Plot
The series follows a ritualistic pattern and centers around an assortment of neighboring playmates depicted as bipedal, anthropomorphic animals; Pablo, Tyrone, Uniqua, Austin, and Tasha. Designed to encourage imaginative play, the characters communicate with the viewers through breaking the fourth-wall, albeit the series rests particular focus on the role-playing games in which the friends participate varying with each episode, and said games are visualized through dream sequences lasting for a majority of the episode and serving as the primary focus of that certain episode. Usually, the group will visualize a unique scenario, ranging from prehistoric times to adventurous fantasies, and they are often presented with multiple dilemmas along the way to accomplishing a certain goal or priority, or may be challenged with a major single obstacle to defeat or problem to solve. The program also follows a musical format, featuring multiple musical numbers sung throughout the course of an episode regarding whatever imaginary predicament in which the characters have situated themselves or perhaps a challenge that they have met, every episode opening and concluding with a particular song. When the Backyardigans have achieved their mission or defeated any disadvantages, the fantasy sequence fades, restoring actuality to the setting of the episodes as the closing song is sung, the characters scurrying to their houses for a snack.
Read more about this topic: The Backyardigans
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
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“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.””
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