Well that's not entirely true. I've been using the internet since the 6th grade and that was like 22 years ago. It was late 90's and I joined my first forum (The Padded Cell) as Title Wave (was suppose to be Tidal Wave but I spelled it wrong) while Armada was still on the air. I was watching a very badly done fan dub of Beast Wars II around the same time. So it has always been known that the Japanese version was an option.

I do agree that reading subtitles is tedious and annoying. It's hard to enjoy the show if I'm focused on reading the damn text at the bottom of the screen. Plus I have to constantly pause and unpause after each new line of text because they don't even stay up long enough to read them. Actually it's really inconsistent how the text appears with short phrases like a single sentence lingering on screen for longer than needed, over five minutes, while huge paragraphs appear on screen for 2 seconds. So half the time I'm done reading waiting for the next set of text to pop up and the other half the time I'm rewinding and pausing to read text I missed. And I started just pausing on everything so I don't have to rewind and find that part again.

When I'm watching a show or movie I just want to sit back and enjoy the full picture not read a bunch of subtitles. If I want to read I'll pick up a book that way I can read at my own pace and I don't feel like I'm missing anything because the book is just all text anyway. Plus movies change so much from the books that watching a movie with the subtitles on DOES NOT COUNT AS READING THE BOOK! Same thing with TV shows though the Netflix version of A Series of Unfortunate Events is very similar to the books they do still change a lot of stuff.

I'm sure you know that, I'm just pointing that out because I've heard the "lets just watch the movie version with subtitles on" from kids who are too lazy to read the book. Not only does that not work because the story is different but reading subtitles is actually more work than just reading the damn book.

 

Because for the longest time they couldn't. It's still not the easiest show to come by. It's had no official Western release. The Japanese versions weren't always as readily available as they are now.

Because it's what they grew up with? It's what we actually got?

Also, I know you mention Armada specifically, but Cybertron's dub was actually better than the original. (probably owning to it not being rushed) I've watched both Cybertron and Galaxy Force, and Galaxy Force was so much more monotonous.

 

Yup. Accessibility, plus folks just... Not caring. Even with a different dub, Armada is not going to change dramatically. Micro is still the same story beats, dubbing errors aside. Superlink is still not a good series and all of its technical issues remain in place, even if less plot holes. Galaxy Force is a downgrade from the dub

I could go to all the trouble of hunting down a subbed version of those or I could.... Watch a better show?

It was supposed to be as per character models for Armada characters existing in it and certain characters blatantly being others, its just, well, development didn't go well and they tried to salvage what they could in the dub. Personally I just excise Energon from existence and just have Cybertron there. Makes a bit more sense than putting Energon in the middle

 

What I mean is, I couldn't care less what is considered "good" or "bad" dialogue to others in a Transformers cartoon. You can also tell meaningful stories and get emotions across without dialogue. The dialogue doesn't have to be the focal point for your storytelling. However, in Armada, the English dub of Hot Shot, for example, works fine for what the character represents and I still like him.

Because what is seen as "good" or "bad" dialogue is subjective to the viewer. Is it bad because the VAs are trash? Is it bad because the writing prose is too simple? Is it bad because the exposition sounds clunky? If the dialogue is serviceable to a viewer, and in Armada's case, it is to me, especially with David Kaye and Garry Chalk, I don't care for an alternative. In the Room's case, there is more noticeable elements that are stranger than its dialogue imo. I got out, with what I consider good characters and a good story that I enjoyed, an emotional response, but yes, I don't consider Transformers Armada "philosophical" or "deep." I don't need it to be to have an emotional response from entertainment. The story and the characters doesn't necessarily have anything to do with the prose or writing style of the dialogue. Dialogue can just be used to support the decisions made by characters Delivery is also key in selling an emotion and the English VA's do fine by me.

 

Yeah, Cybertron really can’t be a sequel to Energon, and there are still some issues with connecting it to Armada, but whatever works for you works for you. I’ve even heard examples where people have it as a sequel to the Armada and Energon comics.

 

Cybertron is pretty terrible... mostly because it was forced into the Unicron Trilogy when it wasn't suppose to be. Galaxy Force was intended to be a stand alone series not a sequel to Micron Legend/Superlink. That said, if you ignore the fact that it's a sequel and look at Cybertron in the context of a stand alone series, it's actually a lot better. I'm not sure how it compares to Galaxy Force but it seems like Hasbro barely did anything to try make it fit with the shows it's suppose to be following. I'm not sure how much of the Dub was bad just cause it wasn't suppose to be a continuation in the first place or how much was actually changed. But either way it still works much better as it's own thing. I only think it sucks as a sequel.

The main things that make it suck as a sequel...

1. Characters randomly changing voice actors and/or suddenly having weird accents they didn't have before. Or more to the point straight up having a completely different personality all together. Cybertron Wing Saber HATES Optimus similar to Deptch Charge in Beast Wars, Ultra Magnus in RID2001, or Wheeljack in Prime. However Energon Wing Saber had no such issues, he was just about avenging his friend who got killed but Padlock is never mentioned in Cybertron.

2. Optimus claiming he's never seen Transformers combine before despite combining with Jetfire, Overload, Wingsaber, Omega Supreme, and literally every Autobot in Energon having that ability it's a stupid thing for Optimus to say immediately following that. They also make it seem as if Cybertronians have never been on Earth before despite them having open contact during Energon the new cast of humans is helping them hide on Earth... after everyone already knows they exist.

3. Characters being "reset" like Hot Shot was much more mature in Energon than he was in Armada but Cybertron Hot Shot goes back to his original immature character as if Energon never happened. Sideways is also back and seems to have no connection to Unicron this time despite Working for and BEING Unicron and dying/being absorbed back into Unicron at the end of Armada. Anyway, it's clear from the Japanese version that they were never intended to be the same character as Japan has a tendency of changing only part of the name and keeping part of the same if they're the same character but Armada Sideways and Cybertron Sideways have different names in Japan. That's why it's never explained how he's back and no one reacts to him being back cause the only reason Hasbro reused the name is to keep the trade mark going and because they have the same faction switching gimmick.

None of that is really a problem if you ignore that it's a sequel and watch it as it's own thing. Oddly Energon also works better as a stand alone series instead of a sequel but that one was never suppose to be.

I think Armada would change dramatically. The story beats might be the same but without the terrible dubbing it might actually make sense what is suppose to be happening. Armada constantly contradicts itself so the story doesn't make any bloody sense.

Just as an example there's an episode where Sideways can clearly be seen secretly talking to someone which isn't clear who till later in the series. He's talking to Unicron. In another episode he saves the human children from Unicron. This implies that Sideways and Unicron are separate characters but then the last time we see Sideways he starts speaking using Unicron's voice claim he has been Unicron the entire time, that Sideways as a separate character never really existed... so what the hell was that the whole time that they were clearly being portrayed as two different characters? I assume that didn't happen in Micron Legend that was just Armada's terrible writing.

Thrust seems to go from a cool bad add to an insane nut job which also happens in RID2001 to Sky-Byte but in that series it's explained that his personality change is a side effect of being blasted into space. Armada Thrust's personality shift is never addressed it just randomly happens for no bloody reason. I would assume Micron Legend would actually explain that or might not even portray him so inconsistently in the first place.

Tidal Wave was described as a brilliant leader in his own right joining the Decepticons from a mission off world.... but he's portrayed as an freaking idiot that couldn't lead his way out of a paper bag. He's nothing more than the typical dumb loyalist character. I wouldn't mind Tidal Wave being so dumb if it wasn't for his introduction to the series making him way more intelligent and important than he actually is.

I assume a lot of the inconsistencies are because they wrote scripts to an unfinished series not knowing what was going to happen and no really giving a shit if they contradict themselves. I mean a lot of these contradictions happen in the same episode like Tidal Wave being described as brilliant but portrayed as a moron both happen in the SAME SCENE! The show can't go five minutes without either calling someone by the wrong name, having a character behave inconsistently for no reason or contradicting it's own bloody plot. These are all things that even though I've never seen it I'm sure aren't issues in Micron Legend.

The less plot holes is more important than the technical issues. I mean Superlink and Galaxy Force have the same issues with the animation. And presumably one of the biggest plot holes with Energon, the fact that everyone sees and recognizes a sword Megatron never had as his sword, is fixed in Super Link because they never actually call it Megatron's Sword like they do in Energon. It's not known that it has anything to do with Megatron until after he's resurrected unlike Energon where people instantly recognize a weapon that's just been introduced for the first time.

Though I'm not sure how Super Link fixes the issue with the Autobots all looking different but the Decepticons still look the same. I mean personally I think the Autobots also should of started the series in the Armada bodies and gotten upgraded from the Spark of Combination being given to them but instead it looks like they could already combine BEFORE they even get their Sparks of Combination.

Anyway... I like to imagine it's not an Armada sequel and they just always looked like that. That also helps with how the hell did Inferno go from a Mini-con to an Autobot? I assume the real reason is because they just hoped no one would remember the Mini-cons names when they reused them for major characters.

I think the idea the OP is presenting here is that the Japanese version IS a better show. You seem to be under estimating how much better a series can be when there's actually good writing behind it.

The only thing that fixes is Hot Shot. Everything else is still screwed up and actually screwed up MORE now since there's no longer an explanation for how Megatron isn't dead anymore.

Being able to tell a story without dialog is kind of irrelevant. A silent film can't constantly contradict itself every five minutes. That's what makes the dialog bad is that none of it makes any bloody sense.

You say you don't care what is "considered" good or bad to "others" like it's simply a matter of opinion. In some cases that might be true but we're not talking about Star Wars dialog here. I know even George Lucas admits he sucks at writing dialog, personally I didn't think it was that bad. That's a matter of opinion it depends on how natural you think it sounds or how convincingly the actors can say awkward dialog without sounding awkward.

However what we have with Armada is FACTUALLY bad dialog. It's bad because of all the contradictions that make character motivations and plot total utter nonsense. The story is impossible to follow. It basically doesn't even exist. It's not just my opinion that it's badly written, I can prove it. A good story teller sets up rules and sticks to them. Armada does not do that. Neither does the Bayformers for that matter but even those movies are more consistent than Armada is. Sure there's a Scene in RotF where Megatron says "Only I shall lead!" and then gravels to the Fallen taking his orders 2 minutes later but that's just one scene, Armada does that in every freaking episode. It's an entire series of say one thing do the complete opposite. That's not subjective, that's objective.

To be quite honest, I don't really have opinions when it comes to dialog. As long as it makes sense I don't care if it's corny, cheesy, sappy, or whatever other subjective opinions people might have. The only thing that really makes it bad is when it's objectively contradicting itself. When the writer makes a rule and then breaks their own rules, what was even the point of introducing that concept if you're not going to do anything with it?

By the way it is possible to have bad writing even without any dialog. Like why Chewbacca never got a medal in the original trilogy. He helped too, he should of got a metal. That's one thing that was good about the sequels is they finally corrected that and gave Chewie a medal. There's no dialog in that scene, no one really explains what exact the medals are for like they might have in other movies, they didn't need to explain it, we just watched what happened, there's no dialog needed, but it still felt wrong that everyone got a medal except Chewie.

Nope, the VAs are awesome. I already said this, they're the same actors from Beast Wars and Beast Machines and I love those shows. The actors are still great in the Unicron Trilogy even though they're given trash that doesn't make any sense to read from.

I don't even know what that means... I looked it up just now and I still have no idea. I mean I get the basic concept but what even makes it simple or complex?

Again I don't even know what that means. I know what exposition is but how the hell do you make it "clunky"? You're saying words but they don't really seem to fit together.

How can dialogue that doesn't make any bloody sense be serviceable to ANYONE!? It doesn't make a difference who's saying it and like I said before, I loved them in Beast Wars and Beast Machines because those shows actually had good writers who cared about what they were doing. Armada had shit writers who thought that their primary audience was too stupid to notice. Just because it's acted well doesn't mean it's written well.

In the room's case... it's no so much that the writing is bad... I mean "I didn't hit her" followed immediately by "Oh Hi Mark" in the same scene is a bit weird but it's not contradicting itself. It's more so that the acting is terrible so the weird dialog never feels natural. I mean imagine if a different actor played that scene actually playing the first line angry... instead of whatever the hell Tommy thought he was doing... paused after saying it, notices Mark, then says the second line still noticeably upset but less angry. That would sound a lot more natural than Tommy's abruptly cheerful hello that sounds out of place next to what he just said before that.

A good actor can make even the worst scripts sound fantastic... and that's basically what Armada is, great actors reading the worst scripts.

A story doesn't need to be philosophical or deep to be good. It just has to make sense. That said... Armada actually was suppose to philosophical... I think... They introduced some philosophical concepts with the different ways that the Autobots and Decepticons viewed the Mini-cons and about war in general but these concepts were kind of wasted do to the constant contradictions.

We're TOLD that the Autobots would never force the Mini-cons to act as weapons against their will but we see them doing the exact opposite which makes it hard to believe they're different from the Decepticons. I mean they spend an entire episode chasing the Space Mini-Con team who don't want to be weapons. It's not very convincing that the Autobots are only trying to protect them when they use the Requiem Blaster the same as the Decepticons. This could of been fixed if it was made clear that the Mini-cons were willingly choosing a side but they made it clear they didn't want to be part of the war and tried to run away only to be caught by THE AUTOBOTS. How exactly are they better than the Decepticons if they won't let the Mini-cons who don't want to be weapons leave?

We also find out that Unicron feeds on conflict and the Autobots and Decepticons form a truce to defeat Unicron which was only suppose to be temporary but Galvatron made it a permanent alliance by sacrificing himself to end the war. Optimus on the other hand tried to save Galvatron to fight again another day which just makes him seem like a bad guy and Galvatron was the hero of the story.

How can you consider a story that doesn't make any gawd damn sense to be good in any way? How can you consider characters with inconsistent motivations that don't make sense to be good?

It would be one thing if there was actual character development, where a character changes over time to further the story, but Armada's characters change at the drop of a hat for no bloody reason. Why exactly does Hot Shot take command after Optimus is killed? He's done nothing to earn it. He's still the same impulsive kid he was at the start of the series. It's not like Cheetor who actually matured naturally over time to a point where he was actually the most qualified to take over. Hot Shot wasn't qualified at all. Hell he didn't even have the chosen by the Matrix excuse like Rodimus Prime, he was just some dumb kid who for some unknown reason was taking command despite being surrounded by other characters way more qualified.

I don't know why you're so obsessed with writing style. It is possible to have two different stories with the same style but one is good and one is bad. Style is irrelevant. The only thing that matters is "Does it make sense?" Is the writing consistent throughout? No it's contradictory. Does the writer set things up only to completely ignore them and/or contradict them later. Yes, constantly! Then it's bad writing.

The story and the characters has EVERYTHING to do with the writing. Nothing happens, no one exists, without writing it down first.

If a character says "I'm trying to save you." I expect them to throw a rope down, fight a bad guy, something that fits the dialog that was just said. If the character is pointing a gun to their head it seems like their dialog should be more threatening and less like they're trying to help. How are you going to save someone by pointing a gun at them? That does not make sense.

I mean there are times where say one thing do another can work, Mars Attacks they kept saying "We come in peace" before killing people which was actually a translation error from Martian to English and the movie was a comedy so it works. It threw me off at first like why'd he'd just kill that guy if they come in peace but they kept doing that multiple times till it became more apparent that the translator wasn't working. But if you do something like that just randomly for seeming no reason, it's just bad writing.

There's also people in real life who are actually like that. I've known people who say they don't like cussing but they cuss more than I do. They're called hypocrites. Though from my experience hypocrites have a sort of logic that makes sense to them but might not make sense to other people. So if that's the goal... you still have to show how that character thinks. I think the Joker is a good example of that. In the movie he says that his life a joke even though his life is miserable, he's said himself that he hasn't been happy a day in his life but still calls it a joke. This seems like a contradiction to a normal person but if you've seen the movie and watch everything leading up to that point where he says that it actually makes sense from his point of view. Even if I don't agree with his statement I understand what he's saying.

Armada doesn't do that. It's not doing any of that. It's just nonsense.

That's the problem the dialog DOESN'T support the decisions made by the characters, it actively CONTRADICTS the decisions made by the characters. And I don't know why you're obsessing about selling an emotion, that's the actor's job and I already said the acting was good. We're talking about the WRITING which has jack shit to do with the acting. Those are entirely separate things.

You can have a terrible script with great acting, which is what Armada is, you can also have a great script with terrible acting which is the PS2 game, I actually like the story, it's a fun concept which is really just an excuse to have Megatron, Galvatron, Optimus, and Rodimus all in the game at the same time. Speaking of which from the Earthrise trailer it looks like the Netflix Transformers series will be doing something similar but with better acting.

Bad writing is not the same thing as bad acting. It's actually possible, and this is a regular acting exercise, to bring ANY EMOTION out of ANY line of dialog. Usually a director would give you a random line and an emotion, and another emotion, and another, and you'd repeat the same line but with a different emotion each time. The idea being that emotion lies in HOW you're delivering the line not what you're actually saying. Try it yourself.

Pie is people... IS... PEOPLE!!!

Horrified

Disgusted

Angry

Joyful

Hungry

Remember you're not trying to combine different emotions you're just repeating the same line five times with a different infliction to convey each of the five emotions. Amazing how one line of dialog can have multiple meanings without changing anything about how the line is written, only changing the emotion you're trying to express with it.

By the way this is also why you'll often hear actors give multiple takes of the same lines and why you often hear about actors asking what their motivation is... though their motivation is usually written in the script already so really they should know that without needed it explained... unless the script is so badly written that the motivation doesn't make any sense.

 

...or you could just accept that it is a stand-alone series instead of focusing on a distinction that only exists for HasTak’s merchandising convenience.

Pie is people? *horrified*
Galvatron is the hero.
Cybertron is a stand alone.

Clunky exposition means unrealisticly forced dialogue that introduces new concepts or story elements to the viewer in an “info-dump.” Think JetFire in RotF explaining every single plot thread in the movie for around ten minutes, although that movie technically didn’t have a writer.

 

Jesus man. Lol I really hope you don't talk in real life how you type.

"As long as it makes sense I don't care if it's corny, cheesy, sappy, or whatever other subjective opinions people might have. The only thing that really makes it bad is when it's objectively contradicting itself."

So, I'm assuming you enjoy writing that wall of text, but this is what sums up your issues I take it. Ok. So the prose and the writing style of the dialogue itself isn't the issue. Your not upset by simple phrases or simple wording, nor are you wishing more metaphorical and colorful language within the dialogue itself. Your not upset by characters overexplaining their mindstate or situations (which is considered clunky exposition to some).


"Being able to tell a story without dialog is kind of irrelevant. A silent film can't constantly contradict itself every five minutes. That's what makes the dialog bad is that none of it makes any bloody sense.....
By the way it is possible to have bad writing even without any dialog."

No shit. But that's not the point. I said I didn't care about the dialogue and you equated that to not caring about story, assuming that dialogue and story HAVE to be intertwined. If you want to use SW again, TFA has Starkiller Base having the EXACT same design flaw of the Death Star in ANH even when Rogue One explained it was a flaw that was created by the rebellion. Why did the First Order create the exact same issue unless Disney wants to make a ST version of RO like how TFA is a ST version of ANH. Chewie's medal is NOWHERE near as important of an issue because SKB requires suspension that, at the time of TFA, the First Order was a terrorist group that didn't have the resources of the Empire, while in ANH, the celebration scene doesn't contradict the overall story that the Rebellion won the day. Chewie's medal is an issue of overanalyzing and memes, that if ruin the scene for you, that's YOUR problem more than anything. JJ inserting a medal scene 30 years after the Death Star is just bad writing and nothing more than a nostalgia callback. Im sure even "I question your taste" Abrams would agree it isn't that much deeper with the insertion of the medal in the ST.

 

The ocean Group reputation must have been damage by dubbing UT only for MLP to restore their name.

 

Actually I really don't enjoy writing walls of text. I do that because in the past I've said things that I thought were more clear than they actually were so now I over compensate by giving more detail than I think I need to... though people still quote me out of context and misinterpret what I'm saying anyway but at least this way it's not my fault.

That said... that's actually pretty accurate in this case.

I think there's a lot of things that could be considered clunky. The only reason I was confused is because you didn't specify any examples so there wasn't much to go on in that context... something I was trying to avoid with my wall of text.

Anyway all correct so far.

WTF? I remember writing the first part but where did that last sentence come from? Apparently I switched at some point while I was typing, I don't know.

I didn't assume anything. I equated not caring about dialog to not caring about story because we're talking about a story that contains dialog. I don't have to assume they're connected because they are in fact connected in this context. If you said you don't care about dialog and we were talking about Mr. Bean which doesn't have much dialog at all, he doesn't even talk and the little dialog there is usually comes from other characters. That would be understandable because in that context the two aren't connected but in the context of transformers you're talking about a story where the dialog is part of that. I'm not saying they ALWAYS have to be intertwined, I'm just saying they are intertwined because of the specific subject matter we're addressing.

Transformers is not a silent film... the writing isn't solely just blocking. In case you don't know blocking in this context is a theater term for the stage direction either in the script or provided by the director. Some scripts do have some very minimal blocking written as directions next to the dialog if the writer had a specific idea for what they wanted to be happening in that scene but most of the time blocking is assigned by the director. Walking into a room, taking off your jacket, turning on the radio, those would all be examples of blocking as they're things a character is doing not what they're saying.

In the specific case of Armada the Blocking wouldn't even be in the script because they're just dubbing over a cartoon, all the blocking already exists they just have to talk over it so the writing is ENTIRELY based in their dialog. You can't not care about the dialog without also not caring about the story because they're the same thing in this specific conversation. That's why early on I said this implies you would care about the dialog if it were something other than a Transformers cartoon. Because we're still talking about DIALOG driven stories. There's no reason the dialog in something else should be more important than the dialog in a Transformers cartoon. That's when you came back with well you can tell a story without dialog which is true but I don't see how that's relevant to this conversation since Armada isn't telling a story without dialog. You comparing apples to oranges there. Just because you can tell a story without dialog doesn't mean that the dialog in a Transformers cartoon isn't important to that story.

Holy crap there's a lot of acronyms in that... And I'm not entirely sure what all of them stand for,

SW = Star Wars
TFA = The Force Awakens (Though it could also be Transformers Armada or Transformers Animated which makes this a little confusing since we're talking about Transformers Armada at the same time.)
ANH = A New Hope
ST? = The only thing that comes to mind is Star Trek but that's a totally different franchise so I don't know why you would be bringing that up here. At one point you said The Force Awakens is a ST version of A New Hope but that really doesn't help tell me what the hell ST is suppose to be.
RO = Rogue One
SKB? = I have no freaking clue.

Anyway... Chewie's missing medal is a rather small issue that doesn't ruin the over all movie. It's only ONE MOMENT. However it would ruin the story if mistakes like that were to happen MULTIPLE TIMES the way they do in Armada with it's problems that plague the whole series.

Characters being called by the wrong name during Armada wouldn't be much of a problem if it only happened ONCE but it happens in every episode multiple times per episode. Sparkplug is only called by his correct name ONCE in the entire series and it's not even Optimus who actually uses his correct name, it's Hot Shot. For the rest of the show he's called by the wrong name, usually Leader-1 which is Megatron's Mini-con.

I also don't consider name swapping an issue if they remain consistently swapped like Rumble and Frenzy in the G1 cartoon. They were swapped from the toys but they were switched for the entire series they didn't switch colors multiple times throughout the series. Unlike Grindor and Sureshock who swapped names some times multiple times in a single episode. There's a scene where both Carlos and Alexis call both their Mini-con partners Grindor. Some times Carlos is a little more consistent in using the correct name only calling the skate board Sureshock a couple of times while Alexis flops back and forth multiple times throughout the series addressing the scooter as Grindor more times than her actual name.

Side note... this is one of the reasons why Energon isn't as bad. Cliffjumper and Downshift swapped names in the cartoon but like Rumble and Frenzy the cartoon is consistent with that swap. "Wheeljack" is always called Cliffjumper in the cartoon despite being Downshift in the toy line. I still think he should of been called Wheeljack because of the obvious homage to the character but it's not as annoying as being called by two to three different names in the span of 10 minutes.

And just because something is nothing more than a nostalgic call back doesn't make it bad writing. I mean Transformers Animated is jam packed full of nostalgic call backs. Every episode has multiple references to other Transformers cartoons. Garbage in, Garbage out for example, Weird Al voices Wreck-Gar because his song Dare to be Stupid played in the 86 movie when G1 Wreck-Gar was first introduced. Among the items he pulls out of his back pack is a motorcycle which is intentionally designed to look like G1 Wreck-Gar's vehicle mode. They even worked the title song title "Dare to be Stupid" into the dialog of the episode. That's not bad writing just cause you don't like it. A lot of people love those nostalgic call backs.

It is bad writing if it doesn't make sense... and in that respect... why is Maz the one who finally gives Chewie his medal? How did she even know he was owed a Medal in the first place? That seemed a little random since they just met for the first time in the Force Awakens and barely freaking know each other. Sure the OT cast are apparently famous by this point so she might be aware of what Chewie did back then but I doubt she would be aware of the award ceremony where Chewie was never recognized as a hero. That's the part about that scene that is bad writing, not just because it's a nostalgic call back but because they had Maz randomly had him a medal.

Also that scene has a lot of dialog that really wasn't needed there. Star Wars movies typically end in silence just showcasing the actors... acting without talking. Episode 3 and 9 are the only movies that break this tradition by having them TALK during the ending of the movie.

With Episode 3 they drop a lot of information that the audience already knows because we've seen the original trilogy. Luke gets sent to Tatooine to live with his aunt and uncle and Leia gets adopted by the Organa family. They're not giving any new information that we didn't already know here so why even both having dialog there? Plus the scene also contains the stupid "She died of a broken heart" line... that's not a thing. Women dying because of complications during childbirth, that is a real thing, they really didn't need to give a specific reason why she died, we would of understood that without being told exactly what happened just based on the actors reactions alone. There's no reason for them to be talking.

With Episode 9 there's dialog that feels like a back door pilot for a possible spin off (Lando and the Ex-Storm Trooper), there's Maz saying "Here's something you should of gotten a long time ago." Which she didn't need to say, she could of just handed him the medal and we would of know what it was without anyone saying anything. In fact if you're going to have dialog there explain why he didn't get it earlier, if you're not going to give any new information there's no point. And then there's Rey calling herself a Skywalker which a lot of people felt that message was clear without her needing to say it. In fact someone edited that scene removing the old woman who asks her name and the part where Rey responds making it a totally silent scene like most of the other endings and it works SO MUCH BETTER! I kind of predicted that ending after there were no more blood related Skywalkers left I assumed she would take the name and carry on the legacy I didn't need her literally saying "My name is Rey Skywalker" to some random old woman. That feels kind of obvious without having to spell it out for the audience.

You'll note that I'm specifically talking about end scenes where the dialog isn't needed to tell the story and doesn't supply the audience with any information they wouldn't already know or be able to guess if the scene were muted. I'm not saying that I don't care the dialog in Star Wars because for 81% of the movies the dialog is important to the story. It's just that other 19% where the dialog doesn't add anything and isn't needed that I don't care about it. 7 out of 9 movies end with out any dialog ever being spoken and I think it would be better if those other 2 ended in silence as well.

Rogue One and Solo don't really count, they also don't have opening text crawls, they aren't main trilogy films, they're spin offs with a different style. I guess this would qualify as that Writing Prose you were talking about earlier since the main films all share a similar style to each other with the opening text crawl, and usually ending in a scene that's just blocking... except for those two exceptions I mentioned... so maybe I actually care about that stuff more than I even realized I did...

 

1. I’m pretty sure ST is supposed to mean Sequel Trilogy. That would make sense.
2. SKB probably means Star Killer Base.
3. The dialogue at the end of the recent Star Wars movie felt like an obvious back door pilot move.
4. Dialouge is the correct English spelling. I wouldn’t advise putting a misspelled word in all caps to try to show you are smarter than someone.
5. Cliffjumper and Downshift changed names in their second appearance, meaning that they did go by both names during the actual show.

 

Yeah Cybertron shouldnt be lumped together as bad just because the story takes place in an alternate universe within the same continuity family as armada and energon. Armada isn't even really bad. The characters look fairly cool and the story is good. If someone could edit those kids out it would be a lot better though.

As far as the actual question, accessibility and language barrier for sure. Also the overly serious, "honor, duty", calling out attacks, etc. og Galaxy Force is 100x less enjoyable that Redneck Thundercracker and the rest of Cybertron's funny and enjoyable writing.

 

accessibility and nostalgia for me. Garry and David were my Optimus and Megatron. the story is still mostly the same in both versions from what I have seen.

 

1 & 2. That makes a lot more sense.

3. All you did was repeat something I already said.

4. You say the correct spelling is dialouge but spell check says that's not even a word. Dialog however is not being flagged by spell check. That said spell check doesn't always work so just to be sure I'll check the dictionary. Well it seems dialouge is correct but so is dialog. It's like color and colour or theater and theatre. Both are correct. It's just that you're using the spelling that's more common in the U.K. and I'm using the American spelling. When I looked in the dictionary page it's listed as Dialouge but under related words it lists "Dialog" which if you click the link just redirects you back to the same page because it's just a different spelling for the same word.

5. Actually I just looked this up and found a clip of them power linking with Hot Shot and Ironhide that actually uses the toy names... So memory fail... But that's one clip they're still more consistent with the names than Armada is. Freaking show can't keep the names consistent for more than 5 minutes.

 

Because i feel like it.

 

In Superlink promo, the narrator states that Convoy and his team powered up.
1:12

Convoy: Double-Face. You are Unicron!
Double-Face: That's correct. I too am one of Unicron's cells. And Unicron is also me.

It seems Double-Face is Unicron. Bruh.. My brain..

Actually it was originally intended to be continuation of Superlink. Then it was changed and written as a reboot.

 

3. It was in agreement this time.
4. I spell color with the u a lot of the time even though I’m American. For variety maybe?

 

Your bias is showing, OP.