#sometimes protagonists make mistakes

[sonik-kun]

I've seen a lot of people claim lately (mostly JC antis) that WWX performing the experimental core transplant on JC was emergency surgery, and I just have to stop them right there.

This was not emergency surgery by any means. Emergency surgery implies that it is something that NEEDS to be done, or else it would mean imminent death for the patient.

JC did not need that core to survive. He could have very much lived without it. He only needed it for revenge. To get back into joining the war effort to avenge his parents and his sect.

WWX didn't have to do it at all. Sure, JC was miserable, borderline suicidal. But I've seen and read aus where him coming to terms with his new disability is and can be very much possible. Hard, and a lot to work through mentally and physically, but not impossible.

JC did not force WWX to give up his core. It was very much implied that he would grow HIS OWN one via Baoshan Sanren. There was no way JC could have assumed that it was WWX's or anyone else's core for that matter when the concept of a core transplant did not exist at that moment in time. He was the first one to have survived and lived to tell the tale.

Plus, his mental state at that time was questionable. On the surface, he was willing to "consent" to anything if it meant getting his core back, regardless of how and why. But because of his vulnerability, that doesn't mean he consents to being treated like a guinea pig, nor should he have been treated like one for that matter. Although the intentions were good and pure, his vulnerability and naivety was still taken advantage of here. That cannot be disputed.

He also did not consent to having someone else's core (someone else who he cares for deeply, mind) being inserted in him. That possibility was obviously something that would have never crossed his mind in that moment. It is unfair and unreasonable to assume it would and claim he consented to something he didn't even know was possible.

He was led to believe that Baoshan Sanren could successfully give him a new core willy nilly, no questions asked because she was a fabled person with amazing abilities. It was that he consented to here alone, nothing else.

So yes, although WWX's intentions were pure and from the goodness of his heart, he did in fact mislead JC. The whole core reveal and the shock revelation behind it is proof of that. What would be the point in that scene otherwise if it was 100% consensual? And Jiang Cheng's famous "why didn't you tell me?" Break down?

It's okay to accept the moral greyness behind WWX's heroic actions, you know? It won't make him any less of a protagonist, nor does it undermine his HUGE sacrifice. You're still allowed to like him, warts and all. I know I certainly do!

[autistictaylorhebert]

Victoria is such a difficult character to talk about because of how specific the existing discourse is around her.

I want to say stuff like “the fact that Antares was never allowed to have real character flaws that were treated like real character flaws in the story, makes it hard to connect to her as a character” but then I’m throwing that into an ocean where people have already fabricated a hundred different imaginary character flaws for her (most of which are just “she’s a woman”).

[shackld]

its just like. chief does the absolute best she can in the circumstances shes in and no she's not perfect and fucks up a lot and doesn't always say or do the best thing but god she always tries to help!!! puts others before herself and maybe too much for that matter but she has a genuinely kind heart and you cannot dispute that she just makes me so rarasrargsgddfge

[fixyourwritinghabits]

No Such Thing As Filler

Okay, so yes, this is another post based on something I saw that irritated me, but it seems like this idea keeps coming up, so I need y'all to internalize this. There is no such thing as filler in good writing. None. Do not approach your work thinking you have to fill space in a story, I will beat you with this wiffle bat. Don't ask me where I got the wiffle bat. Don't even worry about it.

The idea of filler comes from a very particular place - when an anime or TV show has to fit in a certain number of episodes, but doesn't have enough content (hasn't caught up with the manga, the source material isn't long enough, etc) to cover those episodes. An episode has to be written, but the characters can't really progress, and so are given something else to do. Many a trope has come from these episodes, and they're sometimes necessary. Filler in this context is something that makes sense.

The dark side of filler is the idea that you need some space between Big Event 1 and Big Event 2 in your story, therefore you need throw anything in there to take up space and make your word count. This is a mistake I've made and I've seen plenty of other writers do it too, but it's a huge waste of your time. You do need something between those big action scenes, but you should always be writing to accomplish something.

Instead of thinking of that writing as filler, try to approach it with three things in mind:

Move Forward With Character Development and Backstory - Your characters barely survived a huge gunfight, and they won't encounter the big bad again for another few chapters. How do your characters decompress from that gunfight, and what does that say about them? Did a cocky character go in guns blazing, only to be deeply shaken by how a real fight works? Did that fight spark a moment of deep trauma for the main character that they have to reflect on afterwards?

Filling this space with meaningless scenes is a huge waste of opportunity. Think about how to dive deeper into your characters.

Move Forward With Plot and Subplot Development - The bad guy beat the heroes to the stolen gem, but they left behind a clue to why they want it. However that clue could reveal some painful truths about the protagonist's beloved great aunt... Carmen Sandiego???

A major goal following a big action scene is having the characters figure out what to do with what they've learned and what to do next. It's where romance subplots or secret relative subplots make progress, when truths are revealed and next steps are taken. You can absolutely do this in any setting - a flirty conversation while at the battling cages, a tense moment of feelings while hunting down a wayward chicken - but your main goal is making progress for both the characters and plot.

Move Forward With Worldbuilding - Worldbuilding has it challenges, believe me. You don't want to write a chapter on how an airship works only to have to cut it later. But you should still try to flesh out your world, and you should do so with the perspective of how to use that worldbuilding to your benefit. Maybe a critical scene hinges on the main characters knowing how that airship works, or that lake your main character often stares at is the setting of the big Act 3 Boat Battle. The weather can play into both perspective and emotions. Knowing what the main character's house and car looks like can reflect a lot on their personal character or backstory.

When you're struggling with a scene or a chapter, rather than writing filler, take a few steps back and think. What can you establish with your worldbuilding? What can you reveal about your characters through their dialogue and actions? What subplot could you explore or add in these between moments?

Filler from a fandom perspective - Now let me make this clear - if you're writing a fanfic just to have a cute moment between the characters you like, or you really want to force everyone to do that weird Twilight baseball scene, that's fine. You don't need a grand goal to achieve for every story, there's no need to justify your fanwork in any way other than you wanted to do it.

But I'd also argue fanwork doesn't fall under the filler label either - something you create, be it a character snapshot or a 'what if the gang meets Slenderman' parody, isn't taking up meaningless space. It's something fun you did that you and others enjoy, and there's nothing wasteful or pointless about that.

[picturejasper20]

Steven Universe as a character is someone who has been mischaracterized and flanderized over the years, to the point people who aren't into the fandom or haven't watched the show believe that mischaracterization to be a fact rather that a product that comes from memes and jokes

The truth is that Steven often fights in the series when it is needed, usually by fusing with someone else like Connie or Amethyst since he is still developing his powers in the original series. He doesn't cry when he has to fight back or defend himself, with exception if the person attacking is someone he considers a friend. Because, yes, for a 14-15 old teenager it isn't fun having to do something like that and it can be traumatic.

He also doesn't start to cry the moment someone refuses to change their mind or is being mean. He often isn't afraid to be sarcastic or call that person out. He didn't cry when Aquamarine mocked him in ¨Stuck Together¨ nor when Jasper didn't apologize for poofing Amethyst in ¨Crack the Whip¨

However, what we see is sometimes him blaming himself for not being able to help people that, more often than not, have been hurt by Rose Quartz, his mother, in some way. After Season 3, Steven fears a lot that he is going to become like Rose and he is going to hurt people the way like she did.

In general Steven deals with an Atlas complex in the show. He feels like he has to fix his mother mistakes and deal with ¨what she left behind¨ even when Rose wanted for him to be his own person as seen in the tape she left for him as it was revealed in the episode ¨Lion 4: The Alternate Ending¨.

Steven also defines his identity a lot for being to help other people and fix their problems. He believes that he has to be ¨useful¨ for others. So when he believes that he failed to help someone, that may lead him to think that he isn't living up to his ¨purpose¨ or that he is a failure as a person.

In reality, he isn't that much different from other hero protagonists from other animated shows. Those who are kind and emphatic and willing to listen to other people and give them a second chance if the person changes their ways. You probably like an animated show that has a protagonist like this. (Who was probably taken inspiration from Steven if the series came out after SU).

The main difference, i think, is that Steven goes a bit more than those protagonists do when it comes to listening to other people, understand their motivations and give them another chance if they regret their actions. A lot has to do with how he is aware that his enemies (usually gems) act the way the do because of the system they were born into rather ¨they are evil just because¨. He gets that their motivations come from the system that hurt them or lead them to believe that their actions are justified.

Another common mischaracterization is that Steven becomes super buddies with every person he helps...when this isn't always the case. There are some occasions that Steven shows discomfort around people who he has given a second chance. Just because he gives them a second chance doesn't mean that he immediately considers them close friends, maybe allies at best.

A good example of this is the gif above of Steven's interactions with White Diamond in ¨Homeworld Bound¨. White Diamond touches Steven very close to where his gem is- which makes Steven distressed since in his battle again White, she ripped his gem out to prove that Pink was still ¨alive¨. In most of the episode Steven shows to be very uncomfortable around the Diamonds and Spinel, to some extent. They bring him bad memories, which is the main reason he has been doing everything to avoid going to them to ask for their help until this point in Steven Universe Future. He even almost accidentally hurts White's gem by smashing her head against a pillar when she lets him control her to talk to himself. This being result of a intrusive ¨vengeful¨ thought.

I wouldn't say that Steven hates the Diamonds,but- he doesn't want to be their friend neither and wants to avoid in general because he feels nervous and bad around them. It's something like ¨I'm glad that you are changing but i don't want to be associated with you. Please, i would appreciate if you kept your distance from me.¨ dynamic.

On last point, Steven is someone who usually pushes his feelings down in certain situations and buries them down, which has led him to have strong emotional outbursts in bad moments. He usually prefers to ignore his own problems and take priority on others. Again, this comes a lot from his desire to be useful and be needed, making him trying to ignore how he feels about certain people and pretend that he is doing fine.

This explains why we don't see him lash out that much to others in the original series, and, why he feels so frustrated and angry in Future, since all that anger and negative feelings can't no longer be ignored as they used to and they are having a negative impact in Steven's mental health. This, of course, isn't meant to be seen is a healthy coping mechanism. It is in fact potrayed as something pretty self-destructive for Steven, as a huge flaw of his, that over time he comes to learn that it isn't the best way for him to deal with his problems.

These are some of the most common misconceptions i have seen about Steven's character online. I could go in more depth with some of them but i think the points should be clear enough. This could be considered a general analysis of how Steven is as a character and how he operates, leaving aside more specific things that can be covered in other posts.

[hustlerose]

as i slowly exit my "bethesda's writing and design are literally satan" era, i find myself less angry about their many missteps, and more melancholy about what might have been. fallout 3's pre-broken-steel ending, for example

everyone makes fun of that one moment. your super mutant buddy you just met tells you "we all have our own destinies, and yours culminates here. i would not rob you of that." like sorry player 1, you have to die here for no good reason because it's dramatically satisfying

i submit this ending pissed people off not because it's bad, but because it's the wrong ending for fallout 3. fallout 1 and 2 had endings and they felt just fine, but fallout 3 is not a narrative-driven game like those ones. it's a big fun sandbox that you play in to your heart's content. a bittersweet ending with hints of destiny is unwelcome here. even ending the game at the climax is a mistake. the only sensible ending to a bethesda game is "play til you stop having fun." so they did that ending instead, as dlc

what pisses ME off about the ending is that it's so inspiring. i can't help but wish i'd played the game that matched that ending. imagine a version of fallout 3 where all the characters talked like that. imagine the chosen one narrative was dialed up to 11, where every moment of narrative was suffused with tragedy and inevitability. imagine if more characters talked metatextually, musing on your role as player and protagonist. think about all the cool foreshadowing that could have been done to set up a tragic ending where you make the ultimate sacrifice for the greater good. you could wring so much moral complexity out of this moment, as it could force you to reflect on your charcter's choices. you are the most important character in this world. fate bends around your story. what if the other characters could tell, and had opinions on that fact?

i want to read that story god dammit! sometimes i think it's up to me. maybe i have to rip that great ending right out of fallout 3 and stitch up a whole new story around it. one that actually supports fawkes' dialog as its central theme

[victoriadallonfan]

Having re-watched Alien (1979) and Aliens (1985), I think I've realized what went wrong with the further expanded film universe on a thematic level (this is not accounting for AVP films, which seem to exist within their own continuity atm).

The main issue is that these films made 2 intertwining mistakes:

Making the Xenomorph too animalistic

Removing the mystery of space

For the first part, Alien and Aliens are quite vague about the Xenomorph mind. Alien treats it almost like a serial killer at times, including a particularly interesting moment where it disregards Jones the Cat entirely, despite making a very easy target, and how it will sometimes meander up to the crew as if it knows it's inflicting terror upon them. This Xenomorph even seems to only flee when Parker goes to kill it with a knife and hides within the evac shuttle when it realizes that Ripley was going there as well.

Aliens forgoes this in favor of showing how terrifying their numbers are even in the face of superior (if greatly mislead) fire power, but then pulls the rug under our protagonists by (seemingly) cutting the power and testing the endurance of the auto-turrets. While the drones are not individually as intelligent as the original xenomorph from the first film, this is instead given to the Queen, who understands not only the danger Ripley poses to her Hive but hostage negotiations of the most blunt variety. And, of course, incredible spite and vengeance when Ripley burns her eggs.

Basically, the two films do a good job of making you wonder... how sapient and sentient are the Xenomorphs? Do we take Ash's word and think of them as simply Hostile Weapons or do we see them for the adaptable and complex - if instinct guided - parasites just trying to protect their hive? This is further food for thought when we learn that one of the cut endings would have had the Xenomorph kill Ripley, tentatively use the shuttles control panel, and speak into the intercom with Dallas voice (ala Predator).

Imo, that goes too far into making them human, but we'll circle back to that later. The point is that the Xenomorph is never clearly one thing or another, but rather, something that constantly foils our attempts to understand them completely.

Aliens 3, Alien: Resurrection, Prometheus, and Alien: Covenant fail in that regard, because they take the firm stance that the Xenomorph is... an animal. A very, very, dangerous and hostile animal but an animal nonetheless. It's not some vague horror that we struggle to comprehend and reason with, because all the facts (as they are for now) are laid out: the Xenomorphs are weaponized animals that just kill, reproduce, and kill etc etc.

Nothing is entirely new about the Xenomorphs in these movies (beyond the forms and one part of Covenant, but we'll circle back to that as well), but rather trying to recapture the formula of Alien and Aliens. And even when the film isn't necessarily about the Xenomorphs like Prometheus, it still goes out of its way to copy the play by play of Alien to an almost hilarious degree (except, somehow, having a cast entirely of stupid scientists).

The Xenomorph is used as a toll for the films to talk more about the human threats who would use them, which is fine, except the same message of "Weyland-Yutani wants Xenomorphs, They Failed" over and over again (except I guess for Alien: Resurrection, but that had Walmart as a plot point so...) gets tedious. It's not longer about the folley of mankind, but rather this one company led by a man (or Android?) who keeps fucking up.

Ditto goes for the second part: removing the mystery from space. Alien and Aliens treat the Space Jockey and other (non-Xenomorph) alien life at an arms distance. They are large, grand, ominous, and vaguely defined. We don't know much about WY in either movie, nor how much is them knowing versus independent people within the company (Burke mentions cutting out his own bosses for profit for example, and Bishop the company Android is heroic and horrified at the situation they are all in, a big difference to Ash). The Xenomorphs having a Queen was a huge reveal, because we literally had no idea until then if those were actual eggs or simply pods artificially created.

Aliens 3 tries to add some mystery with the prison colony, but it's also hamfisted and given a lot of exposition to explain the situation they are in, but I will give it kudos for making Weyland (???) look like Bishop as a twist. Aliens: Resurrection... yeah, no.

Prometheus and Alien Covenant gave us a plethora of seeming mysteries, but also gives us really super simple answers. Basically, Space Jockeys are just super humans seeding life across the planets and they wanted to bomb Earth into oblivion because we killed Jesus Christ (who was a Space Jockey). And one of our androids then - possibly - goes to their home planet and bombs them to oblivion thus wiping out the human race. And they made Xenomorphs yadda yadda.

Prometheus in particular seems to despise the idea of space being a mystery, with the conversation David has with a scientist being plainly spelled out as the theme of the film: "Sometimes, humans/space jockeys just build shit, and it goes wrong I guess. No gods or mysteries here, just hubris."

Which, if handled well, is still a fascinating idea (I think it's a pretty interesting 'take-that' against the stupidity of Ancient Alien Conspiracy Theorists)... but it's not handled well. At all. And certainly doesn't work well when trying to write Xeno-Horror.

So, what COULD work?

Well, I think we need to look at how Alien and Aliens made the Xenomorphs, Space Jockey's, and Space itself all work.

For the xenomorphs, I think back to one scene I actually thought was interesting in Alien: Covenant; as a chestburster is born from a hapless scientist, it lays its eyes (???) on David and replicates his movements, mimicking the first living thing it witnesses. Nothing is ever done with this (of course), but think about the potential that could be used! Plenty of animals like crows, ravens, dolphins, octopi, killer whales etc etc can use mimicry in voices and actions, and that includes things like tool-use! And of course, the fact that they take on new forms from hosts helps with that.

For the Space Jockey's: scrap them. They had their time, the mystery is basically solved. Show us new and different alien civilizations long past. Were they also victims of the Xenomorphs? From some other threat entirely? Surely, there are extraterrestrial predators out there that don't follow the Xenomorph formula. Why not have them share the splotlight, with just as little explanation?

For space itself: stop with trying to recapture Alien and Aliens. Alien: Isolation is the only successor specifically because of the format of the medium. Alien and Aliens rely heavily on the shock factor of sudden reveals. Remove that, and you are given "bug hunt" games and movies ala discount Starship Trooper. Focus more on making human space feel almost alien and beyond our understanding as well, but just enough that we can recognize the purpose that we would have them for our society.

How I would write an Alien Story:

(This would all be backstory and setup for the actual story)

I would set it within a colony satellite with an explicit task: a skyscraper ecological time-capsule for deep space experimentation of wildlife.

It would have levels, with humans situated at the second uppermost and an AI as the manager at the top level of the satellite, with all the other animals in different levels fit for their habitats (including some non-earth, non-xenomorph aliens). It's a religious sponsored and run organization, offshoots of [Insert Church Here] that is trying to get good press with cutting edge AI and biological research.

The prize is an alien lifeform that looks like a cross between a crocodile and a panther. Usually docile when fed, it has been growing more and more agitated, harming several workers on the job. Most assume it may be some late-stage degenerative disease within it's brain.

Not all things are as it seems, as at the bottom of the station, a location no one but a select few faithful engineers are sent to maintain, a pod is damaged. A young attendant watches in shock and horror as a bloody and maimed chest burster crawls out of the pod, possibly having injured itself to burn through the lock. The creature is mewling in pain, but the young attendant makes a choice: leaving food, water, and blanket for the creature. Watching as the creature watches them, before going to feast. All under the gaze of a camera.

The xenomorph grows and grows, eating more, getting bolder and allowing its "caretaker" to feel more comfortable. Soon it begins to recognize certain sounds as they pray when he feasts, and association occurs. One day, its hiss sounds suspiciously like "Lord".

This is when the young attendant reaches out to higher, but trusted, priests to share this miraculous revelation. The first one is shocked, terrified, but intrigued as the creature mimics words like "Lord" and "Mighty". Barely audible, some would say hallucinatory, but they believe they can here this humanoid creature speak their language.

The second is equally shocked, terrified, but listens and becomes a believer.

The third one does not believe. Rightfully horrified and full of questions. Their arguments in front of the beast escalate into violence and when the young attendant shoves the priest to the ground, it is the Xenomorph that pounces. Blood is shed. the creature rises in front of it's faithful, and the Xenomorph uses the same sounds it heard over the fight. Lord. Mighty. Here-tik.

They can't be delusional or driven by guilt! This is a sign... right? This creature is speaking to them!

The faith grows. Never large. Can't risk word getting out or people noticing too many missing priests. The satellite is just barely large enough that people can excuse going missing for a few days between objectives.

But key individuals are brought in. The creature is worshiped. Animal offerings are delivered. It's changing, slowly. Growing larger (not a Xenomorph Queen, it's too maimed, but adapting to a steady diet).

Things might have escalated, had one of the priests killed not had an estranged sibling/spouse/loved one who had the pull to make a formal investigatory complaint.

The investigator arrives with his repertoire, this supposed garden of eden in deep space, none the wiser to what he would uncover. (Again, this would be the backstory, not revealed except through character investigations and evidence found during that. Defeats the purpose if it's spelled out like this).

It would play with the idea of how sapient/sentient the Xenomorphs are (do they care? do they understand? if not, why act like this? if yes, what does this mean for their continued slaughter), how much one puts into faith versus delusions, and leaves lingering questions: who put the xenomorph on the ship, why is the AI so complicit with the deaths and disappearances, and why is the one non-xenomorph alien acting so dangerously agitated despite being far away from the xenomorph's quarters?

[rpmemesbyarat]

If animals, real or imaginary, feature heavily in your story, give this a read. In fiction, carnivores are frequently depicted as incredibly vicious and as attacking every other living creature on sight, whereas herbivores are depicted as gentle, benign, and typically only hurt humans on accident if they panic, such as by rearing or stampeding. This is bullshit. Firstly, many herbivores are incredibly vicious and are in fact far more likely to attack a person just for being nearby. This especially goes for large herd ungulates like rhinos, hippos, Cape buffalo, and moose. All of these are highly aggressive to humans and in general. Bison are considerably more chill than their African cousins, but they still send tourists flying (sometimes to their graves) in Yellowstone due to people trying to get too close and treat them like a petting zoo. Deer, often imagined as the pinnacle of fearful and delicate, will typically choose flight over fight. . .but should they choose to fight, especially a male in rut or a female with a fawn, they can and will kill a human being. Even a rabbit will do its best to fuck someone up if they feel they are threatened. Remember, every animal will fight for its life with all its got, and to herbivores, EVERYTHING is a potential threat. If an animal they’re not familiar with as “safe” is nearby, they will assume it’s a threat. There are some prey animals that are surprisingly docile---videos I’ve seen of people interacting with a wild potoroo and a Bosavi wooly rat show them to be incredibly chill, and the quokka is famous for its lack of fear towards humans—but these are the exception, not the rule. Wild carnivores aren’t cute pets just waiting for the right special animal-loving protagonist to take them home, but they aren’t these constantly-aggressive, constantly-angry, constantly-ravenous monsters either that so much media makes out. They most certainly will hunt when they’re hungry, and in the rare instance they decide to make a meal of a human, that human is indeed fucked (it’s hilarious to me how many people think they could fight off a lion, tiger, etc.) but unless it’s truly starving and desperate* most of them are not going to make a point of pursuing a potential meal, human or otherwise, to the exclusion of all else. Especially not if there’s other options around. Why expend all these energy chasing after the protagonists if there’s literally anything else they could catch and eat instead? And why do so many of these monster-animals seem so interested in catching and killing the protagonists, but not in actually eating them; a ridiculous number of predators in fiction will straight-up leave the body of a person they JUST killed behind in order to catch another human. Why? This makes no sense, I don’t care if it’s a fictional animal like a dragon or manticore, it’s not conducive to survival. Unless this animal is MEANT to have an actual sentient grudge (which CAN happen, a man in Russia once shot a tiger and took its kill; the tiger waited for him in his cabin when he returned) do away with the Super Persistent Predator trope. Especially when it’s an animal like a great white shark, whose preferred prey not only isn’t humans, we’re actually downright nasty to them because we don’t have the fat content of the seals and sea lions they typically eat (most great white “attacks” are just them checking us out or mistaking us for a delicious sea mammal) There are exceptions to this rant, though most are small creatures. For instance, stoats do engage in “surplus killing” and stockpile the bodies, and shrews are very aggressive little predators due to having incredibly fast metabolisms that mean they basically have to eat all the time to stay alive. And, yes, there are some large ones; the tiger shark will eat anything, bull sharks are pretty bad to be around, and the polar bear has actively hunted humans when the opportunity presents itself. But as with the “super gentle chill wild herbivore that is basically domesticated” they are the exceptions. And I’m sure you know of other exceptions; the fact they are “exceptions” in the first place means it’s NOT the norm. If there’s a reason the animals in your story are hyper-aggressive and persistent to a point they seem almost consciously evil, that’s fine---genetically engineered that way, for instance---but have there be a REASON. It’s seldom the default in nature. Think of it this way: You’d fight a lot harder to save your life than you would to get a hamburger (unless saving your life required that hamburger). Consider that when you write real animals, and when you craft fictional ones.  (* Which admittedly most real life man-eaters are; most large mammals that turn to actively hunting humans have been sick, elderly, or injured in such a way they can’t pursue their normal prey. But in fiction, the animals that are absurdly focused on eating humans alone always seem in perfect health and are seldom revealed as otherwise, or even having a reason at all. It’s just presented as their default behavior. Which it is not. That’s the point of this rant.)

[sepublic]

"Why bother teaching them anything when you could just... wipe them out?"

This quote is ssoooo telling of Belos because he doesn’t actually want people to get better. He doesn’t want things to improve or heal, he just wants to destroy and tear down.

If Belos was even a little sincere, his mission would’ve been converting the Boiling Isles to Christianity, to actually save people's souls as he claims, but no! He doesn’t believe in restorative justice; He’s Christian so he believes in retributive justice! In punishment, and it makes perfect sense to him because this is Hell!

And Hell is the ultimate condemnation, it’s the point of no return. It’s when even God says you’re not capable of being redeemed, and takes away any chance you have at choosing to be better. It’s why Fallen Angels are a thing, but Risen Demons aren’t; You can always still mess up and never truly make up for it, it’s inevitable.

So why bother teaching them anything, as Belos says, when it's already been decided as a lost cause by God? Maybe he did understand the assignment, in that ironic way that actually exposes its flaws to a reasonable outsider, even as the supporter sees them as slandered virtues.

And as the Collector responds to Belos' suggestion, NO, he wants to be their friends, he doesn't want to condemn people to a state they can’t come back from (Hence their misunderstanding and apprehension towards death)! They prioritize happiness, an idealistic world where everybody gets along, so for all their naivete and forcing of others, there's a sincerity Luz is able to speak to in order to convince. As she reassures the Collector, his mistake wasn't wanting happiness and chances for people; Just because compassion can sometimes backfire doesn't mean it's wrong.

This exchange really does deliver the difference between Belos and the protagonists, who believe in getting better and giving people the opportunity to do so, even if they recognize they can’t make them change either, and also have to defend themselves at the same time. Belos doesn’t want others to get better, nor himself; He refuses each chance to improve, and he’ll deprive the world of chances as well.

[koolades-world]

Hello, I hope this is not a bother, but can you make the brothers react to a Mc that is half demon and half human? Or that Mc is like Michael's child and the brothers react to that?I know they are strange ideas (especially the last one) but I hope you like them.

But the way english is not my fiesta language so i'm sorry for any mistakes.

Have a nice day/night ♥️

hi!! omg both of those concepts are so interesting so I had a hard time choosing which one to write ahhhh

your english is pretty good so no worries! I'm always so impressed by non-native english speakers because english is such a difficult language to learn

if you want, I can write both just in separate posts. hope you didn't mind that I picked just one, so just let me know

please enjoy :)

Half demon half human Mc

Lucifer

quick to ask who your demon parent is so he could find out more about you and them to better accommodate you

he's a little relieved because he knows he'll be able to meet your needs better since he didn't know shit about humans before the exchange program

he would never say anything about it, but was pondered your mortality a few times

do you have the demon lifespan, a human lifespan, or somewhere between? does which parent is which affect that in any way? he doesn't like to dwell on that

Mammon

thinks that you're so cool since you can have the best of both worlds

you know all the human stuff AND you can do cool demon stuff?? AWESOME

asks all sorts of questions, even dumb ones that he should know the answer to

smack him with your tail or wings if he ever asks how you were born or something like that

Levi

unironically refers to you as the main character

both of you giggle over the fact that you're just like the gacha life youtube protagonists

henry? more like the half demon half human alpha wolf abandoned genius princess

but in all seriousness, he thinks you're so cool but he would never admit that because he would keel over and die afterwards

Satan

since he's the only true demon, the two of you can bond a little over that

finds it very interesting to see where your demonic heritage comes in

helps you out with learning to control and maintain whatever power you inherited

tries to find other half demon half humans to set you up on "playdate" lol

Asmo

asks all sorts of questions to see if he's ever gotten down with your parent (lol)

loves to talk with you about wing/tail and horn care

exchange all sorts of tips for party tricks that both of you love

since he knows you're a little stronger than a full human would be, he's willing to take you out to more places and do more fun stuff

Beel

one of the only brothers who's also interested in your human side

while wanting to meet your demon parent, he also wants to get to know your human parent

your human parent loves him <3

however, he does take this chance to introduce you to some demon exclusive foods or experiences that he's like 75% sure won't kill you

Belphie

he doesn't care too much but he knows he doesn't have to be as careful with his antics around you

your strength always amazes him since sometimes you pick him up with one hand since sometimes he forgets

often has you help out with his anti-lucifer league pranks since he's not as afraid of you getting strung up

less afraid of you being alone in the devildom since he knows you can protect yourself <3

[novalizinpeace]

Woah woah woah, hold up.

With all due respect, I think we should at least get an explanation of how a hug would of changed things for the Special since we can't fix our mistake because I doubt anyone thought that we would get irreversible decisions out of the blue and I'm nearly certain that we all had a different idea of what "Nell going insane" meant before we got an explanation and I'm sure that plays a big part in it as well.

(Again with all due respect. I do not mean ro come off as rude or anything and I apologize if I do! Just a bit frustrated that we suddenly got such important decisions that was going to determine characters fates and the obvious choice happened to be wrong🥲)

Long answer, prepare yourself

The frustration is comprensible, and it isn't the first time i had got this kind of question, since this isn't the first time i made multi final events (you can see my FnaF Daycare Au for reference, i still can remember how my inbox got in fire after the audience got the bad ending)

The point of a multi final event is just that, to make decisions in the heat of the moment and see if the majority of you choose the rational or the irrational option, BUT sometimes those options aren't so clear as we think.

To give you a example, in my past event the options were ''Go save the child OR let it deal with it alone'', and of course, everybody choose the option 1, BUT they didn't take in mind that the character they were sending to save the child wasn't in the best mode to make it right, or didn't think it would be a good idea to leave it everything to a child (even when IN THE GAME the protagonist was a child making even more dangerous shit). The rational choose was to leave it all to the child and let the things happens just like in the game, BUT since they choose the option one, the child died.

In this, the options were really clear, 'cause leaving the tape to Nell would save them, but it would also leave Nell behind, 'cause there's no actions without consecuences.

In the hug option, just put 2+2 together; if Callem reach to Nell with the excuse of a ''hug'', his irrational part would take the oportunnity to take him with him and run for their live to try to save him too, but catnap wouldn't had let that happen.

The result? the three of them getting catch, and probably getting Callem and Charlie dead, 'cause Catnap only care for Nell, the other two wouldn't had a chance, and it would be a game over.

The information about the dream mode or other stuff isn't that relevant when making choose, 'cause the options are more about what do you think would help the characters make it alive.

You all choose right this time, you need to keep them all alive to get the good end ,'cause yeah, this mini arg have a end, but there's like 7 events before that, each of them with a moment were the audience can decide the destiny of everything, and in each of this event theres a posibility of loose one/more of one critter, so choose widely.

[piratecaptainscaptainpirates]

I am once again begging white fans of OFMD to consider why they assign more weight to Ed's violence than anyone else's. If you look at Ed's history as a pirate and compare it to Stede's, especially when they do many of the same things (leading violent pirate raids, getting boats set on fire) and Stede is quite honestly much more delighted by violence and a much happier participant on said raids, and you come away with the take that Ed deserves moral judgment for those things but Stede does not, then please just think about why you feel that way.

OFMD rejects simple dichotomies. It is careful to show its protagonists as people with flaws who make mistakes, and sometimes these mistakes hurt people. If you come away from the show with the take that Ed is fundamentally a bad person and he can only ever try to be influenced by Stede's goodness, despite their actions being very very similar and the show going out of its way to tell us about how Ed's history of trauma informs his actions, then you are reading against the text and you really need to consider why you find that idea so compelling.

[kitcatkillua]

Dissecting Naruto’s Ending in Good Faith

Let's consider the possibility that Kishimoto's ending was deliberate—that things ended how they should've, and some plots weren't mistakes (looking at you, Kaguya).

Okay, hear me out. By assuming this, we can explore the series with a good-faith reading. Recently, I’ve been reflecting on the series as an adult, and it’s shaken up many of my beliefs and perceptions—it's somewhat distressing, so I’ve been processing all this in therapy too, and coming to key conclusions. I think It's crucial to understand the motivations behind Kishimoto's choices, not just within the Narutoverse but also within the Kishiverse. Why did he make the decisions he did?

Why did he suddenly introduce reincarnations and fate? Aliens? Why the couples that seemingly came out of nowhere? Why doesn't Naruto quite change the system, or help the Hyugas? The final arc, overall, just seemed quite jarring, with some plots (like fate) seemingly subverting the message of the series.

I wonder, then, if Kishimoto's ending shows more of a realistic world rather than an idealized one. Reality often unfolds messily and sadly, devoid of perfect resolutions. Whether intentional or not, Kishimoto's storytelling may reflect his acknowledgment of the imperfect nature of existence. His reality bleeds into his creation, and he's subject to the same harsh realities his characters face.

Fate, Justice, and Change

In this unideal depiction, Naruto and Sasuke's actions are tied to fate rather than free will, Sasuke doesn't achieve his revolution, Naruto doesn't dismantle the shinobi system, and both end up in marriages that seem sudden and unsatisfactory.

If Kishimoto indeed intended this, why? Well, change often takes time, and sometimes change doesn’t even happen at all. People can become tired of fighting for a cause in certain ways, and settle for smaller victories. Relationships may not always align with desires, leading to compromises for convenience.

It's intriguing that Kishimoto explores themes of defying fate while ultimately making Naruto destined to save the world anyway. By making even the protagonists constrained by destiny, Kishimoto echoes historical cycles of rise and fall. Perhaps there's something inevitable about human love and hatred. We can begin to see Kishimoto's philosophical musings on how the universe came to be—the First Cause theory, that there's a divine Creator behind the universe. Or, perhaps, no matter the circumstances or our destinies, we must try to make our own decisions.

And, Sasuke's lack of revolution may not be a complete surrender. He doesn't fully support the system, remaining detached from the bureaucratic and familial norms by traveling. He pursues justice by roaming the world as a vagabond, championing justice as a vigilante. Sasuke has never been one to adhere strictly to Konoha's rules; he eschews the headband and prioritizes loyalty to his morals and loved ones. His rebellion does not manifest as he initially envisioned because his youthful idealism inevitably wanes. But this doesn’t take away from his fight, because Kishimoto portrays him as insightful and intelligent, showing that Sasuke can recognize the pragmatic benefits of partial conformity. He forever remains committed to his pursuit of justice by traveling and aiding others. Thus, his true surrender lies in acknowledging that he can be loved without compromising his strength, refuting the notion of love as a weakness.

As for Naruto, he isn't ignorant—he does comprehend the situation fully, sharing a deep understanding with Sasuke that transcends words (“I know your heart, and you mine” telepathic conversations). While it doesn't seem like much has changed, the events in Boruto unfold merely two decades after Naruto's era, a short span in historical terms. Significant societal transformations typically require centuries, not mere decades. Nevertheless, Naruto succeeds in establishing an era of peace, which Kishimoto shows through the relatively low stakes in Boruto. And when there are threats, they often manifest on a cosmic scale involving gods and extraterrestrial beings. While Naruto and Sasuke have brokered peace among nations, they acknowledge the inevitability of conflicts and warfare. Naruto's focus shifts towards fortifying the system itself, striving for safety within the constraints of reality.

Unexpected and Reluctant Couples

To thoroughly analyze the series, we must also examine the role of romance, as Kishimoto's introduction of romantic pairings significantly impacts plot themes, character development, and motivations. Whether we embrace it or not, these pairings alter the essence of characters in ways previously unseen.

In the canon material (manga and anime main story only), Sasuke and Naruto exhibit no romantic interest in Sakura and Hinata throughout the series. In fact, neither actively pursues romance in general. Sasuke states as such to Kakashi, and Naruto tells Jiraiya he’s not interested in girls. While Naruto initially does have feelings for Sakura, he eventually relinquishes them. Both protagonists prioritize their ideological missions above all else, with exceptions made for their friendship with each other. Sasuke, for instance, abandons his vendetta against Itachi when he sacrifices himself for Naruto in the Land of Waves, while Naruto is willing to forsake his dream of becoming Hokage to die to save Sasuke from loneliness and hatred.

So, how does Kishimoto portray their eventual marriages? Sakura pursues Sasuke persistently, repeatedly confessing her feelings until he ultimately relents and agrees to a family life with her. Meanwhile, Naruto displays no romantic interest in Hinata, even disregarding her confession during the battle with Pain. When he eventually marries her and starts a family, it feels contrived and dispassionate, a jarring image contrasting the boisterous Naruto we know. These relationships seem to emerge out of duty and resignation rather than genuine affection. Both Sasuke and Naruto appear worn down by their wives' persistence, leading them to reluctantly accept their marriages.

These couples have sparked considerable debate within the fandom, and rightly so, because they are not healthy or truly romantic relationships; rather, the depiction reflects the harsh realities of many real-life relationships. Kishimoto portrays Naruto and Sasuke's marriages with little prior development; perhaps a deliberate narrative choice rather than an oversight, highlighting their dissatisfaction through their roles as absentee fathers.

And in terms of specifics, Naruto's marriage seems to revolve more around Hinata than anything else. Consider this: why is Naruto portrayed as uncharacteristically serious and subdued when interacting with Hinata? Even during the pivotal moment when he finally confesses his love to her, his demeanor remains stoic and solemn. Where is the goofy and expressive Naruto we know and love? Additionally, why does Kishimoto include comments from other characters urging Naruto to "treat her well"? Because Naruto's marriage is not primarily about him; Hinata simply happened to be there, and it’s his duty to follow up on that.

And for Sasuke, why do we see panels like the family dinner in Boruto where Sasuke appears utterly miserable? Why is Sasuke never around? Why didn’t Kishimoto even give them a kiss scene? Why does Sasuke mostly display emotions when he's engaged in combat or interacting with Naruto? It's because Sasuke finds purpose and vitality in fighting for his beliefs, and Naruto is the only character depicted by Kishimoto who truly understands Sasuke's innermost thoughts and feelings. Sakura doesn't get Sasuke's essence. Isn't a marriage supposed to be built on true understanding, and progression?

One way we can see it is, Kishimoto, as an artist, is deliberate with his drawings, and these details are not mistakes. Canonically, both Sasuke and Naruto are depicted as tired or subdued in their relationships. Despite Kishimoto drawing them blushing in various situations before, neither of them ever exhibits such reactions when interacting with their wives. This deliberate choice by Kishimoto, despite them being his beloved main characters, shows that Sasuke and Naruto are not in love with Sakura and Hinata.

Love and (lack of) Romance

Sasuke and Naruto are not portrayed as romantic individuals; rather, they are depicted as traumatized fighters and idealists driven by a desire to change the world.

Kishimoto remains true to this characterization throughout the series, extending into Boruto. While Naruto is largely a series about love, it's not focused on romantic love. Instead, it delves into the concept of transcendent love and optimism amidst adversity, encompassing love found in seeking revenge, striving to change the world, and fostering bonds of friendship and loyalty. The relationship between Naruto and Sasuke is the one Kishimoto gives the most development to in the series, and embodies nuances of love, rivalry, loyalty, and compromise. This love isn’t necessarily romantic, but it can also be anything because it is transcendent love. This part is up to you to decide and I believe doesn’t take away from their story either way.

Another question that arises is, does Kishimoto really just suck at writing romance? Well, not really. He’s demonstrated his ability to craft compelling romances, such as those between Minato and Kushina, and Asuma and Kurenai. However, he chose not to apply this to Naruto and Hinata or Sasuke and Sakura. Although, he does show that Sasuke cares for Karin at one point, even awakening a new power for her, but takes it back as their relationship ultimately falls victim to Sasuke's madness at the time (although I believe this relationship, along with Naruto x Sasuke, can tentatively be argued for, but I digress for now).

These decisions reflect 1) the fact that Naruto and Sasuke's characters are not about romantic love; their goals and convictions for justice are prioritized above all else 2) Hinata and Sakura are not The Ones for them. Thus, their seemingly unhappy relationships serve as a reflection of their de-prioritization of romantic love in favor of their greater missions.

Further, realistically, people don't always end up with their ideal partners. Many people settle in relationships because they desire families or because they are pursued by others, rather than actively seeking out their soulmates. Kishimoto chooses to depict Naruto and Sasuke with a lack of emotional expression with their respective spouses. Even in the presence of their own children, Naruto and Sasuke are not depicted with joyful expressions, suggesting a lack of fulfillment in their familial roles.

The Whitepill

Ultimately, the way things turned out seems disheartening at first because shows are meant to inspire and provide an escape from reality. Throughout the series, Kishimoto led us to believe in the possibility of an ideal ending, where change is attainable and love conquers all.

But, Kishimoto's decision to depict Naruto and Sasuke's inability to achieve 100% of what we desire is, in fact, profound. The truth is, we can't always get exactly what we want, but we can make small compromises and strive for justice in whatever ways we can. This struggle is something humanity has faced throughout its history. Our world is far from ideal. But, we are still able to achieve bits of justice in ways we can; we get just enough to keep us going, to leave us with the thirst for more.

Perhaps Kishimoto portrays Sasuke's surrender not because he believes Naruto is unequivocally right, but because Sasuke wants to choose love, and is inherently kind and idealistic. He cares deeply about his friend and desires to see positive change in the world. Sasuke's journey leads him to become a protector of not just Konoha, but all villages, reflecting his compassion for people everywhere.

Similarly, Kishimoto may depict Naruto continuing on as part of the existing system not because Naruto is complacent, but because he's someone who seeks to work within established frameworks rather than tearing them down completely. This approach doesn't diminish Naruto's convictions or his commitment to change; rather, it reflects his pragmatic approach to achieving his goals while minimizing disruption.

Naruto and Sasuke's best efforts serve as inspiration for us to take up the mantle and continue the fight.

Ideal World and Optimism

Despite this, Naruto’s ending does not really make sense in an ideal world. In an ideal world, there would be a more perfect compromise, we wouldn't be bound by our fate, and the oppressive shinobi system would be dismantled. Naruto and Sasuke would have more time to heal and explore the world alone, and eventually find fulfillment in their love lives; Sasuke would find someone who truly understands him, while Naruto would enjoy a relationship where he can be his true, expressive self. Sakura would be able to move past her childhood infatuation and grow personally, while Hinata would gain confidence and develop her own identity.

Therefore, reading from a purely Narutoverse standpoint, the issues I mentioned do, in fact, undermine the themes and relationships built over the course of the narrative. Maybe Kishimoto fumbled after all, and Boruto sucks, and is simply a cash grab. Or, he intentionally wanted to troll us—suddenly breaking all conventional storytelling rules is suspicious, right?

Perhaps what really happened is a mix of all these things. While there are many external influences that led to this bleak ending, Kishimoto's intentions surely play a vital role.

Regardless, Kishimoto's big mistake is being too subtle and abrupt in introducing the new concepts at the end. However, in doing so, he has successfully sparked ongoing disagreement and discourse that persists even a decade after the series concluded.

In this sense, he has effectively brought attention to the messages: make love, not war; seek change, not complacency; and find The One, don’t settle. And even if I’m wrong in everything and this whole essay is just a copium, it's a lot better to believe in my ideals than to accept defeat. Because, Naruto taught me one invaluable lesson—no matter the odds, never give up.

[riririnnnn]

Can we talk about him?

Oh god this sweet springchild deserves so much more love than what Fandom gives him.

It's only been, I guess, a month of me joining Tumblr, so I can't say what you all think here, but as far as I've seen in other places, I got to say that he is hated/trolled for no reason at all.

Yuki would've been a green flag, scratch that, he would've been the greenest forest if he were a real person.

I understand that

THIS

is one of the first manga panels we got of him, and yeah, I agree that he feels like that one annoying teacher's pet in our classes, but considering the environment of BLLK and the fact that they all literally have their soccer career in line, I don't think so that he did anything wrong. Besides, he didn't try to put anyone down, he is only asking for a reason.

Then we have this panel:

It seems annoying again, but considering his backstory, both the above panels start to make a lot of sense.

To be honest, even without his backstory, the above panel was justifiable since Noa himself said that he judges by number and if Yuki has a better number data then obvi-fucking-ously he has the right to ask such a question.

Also, why we don't talk more about his backstory?

Do you all understand how devastating it is to lose a dream all because of a situation or a circumstance that is completely beyond your control? Imagine working hard for something only to lose it all just because of something that you did literally nothing to deserve.

Further, he had it easy as a model you know. In a country where the average male height is 5'7'', his 6'0^½'' height is surely a great advantage, yet he decided to fight for his dream. How cool is that!

Also, sometimes, I think that if Isagi were not to be the protagonist, then how bitch-y everyone would've considered him.

Like,

WHAT THE HELL, MY BOY!?

I understand that he didn't know about his medical condition but still!?

In their argument in the changing room, I do think that both of them were right in their own way: Blue Lock was literally made for strikers, and, at least according to BLLK ideal, what type of striker passes to someone else!? And seeing things from Isagi's perspective, he did the right thing!

And I also think that Chris was a big bitch for blocking Yuki's goal like that and top of that, also calling it/him pathetic.

Why is he posing like he just solved the global food crisis? Like, what the fuck, my man? That boy hasn't even completed his teenage years, HAUL YOUR OLD WRINKLY ASS OUTTA THERE!

And after that Isagi passes him a goal too and yada yada, but Yuki acknowledged it right away. He also came to apologise and accepted his mistakes.

Just look, look, LOOK!

How sweet he looks. Like a pathetic wet cat. Oh lord! I want to protect him.

And do not dare to come at me by saying, "IsAgi ofFeReD hiM a pLaN bUt wHeN hE aSSisTeD hiM yUki acCePTEd iT."

Like bro, first of all, shut up. Second of all, imagine being in the soccer field and someone passes you the ball, what are you going to do? Run the other direction or something? Brah, Blue Lock taught the boys to be egoistical not stupid.

Just stop hating him.

.

.

.

One time when I was thinking about Yukimiya's headcanons, I was like, "He might actually be blind one day, so I think he is learning sign language."

Then after a long pause I was like

...oh

[tobiasdrake]

Can you elaborate on the broly cheelai leemo dynamic? I could see what they were going for but thought it seemed a little underdeveloped

It's definitely underdeveloped but for what we get in the film, it works for me.

On their own, what makes Cheelai and Lemo interesting is that we rarely get to see rank-and-file Planet Trade forces. We've gotten to know Saiyans and their mutant elites, but ordinary Frieza Force troops are rarely in focus.

So far as the writing goes, Lemo is basically a purse for Cheelai; He goes where she goes. She's the one that drives the plot of DBS: Broly. An irreverent car thief who stole a cop car and then got ID'd by the police. She didn't really join the Frieza Force; She's using Frieza as a shield.

This woman gives zero fucks.

She's right, too. As Jaco: The Galactic Patrolman clearly established, there's a limit to how much Galactic Patrol can interfere with Frieza's operations. Capitalism is far more powerful than law enforcement.

In any case, this makes Cheelai an interesting figure in the whole conflict. She's not so much with Frieza as she is a wild card in the mix. She's scrappy; She goes where she will, does what she wants, and problem-solves her way out of the trouble she lands herself in through whatever means are available, even if they're unconventional. That's a good setup for a protagonist.

And make no mistake: Cheelai, Lemo, and Broly are the protagonists of this film. In much the same way that Infinity War is more Thanos's film than anyone else's, this is their movie, without a doubt.

For his part, Lemo's an old-timer with the organization. One thing I really like that this movie does is acknowledge that an organization like the Planet Trade requires the existence of staff beyond the direct military. We even see it with the Saiyans, as this same film introduces us to the Saiyan mechanic Beets.

Like Goku's chef of a mom Gine, Beets exists to demonstrate the existence of Saiyan infrastructure. Saiyans may be the most powerful race in the universe but even a warrior race needs bread-making Saiyans and mechanic Saiyans and stuff.

The same is true of Lemo. By his own admission, he's been with the Frieza Force for a long time but he is not a soldier. And, y'know, neither is Cheelai; She's a car thief in hiding.

Leemo's main job is to be Cheelai's sounding board, and to Me Too Me Too every choice she makes with Broly. This serves the purpose of keeping Broly and Cheelai's dynamic from seeming romantic. They're certainly shippable, of course, but the film never crosses that line of making them a canon ship.

This is good because actively trying to thrust Broly into a romantic relationship with the first non-parent person he ever met would seem unbelievably predatory and kill the sweet vibe of their dynamic. Cheelai is not here to be a Love Interest, so the film uses Leemo as a chaperone to keep their scenes from coming across like she is.

They're out here scouting the universe for recruits to join the Frieza Force but having difficulty finding people who can meet the standard requirements for enlisting in the main army. Until they go to pick up Paragus's distress signal and stumble upon the jackpot of their lives.

Once we get the Dragon Ball Minus portion of the film out of the way, so much of the first act is just setting up and developing the chemistry between Broly and Cheelai.

This is the first conversation Broly has ever had with someone who wasn't his abusive father in his entire life.

When they introduce Broly to Frieza and we get an explanation of his tendencies, the animation on Broly is so good.

Paragus explains that he cut off Broly's tail because Broly would lose his mind whenever he became the Oozaru, and lets slip that Broly still sometimes loses his mind and becomes wild and unstable. When Frieza naturally takes issue with such a person being on his ship, Paragus quickly clarifies that he has Broly under control.

As he removes the controller to Broly's shock collar from his pouch, we get to see Broly's eyes go wide with fear, and then he starts grasping at the collar and pulling at it in panic. Pure Pavlovian terror just at the sight of the remote.

With the scene calling attention then to Cheelai and Lemo, horrified by what they're both seeing and hearing.

"It is not a strong current," Paragus assures Frieza while Broly is having a full-blown panic attack behind him.

Lemo and Cheelai collect a very generous payment for finding Broly. We have no idea how galactic currency works but they both react like "OH MY GOD SO MUCH CASH" so we can assume this is a lot of, uh, cosmic cigar cases or whatever.

Admittedly, the "Lady asked you to leave her alone" cliche where the likable male protagonist beats up an asshole harassing the likable female protagonist at the bar is pretty old and tired at this point. But I will note two things I like about this scene:

1 - That Broly isn't the one who escalates. He's not the one who started this fight. Lemo tries to intervene first, attempting de-escalation by offering to buy the thug a drink. It's only after the thug gets violent and decks Lemo that Broly then steps in.

2 - And also, the main point of development that Cheelai, Lemo, and Broly have isn't "Broly stepped up to defend Cheelai". This is just a mechanism for bridging the gap between the important stuff. That is, Cheelai seeing how controlling Paragus is....

And Cheelai getting to see for herself what the "mild current" of Broly's collar looks like in action.

God, if the visuals of Broly writhing around in pure agony don't make you feel for the guy, the sound of him screaming bloody murder for like fifteen seconds straight sure will.

Paragus declares that he had to do it because Broly would have killed that guy if he hadn't. Cheelai retorts by calling Paragus's parenting into question which. Like. Yeah.

We tend to just kinda take Paragus's word for it that Broly's a raging uncontrollable beast purely by nature and it has nothing to do with his failings as a dad. "That's just how the boy is, nothing to be done about it, gotta torture my kid," says the father who tortures his kid while also weaponizing him for personal gain. Why are we trusting him?

The thing this movie did for Broly that makes it so fascinating is that it asks those kinds of questions. It dares to ask, "What if the abusive father's interpretation of his child is actually full of shit?" It reinvents Broly as a character by condemning Paragus, but doesn't have to condemn Paragus any more than the original Z film already did. All it really does is take away the meta-narrative's vindication of his abuse.

The domineering Paragus barks at Cheelai to stay the hell away from his boy. He doesn't even notice Cop Carjacker Cheelai solving this problem herself.

Fun fact: In this moment, Cheelai kills Paragus.

It's a bit of a walk from here to Paragus's death, when Frieza hysterically murders him in order to motivate Broly to become a Super Saiyan.

But this only occurs because the fight between Broly, Goku, and Vegeta has continued to escalate beyond the point when Paragus would have stopped it. His fate is sealed when he reaches for the remote to stop Broly's fight and finds it missing.

The highlight of their relationship-building is, of course, Broly telling the story of Ba's ear after Leemo introduces him to water for the first time. The heartbreaking tale of the first and only friend he had before these two.

Broly wears Ba's severed ear so that he'll always remember what it felt like when he had a friend. Oh my god. Are you shitting me with this. That is the most heartbreaking thing. How dare you make me want to wrap Broly the Legendary Super Saiyan up in blankets and give him hugs and chocolates.

Broly doesn't even like fighting; His dad forces him to train. Which sure makes it really fucking interesting when Paragus turns around and goes, "I have to use a shock collar because my violent and uncontrollable child is violent and uncontrollable!"

Then, as the fight goes on, we keep checking back in with Cheelai and Leemo to get Cheelai's assessment of what's happening. Cheelai sets the tone for how we should be feeling about Broly's fight with Goku and Vegeta.

I love how, when she says Paragus raised Broly to be "the kind of warrior that he wants him to be," the shot isn't of Broly looking fierce or menacing, or beating down Goku or Vegeta. It's the shock collar. This is the visual expression of what Paragus wanted Broly to be.

And that, in turn, is the tone of Broly's fight with Goku and Vegeta. This isn't awesome, it's tragic. They don't even know. They legit have no idea who this guy is. Frieza showed up with a super cool warrior and went "FIGHT THIS STRONG GUY" and so they're doing that.

They have no idea who he is.

And they're probably going to kill him in this fight.

All of this context is what makes the finale of this movie work so hard. Because this is Cheelai, Leemo, and Broly's movie. Cheelai by this point has been firmly established as an irreverent thief who does whatever she feels like. She has no loyalties to anyone but herself and whoever she cares about, she makes dangerous choices, she's young and impulsive, and she's emotionally invested in the wellbeing of this abused boy who deserves better.

Consequently, the triumphant climax of this film isn't when Gogeta defeats Broly, but when Cheelai fucking robs Frieza to save Broly.

This is the emotional climax of the film, offset against the tragic action climax where Gogeta is utterly destroying our boy in a predictable but heartbreaking fashion. The magic of this movie is that by the end of it, it has you rooting against Goku and Vegeta, and utterly distraught when they pull ahead and find the answer in the third act.

This character relationship is underdeveloped. It could have used a lot more fleshing out, and honestly I would never say no to more of these characters.

But for what we got, I love it. Cheelai and Broly are the best characters that DBS ever came up with, and Leemo's cool too.

[cure-icy-writes]

Regarding the transgender and autistic coding of Octodad: Dadliest Catch.

To preface: this essay will be in two parts. One with spoilers, and one without. The spoilers will be hidden under a cut, and optional. 

Octodad: Dadliest Catch is a 2014 action/adventure game in which the protagonist, known only as “Octodad”, is an octopus masquerading as a human man. If it sounds ridiculously goofy, that’s because it is. Octodad rarely takes itself seriously, and that works to its credit.

Now, before going any further, I want to take a moment to lay some groundwork for the premise of the game and how it relates to otherness. Octodad, being an octopus, is fundamentally Other. He is a nonhuman in disguise, he is living a lie, et cetera. The concept of beings that disguise themselves as human is an old one, from Greek gods seeking hospitality to changelings left behind as supernatural brood parasites. They are shapeshifters and deceivers, whose stories are born from the fear of Otherness. And more often than not, these beings have malicious intent.

But Octodad, fundamentally, does not. He is a loving father and husband who hides his identity out of fear. He is Other, and this otherness isn’t portrayed as predatory or evil in any way. And viewing this story through the lens of Octodad, controlling his actions, the player gets to know a little bit about him.

Back to the trailer— Octodad’s gameplay is showcased, and it’s immediately obvious that the control scheme isn’t exactly typical. Players must control each limb individually, resulting in sloppy, uncoordinated movements. Octodad stumbles through the grocery store, across a play set, leaving destruction in his wake. He isn’t trying to make a mess, unlike a certain goose, but rather, this is the natural result of what he is. He’s literally a fish out of water— and yes, he is a fish if you’re pedantic enough about cladistics, which I am going to be for the sake of this metaphor. 

The control scheme is deliberately messy, a stylistic choice that forces the player to constantly remember that Octodad is something Other, and the resulting mistakes have consequences. The levels are designed in such a way that even an experienced player will have to make a mess at times, and it comes with a sense of shame— after all, a normal protagonist could do this. Mario could platform his way through this grocery store with no problem! But Octodad can’t. He slips on banana peels and breaks open crates and spills fruit all over the linoleum. And the UI forces you to be constantly aware of when others are watching, furthering that sense of shame.

The game won’t punish you for slipping up sometimes. But the mess you’ve made, the judgmental gazes of the NPCs, will. You are an imposter, facing a constant uphill battle to perform difficult and unnatural tasks that are effortless for the humans around you. They cannot see that you’re an octopus. They do not know that you’re an octopus. So long as you are wearing your suit, no one can tell, even with the tentacles and bulbous head and suckers on your limbs. But they can see your mistakes, and your failures.

How does that relate to autism and transgenderism? Well, let’s start with autism, since the transgender coding is mostly in story spoiler territory, while the autism is largely in the gameplay mechanics. Autism is a pretty broad spectrum, and it’s difficult to point at something and definitively call it autistic-coded when the autistic experience varies so drastically from person to person. But Octodad and his Otherness, even as a silly octopus, strongly parallels autistic masking.

Octodad’s enforced sense of shame strongly resonates with the autistic experience— constantly aware of eyes on you, always messing up because no one explained the rules to you properly, or struggling with sensory issues or executive dysfunction when everyone is trying to convince you that your experiences are normal and you’re just being dramatic. And in that sense, it’s cathartic to see Octodad, because he is unmistakably and undeniably Other. You cannot say “Oh, honey, everyone’s a little octopus, you’re just not trying hard enough,” to an octopus the way that neurotypicals often do with autistic people. You cannot deny him his Otherness which causes his struggles.

Remember the changeling story I mentioned earlier? Changeling myths and autism are inextricably connected, and far too often, they demonize autism. The problem with trying to define humanity in a way that excludes imposters that pretend to be human is that you will inevitably end up excluding and hurting people, particularly those who are neurodivergent, queer, disabled, or otherwise in a minority. So, if you cannot define humanity without excluding humans from the definition, then it serves to reason that broadening your scope will include non-humans. And this is portrayed as an unambiguously good thing, to acknowledge the humanity of an octopus.

Real life isn’t like Among Us, where the imposters are murderous freaks who unhinge their jaws and chomp off the top half of their fellow crewmates before hopping into the vents. Sometimes, they’re scared people who go through life hurting because they tried to be normal until they forgot who they were.

And now, let’s examine the story and talk about the further coding it contains. The first thing that catches my attention is Octodad’s morning routine— coffee. It seems innocuous at first, but it’s later revealed that this is the only reason Octodad has the ability to walk upright, because he’s constantly self-medicating with caffeine.

There’s a very domestic portion of the game where you see just how much Octodad adores his family, he does the chores for his wife whom he loves a lot, and then— he survives a couple murder attempts. His neighbor knows he’s an octopus, is a chef at the local grocery store, and is the main antagonist of the game. He breaks down the fence between their yards with some sort of nightmarish combine-harvester machine that nearly sucks in Octodad, but the situation is resolved quickly enough. Then, just a little later in the day, he goes out to the grocery store, where the chef finds him and chases him with a knife, threatening to turn him into moderately priced sushi. Interestingly, though, is the fact that Octodad seems more worried about his wife finding out than the fact that he’s an octopus than the threats on his life. We don’t know how often these happen, but he just brushes this off and hopes to keep up the masquerade a little longer. He has to be human, he has to be normal in order to be loved, and nearly dying alone to his murderous neighbor is a small price to pay. And… it’s sad, honestly.

The real meat of the game, though, is at the aquarium. Octodad is frankly terrified of this place, but he can’t tell his wife why. There was a scene that stuck with me— it’s meant to introduce you to the fact that the Biologist enemies are a threat who will recognize and out you, but it made me think about TERFs. They always claim they can spot trans people, as if there’s some secret sense for it, as if a world in which women are subject to random and invasive genital inspections is somehow better than a world where the lady in the bathroom stall next to you is standing up to pee.

After getting through the first part of the museum, Octodad has to find each member of his family and do some minigame puzzles. The kids are absolutely adorable, but what struck me was the conversation with Scarlet, as she grows frustrated with Octodad’s secrecy. He sleeps downstairs, he somehow “made more” when the printer ran out of ink, he lost a limb in a plumbing accident but it somehow grew back, and he’s keeping things from her. He won’t have an honest conversation, and she’s getting frustrated.

Take a moment to imagine the veneer of metaphor peeled away. Imagine you have been married to a man you love for ten years, but you know he’s hiding something from you. He doesn’t sleep in the same bed as you, never wanted to consummate things, and you’ve respected his privacy and consent, but he won’t explain why. He’s ecstatic about raising kids together, but he doesn’t want biological ones. There are these instances you can’t explain, like his sudden insistence on buying a shark plushie from IKEA, or the time you caught him mailing a tank top (was it a tank top, really, because you never got a good look at it) to someone and he looked guilty. You find a list of names, some of them crossed out, and wonder who these women are. He never wants to look in the mirror or have pictures taken. You love him and you want to respect his privacy, but the secrets are driving a rift between you.

Imagine it from the other side, now. You have been married to the woman you love for ten years. She doesn’t know you’re trans, and you’re terrified she’ll leave you if she finds out.. She didn’t seem to mind when you told her you didn’t want to get horizontal, but she doesn’t know it’s because sex in this body makes you dysphoric. You love your children so much, they’re the light and joy of your life, but you can’t help but wonder if your wife wanted to have them the old-fashioned way. You try to escape what you are but it’s getting harder to repress. You know she suspects something. You ended up with a binder, and sent it to someone you met online. You bought yourself a Blåhaj and you don’t know why it was that desperation had seized up in your chest when you saw it. You spent ages on name websites, looking for the perfect one, writing them down to see how they felt. You have the most amazing wife in the world and she is slipping away because you couldn’t keep pretending.

Scarlet asks Octodad to meet her at the shark tank when he’s ready to have a real conversation. And the shark tank is where things get interesting— the chef is there, waiting. He cuts off Octodad’s clothes with a cleaver, and tosses him into the tank, yelling, “Go back where you belong!”

The thing about the coding of Octodad is that it’s never a consistent one-to-one. That particular line? Could be read as immigrant coding, out of context. But then, looking at how easily he moves in the water compared to the flopping rag doll movements on land. He no longer has to mask, he no longer has to hide himself and navigate a world that is hostile and judgmental to him. 

And he’s miserable. He misses his family. And he’s determined to find them, and save them from the chef. So he sets off to do exactly that. 

There’s a series of objectives to complete to get there, but the one that stuck with me? Sneaking into the women’s bathroom. Granted, it’s for the purpose of going through the vents and causing a diversion in the break room, but it still strikes me that Octodad, who presents as a male human, has to sneak into the women’s restroom. And this is presented not as some scandalous affair of a peeping Tom, not a forbidden thing, but just an objective. That’s where the proper vents are, after all. 

On a sillier note? You walk into the aquarium in a shark suit, and you have to cause a diversion. So now, rather than Octodad’s clumsiness being a source of shame, it’s his strength, and it’s a point of pride. He’s an octopus! He’s excellent at making messes!

And then there’s the grand finale— it’s corny and dramatic and there’s a cafeteria on fire, and the truth is out. He’s an octopus.

And Scarlet? She says she was expecting so much worse. She loves her octopus husband exactly as he is, and no matter what adjustments she has to make, she knows her family will be stronger for it. Because now, she has the chance to love her husband in his entirety, in his Otherness, and she takes it.

Octodad is a story about an octopus walking around in a suit and pretending to be a normal human man, but it’s also a story about being closeted, masking, living in fear, and finally realizing that the love remains. That there are people who will love you as you are, genuinely and truly, tentacles and all.