#hopefully without any like fan service if something like that exists

[danpops]

Don't know anything about most anime and especially not isekai stuff but my brain can't stop thinking about like an isekai anime where someone gets transported into another world and has to become the team parent to four children that were destined to save the world.

It would just be kind of funny seeing something like that, like them having to hold back the urge to absolutely throw hands against all the adults in this world for seriously thinking that it's okay to leave saving the world up to a bunch of twelve year olds.

[moretheta]

Honestly at this point i'm pronouncing "hxh has no noteworthy female characters" to be an ice cold, bottom of the barrel take. 

Come on a journey with me. 

Anyone who knows me in real life (which is hopefully almost no one on here) knows how insane I am when it comes to female characters getting shafted in media- and in shonen manga specifically. No doubt a side effects of being a girl who's favorite character was sakura in the 2015 naruto fandom- but that's another story. The point is I'm not coming at this from a "boo hoo why so woke" standpoint, or an "it's really not the deep" mentality. I care about this shit- truly i do. which is exactly why the way people talk about this issue bothers me so much. 

I distinctly remover being 13 or so when I saw HxH pop up on netflix (or some other streaming service, i don't remember) and looking at the title card with Gon, Killua, Kurapika, and Leorio and thinking "huh. no women?" bc damn, even nart had women (they were written misogynistically, shafted from the narrative, and treated like fucking pariahs by fans... but they were there), and at the time i had a disease where I couldn't dedicate time towards watching something unless it had a prominent female character for me to latch on to. that disease is called ~being tired of misogyny~ and i'm still a carrier to this day. so this past version of me wanted to do some research, so i looked up something like "does HxH have female characters." I saw one of two responses: 1) sadly no. and 2. no, shut up snowflake.

I honestly don't remember what finally pushed me over the edge to start watching it, but i'm so so glad i did. had several queer awakenings. a very formative time for me, etc. aaaaaallll that is to say: I get it. I’ve been there. i don't withhold criticism from a show just because i like it. 

Because it's true that HxH had no female characters... in 1998, when it's started it's serialization. like there were a few background women and also Mito, but that's it, that's all we got. and for a while that's what we would continue to get: every female character introduced seemed to exist as a cog in the wheel of one of the main male characters' storylines. even characters who i love very much and think have a lot of potential, like Canary, only seemed to show up briefly to supplement Killua's narrative and then leave. all of this is true. 

But the thing people need to realize about Hunter x Hunter is that it has been going on for a long time.  The chimera ant arc concluded it's serialization in 2012. and with the hiatuses that became necessary due to Togashi's health, it meant publishing continued really slowly. this current arc of the manga- the succession war- has been going on since 2017- (arguably longer, if you count the expedition arc as a prelude which i personally kinda do), but either way we have over half a decade of real time years that have passed. and one of the things i really admire about Togashi is his ability to grow as an author- to take in feedback and improve where he needed to improve. We can see it, for instance, in his history of writing queer characters- trans characters in particular. See this great video for a further breakdown.

There’s more to be said on this topic but that’s for another day. This isn’t an “in defense of Togashi” post, he’ll be ok. It’s the female characters themselves that I must rise up and defend. I fight an endless war on an empty battlefield, population Me, and this is my life’s purpose.

What I am trying to say is this: HxH is not the same series it was in 1998. It’s not the same series as it was in 2011. And what we have seen as the series progressed, was the introduction and elevation of more and more interesting female characters. This has culminated in what very well might be my favorite arc in the series -unfinished as it is- the succession war. and, without giving away any spoilers, I just have to say……

THERE ARE SO MANY WONDERFUL WOMEN. DO YOU SEE THEM?!!? DO YOU SEE MY BEAUTIFUL WIVES?!? MY LARGE AUTOMOBILES MY-

I cannot fathom how anyone who is caught up with the manga continues to parrot this take. Why would you say that. Why would you do this to our women. There are soosososo sososoooo many fantastic female characters, old and new, and more are added literally every chapter because togashi loves it when I (me specifically) have to make more flashcards. There are female protagonists, antagonists, supporting characters, antiheroes, etc. women with all different kinds of personalities and motivations that don’t feel like a copy-pasted trope. Women who (gasp!) come in different shapes and sizes!?!? Women who don’t fit the traditional standards of beauty are just as important and just as beloved as those who do. and because I’m a crazy person I have gone around and calculated “screen time” (page time?) as well as ratios of male to female characters and folks the numbers are looking good. There was a point in time when I tried to memorize the names and faces of every single female character on the wiki (see above note on flashcards) because again, I’m a crazy person, and it just made me realize how incredible this ensemble cast is looking right now and how excited I am to see more of them. I am the succession war’s biggest glazer so yes, obviously I come with a bias; but here me when I tell you this: you want more well-written, prominently featured, multidimensional female characters in your little shonens (bad place to look, but unfortunately I am the biggest offender of this) please for god’s sake. For god’s sake read the manga.  

So yeah. Sick and fucking tired of seeing people say “HxH has no women” They’re there babe!!!! They’re there!!! You wanna say some shit like that, at least put a caveat of *up until the end of the anime so that people know that information is eight years out of date. yeah watch me be petty. It just astounds me that someone could look me in the eyes and tell me that Melody, Bisky, Theta, Morena, Oito, Woble, Kacho, Fugetsu, Camilla, Machi, Pakunoda, Alluka, Komugi, Kite(yes welcome), Cheadle, Canary, and now Longhi have no importance in the narrative.

It’s true that there is always a time and a place for criticism…  but why does it seem like there’s only five of us trapped in here in this room who are excited to talk about the potential for Theta x Vorksen work situationship... on the ethics of Morena's class war, or an Oito Phantom Troupe connection, or the thematic implications of the madonna being juxtaposed with the antichrist and also maybe satan. Yeah so we're trapped in this room and it's great but occasionally I'll hear shouting from the outside and it's some horrible take or the same unfunny, super gross joke, or some guy who thinks netero setting off a nuke was "peak aura" or smth. And we're still in here, beckoning, offering shelter from the storm.

All you gotta do is open the doors and start taking notes.

[beryllineart]

Do you have any OCs ? ^^

I'm limiting myself to five. I don't have any Undertale OCs, I've just got some aesthetic au versions of existing characters (Steamtale Gaster is my favorite) but I've got lots of D&D style characters. I'm a big fantasy fan, and making fantasy OCs gives me the chance to create fantasy worlds at the same time.

Tamal is my D&D bard (with potential to become a bardlock). His dad sacrificed him to eldritch beings a while back, so he doesn't have a face, and he wears his skull mask at all times. However, he does like music and singing, even if he can get a bit tongue tied in front of people. This is the character I will be playing if I can get over my social anxiety enough to join a D&D group.

This is technically two characters combined into one, also known as a 3/2 character. This is my character design practice character, because I have a lot of trouble making my OCs visually interesting, so she's going to (hopefully) look a lot different later on. The basic story idea is that the girl is sick of being sheltered because she's a noble, so she runs away from home in the hopes of becoming a soldier/knight. Somehow she finds a magical sword who can talk, but he doesn't want to fight. He wants to study to become a wizard. Eventually he agrees to teach her to fight so he doesn't get left out in the middle of nowhere, but their conflicting interests lead to amusing shenanigans.

This is the Shakespeare therapy bot, also known as Will, Willy, Bill, Henry, or Romeo, depending on who you ask. It used to be a repair bot on a starship, but one day it started trembling uncontrollably for an unknown reason. The crew started off by just cushioning the bot to stop it from rattling, but eventually they dressed it up like a Shakespeare character because they needed something to occupy their time. It is not intelligent (it's about as smart as a parrot or a dog) but it can communicate using phrases from Shakespeare sonnets and plays. The captain doesn't like the bot or the attachment the crew has to it, but he's got debilitating anxiety/depression, and eventually it becomes his emotional support animal except it's a robot.

The Goblin King is a character I made purely to kill off in a comic. Then I gave him a backstory and now I feel bad about it (and I've been procrastinating ever since). Anyways, there's this prophecy that the person who kills him will be the hero who saves the land, and you know, he doesn't want to die, but he also wants his daughter to grow up in a world that is safe, so when the hero does come, it's kind of bittersweet. Also, the goblin with the birthmark and earring is his daughter grown up, she did not like losing her dad. I made him look too youthful, I was trying so hard to make him look small and cute. His battle music sounds good so far though.

Oh my gosh, this guy, this guy is hilarious. I love him so much! Basically I was drawing a bunch of random characters and I drew a shy skeleton in a wizard's outfit. My dad saw it and said it looked like a necromancer, and my brother suggested giving him a rose because he was a nec-romance-r. So I did, and thought, "Hang on, I can take this one step further!"

So meet the Neck-romancer, a former vampire who was turned into a skeleton due to a misunderstanding. See, he advertised his services as a vampire date-for-hire by calling himself the "Neck-romancer," but a couple of people didn't get the joke and hired him to help with a ritual, thinking he was an actual necromancer. Since he didn't actually know anything about necromancy, he bungled it all up and was turned into a skeleton. (No idea what happened to the other guys) Thankfully, vampires are resilient creatures and he remained able to live life as normal, albeit as a skeleton. He lost a lot of his vampire powers too, though now he can be in the sunlight without turning to ash, so that's something.

Now he's a merchant who sells wares from his wagon. I plan to have him appear to sell magical items to the Undertale gang in my Undertale plays D&D campaign, but he also exists in the goblin king's universe because he's way too awesome to use just once. He's a huge fan of puns and wordplay and still calls himself "the Neck-romancer," even though him being a skeleton in wizard robes leads to even more misunderstandings. I don't have a good reason for why he started wearing the robes, but I do know they're comfortable.

Anyways, those are some of my OCs! Thank you for your question, it was really nice to have an excuse to ramble about them! Sorry if it was a bit long, I couldn't choose just one though.

[metvmorqhoses]

Nononono waitttt what do you mean about Good Omens season 2?? Why didn't you like it?

I personally thought it was better than season 1 - better paced. There wasn't a single boring moment. And sure, the plot maybe had fewer stakes, but seeing as this was a bridge season between season 1 (the of Good Omens book) and hopefully season 3 (the book that never came out, “668” or something like that), I thought it was good. Warm & fuzzy.

I need to know your opinion now

As abashed as I am to have to respond to such enthusiasm with, well... the very opposite of enthusiasm, please at least know that I consider the truth the best thing I have to offer in general and in regard to that unfortunate (yet somehow still-untouchable?) mess the second season of Good Omens has proven itself to be in particular, so accept it as some sort of well-intended even if perhaps unwanted gift.

This is probably the most unpopular opinion one can have on Tumblr right now, so I'll go straight to the point: Gaiman managed to ruin Good Omens (perhaps he isn't able to write it by himself, perhaps he got carried away with fan service, who knows), once one of the most delightful, witty, engaging, profound books/shows existent, changing its register and raison d'être in order to turn it into, per great popular request, the same lame simple plotless cheesy cookie-cutter gay romance without rime and reason apparently every single piece of media is deforming itself into lately.

The dramatic loss of... artistic quality this show suffered is appalling and even more appalling is the fact I seem to be one of the very few on this green earth to have even noticed? Did I perhaps read too much in the show before? I don't think so, it was indeed a masterpiece. I saw many die-hard fans of the series beyond puzzled at this last season too, straining themselves to try and make sense of it with wild theories, justifying them with the simple fact that Neil Gaiman is a genius and surely this hot mess must mean something, right? I wasn't aware the world was mostly populated by hysterically besotted people hailing Neil Gaiman's alleged greatness from dawn til dusk without contextualized merit, and the discovery didn't particularly excite me, to be quite honest. I think a healthy amount of fairness in the critique of any artist should always be the norm, but I digress.

I'll try to keep it as brief and matter-of-factly as possible, especially since some time has passed and the fumes of my rage aren't as scorching or as precise as they used to be lol

In a word, this season was subpar. Not only did it lack that original witty, ineffable meaningfulness, that intrinsic and very human sense of wonder and protectiveness towards life and its profound sense the original show brimmed with, but even from the most basic literary point of view, it literally lacked a plot worthy of this name, a story, characters that felt complex and real instead of caricatures who tried and reenact themselves, and in general what should have been, quite simply, good writing.

More than Good Omens' long-awaited season 2, this felt more like a high-budget filler fanfiction created by someone who didn't know what they were doing with story and characters most of the time, but who sure as hell wanted to please the audience to disastrous lengths.

The very first thing that irked me beyond belief, and it literally started from minute one, was the immediate, more or less subtle, change in acting from both Michael and David. Michael stressed it way more, with, in my opinion, quite tragic results, thing that from the start immediately allowed me to guess where they were going with their (already established as extremely complex) relationship, entirely turning the vibe from sophisticated allegory of Divine Comedy kind of love (love for your enemy, love for your friend, love in all its form and in its entirety) to banal romantic comedy-level gay drama, downgrading what Crowley and Aziraphale shared (the subtle abysses of it!) into the most boring and obvious of soap operas, obviously forcing them to act out of character in order to compensate (was any flash-back meaningful to their character or the story? Was there a writing reason behind any of them beyond writing for the sake of filling screen-time?).

Some relationships deserve to be left alone, alone in their subtlety and ambiguousness or you'll inevitably ruin them. Not everyone must kiss on screen, no matter how much the audience screams and throws up for it. This little woke drama completely ruined and eclipsed everything else those two characters were for each other, turning them from cosmic and devastatingly loyal best friends to petty and dumb lovers that need two plot devices (the messy pointless and quite frankly offensive representation-wise lesbians from across the street they literally met five minutes prior) to tell them they actually have feeling for each other and should share them. After literal millennia of this relationship, relationship that has its own inner workings and reasons, we needed the plot-lesbians to subvert the order of things and spur Crowley into action, obviously obtaining disastrous and lame results? Are we witnessing the interaction of immortal beings or five-year-olds? The only way I can genuinely make sense of this dumbness is considering those two female "characters" (that feel anything but real people) no more than that, characters, golems, put there by Metatron via the power of the Book of Life (again, so many Chekhov's guns with no use whatsoever in this season) in order to separate Az and Crowley using the only thing that could succeed in doing it - an ill placed declaration of love.

But even this doesn't match the true être of what Good Omens originally was nor comes full circle with the ineffable mystery season 1 ended with. It genuinely feels like Gaiman changed the whole rhyme and reason of the story, vibes, meaning, register, just to meet the modern needs of a category that is sadly phagocytizes everything else in both life and fiction. And I find it a true pity - and a bore.

And even leaving aside this personal boredom of mine at a non-existent plot that consisted in 1) a big mystery that promised cosmic repercussions (season 1 ended with the after-nonapocalyptic world that was slightly changed just because two enemies had loved each other and life too much not to oppose god's plan - fact that was probably god's plan all along), mystery that was actually no mystery at all (two random, from the original story's perspective, previous minor characters in literally ten supernatural minutes fell in love and run away together) and that meant virtually nothing in the grand scheme of things, but serving as a plot device so that the other two minor new characters could intrude into the protagonists' relationship so they could finally have the excuse to jump literary genre and kiss & queer tragedy the story away 2) an endless series of symbols, facts, episodes and characters that constantly seemed to hint at something but that in reality resulted in nothing story-wise (also, the change of heart in God's personality, first the witty and almighty trickster for the greater good, now the divine bully??), even leaving all this aside, I'm mostly disappointed the quality of the writing plummeted so inesorabily one of my comfort show turned into the symbol of an artistic era I'm utterly distraught to have to witness - the era of crowd-pleasers and un-imagination.

As for this being a filler season, writing in such an unresolved way (basic and predictable plot, colourless characters, cliché romance, hours of happenings that don't mean a thing in the current story) is unacceptable and a failure, even if you are a famous writer. You cannot waste hours of the audience's time going nowhere shielded by the sole future promise of sense. Writing doesn't work that way, and I'm sincerely appalled to see people noticing it and deciding to excuse it with a "surely next season everything will look genius!". It doesn't work this way. The faults were too many, they can't possibly be all resolved next season. This product wasn't great, even if your faves kissed and your little fanfictions came true.

The sad thing is, Good Omens used to be a work of art, not the next consumeristic piece of fiction to satisfy woke needs.