In a previous post, I discussed what has become a perennial problem in the entertainment business: spending too much time on too little plot.

One example I offered for efficient scriptwriting is Three Star Bar in Nishi Ogikubo, that tells a satisfying tale in six half-hour largely standalone episodes.

Gamera Rebirth also does a good job in six forty-five minute episodes, integrating a backstory with the complexity of The X-Files without dragging the audience through all the nitty gritty details.

It then queues up a sequel (a single scene following the credit scroll) without resorting to a cliffhanger ending.

But perhaps the epitome of a tightly written teledrama is Monsters: 103 Mercies Dragon Damnation. In all of twenty-five minutes, we get a beginning, middle, and end, a (somewhat predictable) twist halfway through, and a conclusion that provides the promised payoff with another clever (and foreshadowed) twist.

Followed by a brief coda that ties it back to the One Piece universe.

This may be a bit of a spoiler, but Monsters takes a cue from the "management by walking around" governing style on display in samurai action classics such as Abarenbo Shogun and Mito Komon, that has a high government official mingling among the common folk into order to ferret out the bad guys.

It's an approach favored as well by Emperor Shouryuu in the Twelve Kingdoms.

This little gem was penned by One Piece mangaka Eiichiro Oda. Granted, if you're not familiar with One Piece, you may wonder what a French swordsman, a samurai, and a dragon are doing in a town straight out of the American West. But you quickly stop wondering because the narrative can carry that weight.

I don't follow One Piece closely and wasn't aware of the connection before watching the show. And yet despite the odd anachronisms, it was still one of the most entertaining movies I've seen in quite a while.

Monsters: 103 Mercies Dragon Damnation is streaming on Netflix.

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