#but I think these are some pretty unique stories!

[empyrealarthropod]

i don’t dislike isha as a concept. i think she could have been a good character and her relationship to jinx could have been something unique that took jinx’s character in a new direction.

but instead, she was never really her own person, she was used as a plot device. they didn’t do anything new with either their dynamic or the actual progression of how their story went.

oh, this person who used to want to fight against piltover has found themself in charge of a young child, and this child is now their priority above their past mission. we’ve already seen that, multiple times. a huge part of season 1 was showing how that same situation affected vander and silco in different ways. they just made jinx into vander 2.0 in a way that felt too heavy handed and too much of a 1 to 1 copy to actually be an interesting parallel.

and they didn’t bring anything new to it, like showing how the parental figure losing the child instead of the other way around would change them and their motives, because after jinx loses isha, her story is pretty much over. she puts her suicide on pause to help with the final battle, and then she dies. yeah, they’ll probably bring her out again briefly in a future show, but by then there’ll be a massive timeskip and her character will just be whatever they need it to be for the new region.

also, giving jinx someone close to her who loves her unconditionally and wants her to be what they see as her best self, who then dies in a way that she has some degree of responsibility for? that already happened too. it’s, again, not just a parallel, but an almost 1 to 1 repeat of what happened last season.

isha is a conglomeration of vander’s story with his kids, and silco’s story with his daughter. what she doesn’t get the chance to have is her own story.

[jadeazora]

All of this. There's also eschewing Platinum's fixes to characterization (especially when it came to Cyrus. Fortunately, Masters exists but why should it be the responsibility of a niche mobile game to save the characters?) and pacing too.

It makes some improvements to gameplay, but as Mikey mentioned, it's really inconsistent in how it does things like the Dex and difficulty (easy before absolutely sucker-punching you at the League), and that what it does add are just QoL updates found in pretty much every modern Pokemon game. It also just wasn't what I was hoping for in a DP remake, I was really hoping for an updated story and redesigns. ORAS was my gold standard for how they improved on characterization, and we've gotten character redesigns in every other remake. Maybe they didn't want to change designs because of Masters or whatever, but it just felt lazy.

Imo, it's really the only remake that's worse than the original third version: FRLG is dated now, but was mechanically better than any G1 game and had Sevii. I was never fond of the GO features in LGPE, but it still felt unique enough with the changes they made, plus it's the most beautiful Switch Pokemon game. HGSS added a fair amount of new features, a battle Frontier, and improved characterization for Silver. ORAS feels at least like it stands on par with Emerald, improves the Dex, really fleshes out the characters and story more, added Soaring, it felt like a pretty fair trade-off for what we lost. Still a bit salty no Battle Frontier when I was dabbling in competitive, but it's not a deal-breaker. With BDSP, the QoL changes, Legendary hunting, etc. are expected by now, so that mostly leaves story, which was pretty much untouched from the original DP. There's cool things like the expanded Underground and the Shadow Giratina battle, but it's not just enough to really salvage it in comparison to Platinum.

It was possibly even more glitchy than Scarlet and Violet were upon release, which was a big complaint for people at the time (tho people did abuse the glitchiness in a lot of funny ways or to speedrun the game).

It was the only Pokemon game I never actually bothered to finish, like, I think I only ever got up to the fifth badge. I just literally couldn't find enough to really enjoy or be invested in when Platinum exists and does the things I actually was interested about in DP better. Tho tbf, with it getting outsourced, it was clear it was never the main focus, and according to the Teraleak, was only pushed out in case PLA turned out to be unpopular with fans.

[secretmellowblog]

As someone who has seen 500000000 Les mis adaptations: It depends on what your friend is into, and what kind of media they generally like!

It also depends on your focus: are you looking to introduce your friend primarily to Les Amis, to Jean Valjean and Javert, or to Les Mis as a whole? (Also: consider how you got into Les Mis, and what your first adaptation was!)

my recs:

1. The 2012 film is the easiest and most accessible adaptation for a general audience, in my opinion, even for someone who isn’t a huge musical fan. (In fact, the movie kinda suffers as an adaptation for trying so hard to appeal to people don’t like musicals haha XD.)

Having tried to introduce people with other adaptations, I’ve found 2012 is the one that always grabs the people who aren’t already fans, even if they’re not super into musicals XD. The stage musical recordings are confusing to people who don’t already know the plot, even though the music is handled better. Other nonmusical adaptations are either Terrible, like the 2018 miniseries …..or they’re sadly often kind of boring to people who aren’t already huge fans of the story. Saying “72 is interesting for focusing on Marius” or “82 is interesting for featuring more of Les Amis” doesn’t interest the kind of person who doesn’t know who Marius or Les Amis are. I’ve noticed that while I can say things like “the 8 hour long 1925 silent film is the superior adaptation that captures the novel better” it’s only because I’m already emotionally invested in the story.

2012 isn’t the best adaptation but it is one of the most accessible to new viewers imho. It’s short short and conveys the emotional beats the most clearly for someone who has no pre existing familiarity with the plot of the novel. The settings are clear, the characters are clear, the general emotional thrust of the plot is clear— and there are enough fun weird choices (some good some hilariously bad) to keep people entertained even if they’re not familiar with Les Mis at all. The problem is that uhhhhh it has a lot of serious goofy flaws, mainly the director’s inability to understand how music works and the baffling cinematography choices. However the flaws are funny and it fun to talk about them during a watch party.

You say your friend doesn’t like musicals, which is fair— but If she’s willing to try 2012, try going with the “this is a very awkward goofy flawed imperfect adaptation, but it kickstarted a lot of fandom stuff and can give you a general idea of what the emotional thrust of the story is like.”

I also think 2012 is unique becayse most Les mis adaptations start out with a decent first half then fall apart after the convent time-skip, but 2012 starts out pretty meh and then gets really energized after the time-skip when the story moves to Paris.

The stage musical and recordings are what I recommend for “musical theater snobs” (affectionate) who care a lot about music being done well in a way that it isn’t in the 2012 film, and are willing to use Wikipedia or something to help themselves follow the plot. It doesn’t sound like your friend is super into musicals tho XD.

The Takahiro Arai Manga is an excellent excellent manga adaptation that everybody should read, a great loving thoughtful take on the story that deeply understands its messages and characters, and is a passion project of its writer. While it can be very over-the-top sometimes, and makes some of its own dubious changes, its probably the next best thing to reading the brick! Its really good!!! It’s split into four volumes though and will take longer to read.

(Just make sure you’re getting the Takahiro Arai manga specifically, not the other American “classics for Kidz” manga that are much poorer in quality. XD)

I think you should also show your friend 82 and watch it while explaining why you’re passionate about it— even if it’s not the first adaptation you guys check out together.

Anyway, these are my hot takes! Also if your friend is interested in trying to tackle the novel in bite-sized pieces, the @lesmisletters readalong of Les Mis is happening again next year! ^_^

What is the best adaptation to introduce my friend to Les mis?

So like the title said I want to introduce one of my friends to Les mis bc I know she will really like it and loves the themes of the story, she agreed to let me show her an adaptation to get her into it, but idk with which adaptation I should choose to get her into it

I've heard the shoujo cousette is good and complete (I've only watched the first episode for now) but I worry it might be too long for someone completely new to Les mis? Ik the musical is probably also a solid entry point but my friend also isn't really into Musicals so I'm not sure it's the best to get her into it but I could convince her to watch it she's not that much against them, but if there's a better entry point I'll take it

My favorite adaptation is the 1982 one but it's also very strange and I'm not sure how book accurate it is compared to other adaptations so idk if it'd be a good adaptation

So I'm not sure what adaptation to show her first and would appreciate any input to with what adaptation to introduce her to Les mis!

[polutrope]

End of Year Fic Recs

Thanks @sallysavestheday for starting this template, and for the tag!

Recommend up to 5 series or multi-chapter fics from 2023 that everyone should read (multi-year WIPs count, if the last update was in 2023).

Recommend up to 5 single chapter fics/one-shots (long or short) from 2023 that everyone should read.

Recommend up to 5 fics NOT from 2023 that everyone should read (oldies but goodies).

Recommend up to 5 of your own fics (completed or WIP) from 2023 that everyone should read.

This was so hard. I need time for ten more rec lists because I read so much good stuff this year. If you are not on here but I commented on your fic this year, know that I sincerely wanted to put you on here. If you are not here and I didn't comment on your fic this year, please help me find it next year!!

Multi-Chapter/Other

Such a Marriage by DifferentSong (M, 29k, WiP). f!Maedhros/Maglor. Beautiful and unique treatment of these characters and relationship in the years after the second kinslaying. If you’re uncertain about this ship but curious, I highly recommend giving this story a try. 

Droit du Seigneur by destinedatoms (E, 6.4k, WiP). Various elven kings hook up with their mortal vassals. Each chapter is so funny and hot, and features povs from very underwritten female characters. 

Loyalty: A Tale in Three Voices (not rated, 10.1k, WiP) by @grey-gazania. Caranthir, Uldor, Easterling OFC. Compelling story, characters, and incredible worldbuilding following three unique POVs as an alliance is forged between the Easterlings and Feanorians. Great use of first-person. 

Price of Eternity (series) by Encairion (E, 1.83 million, WiP). The novels and stories in this series are not going to be for everyone. They tackle basically every difficult topic you can imagine. They include takes that would probably make some of my mutuals torch the swanships. But Encairion does it all so skillfully. She’s like an artist who has mastered the techniques (i.e., the canon) and then does something radically original that only works because she has that foundation down. Some of her characterisations rewired my brain. I’m still far from done reading the series, but it’s truly a monumental achievement and so worth diving into with an open mind.

Celegorm by @dawnfelagund (reference work). Dawn’s bio of Celegorm for the Silmarillion Writers’ Guild is meticulously researched and engagingly written. Definitely worth a read for any fans of the Fëanorians or just how Tolkien’s characters evolved over the course of the legendarium’s development.

One-shots

The dining room by @ettelene (T, 8.8k). Ettelene kills it with group scenes and dynamics and this riotous fic about a Feanorian family dinner at Formenos from Celebrimbor’s POV showcases it beautifully. 

Against His Wisdom by @melestasflight (M. 3.7k). Fingon/Fingolfin. A stunning, insightful look at the complexities of this relationship. Melesta handles the nature of the relationship so artfully. As always, their prose is so satisfyingly economical and impactful. I know the pairing may make some wary but I really encourage people to give it a try.

stardrop by @welcomingdisaster (T, 0.7k). Daeron/Maglor. I almost wept when I read this fic because it's so perfect. Lena somehow managed to get everything I love about this ship into 700 words. Doom, deceit, cultural misunderstandings, telling the narrative of your own life, immortality/mortality… if you want to know why I love Daemags, read this. 

As Little as Might be Thought by @imakemywings (T, 2.9k). “Kidnap fam”. Rocky is a master of the argument and this spat between Maedhros and Maglor over the peredhel’s upbringing showcases it. So much characterisation and complicated relationship dynamics packed into this short piece. 

Memories, Like Grains of Sand by @cuarthol (G, 1k). Elrond & Elros. cuarthol wrote some beautiful, complex works this year but this short piece stood out for me. The peredhel twins return to Balar and try to piece together their memories of Sirion. Showcases cuarthol’s talent for little moments of intimacy that will make you cry, not because they are particularly tragic (though they may be), but because they feel so real.

Oldies

Maglor and Daeron Sing the Blues by Voidflower (G, 5.6k). Maglor and Daeron meet in the Mississippi delta in the 1920s. I want to pour this fic in a crystal glass and sip on it on a rainy evening. Gorgeous prose and deeply satisfying character dynamics. 2018.

Dancing with my punchlines by LiveOakWithMoss (M, 321k). I know this Modern AU is fandom-famous already, but by god there’s a reason. I could not put these dramamonsters down. It was funny, it was touching, and it was spicy. I want to rip this fic open like a bag of chips and shovel it into my mouth in great handfuls. 2016. 

What We May Become by @naryaflame (M, 8.8k). Caranthir/Finrod. Narya’s prose is delectably crisp and sensuous and I just loved reading this well-constructed nonlinear story of a fascinating rarepair. 2020.

The Redemption of Daeron by Rhunedhel (T, 7.3k). Daeron/OFC. I actually just found this and have not actually finished it, but I’ve read the first two chapters and it’s such a beautiful alliterative verse poem (!!) and original story of Daeron among the Avari. 1997.

An Education by @i-am-a-lonely-visitor (M, 49.4k). visitor has some of the most scrumptious, clever prose and most memorable characterisations I have read in the fandom and this first installment of his Elrondverse covering the early years is bursting with peredhel coming-of-age delights. 2021.

Mine

Scorched (E, 4.9k). Elrond/Maedhros, Maedhros/Maglor, Elrond & Elros. A psychosexual unfamily drama on Amon Ereb. Really enjoyed the experience of letting this tale unravel as I dipped into the minds of all four characters. 

First Contact (T, 2.7k). Daeron/Maglor. Post-canon (they both sail). Daeron meets Fëanor. It’s a silly bit of sitcom, but also it’s about healing. 

Who By Fire (M, 4.9k). Amrod/Fingolfin. A deep dark dive into the psyches of two hurting men in the early days of Fingolfin in Beleriand. 

If You Are the Healer (E, 4.6k). Maedhros/Maglor. Liege/vassal dynamics and heaps of angst surrounding Maedhros’ decision to abdicate to Fingolfin. It’s fucked up, but they love each other. 

Everlasting Darkness (E, 10.2k). Earendil/Maedhros, Elwing/Maglor (also Elwing/Earendil, Maedhros/Maglor). Canon divergence shitshow where Maedhros and Maglor are released from their oath on condition that they serve Eärendil and Elwing. My first fic of 2023, and it set me careening off the rails. No regrets.

[Bonus fic under my pseud: Played (E, 12.1k) by disastrousexpense. Maedhros/Maglor, Fingon/Maedhros. Absolutely off-the-rails smut between two asshole brothers in Valinor. It was SO FUN to write.]

Tagging the people tagged already and @curufiin @elentarial @lightqueer @searchingforserendipity25 @ladysternchen @tethysresort if you'd like to share your recs!

[joshuamj]

Linktober Day 8. Tunic

[cluescorner]

I cannot imagine being a Damian stan right now. You've got both Zdarsky's bullshit (where he clearly doesn't give a shit about your boy) and The Boy Wonder (where Juni Ba clearly gives so many shits about your boy) coming out on the same day. The whiplash must be insane. I hope y'all get some nice warm soup for your efforts jfc

[yellowocaballero]

Been a fan of your fics for YEARS. I was just telling my friend how despite how much I read fics I never actually love them, with some of your fics (especially TMA) as the exception. Felt the need to reread some of them and saw you reblogged some ISAT fanart. So. Any thoughts on ISAT you'd like to share?

Hope you have a wonderful day!! So happy I found your fics again!!

I avoided answering this for a while because I was trying to think of a way to cohesively and coherently vocalize my thoughts on In Stars and Time. I have given up because I don't want to hold everybody here all day and I have accepted that my thoughts are just pterodactyl screeching.

I love it so much. I have so much to say on it. It drove me bonkers for like a week straight. I have AUs. It's absolute Megbait. They're just a little Snufkin and they're having the worst experience of anybody's life. Ludonarratives my fucking beloved.

I am going to talk about the prologue.

The prologue is such a fascinating experience. You crack open the game and immediately begin checking off all of the little genre boxes: mage, warrior, researcher, you're the rogue...some little kid who's there for some reason...alright, you know the score. You're in yet another indie Earthbound RPG, these are your generic characters, let's get the ball rolling.

Except then you realize that these characters are people. You feel instantly how you've entered the game at its last dungeon, at the end of the adventure. They have their own in-jokes, histories, backgrounds, adventures. They get along well and they're obviously close, but not in a twee or unrealistic way. They have so much chemistry and spirit and life. I fell in love with them so quickly.

But Sif doesn't. Sif kind of hates them, because they will not stop saying the same damn thing. They walk the same paths, do the same things, make the same jokes, expect Sif to say the same lines. They keep referencing a Sif we do not see, with jokes we never see him make and heroic personality he never shows - they reference a Sif who is dead - and Sif can't handle that, so he kills them too.

They become only an exercise in tedious frustration. Sif button mashes through their dialogue, Sif mindlessly clicks the same dialogue options, Sif skips through the tutorial, Sif blows through the puzzles. Sif turns their world into a video game. Sif is playing a generic RPG. Sif forgets their names. They are no longer people with in-jokes, histories, backgrounds, adventures. They're the mage, the warrior, the researcher, and...some random kid.

I did not understand the Kid's presence at first. I had no idea what they contributed to the game. They didn't do anything. As a party member in a video game, they're a bit useless. Why is the Kid there?

Because Sif's life isn't a video game. Because the kid isn't 'the kid'. They're Bonnie. Bonnie, who the party loves. Why is Bonnie there? Because they love them. There is no room for Bonnie in the boring RPG that Sif is playing. And then you realize that Sif is wrong, and that they've lost something extremely important, and that they'll never escape without it.

Watching the prologue before watching ISAT gave ISAT the most unique air of dread and horror, because you crack open ISAT and you see the person Sif used to be. You realize that Sif used to be a person. Sif used to be the person who made jokes, who gave real smiles, who interacted with the world as if they are a part of it. And you know you are sitting down to watch Sif lose everything that made them a person, to lose everything that made them a member of this world, and turn them into a character in a video game who doesn't understand the point of Bonnie at all.

At the climax of the game, when the others realize that something is deeply wrong and that Sif physically cannot tell them, they realize that there is nothing they can do. So Bonnie declares snacktime. And for the first time they have snacktime.

What is snacktime? Classic JRPGs don't have snacktime. There's literally no point to a snacktime - not in a video game, and not in Sif's terrible life. It's not fixing this, because nothing can fix this. But Bonnie gives Sif a cookie and Sif eats it.

It's meaningless. It's a cutscene. It didn't save Sif and it didn't change a thing. It will make no difference in the end.

But it did make the difference. It made all of the difference in the world. Bonnie is a character who you really don't understand the point of before you realize that Bonnie was the entire point.

ISAT is about comfort media. Why do we play the same video games over and over again? Why do we avoid watching the finale of our favorite shows? What is truly comforting: a story with no conflict, or a story where you always know what is about to happen? Do you want to live in a scary, uncontrollable world, or do you want to play Stardew Valley? Do you want a person or a character?

When I beat Earthbound for the first time (and if you don't know, the prologue/ISAT battle system is just Mother) and watched the ending cutscene where the characters part ways and say goodbye...I felt a little bit sad. I wanted them to be together forever. But that's something only characters could ever be.

[kiddokori]

things i like about totk so far: the depths,

i am going to be so completely honest i thought id be able to think of more. um. this is awkward

[asjjohnson]

He lives in Amity Park. Just one of seventy thousand people making a living under the shield.

He makes a modest salary working at a garage. There's a handful of cars per day, coming in for oil changes or tune-ups, and the work is divided between him and two coworkers.

He considers himself to be pretty average. One face lost within a sea of thousands. Unnoticed and unmemorable.

He doesn't mind. He's a pretty bland person overall. He doesn't do much other than work, eat, watch whatever's showing on TV when he's at his small apartment, and sleep; and he doesn't feel he needs more from life than that.

He moved to Amity Park a few years ago, after wandering from place to place.

The ghost thing was new to him. He can't remember seeing a ghost until after moving here. And when the purpose of the shield was explained to him, he couldn't imagine ghosts beyond a vague idea. They were said to be slightly translucent and able to fly. And, in Amity Park, ghosts are just another part of their way of life. A normal sight to see. Especially Phantom.

Even now he can't build a clear mental image or description when it comes to ghosts. He never had a chance to really take one in.

Every time he sees Phantom, his mind goes blank, in pure terror.

Even on the other side of the shield, high in the sky 500 feet away, barely even close enough to make out the cape and suit, the ghost would cause him to freeze in place on the sidewalk, forgetting how to breathe while people push past him to continue on their way.

---

He's at the garage when the sirens come on. In an oil-stained jumpsuit, on his back beneath a car.

At first he's confused, cocking his head to listen, but someone yells that it's the shield.

He should've recognized the sound. There's a drill twice a year. Somewhat of a holiday. The entire town meets up in the shelters under the city. But the timing is off. Wrong month, wrong day, wrong time. For one thing, there is no work on Drill Day. So he didn't make the connection at first.

He puts his wrench down and follows the others out of the garage.

When he steps through the door, he sees Phantom in the distance, throwing parked cars, and he freezes as the others run.

It gets hard to breathe. He can't get enough air. His vision zeroes in on Phantom, the rest of the world vanishing. His heart pounds in his chest like it's trying to free itself. Phantom is coming nearer. He feels dizzy. His head is swimming. He... he has to sit... His knees hit the asphalt. His palms keep him from falling, his eyes never leave Phantom. The ghost comes nearer, casually, meanderingly, blasting random objects. As near as three businesses down. Two. Phantom turns and blows up the building across the street.

Phantom turns back around. Eyes focused overhead, at the garage building. A giddy-looking grin. Then the eyes drift downward.

They lock on him.

"What do we have here? A flea that forgot how to scurry away?"

He shudders at the sound of the voice. Trembles as Phantom floats nearer. He cringes on the ground, seeing his death mere feet away. Stares wide-eyed.

Phantom's grin fades, eyebrows furrowing as eyes study his face. Then, "You?" The eyes narrow, a sneer crossing the face. "I should have finished you."

He shrinks back as Phantom reaches for him. Squeezes his eyes tightly shut. Death. Death.

But instead, a strong hand grips his upper arm—and something seems to light up behind his eyes.

Memories flow through him like water.

A sister. Spinning on her heel with long orange hair flying, a superior, righteous expression as she says something.

Parents. Both wearing tight jumpsuits, excited, building a deadly weapon at the dinner table while asking about school.

Friends. One in black and one with glasses, putting a finger to their earpieces as they talk over each other making suggestions.

...Himself.

Tiredly brushing long black bangs out of his eyes as he reaches for a toothbrush. Lying on his back looking up at the stars. Observing a translucent, slightly glowing gloved hand, wiggling the fingers.

He exhales with a hiss. And snaps his eyes open to glare at Phantom. "You!" He jerks back, breaking Phantom's grip on his arm.

He was robbed of ten years of his life. Of who he is. He lived through ten years not realizing what was going on around him. Accepting the shield and the destruction as normal! And it was a part of himself doing all of this! Making the shield necessary! Out having a joyride at everyone's expense!

He's so angry. Furious.

He can feel his eyes light up for a split second, and a flash of green sparking in his palms. "I'll destroy you!"

He doesn't run for the emergency ecto-gun in the garage.

He lunges at Phantom with his bare hands, palms repeatedly trying to glow, sparking for only an instant at a time, like an igniter without fuel to back it up.

[arolesbianism]

I hand you a doodle and then go back to dying of the plague

[acaciapines]

every so often i get a horrible little thought in my head that says but what if you DID adapt all of toh season one into your daemon au.

and every time i beat that god damned thought back with a stick. but do know there IS a section in my notes document that is me REALLY wanting to adapt a few s1 episodes dkjgdfg.

bc like. i made the right choice. the stuff i was/am still most excited to write is all s2 + s3 stuff--but like. agony of a witch? young blood old souls? the intruder?!

it would be me writing like 250k more words of entirely setup but that doesnt mean i dont think about it!

[elytrafemme]

also i do think that it’s cool as an opener that it doesn’t really matter if you pick cats or dogs in the scheme of things. i like that kind of thing in choose your own adventures for a myriad of reasons including pacing. just the concept that some choices don’t really matter, and some choices matter a lot, and some choices matter but seem arbitrary and some choices seem important but affect nothing, are all interesting dynamics to play around with in that setting. so like i would have to guess that this was mostly to show off how the unlisted video features was going to work but it would be cool if that idea prevailed in the story line that some things just don’t really matter. because then that gives the audience a chance to ask themselves, what are the things that Do matter in this universe. and i think that’s a really interesting question that can flesh out a lot for world building and differentiate one adventure from another.

[cryptcombat]

My feelings about h*nkai are always extreme, extreme love for the combat and s*mpo, extreme hate for the writing and (female) character design

[linawritesocs]

something about me having the seth ships guide and two ocs in works is so funny. like yes, this is everything you need to know about seth's boyfriends. this is me giggling and kicking my feet because of how adorable they are. also here, have two new boys that are just as insane as all my other ocs. what do you mean you thought i was done.

[micamicster]

Ok here’s my criticism of the english: I think it needed to be either A Romance OR needed to have the romance entirely unspoken

[iamthedukeofurl]

Scott Pilgrim is, I think, the best example I can think of for establishing a setting's Nonsense Limit. The setting's Nonsense Limit isn't quite "How high-fantasy is this". It's mostly a question of presentation, to what degree does the audience feel that they know the rules the world operates by, such that they are primed to accept a random new element being introduced. A setting with a Nonsense Limit of 0 is, like, an everyday story. Something larger than life, but theoretically taking place in our world, like your standard spy thriller action movie has a limit of 1. Some sort of hidden world urban fantasy with wizards and stuff operating in secret has a nonsense limit around 3 or 4. A Superhero setting, presenting an alternate version of our world, is a 5 or 6. High fantasy comes in around a 7 or so, "Oh yeah, Wizards exist and they can do crazy stuff" is pretty commonly accepted. Scott Pilgrim comes in at a 10. If you read the Scott Pilgrim book, it starts off looking like a purely mundane slice of life. The first hint at the fantastical is Ramona appearing repeatedly in Scott's Dreams, and then later showing up in real life. When we finally get an explanation, it's this:

Apparently Subspace Highways are a thing? And they go through people's heads? And Ramona treats this like it's obscure, but not secret knowledge. Ramona doesn't think she's doing anything weird here. At this point, it's not clear if Scott is accepting Ramona's explanation or not, things kind of move on as mundane as ever until their Date, when Ramona takes Scott through subspace, and he doesn't act like his world was just blown open or anything, although I guess that could have been a metaphor. there's a couple other moments, but everything with Ramona could be a metaphor, or Scott not recognizing what's going on. Maybe Ramona is uniquely fantastical in this otherwise normal world. And then, this happens

Suddenly, a fantastical element (A shitty local indie band finishing their set with a song that knocks out most of the audience) is introduced unrelated to Ramona, and undeniably literal. We see the crowd knocked out by Crash and The Boys. but the story doesn't linger on the implications of that, the whole point of that sequence is to raise the Nonsense Level, such that you accept it when This happens

Matthew Patel comes flying down onto the stage, Scott, who until this point is presented as a terrible person and a loser, but otherwise is extremely ordinary, proceeds to flawlessly block and counter him before doing a 64-hit air juggle combo. Scott's friends treat this like Scott is showing off a mildly interesting party trick, like being really good at darts. The establish that Scott is the "Best Fighter in the Province", not only are street-fighter battles a thing, Scott is Very Good at it, but they're so unimportant that being the best fighter in the province doesn't make Scott NOT a loser. So when Matthew Patel shows off his magic powers and then explodes into a pile of coins, we've established "Oh, this is how silly the setting gets". It's not about establishing the RULES of the setting so much as it is about establishing a lack of rules. Scott's skill at street-fighter battles doesn't translate to any sort of social prestige. Ramona can access Subspace Highways and she uses it to do a basic delivery job. It doesn't make sense and it's clear that it's not supposed to. So later on, when Todd Ingram starts throwing around telekinesis, and the explanation we're given is "He's a Vegan" , you're already so primed by the mixture of weirdness and mundanity that rather than trying to incorporate this new knowledge into any sort of coherent setting ruleset, you just go "Ah, yeah, Vegans".