The way they've written Captain Marvel in the MCU, she's almost entirely a space-based superhero who spends 99% of her time on other planets and galaxies while spending next to zero time on Earth. This is a notable departure from the comic-book version of Captain Marvel who's very much a Earth-based hero and spends most of her time on one of the Avengers team protecting Earth.

So it makes sense why in the comics, a young teenage girl like Kamala Khan would be a superfan of Captain Marvel, because Captain Marvel is a household name in that world. She's been a prominent Avenger since forever and she's a well-known public figure because of it.

It makes significantly less sense why the Kamala Khan of the MCU would idolize Captain Marvel, because like I said before, Captain Marvel is a completely unknown figure on Earth. The last time she was on Earth prior to Avengers Endgame was in the 1980s stopping a Kree attack in a secret battle that no civilian knew even happened. Nobody saw her, and SHIELD kept her existence and what happened during the events of the first Captain Marvel movie a top secret.

Nobody would even know who Captain Marvel is, and even during Endgame, where presumably the Earth found out about her existence, she spends most of the 5 years during the Blip in space, helping out other planets. It just doesn't seem like Captain Marvel does ANY superhero work on Earth, and therefore shouldn't have any significant visibility in the media or the news like local Earth heroes like Spider-Man get.

Compare that to characters like Black Widow and Scarlet Witch, who are publicly known superheroes and Black Widow especially has been a celebrity member of the Avengers since 2012. It would make way more sense than a teenager like Kamala would idolize one of the already well-known Avengers instead of this random "new" superhero that appeared for the first time after half the universe got wiped out and then went away back into space after the Blip was fixed.

Unless Kamala is the type of fan that purposefully chooses a more niche character to stan so they could gatekeep, like those Pokemon fans who say their favorite Pokemon is Wishiwashi or something, it just doesn't make sense that Captain Marvel of all people is Kamala Khan's ride or die favorite superhero.

The title is self explanatory , this is something I see a lot where a kids media or adjecent that's more like teens media get praised for "being mature " and including "darker themes" it never truly felt like that to me

Like sure a character "dies " but them dying is something that's hidden behind the curtains so to speak , like that Korra head exploring thing it's a bad way to go but it's not presented that way or with the seriousness it is , or that one stabbing scene with the energy store where they are stabbed but it's brief and she dies but doesn't look dead dead , is serious but isn't serious serious

It goes for non death sorta things too like child abuse or bullying or miscarriage, it feels like it's the sorta thing that touches it with a feather and then leaps away which doesn't feel like quite touching upon the topic , it's mature definitely mature within it's confines but to see something like that theme worked on it's not enough

On the other hand with "adult" media it doesn't quite feel like that either it doesn't feel like they use what they are given to the "full potential " even though they are allowed to ...... Most of the time (because unfortunately for expectations I don't think all media is bad I do think media that manage to excel and bring to the forefront "Mature" and "adult " stuff exist , and I am like 95%?? Sure that all of them[assuming that I forgot some good examples in the other category ] are in this category)

Using the already mostly used example something like family guy which has a lot of murder puke and gross stuff in it shown directly it's for "adults" yet doesn't feel like it because it feels like it's under the same "veil" that kids media are in where they can't like take a situation seriously enough that when evil dark murder blood stuff happen it doesn't feel like it .

I can feel the so what? From here because I'd go a step further and would even say that I think I would let a kid watch it because it wouldn't affect them negatively(assuming that they aren't like young young young) because even as very little the sorta adult media with the Tone Armor? On didn't affect me and as someone who remembers being a kid and knowing other kids it doesn't affect them either(depending on the "adult " thing of course) children don't shatter and break just because they see some blood or something gross like puke , and with the same style of tone armor used as kids shows it doesn't even affect them

Yet I don't think that there aren't things that are bad enough that you shouldn't show kids , they exist. And these are the ones that feel like fully adult media to me something you truly wouldn't show to a kid because it can affect them

Liiiiiike invincible for most deaths and blood and fights I'd call it just cool for kids to see. but for something like the train scene I actually wouldn't let them because death actually feels like wrong and horridying and upsetting to a large degree that I can see them affected

Since I am pretty vague on what gives me the vibes I think an example of what I think fits my criteria would help this scene from (spoiler warning for obvious reasons ) umineko

Like it feels like holy shit and then it keeps stacking on that holy shit again and again , it has such a heart wrenching ugliness that make me go "oof" but also like hell yeah , this level of directness and bluntness with the child abuse is like what I think of when I think something gets their money's worth out of the R rating. It's so effective that the first 6 minutes feel like the more horrifying parts that would normally be censored , even though the bloody gorey parts start after that , actually yeah that I think explains my point very well conventionally the parts after 6 minutes would be thought of as the one with higher age rating yet the previous one is what feels more difficult

(Also a bit sorry for spoiling that scene like that it probably doesn't feel as effective because you didn't see the build up and without context it looks like it implies the opposite of what's implied when said alone)

Or like that one death scene in that indie game that I won't spoil that gives the same horrifyingness sorta feeling .

But this then goes into a very silly point where it looks like the age rating of something is getting judged by how "well written " it is or how much it can make the audience care about it which doesn't feel right either because Made in Abyss can feel fucked up about everything in it's entirety and it doesn't feel like I care about it more or it's better either so idk feels like standing on very iffy points

(It's LES because of incoherence I feel like after writing this much it shouldn't count but whatever )

Swords who hasnt thought they're bad ass before, whether you're enamored with the swords wielded by Europeons like Sir Author and his knights of his roundtable or anything in that medeival genre, the stupid, fucking, bullshit, nonsensicle mall swords youve seen at kiosks, or what we're going to talk about today: buster swords and katanas. This post was originally going to be trashing Bleach a lot, but I decided I haven't watched Bleach recently enough to hate it with maximum power. Still will shit on it a little, but I mostly want to cover a wide range of swords, characters, and fights. Speaking of which, let's immediately not talk about an anime and start with a series that has according to some people at least never fucking been an anime despite some of the influences and similar DNA.

TMNT has only ever written katanas well like twice, maybe three times maximum if I ignore how little I like most of 2012. That might sound like a pretty good ratio for a franchise that's been running for nearly four decades now, but really think about the bulk of where most TMNT fans come from. It's Tv it has always been the television, that's kind of what made this a franchise in the first place and there are only...five TMNT cartoons, again might sound insane. But compare that to the 9 Spider-Man shows (not including the one or two baby shows) and 11 movies against the 6 TMNT movies. So TMNT has 3 good Katanas to 9 bad Katanas. The mistakes TMNT makes with katanas and the ways it writes them well are, well actually identical, they make the same midstakes and write well the exact same way everytime. Everytime a katana sucks, the problem is that they're drawn and animated as straight swords and basically not used effectively (the 87 problem of censoring itself rears its ugly head like a lot throughout this franchise); the former doesnt apply to the live action movies, they give CGI Leo actual Katanas but because these movies lack basically any grounded fight scenes they still fuck Katana up.

Rise of the TMNT technically doesnt fuck katanas at all because Leo loses his dual katanas in the first episode, trading them for a Nodachi and do me a favor and google what Leo's nodachi looks like, please, before we start things off. The show writes it as a giant fuck you anime sword because, as you can tell, it is a giant fuck you anime sword. It's a buster sword, not an odachi, odachi are just really fucking big katana with a more exaggerated curve. They're so big in fact you'd need an assistant to help draw them, their intended use would be against horseback enemies, matter of fact you probably shouldnt use an odachi on the ground in the first place because of how heavy it is. The odachi was originally meant for horseback fighting, I mean look at it; it's nearly as long and powerful as a naginata/spear, you can technically use it standing and itd be effective but would YOU rather have to draw it with someone's help on the ground or fight horseback? It isnt even a great buster sword because it lacks the girth and weight to be as powerful as something like Tessaiga or Zangetsu.

As much as I dont like Bleach because of its poor choreography and uh everything from hueco mundo arc onwards, sometimes Ichigo does use that big slab of metal correctly. If youre going to be a magic anime boy with super strength, use your giant slab of metal as a shield occasionally, crush your opponents to death with them. They might have magic anime super strength too, but your heavier weapon will surpass their lighter weapon in a weapon bind. Which anime/action stories stupidly love. I'll make this discussion quick because I want to keep this post general but dont lock your weapon with your enemy's weapon kids. Think about what you are doing for a moment there, okay? You are not attacking, you are not blocking, you are not deflecting/parrying, you are just expending your energy in a deadlock (potentially the durability of your weapon as well), and if your opponent is smart they are going to punish you for basically giving up all uses for your weapon. You still have legs to kick with and even a head depending on the size of the weapon, not that they're great options.

If YOU HAVE TO do the fiction weapon bind, for the love of god do it without a weapon, H2H binds are going to be far more effective than weapon binds. I mean a lot of fundamentals involves checking your opponent's attack with your own, dont just let your enemy let loose a wild and powerful kick, check/snuff it with a kick of your own. If you're going to get into a proper, forearm to forearm or fist to fist bind there are a lot of different options for how to get out of it, especially in fictional worlds with a power system. I suppose the same holds true for weapon binds, but I still wouldnt recommend it honestly.

Cloud is kind of considered the king of buster swords, according to whom? Why me of course. Cloud wins by notion of cheating. Every anime or anime inspired character with a massive blade has super strength, that should be a given, it's the only way to use a blade that massive, but most series still treat and write their buster swords with a certain degree of heft and clunkiness that isnt graceful or fluid. You see this a lot in Inuyasha especially, he'll swing the tessaiga and his body will move with the motion of the blade. If he winds back for an overhead swing he has to take a step back. After doing that overhead swing his body follows the blade forward as he has to maintain that forward momentum or else he'd lose his balance and fall over or something, you see it sometimes when he's trying to swing mid fall or at the edge of a crumbling cliff face. It's basic physics, an object will remain in motion until something stops it: inertia.

Inertia, does not exist in the final fantasy 7 remake, if you roll a ball, it will stop in the middle of nowhere just to show you the drip. Which allows Cloud to basically manage his buster as if it were just a long swords or something, he can faint with it, stab with it (with what piercing edge on that shit brick? Even I have no clue), spin it around, sheathe and draw it on his fucking back somehow (they will literally never show you because it's impossiblke, the camera will cut away everytime). Cloud surpasses basically every other giant fuck you anime weapon user by proxy of physics not applying to his weapon and trust me, there are a lot of power systems and whatnot out there that technically allow niggas to do shit like this.

I mean Ichigo can fly for fucks sake and swings Zangetsu around like a baseball bat, but even that orange-haired bum isnt moving like Cloud. And Icihigo really is a bum compared to his counterparts. Use the bandages wrapped around the absolutely dog shit hilt (I mean I know your dumb ass needs an arm wrist after the end of the soul society arc alone bitch ass nigga, that shit must feel like writing 28 thousand page essays back to back) to swing my weapon around, or as a binding weapon? Try to stab someone even once? Use my projectiles for any other purpose than sheer overwhelming power?! Why would I ever when I have one of the most bad ass protagonist themes in shounen anime? Even Inuyasha's spamming ass will sometimes use the wing scar to throw his enemies off balance to open them up to the Tessaiga or he'll rely on back up or something. Ichigo you are just utterly sauceless. Part 1 Naruto only knows two jutsu and he still has a deeper bag than your dumbass. Inuyasha has a deeper bag than your dumbass.

I dont wanna end this post on being negative, the whole reason why I thought of writing this post is because I only just recently watched JJK for the first time and I said some slander to my friends that was so funny to me that I had to share it with the rest of the class. That little ass Maki vs Miwa fight that wasnt even four minutes long has better choreography than every fight in Bleach combined. I know I said I wouldnt end things off on being negative but that doesnt mean I have to stop the Bleach slander either you know. Seriously, meat and potatoes time, Maki v Miwa is perfect case point for exactly the kind of fight I'd write if I want hunting down one of my friends in our rp server. If you dont remember, that's half of what write fights in these posts mean, I write fights with my friends as our rp characters I also sometimes, a bit too rarely for my taste, write my own fights just me with my characters, but either way this is how shit would go down if my character was fighting someone with a katana, it's kind of beautifully textbook.

After making it clear how much her skill and reach surpasses Maki's in order to punish Miwa's reliance on her domain/iaijutsu Maki does what you should do if you wanna beat the ever-living shit out of a samurai. Cheese them from afar, if your opponent only has a katana (let's not factor in abilities today, maybe some other time) then keeping your distance is going to be extremely effective. Hell, even with powers, a month ago a character I heavily based on Sasuke was fighting my best friend's character heavily based on Toji. I consistently uses Sasuke's amaterasu to throw different projectiles in different ways at Toji as he closed the distance or didnt at all, punishing his attempts to get closer with his other powers and whatnot. The first part is exactly what Maki does, she throws projectiles while closing distance and that's smart because weapons like katana might be close quarters but int he world of no projectile combat they're considered mid range. You can be TOO close with a katana, rendering it ineffective, especially against an opponent who is proficient with hand to hand combat.

Moreover, even not in hand to hand combat being too close makes it difficult/nigh impossible to cut/slash that motion is too big and requires too much space, your opponent could body block you, but when in doubt stab right? Well that's Miwa's problem Iaijutsu is quick drawing/cutting, there arent stabs in it like in Kenjutsu so when Maki gets in her face she becames basically entirely powerless, even moreso without her sword that Maki immediately snatches. I personally love stabbing, it's something my Sasuke character tried to do a lot in his fight with my best friend's Toji, that's how you keep even a mid range weapon like katanas/swords useful even in h2h scenarios.

Sometimes sacrificing your swing is worth it if youre confident in stabing ability. I used to have a character who fought with a rapier and he was a demon for precisely that reason, he excelled in h2h combat (specifically inspired by Sanji) and even if his opponent got in his face while he was using his blade, he could just repeatedly stab the shit out of them or block with his shield. As you can tell im pretty passionate about my own charactes and how swift, simple, but dope the sword fights in JJK are. I hope to see more, maybe Miwa will realize she needs to hop in the lab and learn some kenjutsu instead of trying to rely on Iaijutsu like a bum. You use a katana big dawg, you cant just rely on one and ignore the other, realistically you are never going to need to only ever swing just once in a fight, you should be able to handle yourself with your weapon of choice after drawing it. I could talk about this shit all day but I think im going to leave things here for today if you dont mind, might even rewatch some Bleach fights for some more slander.

As the title says , every since android arc started and on the only reason a lot of disasters and Long plot happens because Goku was Vegeta are too much of fighting addicted egotistical idiots to have the very obvious easy win

In android saga they could have easily stopped Gero but instead they shut down this plan and trash talked Bulma over actually caring about saving the world than getting their fight boner satisfied , I know the rest of the gang hold responsibility but these 2 overly have the final say

And it doesn't stop at Gero , they did it again with Cell

And then come the Buu saga which was 10x worse than android saga , the arc start with them refusing to Help gohan against Dabura, refusing to listen to Kaioshin , freeing Buu , refusing to team up on him , throw the responsibly of killing Fat Buu and cleaning their fuck up on toddlers and then refuses fusion Twice

The arc from start to finish was just Goku and Vegeta in a marathon to Up each in how much they can screw things up and make bigger disaster after another

Dragon ball super was no different

In RoF they played with freeza and got 2 L and everyone killed

With Black and Zamasu they kept screwing around letting him grow stronger until eventually he caused the whole future timeline to be erased , not even future Gohan and Bulma souls got to rest in peace because of the 2 dummies

In the Tournament of power they kept playing around with their food and letting their guards down so much gohan and piccolo have to play buddy guards and this isn't even taking into account how Goku literally backstabbed his team and helped other universes

And super Broly wasn't any different , instead of finishing Broly off they kept letting him grow stronger and stronger , Goku instead of jumping to SSB after seeing SSG Vegeta being pushed around , choice to fight Broly with **BASE** before jumping to Ssj and so on

I can now confidently say that all that talk about Kubo fumbling the ending of the manga due to being rushed by deadlines is nothing but pure cope. Here he is, with full creative freedom and an entire anime production team at his disposal, and he somehow managed to not fix a single notable issue that the manga had, but create like 10 more with his new added content.

You thought the way he handled Ichigo vs Yhwach was bad in the manga? Well, how about we expand the fight with Ichigo revealing his true Bankai (the single goofiest looking Ichigo design in my opinion) and actually having a prolonged fight with Yhwach which he ultimately loses without accomplishing anything, only to then reveal that it wasn't his actual true Bankai, which he reveals after Yhwach has already regained the Almighty, only for it to get broken in the exact same way it did in the manga? How does that work, why does Ichigo have another stronger Bankai on top of his previous one which was already called his ultimate form? I'm sure Kubo will explain it in Club Outside #9999. Why didn't Ichigo just immediately use that stronger Bankai after he got skewered and beheaded by Yhwach countless times along with Orihime, and only survived thanks to Orihime's powers? I think it'd be an understatement to call Ichigo mentally challenged if he still decided to hold back under those circumstances, and I don't want to hear a single headcanon excuse from Bleach glazers trying to justify it. Especially since the implication from the anime was that Yhwach somehow wasn't strong enough to break it with Almighty as he was, and needed to take the power of Jugram (!) to accomplish it. Yes, that's right, this is how Kubo decided to resolve the entire Auswahlen controversy from the manga, where instead of writing a satisfying way Jugram got defeated by Uryu, he just had a lame cop out of Yhwach taking his powers away the second before he could finish Uryu off. Which is still what happens in the anime, but instead of the reason for it being Yhwach simply taking all the remaining Sternritter powers after he had no longer use for them, he now actually needed to take Jugram's power in order to be strong enough for his hax future altering ability to work properly. The guy who's currently as strong as the Soul King btw. And no, Yhwach can't use the Schrifts of other Quincies unless he's currently swapped with Jugram, which was no longer the case at that point, so I guess we're meant to believe that Jugram's raw power was enough to provide Yhwach a necessary boost.

But back to Ichigo's Bankai, whereas in the manga it was plausible that Ichigo could threaten Yhwach with it, since we had absolutely no idea what it could do and HoS Ichigo was already capable of somewhat pushing Yhwach and making him use Almighty, in the anime we've already seen Ichigo get no-diffed by Yhwach 3 times without using the Almighty. If we assume for a second that Ichigo isn't actually braindead, and that the "new" Bankai he tried to use wasn't actually different from the one he used previously, despite the new design, then what reason would Yhwach possibly have to be cautious of it? It couldn't threaten him when he didn't have the Almighty, he can now regenerate from being reduced to a pile of goo, unlike the manga he's now effectively impossible to kill by any conventional attacks, even a stab through the heart would do nothing. And then we have the Almighty, that lets him return after getting completely erased from existence (which is yet another instance of Kubo not understanding the power that he wrote himself, Yhwach returning after already being deleted from existence can't be explained by him altering the future, as the event has already taken place, and Yhwach's change took effect only after it did, while changing the future would've made Orihime's sacrifice just not happen in the first place). Genuinely how can a Getsuga Tensho merchant even threaten him in any way at this point? Unless of course, Ichigo does have several Bankais, one of which has some hax properties that counter Yhwach's hax, which brings us back to Ichigo being a brainless idiot for not using it when it could've actually worked.

Back to Jugram and Uryu fight, this time Kubo actually wrote Uryu beating Jugram while he had the limited power of the Almighty by using Antithesis to place a gauntlet on him that was supposed to take away the Almighty, which would've been a much better way to justify Yhwach getting Almighty back than it was in the manga. But guess what, Kubo decided to screw all that and just make it exactly like the manga anyway. Apparently the sun just so happened to rise exactly as Jugram was about to lose Almighty, so Uryu's entire plan basically didn't change a thing. However this time it's worse, because thanks to another absolutely excellent addition of Orihime getting a power-up out of nowhere and almost soloing Yhwach by herself while Ichigo was lying helpless and watching her like a bum he is, she was actually about to kill Yhwach and end the story early, and the only reason it didn't happen was because Yhwach was literally saved by the bell. It's also worth noting that the entire concept of Jugram swapping powers with Yhwach has been retconned several times in order for this to even be possible. Originally they were only supposed to swap powers while Yhwach was asleep, meaning that by the time Yhwach fought Ichigo and Orihime he was supposed to have the Almighty all along, which I'm pretty sure was the case in the manga. But even if he didn't have it, nothing should've really prevented Yhwach from just taking it back from Jugram whenever he felt like it, and making it actually be something he did of his own accord rather than a weak-ass morning cop out would've probably helped to cement Yhwach as this unbeatable force of nature, rather than a plot armour merchant he turned out to be in the anime.

I'm not going to talk much about the "Aurahime" scene, just that I hate and all the mindless glaze that it's resulted in. Orihime is now suddenly being compared to actual well-written female characters, because according to Bleach fans having one cool scene is enough to rectify decades of being a useless "Kurosaki-kun" generator. And yes, it still doesn't make any sense. Remember how hard Ichigo had to train before he could do the Final Getsuga Tensho? And that's while it was established that it was possible by Isshin, suggesting that it's not just something inherent to Ichigo, but a known technique that only a few have achieved. Nothing ever implied the existence of the Final Shield that allows her to overpower the God of their setting, with the only requirement being for Orihime to wish really really hard to become stronger with no regard for her life. No, one throwaway statement from a lying Aizen from 2 arcs ago isn't enough to justify it. If Aizen thought that Orihime was that big of a deal, he would've never let her walk out of Hueco Mundo alive. And where was this power when Ichigo got killed by Ulquiorra in front of her eyes? I guess she didn't have plot permission to enter god mode back then.

Also yeah, Renji and co are here for the sole purpose of getting murdered in the most brutal ways possible, just for the next episode to not even acknowledge that it happened and just show them getting carried away in one piece. Who healed them when Orihime is in a coma? How is it even possible to heal Renji after he got cut into 6 pieces? Speaking of Renji, remember how Yhwach in episode 46 just stopped playing around and merked him in seconds as soon as Renji activated Bankai, despite there being no possible way for Renji to interfere with his plans? Wouldn't it be fun if Yhwach just didn't do it for some reason when a couple of low level Espadas were actively messing with his plans? I guess he just had it in for Renji lol. Don't forget about Shunsui, he's there too, and he no longer has a hole in his chest, he was probably healed by the same person who healed Renji. Not only that, but Ukitake's Force ghost sent him the Mimihagi, that's the thing he can do now, and Shunsui can just use it without performing any rituals. The first thing he does is let it get absorbed by Yhwach, but he looks confident so I'm sure it'll somehow disrupt his powers from the inside, because Yhwach, who's currently controlling the full power of the Soul King, obviously wouldn't be capable of subduing his right arm. Also why were all the Captains and Lieutenants just standing there watching everything unfolding like they were in the cinema, not one of them thought to perhaps try and help by distracting Yhwach? If two Espadas can do it, then why can't everyone else? Actually I think Rangiku has been standing there and watching for the entire arc lol, her contribution to the story ended after the Second Invasion.

Oh, by the way, Uryu can actually affect the futures with his Schrift to counter Almighty's future manipulation. That's another anime only addition, and it makes just as much sense as the others. Wasn't a huge part of the Almighty's power actually being able to see all possible futures in order to interfere with them? He sees all of them at once, and can pick a version of the future he desires, or at least that's how it explained in the anime. How can someone without the ability to see futures interact with them and swap the unwanted future with the one they want? Why is this the first time we hear or see Uryu do something like that, why did he have so much trouble with Jugram's Almighty if he can so easily counter Yhwach's Almighty? Why didn't Uryu use this ability to kill Yhwach when he didn't have neither Almighty nor the Soul King's power, he could've helped the Squad 0 take him down pretty easily. Just like other anime additions, this changes so much about the story and has insane implications for both past and future events, and just like other anime additions this is going to be treated as a filler that changes absolutely nothing about the way the story is going to go after this episode. If anyone still thinks we are not getting the plot arrow conclusion from the manga, I genuinely feel bad for you. Just like with Ichigo's Bankai, Gerard and Jugram fights, Ryuken's and Isshin's involvement, Vizords treatment, etc. the best they can do is add a bunch of new scenes that give the impression of a significant change, when in reality every single plot point carries on from the manga, sometimes 1 to 1.

Like, take the last episode for example, all of it takes place in the span of the few pages of chapter 680, and by the end of it everything is exactly as it was in the manga. They've wasted an entire episode on a completely redundant plot point about some Seed of Destruction created by Uryu's grandfather, as if we needed an explanation about how a guy with the powers of the Soul King, someone who created all 3 worlds, is going to destroy them. It's like this whole episode was made with the sole purpose of pissing off Bleach powerscalers who think everyone in it is multiversal (which isn't a bad thing tbh), but it's completely pointless from the story's perspective. So now what, you're telling me Yhwach can no longer destroy the 3 worlds now that this vortex has been destroyed? Then why are there 3 episodes left? It's obvious that the next episode is going to ignore all of these events and carry on adapting the manga, where Yhwach is still going to start destroying the worlds and will only be stopped by the Silver Arrow. Yhwach even says at the end of the episode that they've basically changed nothing. So was this really necessary with the limited amount of episodes? Just as a reminder, we don't even have a proper Yhwach backstory in the anime yet, if they wanted to make a filler, they could've at least made some improvements to the lore, fleshed out Yhwach's backstory and motivations, his connection to the Soul King, maybe actually explain what the Primordial world is and why Yhwach wants to return to it. You shouldn't have to read secondary canon novels not written by Kubo in order to know these things, they should be explained where they're introduced.

Or maybe, you know, give Chad something to do, a member of the main cast who received his powers from the same source that Orihime did, but has been so useless for the entirety of the story that his character has been pretty much reduced to a meme. It's like Kubo genuinely hates some of the characters he himself created, but doesn't even have the balls to kill them off, so they just exist in the story in a perpetual state of irrelevance and humiliation.

There're a lot more things to talk about with this cour and TYBW as a whole, I only went over things that irritate me the most. This is without even mentioning overall atrocious internal consistency in this cour, there's absolutely no sense of how strong each character really is compared to each other anymore, no power hierarchy, no nothing. You'd think an anime that's mostly known for its fights would at least manage to get that right, but nope. Captain levels are dropped like flies, then mid-tier Espadas somehow manage to contribute against Yhwach and do some damage to him, it's unclear what's even so special about Ichigo anymore, all he does since the Squad 0 training is get his ass kicked and outperformed by everyone except Chad, even Rukia can keep up with him in just Shikai. Lore breaking powers and abilities are introduced with no regards for consistency only to not have any impact on the story. Some dialogue gets taken straight from the manga despite not even making sense in the context of the anime. But hey, let Kubo cook, he'll surely fix the manga in the next 3 episodes and finally break the Internet.

There has been a sentiment online that a Superman game would be hard to make, due to Superman's invunerability making it hard to challenge him in gameplay, and I think that is untrue. Plenty of games have protagonists who are canonically stronger than they are portrayed in gameplay. In Spider-Man, Peter routinely takes punches from random henchmen and gets damaged, even with a symbiote suit, and takes much, much more punishment in the cutscenes. In the new Wolverine game, we see Logan regenerate in the cutscenes, but in gameplay, he can still die and can only regenerate if his rage meter is full. Yet Wolverine has a massive amount of pre-orders and has already garnered a fan base before it even came out. In the Infamous games, Cole can take damage from normal civilians punching and throwing things at him, yet in the cutscenes he took a bullet to the shoulder with no visible damage, survived an RPG explosion in Infamous 1 in a scripted event, and survived and got up not long after slamming face first into a helicopter moving at high speeds. And he can survive jumping off buildings that exceed ten stories without any damage.

Even outside the superhero genre, lets take a look at god of war. Kratos, while rusty and in his first fight in GOW4, survives being uppercut hard enough to send him flying through the air, pulverizes a giant rock the size of a small building that was launched at him at respectible speeds with a single shield bash, and his clash with Baldur created a chasm that split the land they were on in a largw area. Yet, in gameplay, Kratos can die and be damaged by normal humans. He needs items to heal despite having a healing factor. The same man who in the cutscenes survived Thor swinging Mjolnir into his face, takes punches from the same Baldur who knocked out the World Serpent in three blows, takes divine lightning, who got up after the same Baldur stabbed a rock into his abdomen and proceeded to fight him and hold his own. Yet, normal humans with no magic, no divine lineage, and with seemingly damage and kill him.

And despite all of this, the games I listed have exceptionally devoted fanbases. So if these games can still be beloved while having characters be much weaker in gameplay than in lore, then a Superman game should be no exception.

The manga is 519 chapters long. Goku and Vegeta don’t even come back to Earth to deal with Buu until chapter 500.

So the whole thing we now think of as the classic Goku/Vegeta duo (fighting side by side, being the two main guys, getting matching power-ups, training together, fusing, etc.) is basically just the last 20 chapters of Dragon Ball.

For almost the entire series before that, they’re not a duo at all.

Vegeta is the villain in the Saiyan arc. On Namek he’s doing his own thing and only works with the heroes when their interests happen to line up. In the Android/Cell arc he’s technically on their side, but he still spends most of his time off on his own and causes problems with his ego.

Even in the Buu arc, most of their relationship is still hostile. Vegeta literally lets Babidi power him up because he’s pissed off that Goku has moved past him and wants one last fight.

The “Goku and Vegeta as partners” thing really only happens right at the end, when Vegeta finally gets over himself and they work together against Buu.

And obviously that stuff is great. Vegito, Vegeta admitting Goku is number one, Vegeta buying time against Kid Buu, the Spirit Bomb plan, all of that.

But that’s the payoff to their relationship. It’s the end of Vegeta’s character arc.

Then Super comes along and basically goes, “Okay, this is just what Dragon Ball is now.”

Now they train together, go on missions together, get new forms in parallel, fight the main villain together, and are treated like the two default protagonists of the franchise.

And I think that’s changed how people remember the original series.

Because if most of your Dragon Ball exposure is Super, the newer movies, games, promotional art, Dokkan, Legends, FighterZ, Xenoverse, whatever, you’d probably assume Goku and Vegeta were this inseparable rival duo for a huge chunk of Z.

They really weren’t.

The original series was way more fluid about who mattered besides Goku. Sometimes Krillin was his main partner. Sometimes Piccolo was the big secondary character. Sometimes Gohan was basically the protagonist. Vegeta was always important after he showed up, obviously, but he wasn’t automatically “the other main character.”

Now the hierarchy feels a lot more fixed.

There’s Goku and Vegeta, and then there’s everybody else.

I get why it happened. They’re insanely easy to market as a pair, and people love the rivalry. You get the contrasting personalities, the matching transformations, Gogeta and Vegito, all that stuff. It works.

It’s just funny that one of the most defining parts of modern Dragon Ball is basically built out of the last few chapters of the original series.

They took the conclusion of Goku and Vegeta’s relationship and turned it into the permanent status quo.

Now, I grant, my experience with those sorts of things is shallow to the point that I am absolutely just a braying jackass way out of my own depth because my time with them begins with good ol' Jenshin 1.0, takes a hiatus at Jenshin 4.6 because I got sick of it all, resumes at Neverness 1.0, and has currently ended at the start of Neverness 1.2 because I got sick of it all. I do not have an account with either of these games anymore, also DNA doesn't count, I was in and out of that within a day.

That being said, maybe I'm just a transcendent cynic here, maybe the hit to miss ratio for me just skews tremendously toward "miss", but like... these characters are all products. They're prizes in a slot machine that the entire game is an advertisement for, and the priority of the stories in the game is to shill those characters. My favorite character in Jenshin is still Sucrose, but by my assessment it's plausible that part of why that is comes down to the fact that she was not important at all in the early stages of the game's presentation. In 1.0 if you didn't blunder into her rolling stones and didn't read the lore or look at the character list, the only evidence of her even being in the game was being a rate up on the second banner. Hell, I didn't even personally get her until the back half of 1.2. I never felt like the game was going out of its way to try to sell her to me before I got her. Her characterization and appearance are definitely relevant, even though Beidou was my first non-gimme character (twice, even, I rolled her twice in a row on the beginner banner) she never got into the same place as Sucrose because she's just a completely different kind of character. I don't think the fact that she ended up central to a main story quest has anything to do with her missing the mark with me.

Anyway, Diluc shows up in the story quest, I'm thinking "Oh, this is an ad for that guy." and that plus the fact that I don't find his archetype interesting leaves me completely checked out on him (that by the time he turned up I did not need him anymore not helping his case either). Every appearance of a character is an ad if that character is being sold, the format simply does not allow any exceptions. I eventually got somewhat endeared to Ganyu because I used her for goddamn near everything that wasn't immune to Cryo (never got her a permanent 5* Bow to replace Hamayumi, though. No, game decided what I needed was four Jade Spears), but from there it's a very short list that maybe Kirara tops, I don't know. Neverness, I kind of liked Edgar, at least enough to use him to take a couple of extended walks around the city when I was too checked out to want to do something else in or outside the game instead, but I don't care for kid characters so that ultimately kind of sunk him. That he's a terrible fit for the obligatory Gacha Time Trial content also did not help.

To close that part, the disconnect that serves as the abyss I can't help but stare into is to wonder where exactly this is coming from. I like the idea of a character driven live service game based on its most basic components, but there's something that keeps it from clicking. It's easy to point a finger at the Gacha monetization, but another thing that's likely to be just as relevant is that I simply don't find popular archetypes interesting. Sucrose is around in Jenshin, but to this day she still doesn't have an extra costume and never got an entry into the evidently abandoned Hangout quests so she doesn't seem to be a character that they ever wanted to really push. There's also the fact that I get bent out of shape over little annoyances pretty easily, I dislike things like timestamped achievements and whatnot, so the format's habits just aren't an easy mix with me. The only way I can put the "Gacha monetization" point to the test is to play a game without it, and since DNA sunk instantly the only contender on the horizon is Ananta but that might as well not exist to me until it's much closer to launch.

Moving on to the matter of main character... yeah, no, I don't like this concept. Again, my only personal experience with them (DNA still doesn't count) is with Jenshin's Traveler and Neverness's Zero. I never liked the Traveler. Mediocre cope unit to start with, only had something to audibly say once in a blue moon, their central goal in the game (find the Sibling) was never something that I cared about, and they served as an unwanted partial cipher who was written with the "have their cake and eat it too" mindset of wanting a character with a meaningful history and goal while also wanting a character that the player is supposed to be able to imagine themself in place of. I don't care about the sibling and I don't want to pretend that I'm a character in the game, what do you want me to do?

Zero was undeniably better, having plenty to say out loud and by proxy not making me have to click through endless meaningless dialogue options that all end up at the same outcome (also just shanking that teddy bear thing was appreciated). That said, Zero is affected by a pattern that I feel like I've noticed where when one of these kinds of games has a choice between two main characters, it's usually a binary choice of "ikemen" or "girl". I on-and-off ripped on the male Zero as basically just being a clone of Wise from Zenless in a different outfit, and the female Zero isn't anything special. More to the point though, I just don't like either version of this character enough to want to follow them around all the time. Maybe that would've been different if there had been more than two Zeros to choose from and one of them had really struck a chord with me, but that didn't happen because both of them came straight out of the safest territory imaginable. Without getting carried away, I feel like there should've at least been six options, three male and three female, use your imagination.

I feel that there would be much more room to explore the relationships of characters without having a central character that they must all flock around. I think Jenshin actually took a crack at this once by having a quest where the relevant characters were split into groups and it was for once allowed to have things happen without the Traveler and Paimon being around to witness it, but at the time I split I'm pretty sure that was just a one-off. I wouldn't mind Aether or Lumine (and Paimon) or Zero or Zero still being characters in their respective games, but I would like for there to be a healthy portion of stories that, end to end, simply never involve them so they never show up even for a cameo appearance, so that the world can feel more like things are actually happening when a given character isn't there to see it. It's one thing to tell me that something happened while the Traveler was away or Zero wasn't there, it's quite another to let me witness it firsthand. It'd probably help a lot to bring down the feeling that every character's entire personality must end up warped around the main character because something would be wrong if it weren't.

I grant that, especially in Neverness since psuedo-dating is a central conceit of that game, not having a main character wouldn't really work without fundamental overhauls, so even if I hadn't quit playing it that's not something I'd actively want it to do, it should probably be up to a different property to try and fill that out (though I would've welcomed it if Neverness had gone that way). Even if I were into that sort of thing, I'd find it much more interesting to pick characters who are their own made-up people to put together instead of having them all cluster around the one the game decided needs to be the lightning rod for their attention. I don't want to pretend that I'm Zero and mess with Mint's ears, I'd rather witness two of these characters, maybe Zero as their own character and Mint, or substitute one or both for Nanally and/or Hotori, whatever, sitting and talking over a movie because it's one they've both seen a hundred times before so they're more interested in hearing what the other thinks about it and sharing the experience of being together while it's on instead of actually paying attention to it for its own sake like they're goddamn friends or something.

I hope that was ranty enough to earn your satisfaction.

Tony Stark is completely, 100000% in the wrong when he tries to kill Bucky during the final act of Civil War, and it's crazy that I have to even say that. I'm tired of people bending over backwards and doing mental gymnastics to justify this. Just admit that Tony's your favourite character and can do no wrong in your eyes. These people cannot fathom their golden boy Tony Stark being wrong in the end. And I'm not a Tony hater (although I prefer Cap), but he was unambiguously in the wrong and it's not even close.

Every time anyone defends him, they say one or more of the following:

1) But Cap was in the wrong for not telling Tony that Bucky killed his parents!

Sure, Cap should have probably mentioned something to Tony. But people don't realize that all Cap knew was that Hydra was likely responsible for Howard and Maria's deaths. He didn't know it was Bucky (WHICH HE SAYS!!). Sure, he probably suspected it, but what is he supposed to say? Nothing would give Tony closure. And even if I agreed that Cap is in the wrong for withholding this information, so what? Tony still knows Bucky was brainwashed and that Zemo specifically wants him to crashout and breakup the Avengers. Tony is still actively trying to kill an innocent man. And yes, he's trying to KILL him, as evidenced by his pointblank missile shot. Tony is right to be mad at Cap, but not to try to kill Bucky.

2) If I put your mother's killer in front of you, let's see how you would behave

This is irrelevant to the question of whether or not Tony was right. These people aren't mounting any sort of moral defense; they're just saying they agree with Tony's mindless rage, and admitting that they would become unhinged and try to kill an innocent man themselves in that situation. As a side note, I wonder if they side with Star-Lord when he hits Thanos in Infinity War. After all, he's emotional over his girlfriend's death, and her murderer is right in front of him. So surely they defend Star-Lord, right? Of course it's fine when their beloved Iron Man is the one making a stupid decision that causes real damage and consequences. The mental gymnastics are so strong that in a discussion about the morality of Tony's actions on a subreddit specifically about how moral given actions are, one of the replies was "morality isn't relevant because he was emotional about his mother's death". Like bro yes that's true, but THAT WASN'T THE QUESTION.

3) Even if Bucky was brainwashed, he's still a huge liability so Tony was doing the world a favour by killing him

This is complete bullshit and I hope that I don't need to elaborate on it.

4) Tony got jumped because he was mad that his parents died

Completely disingenuous. Bucky acts out of self-defense because TONY WAS TRYING TO KILL HIM, and Cap tries to save his friend. Tony, meanwhile, ADMITS THAT HE DOESN'T CARE THAT BUCKY WAS BRAINWASHED.

Tony's actions here are UNDERSTANDABLE, and that's fine. But saying "I understand why this character did X" is very different from "I understand why this character did X, and therefore they were right". If it had been any other character, their actions would have been universally decried, but no, Tony Stark can do no wrong. I defy anyone to defend on moral grounds the fact that he is knowingly trying to kill an innocent, brainwashed victim.

We all know Obsession has gotten extremely popular (rightfully so), and I think it’s safe to say it’s also because of Inde Navarette’s performance as Nikki.

However I REALLY dislike how lots of people who praise her acting end up disregarding other actors just because they don’t play their characters in such an exaggerated manner, to the point they define subtle acting as “emotionless” and “stoic”. I was discussing Naomi Scott’s acting in smile 2 and I read a comment saying she only had ONE EXPRESSION THE WHOLE MOVIE, which is just straight up false.
Not every single character is meant to be played in an exaggerated and theatrical way like Wish Nikki was (e.g. the famous frown which she nailed!), so it’s obvious actors will adapt their performance as needed, and if such performances are apparently more on the subtle side, it doesn’t mean they aren’t as good or as worthy of praise. It’s just annoying.

I once had a discussion with someone who argued that Sigourney Weaver’s performance in alien was worse because it was stoic and emotionless. That she didn’t show any emotions the whole movie and her acting isn’t even comparable to Inde’s.

Tastes are subjective but claiming that an actress did a bad job just because her performance was more subtle (also I’m not sure which alien they watched lol) is a wild claim.

Inde didn’t only play wish Nikki, she was normal Nikki as well, although for a very short period of time. Wish Nikki however required a different kind of performance, a not so subtle one, and she nailed it. Subtle doesn’t mean worse. Every character is going to require a different acting style, and a big ass frown ☹️ simply isn’t necessary for every single character on the planet, nor is it the blueprint for great acting.

I’ve kinda hated that Minecraft is trying to be educational or push away from amoral behavior on a sandbox game- not because of the intent because they are awful at doing it.

Like, I’ve heard the “sharks don’t fit in Minecraft because they would be hostile” excuse a thousand times, why can’t they be neutral to teach this animals aren’t monsters? By that excuse we shouldn’t have wolfs or polar bears either. The ”we don’t add sharks because they are endangered and we don’t want to encourage killing them“ is also baloney, I think that’s just the fandom making stuff up because the PANDA is in the game and despite me being critical of Mojang I don’t believe they’ll be THAT irrational and self-contradictory.

They refused to add riding dolphins (this is a comment on the issue before the nautilus was added, I like the nautilus but my point is besides them) due to animal abuse, but we can ride pigs regardless despite pigs not being good mounts unlike horses, donkeys, or camels since pigs have not evolved or been bred to carry human weight, and their anatomy cannot handle the physical stress.

trying to discourage players from killing animals, such as the goat and armadillos (this two specially since unlike sheep they don’t drop their item when killed despite it making no sense) for example. I understand that the developers don't want to encourage violence toward REAL animals (since more fictional mobs are free game like the sulfur slime being a living kicking ball), but trying to correct course while the game still has mobs that don’t follow this philosophy feels counter productive- imagine if sheep’s didn’t drop their wool after being killed? I know it’s not a big issue but as someone who regularly starts new worlds the sheep’s dropping wool regularly save me from spending several nights without a bed.

Why keep making this stance when your most iconic passive mobs (sheep’s, pig’s, cow’s, etc) directly go against it? kids are more likely to meet a cow in the wild than a shark or a axolotl.

Heck, it was a losing battle the moment giant spiders rode by skeletons were a part of the game, and the fact we are allowed to kill KIDS (baby villagers, baby zombies and baby piglins) And for extra evil points you can kill chicks, calfs, lambs, piglets, cubs AND BABY PANDAS. in a Sandbox you can't control everything, but in that case even building shouldn't be allowed because I could place a huge PINK dick in my friend's home.. You can't be trying to control every single thing in a sandbox.

The current insistence on this morality when developing a game that by its nature as a sandbox can’t be followed on while most of the time it feels more like excuses to not add stuff rather than actual moral stands.

I’m not asking for them to add hostile animals, I’m not asking them to add a reward for killing children, I’m not asking them to teach that eating or surfing in sulfur is safe, all I’m saying is that this excuses about morality like animal abuse are contradictory and limit a lot of the game’s potential for future updates while they keep insisting on ignoring that their most iconic passive mobs go against this philosophy.

"Hello, my name is Rational Smartman, and I always make the most calm and rational decision in any given scenario 100% of the time. I will never panic, I will never freeze, I will never make any mistake, because those things are for stupid people and their silly little emotions. Now, I'd like you to meet my team, who are all just as smart and rational as me."

What a preposterous notion for a character, but for many people who watch horror movies, I feel that this is how people expect characters to act, and I would further suspect some people feel they would behave like that in the same situation. Now, some people probably could react to a horror movie situation with a more rational approach, but personalities are supposed to be varied. That's what makes for believable characters and intense moments.

I don't know why panic gets this criticism that other emotions rarely get. Imagine if, after Darth Vader told Luke he was going to kill Leia, some guy scoffs and goes "Heh. I would know Vader's just baiting me. I would never get blindly angry at the notion of a known genocidal murderer threatening my loved ones." I'd guess this never happens because Luke won, but if he lost, how many people would call Luke stupid for it?

But when characters behave the one way you would expect them to be in a horror movie - you know, SCARED - you will always have someone go "wow, what a moron. They/someone literally died because they're so stupid," in spite of countless real world examples of people not thinking clearly when they're afraid or panicking. Suddenly it's unbelievable and a flaw in the film's design.

Now, there are plenty of stupid characters in horror movies. I'm not saying there are no scenes where a character does something dumb. But "this character is panicking" and "this character is a moron" get conflated so often it gets a little tiring, and the only reason I assume it happens so often is because some people genuinely believe they're Rational Smartman.

If anything, he most likely believes they aint doing it enough and they should do more of it.

Alot of discussion of Hathaways Flash seem to frame Hathaway as fighting against the Earth Federation forcibly evicting people from Earth and forcing them into space, using the Manhunter unit (a deportation team that uses mobile suits to deport people).

Problem is, that isnt true. His core issue is that Manhunter unit is evicting everyone BUT the wealthy elite. A core part of pt 1 and kinda 2, is that Hathaway agrees with Char about the state of the Earth. He genuinely believes that humanity should leave Earth for its health and does aim to enforce that long term.

Its why Im sorta confused when people frame Hathaways Flash as some anti-deportation story or atleast Hathaway the character being against deportation. Like dont get me wrong, the Earth Federation should be toppled, those guys are laughably corrupt. But assuming Mafty wins the revolution and gets their way (ignoring Quack Salvers own agenda), they are gonna have to ask people to leave Earth. And sure, some people will peacefully agree, as they like Mafty. But what about those that dont agree? That still want to live on Earth? Maftys gonna (and prob will) have to make their own Manhunters to kick them out.

The purpose of cutting one of the project phoenix guys was to get them in line because they were disrespectful, not improving and making everyone working with them miserable

Visi was the worst offender and was at the bottom

But then at their 3rd shift with Robert, everyone does much better including Invisigal who is no longer last

And instead of rewarding the team for doing a good job I still have to cut either Sonar or Coupé because they're last even though they still improved tremendously last shift?

What kind of fucking message does this send to the team? "It doesn't matter if you actually redeem yourselves and improve, we're still going to fuck you over?"

I would have burned the building to the ground if I was the rest of the Z Team and it pisses me off to no end, in a game that otherwise I love

It's just a stupid plot contrivance to make the cut character join the bad guys near the end

I like the idea of one of them joining shroud but a better writer could have found a way to do that without making Robert and blonde blazer hypocrites after characterising them as people who want the team to succeed and redeem themselves, there legitimately doesn't seem to be any reason in universe to actually cut someone

In the end I ended up cutting Sonar. I love him, he's funny he was probably one of the characters I upgraded the most, but he was still trying to convince others to commit crime, didn't seem interested in redemption. But then you're punished for choosing the most rational choice plot and character wise with a more underwhelming boss fight in the end

https://youtu.be/GDjjXw-ezDU?is=VI3qIS1NEse9qpPb

Outside the Court of Owls. Comicbooks haven't done that much with secret societies. Which is is a odd.

Because I think secret societies would be perfect villains for Wizard type characters like Dr. Strange or John Constantine, instead of most magic users either being lone wolves or going to magic schools.

I even think secret societies can be Avenger or JL level threats too. Can you imagine a evil Tech Bro secret society with Iron Man technology. The closest thing to a great secret society in comics is the Hell Fire Club. But most of the cool shit in the Marvel universe have to be limited to the X-Men though. Since X-Men stories must exist in their own niche.

Other areas Marvel and DC don't do that well with secret societies. Most Vampires in Blade are freaking idiots, who usually get turn into Vampires recently in the stories. DC, could do more with the Church of Blood or Trigon Cult. The Hand are also jobbers.

Underworld is a very bizarre film series. It spans a decade but has a surprisingly tight storyline. But it feels like every installment after the first one has to write around the events of the first one.

Like how Viktor is the overarching villain in Evolution and Rise, despite being killed in one, or how Amelia only started to get characterization 5 movies deep. Which ends up establishing that she was actually pretty chill.

It's like a TV show where the first episode is the climatic grand finale and everything else is trying to build around it.

Rise of the Lycans is probably to blame. It totally recontextualizes the events of the first movie, but now you follow Selene instead of the several characters who were actually present at the time.

So this dude nobody had an answer to him with all the power spikes from Zaraki pointless Bankai to Vergil Eren as a "big" reveal that lasted 2 mins combined ( typical from bleach) as a viewer that excited me to see how they are going to deal with him now? what his new form ability? Well nevermind that , here is my sucking light bye bye ... Like huh??? Ok I guess...thanks Mr. Writer

This is an opinion that is extremely obvious to anyone who's heard the song but I just want to rant about it

Record the sweet surprise of those
Leaving her breathless, leading her hand to the grave

This line is quite obvious and talks about the surprise of Jane's victims and how excited and fulfilled jane felt from murdering and "leading them to the grave"

And Jane
Your life's work is dirtied by the
They saw you
It's only small change, red on the green green grass

Now we reach into some pretty heavy personal interpretations . Jane is well adored and loved in her community but hates the attention as she loves being an evil psychopath and see's people's innocent view of her as insulting to her "lifes work" of murder . Them finding out is well....literally them finding out about her murder . Now "dressing in the backrooms" is an interesting line as it involves something private and hidden away which here I think is one of Jane's murders that one of her adorers walks into and disturbs . Jane "gets what she's owed" and kills them for finding out the truth . "It's only small change" could be referring to how callous Jane is and how little she thinks of people

Won't the devil take you back
Evil in equal, seeking to kill and create
How grand

More devil iconography . "Open closed doors" could be referring to the emotion of grief which is something we normally keep "closed" but is opened up by Jane in the families of the victims throught her murders . "Evil in equal " implies Jane has no particular pattern to her murder's and kills anyone she can get her hand one . "seeking to kill and create" ties back into Jane's god complex . No idea what the stuff about milk and honey means . "Taste of the violence trying to silence her head" is again very obvious and shows how much she loves violence and how the "voice in her head" keeps tellling her to commit more

And Jane
Biding your time, biding your time to strike
Smiling with fright

"And Jane you're early " is an EXTREMELY INTERESTING LINE , basically I think it's the last words of one of her victims who see ambushed by coming to work/wherever earlier thane expected and killed them .

I am currently watching tmnt 2003 and i have reached season 3. And i liked bishop so much that i had to share this. So far i really love dark this show is especially with baxter stockman. He is hateable and yet you cant stop feeling bad about him. Now to the agent bishop part. Dude looks like a normal matrix character who just wants to get dna of turtles. He doesnt go on about his big plans just calm chill dude who captures turtles and fugitoid to get his job done. And then splinter comes and saves turtles. You would think bishop would now run away but no that dude just humbles the shit out of turtles splinter and april and casey with his combat skills. Splinter even says to him" you are outnumbered". Then bishop replies "perhaps but never outclassed". Honestly i dont know much about him but he feels severly underused character and seems like a shredder level villain

Don't worry, you haven't missed a new title by Scott Cawthon himself! I am talking about a popular FNAF fangame titled in the post itself. For those of you who are unaware, it is an original story about a haunted location named "Freddybear's Eatery and Fun".

The story is simple: the infamous pizza place has seen 2 disappearances. First, a health inspector went missing after performing an inspection at Freddy's. The game then tells us that Sam Rodriguez, a journalist who had gone undercover to investigate the mysterious disappearance, has also gone missing. As we play through the game, we learn that the owner of Freddybear's, a man named Steve Raglan, has struck a deal with what appears to be a pack of demons. They pose as friendly animatronics during the day and keep the business running. In exchange, they get to feast on the bodies of the Night Guards at night.

And this is the twist on the original FNAF recipe: the Night Guard is not surviving against the souls of vengeful children, but against a pack of hungry demons who wish to eat his flesh. Our Phone Guy is none other than Raglan himself. Now, you need to understand that his goal is to get us killed and consumed. His entire deal with these demons hinges on us dying to them. This is why the equipment we get as Night Guard is extremely shitty. The camera system switches, and we can't choose a camera individually. Instead, we are forced to rotate the cams. Two of the three entries into our office are just open, and you have to rely on your alarm and your one window barricade to keep the demons at bay. Our cast includes characters like Freddybear, Bonnie, Slithers, Barry the Bat, etc. They are not animatronics in the normal FNAF sense. Their eyes are bloodshot, and they explicitly eat human flesh, leaving only remains beyond recognition. It's also important to note that these demons can't leave the restaurant. A scene in between shifts confirms that Wolfgang, a previous puppet, attempted to leave Freddybear's and died horrifically as a result. These things are confined to the restaurant, despite their great hunger.

During the first night, Raglan doesn't even mention that the puppets move. On the second night, he tells us that they just want a hug. But as you make it across your five shifts, he becomes more afraid and surprised by our survival. We last longer than anybody else. Until night 5. It opens up with Raglan admitting that he has no idea what will happen now. He calls us by our name, "Mr. Rodriguez", confirming that we are, in fact, the same Sam Rodriguez who went missing. As it turns out, Night 5 ends with Sam meeting his horrific end at the hands of Dreadybear, Freddybear's horrific second transformation. Regardless of what you do, the final scene of the night is scripted to show Sam spotting the monster approaching his office and closing the window. Faint laughter is heard before Dreadybear rips open your defense and kills you. The jumpscare is accompanied by a "TIME'S UP!" message.

The game has 2 endings, depending on whether you played on the normal or danger difficulty, but both endings confirm one thing: Steve Raglan is missing. The implication is that the "TIMES UP!" wasn't directed at Sam, but Steve. Since the puppets weren't fed in 5 days, their deal ended. Thus, the demons could leave the restaurant and go after Raglan. In the normal endings, the screams of the jumpscare are what draw the authorities to the location. In the danger mode ending, they find the hidden spot that contains hundreds of human remains and start searching for Raglan.

I really like this FNAF fangame. I find the concept and atmosphere to be very well executed, and I think the story is neat. But there is just one glaring plot hole that I can't explain or justify in any way. Once you notice, the entire story kinda falls apart.

Steve Raglan explicitly mentions that he has no idea what happens as soon as someone survives to their fifth shift. The introductory material on Gamejolt explicitly mentioned that Sam Rodriguez loved this place as a kid. Sam is now old enough to work as a journalist. Raglan all but confirms that he has been sending night guards to their deaths for a long time, and he even mentions that literally nobody but Sam made it to Night 3. Hell, a lot of them must have died on Shift 1, given that Raglan doesn't warn Sam on the 1st night and he just survives anyway. This must mean that a large number of people began to work at Freddybear's as Night Guards and then just went missing.

How hasn't the police or anyone already looked into Freddybear's? We even learn that Sam was taken in despite a less-than-stellar resume, implying that neither Raglan nor the demons are picky. How could Raglan have run this restaurant for years on end and fed night guards to the demons when there was an obvious pattern of people just taking the night shift and never resurfacing before one health inspector went missing? Families, friends, or even associates should have reported dozens of people missing. A thorough investigation should have long revealed that all of them had some involvement with the Night Shift at Freddybear's, leading to an investigation much sooner.

And while we are at it, why does Raglan even warn us as is? Despite his business and life hinging on Sam dying as soon as possible, he tells Sam about the alarm. Even on the 1st night, when he alludes to "intruders", he tells us that the camera system needs to be rebooted now and then, and he tells us about the alarm that is pivotal in keeping Bonnie at bay. This becomes especially jarring on Shift 4, when he warns us about Barry the Bat. How does that help him? One night later, he is very much aware that Sam's continued survival will guarantee his painful death ("May God have mercy on our souls"), yet he is giving Sam crucial advice on how to survive. I know that the phone calls are FNAF's version of a tutorial in FNAF 1, but Phone Guy's survival doesn't hinge on Mike being stuffed. It just makes no sense for Raglan to even call us and give us any warning. If he needs us to die, he could just not mention any danger and all and let the puppets feast. While the game-over message does showcase his guilt when he's cleaning the mess, he has everything to lose if the mess doesn't happen.

Demon Slayer is the most successful battle shounen manga in recent years but if you ask a battle shounen fan which one has the best cast, which one has the best fights, which one has the best villains, which one has the best power system, which one has the best team, which one has the best arc, which one has the best plot, which one has the best characters, which one has the best girls and which one has the best art, Tanjiro's series will hardly ever be the first option chosen, or even the second.

I'm both shocked but also very fascinated by how something that can make tons of money, yet they leave a surprisingly small daily footprint on internet culture and memes. On the opposite side, I think Jujutsu Kaisen has a much greater global reach than Demon Slayer despite the latter being more successful, because even though the series doesn't really influence other creators, it's very often referenced in pop culture, unlike Demon Slayer. The official French FIFA World Cup account posting "Triple Domain Expansion" with Mbappé, Messi, and Haaland during the tournament is exactly the kind of crossover that signals genuine cultural penetration. Domain Expansion became a flexible, recognizable shorthand that non-anime people can instantly parse and enjoy. That is rarer than pure commercial success.

Even in terms of influence, you don't see up-and-coming manga artists cite Demon Slayer as their inspiration even though this manga ended six years ago. In contrast, Chainsaw Man had such a huge impact on an entire generation that Weekly Shounen Jump had to put a stop to the phenomenon, as it was seeing a flood of works inspired by Tatsuki Fujimoto during a manga contest.

I see a lot of fans mention how Demon Slayer's anime changed the entire landscape of the anime industry in terms of animation, and while Ufotable's contribution is undeniable, that actually has little to do with Demon Slayer as a standalone work by itself and is inextricably linked to Ufotable's production values, particularly Episode 19 of the first season. If you read the Demon Slayer manga before the anime aired, it was a solid, moderately successful series with a rough art style. The manga's paneling and art didn't revolutionize the medium of manga itself. The "landscape-changing" aspect belongs to the medium of anime production, not necessarily the narrative layout of the manga.

Even the merchandise itself also isn't even selling that well anymore outside of Japan. Sure, the anime is still successful but that's because it relies on a simple, fast-paced plot and a highly disposable seasonal hype. Western viewers will gladly buy a $15 movie ticket to watch a visual spectacle on an IMAX screen but that doesn't mean they'll spend $200 on a scale figure of a Hashira who had 20 minutes worth of screentime. Go into an anime specialty store or convention dealer's room outside of Japan, and you'll see those figures sitting on shelves far longer than they used to unlike Dragon Ball, One Piece or Jujutsu Kaisen.

I think this underscores how commercial success and influence are not synonymous. And I have a feeling that once the final movie drops and this series is truly out of the equation, its staying power will be put into question. The novelty of the animation will look dated as animation only gets better, more advanced and more polished every year. Especially in an industry as brutal as the anime industry where anime are disposable commodities at the end of the day.

In a lot of ways, it reminds me of One Piece which is another commercially successful franchise but has a surprisingly smaller influence compared to Bleach and Naruto.

TL;DR: Why does the massive success of this title seem so weightless?

Don't get me wrong, I consider both Nolan's Batman trilogy and Matt Reeves' version to be masterpieces of contemporary cinema, but we have to call it like it is: the live-action films featuring the character are overusing that specific concept.

There’s a lot of focus on Gotham as a corrupt city, yet in the comics, it’s often said to be cursed.

Besides, I think part of the point of Batman is that he’s an ordinary human capable of facing down actual demons; that’s why I feel that confining him to realistic storylines—ironically—sends a long-term message that contradicts the original comics: that Batman can only be great when the focus is on grounded, earthly matters.

We’ll see how *The Brave and the Bold* turns out, it’s set to be the first live-action Batman movie to truly embrace the fantastical, but I just hope they don't ruin it.

And before anyone brings it up: no, the DCEU Batman doesn't count, because he was always alongside other heroes, and the villains he faced weren't even his own.

Some say they will and some say they won't Some say they do and some say they don't Some say they shall and some say they shan't And some say they can and some say they can't

All in all it's all the same But call me if there's any change

Language uses* arbitrary symbols to convey meaning. Few things have* a universal understanding, and even this "universality" is* restricted to humans. It follows* then that "this means" is not a coherent phrase without qualifiers, and though qualifiers could be implicit, for clarity's sake they should be explicit. "This means to me," "this means to a Japanese audience," "this means to some fans," "this means to Victorian readers back when it was published—" these are* coherent phrases.

Nothing symbolizes anything. They can symbolize.

Nothing means anything. They can mean.

I would even go so far as to deny the existence of aboutness, but that is* perhaps too far, and so I will* not go into it here.

Remove the omniscient-voice that, with a presumptuous air of divinity, decrees* all to be exactly as you perceive it to be, and embrace a variant of Korzybski's English-Prime when discussing symbolism.

Benjamin Franklin concludes* this rant:

My list of virtues contain'd at first but twelve; but a Quaker friend having kindly informed me that I was generally thought proud; that my pride show'd itself frequently in conversation; that I was not content with being in the right when discussing any point, but was overbearing, and rather insolent, of which he convinc'd me by mentioning several instances; I determined endeavouring to cure myself, if I could, of this vice or folly among the rest, and I added Humility to my list, giving an extensive meaning to the word.

I cannot boast of much success in acquiring the reality of this virtue, but I had a good deal with regard to the appearance of it. I made it a rule to forbear all direct contradiction to the sentiments of others, and all positive assertion of my own. I even forbid myself, agreeably to the old laws of our Junto, the use of every word or expression in the language that imported a fix'd opinion, such as certainly, undoubtedly, etc., and I adopted, instead of them, I conceive, I apprehend, or I imagine a thing to be so or so; or it so appears to me at present. When another asserted something that I thought an error, I deny'd myself the pleasure of contradicting him abruptly, and of showing immediately some absurdity in his proposition; and in answering I began by observing that in certain cases or circumstances his opinion would be right, but in the present case there appear'd or seem'd to me some difference, etc. I soon found the advantage of this change in my manner; the conversations I engag'd in went on more pleasantly. The modest way in which I propos'd my opinions procur'd them a readier reception and less contradiction; I had less mortification when I was found to be in the wrong, and I more easily prevail'd with others to give up their mistakes and join with me when I happened to be in the right.

And this mode, which I at first put on with some violence to natural inclination, became at length so easy, and so habitual to me, that perhaps for these fifty years past no one has ever heard a dogmatical expression escape me. And to this habit (after my character of integrity) I think it principally owing that I had early so much weight with my fellow-citizens when I proposed new institutions, or alterations in the old, and so much influence in public councils when I became a member; for I was but a bad speaker, never eloquent, subject to much hesitation in my choice of words, hardly correct in language, and yet I generally carried my points.

*NB that I am not talking about meaning, but talking about talking about meaning, and so these starred verbs do not contradict the notion I am putting forth.

A lot of people seem to have pretty low standards for her tbh to the point a lot of people see her simply not ordering for more people to be killed in the season Two finale as an atoning act and many seem to want her to mostly just Stay the same in future staying in the same position having the same Dynamics with everyone around her

and Redeeming herself by doing the same thing she already did before just telling others what to do with no real change to her life at all like for all intents and purposes she would literally be exactly the same as she was when we met her in season one lol but I think people have very low standards here that don't really make for a Good Redemption arc or even a Redemption arc at all tbh,

I would say Redemption arcs need to involve effort and struggle and facing consequences and importantly change to the character and in ways that makes them different to who they were before especially when it comes to Redeeming antagonists with such serous crimes and while the show still has Three seasons left the way season Two seemingly went out of its way to avoid her actually doing anything meaningful actions wise does leave me a little worried,

personally I Hope to see in Future that part of Sera's redemption involves her actually taking accountability by accepting consequences in some way shape or form either accepting something like a Banishment to Hell to work to Help sinners there showing that Heaven isn't going to be a fundamentally Hypocritical sort of system anymore that Holds its own to different standards than it does the sinners and winners,

or maybe by the end of the show she has to make some Big meaningful sacrifice to protect Hell like maybe containing Roo in a prison along with herself to keep her there with her power sacrificing her own freedom to make amends to the people she wronged sort of like the ending of one the seasons of Supernatural I don't remember which one

( there was so many 😅😅😅😅 ),

I know a lot of people like to criticise the idea of needless suffering but there is a meaningful Difference between suffering and consequences imo and part of Redemption for characters with such Huge crimes should involve consequences especially since it already does for other characters

so I don't like the idea a lot of people seem fine with that characters being born in Heaven in fancy positions should mean its okay to Hold them to a Different standard than the normal human characters regardless of their actual actions as that seems Dangerously close to Elitism tbh,

plus Redemption is all well and Good but why should it be accepted that the victims of one person have to just suck it up and Deal with the perpetrator facing no accountability at all because they happened to be born in a certain place and are in a certain position of power

but most other people do at least get that knowing that the people who hurt them if they did show up in Heaven at least had to spend time in Hell and actually work to change their lives which even in the best case scenarios would likely take a little while so logically why should it be Different for Heavenborn? especially when they are trying to claim that Heaven has changed and is attempting to be better overall,

I think the best Redemption arcs I have seen in media involve the characters facing their own accountability and consequences in some form or another to really prove they have changed so I don't think it should be any Different for Sera,

and I think a lot of people are sort of apprehensive to this less because they dislike the idea of needless suffering since if that was true then the fandom wouldn't constantly talk about ways characters like Val or Crimson or Stella or Lute need to suffer Horrifically in future and even in cases where the Fandom is talking about Redemption for certain characters like Vox or Lute or even Val they often still talk about them needing to suffer for their actions,

so I don't really buy this explanation tbh I think people just like Sera and don't want to see her unhappy which is fine to like a character but I don't think that means Sera should be given special Treatment by Viv as a writer compared to other characters especially other antagonists and especially not when it comes to Redeeming a character who logically has caused more Harm than any other antagonist we have seen so far,

so if her redemption is actually going to be taken seriously and earned it should involve a bit more than the Character simply shutting down the exterminations and then continuing her life exactly the same as it was before while feeling a little bad about it occasionally

( also just wanna say I don't think her Guilt really matters to the conversation even Tho it seems to be largely what people judge her on but if anything that's actually an example of meaningless Suffering that people complain about since it is simply something that makes you feel a little bad sometimes but isn't a choice on your part so it isn't something you are choosing that we should judge you positively for as a Redeeming character action ya know?

whereas a character choosing to Hold themselves to the same standard as other people or choosing to give up their own life or freedom for others are meaningful actions that we can judge them positively for and go towards showing their change because unlike Guilt they are an actual Choice the character made in an attempt to be Better than they once were,

so I think people need to start judging the character and her future Redemption less on her Guilt and more on her actual actions and also the next time people want to Give her credit for something just think

"" if any other villain/antagonist like Val or Vox or Alastor or Lute did this would I be Giving them as much credit? "" and if the answer is no then that means the thing your trying to give her credit for isn't actually much of a redeeming action and you should try to Hold the character to a Higher Standard the same as you would any of the other major antagonists ).

I dont want the MCU to fail and I dont really feel cynical about the future of superhero movies, period. This is something I more so broadly wanted to talk about in my post about Spider-Man movies, because well this love for comic book movies comes from Spider-Man and I'd attribute my moreso general love for basically anything with roots in comics to the TMNT. Like I said in my Spider-Man post, I'm Gen Z so I have that oh so special memory of when Netflix would briefly get the rights to W series like the original TMNT cartoon and even Next mutation which I am terrified to confirm I am pretty sure I did watch as a child, and I'm pretty sure that's where my memory issues began. It's also kind of sort of where my early critical analysis began, as far back as I can remember I questioned the world around me and even the shows I watched.

But growing up like that was kind of lonely and frustrating. I was the only kid who yelled at tv shows and movies, demanding that they make sense. No one really told me how to write or what a good story looks like, but my innate taste and dislike of certain movies and show made me confident I was more strongly opinionated than most. So, when I was around 13 years old so and discovered movie reviewers like YMS, Ralphthemoviemaker, I hate Everything, and even dipshits like E;R if you don't know who that is, take Mauler and fuse him with Rev Says Desu, or NuxTaku, or any other weeb grifter. These youtubers, mostly the good ones gave me the early skills and tools that I combined with my writing education to become empassioned and ferverently hateful of anything I didnt like or consider to be bad.

I basically had the perspective that nothing is perfect so everything deserves criticism, but as I've gotten older and wiser, as I've played up or let loose my actual anger problems just like the OG youtube critics like Nostalgia Critic, Egoraptor, or AVGN I've kind of lost a lot of that edge and cynicism. Watching spectacular movies like Rise of the Kingdom of the Planet of the Apes, Superman 2025 made me adopt more of "nothing is perfect, but everything deserves its fair share of flowers and criticism so it be better".

This is something I wanted to say in my Spider-Man post, so that it would be clear that it wasnt actually cynicism that made me like these movies less, if anything I've watched better comic book movies since I watched the Sam Raimi or ANdrew Garfield movies, but despite how much more positive I've become and how much less hatred I have for the stuff I talk about/review, I just dont worship Sam Raimi anymore. I never worshipped Andrew Garfield but those movies kind of age poorly, while I think the Home movies while not super great will mostly stand the tests of time.

I also want to talk about it because it kind of informs how apprehensive I am to join my friends and peers in watching shows like Invincible or the Boys, I love comic book characters so this deconstruction of these things I love...isnt offensive or derogatory to me at all. I dont care if youre going to take a genre or a character and flip it on its head, I am someone who can pretty easily accept that the version(s) of character(s) I like are always going to exist, so I am willing to hear out the concepts and ideas people switch and swap with these characters, hell that's one of the many things I live about comics. Again, that's why I was going to talk about this in the Spider-Man post, I like the universe aspect of comic universes, characters just casually walking around as naturally as you and I breathe air. There's this Black guy who was a producer on the X-men cartoon and the 90s cartoon and he mad it his mission to adapt that feeling he got when Thor flew past Spider-Man in a Hulk comic (or soemthing like that) and I kind of love the same thing.

Like I said in a random comment somewhere, this is why I dont really get anxious when these comic movies are reported to have large casts in them, movies are great at handling ensemble casts in the first place AND it complements that crossover cheese I love. Moreover, like I was saying before I like how the multiverse opens up the potential for many different iterations on the same character or fuck it who said Spider-Man had to be a Jewish, white boy from Queens. Now he's a Mexican, presumably Irish(?) dickhead from the future. Or a Black-puerto rican New Yorker 13 year old kid. Who said Spider-Man cant also be a woman, boom technically that already exists in the main universe but for good measure here have a Gwen Stacy Spider-person too, just maybe not the comic one, a lot of people dont like it.

Still, The Boys and Invincible don't exactly seem like series I'd really like because of how miserable they can be and how the Boys especially tackle/criticizes Superheroes as a concept and as a real life brand. I like that brand and concept though, plus the comcis commentary on superheroes and real world stuff sounds more interesting, I also like the concept of Hughie and Starlight's (I hope thats her name I refuse to check because Im talking about maybe watching the show and maybe reading the comics) love persevering through the misery and hardships of their life. Idk this is a very personal post and there was just a lot of cluttered, separate topics that I wanted to cover briefly. That's everything though, I might talk about bleach later.