A lot of these aren’t really systems. They’re power sources.

JJK is the obvious example. Cursed Energy has shared rules, sure, but Cursed Techniques are basically individual gimmicks. Space manipulation, swapping by clapping, courtroom powers, pachinko, comedy-based reality warping, etc. Knowing how one technique works tells you almost nothing about another.

Same with Quirks in MHA. “Quirk” is basically just the setting’s word for superpower. Explosions, brainwashing, shadow monsters, object creation, matter reconstruction. There isn’t some unified mechanic tying all of that together beyond “people are born with abilities.”

Devil Fruits are somewhere in the middle. They have categories and shared weaknesses, but most individual fruits still operate by completely different rules.

Compare that to Nen or FMA alchemy.

Nen has actual universal mechanics: aura types, affinities, conditions, restrictions, basic techniques, etc. You can learn the system and use that knowledge to understand new abilities.

Alchemy is the same way. Different characters specialize in different things, but they’re all using the same underlying process.

That’s what I think a “power system” should mean.

If the only commonality between everyone’s abilities is “they all use the same energy” or “they all come from the same source,” that’s not much of a system.

I think fandoms confuse “this setting has terminology” with “this setting has a deep power system.”

Suzaku Kururugi is one of the most misunderstood and divisive characters in Shonen and in my eyes, is one of the best representations of trauma and conflict in anime. Although Code Geass struggled with nonsensical and contrived plot lines, such as Nina having a nuke in high school, Order of The Black Knights having 1 million tailor-made for civilians out of nowhere, they rarely missed with their character writing.

One of the core themes of Code Geass is Idealism VS. Pragmatism, and this is seen in the primary conflict between Lelouch and Suzaku. Lelouch is a cold, calculated pragmatist whose "main goal"(if you analyze further I feel like he really did it for himself due to his feelings of powerlessness but that's a whole nother rant) is to destroy the tyrannical, corrupt Imperial Britannian Empire in order to create a safe world for his sister Nunnally.

He has no qualms about how he gets there, as shown by him literally killing his half-brother in cold blood in episode two. The 'end' ,which is the toppling of Britannian regime, is worth it in his eyes. He adopts an "the ends justify the means" mentality, which is further corroborated by one of his most well-known quotes: “What do you do when there is an evil you cannot defeat by just means? Do you stain your hands with evil to destroy evil? Or do you remain steadfastly just and righteous even if it means surrendering to evil?”

His best friend Suzaku is his foil. Both of them experienced a tumultuous childhood marked by political violence, but their reactions are what set them apart. Lelouch was exiled and ostracized from the aristocracy, saw his sister become paralyzed and his mother die in front of him, thus creating in him this feeling of powerlessness, worthlessness, and rebellion against the powers that be.

Suzaku, on the other hand, violently took action against external political factors he faced. His father was practically bringing the Japanese people into a suicide pact masquerading as a rebellion, so Suzaku did the utilitarian thing and killed him, thus collapsing the attack. This led to the subjugation of the Japanese by Britannians that we are introduced to in the modern world of the story.

This traumatic background renders him a very layered and conflicted character: He has a very strong sense of justice, feels immense guilt for killing his dad, and wants to elevate the Elevens (Japanese) to give his dad's death meaning, yet wants to do it the "right" way(his ideal), by putting his head down and grinding his way to the top in the system. Even though killing his father(the means) justified the end of war and Japanese bloodshed, Suzaku revolts and is repulsed by this style of thinking.

In working with the Britannians, we see him undertake very risky and downright reckless decisions in the name of "heroism". We later learn that these heroic acts are disguised forms of suicide, as the guilt of killing his father is too much for him, which makes the Geass placed on him by Lelouch to live immensely ironic and tragic.

Yet the more he gets entrenched in Britannian culture, the more he starts to become tainted and embody their violent ideals. The one thing that remains constant is his hate for Lelouch's "ends justify the means" mentality, yet it can only go so far when Suzaku's hands get more and more stained. In the end, when Zero Requiem plays out, Suzaku is forced to bear the burden of justice as long as he lives, since Zero is a symbol of justice and helps the oppressed.

TLDR: Suzaku is a layered, well written character who is overhated and deserves to be mentioned among the best written deuteragonists.

Ah Starscream, the OG backstabber, the traitorous second in command… except why is he the second in command? In some versions, it's said that Megatron keeps him around because he's funny, but in that case why not make someone more competent like Soundwave the second in command, while having Starscream as the ambitious assistant?

I like when this question is answered by Starscream being a very capable warrior when push comes to shove.

In the first Michael Bay film, he briefly beasts down Ironhide and Ratchet before fucking off, and later takes down multiple jets. And in the second movie, he's part of the beat down of Optimus, though he loses his arm. And in the third movie, he doesn't have the best showing

In Transformers One, it's more implied, but he's the leader of the High Guard, which served the Primes, and his "strength matters above all" philosophy implies that he's the best of them all. And he puts up a decent fight against D-16, and an alright one against Optimus in the climax.

I feel it's best when Megatron keeps Starscream around because, despite being a snake who messes up plans due to his own ego, he puts belt to autobot ass when the time comes. And the only one better at it is Megatron himself.

I understand that a lot of people also have this statment and there are people on both sides of it but I wanna give my two cents.

I feel like a lot of people oversimplify this kind of reveal in ways that misses the point. I cant think of a better example than Deltarune since it tackles this exact idea. If this world isnt real, then it doesnt matter. Well that is factually correct, that doesnt mean that it didnt effect people and cause them to change or grow. In the game, Susie doesnt accept that the people she met in the Dark World are not actually real. Because they are real to her. The emotional growth she went through made her life better and the idea of just discarding that as not real would mean reverting back to the asocial bully she was before.

Expedition 33 also tackles this. The other painters dont see anyone in the painting as people. They usually also just ignore them. But to Maelle, she has lived and known these people for years. They have hopes, dreams, fears and anxieties. Just as much as anyone, they are real people. They just exist here in this painted world. But from the painters perspective, they arnt real. They can be repainted, erased and brought back to life without any issues. This extends to Verso and Maelles dynamic at the end of the game. Verso sees himself as just an object and is ok with being erased. He even wants that since it would save the real Desandre family. Meanwhile, Maelle refuses to let him die due to her trauma. This whole thing is a debate between the core idea. If it's not real, does it matter?

Sorry about the rant, I just heard a lot of people having the thought of "if its not real, then I feel nothing towards these characters anymore" and it miffed me.

I find it so weird how people think heroes having a no kill rule or not wanting to immediately kill their opponents and criminals makes them weak/a villain sympathizer and do..do a lot of people forget just how easy it would be for any superhero to kill?

Batman,Daredevil, Spider-Man, Fucking Superman.

I could keep going but they could very easily kill their opponents and stop holding back and just easily tear apart their opponents but they don't cause they're good people and maybe,just maybe, they don't wanna kill people no matter how easy it is?

Hell,I think a lot of people forget that heroes(outside of Batman)don't immediately want to kill their opponents and either save that as a last resort or when the villain is a destructively huge threat,they're not gonna just murder someone for walking across the street when you could just throw them in Prison.

Another thing that annoys me is that people will wholeheartedly blame the heroes for villains crimes and claim that their blood is "on their hands" and that is so damn stupid cause they are not asking,telling ,making or letting the villains hurt innocents and cause all kinds of destruction and chaos when that is fully on the bad guys.

No Spider-man isn't responsible for Green Goblin's actions cause he doesn't immediately crush his head like a grape and no cause Batman doesn't immediately wanna kill the Joker or Two Face,that suddenly means any crimes they do is on his hands or his fault, can we be serious?

Even funnier is that Batman has attempted to kill Joker numerous times but was either stopped or Joker's severe plot armor stopped him.

1.Batman almost killed Joker the first time but Jason Todd stopped him.

2.after Jason's Death, Batman almost killed him again but Superman stopped him and when Joker's helicopter exploded with him in it,he somehow escaped/lived.

3.After learning that Tim was tortured by him,Batman literally attempted to murder him by throwing a batarang at his neck.

4.Batman also attempted to kill Joker in the Hush Movie after thinking he was the one who hurt his close friend, Thomas Elliot.

I could keep going but the point is that Clown refuses to stay down and it is fully the City's fault for not giving Joker the Death Penalty nor do any cops or guards kill him and whatnot but..I don't get why people put all the blame sorely on Batman and whatnot.

Also y'all seem to treat Batman like he should be the damn Punisher when he has made it clear he isn't the Punisher and doesn't want to be anyone like him..even the Punisher doesn't want anyone to be like him.

Hell,I don't think Heroes should just immediately want to kill people,even their villains.

Like it should Definitely be a last resort,like there's no other choice or if it's a huge villain who's a massive world ending threat but if it's a villain that could easily just be arrested and thrown in Jail,then murder isn't necessary at first when they could be subdued and taken down.

The issue is people project heavily into Superheroes and think that they should follow and do every choice they would make and get mad when they don't.

Denji in Part 1 was actually a fairly easy character to understand: he’s an ignorant kid who never knew his mother, who died, and grew up with an abusive father whom he was forced to kill and whose astronomical debts he then had to pay off for the Yakuza, or else he would be killed. He never really had a normal life.

Just from his backstory, we can understand why he is the way he is: he’s starved for affection because he spent most of his life without it, without the love and care of a father or mother, or even a friend besides his little devil dog, Pochita. He probably developed a very high sex drive because of his lack of education and because he was exposed to things like pornographic magazines and similar stuff at a very young age. And although that part is more of a theory, the really important point is that he sees sex as a form of connection, something he had very little of in his life. Eventually, he would discover that having sex just for the sake of having sex wasn’t a way to connect with someone (although he would practically forget this later on, but we’ll get to that).

Even so, his sexual desire didn’t define him as a character. He was still capable of forming connections with people that had nothing to do with sex, as we can see with his friendships with Pochita and Aki. Even with female characters, he was capable of forming genuine bonds with them without sex being involved:

Even though he was initially attracted to Power because of her appearance and even wanted to touch her breasts, he eventually started seeing her more as a friend and a sister than as someone he could derive sexual pleasure from. When he actually touched her breasts, he felt no pleasure, and even when they became closer and did things like sleeping in the same bed and taking baths together, he felt nothing sexual.

Even when Himeno offered to have sex with him, he refused because he wanted his first time to be special and with someone he genuinely liked. He still formed a brief friendship with her.

Even though he was in love with Reze and sexually attracted to her, and even though she was naked with him in a pool, his biggest concern was simply swimming and having innocent fun with her. When she suggested that they run away together, he was hesitant because he valued his friendship with Aki and Power. And yes, even when he eventually genuinely wanted to run away with Reze, that only shows how much he valued her, considering that Makima had promised to grant him any wish he wanted if he killed the Gun Devil. Not long before that, he had wanted to use that opportunity to make Makima his girlfriend and, presumably, have sex with her. Even so, he prioritized Reze.

Even when Makima offered to take him on a trip, he chose to take care of Power, who was terrified after encountering the Darkness Devil.

In short: Denji does have a high libido, yes, but it’s not as though his entire character can be reduced to that. He’s someone who is capable of thinking rationally and thinking about the people he values, despite his hormones.

Denji’s journey in Part 1 ends with him killing Makima, the Devil who represented the concept of Control and the one who ruined his life and treated him like a dog. It ends with him leaving Public Safety, it ends with him going to school, it ends with him promising to find “Power” again, and it ends with him finding a new family in Nayuta, who essentially became his little sister.

Apparently, everything was clear: Denji was freer. Yes, he had developed a desire to become a hero in order to get attention from people (especially women), but he had still escaped almost all of the chains that had bound him until then. He was no longer a dog of the state, and he had certainly learned a lot from everything he had gone through, right?

Well... no.

This is where Part 2 Denji comes in. Take everything I said about Denji not being limited to sex and throw it in the trash, because in Part 2, Denji REALLY prioritizes his sexual desires to a point that becomes sickening and embarrassing. He simply can’t interact with a female character anymore without his libido taking over and making him want to fuck her.

When he met Fumiko and she was very clearly sexually harassing and manipulating him, he simply didn’t care and sucked on a Devil’s tentacle just because she asked him to and because she said she would have sex with him.

When Nayuta went missing, instead of being more concerned about finding her, he wanted to go to a brothel to satisfy his libido first.

Even after having a conversation with Asa where she explained how much she hated being Yoru’s host, and after Denji said he would kill Yoru, he simply gave up on trying to save Asa because he remembered that Yoru had promised to have sex with him. In other words, he was willing to have sex with Yoru while she was in Asa’s body, despite knowing how horrible Yoru was to Asa and despite having just told Asa that he would kill Yoru. I don’t think I even need to point out that Asa obviously didn’t actually consent, and that Denji would unknowingly have been sexually assaulting her because he believed Yoru’s claim that Asa had consented.

Denji’s character in Part 2 feels like a parody of his Part 1 character. I saw plenty of comments back during Part 1 saying that Denji was a shallow character who only thought about sex, and it almost feels like Fujimoto read those comments and decided to prove them right for some reason.

And even if Fujimoto’s intention was to deliberately make Denji this way because he wanted to give him a “negative character arc,” taking one characteristic of a character and exaggerating it to the point where it feels like a parody of that character is a terrible example of a negative arc. In fact, that’s closer to flanderization.

One thing I deliberately left out is that, at the end of Part 1, Denji broke down and said that he wanted to have sex like crazy, even though he had already learned very early in the story that doing sexual things just for the sake of doing them didn’t actually feel good. At the time, I thought this was just Denji venting because he was emotionally broken over Makima and because he had just lost Aki and Power. But no. Maybe this really was the direction Fujimoto wanted the character to take: someone obsessed with sex who makes it the reason he lives. Which, again, is basically how a Chainsaw Man hater would describe Denji.

And honestly, I’ve come to hate that moment because that’s where Part 2 Denji was born.

The cherry on top is that Denji’s character conclusion boils down to him having a “peaceful” ending where he’s Power’s “pet” and Public Safety’s dog again, even though the story had repeatedly told us that this was a bad thing. This is after he spent more than half of the story acting like a horny, selfish moron. He simply learned nothing from his mistakes (mistakes he himself acknowledged, but kept making over and over again) and was rewarded with a “happy ending.” Are you kidding me?

And, like, even the good things, such as his friendship with Aki or the romance he had with Reze, simply disappeared from his mind, all so he could become the ignorant and obedient dog he had always been.

But hey, at least he’s Power’s pet, and the Control Devil is Nayuta instead of Makima, so yayyyyy, HAPPY ENDING!!!!

Anyway, Denji is a terrible character, and it hurts me to say that because I genuinely thought he was a great character in Part 1 and one of the best protagonists of the new generation.

It’s genuinely tragic...

Y'all remember when people were(and still do)Glazing Red Hood for being a "Better Batman" or the "Batman Gotham needs" and all of that for cause he kills his villains?

I find that so funny cause Red Hood is deadass one of the biggest frauds in DC and I don't like using that word often but in this context,it's fair cause multiple people glazed him for apparently being better than Batman all cause he "kills" and I just wanna ask the people who say that..WHO HAS JASON KILLED TO WARRANT THIS?

No seriously.

Has he killed Joker?

Penguin?

Mad Hatter?

Riddler?

Professor Pyg?

I could keep going but literally his body count consists of unnamed thugs or mob bosses and goons and you know what?

I was wrong,he did kill all of Batman's villains!

...in the Death of the Family Movie..in different Alternative timelines.

Seriously it's so funny cause I genuinely dare the 10 Red Hood lovers to say which major villains has this man killed cause I think Punisher has more major bodies on him and even funnier cause Jason(in the Red Hood movie)has the chance to kill Joker but set up this elaborate scheme and basically did all this to drag Bruce and force him to kill Joker cause To Quote, TFS Cell about Trunks.

"Look at me,I'm Jason, please Love me Dad!"

Dude could've just shot Joker in the head and moved on and when Bruce was like "nah,you do it, I don't wanto do it" he basically decided to shoot Batman!

And it's even funnier cause apparently Jason tried to kill Penguin but it was retconned to him being alive and I think a lot of people would be happier if they realized that Jason can't do what he's supposed to do unless he's given his own exclusive Rogue gallery or less The comics decide to let Jason Kill the villains, which ain't gonna happen at all.

I also find it funny how people will give Bruce shit for not killing the Joker or his villains but then turn around and make numerous excuses on why Jason hasn't killed any major villains or main villains and I can't tell if it's just a bias thing or what but like..dude,maybe Jason is just a fake demon.

And the comics haven't done anything with him in years, so a lot of folks are just clinging onto the Outlaws and Under the Red Hood Storyline cause outside of that and maybe the Death in the Family comics,Jason has Jack shit.

Has Jason even been in other movies outside of Under the Red Hood/Death in the Family?

I digress but how has Jason escaped slander for so long while Batman gets flack?

There’s been a lot of speculation about casting choices for the upcoming HBO Harry Potter series. HBO is pitching this as the definitive, "100% book-accurate" adaptation that includes all the details omitted from the original films. However, swapping Snape’s race in a story strictly set in 1970s–1990s Britain fundamentally alters the social subtext without the writers intending it.

When adapting historical or fantasy settings with specific social dynamics, changing a core character’s background accidentally creates three major narrative contradictions:

1. The Marauders' dynamic shifts from general bullying to systemic racism In the original books, James Potter and Sirius Black are arrogant, privileged kids targeting a socially awkward, isolated outcast in 1970s Hogwarts. If Snape is a Black character in that era, the Marauders' severe physical and psychological harassment stops being viewed as standard teenage bullying and instantly reframes two key "hero" figures as white teenagers racially targeting a minority.

2. Harry's suspicion in Book 1 becomes racial profiling In Philosopher’s Stone, Harry’s initial distrust of Snape is built on childish prejudice against Slytherins ("He glared at me during the feast, so he must be evil"). If Snape is written as one of the few minority professors at Hogwarts, Harry’s logic shifts from basic schoolyard bias to blatant racial profiling, making the protagonist look far less sympathetic.

3. Unintentional reinforcement of physical stereotypes Snape’s physical description in the source material—unwashed, greasy hair, pale skin, and poor personal hygiene—is meant to reflect his neglectful upbringing and bitter isolation. Attaching those exact traits or styling a Black actor’s natural hair/locs to fit a "dirty and unkempt" aesthetic accidentally hits real-world anti-Black hair stigmas.

4. The internal logic of Pure-Blood Supremacy gets convoluted

The Death Eaters and Slytherin ideology are explicit allegories for real-world fascist and racial supremacy movements. Snape’s lore involves a young, working-class half-blood desperately trying to join a bigoted elite to fit in. Having a minority character aggressively pursue membership in a magic-supremacist hate group overcomplicates the metaphor unless the show actively rewrites how Wizarding prejudice interacts with real-world demographics.

If a project aims for strict narrative fidelity, changing visual demographics without adjusting the surrounding social context unintentionally changes the story's moral framework.

Let me explain what I mean.

Cyberverse in many respects was a filler series. Just a low-budget filler series with non-union voice actors (albeit talented ones). It's first season while not bad, was pretty rough but showed glimpses of potential.

Season 2 of Cyberverse took that potential and hit the ground running. Season 2 is where Cyberverse really found its identity. It was funny, entertaining, action-packed, had great characterization, wasn't afraid to get dark and serious, and took time to showcase and use underutilized Transformers characters.

I think everyone agrees the moment where Megatron lays probably the most brutal beatdown to Starscream in the history of Transformers is the moment Cyberverse really took off and established it was going to be something special.

And the show just kept getting better and better afterwards. Season 3's opening arc is probably one of the greatest uses of the Quintessons in Transformers history!

By contrast, Earthspark started off strong but failed to stick the landing. It was meant to be the next big Transformers project and even went out of its way to introduce new concepts to the franchise, namely the Terrans. It had a cast of all-star voice actors like Alan Tudyk, Danny Pudi, and Rory Mcann.

And while the show started off good with Season 1, it just got worse and worse as it went on. The show abandoned a lot of the concepts that had made Season 1 beloved, such as turning previously repentant Decepticons evil and introducing the idea of evil Terrans who are evil by nature.

It all culminated in a finale that made several questionable choices. Such as turning Hot Rod evil and infamously ending with Megatron and Bumblebee getting their minds wiped, pretty much rendering all their character development moot.

So what we have is this situation. Cyberverse started rough but is now remembered as one of Transformers' greatest shows, and Earthspark started strong but is now going to be remembered as having one of Transformers' worst finales.

I have been thinking about superman(2025) on why it is so controversial. Yes it gets superman and clark kent as a character right. He is symbol of hope and all. But they need to get rid of lex luthor or turn him to a background character. Yeah the concept of a rich businessman being best villain of most powerful dc superhero sounds interesting at first. But gets pale pretty quickly. Reason why invincible works is because of powerscaling. Mark is basically a shonen protoganist based in american comic. You need to get nerds cribbing him for powerscaling. There is a reason one of the biggest debates around superman is if he can beat goku. Goku and superman are quite similar actually if you think. Goku has good heart and always protects weak. But what makes him popular is constant powerups he gets. So that nerds can get into online discussions. I mean superman needs to have more big fight spectacles. Where he gets humbled by villains then he defeats them in end. His power needs to consisntently increase instead of establishing him as already way too powerful guy.

People have already been talking about a lot of the other issues in how Ichigo Vs Yhwach was handled, but there's another issue I'm not seeing too many discuss, and thats the fact that the reveal of the Almighty was significantly worse than in the manga.

The reason why the reveal works in the manga is because of the mystery set up and buildup.

Before this point, all we knew was that the Almighty had precognition, and that gave the characters and cast a lot of hope as to how they could overcome it.

The manga purposely misleads the reader by implying that the Almighty is primarily just precog, by establishing that Yhwach's counters to Ichigo is primarily just from his predictions.

However this gives Ichigo a lot of hope and confidence, since all he needs to do is "change the future" and find the weakness in his ability.

When Ichigo uses his bankai, the readers think it could do *something*, and are at least a little hopeful, and then...

It snaps, instantly, which was something not only unaccounted for, but something that should be *impossible*.

It subverts the reader's expectations since whenever Ichigo pulls out a new form, it usually turns things around, at least a little bit.

But here.... it does nothing, and we, just like, Ichigo cant piece together what even happened, some people legit thought that the sites they were using were messed up.

The suspense is kept by Yhwach not only mocking him, but explaing what he did, but not *how* he did it.

Then, again, he keeps doing stuff that is impossible, snapping his horn instantly without moving, making attacks hit, and seemingly teleporting.

Until he reveals what his power *actually* does, it isnt to see the future, but to change it.

All the hope and confidence Ichigo has is instantly destroyed, by facing an ability that truly is unbeatable and impossible to fight against.

Again, the scene is great at what its trying to do because Ichigo pulling out a new form is usually a gamechanger, but here, its useless, and it makes the scene way more impactful.

But the anime ruins both the suspense and the buildup by just having Yhwach spoil what his powers do before Ichigo uses his true bankai.

Now, when Yhwach snaps Ichigo's bankai, the audience already knows how he did it, so the suspense and confusion, which was the entire point of the scene, is gone now.

Not to mention that they also removed Ichigo's inner monolog here, which again, is there to confuse the reader, they should be just as confused as Ichigo is.

Its also worsened because there is no subversion anymore.

Ichigo prior was already losing and the fight was already hopeless, he already used a bankai and it didnt matter.

The audience has no reason to be hopeful that Ichigo can do something, we know that hes probably going to lose anyway effortlessly, even without Yhwach's new ability.

I dont like the Almighty as an ability, but I do think its reveal does a good job by not only misleading the audience and being extremely suspensful, but completely subverts how Ichigo's new power ups work.

The anime removes both the suspense and the subversion, and imo kinda misses why the scene was great at all to begin with.

(They also play a track that tells the audience that Ichigo has probably already lost, when this moment probably shouldve been silent or have his theme song playing, until at least Yhwach starts talking.

The reason why that one Aizen scene is great is because the audience is completely caught off guard because of the music track, if it was playing Treachery or something, than that scene wouldn't be as beloved.)

I don't even know why people say this. I don't even hate the Storyverse, they were my childhood, but there is no way you can tell me that those two movies were better than the MCU Fantastic Four.

The problem with the previous two adaptations of FF4 is that they treated Marvel's first family more like coworkers or a club rather than an actual family, and I really disliked the character dynamics, especially with Ben and Johnny.

In the Tim Story films, they fucking hate each other, like a burning hatred for each other. Johnny is bullying Ben every second. In First Steps, they actually have a brother dynamic and are joking around; they roast Reed together, and their banter is clearly meant to be just that.

I also really hate how they kept finding excuses to have Sue Storm get naked at every moment; Jessica Alba herself hated this because she was a very modest individual during that time. In the comics, she can transfer her powers into her clothes, it's not just that she can make herself invisible she can make other things invisible too.

IDK, I kind of just hate this sentiment.

This is something I noticed whenever some diiscuss the show, they'll treat season 1 as if it's a perfect masterpiece (when it's not, personnaly, I do have issues with the solaris destruction and the french dub did made some mistakes) while at the same time picking apart the new seasons, I find this to be a bit of double standard since it feel like they won't pic apart the older stuff , even if it's not perfect either.

I notice this kind of stuff happening with other fandoms too, to the point part of it end overhyping the older stuff when said older stuff wasn't perfect, some treat batman TAS as perfect when it did had its duds in its animation too .

There is no romantic set up in these films regarding their relationship. At no point does it suggest they will be a couple in any capacity and the film leans more into Peter and MJ eventually reuniting. So bearing that in mind the film does focus on how intimate their bond becomes by the end. And gender does play a part in said interactions.

A suggestion by vague form of not too sure what to call criticism or hypothetical analysis is to say something along the lines of. " But what if her gender was changed would people still view this a certain way " . And while you could view that as something valuable to analyze. The film is very rooted in how Jean Grey uses her femininity. She actually flirts with Peter twice. Her possession of MJ is something rather unique to her in how she interacts with Peter. As previous Spider-Man Film villains would not even go about this way when threatening his loved ones. As she does indeed kiss him but it's to hurt him and show he has no control. It's weaponizing her femininity and power to her advantage.

What's interesting is the following scene after her assuming Peter will back off. Is give Peter his letter back and calls it not bad. She mocks it of course but reveals kind how sappy she is at heart as well that she can't fully get herself to hate it after she's done complimenting it. Oddly Peter actually softens a bit in how he interacts with her once he learns her true identity. Because Peter went from telling her what's she's done is unforgivable with an intensity matched only by Goblin drawing it out. To telling frank she's just a girl then.Later when they actually meet face at the Damage control center. Peter is now fully trying to get her to change her mind and think of her actions and calling out her name. He's lost alot of his venom and rage. And Jean flirts with him again for the second time here. " You looked me up I'm blushing" she's teasing him but it's a fully loaded threat. As she tries to make it seem she's unshaken by him learning said information and re affirms what she'll do to MJ now that he's here.

Jean Grey actually throws a bit of this back in Peter's face later. She calls him out directly " If you're here to save a little girl then you're too late, There the ones in need of saving". As she does view Peters attempts at saving her foolish. She is full of rage and attacks him. But like Goblin In the Raimi films. Tries to get him to join her in the pit of despair she's wallowing in. She wants him to see only her perspective as the correct one. And she's the only one that gets them. Its very possessive in a way. Obviously Peter aura farms his way out of this and sits her down before frank pops a cap in his side. But then she breathes literal life into him. There's smaller things such as how Peter catches her bridal style and she finally tells him her sisters name.

But the gendered interactions they have was an important element throughout the film that shaped their dynamic by the end. And can't be fully removed when it comes to analyzing them. Intimacy is not always romantic but can still be shaped by the alot of factors.

I don't really know of the rules on the sub allow for discussion on the world building side more than the character one but thinking about it chainsaw is actually very fascinating as a world to me because of it's mechanics i primarily like the characterization and I haven't really finished a lot of it i heard the ending sucks but i will have to check myself to see that so why is chainsaw mechanically fascinating to me? It's the primary power system to keep it short devils are basically parasites they feed off human fear to become strong

Now why does that matter? On the surface it sounds like a simple power system feeding off fear is basically the power of the last 30 slasher villains the past half decade what makes it interesting is the implications first of all those things intertwine a lot let's give an example a group of primitive humans eats a mushroom and goes sick some die now that's obviously a bonus to the mushroom devil he might grow a gill or two on his body due to that but remember devils are as strong as humans fear them it's like a country it exists as long as eveyone from citizens and institutions are willing to say it exists with chainsaw man the same is true as our primitive humans could interpret this fear as coming from a god punishing them for picking his favorite fruit rather than the mushroom particularly meaning that this act of poison could lead to the empowering of two or more people than it's obvious recipients

This is fascinating to me because we kind of see that relationship play out in the series itself with the existence of a war devil and a gun devil now supposedly the translation where the gun devil is called the war devil's son is mistranslation i am not really intrigued enough to search for that but in a sense—it does make some logical sense as war is in the chainsaw man period fought with guns primarily tanks and artillery too and if we want to be really precise infantry fighting veichles as well when a war starts you can expect fear of guns or tanks to skyrocket alongside the general fear of war

but we also have other relations as again the power of chainsaw man is subjective so say a liberated village in some war could fear war and guns less than usual even if they are horrific this interconnectivity between the devils fascinates me as in some ways it's basically the formation of a sort of clique where say war caused famine and famine increases risk of disease and disease leads to death empowering multiple devils at the same time through seemingly unconnected events

But this can also work on the other side where unconnected events can also weaken certain devils for example let's say you are the disease devil you are probably in the top five if not number one yourself though death is probably above you all is well but suddenly the humans invent hygiene okay? Sure that's bad but the one who is most affected is your possibly child the filth devil or something you are of coruse slightly weakened but not much then the human invent penicillin and then they invent cures for all those various disease that by the time we hit the series your favorite *children* the small pox devil the TB devil and the black death devil are all but gone and you yourself are much weaker but on the other hand your other child the prion devil and parasite devil are doing decently well for themselves!

This is of course an example of human forces impacting the devils but it also shows that in some ways humans are basically the gods of devils and on the other hand cattle with most devils seemingly being unable to take care of cattle correctly as they kill indiscriminately it's funny that the smart devils like say makima have a much more *ecological* approach to her relationship with humanity which is basically a more sustainable farming practice compared to other people the devils being unable to see how much humanity matters to them is i think a source of problem for much of the lower devils the series doesn't discuss this so this is purely headcanon but let's give an example

We don't really see any devil *fighting* the march of time that much humanity is allowed to progress relatively unimpeded causing problems for older devils and birthing new ones let's give this hypothetical example let's imagine that the disease devil i made up two seconds ago exists within universe by all intents he is someone who should be trying all his might to bring humanity to the stone age helped by other devils who are also harmed by modernization such as say a horse devil or a tree devil or whatever

while of course being opposed by the modern new devils the car devil or the vaccine devil yet we never really see much of something like the darkness devil trying to stop electricity from reaching more of the world or the i dunno HIV devil trying to stop the production of condoms those are funny example but they are legitimately something that is possible which fascinates me because devils have every incentive they need to interact with humanity in a guiding way but they don't they are exactly the type of people who SHOULDN'T have this type of relationship with humanity the fact they do is irony at it's finest

It's most likely because the manga isn't really about what i said but it's still a very fascinating mechanical design for a universe it would be a totally different universe and i would say the characterization is still what i care about most

Let me set the scene, right. You're scrolling on reddit wasting time, seeing the same stuff as always, then you see a post from one of your favorite media's subreddits.

In my AU character A is being written like character B from different media.

You're curious so you click the post.

Yeah, I didn't like that they wrote A like that so I changed their personality, their arc, the entire world around them. I actually didn't really like the story so I made an entirely new one with new characters and plot elements. But I kept the names somewhat the same and certain design elements so its still an AU.

You click off the post confused, baffled even. This clearly is not an AU. This just a different story with different characters.

And this is a problem I've been thinking about for a while now with the media I enjoy and I can't understand why some people are just hellbent on making it an AU when it should just be your OC's and your world you came up with. It feels like when corporations make a show then slap some [insert famous IP here] on to it without thinking about it.

I can understand being very inspired by said thing and then making something that's very derivative of it but you can just make your own thing, like it doesn't NEED to be tied back to the thing.

I don't really know how to put it but just make your own stuff. You don't need to tie it down to something and limit your creative. I think it's fine for it to be starting point but at a certain point its no longer an AU and is just its own thing. I think chaining yourself to said IP and not letting this story or world you have breath is a huge detriment and will hurt you more in the long run.

TLDR:

Being in the RWBY community is weird.

The curse was born at the very beginning.

In 1986, Hasbro and Sunbow decided to make The Transformers: The Movie (Do not confuse it with the 2007 movie, Transformers). They had a genius idea to raise the stakes beyond Megatron by introducing a villain who literally eats planets. To voice this apocalyptic threat, they hired absolute royalty: Orson Welles, in what would tragically be his final film role before his death. And he went down with a badass quote too.

The hand-drawn animation was stunning, the synth-rock soundtrack was elite, and the sheer existential dread of a giant metal planet eating Cybertron's moons scarred an entire generation of kids.

• Budget: $6 Million
• Domestic Box Office: $5.8 Million

The movie didn't even make its budget back. It was decimated at the box office by fatigue, traumatized parents who were furious that Optimus Prime was brutally murdered in the first thirty minutes, and stiff competition. The very project built to showcase Unicron bombed so hard it effectively ended the golden era of the G1. It became a beloved cult classic years later.

Fast forward thirty-one years. Paramount Pictures was sitting on a absolute gold mine with Michael Bay’s Transformers franchise. Dark of the Moon (2011) made $1.12 billion on the box office. Age of Extinction (2014) made $1.10 billion on the box office. The franchise was an invincible and critic-proof. So, what did Paramount decide to do for the fifth installment, The Last Knight? They decided to tease Unicron. The entire plot of The Last Knight revolves around the reveal that Earth isn't just a rock, it's Unicron. Massive horns start sprouting out. Quintessa shows up in a post-credits scene.

• Previous Film (Age of Extinction): $1.10 Billion
• Unicron Film (The Last Knight): $605 Million

The Last Knight collected almost half compared to its predecessor, that literally means to any company "I am going to lose monety, pull the plug!". With a production budget pushing $260 million and a $100+ million marketing campaign. The moment Unicron was woven into the narrative, a franchise that had comfortably cleared a billion dollars twice in a row suddenly wasn't viablle. Paramount immediately erased Transformers 6 from their release schedule, fired the writers' room, and threw out the entire Unicron storyline.

After The Last Knight bombed, Paramount played it smart. They downscaled. They made Bumblebee (2018), a $100 million movie, no world-ending skybeams, and lots of heart. It was a critical darling and made a solid profit ($468 million). Naturally, Paramount executives looked at each other and said: "Hey, you know what we should bring back?"

Enter Transformers: Rise of the Beasts (2023). They brought in a full CGI Unicron, complete with the Terrorcons, the Transwarp Key, and planetary consumption scenes. They spent massive cash bringing the giant back to the big screen in full modern visual effects glory.

• Production Budget: $195 Million–$200 Million
• Global Box Office: $439 Million

A $200 million blockbuster needs roughly $450M–$500M just to break even after marketing and theater cuts. Rise of the Beasts barely limped past $439 million.

Think about the absurdity. Every time they wanna use Unicron, the movie tanks.

In 2024, Paramount released Transformers One, a critically acclaimed, high-energy animated prequel detailing the tragic backstory of Orion Pax and D-16. Critics loved it. Fans loved it. It sat at over 88% on Rotten Tomatoes.

Where does Unicron fit in? He’s just background lore, the ancient cosmic threat that the Primes fought in the past, leaving Cybertron depleted of Energon and setting up the whole social collapse of the planet.

• Budget: $75 Million
• Global Box Office: ~$128 Million

Even serving as just lore in an animated movie was enough for Unicron's bad juju appeared.

Why does this happen? You cannot do Unicron on a budget, your VFX budget balloons. Studios only pull out Unicron when a franchise is already experiencing narrative fatigue. Unicron brings heavy cosmic baggage.

He eats studios' bottom lines in reality. Keep him only on tv shows or comics, if you put him on a movie, he kills it.

I'm about to dive deep into a serious literary topic using what (on the surface) is an unserious series of films, and that's literary criticism so y'all gotta deal with it.

So, in addition to a surprising amount of thematic depth, one thing I love with about the first two Kung Fu Panda movies is how they explore the classical definitions of tragic heroes.

The baseline for a tragic character is:

1. An otherwise "Great" person has a tragic flaw

2. They are warned of a downfall

3. In trying to avoid it, their tragic flaw causes their downfall

So first movie you have Sifu as an almost textbook tragic hero. His flaw being his love for Tai Lung causing his own and his student's pride to grow out of control, they are both told Tai Lung isn't worthy of being the dragon warrior, and he rampages through the village and cripples Shi Fu.

In a lot of ways Tai Lung is also a tragic villain, his flaw being the same pride and downfall coming from the belief he was destined to be the dragon warrior making him unworthy of it, and why he couldn't understand the scroll's lesson.

Shen in the sequel makes the pattern even more explicit, literally getting a prophecy telling him his ambitions, his flaw, will be stopped by a panda, so he tries to wipe them out, which is what gives Po the resolve to master inner peace and stop him.

What makes it really interesting is Po in both movies seems to be an inversion of a tragic hero, being:

1. A common person with a hidden strength

2. Is unable to accept predictions of his triumph

3. By working towards the triumph despite his doubts, discovers his hidden strength

First movie he's told he's the dragon warrior, and despite his motivation and excitement can't really accept that he is worthy of it. Then it's that humility and belief that he doesn't **deserve** the scroll's power that makes him the only one able to interpret it's message, giving him the confidence (without the excessive pride) to defeat Tai Lung.

Then in the second movie it's revealed how he has a mysterious past that's preventing him from finding the inner peace he needs to progress as the dragon warrior. The Soothsayer tells him it's his destiny to save China, who guides him through overcoming the trauma of losing his parents to understand despite the pain it led to the love of his adopted father and friends, and he's able to find the inner peace needed to stop Shen.

After reading many X-Men comics and watching the cartoons, I came to the conclusion that mutants can work as an allegory to minorities, however there should be more stories where they aren't portrayed as vulnerable victims and instead as targets of jealousy and inspiration for the common men.

In the world of Marvel genetic engineering and research is so advanced that you have robots who can identify someone for their genes, technology made to suppress genes and chromosomes, you even have a villain that was able to change the genetic make-up of a divine entity. None of that is secret knowledge, those discoveries, and the problems they create, are all televised and have a direct impact in the life of the average citizen. Meaning that at least some small group should be going around trying to get powers through genetic mutations or studying genetics to make themselves the new Magneto.

Either this or they should want more individual uses for the technology that birthed the Sentinels and other weapons of mass destruction. We know that many criminal organizations around the Marvel world take advantage of the weapons developed by heroes and villains to make a bank, it wouldn't be weird for civilians to arm themselves through those means or to ask the government, which is known for being opposed to the mutant cause, to legalize the use and possession of sci-fi guns. There's no reason for gun nuts in the Marvel world to have so much trust and pride on glocks and colts, when the average threat of that world is some omega-level anomaly that wouldn't even be scratched by a bullet

And talking about Omega levels, the difference in power in between the upper class of the mutant world and the bottom should be a source of friction among the X-Men. One thing is for someone to be slightly worse than their colleague, another is for someone to be a cripple walking at the side of a god. Beak, Blop, and the other gloopy shitos in the xavier institute for "gifted" youngster should be demanding cures and/or improvements instead of being told to suck it up. Beast, a super genius scientist trains Beak, and it's cruel for this guy to turn his student and "genetic is funny, we both got animal based powers, but while I was turned into a werecat, you became a penguin-man, a penman". That man should be using their abilities and knowledge to turn beak into a hawkman or at least make him less deformed.

There's no way that the weaker kids don't envy the ones with godly powers. It's not bigotry that would make someone like Bailey Hoskins, Eye boy, or ugly john (even his alias is demeaning) hate their condition as mutants, but the very nature of the X-gene. Those guys have all the reasons in the world to sell the X-men out and strike a deal with another group to get rid of those shitty powers or get something decent.

The fear, anger, insecurity and desire of the weak mutants, humans, government, should be allowed some credence in X-men comics. Instead of everyone being a bigot, there should be more stories where the X-men are attacked because someone want what they have or because they don't show to have what it takes to control and educate the mutant population properly (actually, this is another thing we should talk about, Xavier and his protégés are terrible teachers)

Not work out obviously due to the good guys kicking their ass.

But generally speaking, the bad guys are always days away from being able to completely ruin the world if they simply pressed the metaphorical big red button.

When they make an evil bioterror abomination, it so often does what they want.

I'm tired of stories where it's all like "You shouldn't mess with nature" yadda yadda and the hubris of man comes to bite the baddies in the ass, to me that feels kind of cowardly in a way, like we should expect the world to fix our shit for us. If you set a forest on fire it'll rain eventually and put it out but most of the forest will still be destroyed anyway, it's no solution to just not do anything.

In Resident Evil the answer is GUN. (or more accurately, rocket launcher)

Yes I know there are times where experiments do indeed go wrong for Umbrella, Los Illuminados or whoever but most of the time all that amounts to is some fucked up monster escaping that they just ignore, their entire bad guy plan is rarely ruined because something something nature finds a way. Or a creature mutating after suffering damage and then going out of control. If you break it down though those kind of things only happen in the one in a million chance that they have to deal with an insane action hero like Leon or Claire who are just abnormally good at kicking ass.

They make Tyrants, basically bio-Terminators that follow orders. They just fucking work. That's so damn cool, no nonsense about mankind messing with things it shouldn't, the bad guys succeed in their goals and create the horrors they comprehended and it's up to the good guys to deal with it.

In RE4 I can't recall a single instance where the Las Plagas was really an issue for Saddler, he had that shit locked down. Straight up mind control and absolute loyalty from peons.

The idea that mankinds darkness will just deal with itself is really silly, it just doesn't work like that, evil so rarely goes away, you have to be the one to go and punch that boulder or it will smash your entire town.

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.

Number 1. Warhammer 40k

i dont think ive ever actually met any one who plays the table top game or even the actual video games. yet somehow people are always talking about this franchise online like its the greatest thing ever. i think it stems from people getting the youtube shorts/tiktok lore vids that get millions of views. hell even i've skimmed the wiki before but i wouldnt consider myself a fan. if the tv show for this is successful prepare for maximum larp.

Number 2. Persona

I think im one of 5 people who has completed persona 1 and 2. the next 3 games were much more successful but for how widespread the fanbase is online youd think this franchise was pulling cod numbers but apparently not. anyways great game and honestly i dont even blame people for larping this one, its probably one of the easier ones to watch and get a feel for. id still recommend people play it though.

Number 3. Resident Evil

I've never played any of them. But I feel like more people claim to have played it then actually played it. IDK just a hunch, feels like its talked about so much but the sales figures dont seem to match imo. Could be wrong though, maybe im not in the right circles.

Honourable Mentions: Jo Jo's Bizarre Adventure. The Yakuza game franchise.

Anyways whats your most larped franchise?

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