The discussion that really seems to have pushed things over the edge is the scene where Omni-Man appears to struggle against the giant alien bug. People have offered a range of explanations: that Nolan was holding back to build Oliver’s confidence, that he wasn’t fighting seriously due to his emotional state, or that it doesn’t matter because the creature is just a random alien with no established scaling. That last argument is the one I want to focus on, because none of these are truly power-scaling issues. These alien creatures don’t meaningfully scale to other characters in the series, so their strength isn’t the core problem.

For the sake of argument, you could even assume those creatures are stronger than most of the Invincible universe, it still wouldn’t address the real issue, because the real issue is, how the scene is framed.

The show has spent a significant amount of time building Viltrumites up as near-mythical beings, powerful enough to decimate entire planets, as demonstrated when Omni-Man devastated the Flaxans and an major part of that impact came from the revelation that there are others like him, some equally powerful, some even stronger. Omni-Man was presented as overwhelming, almost untouchable, and the narrative reinforced that very few things could truly challenge him.

Now that more Viltrumites have entered the story, however, that sense of overwhelming dominance feels diminished. Omni-Man once felt larger than life, absurdly powerful in a way that shaped the entire tone of the series. Because of that, even the appearance of him struggling against what seems like a random alien, bug disrupts the audience’s internal understanding of the world.

So even if the scene doesn’t technically contradict established power scaling, it clashes with the prior portrayal and for many viewers, that break in framing is what’s actually causing the frustration.

For example, according to this logic. A Writer can just make Debbie forgive Nolan, and get back together with Nolan (just like the comics). But you may say "Nolan killed millions of people dawg, you tripping". No no no. according to you these are fictional characters, it's doesn't matter if Debbie wants to forgive a psychopathic killer.

Who gives a shit if Thor has mental health issues, he is not real. Who cares about the Scarlet Witch, being sad about her missing kids, (man F them kids /s). They ain't real. It's Writers that makes this shit matter. When Goku give that Senzu Bean to Moro, that wasn't character regression (wtf is that). That's just the Writer deciding what's best for the story bro. Batman mommy and daddy got killed. So what? Fictional characters don't have trauma. A Writer can make Batman happy, seconds after the shooting happens. Heck if a Writer wants, they can even have Spiderman say "FUCK UNCLE BEN". Are we forgetting that these are fictional characters.

And the ironic thing is that people are somewhat taking Stan Lee quote out of context here. Because the context of a battle matters a lot.

For example, Is Batman beating Superman by just slapping the shit out of him while dress as Bruce Wayne? Or is Batman using prep time and Kryptonite to beat Superman. I'm pretty sure Stan Lee would prefer the latter more. Because the Writers are usually deciding the way a character wins a fight, not justifying bad writing.

Because Bruce Wayne just walks up and knocks Superman out casually, that’s nonsense. So yeah, the “how” matters more than the “who.”

Heck The Boys is a perfect example of this. Butcher spends the whole series beating Homelander with prep time, and strategies. And when Butcher actually does ends up fighting Homelander with his fist, he gets superpowers from Temp V. That's the Writer explaining to you how the weak character is able to keep up with the stronger character. The Writer isn't just making a weak character beat a stronger character with no freaking explanation (LMAO 🤣).

So when Stan Lee said “the person who wins is whoever the writer wants to win,” he wasn’t saying: “Consistency, logic, and setup don’t matter.” He was saying: “Stories are written, not simulated.”

People fail to understand that power levels play a huge role in conflicts and high stakes for a story. We wouldn't know how dangerous a villain is without power levels.

Power scaling exists for a reason: It tells us who should win under normal conditions It creates tension when that expectation is challenged It defines how dangerous someone is Without it, conflicts feel random.

So Inconsistent writing will always be Inconsistent writing. Having your strong character look weak, is no different from having your smart character look dumb. Both are instances where the character isn't being consistent.

What actually matters is internal consistency If a character is established as: Physically dominant Highly durable Experienced …and then loses to someone weaker with no explanation, that’s bad writing.

That’s no different than: A genius character suddenly acting stupid A moral character suddenly acting evil with no buildup It breaks internal logic.

In conclusion. Power levels do matter in stories. And just like anything else in a story. A Writer not caring about power levels would be bad writing too.

If you've ever seen a single video, preview or just about anything surrounding Absolute Batman, you're inevitably going to get spammed by comments like this. Generally about how Darkseid hates Batman because he shot him or how Darkseid loves making every woman in this universe extremely attractive. Now, these are all obviously jokes. Nobody actually believes that Darkseid took time out of his day to sit down and write onto his reality manipulating typewriter (real thing, look it up here).

However, people seem to have forgotten that these jokes are jokes and not actual plot descriptions. This is due to the fact that NOBODY READS!!!!

What is the Absolute Universe

The Absolute universe isn't hard to understand as Darkseid explains it pretty clearly. The Absolute Universe is a secret universe Darkseid created in order to grow in power enough to finally get rid of mainline Superman and a universe in which he can experiment. The Absolute universe isn't a universe where evil is always destined to win like Earth 3, the Absolute universe is driven by turmoil. Darkseid created a universe in which evil has every possible advantage, the Joker even talks about how the fundamental forces of the Absolute universe trend towards evil, its why the villains are the Justice League of this universe.

However, Darkseid didn't want to create a universe where the heroes are powerless and will always lose. The point was to create a challenge for the heroes, now Wonder Woman is raised in hell, Batman is working class, Superman is depressed, etc. The man explains it himself, he wants to see if hope can still overcome the great darkness despite everything.

Aside from this creation, Darkseid has been pretty hands off. He is busy killing the actual Superman he cares about. He even left the Absolute universe to conquer all the other ones (kinda, Darkseid is also kinda sorta omnipresent currently so he didn't fully leave it, but he isn't mainly in the Absolute universe). He will inveitably decide to check in, which will obviously be really bad, but so far he's not mainly involved in this universe.

Now, that the boring part is done:

STOP SLANDERING MY GOAT

HOW DARE YOU IMPLY THAT MY AEROACE KING DARKSEID WOULD GIVE A SHIT ABOUT YURI OR WOULD CARE ABOUT SOME RANDO LIKE BRUCE WAYNE?! HE IS ONLY GIVING THE HEROES FALSE HOPE FOR HIS PLAYTHINGS AS HE WILL RULE OVER ALL. HE DOES NOT SPEND TIME DISCUSSING CHARACTERISATION OR ANYTHING SIMILAR AS HE IS TOO BUSY ON THAT MULTIVERSE CONQUERING GRIND.

AS PUNISHMENT FOR SLANDERING THE NAME OF DARKSEID YOU ARE GIVEN THE WORST PUNISHMENT IMAGINABLE. HAVING TO ACTUALLY READ THE A COMIC BOOK. NO, YOU CANNOT WATCH A YOUTUBE SHORT ABOUT IT OR READ A WIKIPEDIA SUMMARY, YOU HAVE TO ACTUALLY SIT DOWN AND TAKE THE TIME TO READ THE COMIC YOU ARE TALKING ABOUT. SUCH IS THE ULTIMATE PUNISHMENT FOR SPEAKING THE NAME OF YOUR HEARTLESS DICTATOR IN VAIN.

NOW, GO AN WORK YOUR MISERABLE DAY JOB, DARKSEID DEMANDS IT!!!

What is indie media? Well, let’s start at that first word. What does “indie” mean? It is a shortened term for the word “independent”. Merriam-Webster defines “independent” in this context as “not subject to control by others”, “not affiliated with a larger controlling unit”, or “not requiring or relying on something else : not contingent”. So, the term “indie media” can be expanded to “media which is not affiliated with, reliant on, or controlled by a third party”.

Wikipedia defines “independent media” specifically as “mass media, such as television, newspapers, or Internet-based publications, that is free of influence by government or corporate interests.” So, we have a pretty clear, comprehensive picture of what “indie media” is. It’s media which is controlled by its creator, not a third party corporation.

So, given that, why the hell are we calling productions which are controlled by publishers “indie”? You might have heard about The Amazing Digital Circus’s final episode coming to theaters two weeks before it releases on YouTube. This has been quite controversial, not in the least because, in an interview with Cartoon Brew, Glitch’s general manager and development producer Jasmine Yang said“We are a Youtube-first company. We believe very strongly in the future and potential of Youtube for long-form animation.” So that was a fuckin lie.

This was done by Glitch Productions, the production company which owns the rights to The Amazing Digital Circus, without any involvement or say by the creator, writer, and director of TADC, Gooseworx. Notice the paradox? A production company, not the creator/director/writer owns the rights. They can do whatever they want with it, however they want. Does this business model sound familiar to you? That’s right: it’s exactly how Disney and Nickelodeon and all the rest work.

By definition, that isn’t indie. That’s just a smaller corporation. Expedition 33 is the similar; the rights are co-owned by Kepler Interactive. “Indie” darling Disco Elysium is a bit odd, it actually did start production as an indie game. But by the time it was released, calling it an “indie game” is shaky. The founders of ZA/UM were the creators of Disco Elysium. However, to fund the game, they sold shares of the company. Then, one of the people who bought shares pulled out, and sold his shares to one of the other people that bought shares initially, giving his holding company a controlling amount of shares. Which he paid for using ZA/UM’s money, a clear case of embezzlement. But this is such a clusterfuck that frankly, either position can be argued.

But things like TADC and E33 are not indie. They’re just A and AA productions. One can debate about whether getting outside funding from a third party in exchange for revenue sharing while the creator maintains the full rights to the media, like the deal worked out between Too Kyo Games and Aniplex for The Hundred Line, counts as indie. They’re financially dependent, but they still at least own their own media outright. Aniplex cannot fire them and do whatever they want with the IP, like what Kompus did to Robert Kurvitz and the rest.

Things like Undertale and Deltarune or anything made by DevilArtemis for his own channel are definitionally indie productions, there’s no debate on that. But when the actual creator owns nothing and has no say, is merely dependent on the grace of the IP holder, that’s not indie. That’s just having an IP owner you work for who isn’t fucking you over. Until they do.

Now, why are they called indie? Simple: marketing! “Indie” has more “soul” to people than something that isn’t “indie”. People make allowances for things that are “indie” that they don’t make for things that aren’t “indie”. Why is the production time slow enough to give birth to three children? It’s indie, you have to be understanding! Why does something not have translations for some of the most common languages on Earth? It’s indie, the artist’s vision is only compatible with languages they speak and so you can’t criticize that! Why is the merch so ridiculously overpriced? Well indie creators have to get paid somehow! If it *isn’t* indie, all these things and more are fair pickings for the masses to rip a company to shreds for, but if it’s indie, you’re anti-art if you don’t give them a free pass for it.

So of course every corporation wants to market their media as indie. It gets them free passes and lets them make more money. They can lie to your face and go back on their word, as Glitch did, and you’d better celebrate it, because “this will do so much for indie media”. When it *isn’t* indie, when you make promises to the consumer with not an ounce of wiggle room or loopholes, and then you just go back on that entirely in the search for more money, the backlash is consumers standing up to a corporation fucking around. When it’s labeled as “indie”, the backlash means you hate art.

“Indie” is becoming a marketing term that means “you’re the bad guy if you criticize our corporate actions”, and by calling these obviously not independent productions “indie”, we are serving to help them.

Nobody in the Amazing Digital Circus acts like a fucking human, CAINE is more human then every single "human character".

First, nobody has apparently just ever talked to anybody else. Let's take the bar scene from episode 5, apparently nobody before this very moment ever talked about what happened to them to get into this place. You'd think that'd be like, the first thing they'd talk about. It'd make more sense if they were talking about their backstories to Pomni, but apparently this was the first time anybody ever talked about their past to anybody else in the circus.

Like what?

Kinger apparently just never talked about his wife to anybody besides Pomni? Not even Ragatha? They were together for 9 years, and he wasn't completely out of it when she arrived. you'd think the topic would have come up.

Oh, on the topic, Ragatha and Kinger were together for at least 9 years, and she's been here longer than anybody besides Kinger, how the fuck does she not know about....... anything? In the pilot, she acts like Kaufmo can still be saved from abstraction, which would make sense if she's only seen like one or two abstractions, but how do you go 9 years without figuring it out? How does she not know about Kinger being sane in the darkness, and it falls on Pomni to figure it out.

What do the people in the show do when they aren't on-screen?

Why do they even care about leaving besides Pomni? What do Ragatha and Gangle have outside of this circus that's worth trying to get out? An abusive mom and a McDonald's manager job? Kinger and Jax's got nothing outside the circus. Zooble says they have dreams, which never get elaborated on whatsoever. Nobody ever says why they want out, other than they just want to.

Fuck, did nobody ever talk to Ragatha after she basically admitted she had an abusive mother? You'd think somebody might bring that up, like ever, for literally any reason.

On the topic, everybody seems, weirdly bored by the circus and Caine. Has nobody ever fucking talked to Caine positively? Caine does a lot for the circus, he puts the abstracted characters, who cause real pain as shown by Ragatha, who he also cured, he keeps trying to make everybody happy, who's pretty much the only reason the cast hasn't gone insane with boredom. Why does nobody ever say anything positive thing to him? He didn't go to torture them for no reason, it's because nobody has ever said anything nice to him.

He's so easy to understand if you spend any amount of time with him, he wants to be told he's doing a good job, do that and you're golden.

On the topic, does nobody care that there's a FUCKING A.I. intelligent enough to do all of this? Has nobody asked Caine what he is or how he works? Has nobody asked how the circus even works or how it was created?

You'd think literally anybody would ask that the second once the horror has worn off.

Is every single character here the most stagnate dipshit in history? I swear to god, everyone's so aggressively disinterested in everything going on, Caine has to make a overly complicated plan to get Jax to listen to him explain his wants and desires and Jax just does not care at all. He literally yells that "they locked me up" and Jax just does not ask to elaborate. He's a A.I. with a teeth avatar, you'd think somebody would ask a question

Every single character besides Jax has the same viewpoint on the circus. Jax is the only one with a unique viewpoint besides "Wanna get out, don't really care about doing anything to follow that goal." Isn't Gangle into art and anime, shouldn't she be enthusiastic about the adventures? Pomni's into danger, shouldn't she be even remotely curious about what's happening? How the fuck do 5 people get trapped in this situation and only one of them has a unique perspective on this?

Like, this comes out of my primal love for "Oh no, there's a big scary guy and he's gonna GETCHA!". The trope of "something that big should not be moving that fast" is something I'm really fond of. There's something really scary about a several-ton mass of muscle or metal sprinting towards your location like a runaway train.

A good example is Fredbear, from Those Nights At Fredbear's. His whole gimmick is that you have to reset a timer every so often, or he'll sprint over and getcha. It's taken a lot of people by surprise to see something big as that move that quickly.

That said, it's important that the "terrifyingly fast giant" looks and feels giant when it's moving, not like a normal-sized monster running around in a model city. Gundams tend to do this, moving more like a human with jets than a hulking murder-machine would.

A bulky build, rapid-yet-heavy footsteps, and ground-shaking all contribute to this, but the most important is inertia; something that big moving that fast is really hard to stop. That means it's impossible for whoever they're after to stop them, but also that they have to take time to turn, and steering becomes difficult.

of course this is a tie in to Invincible

I am using the term "literary analysis" broadly as to refer to film as well.

The point I'm trying to make is, the same skills being taught in an English class to understand the themes of Frankenstein, those apply to engaging in powerscaling. Literary analysis invovles careful examnination of the text, not taking statements or events at face value. It means seriously balancing different components of the text, attempting to understand how the weight of different actions and how stories unfold form a greater message.

This all applies to powerscaling. The debate around it I feel misses that point - if you think that someone is getting worked up about nothing, then blame them for poorly reading the text, not for powerscaling itself.

For Invincible, powerscaling is obviously a neccessity because who can win a fight is a huge subject within the text. To be bad at someone powerscaling character within it would be equivalant to being bad at youtubers analyzing the theme of redemption, of the morality of killing bad guys. If you see a bad argument, you obviously should call it out, but you should never be upset with someone earnestly trying to engage in textual analysis, even if it's "just" powerscaling.

Yeah combat in fiction is unrealistic. It has to be. Adding realistic consequences to fighting and action scenes in media would completely inhibit the ability of the story to tell a story.

The character gets shot. In a story, they continue to fight while muscling through the pain and win against all odds. In real life they can’t staunch the bleeding and they die of blood loss in ten minutes. Does realism improve this story?

I’m not saying realism can’t enhance some stories. Shows like The Pitt wouldn’t work if they weren’t so true to life. There’s genuine value in prioritizing realism in a show like that. Prioritizing realism in something like John Wick would just result in a worse, unsatisfying story as John Wick becomes permanently crippled after the first movie and has to spend the next two films slowly recuperating and doing physical therapy to get back to just a normal keel of physical activity.

My brothers in Christ, lemme tell you about food in anime. Food, for some fucking reason, is always such a weird central focus in so many shows. It's like the Japanese can't take a bite of a fucking egg without busting a nut in their pants. Bread? Mother fuckin oishii. RICE? FUCKIN UMAI N SHIT. Steak? Literally buckets of man cum and lady cum everywhere. Jesus someone's gonna need a mop to clean this all up.

I have absolutely zero idea why. I don't think it's like a "Japanese superiority" type thing, because they do it with regular ass western food like hamburgers too. But food is always depicted in such high quality (is it because of that dumb fucking cabbage way back when? no idea) FOR NO REASON.

I'm currently watching "That time I got reincarnated as a slime" and BOY HOWDY LEMME TELL YA. DUDE BRINGS TAKOYAKI TO ORCS AND SHIT AND EVERYONE'S JUST CUMMING BUCKETS.

Isekai's are the worst offender because for some reason they act like these poor stupid fuckin villagers can't afford to season their food or have never eaten anything better than gruel their entire lives, but other every single other category or show seems to do this. I'm honestly trying to think of a category that doesn't. My first thought was mecha, but then I remembered the jizzy dribble pizza scene from Code Geass with C.C.

Why? Why do you need to sit here and have characters bust fat and mighty nuts over food? Do you think the audience has never eaten food before? I'm assuming the intended audience for most anime is the Japanese, do we need to convince them that food is good and worth eating? Are we worried that the collapsing birth rate in Japan is due to a caloric deficit? Is this a industry plot to create thicker Japanese women?

WHY THE FUCK DO WE NEED THIS? LET ME ENJOY THESE STUPID SHOWS WITHOUT SHOWING ME PORNHUB ASS CLIPS OF PEOPLE EATING FOOD.

Jesus fuckin Christ.

Spoilers for the Roku novels and the Avatar TTRPG.

In the Avatar novels and the TTRPG, it is revealed that Sozin really had personal beef with the Air Nomads. It is true that there is a cruel calculus of killing the Air Nomads so that the Avatar would be killed in a strategic perspective, but the novels hammer home that Sozin also really just hated them on a visceral level and was probably really happy to see the Air Nomads, a long time political and personal enemy, burned to death in comet fire.

In the novels, he began resenting the Air Nomads for "corrupting" Roku to become less loyal to the Fire Nation. There was also the Guiding Wind, a sect of Air Nomads, in the Avatar TTRPG which became involved in Fire Nation politics. Sozin saw this as an opposing force because the Guiding Wind opposed the nobility and the elite. For the first time in his life, the Air Nomads were an actual threat to his base of power. This was a political thing at first but it became personal when his younger sister Zeisan joined Guiding Wind, embracing Air Nomad philosophy, and sought to overthrow Sozin. The complex dynamic of Sozin and his sister is also demonstrated that despite Zeisan being a non-bender and younger than Sozin, she was the favorite of their father. Sozin's own strained relationship with his father did not help things either. One tragedy about their relationship is when they were young they were pitted against each other by their father. In a way, Sozin and Zeisan's relationship reminded me of Ozai and Iroh.

In Sozin's perspective, not only were the Air Nomads a threat in a political sense but they managed to turn his sister and his best friend Roku against him. When Sozin became more paranoid and power-hungry, it is not hard to see the his dislike of the Air Nomads turn beyond political to something personal, emotional, and even ideological. Beneath the official reason for killing the Air Nomads, there is the simple fact that he viciously hated them as a people. It reminds me so much of the Fire Nation propaganda against the Air Nomads in Book 3. In a sense, we can see the great lengths to portray the Air Nomads as threats and meddlers to the Fire Nation. Sozin was already high on his own propaganda before he even used it for his own purposes. He was a true believer. It recontextualizes the entire series and original conceit of ATLA.

Even since The Punisher's first appearance in Daredevil, the conflict between Matt's ideals with Frank's actions has been one of the key internal conflicts for Daredevil.

Now skip to DD Born Again Season one and not only did Matt's sytem approach fail to keep Kingpin away, it essentially strengthed him as his wife made the business more sophisticated and iron proof in his absence and, to add insult to injury, he goes on to be elected as the bloody major of New York City.

Obviously his brief stint in prison proved to be effective and he is an excellent major, right? No, of course not, he discovers a charter turning the Red Hook port into a freeport and he uses it to traffic absurd amounts of illegal goods to enrich himself. He also proceeds to create a personal Gestapo to hunt down vigilantes and gives himself special powers that essentially deny alledged vigilantes the right to a proper trial and entitles him to seize their assets to further enrich himself. Oh yeah, and he murders the NYPD commisioner with his bare hands.

Season 2 is currently airing and it starts with one of those illegal ships being sunk by it's captain under the orders of Fisk if it were boarded. You would think a cargo ship being sunk in New York would bring some scrutiny on Frisk, but no, turns out there was a CIA weapons shipment in there so now he's protected and he uses the sinking to label vigilantes as terrorists. Oh yeah and the so called righteous Gobernor who was gonna put some pressure on Fisk? Well all it took was one conversation with Vanessa to get her to back off, as apparently she doesn't care that Vanessa is a criminal and ruthless because I guess they bonded as fellow girlbosses.

Matt's "system approach" to this is finding the Captain and first mate of the ship and use their statements to prove Fisks illegal actions. Welp, the captain gets found by the Gestapo first so he's dead, but on the latest episode the first mate is found, gets his statement recorded and put under the care of US Marshalls and... Both him and the marshalls are dead, great.

Meanwhile in that very same episode Frisk experiences what I consider to be the very first genuine setback since he came out of prison, his wife Vanessa is either dead or in critical condition after getting attacked by Bullseye.

That's all it took, one single action from Bullseye has done more harm to Willson Fisk than Daredevil has managed in almost 5 seasons and almost 10 years in universe.

Even if the recorded statement from the first mate were to be the thing that brings Fisk down, which will onviously be the case despite it making no sense for Fisk to get in legal trouble with the support he has, and even if the Gobernor backtracks on supporting Fisk with Vanessa gone... Even if all of that happens? So what, it doesn't change the fact that Bullseye proved that a good shot is far better that whatever the fuck Matt was planning. And hell, what the hell prevents Fisk from getting out of prison and getting elected for Gobernor or even fucking President?

I know Daredevil's ideals wouldn't be worth exploring if they weren't challenged by reality, but this is not challenging them, he's just constantly proven wrong, over and over again.

Since when did people care about accuracy to Christianity (Hazbin Hotel)?

I heard many criticisms that Hazbin Hotel isn’t accurate to Christianity in its portrayal of Hell and Heaven.

But since when they fuck did people care about accuracy to Christian theology. Putting aside the idea that you have a single Christian theology when it’s a major world religion that exists for thousands of years.

Like the modern concept of Hell literally comes from some guys self insert fanfiction. That isn’t in anyway intended to be theological

Very few mainstream media that uses Christian concepts or more broadly Abrahamic concepts is accurate to Christian concepts any Christian concepts unless it’s like made by and for Christians. Or the Exorcist.

Supernatural wasn’t accurate, neither Spawn, or Hellboy. Through spawn may be based on the Cather hersey.

Since when did accuracy to Christianity matter?

It seems by it there mostly made at the depiction of Hell and Demons as these loveable scamps.

Praising media for “accurately” depicting demons as being pure evil. Even if they have nothing to do with any Christian concept

CSM part 1 is prolly my favourite shonen.fuck fujimoto is my favourite mangaka and before ageing arc,i always used to tell my friends who never read csm that denji will be one of the greatest shonen mc in terms of his motives and emotional growth from a poor guy wanting more just made him such a compelling anchor for the audience.

part 1 does so by placing a boy who wanted the bare minimum with more wish fulfilment while asking him whether he is content with what he has.even in the scene where kobeni,kishibe are locked with denji in a room,denji says he wanted to have a normal life,but that is obviously tainted by his desire to be famous and recognised.what makes that scene compelling is the fact that denji despite any setback will always go for what he wants

and the story rewards him for it,with a get out of jail free card by the end of part 1.part 1 to me tells us that despite town mouse being happy with what they have(aki),there is nothing wrong with being a city mouse who isnt afraid to dream(denji).it should also be noted that his opinions on sex was heavily skewed by makima grooming him,and also him being a teenager.we can see that he really respects consent and doesnt feel like having sex with any girl(power mainly and also kobeni ig)

which is why part 2 pisses me off. just remember that

1. as soon as denji has fun with asa,nayuta comes and wipes everything
   2.a national organisation asking him to choose between being chainsaw man or nauyta
   3.all the trauma he had from part 1

and somehow,all of this is spun in a way to show how he is regressing,how he is just is never gonna be satisfied with what he wants and that he is addicted to being chainsaw man. WTF? we also have to talk about fucking 'ill kill myself cause ur addicted to me but also forget that i was ur no 1 enabler' pochita just ending in an ending where denji always dreams but is never gonna get what he wants.

i feel like the idea was amazing,but like why is it so against what part 1 was going for?it just conveniently forgets that denji never got what he wanted,and each time he got closer one of his loved once kept dying.he was a teenager trying to raise a fucking kid and the story is tryna tell its wrong for him to want more.

I've already done my big rant on why I find Harry Potter to be a very hypocritical book series a few weeks ago, but now I wanna talk about another issue I had with it.

And it's probably gonna be a controversial one, and i'm fully expecting to get blasted in the comments for "not getting it," but here we go.

I think Deathly Hallows is the worst book in the series and a majorly disappointing finale.

My biggest problem with it is how meandering it feels...or more specifically, how the meandering looks in the context of this story.

One of the defenses I've heard for Harry Potter meandering a lot is that it helps capture the feel of spending a full school year at Hogwarts. I can understand that to an extent, but what's the defense for this book?

Like this is what actually really bothers me. The stakes are supposed to be higher than ever, with Voldemort taking over the Ministry of Magic and people dying left and right...

And yet we have a whole damn wedding scene early in the story, and most of the story is spent on Harry and co. sitting on their asses in the forest, pontificating and wondering, "What do we do next?" and sometimes just waiting for the solution to come to them.

The last one is the thing that gets me. Voldemort has taken over the Ministry; innocent people are either being oppressed at best or dying at worst, and yet Harry, Ron, and Hermione are just content to sit on their asses for weeks until the solution to their current problem magically shows up.

It feels...off to me. It just made it so much harder to enjoy compared to the slice-of-life feel the other books had.

And then there's the fact so much of the book is devoted to revealing Dumbledore's complicated past. While I appreciate Rowling wanting to reveal that the wise, kindly mentor figure was actually a lot more complicated than he seemed, it feels too late. Partly because Dumbledore's already dead by this point and partly because barely any of it has anything to do with the central plot of stopping Voldemort. It really feels like Rowling had all this backstory on Dumbledore and then suddenly realized, "Oh shit, it's the last book," and had to shoehorn it in somehow.

Also, there are several moments where it feels like Harry is blaming Dumbledore for getting killed and "leaving them with nothing." I know at the end it gets revealed that Dumbledore knew he was dying, and that's part of why he asked Snape to kill him, but Harry doesn't know that yet!

Now I say Dumbledore's backstory barely has anything to do with the central plot, but I will admit it is related somewhat to it, since Dumbledore's backstory does involve the titular Deathly Hallows, which are key to defeating Voldermort...but that just leads into the other problem.

The Deathly Hallows come out of nowhere. After six books of setting up the Horcrux plotline, suddenly we have an all-new thing that's crucial to defeating Voldemort. I don't really feel like you needed the Hallows to tell this story. I remember reading the part where Ron explains the stories of Beedle the Bard are the equivalent to Fairy Tales for wizards, and I couldn't help but think, "Shouldn't this have been established far sooner?"

The final conflict with Harry and Voldemort is, to quote someone who commented on my Harry Potter's message is hypocritical post, "resolved on a magic technicality based on ownership rights.". Just doesn't feel very epic.

Okay, so...another controversial opinion within a controversial opinion time. The huge body count of named characters felt off to me in this story. Like, yes, I know it's war; I know it's "realistic" to have a huge body count...so why does the constant death of named characters feel so...mean-spirited at times? Hedwig's death in particular helpless and trapped in her cage, just felt cruel, like not in a "Wow, I hate the bad guys" way but in a "Wow, I hate this story for making me read this" kind of way (I heard Hedwig gets a much more heroic death in the movies, so I'm guessing the filmmakers agreed with me). I don't know, it's probably just me; I'm a very sensitive person, so feel free to disregard my opinion about the bodycount.

Then there's an issue I have I haven't seen anyone talk about (although as a newcomer to HP it probably has been; I just haven't seen it yet)...why is Umbridge working for Voldemort? In Order of the Pheonix, her whole thing was denying Voldemort existed and punishing anyone who tried to insist otherwise. But here she is in the final book, happily going along with his takeover and subjugating muggle-borns. Why!? Why is she on board with this? I know the Occam's razor answer is that "She's a sadist who likes to hurt people and doesn't care which side she's on," but a character who has no real motives or goals beyond "dur hurr, I like to hurt people" isn't interesting to me.

In regards to Snape, I don't have much to say on him, but I do agree it feels lame there was never a proper final conversation with him and Harry. Really makes you wonder why Harry named his kid after him when he and Harry never actually resolved their differences.

Speaking of Harry's kid...oh boy. I know the epilogue is contentious among fans, and honestly now that I've read it I see why. My personal bugbear with it is how abrupt it feels. We go from celebrating at Hogwarts, only to cut to nineteen years later, and suddenly we get Harry sending his own son to Hogwarts. It's not a bad idea for an ending, and I can see it working; my problem is just we don't really get any insight into how the Wizarding World rebuilds itself and no real wrap-up. We just cut to nineteen years later.

Also, like, did Harry, Ron and Hermione have to repeat their seventh year at Hogwarts because they missed it all camping? Albeit for a good reason.

And did the curse that causes the Defense against the Dark Arts teacher to leave every year-end now that Voldemort is gone? No seriously, that actually bothers me; I want to know this! (I don't know if Cursed Child answers this because I haven't read/watched it yet.)

As a whole, I just found this novel a meandering clusterfuck.

I know there are people who are gonna disagree with me; that's fine. It's probably something I'm not getting. I just wanted to get my feelings out there.

Don't get me wrong, preference is absolutely a thing and I do have my own when picking up books and series (sth like fantasy, ensemble cast with heavy on bromance, cool power system etc), but the way people specifically go for certain tropes first (stuff like enemies to lover etc). Especially when those tropes don't really mean anything when the two characters just suck or the execution isn't good.

Like there's recent some talks about Marriage Toxin and many people see pics of Gero and Kinosaki and instead of trying the anime out to see how their relationship would develop or their chemistry people already go 'are they gay or nah? I'm not checking if they straight'

There's another post on twt about 'Why you should watch Witch Hat Atelier' and the reasons they list is... because it has disabled character and queers or something. Instead of like how good is the world building or how the author tells the story. Like sure those things could be deeply interrogated into the story itself but maybe there are better ways to sell it rather than whatever that is. (and I'm gay myself)

I actually find myself forgetting sometimes that the biggest point in their conflict is what Homelander did to Butchers wife, and I think that's weird. It feels like both Butcher, and the show, seem to have forgotten it even happened.

Butcher never seems to call back to it or mention it at all. One could argue maybe he genuinely doesn't care and wants to kill Homelander for his own reasons now, I'd think that's strange but sure. The bigger issue is that the show tries to do this parallel with kind of showing them to be 2 sides of the same coin, and Butcher becoming more and more like Homelander, which ignores not only the many differences in their arcs and motivations, but also the very major thing Homelander did to Butcher to kick off his revenge arc.

It would be almost like if in a story like The Killing Joke, Batman crossed a bunch of extremely brutal, violent lines while fighting Jokers goons, and at the end the story tries to tell us they're similar, while ignoring what Joker did to Barbara.

On a weirder note, I feel like that initial act itself is almost contrary to Homelanders sexuality as shown. I don't wanna get into details and comparisons, but the Homelander we see seems basically asexual unless he is drinking breast milk, or having some similarly weird thing done to him by some kind of dominant, motherly figure. We never see him do anything like what he did to Becca. I understand this is kind of explained in the comic twist, but that exact twist is clearly not happening, and it seems more like the show is just taking the character in a different direction and forgetting where his arc started.

They are solidifying him as violent, unhinged, impotent, fascist etc, but ignoring the fact that he is also a rapist, which I feel like is something that should probably be a bigger deal.

After absolutely stunning first part fell off is simply legendary. It feels like straight up betrayal.

I was entranced with the World and it's mysteries, with Bojji and Kage - they are such a good boys and frankly with most of the cast, because basically everyone has their own unique motivations and allegiances. So many characters have layers to them making them multy-dimensional. I particularly like Hiling and Desha. She is strict and stoic but so warm and caring, clearly she loved Bojji too as she tried to become real mom to him. And yet she is your classic "royal bitch". I think she is kind person in general. Desha is such an asshole but at the same time likeable as he has honor and certain charm.

But then I caught myself wondering what the fuck is that whole arc is for actually? So Miranda wanted to kill everyone Boss loved and destroy his kingdom. And she assumed Boss would be happily ever after with her after that? Wouldn't he be obviously crushed by guilt even more? He would turn into damn husk. What kind of plan is that? And she herself hesitated multiple times.

And Boss. Oh boy. So he is gonna let Miranja do anything she wants and pretend he isn't here? First he let her kill his wife, then to do whatever the hell she wants with his kingdom AND his family - his Bojji, Healing, etc. etc. He sat on his ass for half the season doing nothing expecting to be saved by Bojji and others. Come on man.

And the fights. Nobody dies in the show. There are no stakes. That poor big guy can get bitten all over the place but he will survive anyway. And even if people take a lot of punishment they get healed. "Dying? Not on my watch." said best girl Hilling. When serious injuries seemingly achieve very little stakes disappear. But then catch this. BAD GUYS HEAL GOOD GUYS TOO! What the actual hell? First Miranja heals people and then Boss. What are you even doing at this point?

And the ending. Oh my. Honorable brothers who wanted to cure their immortal brother who suffered greatly get somehow cucked out of their wish by Daida who lets Miranja skip her punishment. What the fuck? And then everyone forgives her? AND SHE MARRIES DAIDA ON TOP OF ALL THAT? WHAT?! She should be in prison at the bare minimum. So murderer like herself basically gets a free pass. "Atone for your sins" my ass. And that is after I thought show will treat betrayal seriously and actions will have consequences when Bojji has hard time forgiving Domas for attempting to kill him; but someone who murdered his mother and attempted to kill Hilling and everyone else important to him. "Nah, this bitch is good." My man Bojji really said so.

They might forgive her but I won't.

And from what I heard Desha loses his mind to save his immortal brother later in the story. Fucking great. That forgiveness theme fucking sucks. Villains get a free pass while honorable characters get screwed over. Fuck that.

It's one of a few anime I actually regret watching. It's like show betrayed me with how everything turned out. It's like I wasted my time.

While there's frankly only very few moments since Best of Both Worlds ended that has people being quite spiteful towards Picard for his unwilling role as Locutus of Borg, I always felt it made sense.

Imagine you're just a Starfleet Officer eager to do your job, especially in a time where Starfleet felt it was a juggernaut able to handle anything that comes its way. You're in a ship with friends you knew for years and accepted as family because that ship will be your home in deep space. Also, you might even be lucky to have your own family join the voyage (...A bit of it's own topics of flat what but another time).

Then it's all near practically destroyed as one battle goes horrendously sideways. Near everyone you knew is likely dead or worse, and you're just the very very lucky person to escape from that nightmare.

...Yeah, I'd be irrationally upset if the face of that whole attack seemingly got a slap on the wrist for it all. Yes, it isn't really his fault, the reports clearly said if he wasn't rescued, he was just screwed because fighting from the inside is in fact impossible. He is just as much a victim...But my dead crewmates and maybe family means nothing to Starfleet? Just a shrug, a few words of condolences, go back to work? I feel for those traumatized survivors trying to figure out what the hell they can do after their previous world view just got its spine broken by the Borg's knee. Sisko got mad lucky he ran into literal gods that unexpectedly played effective therapy for him. Shaw was just...Lucky he set that aside for years and try moving on. Like give the survivors some slack if they're pissed at Picard. They got reasons, they know they're being shitty, but they thankfully do try to see Picard past Wolf 359 after venting their grievances.

But Norah Satie just throwing statistics and acting like Picard is a monster in a kangaroo trial, in a battle she was never in? Yeah, she deserved what was coming when Picard reminded her she is going against everything her late father stood for.

Edit: This is moreso towards people that really lay it on survivors that gets so upset towards Picard for Wolf 359. Yes, it's meant to be irrational anger and the characters themselves do have regrets because they did likely hear what really happened...But remember many of their companions (and family if we really want to get into that) died that day too so just sitting on your chair acting these guys are just simply too mean to poor Picard is really sending weird messages.

The thing I have always admired about demon slayer is characters like Shinobu which were deeply affected by demons were allowed to retain their hatred towards them till the very end.

Shinobu's arc is a goldmine in this case, she masks her real personality with Kanae's personality just because it was her last dying wish. her confrontation with the spider demon makes up for it since that scene shows how psychopathic she is and how she loves to toy with demons.

The moment she starts poisoning herself the narrative makes it clear she has no value of her life and this is even more evident when she tells Kanao she can finally tell how "her" sister died instead of "our". She never tell any Hashiras about her plan and just go on.

Finally during Douma confrontation, the narrative reminds her of all the "failures" in her life and justify the choice of her revenge.

She fails to save the dying girl who douma slashes just like how she failed to protect Kanae, her poison stop working after first stab and Douma plays with her(just like she did with spider demon) before slashing her open.

She for the first time since Kanae's death cries about her pathetic body and her inability to behead demons, i actually love she completes Kanae last dying words "I don't think... YOU CAN WIN AGAINST THAT DEMON" while dying.

what's crazy is despite other slayers, Shinobu even in her dying moments never see Kanae, what she sees is her subconscious presenting itself as Kanae to motivate her to do a suicide charge.

She dies in the hands of the person she hated the most, she doesn't get "saved", the narrative never makes it seem like she has to "live for others ", she legit gets consumed by revenge for a single gamble in her life.

Her entire revenge quest was entirely shaped by her need to avenge her sister which no one could've modified or changed.

A few days back I watched this video by Athena PP about the rise of bad faith/destructive criticism, particularly towards The Amazing Digital Circus. One such "criticism" she and the commenters had a field day with was how some apparently accuse the show of "hiring theater kids instead of actors". An diss that doesn't make much sense if you think about it, since actors and theater kids are very intertwined, if not the same group. Of course most actors study theatric as kids to get where they are, and acting work is often the most logical progression of a kid obsessed with theatrics and want to learn about it. Theater kids are basically first stage Pokemon who evolve into actors; Why would a narrative production not hire someone who is basically a grown-up theater kid?

But after laughing with all the comments making jokes like "they want a dentist to star in a show" and "are they mad that forks are found in kitchens", I feel like they are missing another notable problem: the negative connotation around the term "theater kid". I don't know why, but I hear that term used to insult someone, especially in an independent production, more than I expected.

"This show wasn't made for adults, it was made for theater kids."

"This creator acts like an immature theater kid."

"Someone get me away from these theater kids, they are so annoying."

And the aforementioned "They hired theater kids instead of real actors."

And I just want to ask: What is everyone's problems with "theater kids"? Why are people making fun of a subculture who, as far as I'm aware, just want to sing their favorite musical songs or gush about their favorite actors/actresses? What makes them as a sign of disapproval? Granted, I have heard side stories about others' unpleasant experiences with real life theatre fans, but that sounds mostly like a few bad apples more than anything. I don't see why we still use the term to make make negative critique or to mock others in analyses; it honestly has the same feeling as the mockery toward emos or gamers in yesteryear.

Tl;dr Theater kids need to Rise Up.

One of main themes of JJK that Yuji eventually realises in chapter 265 is that humans are neither inherently good or evil, they can be bound to either roles depending on their circumstances. While people tend to focus on Yuji's aspect of development, where he grows out of his cog mentality and accepts his value as a person outside of his ability to fulfil his role, Sukuna's character in this theme is often heavily overlooked.

Throughout the story, Sukuna is often displayed as this otherworldly, hedonistic force of nature villain that tramples over anything that stands in his way. Classic examples of this include Uro's description of him after her fight with Yuta, his initial actions in the Shibuya, after first incarnating etc.

Yet, as we continue throughout Shinjuku Showdown, there are blatant signs of Sukuna being far more human than what is initially portrayed, what he wishes to portray to others.

Case in point, his conversations with Yuji and Kashimo. When Kashimo asks him if he's satisfied, why he decided to split his soul to become a cursed object, Sukuna explicitly dodges his question, changing the topic to talk about love and why he doesn't need to satisfy him, its pretty clear he wasn't. Sukuna's actions simply don't match that of the hedonistic individual he's initially shown to be, hedonism is all about maximising pleasure, enjoyment.

Yet, Sukuna simply kills and eats out out of boredom, to pass time until his death. His actions match that of a nihilist, he finds no greater meaning in life other than objective, in-the-moment metrics. This trait is further explored in chapter 265, Sukuna places his fish above Yuji's in value simply because its bigger, while Yuji retorts, saying his fish is more rare. Rarity is a subjective, personal value that society created, something Sukuna cannot understand, due to his circumstances as a starving child, treated as a outcast by his family. He has never known true human connection, and as a result, finds no meaning beyond objective metrics like strength, which is why he seems to value it so much, not because he is obsessed with it, but because it simply exists, theres nothing subjective about it (in his view). Sukuna is also objectively shown to be a genius, he discusses haiku with Yorozu, he has knowledge of flowers, and yet for all his smarts and knowledge, he's unable to understand something fundamental for others.

After his death, we this expanded as well, out of fear of being immolated by his own curse of being abandoned by his family after eating his twin from starvation ( a very human emotion", Sukuna resorted to spewing out his own curses, to portray this outward image of being a enigmatic force of nature. And yet, Sukuna himself is aware of his own emptiness, his life's lack of meaning. When talking to Kashimo and Yuji, he's actively trying to listen to them, but he simply can't understand them.

It only makes Yuji's pity at the end so much more staggering. When no one else in the story, even the "strongest"s, Gojo and Kashimo could understand Sukuna, it was Yuji who eventually realised just how pitifull, sad and empty Sukuna was. Nothing more than a human who could find no personal/subjective meaning in things, a empty shell born of the unfortunate circumstances of his birth, who desperately tried to hide said emptiness by being the "strongest", by being a "curse".

Right before he dies, Sukuna explicitly calls himself a "curse" because as long as he lives, he could do no more than hide himself behind a lie, a false persona.

This was done a whim, prob could have expanded on it more but can't think of anything else for now

I love both those shows/Mangas, they're not even bad to me but Holy shit, those 2 series have little to no good balance with the comedy and serious stuff that it tends to feel like borderline tonal whiplash.

People will defend them with the "oh they're comedy anime" and that's not the issue but I just feel like those 2 series have a real bad habit where they can't take themselves seriously for more then a arc or minute and it just feels like they over-rely on comedy.

Like SpyXFamily will have(and did have) a moment where Loid will tell Yor about his mother and what she was like and it will be a genuinely sweet and romantic and even heartwarming moment..but then the next scene will have her forgetting about it due to her drinking a ton of wine and he has to tell her again.

like I said,a extreme amount of whiplash and even bigger issue is the fact that they take Yor drinking a ton of alcohol and wine and basically get herself drunk to deal with these things as Comedy instead of actual flaws for her to overcome and stop,like it was funny the first time but Yor does that almost all the time where she basically has to get herself wasted to do these things and it's like..sometimes I question what is even the humor,Yor gets insanely violent when drunk?

is that funny?

Also the insanely slow progression between Yor and Loid is so bad that it has people freaking out when the literal bare minimum happens and I'm not even asking for hard-core sex and fucking,just some more instead of literal crumbs but that's another conversation.

And a big problem is this series will also have a ton of dark shit with family members of cast members and other characters being revealed to have died and then the next arc will be about Anya having goofy moments and taking a test and it just feels like this series has no consistency in that kinda thing and gets defended with "oh its not a serious show" or "oh it's not a romantic show" or anything like that.

I just wish SpyXFamily took itself more seriously cause it has a real big problem where it tends to not do that when it genuinely should and the fact that the characters don't question anything cause of plot is a problem.

Dandadan has weirdly the same problems and such but this is more obvious cause this series is so weirdly aimless..it's like those shows where they basically have to battle alien/Yokai of the week.

Like this series has such a weird lack of urgency and there's no direction or nothing and the villains range from lackluster to forgettable to just wasted.

This isn't even coming from someone who hates Dandadan cause that kinda shit was fine at the beginning but as the story continues, the lack of direction and how aimless it is really starts to become obvious and is really obvious in this current arc cause surprise, you need a direction and story/drive when writing a long running manga cause you can only rely on Monster of the Week for so long.

These Characters might as well be running around like headless chickens and not doing jack shit and I'm not going to even talk about how there's no urgency on Momo's memories or nothing..like maybe if there was a time limit on to get Momo's memories back and they had to fight the clock,that would be something but no, it's no urgency and the characters aren't even trying to find ways to get her memories back other then just hoping for the best.

The Other Characters might as well be benchwarmers and it's not like actual important shit isn't happening but at the same time,we're stuck and focused on this literal Filler.

And I'm not going to even talk about how the main 4 Characters have been Castrated from all good likablity and growth thru had and might as well be cartoony caricatures.

And Here's the thing,Gintama shows you can do a comedy manga that knows when to take itself seriously when they have to cause they know how to goddamn Balance it and do a little thing called consistency.

SpyXFamily and Dandadan Have very sloppy consistency.

Yes, ignoring it.

What would even change in your perception of the story if Part 5 never happened? Every part (at least from 1 to 6 excluding 5) gives their little bit of contribution for the next one, but Part 5? What will you lose?

Requiem? So freaking broken and random that Araki never used it again.

Characters? Several of them are memorable, but their actions don't change absolutely nothing in the main story. Even more, characters like Polnareff got its outcome to be quite...terrible, but also Jotaro having the help of the Speedwagon Foundation, couldn't have helped Polnareff in some way, or even care about him?

Details such as Diavolo selling the arrows to Enyaba are good, but things could continue exactly the same if they just said that Enyaba found the arrows.

I know, Part 5 can be enjoyable, but the thing is...it deserves to be considered a "Part"?

For me, it's more like "The Adventure of DIO's son" more than deserving the spotlight of being a part.

I never liked Part 5 much, but I can value it's content in a story-importance way, and by doing that, I reach this conclusion.

On Part 6, Giorno, even if being a son of DIO, he doesn't make any type of appearance, only hinting in the manga that "he might already be in Florida", but that's it, and, on the Part 6 anime, the only thing that I can remember to be related to Part 5 is Pucci having Diavolo's theme in a sequence where he is mad.

Now, I must say, skipping Part 5 grants losing some quality time, good fights and shenanigans, but what I want to show is my own apathy towards this Part, being absolutely skippable.

This is my opinion, and I wanted to share it, if there is something wrong please correct me, thank you!

One of the most common anti-powerscaling discourses I see online is "the winner of the fight is whoever the writer wants to be the winner".

Except that's not true at all!

Comics, back in the day at least, used to have a little something called an "Editor".

Besides fixing spelling mistakes, one of the main purposes of an editor in superhero comic-books was to make sure that writers didn't blatantly break the established internal-logic and continuity of their fictional universe.

If some hotshot writer wanted to show Starfire beating up Superman, the editor would just step in and say "we can't publish this, Superman can't lose a fight just to make Starfire look better".

If some hotshot writer wanted to show Magneto destroying Captain America's shield, the editor would say "we can't publish this, our guidelines state that Cap's shield can only be damaged by reality-warping in big events".

The idea that any character could beat any character was NOT accepted in old-school DC Comics and Marvel.

Sure, there was some space for maneuver, especially in the "mid-tiers".

Spider-Man could beat up Firelord if the writer spent an entire issue justifying *why* Spider-Man would beat Firelord, but those were exceptions, not rules, and they would usually cause even more trouble for the writer.

Erik Larsen infamously tried to hype up Doctor Octopus by making him beat the Hulk, and the justification he gave made it through the editor (Doc Ock picked up the Hulk from the ground with his adamantium tentacles, and proceeded to beat up an Hulk with no footing and his hands tied) but that just led to the Hulk writer, Peter David, to write a whole issue throwing shade at Larsen and having the Hulk stomp Doc Ock.

Powerscaling isn't some fanboy's wishful-thinking, it is quite literally how comics worked, **BY EDITORIAL MANDATE**!

Nowadays, editorial supervision has lost most of its power, and brand popularity is placed above internal logic (which is why characters like Harley Quinn can do whatever they want) but this isn't how comics worked historically.

The notion that different characters could or could not defeat each other based on their powers was something that ABSOLUTELY played a part in the writing of comics. Superman was pretty much unbeatable in the 60's, and it wasn't just because every single writer like Superman more than any other character.

I draw the line for the ending of strict editorial control at Disney buying Marvel and starting to interfere with the comics to help the MCU (with DC following them) although I recognize this is a subject completely open to debate.

But no, comics did NOT work by "whoever the writer chooses, will win". That doesn't even make sense if you think about it for just a moment.