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September 13th: PM2019 037 - I'm Back! Nice to See You, Alola!

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ash&charizardfan

ash&charizardfan

Humans are tools
I would love to see the reaction of ash when he sees the baby with kukui, i am predicting the same reaction edward elric had when hughes daughter was born.
 
Zoruagible

Zoruagible

Lover of underrated characters
Yet another reason Ash should be 11.
They've still got the new characters, who most of the time are used as the new audiences' eyes like May, Dawn, and Serena were. Just make Ash 11, they've had characters who clearly weren't 10(Brock, Cilan, Kiawe...) so I don't see why Ash still needs to be 10. Just break one of the few tropes that are left, the one people actually want broken.

I hope the Alola team goes home with Ash where they belong, that's the only way this mess can be salvaged since Ash isn't battling Kiawe -_-
 
D

Deleted member 384931

Guest
Ugh they spoil everything about this ep on Twitter. Now lets hope that battle is interesting.
 
Rune Knight

Rune Knight

Well-Known Member
I... solved it..

I solved the puzzle.

I figured why time doesn't seem to progress within the Pokémon anime as it should, but my reasoning as to why will involve JoJo spoilers, particularly from part 6, so proceed at your own discretion.

Okay so I'm not entirely familiar with Part 6 since it hasn't been adapted into an anime yet, but I posses a brief overview of the overall story.

So basically, the main villain of part 6 Enrico Pucci has a Stand named "Made in Heaven" with an ability to accelerate time.

However, biological creatures such as animals (humans count as animals) and plants (I think that plants count) are unaffected by this, so from their perspective it just appears as if everything is just moving really fast.

Now how fast Pucci decides to accelerate time is up to him I believe. For example, it could be 2x fast so the events of a day would only span within 12 hours. Biological creatures are unaffected by this change, so even though everything around them is passing by at a really fast rate, they just continue to age normally.

What if the Pokémon anime was actually set in the JoJo universe, and Made in Heaven has always been active, so the events of a year could easily occur within a month or even less from a person's perspective; and slowly over time, humans have adjusted to this change; for example, they'll manufacture their cars to drive slower because if they were to develop them at their regulated speed, they would just go really fast.

That is why whenever we hear things like "Oh there's 3 months left until the Hoenn League", they mean that there's three months left according to the calendar and the rate of the days, weeks and months passing by, but physically their bodies would only age like a week or two by then.

Now the whole baby thing might bring this theory down, but I believe that there might be a way around it which I'll try to come up with later.

For now, that's my theory.
 
Akkipeddi

Akkipeddi

All set to be a nice guy
Rune Knight said:
I... solved it..

I solved the puzzle.

I figured why time doesn't seem to progress within the Pokémon anime as it should, but my reasoning as to why will involve JoJo spoilers, particularly from part 6, so proceed at your own discretion.

Okay so I'm not entirely familiar with Part 6 since it hasn't been adapted into an anime yet, but I posses a brief overview of the overall story.

So basically, the main villain of part 6 Enrico Pucci has a Stand named "Made in Heaven" with an ability to accelerate time.

However, biological creatures such as animals (humans count as animals) and plants (I think that plants count) are unaffected by this, so from their perspective it just appears as if everything is just moving really fast.

Now how fast Pucci decides to accelerate time is up to him I believe. For example, it could be 2x fast so the events of a day would only span within 12 hours. Biological creatures are unaffected by this change, so even though everything around them is passing by at a really fast rate, they just continue to age normally.

What if the Pokémon anime was actually set in the JoJo universe, and Made in Heaven has always been active, so the events of a year could easily occur within a month or even less from a person's perspective; and slowly over time, humans have adjusted to this change; for example, they'll manufacture their cars to drive slower because if they were to develop them at their regulated speed, they would just go really fast.

That is why whenever we hear things like "Oh there's 3 months left until the Hoenn League", they mean that there's three months left according to the calendar and the rate of the days, weeks and months passing by, but physically their bodies would only age like a week or two by then.

Now the whole baby thing might bring this theory down, but I believe that there might be a way around it which I'll try to come up with later.

For now, that's my theory.
Click to expand...

Lol, and the reason why Ash feels so different in different series is because Funny Valentine used D4C to bring out different versions of Ash from various AU's.
 
ibelinssj

ibelinssj

???
Rune Knight said:
I... solved it..

I solved the puzzle.

I figured why time doesn't seem to progress within the Pokémon anime as it should, but my reasoning as to why will involve JoJo spoilers, particularly from part 6, so proceed at your own discretion.

Okay so I'm not entirely familiar with Part 6 since it hasn't been adapted into an anime yet, but I posses a brief overview of the overall story.

So basically, the main villain of part 6 Enrico Pucci has a Stand named "Made in Heaven" with an ability to accelerate time.

However, biological creatures such as animals (humans count as animals) and plants (I think that plants count) are unaffected by this, so from their perspective it just appears as if everything is just moving really fast.

Now how fast Pucci decides to accelerate time is up to him I believe. For example, it could be 2x fast so the events of a day would only span within 12 hours. Biological creatures are unaffected by this change, so even though everything around them is passing by at a really fast rate, they just continue to age normally.

What if the Pokémon anime was actually set in the JoJo universe, and Made in Heaven has always been active, so the events of a year could easily occur within a month or even less from a person's perspective; and slowly over time, humans have adjusted to this change; for example, they'll manufacture their cars to drive slower because if they were to develop them at their regulated speed, they would just go really fast.

That is why whenever we hear things like "Oh there's 3 months left until the Hoenn League", they mean that there's three months left according to the calendar and the rate of the days, weeks and months passing by, but physically their bodies would only age like a week or two by then.

Now the whole baby thing might bring this theory down, but I believe that there might be a way around it which I'll try to come up with later.

For now, that's my theory.
Click to expand...
Flame Body, Magma Armor, or Steam Engine can make pokemon egg hatch 2x faster.
 
Spider-Phoenix

Spider-Phoenix

#ChespinGang
WaterShuriken said:
I'll cry if they name the kid Satoru.
Click to expand...

Darn, I could see that working.

Though a part of me feels like this name would've been saved for Ash's son if they ever decide to show him older or pull a time travel story where he meets him lol

ibelinssj said:
Flame Body, Magma Armor, or Steam Engine can make pokemon egg hatch 2x faster.
Click to expand...

Knew about the first two already but had no idea Steam Engine does that as well
 
Yuugis Black Magician

Yuugis Black Magician

Namaikina Imouto
The passage of time is all about atemporality and kairological time. To quote Beautiful Fighting Girl (2000) by Saitou Tamaki:

As Miyazaki himself points out, anime starts out as the stepchild of manga.
Anime often borrow techniques directly from manga. The best known
example of this is the use of so-called manpu (©Takekuma Kentaro), but the
atemporality of anime is also derived from manga. Miyazaki compares
anime's atemporality to a traditional Japanese form of storytelling known as
kodan storytelling, in which time and space are grossly distorted and
exaggerated according to the passion and expressivity of the characters. The
kodan "Kan'ei sanbajutsu" (Horse riding in the Kan'ei era), for example, is a
long and extremely detailed description of how Magaki Heikuro climbs up a
stone staircase on a horse. This kind of unlimited extension of a single
privileged moment is typical of the atemporality of kodan storytelling, and
Miyazaki is extremely critical of it.

One sees this kind of temporality most often in gekiga comics like those of
Kajiwara Ikki. The most extreme example is perhaps Nakajima Norihiro's
Astro kyudan (Asutoro kyudan), the climax of which is a single baseball
match between the Astros and the Victories, the description of which took
three years in serialization and more than two thousand pages. Astro kyudan
was a groundbreaking work, but it was neither minor nor avant-garde. It was
published in Shonen jampu (jump), a leading manga magazine, and, with the
exception of a few raised eyebrows here and there, readers had no trouble
accepting it.
The media space of manga and anime clearly tends toward atemporality.
Manga about sports inevitably favor these descriptive techniques. The time
between the moment the ball leaves the pitcher's hand to the time it is
swallowed up in the catcher's mitt, the moment when a longdistance runner
speeds up just before the finish line, the time of a round of boxing: all of
these extremely short periods of time are extended and rendered in elaborate
detail. The impact of a particular scene is heightened in direct proportion to
the time spent describing it and the density of the narrative. Such techniques
have been used most effectively in manga and anime. There is nothing in
films or even novels capable of rendering this sense of atemporality quite as
naturally. This point may have to do with the particularity of "Japanese
space" that I discuss later.

There are several other ways in which anime and manga strive for
atemporality, or the suppression of chronological time. Characters like Sazaesan
and Doraemon never grow old, and their stories unfold cyclically, always
in the same setting. The technique of the tournament form that anime
borrowed from manga magazines like Shonen jam pu is another example of
an atemporal form, like an infinite musical scale. The way the ranks of the
enemy grow infinitely stronger is nothing if not a technique for introducing
cyclical atemporality even as it disguises the passage of time. In anime there
is also the issue of the voice actor. What does it mean that the voice actor
seems ageless and immortal? Often we have no idea how old they are in
reality, and they may play the same boy roles for years on end. They must be
immortal as well: When Yamada Yasuo, who did the voice of Lupin, died,
the role was taken over by a virtual vocal clone of Yamada's named Kurita
Kan'ichi.
In this sense we can say that the time of manga and anime is kairological.
The credit for inventing this technique goes, not surprisingly, to Tezuka
Osamu. It was Tezuka's introduction of kairological time that made manga
after Tezuka so utterly different from manga before Tezuka. One can already
see that kairological time has taken over in those instances where he uses
only the division of the frames rather than words or narration to express a
character's emotional turmoil.

We can thus identify a particular grammar of kairological time in Japanese
popular culture that extends from kodan storytelling all the way through to
manga and anime. The extraordinary popularity of manga and anime in Japan
would be inconceivable without this technique.
For example, even cutting-edge American comics are quite slow-paced
compared with Japanese manga. This slowness is what limits American
comics and keeps them from ever being able to surpass the popularity of film.
So why are American comics so "slow?"

Is it because the drawings are so detailed and intricate? It is true that a
comic like Heavy Metal has extremely detailed, almost lifelike drawings,
which makes it difficult to skim them. But even in Japan there are some
manga artists, like Araki Hirohiko and Hara Tetsuo, whose heavy
illustrations overpower everything else-yet their works are much more
fastpaced than American comics. Why is this?

American comics are fundamentally loyal to the techniques of cinema. In
other words, they use chronological time in every respect. The flow of time
from frame to frame is always even, and emotional prolongation and
exaggeration is minimized. The characters' subjective viewpoints are
rendered through their monologues, and they do not demand readerly
identification any more than necessary. In Japanese manga, on the other
hand, particularly since kairological time was introduced by Tezuka, there
has been a proliferation of techniques for rendering brief moments with high
density and a very light touch. As these techniques were developed and
further refined, they forced readers to identify with the characters even as
they made it possible for them to read at a very fast pace. There is nothing
else like this in the history of representational culture. It is very different from
the way short time periods are represented in long novels such as the four
days of the Brothers Karamazov or the single day of Joyce's Ulysses. The
high temporal density of these literary works derives from their indexical and
polyphonic narrative structures. What they lack, moreover, is speed. The
paradoxical combination of high-density and high-speed forms of expression
is the unique quality of the media space of manga and anime.

The atemporality of manga derives from the screen effect whereby
something looks as if it were stopped because it is moving so fast.
Atemporality is not the only effect made possible by this copious description
of instantaneous moments. I have pointed out that it also makes speedreading
possible. What does the copious description of instantaneous
moments have to do with speed-reading? Here it would be useful to explain
one of the most conspicuous codes that characterizes manga and anime.
Click to expand...

It's a really good book and I suggest reading it if you get a chance. There are a few things I disagree with--like the notion that only cishet men can be Otaku--but the book is twenty years old and I have to wonder if Saitou has ever actually met any LGBTQIA+ people. It's still a good source for Otaku, anime and manga history, however.
 
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