Plot
See also: List of Sakigake!! Otokojuku charactersThe genius principal of the private school, Heihachi Edajima, was a war hero during World War II. He trained his students to play an active role in politics, economics and industries in Japan and all over the world, though the way of training is highly anachronistic.
The martial arts depicted in this series are also highly exaggerated. Whenever someone is about to play an otherworldly trick, the author draws a sidebar to explain it and cites an encyclopedia-style explanation from books published by "Minmei Publishing Co." (民明書房) which is a fictitious story-telling device. For example, one of the minor villains had ability to control a crocodile. The side note stated, "In South Asia, there are regions heavily populated by various killer crocodiles. In the 18th century, a technique for controlling these crocodiles was developed by a secret tribe of beastmasters. Using this technique, the tribes defended their territory from outsiders. For this reason, crocodiles are considered sacred and their religion worships a crocodile god. Even now, in certain South Asian countries, the killing of a crocodile is a capital offense. Last year, a Japanese tourist caught unwittingly carrying a crocodile-skin handbag was hanged. - Crocodile Dandy"
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Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)