The series adds to the overall setting of the film, expanding it, adding another layer of worldbuilding on top of what the movie provided. The animation style may not work for everyone, but that’s true of all animation. The result is a series that is worth watching for Pacific Rim fans.
