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Everyone's Story (M21)

xEryChan

Demon Child
While I do regret getting a ticket (which I did months ago only because none of us knew TPCi caved in to fanbrat demands), there's nothing I can do about the first viewing. A friend of mine is going to supply me with an edit that has no music except for obligatory dub songs sometime after the theatrical run, because while I'll always prefer dub music be an option, no music at all would be a good alternative to JP version noise.
My earlier comment was specifically about the JP noise, not the whole movie. I'm baffled as to how anyone can enjoy it, but as long as people don't try to force me to join them in liking it, everything will be fine.

That works both ways though. I have seen you around a lot and, to me, it seems like you are the one constantly pushing their opinion on to others. I, personally, enjoy the sub’s music more than the dubs but I don’t go around hassling others over which version they like more. You might wanna take your own advice there, pal.
 

Dragalge

"Orange" Magical Girl
Anthropomorphic badger-raccoon thing man, we can like subs if we want. Philly Cheesesteak is a personal favorite of mine! And Italian BMTs too!

Oh the Japanese music? That too! You can try all you want but you can't ever make us like the dub music if we don't appreciate it. Never will we succumb to the word that sounds like subs but with a d instead of an s that stands for dull because who wants to eat a dull Philly Cheesesteak? I personally wouldn't! Oh and uh dub music too I guess.
 

Ryu Taylor

Unwavering beliefs. Richter Taylor is my name now.
Anthropomorphic badger-raccoon thing man, we can like subs if we want. Philly Cheesesteak is a personal favorite of mine! And Italian BMTs too!

Oh the Japanese music? That too! You can try all you want but you can't ever make us like the dub music if we don't appreciate it. Never will we succumb to the word that sounds like subs but with a d instead of an s that stands for dull because who wants to eat a dull Philly Cheesesteak? I personally wouldn't! Oh and uh dub music too I guess.
My icon's a ferret.

I wonder where you got the idea that I've tried to make people like the dub music...oh, wait, the same place Miyazaki groupies get the idea that I'll ever lower myself to liking that hack's noise just because it's the original music and therefore it must be loved by everything that exists: their own elitism.
I hate the JP version and my criticism of it is justified, and I have every right to hate it. The ones who think I don't, overhype the thing to be some Holy Grail that will absolutely be beloved by anyone who drinks from it, try to make me like it, or try to make me feel like I'm [insert name of any ultimate evil figure here] because I like the dub instead of the JP version are the ones I hate as much as the pitiful thing itself. JP version fans who don't do any of that are who all JP version fans ought to be like. But wouldn't you know it? The latter is hard to come by, and the former gave the fandom the terrible rep I now know it fully deserves (hence why I call those specific people Miyazaki groupies).

I became public enemy number one just for 1) being a fan of the dub instead of the JP version and 2) not taking their bullshit, and any other reasons people have come up with ("it's not that you hate the JP version, it's how you express it", "we'd have the same problem with you if you hated the dub this much", "it's okay if you don't like Miyazaki's music", etc) has been gaslighting drivel full of platitudes. My only "crime" was fighting back against such nonsense, and if that makes me evil, then so be it.

I'll end with this amazing video that sums up the Miyazaki groupies/TPCi haters.
 
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AznKei

Dawn & Chloe by ddangbi
I'm baffled as to how anyone can enjoy it,
Tbh, that quote alone makes people suspect you that you're a mean individual. I mean everyone had their tastes of liking things but it seems that you just like to judge someone for liking things opposite to you after all, like some bullies who called people who likes Japanese cultural stuffs weeaboos and proceed to harass them despite them making no harm. I think if you were writing "I would like to understand why people likes the Japanese subs", perharps people would be more forgiving to answer you. And you should tone down with the anti-Japanese sub rhetorics, we got your messages, you don't need to add more fuel to the fire.
 

Ryu Taylor

Unwavering beliefs. Richter Taylor is my name now.
Tbh, that quote alone makes people suspect you that you're a mean individual.
Obviously they're wrong. However, I can't really consider myself a 100% nice guy. What I consider myself is reasonable but willing to fight back when things get ugly, and it's when I'm doing that is what causes people to mistake me as intolerant. To clear up some other things:

Do I think it's wrong to like Miyazaki's music? NO.

Do I think it's wrong to not like Goldfarb's (or Loeffler, Shuckett, and Corallo before him) music? NO.

Do I think it's wrong to be happy that the dub of M21 is keeping the JP music? NO.

Do I think it's wrong not to be happy about the dub of M21 keeping the JP music? NO.

Do I think it's wrong to pick on people for what they like? YES.

Do I think it's wrong to pick on people for being disrespectful to others just for having a differing opinion? NO.

Do I think it's wrong to fight back when picked on for having a differing opinion? NO.

Do I think everything I've done in defense of the dub was right? NO. I've been tactless before.
As I said before, have fun with M21's JP music. Nobody should keep you from doing that. I would just rather not be one of the ones enjoying it.
 

NPT

Just a member
Okay, so... has anyone watched the movie yet? Was the Japanese soundtrack kept in the dub?
 
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Lord Starfish

Fond of owls
Okay, so... have anyone watched the movie yet? Was the Japanese soundtrack kept in the dub?
I did hear some comments... second-hand... that someone noticed hearing game remixes. Which would mean that, at the absolute least, some of it was kept. Though I'm still awaiting the full details from someone who actually had an ear open for whether there were any changes.
 

NPT

Just a member
I did hear some comments... second-hand... that someone noticed hearing game remixes. Which would mean that, at the absolute least, some of it was kept. Though I'm still awaiting the full details from someone who actually had an ear open for whether there were any changes.

That's good to hear. The tracks I want them to keep the most are the Jazzy Kanto Route 1 remix, Johto title theme remix, Johto Rival theme remix, Pokéchannel theme, Get-race, and Lisa's theme.

Edit: TPCi just uploaded this clip!! The Kanto Route 1 remix is kept, so hopefully the rest of the soundtrack is there too.
Edit2: The entire soundtrack was left intact in the dub!!
 
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Ryu Taylor

Unwavering beliefs. Richter Taylor is my name now.
TPCi just uploaded this!! The route 1 remix is there
Respect for the original track being remixed? Volume equalization? What are those, huh?!

Who wants my ticket?
 

DatsRight

Well-Known Member
I'd truthfully be content if they just kept most of the games remixes like 4Kids did for most of the Kanto series (though I wouldn't mind if the dub kept in some of the scenes with effective silence as well, I never got the 'never ending music' approach with anime dubs). I get there are times where an original track works better than replaying a stock piece of the Japanese music but it doesn't hurt to keep it in scenes it works or gives the show it's bit of authenticity (eg. fair enough not using the Snowbelle theme for EVERY sad scene like the Japanese edit was once guilty of, but at least let us hear it ONCE). You have ready made Pokemon tracks, why not use them?

Plus while the dub is sometimes good with themes and instrumentation links for characters, the Japanese already has some perfectly good variants (eg. the dub taking out Lillie's theme, one of the most heartwrenching tracks from the games, and replacing it with a far less poignant one was the last straw for me).

Of course it's not like the music is my only qualm with the dub anyway, which is why I usually stick to the Japanese edit in the first place, so maybe it isn't my business to criticise compared to Ryu who does watch the dub.

I will concede that this movie is not as much a nostalgia piece as I Choose You was meant to be (especially since there are less tracks that were in the dub in the first place compared to that one), so taking out all the games music still seems like a pointless swipe at authenticity, but doesn't as much diminish the appeal outright.
 
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Lord Starfish

Fond of owls
So now that the movie has premiered in the US, we have confirmation that, yes, other than the ending song, they did indeed keep all the music. And that one scene that Dogasu thought might get censored, apparently wasn't. And I'm sure the script was fine because Team Rocket isn't in it all that much and everyone who isn't them usually gets treated fairly. And people have also praised the voice-acting.

All of this makes me unreasonably happy. And this confirms that TPCi is, indeed, getting my money for this movie. Now I just gotta wait for it to get listed on Amazon.


...Boy, if you'd told me half a year ago that I would end up buying this movie twice, I would probably have just looked at you like you were some kind of crazy person.
 

shoz999

Back when Tigers used to smoke.
Saw the movie today. It was pretty good actually and yet at the same time, kind of a disappointment. So for starters, Ash Ketchum. He actually doesn't appear as much as he does in previous films. This really is "Everyone's Story" as a lot of the new characters appear possibly more often then Ash does. I loved how the story evolved from time to time and I loved the characters and their backstories. I thought Sudowoodo mimicing Machamp in a certain way was pretty hilarious. So why is this a good but disappointing film? I suppose for the fact is that since the movie focuses so much time on other characters, we rarely see Ash progress as a character. In fact, literally his only Pokemon shown throughout the movie is Pikachu and only Pikachu. No Charizard, no new Johto Pokemon added to his teams. Nothing.

Then there is Jessie and James. After seeing this film, it just made me realized something. What do they actually do for the series? I don't mean just the movies. I mean the ENTIRE anime series. Do they actually contribute anything? I feel like the average use of Team Rocket here, the fact that is another common depiction of how the Team Rocket trio is just kind of... just there... says the anime wouldn't really change much if they didn't had Jessie, James and Meowth in the first place.

However my biggest disappointment is the surprisingly lackluster ending they have including the credits scene. All Pokemon movies usually show what happens after they defeated the big bad villain. People are in joy, we get to see the heroes and the movie-exlusive character continue their journey or return to life or perhaps pursue a new dream. Here they surprisingly don't show any of this. They just show a festival and bam! That's it! They do show the blonde girl, forgot her name, confronting her friend at the end but that's about it. Then there is the credits scene. If the ending before it couldn't do that job, usually the end credits scene shows how life continued after the story. They just show paint-work and it sort of shows them continuing on with their lives but not as beautiful and awe-inspiring as past movies.

In all honesty. I think this is the first Pokemon movie where they rarely show what the characters are up to after the movie ends.

I suppose to sum it up this movie. It was great but it felt like a great filler episode expanded into a movie instead of a progression of the alternate timeline that "I Choose You" started.
 

Ryu Taylor

Unwavering beliefs. Richter Taylor is my name now.
You all know I think Shinji Miyazaki is a Godawful composer. The Power of Us changed that viewpoint for the worse. I couldn't even finish the movie, the soundtrack was so awful. As soon as that one famously tragic scene played, I was out.

See, here's the thing: "The Power of Us" is a character-driven movie, and Mr. Ed Goldfarb's compositional style basically revolves around leitmotif (character themes). Ergo, if ANY Pokemon movie needed him composing (or at least someone who understands and uses leitmotif), it's "The Power of Us." Miyazaki doesn't understand it (and, come to think of it, has he ever used it himself??) nor does he understand how to put any heart, soul, and emotion into his music. This movie NEEDED ALL of that, and it had NONE. NONE. And so, it horribly failed.

And so, since I bailed before the movie was over (albeit returning just in time to see the ending song, which was GORGEOUS), I'm not reviewing it in full until I see what I missed.

I'll take it. :D
Fathom Events-related circumstances prevented me from giving it away. I'd love to have given it to you if I could. At least you'd have stayed for the whole thing.
 

Pokegirl Fan~

Liko>>>>>Ash
You all know I think Shinji Miyazaki is a Godawful composer. The Power of Us changed that viewpoint for the worse. I couldn't even finish the movie, the soundtrack was so awful. As soon as that one famously tragic scene played, I was out.

See, here's the thing: "The Power of Us" is a character-driven movie, and Mr. Ed Goldfarb's compositional style basically revolves around leitmotif (character themes). Ergo, if ANY Pokemon movie needed him composing (or at least someone who understands and uses leitmotif), it's "The Power of Us." Miyazaki doesn't understand it (and, come to think of it, has he ever used it himself??) nor does he understand how to put any heart, soul, and emotion into his music. This movie NEEDED ALL of that, and it had NONE. NONE. And so, it horribly failed.

And so, since I bailed before the movie was over (albeit returning just in time to see the ending song, which was GORGEOUS), I'm not reviewing it in full until I see what I missed.


Fathom Events-related circumstances prevented me from giving it away. I'd love to have given it to you if I could. At least you'd have stayed for the whole thing.
Ok thanks :D
 

DatsRight

Well-Known Member
So now that the movie has premiered in the US, we have confirmation that, yes, other than the ending song, they did indeed keep all the music.

How ironic since I Choose You was the other way round.

I admit, empathising with Ryu's argument, I would have gladly switched the two movies' stance, since I Choose You was based on nostalgic interest (and a lot of the Japanese themes were ones the original 4Kids dub actually used so that element translated even outside the games), while Power of Us seems to be largely a more original character focused story.
 

Lord Starfish

Fond of owls
How ironic since I Choose You was the other way round.

I admit, empathising with Ryu's argument, I would have gladly switched the two movies' stance, since I Choose You was based on nostalgic interest (and a lot of the Japanese themes were ones the original 4Kids dub actually used so that element translated even outside the games), while Power of Us seems to be largely a more original character focused story.
The problem with that reasoning is that it implies that you would need a specific reason to not change something. I mean, yeah, I said that I would accept them changing the ED song, and there was an actual legit case to be made for putting in the English Lugia theme in order to appeal to the nostalgia of international fans, much like how changing the opening theme in I Choose You was the one and only music change in that movie that I could agree with, but... basically those are changes that I'd consider justifiable purely because of music changes done previously that have become iconic. I don't think 4Kids was technically in the right to change the theme song or rescore the entirety of M2 in the first place, but since we live in a world where that happened and the music they made has become as iconic and beloved as it has... Yeah using those tracks in place of the Japanese pieces they originally replaced makes sense. But outside of cases like those, or situations where the original music is just flat-out not available, the dub should keep the original score because it is not the dubbers' job to try and "fix" the movie. Of course I also don't think Pokémon's music ever needed fixing as Miyazaki's score to me is adequate with occasional moments of greatness, but this point still applies even for stuff where I do think the original music was awful. Like, as an example, the third Japanese Digimon movie might just have the most boring, unfitting score I've ever heard for anything, (imagine an hour straight of droning elevator music. In an action movie. It's basically that) and for all the other nonsense Saban did with that dub, their music quite plainly backed up the visuals better... well aside from that part where they played "Hey Digimon" but their soundtrack was still a net improvement... But even so, that was them overstepping their boundaries. Just because that movie was a total trainwreck that had good animation but literally nothing else going for it, that still didn't give them the right to scrap half the movie, recut it into a goofy self-parody and throw in a whole bunch of contemporary American pop music. Or for a Pokémon related example, Yumemiru Lovely Boy from the Deoxys movie makes my ears bleed and 4Kids's "This Side of Paradise" is an infinite improvement by virtue of actually being listenable... But the proper way to handle that ending would still have been for them to make an English cover of the song that I hated.

...But at the end of the day, even though them keeping the original music here is kind of one movie late as for the last one there was literally all the reason in the world to do so and I think there are plenty of arguments against it that don't even get into my rant about how dubs shouldn't change stuff that doesn't need changing... I'll still take this as a clear step in the right direction. It doesn't make me any less annoyed at how the last movie was handled, but I am very happy that they did this one right.
 

Shadao

Aim to be a Pokémon Master
Pokémon the Movie: The Power of Us

Review

There was an old statement from former Pokémon anime head writer, Takeshi Shudō, about Ash Ketchum (Satoshi). On his personal blog, he has claimed that Ash, as the main character aimed for children, could not be written as anything beyond the plain and simple stereotypical hero. And that to compensate for his vanilla personality, Ash needed to be surrounded by “fascinating villains and rivals” such as the Team Rocket trio. While I disagree with the notion that Ash Ketchum can’t be an interesting character by his own right, I find it to be the best method to tell further stories of Ash when nearly all of his character development has been done. The problem with Ash in recent Pokémon TV series and movies is that his early hotheaded and inexperienced personality, which made him a relatable character for many viewers, has all but phased out over time; in its place is the standard Shōnen stock hero. It makes sense for Ash to reach that stage in his character arc, but his personality is now more generic and thus less interesting to watch. So how would anyone tell an interesting story about Ash without regressing his character development he had earned over the past several years?

Enter the new director of this film, Tetsuo Yajima. Tetsuo Yajima had previously worked on the Pokémon anime as a Storyboard, Key Animation, and Episode Director since the Black and White series. But he didn’t rose to prominence until he was helmed as the Series Director of XY and XYZ. Under Yajima, the XY series did something unique with their approach of Ash Ketchum. Rather than just focusing from Ash’s perspective, the series explored on how Ash himself affects everyone around him; from his companions to his rivals to even the bystanders that otherwise have no impact on the main plot. As a result, we got an array of characters with their own quirks and storylines, and we could contrast all of them with Ash as the foil standard. This approach became the base foundation for the story of 21st movie and in my opinion, all the better for it. After all, it is everyone’s story, not just Ash’s.

The movie begins not with Ash and Pikachu, but with a new character Risa (Lisa). Unlike our main hero, Risa is not a Pokémon Trainer. She’s a former athlete runner who is tasked by her injured brother to go to Fula City’s Wind Festival celebration and catch a Pokémon for him. Shortly afterwards, we are introduced to a little girl named Margo (Largo) and her father Oliver, mayor of Fula City, leaving their mansion to prepare for the festival. And as we finally arrive to the city itself, it’s there we meet the rest of the ensembled cast. There is Callahan (Kagachi), a boastful braggart who lies about his achievements to his young niece Kelly; Toren (Torito), an insecure and timid scientist under pressure from his peers and scheduled presentation; And Harriet (Hisui), an old woman who hates Pokémon and wants to be left alone. And in the middle of this multi-introduction is Ash and Pikachu, who are closely followed by Team Rocket.

All of these characters have a distinct flaw that they must face and overcome as the movie progresses. The sole exception is Ash Ketchum. If you expect Ash to be some sort of immature idiot or a failure trainer, you are clearly not familiar with Yajima’s style. This Ash is an ideal trainer, an ace who easily gains the admiration of his peers and rivals for his skills, lessons and selfless heart. His character doesn’t change at all throughout the movie, but that is a good thing. It fixes a crucial problem that previous Pokémon movies have, where they would either focus too much on Ash at the expense of everyone else or simply shoehorn in stories where he is not needed. Having Ash be this supporting mentor figure allows the ensemble of new characters to take center and leave a lasting impression for the audience, while also making Ash integral to the overall story.

The characters themselves are all memorable despite being one-shot movie characters of the day. Risa’s clumsiness and naivety are funny to watch and a great contrast to Ash’s veteran persona, who has to teach her the ways of the Pokémon Trainer. Callahan wanting to impress his niece makes him a sympathetic character despite the fact the comeuppance for his dishonesty is well-deserved. Toren’s crippling shyness makes me wish he grew a spine already. Harriet trying to get away from a group of Pokémon that always follow her is absolutely hilarious, especially with that domineering voice. And Margo is like a younger version of Ash, such as protecting her befriended Pokémon in the same manner that Ash would do for any Pokémon. And although Margo has a lot in common with Callahan’s niece Kelly, there are distinguished traits to tell the two apart.

Though the characters’ arcs all start separately, they all intertwine with each other naturally and frequently; whether it be Risa getting wrong info from Callahan, Toren accidentally spilling a Pokémon attract chemical on Harriet or Ash protecting Margo from a bunch of kids selling lemons. Though there some stories that are more interesting to follow, like Callahan and his lying habits getting him into trouble, none of them overshadows the others. They all had their heroic moments in the spotlight, and I can easily recall each of the character’s story arc despite the film juggling all of them in the climax of the film. It does live up to title of the movie.

These intertwinements, along with a few Easter eggs and details in the background, help create a living, breathing environment that is Fula City. With such a down-to-earth premise compared to other Pokémon movies such as Pokémon 2000: The Power of One, world building is essential to the film’s strength to retain the audience’s interest in the movie. Take for instance the film’s handling of the featured Mythical Pokémon, Zeraora. Unlike most featured Pokémon in modern movies, Zeraora is kept hidden for the majority of the story until near the climax where it finally reveals itself. Its presence is only alluded to in historical events and urban legends told by various citizens ranging from small kids to government officials. Whereas most Pokémon movies would have an exposition book or expert to explain everything about their featured Pokémon to our heroes near the beginning, this movie holds off on the major exposition until near the end, after a gradual buildup of clues and hints given to the audience an idea of what the exposition is going to be. By that point, the audience is already immersed with the personal stories of the cast ensembled rather than the mandatory promotion of a Mythical Pokémon for kids to get. In fact, this is perhaps the first Pokémon movie where the marketing focus in on the human characters rather than the Mythical and Legendary Pokémon. It’s why I haven’t mentioned Lugia, the featured Legendary Pokémon of this film, at all up to this point despite being a central figure to the Wind Festival. Lugia is not essential to the plot.

Moving on to the action aspect, there’s not a lot of Pokémon battles in this movie as this is a character-driven story. But the battles that are shown are impressive. The audience that I was in awed and laughed during these sequences. The animation, camera perspective and sound effects are top-notch, especially when combined with a scenic background and realistic interaction with the environment. It’s like the battles featured in the XY series, only sharper and more fluid. Unlike the battles in the TV series and most movies, where Pokémon battles take place in a designated field area with the trainers in relative safe distance, Pokémon can hit their own trainers by sheer accident or cause destruction of property when on a rampage. It’s a sense of realism that hasn’t been seen since the opening of Pokémon 3: Spell of the Unown, and I hope it appears in future movies.

Voice acting-wise, the English dub is actually good at least by The Pokémon Company standards. This is perhaps Sarah Natochenny’s best work as Ash here, and the rest of the ensembled cast all sound natural and pleasant to here. The only characters that may sound off are Jessie, James and Meowth of the Team Rocket trio, but they are not in this movie that long and much of the problem I have is due to lingering nostalgia for Rachael Lillis, Eric Stuart, and Maddie Blaustein. Script-wise, some of the wordings are very cheesy, like Ash’s inspirational speech about “Pokémon Power” to a group of people far older than him during a crisis. But I can’t really fault the movie as this has been the standard message that told over and over again in nearly all of the Pokémon adaptations, including the Pokémon Origins mini-series from 2013. The only thing I wish is that they could find better words for Ash to say other than just “Pokémon Power.” For people who have grown fond for the Japanese dub, this competent dub production will help get you through the movie.

It’s also helped by the fact that the Japanese music score (which contains orchestrated music directly lifted from the games) is retained for this film after years of The Pokémon Company constantly replacing it with a US score for international releases since the start of the XY series. The Japanese score is pleasant to listen even for non-fans; and it has the added bonus for long-time Pokémon fans to identify music they had heard during their playthroughs of the Pokémon games.

All in all, Pokémon the Movie: The Power of Us is unlike any other Pokémon movie beforehand. It’s not an action blockbuster nor a blatant advertisement tie-in to GameFreak’s recently released game (though don’t get me wrong; Risa’s Eevee is a promotion for Pokémon: Let’s Go, Pikachu! and Let’s Go, Eevee!). It could have gone for nostalgia, action hype or even over-the-top comedy for the movie direction. They would still entertain the audience regardless of critical scores. Instead, the film goes for a humble premise and focuses on the characters, their stories, and the world they live in. And that is what makes this movie one of the best the Pokémon franchise has to offer.
 
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