rewatching hxh is crazy like the foreshadowing is so good. i’m just as emotionally engaged as i was the first time watching but in a COMPLETELY different way bc it’s almost hard to watch through the sheer sense of foreboding you feel as gon learns more and gains more power. his recklessness was always taken quite seriously by the narrative and that’s clear on a first watch, but knowing exactly what happens and where that self-abandoning recklessness, that thrill-seeking, that bullheaded perfectionism (not to do everything perfectly but to do everything with perfect accordance to his own terms), and that childish willingness to disregard everyone else in pursuit of his own impulsive goals (thereby reinforcing his own worldview for better or worse) goes… the show is SCREAMING at you that this is all going to go horribly wrong and it’s so sinister in this weird offhanded way, like it’s sticking to shounen tropes just close enough that you definitely notice something off but don’t suspect it’ll snowball the way it does.
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The dialogue in Andor is so good. Every episode, I find myself amazed at how expertly written it all is--when usually, I don't tend to notice film writing unless it's particularly bad. But when I watch Andor, I feel like I'm sitting through a film-writing masterclass. Most recently, episode 9's dialogue stood out to me as particularly excellent. If I could take one lesson from this episode, it would be:
Good dialogue does not have to be elaborate.
It doesn't have to be flashy. It doesn't have to use complicated sentence structure or big words. It doesn't need people interrupting or talking over each other. Good dialogue just needs to do three things:
Convey information (plot exposition, characterization of the speaker, etc.)
Sound like something a person would actually say
In most cases, not say everything the speaker is actually thinking/feeling
(Point 3 might sound like a contradiction of point 1, but it's related to "show, don't tell." Besides, people generally don't go around saying exactly what they mean or what they're thinking, so it ends up sounding clunky and unnatural.)
And I have a perfect example from Star Wars to demonstrate my point. In my opinion, Episode II has some of the worst writing in the entire series, such as this teenage-poetry-worthy line:
Okay, no, we need the whole poem for context. "From the moment I met you, all those years ago, not a day has gone by when I haven't thought of you. And now that I'm with you again, I'm in agony. The closer I get to you, the worse it gets. The thought of not being with you...I can't breathe. I'm haunted by the kiss that you should never have given me. My heart is beating, hoping that that kiss will not become a scar. You are in my very soul, tormenting me. What can I do? I will do anything that you ask."
First of all, who talks like that? (They sure don't! This isn't how they talk, before or after this scene.) The whole conversation is awkward and stilted, and has all the subtlety of a foghorn in a library. It conveys information, sure, but in a very clunky, cringey way that takes way too long. (And I'm just talking about the writing here, not the delivery--Hayden Christensen and Natalie Portman both did their best with what they had.)
Contrast this with the dialogue in Andor:
"I can't help him. I can't help anyone."
Two lines. Two four-word sentences. Very simple sentences, too. No fancy words at all. And yet just think of how much they convey, whether you hear them in context or not. Yes, a lot of the power of this scene comes from the excellent acting, the expressions and body language that tells you so much more than just the words.
I don't even remember if we ever learn what this guy's name is. And yet, with those two simple sentences, we can glean so much of this man's story, his outlook on life, not to mention simply the impact he has on the plot unfolding right then.
Pretty much everything about this show is fantastic and keeps me thinking about it for days, and the dialogue is no exception. This is just one tiny example of the good writing in this show, and I can't wait to see more.
Full credit to Beau Willimon, writer of episode 9.
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Naturally, I found the Sword familiar and the Beryl Circlet after I beat Galamoth and finished the game the first time around, so they were basically useless. This is after my roommate and I went running around everywhere and looking shit up on the internet trying to almost-200% the map so we could get the best ending. (We got to about 196% before we gave up and just looked up a map to see what we were missing.)
I am glad we got the TRUE TRUE ending, not just for Alucard, but for Maria. Go make out with the hot half-vampire man offscreen, girl
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Cyberpunk 2077 is the cruelest game. it lured me in with the false premise of being an overhyped 1st person shooter taking itself too seriously and instead delivered a tragic and incredibly well done story. its a dystopian future yet is so grounded in the reality of how people react to death, to terminal illness, to the loss of self. its the worst game Ive played. its the best game Ive played. it needs a huge list of trigger warnings. its best experienced when you know nothing. 10/10 I would never recommend it to anyone.
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The Villain Checklist!
Creating a villain is a delicate art, much like crafting a masterpiece. To ensure your antagonist leaps off the page with depth, consider these essential elements for your villain checklist:
Motivation: Every great villain is driven by a potent motivation, one that fuels their actions and sets them on their dark path. Explore their backstory and unearth the core reason behind their villainy. Are they seeking power, revenge, redemption, or something more sinister?
Complexity: Gone are the days of one-dimensional villains twirling mustaches and cackling maniacally. Infuse your antagonist with layers of complexity and nuance. Perhaps they possess redeeming qualities or wrestle with inner conflicts that humanize their actions.
Flaws and Vulnerabilities: Despite their nefarious intentions, villains should be flawed beings with vulnerabilities. These weaknesses not only add depth to their character but also create opportunities for conflict and growth throughout your story.
Backstory: Delve into your villain's past to uncover formative experiences that shaped their present disposition. Trauma, betrayal, or societal pressures can all contribute to their descent into villainy, providing rich narrative fodder for exploration.
Goals and Ambitions: Just as heroes strive for noble objectives, villains pursue their own twisted goals with fervor and determination. Define what your antagonist hopes to achieve and the lengths they're willing to go to attain it, even if it means sacrificing everything in their path.
Antagonistic Traits: From cunning intellect to ruthless brutality, equip your villain with traits that make them a formidable adversary for your protagonist. Consider how their strengths and weaknesses complement each other, creating dynamic conflicts that propel your story forward.
Relationships and Alliances: Villains don't operate in isolation; they forge alliances, manipulate allies, and cultivate relationships to further their agendas. Develop the connections your antagonist shares with other characters, be they loyal minions or reluctant collaborators, to add depth to their character dynamics.
Moral Justification (from their perspective): While their actions may be abhorrent to society, villains often believe they're justified in their pursuits. Explore your antagonist's moral code and the twisted logic that rationalizes their behavior, offering readers insight into their twisted worldview.
Arc of Transformation: Just as protagonists undergo arcs of growth and change, villains should experience their own journey of transformation. Whether it's redemption, downfall, or something altogether unexpected, chart the evolution of your antagonist throughout the narrative.
Memorable Traits: Give your villain distinctive traits or quirks that leave a lasting impression on readers. Whether it's a chilling catchphrase, a distinctive appearance, or a haunting backstory, give your antagonist elements that linger in the minds of your audience long after they've closed the book.
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