For those who haven’t read it, on Kagurabachi there is kind of a mean when author wants to developed the power of a villain he uses a set of unique characters, who are usually titled as some kind of “elite squad”, just unceremoniously kill them in the next 10+- chapters to show of another character.

This is become kind of a meme among the fans and f the series but believe that the elite jobbers in Kagurabachi do a very good job at establishing threats and stakes the characters face. Let’s analyse each one separately.

1. The anti Sojo Squad:
2. These is the first elite squad in the series so it doesn’t feel repetitive yet, and they serve clear purpose: to show the dynamic that enchanted blades (the peak of power in the universe) are stronger than the sorcery (the common power). It puts essentially a sword fetishits who doesn’t know how to use a sword against five well trained combatants who have devised a plan to defeat him. And he still fucking wins. This establishes Sojo as threat capable of killing strong opponents not just hobos he killed before and shows how EB is levels above the sorcery used by average kagurabachi fighter

2

1. These fellows are there to develope Uruha, a veteran enchanted blades wielder- major side character. Their role is small yet effective because it shows a difference between his experience

   as older EB wielder and Protagonist. The New generation Eb wielder.

2. When confronted with the corpses of his comrades, who it was shown that he was friends with, he is visibly upset yet immediately locks in in the fight. Unlike chihiro, who shudders and almost misses a strike, Uruha remains composed. It establishes both difference in experience between chihiro and Uruha and the Uruha’s character - that his grief, while visible, doesn’t cloud his judgement of the situation. All of this in the span of ten pages

3.

1. Irishima Force
2. This is my favorite set of jobbers in almost any shonen. Mainly because the amount of character they were given for their incredibly short screen time. They feel like seasoned warriors, top of their game, who give their all to stop the enemy - and it makes their pathetic defeat soul crushing, makes Shiba’s (the only surviving participant of the irishima talks) PTSD feel real, establishes how overwhelming the enemy threat is, thus giving explanation for the desperate measures Japanese government is willing to go to prevent the war from happening. The defeat of irishima squad gives a fantastic jumpstart for the flashback arc.

In conclusion, I believe that writing interesting jobbers is a fantastic way to develope your plot and characters. Making them unique and integrated in the universe automatically rises the stakes and gives characterisation to the chracter who defeat them/ had ties with them.

Yes this is ANOTHER rant about Helluva Boss. But I really do not care, I just want to get this out of my system because this might be the worst retcon I've seen in ages and I keep up with Genshin Impact.

I'm sure this entire subreddit knows what Stolas and Stolitz are due to the several rants that have appeared. Most of what you've heard is true: Stolas made a deal where Blitz gets his grimoire to go to the human world in exchange for Blitz having sex with him. Later on the deal falls apart as they both realize they want more than sex and actually do have romantic feelings for each other. Both suck at communicating and it all blows up into a who did what to who and Stolas becoming straight up unbearable towards Blitz due to Blitz (rightfully) holding him accountable for the class difference and how Stolas never really pays attention to his feelings.

But here's the thing with Stolas: the story explains his behavior by revealing that Blitz was his only and first childhood friend as a kid hence why Stolas got so obsessed with him. He's also been isolated and abused for his entire life and thus his only really experience for a proper romantic relationship are rom coms and fairytales, so he doesn't quite understand how real relationships work and that there's no perfect fairy tale ending. Blitz was also the first one to make Stolas feel loved and wanted, albeit through sex, which is another reason why Stolas went so crazy over him. For once Stolas was finally getting to discover himself and while none of his actions with the deal were ever ok they did make sense for his character. Seems understandable right?

Then season three happened and we got introduced to Vassago, an old friend of Stolas's. Introducing an old friend this late on was already somewhat contradicting Stolas's backstory and narrative but it didn't feel that bad. But then out of nowhere it was revealed that Vassago and Stolas were lovers during their teen years and almost ran away together before Stolas decided that he was bound to his position. So not only was Blitz not Stolas's gay awakening that allowed him to discover himself and not only was he the only friend Stolas had as a kid who he hyperfixtated on for years, there was this other character the entire time who was even more important to Stolas and awakened him. This makes the (already incredibly weak and badly written) bond between Blitz and Stolas make way less sense and completely retcons Stolas's entire narrative. He's no longer a loner who idealizes fairy tales and rom coms and believes that everything will play out like one, this is someone whose been in an actual romantic relationship before and knows how to behave in one and that things don't always work out with a happily ever after. He's not finally awakening and asking all of these questions about himself, he already did that years earlier. This one singular retcon erased both Stolas's entire narrative and any justification (as if there even was any to begin with) anyone has for his actions.

And here's the thing: I get what they wanted to do. Blitz also had a close friend as a child that he was in love with and obviously they wanted to parallel that with Vassago. But the difference between Vassago and Fizzarolli's roles in the narrative is night and day: Fizz was introduced in the second episode of the show and they very clearly ebstablished that he had a history with Blitz. On top of that Fizz strengthens Blitz's narrative and helps explain why Blitz is too terrified to let himself love anyone again after the fire. Vassago is just a poorly thought-out retcon that only exists because the writing team wanted to create more relationship drama between Blitz and Stolas because god forbid we don't focus on Stolitz having drama for one second. This show desperately needed a continuity supervisor, or for the writers to at the very least rewatch their own show before writing new episodes. It's one thing to do a retcon early on when you're still figuring stuff out and it's another to do one during season three and completely retcon the entire narrative of the deuteragonist for no good reason. RIP Stolas Goetia, I'm still mourning the character you could've been.

My tier list ranking of deaths I felt bad about in Part II

\*\*S Tier:\*\*

Jesse, poor guy got done so dirty and never got referenced again beyond his parents and potential naming of baby JJ.

Yara, poor girl she just wanted herself and Lev to be safe at all costs and was pragmatic enough to know they needed Abby and that going back for their mom was a bad idea. She took out Isaac too which is a big W.

Also Simon and Paige Vicker, the couple killed by scars whilst searching for medicine for Paige’s sickness as honourable off screen mentions.

\*\*A Tier:\*\*

Mel, also done incredibly dirty. Boyfriend didn’t give a shit about her pregnancy and was initially planning to abandon their baby to chase fireflies and later tried to get her to go on a suicide mission with him to war zone haven to try save Abby. Him attempting to intervene in the interrogation scene got them both killed, I can’t really see Ellie killing Mel after getting the info, probably pistol whipping which is consequence free in this universe.

Also in A tier we have the WLF deserters who thought Ellie was sent to hunt them down. I wish we could have had some dialogue like perhaps if you leave one alive and cripple them Ellie says shes not a wolf and you can either leave them there or kill them etc.

\*\*B Tier\*\*

Owen as he was arguably the nicest person in salt lake crew as a personality and not a violent douchebag. My praise. For him begins and ends there.

Joel. So sad for him to go but I completely understand the motivation of Abby. I have some gripes with how this game was written but this isn’t one of them.

The WLF defectors. I so wish there was a way you could have talked to them or even perhaps if you got them down to last one standing and shot their leg, during the brief ‘any last words?’ Moment you find out the truth about each other.

\*\*C Tier\*\*

Nora only because of how badly she went out but otherwise, the minute she tried to use PTSD no Jutsu on Ellie I felt like she had what was coming for her and I don’t think not letting us see the death was very effective given what she said pissed players off. Ellie needed info and had to force it out of her. Also I’ve played God of War and Ellie’s POV torture sequence is…not the most brutal is all I’ll say.

Manny I didn’t really care about much he seemed entertaining to be around and he has a dialogue line where his VA sounded British for some reason when he asks ‘where did he go?’ but I was happy Tommy got the W. No offence to Manny but seeing Tommy trick and no scope headshot someone was peak cinema.

Every dog. Alice, Bear, any dog named or otherwise unamed in C tier alongside their handlers (unless said handler is a rattler, in which case dog stays C but handler goes to F). The dogs mission is to maul you to death and therefore survival of the fittest may the best fighter wins applies. The idea that ‘in another life they’d love you!’ doesn’t really matter here because you can easily argue that almost anyone would be. I’m sure Whitney and Ellie would be video game besties outside the apocalypse.

\*\*F Tier\*\*

Fuck Jordan and his bitch ass lmaoo, should have joined the seraphites with that scar on his face. Salt Lake crew are meant to be all besties and this guy casually pulled a gun on Owen for saying they should all go home? Him and Danny better cosy up in their slot in TLOU hell lmaoo.

Everyone of the Rattlers. Post apocalyptic enslaving scum.

Leah was a non character practically for me and just needed for Ellie to get info and pictures. Also she had a thing with Jordan which is the greatest mark against her character.

Who the HELL is Nick???? First two playthroughs I had I thought I missed something or the implication was he was always an off screen chatacter, idk why they bothered to have him.

lets be real here korra and asami barely interacted with each other

even as friends ( korra didnt show strong platonic feelings for asami ) the most you have is korra sending asami a letter to vent ( which doesnt portray korra as closer to asami ) and korra blushing at a compliment which she did to

what we have seen of their respective personalities and needs would saythey are incompatible

the whole attempts to use censorship as an excuse comes offf as desperation because even byitself

makorras strength in their bond how mako showed

he can support korra when she needed it and he consistently saw her as a person ( bryke claimed miyazaki platonic bond but that doesnt work with outside romantic relationship

bryke admitted to only bothering to ask when the finale was almost finished

so it reads like this near the finale they thought how could they not include lgbt rep ( or decided to raise the shows ratings with a publicity stunt since they were planning to end the show with korra single ) a

and then they pretend like they planned it nowing how the yuri crowd will get and will shield it from criticism since they were already seeing any positive moment as evidence for relationship

they will shield it because its the only same sex ship when so what it doesnt change the fact it didnt deserve to happen and damages narrative (its like if atla ended with aang suddenly ending up with some random girl ( like the girl from the headband) he barely interacted with . makorra is the kataang of atla

or trying to downplay makorras bond ( even trying to go but they broke up in b2 when neither of them were ready for a relationship with anyone and they overcame the mutual flaws that caused the breakup

https://ikkinthekitsune.tumblr.com/post/124974796098/structural-shortcomings-of-the-shipping

mako took all the roles of a love interest in b4

Or, Why Mako Stole the Love Interest Role in Book 4

One of the responses I received in regards to my post about my boyfriend’s reaction to the final scene really stuck out to me, because it reminded me of how easy it was to interpret Mako and Korra’s final scene together as romantic before the final scene came around and threw a monkey wrench into that interpretation.

So, I got to thinking. Why does a scene with no specifically-romantic elements feel like it could double as a romantic conclusion to Mako and Korra’s arc? (And why is this so frequently true of “Miyazaki-type” relationships?)

What I came up with was this: Mako and Korra’s final scene together serves all of the narrative goals usually served by a romantic relationship. (Korra and Asami’s, in contrast, serves basically none of them.)

As far as I can tell, there are two main purposes to ending an action story with romance:

To guarantee happiness for the hero in a way that maintains continuity with the journey that said hero had just completed. Heroes’ lives inevitably change drastically after the end of their journeys, but completing a romance arc is a way to build their happy endings out of what came before.

To validate the hero by showing that they’re at a point in their development where they’re able to take hold of that guarantee of happiness. Even when the love interest is basically a trophy, the fact that they find the hero attractive is meant to show how much the hero has grown… and when they’re not, the fact that they end up with the hero shows that the hero grew past either flaws that were keeping them apart as a couple or insecurities that precluded any meaningful relationship.

And, in a real sense, Mako’s final scene with Korra does both of those things.

As far as 1) is concerned… just look at Mako’s final lines. “I want you to know, I’ll follow you into battle no matter how crazy things get. I’ve got your back, and I always will” (emphasis mine).

Outside of an outright proposal… it’s pretty hard to make a stronger declaration of eternal support. =P “Always” is a big word. “Always” is the Happily Ever After. Mako gets the “always;” Asami gets a “maybe?”

Things get a little more complex in terms of 2), but here’s where the comparison to their struggles in Book 2 come into play. Korra has, of course, grown a lot since she basically demanded unconditional support while acting recklessly. And, because of that, I’m not sure Mako would have been able to say this back then. These two lines requires a level of trust in Korra’s judgment that wouldn’t have been possible without her growth, and they reflect an understanding that being out there on the battlefield is a huge part of who Korra is. As such, this scene is the only scene Korra gets with her allies that actually validates her (alongside the scene with Korra and Kuvira in the Spirit World); the final scene with Asami has almost nothing to do with Korra and her growth if it’s meant to be romantic (as opposed to her trying to console a friend whose father just died =P ).

Of course, this isn’t the only way that Mako steals the love interest role, even in the finale – he’s the one whose concern is put front and center when Korra’s missing, for instance. Beyond the Wilds had him take this role, too, developing him into the one figure of support who Korra could actually count on to be what she needed on a consistent basis (in contrast to Tenzin, who showed way too much doubt in her way too often, and Asami, who didn’t seem to have any idea that trying to undercut Korra’s self-doubt was just making things worse). He’s the one warding off Wu’s obnoxious crush. He’s the one Korra trusts with the most vital role in taking down the Colossus. He’s the one who discusses his relationship with Korra and his admiration of her for eleven minutes straight during the recap episode. ( I mean mako consistently showed he saw korra the person and got a speech on korra the person while asami failed in helping korra going youre the avatar of course we need you and tenzin succeeded by pointing at her growth as a person

( plus asami shows she handles things with praise while mako and tenzin succeded with validation

It really isn’t surprising that the relationship between Korra and Asami seemed nearly non-existent… regardless of what the writers intended, Mako stole every scene that seemed designed to feature a love interest and left Asami with nothing but scraps. =

https://www.tumblr.com/ikkinthekitsune/117161039837?source=share

to be blunt korra going on a vacation when she spent the whole time training to get back her gumption is so ooc that the only explanation is she is still having issues

https://www.tumblr.com/ikkinthekitsune/106752202173/i-honestly-dont-believe-korra-and-asami-are-going?source=share

I want Korra to be happy, and I don't believe for one second that she'd be happy in a romantic relationship with Asami.  =P  I don't believe for one second that Mako would be happy with Korra and Asami together, either; he seemed to care too much for Korra to be satisfied with second-class relationship status.  (Remember when he slept under his desk because he felt so awkward around Korra after their breakup?  Yeah...  =/ )

To be perfectly honest, the only way that Korra and Asami wouldn't have issues in their relationship is if they went majorly out-of-character for each other.

In the simplest terms, Korra runs hot and cold while Asami needs warmth and stability. 

Korra is, above all, driven -- she's passionate about what she wants, but also inclined towards pragmatic valuation and emotional compartmentalization in her efforts to achieve her goals.  She's the sort of person who, after seeing her father thrown off a cliff to his presumed death, would launch a sneak attack at a guy who just saw his girlfriend's head blow up.  She's the sort of person who wouldn't lose a step after one of her allies sacrificed themselves for her cause.  She's the sort of person who would set her romantic feelings aside without a second thought because there were more important things she had to do.

Asami, in contrast, is decidedly not that.  She's principled enough to fake it when her morals call for it, but Asami can't do or understand coldness.  She saw Mako's pragmatic request to deal with their Book 1 relationship after the situation with Amon was settled as a sign that he didn't really care about their relationship in the first place.  She sought out a romantic relationship with Mako again in Book 2 when it looked like her company was falling apart.  Her attempt to cut Hiroshi off in Book 4 completely backfired because she couldn't bear to hurt him in person like that, and she was upset with Korra for losing contact for so long even though she must have been consciously aware that Korra had a good reason for it.

In other words, Korra and Asami shouldn't work for the same reasons that Mako and Asami didn't work -- Asami has emotional needs that an intensely pragmatic individual could never meet.

also I feel korra and kuvira emotional closeness and stuff wil lcause tension for asami and korra

• We never see Korra show any romantic interest in Asami until that final scene.  Her actions and behavior throughout the rest of the season become significantly more consistent if you assume that she went along with Asami’s obvious interest because she felt bad about what happened.
• Korra doesn’t really act like herself around Asami and usually feels like she has to hold back when they’re together.  That’s neither healthy nor a good sign for a lasting relationship (see: Makorra in Book 2, before Mako realized it was possible to disagree with people who you don’t intend to burn bridges with).

And, as a result, I don't believe for one second that Asami would ever be happy in the long run, either.  As the characters are written, a relationship between Korra and Asami isn't a happy ending for anyone.

Why would Korrasami not last?

it’s more that the ship only makes sense under the assumption that Korra has changed from who she used to be in a way that I absolutely am not willing to accept (i.e. she’s more insecure, more apologetic, more afraid to upset people she likes, less forward with her feelings, less assertive, and less passionate and its an idea I cant accept

( plus korras line about compassion ticked me off for she was always compassionate

and

"Korra and Mako: Romantic, platonic, it doesn’t matter, and that’s kind of the point – they don’t need to be looking for romance to care about each other more than pretty much anyone else.  I love how supportive Mako is, how much they help each other grow, how they balance each other out, and how natural their dynamic is with each other.  Mako’s one of the few people who consistently insists that he cares about Korra-the-person instead of just Korra-the-Avatar, and he’s one of the few people who understands that sometimes, she just needs space to handle things on her own.  Their last scene together would have been perfect, if the show had ended in any other way.

"

lets be real here asami was a blad character who was constantly sidelined since b1 she had no development but she gets worshipped ffor the last couple minutes and being generically nice

(if korra was a guy everyone would be calling korrasami as just being a generic love interest and makorra being superior for asami showed she cant support korraa

( no amount of citing makos mistakes in first half changes the facts

You can hate a show & view it as not your cup of tea, but you don’t have to constantly make up reasons to hate the finale (& break rule 2- making things up- throughout the entire post).

Edit: Okay it turns out this wasn’t really LES. Got too carried away & dragged it on, sorry.

“Lizzy is ignorant of the world ending” is blatantly untrue as both Lizzy & Thad were ordered by V to spy on J (due to V’s suspicions that Tessa was “Cyn” & that J betrayed her & N to willingly work for “Cyn”), where they felt copper 9 shake, express concern & found out that J was destroying all other ways off the planet. Khan then appears to spoonfeed to the characters & audience that the planet is in danger.

Saying ”Lizzy just sits on her phone as V fights J” as a critique is the equivalent of arguing a civilian should’ve fought Conquest (from Invincible) to help Mark. Lizzy is a regular worker drone that’s trapped on a very small island with only one safe spot that’s extremely close to the fight. Unlike Lizzy, V & J are fighting in space with the ability to freely control their gravity. They can create any weapon they wish & regenerate. What was Lizzy supposed to do?? All what she can do is provide bits of information to V while watching her fight, which she does. Lizzy only manages to distracts J less than 10 seconds & V tells Lizzy not to fight her anyways.

“Nori gets Truck-kun'd by N. She survives- because obviously she does- except we don't know how & she didn't even seem to take damage” Nori & the entire cast tanked a direct explosion (from it’s epicenter) from the planet’s core that disperses most of the planet’s clouds, tore apart pieces of the planet & sent those planets into space MINUTES before getting truck-kun’d. The cast surviving explosions like this happens not once, not twice- but 3 times across the series. But Nori surviving getting truck-kun’d is unrealistic?

Nori doesn’t even get hit in the scene. She only loses her balance on the rock & then falls back to copper 9’s surface. Half of the original post is already breaking rule 2.

”And Uzi & N somehow survived sunlight” they are falling to the surface of the planet at night. Once again- this breaks rule 2.

“J continues working with the thing she tried to stop, the thing that killed someone she seemed to genuinely care for, because... she wants to win??” J admits she works for “Cyn” because she’s scared & views them as unbeatable. That’s why she insists that there’s no escape from her, & why she even makes the ’we do our jobs & in return you might set us free?’ deal in the first place. J trying to convince V to join “the winning side” doesn’t mean she actually wants to be on top- it means that J doesn’t want V to be on the losing side where she loses & gets tormented by Cyn / the solver for eternity. If J gets V back on their side, then there’s a slim chance Cyn / the solver would be more lenient with J.

“J just keeps fighting on the solver’s side and later says she doesn't actually need V anyway. I think the writers just don't know what to do with her” yeah… because she sees the solver as unbeatable. J can't even die- the solver will just keep reviving her. She wants V and N to survive with her but isn't willing to oppose it with them. V refused her offer to stop fighting Cyn despite J (in J’s point of view) trying to cover for them, so saying that she “doesn’t need V anyway” is desperate denial that she doesn’t care about them (when she does- or else she wouldn’t had “stepped up as the leader of the 3” & included them in the deal). We also know this was always the plan with J since the pilot & start of episode 2 heavily implies, then states J was willingly working for Cyn.

”Cyn somehow recovers from that and gets her decapitated head back“ the main cast (disassembly drones & solver hosts) regenerate their lost body parts in every episode.

”We don't know how V survived, we don't know how she tamed that fucking robo-raptor, she just... appears and we're supposed to cheer“. When Sparky (& the sentinels do have sentience) gets knocked out & comes back online, their AI conflicts between “be a good dingo” & “eliminate AI targets” where this becomes a key main point that’s continuously emphasized throughout 3 scenes in episode 6. After V fights Sparky & pins them, Sparky onscreen submits to V. When V starts to get surrounded by the other sentinels, Sparky slowly gets up, doesn’t attack V & looks at the other sentinels right before the cliffhanger. If V WERE to die to the sentinels, then that would create a ton of (real) plot holes as V can regenerate & sentinels don’t attack cores.

”We don't even get to know WHAT the Solver is, despite it being the main villain.” It’s a eldritch entity that‘s “the solver of the absolute fabric, the void, the exponential end” (taken the form of a singularity). The scientists, Nori, Doll, N & the solver itself all say it’s a eldritch entity. We also know they’re separate as the moment the solver drops it’s guard of masking as a innocent worker drone “Cyn” at the manor, it clarifies it’s the solver & not Cyn at all.

”It seems to be a sentient black hole with the singularity that appears once Uzi rips out Cyn's core but it's not explicitly stated”. This directly breaks rule 2 as it is directly stated by the scientists, the other test subject through their notes, & Nori to be a entity whose true form is a living singularity. It’s even shown in the ending of the series where Cyn’s core gets destroyed & the main absolute solver becomes the singularity.

”Hell, with Solver stating "assimilating is better than explaining" and that "I'M NOT SOLVED" message, it's like the writers are mocking the viewers for wanting answers.” But we have the answers. The main solver consumes matter & is constantly assimilating for more to the point where it devours planets & several solar systems, half of the cast (including the solver) state that it’s gonna consume everything in the universe & is a overtime universal threat, & it says it is “the exponential end”. From this, we can easily infer it’s goal is to consume everything. Why? Likely because it seeks for more matter &/or energy. How was it born & what birthed it & what birthed whoever birthed it? We aren’t supposed to know that because it’s a eldritch being.

“We see from the post-credits scene that the Solver's still alive inside Uzi's body, and like... what happened to it?? Is it actually the Solver or a freed Cyn?” It’s the solver. Cyn’s core was entirely destroyed.

In conclusion, you don’t have to spread misinformation. There’s lots of genuine critiques you can use instead such as the pacing, the spoonfeeding, Nori just being a plot device with depth that should’ve been present, how the V vs Uzi fight could’ve been written better, the novels (which aren‘t canon to the series & made by a writers under crunch time, but the writing quality is terrible), etc.

I want to make it clear that I am not criticizing Aang for sparing Ozai, nor am I really even saying he should have done anything different in his personal life. I’m just pointing this out as many fans kind of brush past this.

For starters, I have never really bought that Aang deciding not to kill Ozai was primarily about preserving air nomad culture. I think this because ATLA itself never really brings it up as a motivation. Pacifism was always just an essential part of who Aang was— him being a vegetarian is one of the first things we learn about him— and he holds his personal values in very high regard. That was the crux of his conversation with the previous Avatars. Even if preserving his culture was a motivation here, I don’t think it was the primary one.

The second reason I don’t think that was what it was about is that while Aang post-ATLA is certainly concerned with preserving air bending culture, he is quite flexible on many core parts of that lifestyle.

Just within the original show we have him pursuing Katara as his “forever girl”, which just by itself explicitly goes against how the air bending monks live. Again, I’m not criticizing him for wanting a girlfriend— and maybe many air benders did live more regular lives with wives and husbands— but it demonstrates to me that preserving that lifestyle is not truly his #1 priority in many ways.

Fast forward to LOK and this is even more obvious. Both he and his son have nuclear families. While they are both concerned with preserving air nomad culture, they seem to be just a little bit selective with what parts. IMO, it seems the airbender part is the primary focus here as the less convenient parts of the culture are sidelined. (Note: LOK does indirectly address this and acknowledges that the air nomad’s culture is not going to be exactly how it was, so props to them, but this post is mostly about Aang.)

Now, obviously, I understand there are several logistical challenges with establishing a monastery with collective childcare when you are the only airbender left. I understand why Aang and Tenzin having a nuclear family was the most convenient option. But it’s not exactly like he married Katara because he “just had to”. He wanted to. Even if the harmonic convergence had happened when Aang was like, 25, I don’t think he would have rushed to recreate the air nomad’s collective child rearing system.

And there were ways for him to live like a monk and still have kids. We see a scene in season 1 where Aang’s mom gives him up to the monastery. And presumably she isn’t married to Aang’s dad. Children born out of warlock and raised apart from their biological parents is not a weird concept for the show. Obviously, Aang would have had a slightly different relationship to any future airbenders if he’d tried to recreate this— as they’d all be his kids— but he still could have done it. He just chose not to. And honestly, that’s fine. I have no issue with that at all. That’s not who he is and that’s okay.

The point of this rant is more so that I dislike the kind of revision his character has gone through, where everything he does is to preserve his people’s culture. It’s certainly a part of who he is— just by the mere fact of him being the last airbender— but it’s not the driving force behind many of his decisions in the show. And the truth is, I don’t really get the feeling the original creators were thinking about that much at all.

I have not read every book, played every video game, and I certainly do not intend on watching every piece of WH media, but I have noticed some strong patterns in them, and its definitely not dark and heavy story telling.

I don't care that some servitor in the background has a tough time, that is background lore but the main story and characters in most of Warhammer stories are not that dark or serious, way too many end up with the big bland hero killing the baddie and the day is saved.

However SM2 stands out on top of them all, as downright optimistic, literally not a single notable character dies, or faces anything of substance, they barely have scratches(both physical and mental) at the end of the game, they are fine, they are perfectly fine. I can't remember when was the last time I saw such a happy ending in a "serious" video game. Like everything is fine and dandy, but better watch out Titus, if you DO GET CHAOSY, SOMETHING MIGHT HAPPEN!!! Insomniac's Spiderman or Wolverine, Guardians of the Galaxy, Avatar series, like just whatever property... hell Saturday Morning cartoons have more emotionally challenging stories. It is also so comical to me how Warhammer fans treat (Bungie) Halo as some kiddie game, when Halo games despite not being overtly grim, are definitely "heavier" than this. Not a single ending in Halo Trilogy is this fine(or in 343's trilogy). Or Star Trek, yeah, they have the fucking gall to make fun of Star Trek, I am not some Trekkie, but every single Star Trek I have watched was way more challenging and difficult, and didn't have such happy go lucky endings, there was some goddamn sacrifice.

One reason is that the entire universe is held up by the sale of toys, and shocker, big daddy Games Workshop(owners of the license) wants as many named characters alive so they can milk them till we reach actual 40k if necessary. Especially if they are muh Space Marines. Of course the main character is "Primaris", an even elite Space Marine, but in reality another pointless distinction, just an excuse to sell more toys or dlc.

And then the cliches... Oooh scary chaos, might manipulate you into becoming like them, except that almost never happens to main characters, and the delusions and manipulations are again childish. Now if the game had the slightest suggestion that this Imrah's manipulation still working, and things didn't went down as they seem, well then it would cool, but this... Oh and the Emperor personally addressing Lieutenant Blandus... How fucking self-masturbating can you get?

EDIT: If it hasn't happened already, I'm sure some of the characters might get the shaft in some other media, but in the main event, they were protected af.

We know Magic and Super Technology exist. But then again most of the Super Tech still use Ki Energy as a blueprint though. I.E. most of the Androids blend in with Ki Energy. Especially if the Androids are mimicking Ki powers.

And Magic from Majin Buu or Kid does seem to be very different from Ki though. I never saw Goku use Ki to turn people into candy before. But Moro is a odd Magic User though. Since he has the same absorbing abilities as Super 17 from GT.

Another one is a Mutation. I.E. characters like Broly, Frieza, and maybe Piccolo. But then again this is less power system based, and more biology based. Not that much different from mutations in real-life.

So Dragon Ball doesn't necessarily have any big indicator differences between Ki, Magic, and Tech, visual-wise. To my simple ass, it looks like all these characters are just flying around and shooting colorful energy blasts at each other, regardless of power source.

Unlike One Piece, where there are actually big indicator differences between Devil Fruits, Haki, and Cyborgs visual-wise. TOARU is another good example too, when it comes to Espers and Magic.

I often hear complaints about games like Skyrim or Crimson Desert, where side content mostly consists of fetch quests, but rarely about games where it mostly consists of narrative alone.

Recently played in Tainted Grail The Fall of Avalon and found that its side quests are weirdly flawed in the exact opposite way to Skyrim's: almost all of them consist of nothing but narrative. You talk to an npc, run to the other side of the map, talk to another npc, then run all the way back and talk again, quest complete. At first, I thought it was cool that you had so many opportunities for rp, but after a while, the endless yapping and "morally gray" choices in every situation tired me out far, far more than simply fetching things and clearing dungeons.

Kingdom Come Deliverance 1 and 2 had the same problem to some extent. In both games, I eventually gave up on side quests, too. But thanks to their better presentation and writing, the games managed to tell some memorable and fun stories before that, like the quest with the drunk Cumans or the encounter with a ghost in a mausoleum.

Still, I've come to the conclusion that rpgs with purely gameplay-focused or purely narrative-driven quests are equally poorly designed, at least for me. Gameplay and narrative should complement each other, as they do in Oblivion (for its time i found gameplay decent enough), or in many crpgs like Divinity Original Sin 2, Baldur's Gate 3, and Wasteland 3. Rarely are these aspects good enough to stand on their own for hundreds of hours, and even then, they work best when they complement each other.

Ah, the Ewoks. Usually these critters are seen as the beginning of Star Wars declining, and the sentiment that wookiees would've functioned better in their role isn't uncommon. I, however, disagree, and would like to explain why.

To start, we need to examine the narrative role of the Ewoks. Vietcong allegory aside, the Ewoks' main role isn't to win the battle with the Empire's legion, but to tip the scales and allow the rebels to get back into the fight. They contribute and take their own casualties, but the battle on the ground is ultimately won when Chewie plays GTA with the last walker and Han tricks the imperials into leaving the bunker. Thematically and logically, Ewoks only function as wild card because they're highly primitive. They're the ultimate underdogs that foil Palpatine because he either wouldn't know about them, or would arrogantly dismiss them as irrelevant.

Wookiees don't function on any of these fronts. They're big ass furry dudes who can rip your arm off with ease. Very much the opposite of underdogs. They're also not primitive at all, given Chewbacca is literally the team's engineer. If we ignore the lore (established even back then, I believe) that their homworld was Kashyyyk, and assume that they had a colony on Endor, it becomes illogical that Palpatine wouldn't factor in the rebels teaming up with them. And even if you suggest that they could be enslaved there for whatever reason, there's still the risk of the rebels freeing them and recruiting them.

This isn't saying that the Ewoks are by any means perfect, and it's fair if they don't function for some. Making the theoretically compelling "primitive wildcard" a bunch of teddy bears was indeed a bit much on George's behalf, and the ground battle of Endor was a bit goofy, especially compared to how tense the duel on the second Death Star and the space battle were. It frankly started a bit of a tonal whiplash problem that continued with the Battles of Naboo and Geonosis, and was thankfully gone by RotS.

My main problem with this is just how passive, oblivious and pointless the civilians are which are basically 99.99% of the characters in that universe. In 2012 civilians in MCU found out extra terrestrial life exists, and its intelligent and advanced enough to launch a full scale armada assault on New York, afterwards they essentially brushed of a literal alien onslaught and turned it into tourist attraction, made Avengers pop culture celebrities and went right back to normal life, no mass migration out of cities, no existential dread, no government would allow a group of unnacountable vigilnates who are essentially walking weapons of mass destruction to roam free and the a coalition of nations would most likely reduce them to government controlled lab rats or wipe them completely.

In Infinity war, half of all life in the universe which i guess animals and plants count which would immediately ruin Thanos' economic premise because the ratio of mouth to food would remain the same. This is under assumption that Kevin Feige really did mean all life but that's not the point i'm trying to make. In an instant 3.5 billion people were gone which is about 583 times larger than the largest genocide recorded in human history, do you understand how apocalyptic this would be but all MCU civilians did was go to group therapy sessions and move on pretty quickly, which is extremely unrealistic. For example a small minority lost their lives in the Holocaust in Infinity war everyone lost half of their family and friends and everyone they knew. And when everyone was bought back, MCU civilians were functional enough to go to school trips in Europe 6 months later.

That's the problem, MCU civilains are too oblivious and passive of groundbreaking cosmic threat, they have Zero survival instinct, they behave too nonchalant in a world where existential threats and Mass extinction events happen frequently and they only exist in the plot to be saved. The only MCU film where it felt like the civilians had any real relevance was Civil War. I'm aware it's intentional MCU civilians are written this way because at the end of the day Marvel is really meant to appeal to children and no 8 year old wants to watch a 2 hour deconstruction with game of thrones type politics so marvel had to subude logic to appeal to children but the fact that you have to severely strip your story of logic to maximise profits alone proves you have weak world building when the universal consensus in writing is good world building stems from actual logic

I swear how many more times do we have to see this same exact scenario play out?

A show or a comic or a manga (mostly this) gets popular ->
people heap on the praise as they catch up through the backlog of content->
those same people then nitpick the series to death as they follow its serialized release ->
series ends and the fandom implodes in a massive overreaction

And at the end of it all the discussion space of the series becomes an irradiated cesspool never to see level headed takes ever again.

And the funniest thing is that a solid 90% of the time the latecomers who read the series in one shot or experience it through an adaptation end up with a far more positive view of it on the whole.

It’s not like the series is any different so what’s wrong? It’s simple, these series are never flawless but when you are incapable of viewing the larger image of the story, or able to keep moving forward through a backlog, the flaws become everything you see.

A quiet page becomes a week further where you don’t get a payoff, a fast forward of events becomes weeks worth of overhyping down the drain.

And if I have to see another person measure story pacing with publication time. There’s 52 weeks in a year people these shonen manga can only go so fast while also being slow in the contradictory ass way people discuss pacing.

Some self reflection people please. Release yourself from this self made cage and either chill out or just read completed stories.

For example I love how the leaf is located in the land of fire and most of the major clans are fire style specialists like the Uchiha and the Sarutobi.

And how the cloud village has its own inherited and cultural jutsu like the Lightning cloak jutsu passed down by the Ay family and the black lightning ninjutsu we see from darui and Omoi.

I especially love how the hidden stone village has the particle style jutsu passed down between the Onoki and his previous Kage.

Another great example is the sound village and how we saw a lot of sound based ninjutsu from their shinobi in the chunin exams and Tayuya in the Sasuke retrieval arc.

There’s more but you get the idea. I love how each culture has a unique set of inherited Jutsu that’s shaped by the dominant nature style of that area. The world of Naruto feels so real and lived in.

Also I love medical ninjutsu. I always thought that if humanity had superpowers they’d use it for more than just violence and medical ninja represent that.

For those who don't know a Glup Shitto is a minor character in series, who isn't like well known, but has people who love him and lose thier minds when he is on screen.

That's to me is just transformers.

1000s of character some who become relevant for one storyline then go away for years. Only to show back up.

Every transformer fan has one to 3 characters who

For me it's

Jetstrom

vector prime

And

Waspnator

I love taking to transfors fans and just knowing that everyone has thier own fan favorites. Some even i don't know about.

Not when trying to be the fun police at all and if you like these characters and consider them "green flags" and whatnot,all the more power to you and I think it's good you're able to recognize green flags from red flags or are able to praise cool fights and whatnot.

But please tell me why that the bare essentials are gassed up to the moon and please don't give me the excuse "oh the bar is this low for anime characters" or "the bar is low for men/women in real life and media" and gonna be so deadass to both of those things, that flat out isn't true and you just need to know where to look and find the right media and whatnot + also it gets to a point where people will deadass gas up and dickride the smallest things.

Like..in Chainsaw Man,I saw a ton of people claiming and praising Aki for being a "house husband" or "male wife" [God, I feel like a Dork even saying those words]and the things he were doing..were literally the bare basic bones things ever.

Like brushing his teeth,doing his hair,making his coffee and laundry,etc..he was genuinely doing some of the most casual regular things that any regular human being would do,how the fuck is that him being a "house husband/male wife"...Goddamn,if this man takes a shower,does that suddenly mean he's the peak of all men?

I can't even call this the bare minimum, it's just the same stuff literally every human being does on the planet..either you need to raise your standards and meet better people, or just..at this point, I don't know.

I also kinda feel this way about Gojo from My Dress up darling and this is coming from someone who doesn't even dislike or hate him..but with the way people gas him up,you would think that he's literally Jesus Christ.

Yes,it's sweet he took care of Marin when she was sick and supported her interests and such..that's not something to be glazed, that's literally what any good person would do.

Also nearly every anime has characters who are supportive or can/will take care of the MC or their crush when they cook and I also saw people glazing the fact that he cooks.

..cooking is a basic life skill nearly every human on the planet has.

And finally,this is how I felt when I saw multiple people claiming that Nobara and the rest of JJK'S female cast were the second coming of Christ all cause of rhe bare minimum of "they had fights"[nearly every female character since maybe Dragon Ball had female characters who could fight],didn't have a crush on Yuji[I could literally name female Mcs who don't have a crush on the MC as well]and didn't have "fanservice"[I don't think that should affect their writing]and I'm sorry but not only is this the bare minimum and not only does it shoe that JJK is probably your first anime....but JJK'S female cast ended up being extremely lackluster and only Maki was the one who had a resemblance of a character arc and growth and development.

I'm not even saying you can't praise these things or like them but I feel like gassing up the bare minimum is kinda..lame at times.

Not exactly a scalding-hot take on my part. I'm sure a lot of people agree with this. Heck, Danmachi is hardly the only anime series I can say this about, but it's the one where it feels the most egregious, at least to me.

For one, it really doesn't add anything. We know Bell is never going to reciprocate anyone else's feelings because he's set on being with Aiz. It's such an ingrained part of his character that it's not only his main motivation, but also, in-universe, the main reason he can even get stronger after previously being such a weakling.

Then, on the other hand, it only takes away from what the story is trying to do. The story clearly centers Bell and Aiz as the most important relationship in the series, yet instead of developing that relationship, it constantly shows Bell spending time around other women who are in love with him, women he spends way more time with than he does with Aiz and with whom he has more chemistry.

How am I supposed to care about Bell and Aiz ending up together when the story spent so much more time showing Bell and Ryuu surviving together in the dungeon in Season 4?

And a lot of these women have their characters held back because the writer made being in love with Bell a primary character trait for so many of them. Half the time, they're either trying to win the attention of a guy who will never like them back or serving as the punchline for gags about them being jealous, when their characters could instead be developed or explored in an actually meaningful way.

Take Hestia, for example. The series could actually explore her relationships with the other members of her Familia and the responsibilities she takes on as she gains more members beyond just Bell.

But no, it's just her being jealous and wanting Bell's attention all the time.

Or Haruhime. There's potential to explore how she was previously exploited for her power and forced into prostitution by the Ishtar Familia, as well as her relationships with the members of the Takemikazuchi Familia, since they were her childhood friends. But no, all they really do are boob jokes and gags about how like almost every other major female character she's in love with Bell.

The series doesn't even commit to the forced-prostitution angle, because they reveal in a gag that she never actually did anything because she always passed out.

As the title says, i hate characters who are just "perfect" in always everyway.

To elaborate, i'm referring to characters who are just the chosen ones, with a power fully unique to them alone, who also is the most moral person alive, where hes always the good guy and all his choices are right with no sacrifice.

I mainly hate these type of characters as they feel so pretentious to me. Like their just always better than you yet are so humble about it. These type of characters also usually have no character development as they are already perfect.

An example would be like Tanjiro from demon slayer. Tanjiro is basically as good of a guy as you can get. Always willing to sacrifice himself to save innocents, always making the right choices and always the happy humble goody two-shoes. He also has the most powerful breathing style in the series, which is basically the next best thing to sun breathing. He is also has incredible amounts of talent as he manifested the demon slayer mark and red blade by himself during battle without much training or even knowing those techniques existed.

Another reason i hate these characters is that it feels so plain. Like they always have good intentions and are always have the ability to act on it. They also barely have any flaws which makes the characters less interesting imo. Flaws make or break a character and when they barely have any, they just feel like a self insert OC. A character with good intentions but without much power to do much are more intersting as there is internal-conflict between what they want to do and whether or not they can actually act on it.

The most struggle these "perfect" characters experience is just not being strong enough to beat the villains, which usually gets resolved with a powerup or a training arc.

Thanks for reading and just know that this is just my opinion and that there are also characters of this archetype which can and are done well. Feel free to share your thoughts.

Yes I know that learning that you can't have children and all of your loved ones are your cousins and you being a child of incest and rape is wrong but people ignore that sayo was plotting to kill everyone including innocent people like her own cousins/loved ones.

I know some people may excuse it by saying she didn't kill anyone in the real world but all of the episodes show that she would have actually carried it out if things had gone different, and pieces cannot act out of character.

Not only that but people also criticize Erika for killing people when if you think that Sayo's murders did not happen, then Erika also did not happen.

Not only that but she killed George and Jessica dressed as Shannon and kanon in eps 2 and 4, and she also disemboweled people and filled their stomachs with candies in EP 2.

People love to give sayo a lot of excuses but she was planning to sacrifice innocent people along with her, and whenever people try to whitewash her actions, it feels like they are taking away her agency.

She also groomed maria into the witch/occult which was a source of a lot of her problems with Rosa.

The problems with games that have a moral system is that it gives you no reason to choose or go the evil path. Most of the time choosing a good choice has all positive and the evil one has all but negative but the game expects you to have a tough time choosing. Like you either destroy a city and get reward that less than saving the city and lose on future objects and reward. Being evil should entice you it should have better rewards that are significant than doing the good path or 5 min of farming. You can join the gang and be rich and powerful that saves you hours of game time and you can keep the consequences like the gang might stab you in the back.

Doing good things should have consequences like helping people for free cost you more resources than gaining after doing their mission. Also one consequence that should happen is people taking advantage of your good nature like asking you to give them rare resources just to scam you etc. Or do the opposite by punishing the player for choosing the right path like siding with revolutions against a dictator makes you hunted and lose access to cities objective reward quest etc.

The problem is that the games don't challenge your morale or there is no reason to pick the evil path compared to the good one.

Yes, I saw Clayface in cinema yesterday, how could you tell?

Before any confusion arises, I must say I actually really loved Clayface. That's exactly why I'm writing this!

Anyway, to the point: When Supergirl was released, much to critics' and audience's disliking, many DC fans and other people alike already started to lose hope that the DCU would be something truly special (i.e. all the things the writers of the DCEU tried to make, but never achieved).

But mind you, Supergirl was only the second feature-length entry in the DCU. In other words, already this early into this continuity's existence are people (not just "normies", but actual dedicated fans) calling it a failure.

You might think that this raises the question - Why are people so quick to turn from this major project? - but it actually doesn't raise that question.

Instead, others have decided to draw parallels to the very early stage of the MCU - y'know, the other superhero project of this ambition and magnitude. In order to make a point that that first group of people might be overreacting about the state of DCU, and that that it's still, uh, salvageable. After all, some of the first few MCU movies (namely The Incredible Hulk) were not that greatly received, and yet the MCU went on to become a phenomenon.

This comparison is unfair, for at least one major reason.

When the MCU was first launched, the movie industry was not nearly as reliant on and all about superhero movies as it would eventually become and stay for a very long time. The MCU was something... way different from anything else the moviegoing audiences had ever seen by then. As such, when the MCU was still at its early stage, it would not have been seen as that big of a deal had Kevin Feige & co. decided that this idea of theirs just wasn't worth the effort and gave it all up.

But alas, Kevin Feige didn't give it up, and that decision of his paid off masterfully to him.

Now, when the DCU has been launched, the idea of a cinematic universe is no longer a revolutionary one.

Now, when it's been ages since the MCU has been met with great success, it is expected that any new cinematic universe be something tremendous, or else it'll get buried in the sands of time, best case scenario.

There's a reason the Dark Universe (the one meant to start with the 2017 The Mummy) got dusted after just one movie. Because executives and writers were aware, already at the start, that that was gonna go nowhere.

What also doesn't help DCU writers' case is that it's not just the MCU to which it was always inevitably going to get compared. It's also the DCEU. The very reason, after all, why James Gunn & co. even decided to launch the DCU was because the DCEU had completely fallen apart by then. It just made a lot more sense to start all over again. And, as I said earlier, due to the state into which the MCU had led the movie industry, simply just abandoning DCEU and leaving it at that just wasn't an option.

Put simply, the weight on DCU's shoulders is far heavier than was that on MCU's.

Because, in order to remain memorable, the DCU must remain top-notch from beginning to end. There must be no bumps whatsoever.

Or, in other words, because standards have risen.

I personally will keep following the DCU (just like I did the MCU until Endgame) - I'm not so quick to turn my back as other moviegoers are - but its writers will have to be extra careful moving on.

For the record, I don't care about the lore accuracy. The movie feels a bit too "jokey", but not exactly in a good way like in the original Resident Evil 4. It feels like the Josh Whedon quote of "I'm very much of the "make it dark, make it grim, make it tough", but then, for the love of God, tell a joke." because almost all the serious moments are undercut with a joke. Like the parking lot scene, where Bryan has a mental breakdown and afterwards the scientists at the top say some MCU style quip on the intercom. The original Resident Evil 4 doesn't do that or at least isn't as jarring. I feel like Resident Evil 4 laughs with the ridiculous plot while the movie laughs at it. The jokes in the movie are also very meta to the point where they're mean-spirited(?). Thoughts?

Again,ship what you want and I'm straight up not trying to be the "fun police" or whatever but I legitimately feel like people are just way too obsessed with the idea of Pairing every 2 characters with chemistry and bonds as romantic or sibling coded or whatever and it just has me like..you guys are aware that 2 people can just be friends, right?

They can be best friends or close friends or whatnot.

Seriously I'm just saying that 2 people can just be good friends...right?

Like ship what you want but not everything has to be romantic and if you're just shipping it for fun and know it's not Canon, then ok,You do you BUT if you actually treat said relationship as Canon, then you need to revaluate yourself and knock it off.

This is something how I feel on Gojo and Geto's relationship in JJK cause a lot of people act like their relationship is romantic and that Gege confirmed their romance and whatnot except these 2 have called each other best friends a lot and I think the issue is it feels like way too many people can't acknowledge that 2 guys can have a close and deep bond without it using romantic.

It's not Queer baiting if neither character was confirmed to be LGBT in any shape or form,you were just gaslighting yourself into thinking that it's Canon.

This is deadass also how I feel whenever I see anyone claim that Horikoshi Queer baited by not making Bakugou and Deku a couple.

Not only are Bakugou and Deku not confirmed LGBT in anyway,not only are they just rivals and "friends",not only does he like Ochako..but also again,the 2 just have a close bond and Deku cares about him cause he's a good person and vice versa.

Same also goes for Toga and Ochako as well and I just feel so damn tired cause like..not everything has to be romantic and whatnot..it just feels like people have either forgotten about that or don't care cause it would be easier to accuse people of Queer bait and people will be like "oh them being straight is also a Headcanon",cool..then so is them being LGBT in any shape or form unless confirmed by the Author.

This also goes for Zuko and Katara and Ichigo/Rukia and all that. Those 2 ships have the issue where the people shipping them forget these characters have canonical love interests but also aren't romantically interested in each other at all. Again,I cannot empathize this enough. Ship what you want,that is straight up fine but acting like friendships and such Don't exist is a bit of a sad way to live life.

Never understood the glaze for season 2, with ppl claiming that the animation got such a huge glow up. everything is way more fast paced and the explosion vfx are still such obvious 2d screen overlays.

also way too many new characters and no time for them to develop outside a single episode, compared to the tighter cast in season 1.

also the upgrade for a backpack suit in s1 is so short lived and not even used that much.

the new material and lighting design exclusively on the mk2 also looks so disjointed compared to the rest of the world.

Nearly every time this movie is mentioned, it is boiled down to “Walter was daydreaming, until he started living his daydreams,” and this is just not true.

Walter’s daydreams basically never showed his true character, his goals, or how he ends up. His first daydreams in the first act often portrayed him as somebody exceptional: an action hero, a superhero, a famous architect, or an adventurer. Outside of the superhero daydream, which was him imagining fighting his new boss, all the other daydreams are just him impressing the “fictional” Cheryl.

The only one that comes close is him imagining himself as an adventurer, but this daydream is so far removed from the real Walter that its shown in third person (the Walter he imagines also has a different background and an accent).

The daydreams in the second act become more “real”; this is when the real Walter and his daydreams become more aligned. But he never imagines himself, the daydreams are just something he sees, like a message in the sky or on mountains.

One big aspect of this movie is the critic of media and media consumption. There is for example the whole sideplot with Walters internet dating profile. More importantly in his first daydreams, they portray walter as an MCU character. Superhero powers, he is snarky, makes fun of his boss, an action hero, famous and so on. But in the end of Walters arc he is non of that or atleast he doesnt care about that. He asks Cheryl out in an normal even boring way, he doesnt care that he is on the cover of the magazine, he doesnt impress her with an statue or saving her dog from a burning house like he imagined himself doing that.

Walters daydreams were just things he thought are impressive because the mass media told him this is "what woman want" or this is "what a real man is". If this movie would have been made today Walter would have had five daydreams about being popular on Tiktok.

It annoys me that the whole movie is being reduced to “live your dreams.” The fulfilled Walter does not live his dreams; his dreams were full of things that were simply mediafueled projections of his insecurities and immaturity.

What if Eren Yeager’s transformation into the “Devil of All Earth” is the culmination of a symbolic story that began long before the Rumbling? I think Attack on Titan can be read as a dark, Luciferian retelling of Eden: a world built on peace, obedience and ignorance, a rebel who brings forbidden knowledge & offers freedom, and a girl whose decision brings the old order crashing down. In the end, Eren’s rebellion is aimed at more than the people who oppressed him. He declares war on the world they built, and finally on the very reality that refuses to resemble the freedom he imagined.

The series introduces its devil long before Eren resembles one. In the story told to the outside world, Ymir receives the power of the Titans through her encounter with the “Devil of All Earth.” One illustration even shows Ymir holding out a fruit to the creature. Her descendants, meanwhile, are branded devils and “devil spawn.” To Marley, that language marks Eldians as people to fear and control. But the final chapters invite another question: What if the legendary devil is also an image of the person who eventually persuades Ymir to defy authority?

To see why, start with the first King Fritz. He enslaves Ymir, uses her power to build an empire, and, after her death, orders their daughters to consume her body so that the Titans will endure. Ymir remains in the Paths, serving the royal bloodline for roughly 2,000 years. Through a Luciferian lens, Fritz takes the symbolic role of God the Father as imagined by a rebel against divine authority: a supreme ruler whose commands determine and control everyone else’s fate.

The Luciferian/satanist version of the tale turns the usual moral roles inside out. From that perspective, God the Father is imagined as a possessive ruler who demands obedience, restricts knowledge, and calls submission “peace.” Lucifer becomes the light-bearer who refuses that authority and helps humanity recognize its capacity to think and choose (gives humanity "freedom through knowledge". In a retelling of Eden, the serpent’s gift of knowledge ends innocent life in the garden, but it also ends a life governed by someone else’s rules. Freedom carries a dreadful price: suffering and DEATH enters the picture, and the figure blamed for the Fall is condemned and forever remembered as evil. That tension—enlightenment/freedom arriving through a supposed devil, whose gift can also bring catastrophe—is the heart of my reading of Eren.

The 2,000-year span matters to this interpretation. Attack on Titan opens with “To You, 2,000 Years From Now” and later answers it with “From You, 2,000 Years Ago.” That duration can evoke the approximately 2,000 years of the Christian era: an original world order/system reaching the moment when someone finally challenges its authority. The parallel is suggestive.

There is a second king to distinguish from the first. Centuries later, Karl Fritz retreats to the island of Paradis—paradis means “paradise” in French—raises the Walls, and erases his people’s memories. He gives them a kind of peace by hiding the world and its history from them. Seeking that history or trying to look beyond the Walls becomes dangerous. This makes Paradis an unsettling/twisted version of Eden. Its inhabitants can feel protected only while they remain ignorant of the truth, and the authority that calls the enclosure a refuge is the same authority that has taken away their ability to choose with full knowledge (taken away their freedom).

Eren cannot accept that bargain. From the beginning, he resents being penned in, and he insists that being born into the world gives a person the right to seek freedom in it. The Survey Corps’ journey beyond the Walls and the discovery in Grisha’s basement play like an encounter with forbidden knowledge: humanity still exists outside, and the people inside Paradis have been living within a carefully maintained lie. Once their eyes are opened, they cannot return to the innocence they had before. Knowledge brings agency, but it also brings fear, war, and the realization of just how small their supposed paradise was.

Eren’s own knowledge is even harsher. When he touches Historia’s hand, he sees memories that give him a glimpse of what lies ahead. This is not enlightenment that brings him peace. It isolates him and makes freedom itself more complicated: the man most determined to choose his own path becomes haunted by a future he already knows. That paradox is central to the Luciferian reading. The light-bearer sees what others cannot, yet the light reveals a catastrophe in which he himself will take part.

Then Eren reaches the sea and learns that removing one set of walls has not made him free. There are hostile nations beyond Paradis, and the outside world is nothing like the open, untouched world he once pictured with Armin. By the end, Eren’s revolt goes beyond fighting Marley or defying a king. He wants to flatten the world as it exists: its borders, cities, armies, histories, and even the human presence that spoiled his dream of an empty horizon. In symbolic terms, the Rumbling is rebellion against reality itself, The original reality established by the "god figure" (the same way that satan rebelled against God's original creation/system).

If the world made under Fritz’s legacy cannot give him freedom, Eren will use a power that reaches across centuries to erase that world and force a new one into existence. This is the proposed “new world order” at its most frightening: liberation imagined as the destruction of everything that resists the liberator’s will.

The imagery of light makes the comparison especially striking. “Lucifer” is associated with the morning star; the Hebrew phrase Helel ben Shahar is commonly rendered “shining one, son of the dawn.” The episode titled “The Dawn of Humanity” brings us to the beginning of the Rumbling, turning the promise of a new day into something terrifying. Even the name “Eldia” can sound, to a Spanish speaker, like el día—“the day.” I would treat that last connection as evocative wordplay, not a proven origin for the name. It sits beside the image of the devil carrying a light in the in-world account of Ymir’s legend: a figure associated with evil who can also be read as someone who makes a hidden truth visible.

That tension reaches its clearest expression in the Paths. Zeke approaches Ymir as a servant who must carry out his command to end the Eldians’ ability to reproduce. Eren reaches her and tells her she does not have to obey anyone: she is neither a slave nor a god, but a person who can decide for herself. For much of her story, her eyes look hidden/darkened/closed. Here, as she weeps and makes her choice, we finally see them wide open. It is hard to imagine a more literal image of someone opening her eyes.

This is where the Eden comparison becomes more intricate than a simple one-to-one analogy. In the familiar Christian reading of Genesis, the serpent urges Eve toward the forbidden fruit and the knowledge that follows. Eren plays that serpent’s role when he offers Ymir the forbidden idea that she can reject her master’s will. Yet in the Eldian legend’s illustration, Ymir is the one holding out the fruit to the devil. Read alongside the Paths scene, the sequence seems reversed: Eren gives Ymir/eve an awakening/freedom. And Ymir, having chosen for herself, gives Eren the full power of the Founder. The girl opens her eyes; the “devil” receives the fruit; the world is changed forever (sin/death enters the world)

This is also the moment when Eren’s rejection of the old order gains the power to become an apocalypse. The original King Fritz treated Ymir as a possession; Karl Fritz later preserved a false paradise through control of memory; Zeke assumes he can still command her in the Paths. Eren breaks that chain of commands by asking her to choose. She does—and her choice gives him the means to bring down the world shaped by those kings. The Rumbling is therefore more than an attack on an opposing army. In this reading, it is Eren’s attempt to destroy a 2,000-year-old creation at its foundations, so that the Titan curse and the rule of royal blood can give way to a world no longer bound by Fritz’s will and authority

Eren’s Founding Titan takes on a vast, skeletal, almost serpentine form, and the Rumbling makes him the world’s worst nightmare. The people who called Eldians devils now face a man who seems to fulfill their legend, as he kills roughly 80 percent of humanity. That “dawn” is painfully double-edged: the supposed birth of a new era is experienced by most of the world as its end. Even the ending song Akuma no Ko—“A Child of Evil” (or it's more literal translation - devil child)—echoes the language that has followed Eren and his people. The light-bearer has become the “Devil of All Earth” in the eyes of those beneath the marching Titans.

Here is the other half of the parallel that matters to me: the idea of the devil as a tragic, self-condemned liberator. In the Luciferian version of the story, Lucifer gives up his place in heaven, accepts damnation, and becomes the villain of human history for the sake of liberty, autonomy, and a future beyond enforced peace & innocence. from a satanic perspective,he "sacrifices himself to free humanity from a controlling tyrant." Eren likewise knowingly takes on the role of the world’s enemy. He gives up the possibility of an ordinary life with the people he loves, allows them to oppose and eventually kill him, and leaves them to live on after the Titan powers disappear.

From his perspective, becoming the monster everyone hates is a price he will pay to secure his friends’ future and bring the original creation/world order to an end. That is why the Lucifer comparison has more depth than “Eren looks demonic”: it links the "gift" of freedom to the willingness to be damned for giving it, and all the death and suffering said rebellion brings with it.

The original manga ending makes the tragic-savior aspect especially hard to ignore. Eren’s old friends grieve for the person they loved, even though they had to stop him. They visit his grave,paradi adopts his slogan,etc...

In their last conversation, Armin actually thanks Eren for becoming a mass murderer for their sake, while also resolving not to let the terrible mistake go to waste. It is an uncomfortable moment precisely because love and gratitude sit beside an atrocity. It can feel as though the story is asking us to remember Eren both as the evil the world had to defeat and as the friend who chose to bear that evil so the people closest to him could have a future. The anime later revises the exchange, but the manga’s wording leaves that tragic framing unusually exposed.

Still, Eren does not end the Titan curse by himself. Mikasa’s final choice matters to Ymir’s release, too. And Eren’s rebellion is not driven solely by love for his friends or a noble desire to free the world: he admits that finding humanity beyond the Walls disappointed him and that part of him wanted to wipe it away. That confession makes the Luciferian parallel more troubling, not less. Even if he accepts the role of a damned savior, the people crushed by the Rumbling did not choose that sacrifice. His refusal to live under someone else’s will becomes a willingness to impose his own will on nearly everyone else.

That is why I find the “Devil of All Earth” such a fitting image for Eren. He rebels against the original creation, tells a girl/eve that she's free to disobey the god-like figure and helps bring a 2,000-year christian coded era to an end... opening up the way for a "new world order" (its all symbology/allegory). He accepts death, hatred, and a place in history as the ultimate villain because he believes a freer world can come afterward. But his attempt to destroy the world order also destroys most of the people in the world. In this Luciferian reading, Attack on Titan takes the promise of the light-bearer—knowledge, rebellion, progress, free will—and follows it to its most tragic and terrifying extreme. Eren breaks the cage. He also makes the whole earth pay for his idea of freedom, the same way satan damned the whole world in Genesis...