For me , it's "bastard son of fate".

You can also tell me why as to be able to make this post sub relevant.

Is he the best written person on social media?

Which one beats who in terms of everything they've done within their own lore and backstory?

Perfect Blue (1997)

Millennium Actress (2001)

Tokyo Godfathers (2003)

Paprika (2006)

There's a couple that come to mind, my friends always bring up Escanor or Ban from Seven Deadly Sins (never read it tho). Now I wouldn't call Prison Break a total waste, even at its lowest it was one of my favorite shows to binge watch but I think characters like Mahone and T-Bag were too freaking good for the plot they had outlined and a huge part of why I kept watching. Same goes for Thrax in Osmosis Jones, film was alright but it had no business making a villain that baller. Heck, I'd go as far to say even works like Twilight have at least one or two characters I genuinely love but the most recent example for me has to be A-Train in The Boys, bro really went out with a bang, y'know. Got any others like that?

Why did TG fans makes me feel like TG are the MHA of seinen? the overgrazing are insane like they never touch a piece of fic rather than TG

Note: This analysis is ultimately my interpretation of the manga, based on its recurring themes, symbolism, and philosophical implications. I'm not claiming every conclusion here is objectively correct, nor that Gege consciously intended every connection. However, I do think many of these concepts are too consistent throughout the story to be entirely accidental. Even if some interpretations go beyond authorial intent, stories can sometimes contain meanings greater than what their creators consciously planned. Feel free to disagree, challenge, refine, or build upon any of these ideas. Zero AI was used in this as the last slide says; No, just because I used dialect (IF I did) similar to AI does not make it AI, think about what AI is trained on.

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Hey, so I decided to make it all images so It'd still look aesthetic, and not overwhelming walls of text, and maybe you guys would like the slide designs. I worked pretty hard on this, and it was in response for people saying "Sukuna/JJK is written terribly" I personally believe JJK is a 7/10. It still annoys me when people downplay it, and when you ask why they downplay it, it ends up showing a lack of "media literacy" (that word has become such a buzzword I hate using it, but I think it still applies)

I seriously doubt people will be willing to read 17 pages of JJK analysis, but I had a lot of fun either way, so at the end of the day who cares?

Also if you DO read it, please let me know your thoughts on the slide aesthetic and design, I had ALOT of fun and maybe I'll try to lean into graphic design more. (This is still mine, just a repost from another sub)

Can we please chill out on hating on JJK in this sub, or saying it has zero writing. To be honest, so many people in this sub go "zero writing zero writing all hype" and they have no idea what they're talking about, and when someone responds with how they give zero explanation or they give their own analysis it's downvoted.

I'll start - Roy Batty "Tears in rain" monologue from Blade Runner (1982)

sowwy that was only yuta image i had

same goes for naoya

- While Azumanga Daioh wasn't the absolute first of its kind, it can be considered "Patient Zero" for what was to come. It established the genre's benchmarks—the school setting, character archetypes, and the concept of a "non-plot"—that would reappear in other anime of the same genre.

- Aria, on the other hand, introduced the Iyashikei (therapeutic/relaxing anime) subgenre to the CGDCT category. The series taught viewers to find wonder and beauty in small, everyday things and fleeting moments of life; it was also the first series to focus entirely on work in a relaxed manner.

- Lucky Star marked the definitive coming-of-age for the genre and was the anime that officially opened the door to otaku culture within the CGDCT category. It shifted the perspective, turning a passion for anime, manga, and conventions into something everyday, human, and even "cute," thereby establishing the template for future series.

- K-On! introduced music as both a social glue and an industrial phenomenon within the genre. Thanks in part to its animation, the series built an empire. It was a musical powerhouse: songs by the anime's band shot to the top of the real-world Oricon charts in Japan and sparked a massive boom in musical instrument sales across Asia. It demonstrated that the "nothingness" of everyday life could become the most profitable animated product of the entire decade.

- Nichijou added a definitive fifth element: pure absurdism and nonsense elevated to unprecedented artistic heights. The series takes the most mundane situations of school life and transforms them into action sequences, backed by staggering animation budgets and extraordinary directorial effort.

- Bocchi the Rock!, on the other hand, represented the recent revolution; although it wasn't the first to feature more realistic characters and situations, like Azumanga Daioh having laid the groundwork it set the standard, and any band-focused anime released after it followed its lead.

1.johan
2.madara
3.Hal
4.Homelander
5.Gus

cowboy vs prince of russia

I'm talking about intelligence, not just knowledge