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Banana Gunz

Is There Something to be Said for the Bionicle Aesthetic?

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Bionicle was distinct in a lot of ways, but one of the most interesting parts of it for me is G1's aesthetic. In this case I'm talking a bit about both the sets and otherwise.

 

I think that Bionicle was very clever in its presentation because it relied heavily on the power of implication. Implication is really enticing because it gives the mind just enough to work on but also presents questions and unknowns that can be explored and involved for the audience/viewer. There is some danger of orientalism considering Bionicle's history as being inspired by Maori people/culture but for the most part I think LEGO amended this by moving towards a more sci-fi focus (appropriation and culture tourism are really complicated, especially in Bionicle's case and could go for having its own post).

 

Bionicle implied a history to its world as well. I remember before I had any sets as a kid I would see them in magazines and wonder what was behind the masks. What were they hiding and why? What kind of events happened to create a culture/race of beings for whom it is customary to wear masks? In this case we eventually learn that matoran/toa become weakened/comatose when not wearing masks, which is a little less interesting to me then if there had been a societal reason rather than a biological one, but that's not really the point. The point I'd like to make is that Bionicle was simultaneously vague and specific; certain details would be included in sets, backgrounds, designs, etc with little to no context. Our minds then create context around said details, or just revel in the possibilities when we don't get a complete or satisfying answer with the story (not entirely a bad thing though).

 

Why does Vakama have a disk launcher rather than a normal melee weapon? Why does Kongu have two Kordak blasters? Why does Karzahnii have chains? More than that though we get visual cues in things like box art that suggest greater metaphysical mysteries, such as the infected hau being in the background of 2001 promotional art. I think the greatest work of art made in Bionicle is the image of Matoro/Mata-Nui looking up at a giant Bionicle piece in a desert at the end of the Ignition series (issue 15). I remember staring at the image wondering why these details were being presented to me this way and what they could mean. I didn't know most of Bionicle canon/lore at that point but after reading that issue I was enamored and in awe.

 

Even the title "Ignition" can qualify partly as aesthetic (I firmly believe that the line between text and aesthetic in any work is imaginary and that spectacle/image can equal or support meaning, as seen through like literally all of visual art). The title not only sounds cool, but is broad and could imply any number of things depending on its context. At first we thought Ignition meant the toa were re-igniting Mata-Nui's life, bringing him back from the dead and then awakening him, but then it takes on a new meaning when we realize Makuta tricked everyone and took over the Great Spirit Robot. Suddenly "Ignition" means the ignition of a new order, the ignition of a bomb nobody even knew was hiding right under there noses, the ignition of rebellion. We were led to believe ignition meant something good for the heroes, but little did we realize that ignition could mean things could blow up in their faces too.

 

That's not to say Bionicle's aesthetic was misdirection. The writers and designers gave us pieces and hints that could be misleading, but more than not fed into the intended narrative.

 

This is part of why I dislike G2 so much; G2 has no implied narrative. Yes, there is technically a narrative/reading that is correct, but only because it is obviously so. G2 has a story but there's no experience or exploration when engaging with it. It takes on the general aesthetic of fantasy, but never makes it its own. How does the Mask of Creation work? Magic. What can this magic do? Whatever the plot demands. In fact, magic never really complicates the plot or situation. The toa either win or lose out of circumstance. There's no weight to anything that happens since the aesthetic is expected; bright blue fantasy lights and translucent pieces imply energy and magic, but nothing more. I look at Bionicle's box art and it has a level of cohesion/specificity that is unprecedented. Compare the box arts to each of the years of G1; each one has a unique spirit that is appropriate to the setting and themes of that year. Having a repeating hexagon pattern contrasting with strange, natural terrain in the backgrounds of 2008 sets/art is at first glance superficial, but to me it's interesting because it doesn't have to be there for the story to make sense. Their inclusion however creates a unique mood/feeling which makes the world/story seem more interesting. In this specific example the contrast within the 2008 box art implies a dichotomy: order versus chaos. This theme is echoed in storyline where the toa fight mutated Makuta over the orderly Codrex in a corrupting swamp.

 

Symbolism is created through implication, and G2 rarely implies anything beyond itself, and when it does it fails to amount to anything or even create a mood. I will admit there is one instance of implication in the sets that I quite enjoy; Skull Slicer. I've said it before but despite Skull Slicer being an allegedly poor set, it is interesting because of small details that make it stand out. Skull Slicer doesn't have one of the mask pieces introduced for the skull villains that wave, but instead wears a Skull Spider body piece as a mask. On top of that, we only see one of them, and online bios imply that they are a unique individual rather than a class of skull enemy. Their four arms then tell us that they are a different species from the other skull villains, and their placement within a Colosseum tells us they could've been a fighter/gladiator. The fact that these specific details were made available to the audience is puzzling but enticing since it sets up a world where there were once (and perhaps are?) other humanoid species on Okoto, and a culture where fighting was considered a sport. Then come more questions: did the city actually belong to the Villagers/Matoran, or is the intended narrative actually misdirecting us? If it does belong to them, did they enslave other species for things like sport and labour? If they did, then perhaps the toa aren't truly the heroes of this story. The subtext flips the narrative to a people resurrected to fight for their city in the afterlife from a group of self-righteous Gods sent to enforce the authority of their once oppressors once again. I don't know about you, but I think that's wicked. G2 does nothing with this, nor does it do much of this anywhere else in its story/sets, but you can see the missed opportunities for a complex and interesting story. And this isn't even getting into how I think Skull Slicer is actually a rebooted Nocturn!

 

G2 neither implied a greater narrative nor subverted the one it has. It falls into the worst Fantasy trope of unquestioningly enforcing the status quo. G1 subverted this by implying more complex and intricate narratives (that it often actually followed up on) and by subverting traditional Fantasy elements by doubling down on its preface and sci-fi elements (Sci-fi and fantasy, despite being so closely associated are practically opposites. Fantasy enforces the status quo, sci-fi seeks to destroy/question/subvert it. I'll admit to my bias a strong sci-fi fan, but I do believe that Bionicle manages to magically combine fantasy and sci-fi in a way that doesn't betray itself and feels qualified and complex.).

 

Bionicle's aesthetic at first glance appears to be superficial, but as I briefly mentioned earlier aesthetic and implication working together actually creates meaning and an engaging story. G2 didn't just suck because it ended poorly, it sucked because it never felt genuine. It fell into the great mass of children's media that sees its classification as such as being a limitation on the amount of depth it can have. G2 is a traditional fantasy good versus evil story, and frankly that's the type of narrative I think we need to abolish; it teaches children that the world is simple and that morality is never complex. Without getting too nuts, I would classify these narratives as fascistic media; like Nazi works these simplified fantasy stories have a structure where the power of will/strength and willingness to fight is exclusively emphasized over discussion of intent and context. G2 doesn't ask us to question the institutions and players involved. Like fascism, it seeks to decontextualize their world and create a clear and distinct enemy that must be destroyed at all costs, because even if they started out with good intentions they are the embodiment of evil and should be destroyed without mercy. Bionicle G1 nearly fell into this trap at many points in its run, however managed to narrowly avoid it through Mata-Nui's empathy and the way it complicated its scenarios.

 

I don't mean to claim that Bionicle G2 and simple children's media are actively insidious, but I do think Fantasy is a complicated and dangerous genre that needs to be handled with specific care. By utilizing aesthetics and implication incorrectly (or not at all), works can become disingenuous and give false expectations to youth.

 

TL;DR G2 sucks bum bum and G1 is pretty alright :onfire:

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I didn't know what to expect coming into this topic but I guess a dismissal of G2's intensely purposeful aesthetic considerations is I guess what I should have anticipated.

 

How about G2's decision to elevate creators, specifically mask makers, to the most prestigious role in its canon? In fact, the centrality of masks is a defining aspect of Bionicle G2. All the key artifacts the Toa have to seek out are masks, the conflict that instigated the whole story culminated in the creation of a forbidden mask, and even the first villains we are exposed to are essentially living masks. And instead of the villages' spiritual leaders being singular Turaga who for their first two years have little characterization to imply any sort of "history", Bionicle G2's Protectors come from a hereditary line whose titles are passed through the generations — again, represented in the form of masks. That's all really powerful stuff!

 

Or what about the whole aesthetic pushed particularly in the second year of elemental crystals as a visual representation of characters or places that are rich with elemental energy and in tune with the forces of nature? This is visible not only on the Toa and elemental creatures, whose armor and masks grow orderly crystal formations, and on the temples of the masks of unity, which have crystals growing amidst them almost like living things, but also on the elemental beasts, which represent violent and untamed elemental powers, and whose crystalline growths are accordingly jagged and aggressive.

 

How does a mysterious city shrouded in fog and only accessible by a narrow bridge, or a great stone labyrinth that moves on its own, or giant mask carvings that dot the coastline, or a great temple in the shape of an hourglass where ancient rituals are held, or a wilderness that shows the ruins of a great civilization now struggling for survival, fail to excite as much of a sense of magic and mystery as a stock figure from two years ago looking up at a big LEGO piece in a desert?

 

Granted, I am certain none of this will change your mind about G2. I have a feeling you made up your mind not to like it as soon as you realized it was not going to be the same as G1, and any differences are going to be interpreted as weaknesses through that lens. But just because you've chosen not to appreciate the aesthetic decisions that make G2 so visually enticing doesn't mean there is no depth to them or that they don't imply anything to anyone.

Edited by Aanchir
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Granted, I am certain none of this will change your mind about G2. I have a feeling you made up your mind not to like it as soon as you realized it was not going to be the same as G1, and any differences are going to be interpreted as weaknesses through that lens. But just because you've chosen not to appreciate the aesthetic decisions that make G2 so visually enticing doesn't mean there is no depth to them or that they don't imply anything to anyone.

 

Nope, nope, nope. Don't even kid yourself with this. I have stated multiple times on this site how excited I was for G2. I went to Comic Con where the Bionicle panel was held. When I first saw the trailer they played there I was ecstatic. I liked the direction they were going in, I was interested and excited by the changes they were making and in the designs of the toa. When the animations came out I was lapping that stuff up. I bought all the first wave toa because I was so happy Bionicle was back. I was super on board for the tv show when it was announced. I don't care about things being the same, I don't nor have I ever wanted the exact same thing as G1. If you want I can get super critical of G1 because it did a LOT of things poorly. In fact, within my OP I briefly touched on how G1's initial premise is a little dicey considering how it appropriates culture (which isn't inherently a bad thing but can easily and almost always is handled poorly). If anything, G2 started at an advantage for me. I was excited for a reboot. I was excited that we got to start off in a new direction and get something new. I left Comic Con so excited because after five years of waiting I was gonna finally get Bionicle, whatever it may be.

 

Having criticisms and not liking something doesn't automatically mean you never gave it a chance. For example I really did not care for Star Trek Discovery because a lot of its episodes felt poorly paced, overly dramatic, and made heavy logical leaps without taking time to explain them because it needed to get to the next action sequence. I did not hate it because it was trying to make Star Trek dark. We've even seen Star Trek be dark with Deep Space Nine, and I ADORE that show because it's well made and has great characters.

 

I do not buy your argument that I blindly hate anything that doesn't suit my personal expectations. That's an unfair way to paint me for having legitimate criticisms of G2. I do have biases and expectations that cause me to like and dislike things, for example I gravitate heavily toward Science Fiction and lean away from Fantasy, but that doesn't mean I cannot give something a chance that isn't inherently to my liking. Why would I even be writing stupidly long posts on the internet about something if I didn't at least care a little? Your statement here is really unfair. If I wasn't willing to give something a chance I wouldn't bother talking about it because I wouldn't have anything to say. The discussion comes from my desire to like something and being faced with disappointment. I gave G2 more of a chance than it deserved. I shouldn't have to try hard to like something.

 

 

How about G2's decision to elevate creators, specifically mask makers, to the most prestigious role in its canon? In fact, the centrality of masks is a defining aspect of Bionicle G2. All the key artifacts the Toa have to seek out are masks, the conflict that instigated the whole story culminated in the creation of a forbidden mask, and even the first villains we are exposed to are essentially living masks. And instead of the villages' spiritual leaders being singular Turaga who for their first two years have little characterization to imply any sort of "history", Bionicle G2's Protectors come from a hereditary line whose titles are passed through the generations — again, represented in the form of masks. That's all really powerful stuff!

 

 

Yes, but that decision does nothing and never goes anywhere. How do the toa defeat Makuta? They use their elemental powers to destroy/imprison him. They aren't creators, they are fighters. The only point masks serve in G2 is to give powers for more exciting fights. Heck, this is arguably a part of G1 I wish were done a little differently. I agree that exploring the nature of creators and destroyers is a really interesting concept, but it never goes anywhere. Makuta has to be stopped by the toa because he's evil and they're good. People that create and destroy is a fact of life, not a truly profound statement.

 

Frankenstein is not a great book because Frankenstein's hubris leads him to create a Monster that kills--that's just the setup. The true substance of the novel is exploring the humanity of the Monster and how it was really society and apathy that turned the creation.

 

The idea of masks is an interesting concept but just putting a mask in everything isn't meaningful. What the mask's presence implies is what really matters: what is it hiding? What cultural stigmas or traditions exist within Okoto that caused them to become standard wear? There's no point in examining any work in a vacuum, it exists on the terms of a real world with real problems and deserves to be criticized as such.

 

And again with the Turaga, the Villagers passing down the title of Protector is a basic fact, what exists beyond that it what's important. If G2 were better, a lineage of Protector's would be more interesting. It would imply a society very heavily attatched to tradition and the story/aesthetic could explore what that tradition means. Heck, the addition of masks adds onto the theme of culture versus identity. But again, that's not a theme explored in the actual story. G2's story is a series of glorified fetch quests and fights.

 

 

 

Or what about the whole aesthetic pushed particularly in the second year of elemental crystals as a visual representation of characters or places that are rich with elemental energy and in tune with the forces of nature? This is visible not only on the Toa and elemental creatures, whose armor and masks grow orderly crystal formations, and on the temples of the masks of unity, which have crystals growing amidst them almost like living things, but also on the elemental beasts, which represent violent and untamed elemental powers, and whose crystalline growths are accordingly jagged and aggressive.

 

 

Okay, but what is elemental energy? What does elemental energy actually mean or do in the story other than being used as a tool to further the toa's agenda? Both the villains and toa have a crystalline aesthetic, so what does that tell me about either one of those factions? It ends up just being a call sign that "things are more powerful," but making the stakes bigger isn't what's important. Bigger isn't better, it's just bigger.

 

If crystalline structures are a sign of greater elemental power, but both factions have greater elemental power, what's the statement/purpose? That the beasts are twisted manifestations of elemental power? But again, elemental power is never given a purpose or reason in the story. The toa's personalities are changed by their elemental powers, but not their greater character. Pohatu's treatment of Ketar isn't inherently tied to stone. We've seen Pohatu have a different personality, him being gruff is more of a stereotype than anything.

 

There is no elemental power in the real world and it doesn't stand for anything. It doesn't really matter if you possess it unless it helps the characters achieve their next conquest, again, fascistic media and alternative narrative. Power for power's sake is dangerous. G2 doesn't ask if there's a moral difference between who has it and who doesn't. Elemental power just stands for "magic spirit energy," and personally I don't find that relatable to anything at all. It could be, but what? Patriarchal power? Emotional maturity? Mental enlightenment? Moral dominance?

 

 

How does a mysterious city shrouded in fog and only accessible by a narrow bridge, or a great stone labyrinth that moves on its own, or giant mask carvings that dot the coastline, or a great temple in the shape of an hourglass where ancient rituals are held, or a wilderness that shows the ruins of a great civilization now struggling for survival, fail to excite as much of a sense of magic and mystery as a stock figure from two years ago looking up at a big LEGO piece in a desert?

 

The difference is that the stock figure picture has composition and purpose. Looking up, aspiration or perhaps loathing. Giant piece, dominant power or possibility? It implies the greater presence of titans, as well as evokes a sense of loneliness. It takes the familiar and casts it in an uncertain position, which after the 2008 story line is very appropriate.

 

And I never meant to say that G2 had nothing going for it at all, heck I took a sweet moment to go through a character where it actually nearly made something really interesting. The problem with the city, the labyrinth, the mask carvings, and the temple, is that they have nothing to do with each other or the greater narrative. The heroes don't care about any of these details except when they serve as obstacles to their next goal. The Temple of Time was an opportunity to explore legacy, history, purpose, or any number of things but it doesn't present itself as being anything other than a setting for the plot to intersect with. Nearly, if not all plots have been told; when you break a plot down there is basic mathematics. But that's not what makes a story. A story is how you do it, but it can't just be one layer deep with all the pieces operating separate from one another.

 

So I ask, what is G2 about? Friendship, teamwork, unity, are not meanings or statements about anything. Friendship exists. G2 doesn't ask any questions that aren't answered by the toa's un-doubtful victory. A story is made exceptional through paradox, and through understanding and then challenging established feelings and assumptions. G2 doesn't do that.

 

And I am not asking for Bionicle to be Shakespeare. G1 wasn't, and there needs to be a level of fairness when analyzing media aimed at younger audiences. Look at the Legend of Korra and The Lightning Thief series'. The Percy Jackson series is a wonderful work of Fantasy as much as it is a children's series because it questions the status quo and ends with the acknowledgement and assurance that chance is necessary to their world. It asks about intention versus actuality and how progress can be achieved in a world literally dominated by ancient forces of time's past. Can one escape the pattern? Or simply fall back into a self-sustaining system of inequality that only ever changes face to make members of said society more complicit to their domination.

 

 

I didn't know what to expect coming into this topic but I guess a dismissal of G2's intensely purposeful aesthetic considerations is I guess what I should have anticipated.

 

This very sentence alone tells me that you either didn't fully read what I wrote, or didn't care. The TL;DR was a joke, but in reality I was more focused on analyzing the strengths of G1 rather than the weaknesses of G2. And I wouldn't call anything about G2 intense. The creator's might've cared a lot about it, in fact a lot of what we've seen from G2 shows that there were people involved who had plenty of care, but I didn't come here to deny that, I came here to analyze why things work or don't work. I've seen this again and again and I don't understand why any criticisms of G2 have to be stifled because it makes those who liked it upset. Why can't I analyze the dangers of Fantasy and disingenuous media, especially in the case of children's stories, a very real concern of mine. You're not even really disagreeing with any point I made, but just trying to negate the conversation entirely by discrediting my view point as being blind, nostalgically driven hatred. Heck I don't think I ever even said people weren't allowed to like G2, I don't care, everyone has a reason for liking the stuff they do. I like plenty of stuff that's not technically good. It doesn't mean people shouldn't be critical of said stuff.

Edited by Banana Gunz
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The thing that really sticks out is that the majority of G2's lore was created by a third party - AKA Ryder Windham. Virtually everything we know about the individual protectors (including their friggin' names) as well as the skull villians, was created by him. And it was relegated to books and graphic novels that barely anyone read, which was the exact same issue G1 faced in its later years. There were no widely accessible comics or online flash games that fleshed out the lore - instead we got a series of animations that, while well animated, were far too short to accomplish anything other than moving the very bare bones plot forward. Skull Slicer, the character Banana Gunz is so intrigued by, appears and is defeated in mere seconds. Talk about wasted potential.

 

It doesn't surprise me at all that there are rumors that G2's marketing budget was slashed last minute, due to the need to re-allocate resources to Ninjago after Lego realized what a horrible mistake they had made cancelling it.

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I have slept for so long. My dreams have been dark ones. But now I am awakened. Now the scattered elements of my being are rejoined. Now I am whole. And the Darkness can not stand before me.

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Even with how messy Bionicle got in its later years, there was always a lot of good stuff to ponder over. Plus, Bionicle is the only other franchise I can think of (JoJo being the first one) where the tone, characters and general aesthetic shifts from part to part, giving each its own distinct feel. Having recently rewatched all the JoJo anime and finished catching up on the manga, it's dawned on me how I'd really like more franchises like this. Kinda like Doctor Who, except in a small enough scale where the same team is in charge all the way through. Kinda like Type-Moon, except more linear in its approach. Just like JoJo. Just like Bionicle, except better written. G2 was very bland from the get-go. I was really excited for it, but it lacked intrigue. It was worrisome that all the interesting content was relegated to novels written by someone who's not on the main team. No matter how much flack can be levied against Urobuchi, Higashide or Sakurai on Type-Moon's works, they're part of the official team. No matter how much flack can be levied against Greg, he was part of the official team. There was a degree of logic to the A E S T H E T I C of G1, even the weird or bad stuff.

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It doesn't surprise me at all that there are rumors that G2's marketing budget was slashed last minute, due to the need to re-allocate resources to Ninjago after Lego realized what a horrible mistake they had made cancelling it.

 

Wait, didn't Lego attempt to end Ninjago in 2013, which was 2 years before G2 launched?


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People are still defending bionicle G2 to this day, smh...

Even a pile of garbage can have some redeeming qualities.

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Rule #1: Always listen to Kek.

Rule #2: If you break rule #1, kindly don't.

Rule #3: EVERYBODY TYPE IN THE CHAT "AVAK IS A STUPID TRIGGER"

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G2 was interesting. It may not have been the best it could have been, but the set design and animation quality were both excellent. I, as I'm sure many people did, collected the entire first year. Granted, all my Toa are in a lego box in shards because I mad Akaimi and Wairuha and never had the ambition to put them back together.

 

I watched the first episode of Journey to One, and I got so excited, because I thought that we might have gotten a different animation of the first year. Possibly in 3D, with different voices, the possibilities were great! But that didn't happen. We got the same flash style animations as 2015. But that was alright. Money doesn't grow on trees, so reusing footage makes sense.

 

Another thing that was kind of missed was the Lord of Skull Spiders. His catalog description told me more about him than the animations. He was just a screaming monster to be defeated in two seconds.

 

Guard the ancient city with LEGO® BIONICLE® Lord of Skull Spiders with 6 legs, translucent eyes and lever-operated grip-and-crush function.

 

Grip and crush with the mighty Lord of Skull Spiders!

 

Patrol the entrance to the ancient city with the monstrous Lord of Skull Spiders! Protectors wanting to unlock the secrets of the city will have to get past this evil-eyed, 6-legged creature first. And the Lord of Skull Spiders has its own secret weapon – pull the rear lever to grip and crush anyone who gets too close! Combine with buildable LEGO® BIONICLE® Protector and Master sets for thrilling good vs. evil battles.

He sounds epic. Who put him there? Why is he guarding the city? Against what? I'm not sure if this was my brain from three years ago talking, but it sounds like he has a much greater purpose than "Destroy." It almost sounds like he was placed to make sure that the best heroes get to Ekimu.

 

The golden mask of skull spiders was amazing, and seemed like the perfect goal for Season One: free all the Okotans! In reality, though, it was never even mentioned. I'm not even going to say anything about the dangling, person sized web cocoon that I'm fairly sure I noticed under the bridge.

 

Wait! There! Can you see them?

https://biosector01.com/wiki/Gallery:Okoto#/media/File%3AOkoto_City.png

Edited by Downfall

:smilematoro:

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It doesn't surprise me at all that there are rumors that G2's marketing budget was slashed last minute, due to the need to re-allocate resources to Ninjago after Lego realized what a horrible mistake they had made cancelling it.

 

Wait, didn't Lego attempt to end Ninjago in 2013, which was 2 years before G2 launched?

 

 

Well, keep in mind, products begin development 18 months in advance. The negative reaction to Ninago being canceled, and its subsequent revival, had repercussions for the next 2 years of product, especially once Ninjago kicked back into full gear in 2015.

 

Also, for those who may doubt the truthfulness of this rumor, it came from none other than Bzpower's own Deevee - who, as a member of the Lego Ambassador program, had far more credibility than a mere anonymous leaker. I can't give you a screenshot, but he posted the info in a lego related discord a while back. It was his understanding, according to what the Bionicle team told him at the G2 reveal event, that they were going all out with Bionicle. When that didn't happen, the reasoning I already have detailed was given.

 

One final note: supposedly Ninjago didn't just screw Bionicle over, but also the final year of Chima. Which makes sense when you think about it, because the final year was a rehash of the previous wave's theme. Perhaps they had planned for the theme to go out with a much bigger bang, but budget cuts forced them to reuse assets they had already created,

Edited by Zarkan: Master of Storms

I have slept for so long. My dreams have been dark ones. But now I am awakened. Now the scattered elements of my being are rejoined. Now I am whole. And the Darkness can not stand before me.

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People are still defending bionicle G2 to this day, smh...

People are still whining about it to this day, smh...

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Formerly Lyichir: Rachira of Influence

Aanchir's and Meiko's brother

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It doesn't surprise me at all that there are rumors that G2's marketing budget was slashed last minute, due to the need to re-allocate resources to Ninjago after Lego realized what a horrible mistake they had made cancelling it.

 

Wait, didn't Lego attempt to end Ninjago in 2013, which was 2 years before G2 launched?

 

 

Well, keep in mind, products begin development 18 months in advance. The negative reaction to Ninago being canceled, and its subsequent revival, had repercussions for the next 2 years of product, especially once Ninjago kicked back into full gear in 2015.

 

Also, for those who may doubt the truthfulness of this rumor, it came from none other than Bzpower's own Deevee - who, as a member of the Lego Ambassador program, had far more credibility than a mere anonymous leaker. I can't give you a screenshot, but he posted the info in a lego related discord a while back. It was his understanding, according to what the Bionicle team told him at the G2 reveal event, that they were going all out with Bionicle. When that didn't happen, the reasoning I already have detailed was given.

 

One final note: supposedly Ninjago didn't just screw Bionicle over, but also the final year of Chima. Which makes sense when you think about it, because the final year was a rehash of the previous wave's theme. Perhaps they had planned for the theme to go out with a much bigger bang, but budget cuts forced them to reuse assets they had already created,

 

That actually makes perfect sense. I remember Lego saying on Twitter that G2 had average sales, just like G1 did when it was pulled. If G2 didn't get the same backing as G1, it stands to reason that it's because Lego wasn't able to give it that backing. They didn't become one of the biggest toy companies on Earth by not knowing how to sell their product, and surely they wouldn't consciously choose to make Bionicle without the thing that makes it Bionicle. If you ask me, this makes it even more likely that they'd attempt to reboot it again when they don't have other circumstances sucking their budget away.


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Rule #3: EVERYBODY TYPE IN THE CHAT "AVAK IS A STUPID TRIGGER"

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Bionicle G1 definitely has a unique aesthetic that I’ve yet to see anywhere else. G2 just didn’t give me the same vibe. I think Lego tried their best in G2 to emulate the feeling of G1, but they sadly didn’t succeed.

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G2 is just a dumbed down, cheep version of Bionicle that tried to capitalize on nostalgia. But since the majority of Bionicle fans are adults now it failed miserably. It didn't really pull in any new fans so they killed it.

 

The sets were alright though, the story was just trash.

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Skyra | Savina | Darien | Hakari | Mekana | Oceanna | Taleen | Mimira | Denerium | Talinka | Arisaka | Wraith | Xxeth | Silene

 

 

 

 

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Story bad sets good. I respect the designers for creating the gearboxes and designs that allowed the 01 function into a modern build, and the Uniter builds to be a great combination of CCBS and Technic. My main complaint was that G2 was smooth Hero Factory parts where I really lived the greebling effect (lots of texture detail) on every part/limb vs the plain armor shells and then adding stickers. It looked like intricacy vs plain armor to me 

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Bionicle: ANP aims to create narrated versions of all the Bionicle books, with voice actors for each character, and music taken from various media to enhance the story. Check here if you're interested in voicing a character, and here for the chapters that've already been released!

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I do very much enjoy G1's aesthetic. Most of it I chalk up to nostalgia, though. It's a disappointing answer, to be sure, but I think it's the one that best defends the awkward limbs, poor proportions, over-sized weapons, and a host of other visual issues. The colors were brighter pre-2004, and then there were a slew of muted colors that were neither appealing nor attractive. Think about 2008 and the Phantoka and Mistaka. Lots of black and grey.

 

Long story short, no, I don't think G1s aesthetic was all that amazing or rememberable.  

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