Board Thread:King for A(nother) Day Discussion/@comment-2604:2000:1101:541:25A4:B82A:E91D:1B00-20200206212946/@comment-2604:2000:1101:541:F809:4CED:A224:CEFB-20200208015828

204.210.156.235 wrote: Speaking of that, I thought that the Mr. Bean coma plotline was probably the worst thing about it. When it's first brought up, it seems like it has the making for a great subplot. The problem is that after Mr. Bean wakes up from it's coma, it's barely ever touched upon. Hell, it doesn't even have a resolution, which means that we don't know who knocked him out. You had many subplots that you had in your story, and yet you couldn't even resolve one that you established at the beginning? Then there's the plot involving Snake and Hakuko. Thankfully, unlike the Mr. Bean plot, it doesn't get brought up and thrown away the next few interviews. But the problem starts to arise in "How to Cheer Up a Loser". At the end, we are shown that Snake was actually MissingNo. in disguise, which raises the question of what that even means? Does mean Hakuko even apologizes to Snake either? Because later on, it shows them being friends again. Does that mean if Hakuko interacts with MissingNo. it means she is also interacting with Snake? But that's not right because in "Glitch Machine", it shows MissingNo. disguised as Pharrell with the actual Pharrell being surprised at another Pharrell being there. It just feels like a gaping plot hole that was never explained It's like what fiction writer Steven James said: "As a fiction writer, you want your reader to always be emotionally present in the story. But when readers are forced to guess why something happened (or didn't happen), even for just a split second, it causes them to intellectually disengage and distances them from the story. Rather than remaining present alongside the characters, they'll begin to analyze or question the progression of the plot. And you definitely don't want that."