Plot
The story features two schoolchildren, Zack and Annie, who are neighbors and friends for many years. In each episode of the series, one of them commits an act contrary to that day's chosen virtue (loyalty, compassion, courage, moderation, honesty, etc.) and suffers pain as a result (be it physical or moral). They seek counsel of one of their animal friends. These animal friends are four anthropomorphic mountain-dwelling entities who between them possess immense knowledge of legends and literature as well as common sense and a lively sense of fun. They utilize classical works of famous authors, philosophers, poets, as well as fables and myths to communicate the truth of virtue to Zack and Annie. Plato, the oldest, is a scholarly bison; Aurora, the most gentle, is a raptor; Socrates (or "Soc" as his friends call him) is a rambunctious bobcat; and Aristotle (Ari) is a prairie dog who is seldom without his bag of books. These four, whose existence seems a secret from the majority of humans in the town of Spring Valley, advise Annie and Zack patiently and often. The children then proceed to live according to the virtue of the day, completing what they have begun.
The episodes do not seem to take place in linear fashion; no character speaks in memoriam of a previous incident, and there is no intimation that the children act based on a previously referenced virtue.
The show used unique animation quality, which stands out for its vibrancy and attention to detail. Most of the backgrounds for the episodes had the quality of paintings.
Read more about this topic: Adventures From The Book Of Virtues
Famous quotes containing the word plot:
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“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)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)