Alright, let's talk about some details from the TOH pitch bible;
A lot of the stuff is what we've already seen and/or in line with the show. What's interesting is that King WAS a former King of Demons at one point, and we would've had an episode where he runs into his old gang and chooses Luz and Eda over them. It makes me wonder if he even had a connection to the Titan in earlier drafts, if he wasn't recognized as one back in the day because he just wasn't big enough, etc. Eda makes a deal to help remove the collar, which IS the source of King's woes, placed by a 'mysterious wizard', I wouldn't be surprised if it was Obron AKA Proto-Belos.
What gets me is that Tibbles originally started off as a friend to the protagonists, while Bump was an antagonist! Coupled with Tibbles being re-elected as mayor after Bump is deposed for corruption. I like the detail of Bump being a parasite controlling a body from the head, because it carried over into his final design with Frewin, and before we got confirmation Frewin was a separate entity, I loved the joke theory that the imp on Bump's head was the REAL Bump!!! Seems that was always the implied story of the design, I love it. Tibbles being the demon fan of human stuff would eventually become Gus instead, so this is technically Proto-Gus too…?
Interesting how Bump and Tibbles' alignments switch completely with one another, and it makes sense that with Lilith no longer the principal in the final draft, it goes to Bump, who ends up being really chill and a subversion in his own right! Interesting, but I do prefer the final Bump we got, and that's fine by me, because when the concepts aren't as interesting as the final product, it means we got the best possible version.
I've already discussed Obron and William in a separate post, and Pupa is someone we've been told about in a previous livestream. Lilith would've been both head of all covens (and not just the Emperor's Coven) AND principal at the same time, and she seems much more of a jerk to Eda in general; She has no qualms with cursing Eda because of a direct order from Obron.
Apparently the curse would've been an AGING spell, which settles my questions on how it would've been portrayed in earlier drafts! This goes along with Eda's older look. Likewise, there would've been a subplot of Eda considering Luz's sacrifice as a way to restore her youth, which likely goes hand in hand with Obron's orders to bring Luz to her, etc. The 'Bloom of Eternal Youth' quest, which Eda and Lilith go through together as their sisterly relationship is explored, feels like a carryover from this past idea.
I think I prefer the final draft; I like that the curse isn't just aging Eda, but also takes away her magic, makes her turn into a beast, etc. I like Lilith being a lot more complicated in her relationship with Eda, instead of just hating her and cursing her without hesitation. The redefining of the curse makes it less about age, and more a chronic illness metaphor, and I like how Eda in the final draft is upfront about having to learn to live with it, deal with it, on her own terms. She isn't trying to find a cure (although Lilith being promised one by Obron feels like a carryover of Eda's moral dilemma with Luz), and that adds another nice dimension to her conflict with Lilith, as well as Gwen. It's pretty frank in its own right about normalizing disability, and those who play an antagonistic role (however brief) are the real weirdoes for making such a fuss about it.
The Bat Queen would've had more of a recurring role based on the description, which saddens me; I always got the vibe she was planned for more, but between all of the other stuff the show had to juggle, plus the shortening, she ended up getting shafted despite being one of the earlier characters. Sashley, Pasha, and Bruno are also interesting, with Pasha in particular giving me freaking Philip Wittebane vibes with his grossness, beard, and anti-demon attitude; He even starts off as a potential friend to Luz because fellow human, only for his true bigotry to show. Makes me wonder if Philip ended up incorporating Pasha, we also have bodily transformation because of consuming magical stuff... P-names.
(Also, I like how in the drawing of typical Demon Realm denizens, I can see an eye demon who resembles a past drawing of Dana's!!!)
Eda was actually a late bloomer, which creates a parallel with Luz in one way, and their relationship is referred to as sisterly (in the final draft it’s explicitly maternal). So Eda wouldn't have been the talented youth, in fact things may have switched between her and Lilith; Lilith's disdain may have partially come from Eda not being as innately talented as her.
Luz and Amity's dynamic seems like it would've had Amity retain a lot of her more stand-offish, pragmatic personality even as a friend with Luz, and this would've come up more; So basically, she'd remain more like S1 Amity. That, or this part of their relationship would've lasted longer, and then we would've seen character development as Amity unlearns a lot of the issues her parents passed on. I also wonder if the Willow who cameos in the pilot was originally supposed to just be an extra separate from ‘Paulina’, but then they combined the two together.
The themes are exactly as I expected, glad to see they're still there, nothing changed! Luz becoming a witch and defying all odds to do so, putting in real work and passion. Celebrating individuality amidst conformity, plus Luz trying to impose her own fictional tropes onto the world, only to have to put that aside... Just like Wing it like Witches. It seems Amity would've had more involvement with Luz's journey to become a witch, though we still do have a carryover of that disconnect with her rant near the end of Covention.
I love the Demon Realm being situated BELOW the Human Realm, way to be subtle about being Hell you guys lol... Apparently portals to the human world are a lot rarer to find and use, which makes me wonder if the pilot's 'dimension port' doesn't have access to the human world; Meaning Amity is Luz's only way back, so her improved relationship with her is linked to getting back home. There's a gag about the Knee having service with the human world, but I can see how that didn't make the cut, for dramatic purposes; It seems like the premise for a S1 episode or at least a B-plot. Would Luz have struggled to communicate with Camila through this, or would her search for wi-fi be for mundane reasons?
Apparently Luz's magic would've required a lot more steps to complete, and I see why the show simplified things down to just glyphs. I wonder if there was always going to be the connection of glyphs as a gift from the Titan, or if the Titan and her story was going to be less intertwined in the overall narrative. There also don't seem to be nine main covens, just the many, many covens, some of which are pretty ridiculous, and Covention's sub-covens seem a callback to that.
Luz's first spell would've been levitation, and THEN she would've infiltrated Hexside, with Amity being a lot subtler about exposing Luz, though in the final draft she does figure that out as the way to go in I was a Teenage Abomination. Yeah, I prefer Light being her original spell, feels so much more symbolic and personal, etc. I wonder if the Titan is even as much of a character in early drafts, and if there's still the whole connection/relationship with the land and learning to respect it aspect. Some of these hypothetical episodes push the idea of Amity as a more episodic, typical popular kid antagonist, though in the final draft, the show goes through her character development and explores Amity's romantic relationship with Luz and its complications.
It seems the idea of the Mirror Ghost was split into Adegast and Vee, with Adegast being the one who offers the easier narrative for Luz to believe in about becoming a witch (only to be a fraud who uses uncanny puppets), and Vee being a doppelganger whom Luz communicates through with mirrors. Interesting how Yesterday's Lie was born from this. We saw the test animation from Spencer Wan for TOH, so I guess we know what Luz's puppet-doppelganger is called! And we can safely call her Proto-Vee. I wonder if she also would've been a sympathetic character, I always thought she reminded me of Lake from Infinity Train (and speculated her to be as such since Enchanting Grom Fright), and now the similarities are even MORE apparent!
Alas, The Good Witch Azura, or 'The Unassuming Princess' seems like it'd have been a lot less dear to Luz's heart, as the pilot also reflects; In the end, it turns out the author is just Eda's ex using her adventures as basis, and including private information. I remember when I once speculated that Raine, before we saw their face, would've been just like this as the author of Azura... Again, I think I prefer Azura as being a lot less mean-spirited in the final draft, and instead a celebration of who Luz is as a person, her relationship with fantasy and fiction, etc. We also would've had a Luz birthday party, the Quincenera we've been hoping for since S1...! In the final draft (and episode) we still get that Human-Demon Realm disconnect, though by that point, Luz is much more attuned and chill with the isles.
There’s definitely more of an episodic, sitcom feel to this pitch bible, especially when you compare Proto-Yesterday’s Lie to its final version. Makes sense, Dana is pitching this to Disney executives, though her statement on Understanding Willow feeling truly like her show makes me wonder if she always intended to push TOH in that more serious, emotional route we got.
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Can we talk about Autistic Tucker? We always talk about Autistic Simmons, Autistic Caboose, etc, but never Tucker and I want to talk about Autistic Tucker.
One of the ways that Autistic masking can present is by becoming a jokester or a "class clown" type. I think that Tucker learned early in his life that he could make friends- or at least make other people laugh -with his bawdy jokes and his catchphrase (one could even call it echolalia), but as much as he talks about sex, it seems like he doesn't seem to actually have that much experience with it. He built up a persona of being hypersexual and he probably has a lot of sexual feelings, but he doesn't seem to have a lot of comfort when it comes to sex, especially when it's with a partner that's more experienced or more confident than he is (like Kai).
It's also worth mentioning that it's significantly harder for Black people to get diagnosed with Autism than white people and even though RVB is technically set in the future, it's also set in the early 2000s where there was a lot less Autism visibility in general, let alone in more marginalized populations.
We see the kinds of relationships that Tucker has with Church and with Wash, how they are similar and how they are different (whether you ship them or don't). As antagonistic as Church and Tucker are towards each other, Tucker consider Church to be his best friend and he's comfortable with how they treat each other- not necessarily comfortable in the sense that he likes it, but comfortable in the sense that it's what he's used to. With Wash, things are, in a way, more antagonistic because Wash isn't charmed by his jokes and laid back exterior until he softens a little bit. They butt heads more seriously than he did with Church, but they also get to have a bit more of a deeper and vulnerable relationship because of how Wash lowers his own walls on Chorus. When Tucker and Church "make up" on Chorus, Carolina comments on how there was no apology or anything like that, and both of them just say that that's how guys are, but I think they both just wanted to get back to the relationship they had and that relationship didn't require any kind of emotional vulnerability. The closest Tucker gets to showing emotional vulnerable wrt to Church is when he's arguing with Wash and says "I wanted to be with my best friend and now all I have is you," but he never tells Church directly that he is his best friend or how much he means to him because that's not the kind of relationship they have and (speaking from my own experience as an Autistic person) that's a really hard subject to broach when you don't have the framework for it.
This got off the rails a bit, but I'm firmly planting the rainbow infinity flag on Tucker and I have a lot of feelings about it.
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Does Perfect Cell have Agency?
Cell is... difficult to get a read on, as a character. The extreme jankiness of the Android arc left us with an oddball of a villain whose level of wickedness doesn't seem in line with the scope of his motives.
Cell is a weird character for me because he just seems... unfinished but also overly symbolic moreso than a literal person.
What does PIccolo actually want? He wants to kill everyone because he's mindlessly evil. After he reincarnates, the question "What does Piccolo actually want?" becomes a major facet of his journey.
What does Frieza actually want? He wants to kill planets and sell them for profit because he's a real estate speculator, and also to be immortal and untouchable. This extreme want coupled with the callousness with which he pursues it is what fuels his unbelievable cruelty and heartlessness, and makes him the most evil person in the Dragon Ball universe.
What does Majin Buu want? Again, this question becomes a major facet of his journey and opens up new sides to him, because Buu himself doesn't know the answer to that.
Which. Brings us to. What does Cell want?
He likes to spook. He wants to have fun. He's a spooker looking for a good time.
Cell's primary goal is to a) become really strong, and then b) prove his mettle by testing himself against the greatest fighters in the world. He's a tournament arc villain presented with the gravitas and stakes of an epic adventure villain.
It's wild because everybody here wants to get really strong and then prove their mettle by fighting Goku. That's what this whole social dynamic is about. That is literally the main goal that everyone in this group pursues. Well, except Trunks and Gohan.
In a sense, Cell's just... one of the guys. Like. He's a rotten dirty bastard to be sure. But it's not like that's a barrier for entry into this group.
"I WILL KILL AS MANY PEOPLE AS I HAVE TO AS LONG AS YOU ARE ONE OF THEM!" ~TFS
So his goal is to get strong and fight strong guys. But. Like. Who's isn't?
And he's a cruel, sadistic monster. But. Like. We're fine with that. Vegeta's our bestie and Piccolo joined this crew way before he reformed too.
This guy could legit just be hosting the Tenkaichi Budokai. (And he DOES.) In terms of overarching character, nothing about him reads "Epic villain that must be stopped at all costs". So Toriyama really had to ratchet up the moment-by-moment horror to make him fit.
What Cell wants is not that big a deal. Get strong, fight strong guys, and also he's an asshole about it. So he's given a vile mechanism for attaining the strength he needs. In his base state, Cell can drink people to gain their power for himself.
He's basically Piccolo if Piccolo were born a parasitic vampire instead of a flesh-and-blood Namekian? It's weird. His whole introduction where he walks out and explains his entire character so Toriyama's pal will get off his back about the Twins is weird.
"Hi there, Piccolo. Did you know that I'm an evil bio-android from the future who wants to absorb the Twins to become really powerful? Also I eat people and I have the genetic makeup of five of the most powerful warriors in the universe, as well as having all of their techniques and abilities. I think that about covers everything. Toodles!"
So we have a character whose primary goal is to defeat the two characters who, up until this point, were billed as the antagonists and are currently seeking to kill Goku as we speak. Like. That's Trunks. Cell is Trunks again. So to make it read as sinister and bad, the means for him to achieve Trunks's goal requires him to kill people in visceral and horrifying ways, and also he's a jerk about it.
This is far from the worst thing a Dragon Ball character, even the ones on the protagonist side, has ever done. But it's so viscerally horrifying that it feels like the worst thing they've ever done.
Then again, that guy was part of the 1% so maybe it's deserved.
Truly, Cell is a champion of the underclass. He's literally eating the rich. What's not to like?
I jest. Point is, Cell is a villain of vibes more than anything. In practical terms, Vegeta gleefully slaughtered entire planets and Majin Buu exterminated 80% of the world's population for fun. In fact, Buu even single-targets people and turns them into food to chomp down on too, so he and Cell have a lot in common.
To be perfectly honest, Buu feels like a second draft of Cell with more time and thought put into his character.
So, logically, eating a bunch of people isn't that big of a deal relative to some of the other shit that people we're hanging out with have done. Hell, we spend a portion of this arc helping to power up Vegeta to stop Mr. City Devourer over here.
"Hey best buddy, you're a remorseless monster who's slaughtered billions of people and is only chill now because you're stranded on Earth with no better options. Want to come with me so we can make you a hundred times deadlier and fight this guy who wants to eat the Androids that destroyed the world in the future?"
And then Cell's over here like.
"All done eating people. Thanks y'all." Like a parasitic version of the Genki-Dama. Uh. Cool. Glad we could help. Let's go Dragon Balls them all back to life and then I guess we're done here?
It's the vibe. Cell's wickedness is a vibe. It's in the means he needs to undergo to achieve the ends of becoming strong. It's in the sadistic personality he shares with 4/5 of his genetic makeup (two of whom are in the protag party). And it's in his long-term plans for what to do after the tournament when he runs out of strong guys to fight.
It's like they ran out of ideas for why we even need to fight this guy once he ate the Androids and completed our mission of defeating them and thwarting Trunks's future. So Cell's like, "By the way if we don't defeat me in an epic climax, I'm going to aimlessly wander the globe killing humans individually forever, I guess."
No real ambitions of any kind beyond "Get strong, fight strong guys". He just. Is a dick.
This is sandwiched between vanquishing the CEO of Galactic Genocide Incorporated and fighting a god-killing abomination who made the heavens themselves run red with blood. Cell wants to get strong and fight strong guys, and he'll become Jason Voorhees if we don't deliver. That's it. That's the entire plot. It's so weird. He's the ultimate despicable monster villain up to this point but it doesn't really feel like he should be.
Cell isn't really a character, so much as he is an idea. Specifically, he is a summary of Goku's entire journey up to this point, all rolled up into this one asshole. He is Goku, and also the major villains Goku has fought.
He is the Tenkaichi Budokai.
He's a limit-breaking Super Saiyan who becomes stronger through Namekian Fusion of others like him and also regenerates and gets Zenkai boosts.
He is the concept of everything that Dragon Ball has ever been.
Hey remember when Piccolo-Daimao blew up that one district during a live broadcast? Do you remember? Cell is Playing the Hits, The Character. But with purpose and intent.
This is why it's hard for me to get a read on Cell. Because who he is isn't so different from much of the cast but what he needs to be is something else: He is the complete assessment of the journey Goku's undertaken over the course of his life, presented all at once for Gohan to surpass.
The physical embodiment of what Gohan must overcome to be his father's successor.
His character, his motives, his ambitions, his desires, it all takes a backseat to the simple utilitarian purpose of providing a symbolic nemesis to mark Gohan's ascension. Hastily assembled once Toriyama decided that was going to be the real actual plot for realsies no takebacks this time.
It's hard for me to assess Cell because I feel too strongly that he needed a second draft.
Which. Like. Apparently Toriyama agreed.
As a character and as a story, Majin Buu is hit or miss but he hits most of the same beats as Cell and really does feel like Toriyama trying to take a mulligan on this entire villain concept.
Mileage may vary on whether he pulled it off.
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What a plot twist you were. [x]
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favourite twdg villain?
I'm a fond enjoyer of the St. John's as villains. I don't know if they're my favorite just because they're only in one episode, but I love the concept of this family almost immediately jumping into cannibalism toward the start of the outbreak, dealing in human flesh to bandits, and casually feeding this group their friend's legs.
Like... what the hell was this family like before the outbreak that all three of them were like, "Hey now listen... nothing should go to waste, the dead are eating people so why shouldn't we? We gotta survive and in our defense, we only target those who were gonna die anyway... like y'all."
Dude, Mark was shot in this shoulder with an arrow. He wasn't going to die from that injury. It's so fucked that these seemingly friendly people took the group into their home and then fed them Mark's legs.
If we take the idea that everyone is infected and have the capacity within themselves to become walkers, to become monsters, then the St. John's were infected long before the outbreak, y'know? Not literally, but something was wrong with them and the outbreak just further spread that infection and changed them.
But again, are they my favorite? I dunno if I can say that since I have a lot more appreciation for Lily now. Yeah, some of her writing gets a little wonky in ep3 of TFS when she goes on her monologues and shit, but y'know what? I'm into it.
You have to remember who we're talking about and the fact that she's the antagonist; Lily isn't some anti-hero in TFS who secretly has a heart of gold that's brought to light because she reunited with Clementine... she's a fucked up woman who did fucked up things in the name of survival. She's full of rot now. She sees kidnapping children and turning them into soldiers to protect her home as a means to an end, but she doesn't actually give a shit about the people she's taking. They aren't people to her, they're as the episode title suggests, toys in her game. The only one she sees as a person is Clementine, and while that makes her hesitate at first, she sees Clementine's a prize to bring back.
She remembers what happened in S1; her father had a heart attack and as she tried to save him, Kenny smashed his face in with a saltlick and then expected Lily to just stand up and help him get back to his family because "he did what he had to, he made the hard choice." Yes, Larry was a piece of shit. No one liked him, and you can even question Lily on him and she'll tell you that he has a lot of pain. Yes, it makes him an asshole, but he's still her dad and he's all she has. I mean... the simplification is daddy issues, but in all seriousness, I don't doubt for a second that many of Lily's issues stem from Larry being a shitty father to her.
Then everyone thought she was losing it when she insisted there was a traitor in the group, which she was right about, but she was unstable. She was unwell, but how do you help someone like that when you don't have training to go about it? Then Lily ends up killing either Carley or Doug and the group turns on her, and either she's left behind or she steals the van and runs away.
Then we don't know what the hell happened to her until we see her again in TFS, but like... a lone woman with decay festering inside of her joining the delta? Exposing her to their methods? I mean, what else did she have to lose? She had nothing, she lost everything, and she has a lot of issues. Survival is easy when you're numb, when you don't care about the individual; they're all just cogs churning to make the system run, and if a piece doesn't cooperate, you get rid of it and find a new one.
Plus I think there's something to say about Lily not wanting to be perceived as weak again. That whole display she put on in the cells? Telling the story of what happened to Minerva and Sophie? I get the criticism that it feels like Lily did a 180 between episodes but like... yeah dude, because it's a performance. It's not just her and Clementine anymore. It's a display of power and authority. She's playing the part and thriving in it as she ensures everyone else is terrified of her.
But then when Clementine and AJ get the upper hand? Again, she's not afraid to play up the pleading to earn enough sympathy to spare her- hell, just to let their guard down enough to strike and get the upper hand again. I mean, she's got nothing else to lose, right? If she doesn't go for it, she'll be killed and sure, you can kill her anyway but at least she tried.
Honestly, I look at Lily in TFS and still see that scared little girl playing the tough bitch, just like Carley said in S1. It's just now escalated from "tough bitch" to a downright vile person. She's so... lost? I suppose? Lost within herself and the monstrous means she's taken to survive.
I get the criticisms of how she was used in TFS, but for me, it's like when people complain about Minerva not getting the redemption arc she supposedly should've gotten, y'know? There's no saving her. Lily was never on our side, and there was no getting her on our side. She wasn't ever going to redeem herself. Even if you spare her and she drifts away on her raft, can someone like her actually find redemption? Or will she just find another group that'll feed into her rot?
Truly, I say let her be horrid. Let her be the piece of shit villain with a few fleeting moments of humanity. Let her drown in the blood she's spilled.
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i like drawing these two. their designs are fun. i think it's the fluff, the heart motifs, and the stupid hats. and also their size difference
the bottom two are sort of like "what if valentino owned husk" ideas
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I support O's asexual wrongs.
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unpopular ieytd headcanons? /nm
seeing as I've dedicated myself to being the world's biggest fabricator enjoyer (joke). i think it will be obvious who i'll take the opportunity to talk about :] with some other headcanons thrown in also.
I think a lot of my Fabricator headcanons count as "unpopular" if only because not many people talk about her in general. The first thing that came to mind for me is that I personally headcanon her as trans for no reason other than I'm trans and my favorite characters get hit with my beam attacks. I also think she's not really mean once you get to know her - She's much more relaxed around friends, it's just that she has. One friend total, maybe two if we're being generous with the definition of friend. And I just generally see her as a different kind of "mean" than other people seem to, if that makes sense? She has fun with it, yeah, but she has reasons and such. even if those reasons can be petty. I don't know if she enjoys drama for drama's sake, she's got a reputation to uphold and all. She uses more subtle verbal attacks, sarcasm and such.
Another unpopular headcanon, but for Agent Phoenix this time: My Phoenix is a lesbian. Got them with my beam attack also. I also tend to see them as less... Chaotic? They're cautious, taking their time to figure out the situation. They do still put things in their mouth though. That's important to me.
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wait i have another rant unrelated to anything. the common... perception? trend? idek what to call it, in fandoms and media commentary communities that every antagonist in every story has to have some deep reason for why they do things, or a sad backstory or w/e, imo kills creativity, makes stories lose their focus, and can be very upsetting when done wrong
like it's okay to have purely evil villains. it's okay to make hate sinks. that doesn't make you a bad writer. characters are meant to be tools, vehicles to tell a story, and sometimes you need that tool to just be an obstacle with no real depth. sometimes the story is more about how the protagonist overcomes hardships, and in certain premises those hardships work better when depicted as other humans. and honestly, even if they can be replaced by a generic monster or some object or w/e, it's still okay to make them a person if you wanna bc it serves the same purpose at the end of the day and you don't need to excuse that choice, imo.
like ppl who tear into every story and try to find every logical fault in it - even when it's only a fault when you entirely strip the context of fiction off it, thus often making these points irrelevant to the discussion about. yknow. a fictional work - can be so boring. I'm all for dissecting stories and trying to understand the logic behind some stuff, and while i personally prefer stories where the villain does indeed have a relatable or at least understandable motive, i do think that for certain stories it just does a disservice and frankly misses the point of why the story is even being told. like sometimes the villain is some money hungry asshole bc we needed a money hungry asshole to stand in opposition to our protagonists. it's not that deep, and it doesn't need to be. you just want to read a different story, so go do that.
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sorry if you've already been asked this but what did you think about eiji in iw? like idk i feel like they were trying to recreate a masato and ichi moment without actually having any of the elements that made their relationship narratively compelling.
as a whole, i thought eiji was at least a nice 'how he wished things couldve been' for ichi in regards to masato, but still being independent enough from the masato comparison to stand on his own as a character (or at least as an antagonist. his actions wasn't what was reminding me he was a masato parallel, but more so ichi's insistence he help him). i think thats why ichi and eiji's relationship don't have the same 'elements' that make their relationship interesting like masato and ichi's
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Out of curiosity, any thoughts on the anime Bleach?
I consumed a fairly good chunk of it when I was younger. It's since faded in my passions. I think Rolling Star by Yui is by far my favorite of the openings but a lot of them are very good.
I think the visuals are fairly stylish but it suffers the shonen problem- granted, I think a lot of this is in the format of how long running shonens are produced- of starting out with a bold exciting concept and then sort of petering out in weird directions the longer it goes on. In Bleach's case, I really loved the design and concept of the early hollows, but from the Soul Society arc onward, this entire fascinating afterlife concept boils down to Fashion Sword Boys Fightin' It Out.
Most of my residual fondness for it has me eyeing @gallusrostromegalus's An Elephant Is Warm And Mushy, because it seems to be taking a lot of the later series and injecting that sense of weird monsters and afterlife ramifications back into it.
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i can feel myself getting preemptively annoyed with some of the comments I might get on the next chapter of to all the better places and let me tell you it's making it really hard to write this chapter in peace
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The rio hate is just making me wanna love him more fyi
Sorta spoiler rant in the tags
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blade gunnblade !!!!!!!!
via eliza simpson:
There are no words for this true warrior. They kill me. MMM: went in for a post show hug. Me:"ow!" Asia: "oh sorry, that's my bullet necklace." 😳........ 😍
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Hey, y'all?
Making a character's motivs understandable is not the same as making them sympathetic.
Making a character's motivs sympathetic is not the same thing as making them redeemable.
Making a character's motivations redeemable is not the same thing as making them understandable.
From a writing perspective, you want to strive to make your characters understandable, yes, but that does not mean they have to be sympathetic, redeemable, or even nuanced at all. It might be good to have those things, but ultimately you just want your character to be understandable. The audience should be able to explain why your character does what they do in your work once they've seen/read/listened to it. That's it.
It depends on what your story needs and the tone you're going for, of course, but people seemingly have been confusing these things a lot. A character can have a sympathetic backstory and we can go "aw that's sad :(" but. Rachel, he still killed people. A lot of people. For no good reason. Sympathetic, not redeemable.
And even then, some people have been assuming that understandable = sympathetic, when this simply isn't true either. You should want your character to be understandable! You should be able to follow their train of thought, no matter how rocky or unstable it is, to see how and why they came to the conclusions they did about the world and thus why they took the actions they did. Doesn't mean they have to be #relatable or sympathetic in any way. It just means they are a consistent character with their own wants and desires.
And from an audience's perspective, this also means that RACHEL, HE KILLED PEOPLE FOR NO GOOD REASON, HE'S NOT REDEEMABLE-
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i love when characters suck and are bad people like the thing about murphy is that i liked him before he was the incredible wife guy (which is also pretty great, dont get me wrong) but like. i thought he was cool when he was a horrible jackass that everyone hated . like he was interesting before he got morals; he was interesting as a guy who gets lynched in a frontier justice display of retaliation for a murder because he just seems like the kind of dude who would murder someone. and he is! just not that dead guy, specifically. whereas the actual killer is a twelve-year-old girl who the whole crew spends the episode trying to proctect from any kind of punishment, while murph runs around trying and failing to get anyone to admit out loud that the only reason there's a difference between punishing him and punishing her is because he has a bad personality . and also the murders but at that point in the show he hadn't killed anyone, he just seemed like he would
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