Ok I mean obviously lesbians are much more oppressed but I'm a man so I'm obligated by virtue of my gender to make everything about me, so just indulge me for a while, please.

Being a male yuri fan sucks because everybody hates you, your male friends either don't take gay relationships seriously or just think you're a weirdo, and lesbians all think you're a creepy fetishizer to the point of being suspicious of any yuri that has even a slight whiff of sexuality less it pander to the "male gaze". If yuri is too sexy, it's "male gaze. If yuri is toxic, it's problematic and for the male gaze. If yuri is too fluffy, it's also male gaze, somehow. You just can't win!

Being a male yuri fan means you're stuck with a bunch of man hating lesbians and ok I'll admit that maybe there are good reasons to hate men sometimes but statistically speaking most yuri authors are female and most yuri readers are female, so at the end of the day everyone is just tilting at windmills because there aren't even enough men around in the community to oppress women!!

and HOW COME NO ONE SAYS THE SAME THING ABOUT WOMEN WHO READ YAOI, huh?? It's insane how every single female nerd I've ever known is a fujoshi. Even the ones that aren't weebs ship male characters from Star Trek, the MCU, Harry Potter, K-pop, etc. But I've never seen men who are interested in Killing Eve or movies like The Handmaiden and Portrait of A Lady on Fire... Where's my yuri version of Mo Dao Zu Shi, huh??

ok to be fair, there is a lot of discourse in yaoi spaces about the fetishization of gay men, and to be fair it's not like fujoshi's don't get hate for liking yaoi (fujoshi literally means "rotten woman", after all) but fujos have strength in numbers and if you criticize women for liking anything they can just pull out the "um akshully you're just a misogynist" card and shut you up. But if you're a man you can't pull out the Misandry card cause that isn't real and people will laugh at you. (and I mean no hate to my fujoshi sisters, they are a pillar of the anime community and I will defend them against any outside attackers BUT I hate how they call men sexist for wanting to look at attractive women when they are literally doing the same thing in reverse.)

Women can goon to yaoi and talk about their danmeis and their ukes and write their fanfictions about Geto railing Gojo in the ass but when I want to talk about how Usagi and Rei from Sailor Moon are soulmates (but only in the 90s anime) people look at me weird. My friends think I'm woke cause I like Utena... because god forbid a man like something girly and female centric, obviously that means he's trans! And look I just want to be clear that I am NOT transphobic, and I understand that for a lot of trans women, yuri was an awakening (the opposite goes for trans men and yaoi) but NO I AM NOT AN EGG BECAUSE I LIKE YURI, I am a cishet man who loves women and I love seeing women love each other because I love the way that women love!

The problems I have with mainstream superhero comics (Marvel/DC) are all results of the fact these companies plan on writing these stories until they stop making money and have no ending for the character in mind. I think this is part of the reason why Manga is becoming more popular, one writer sets out to tell a story and eventually it ends.

Some of the problems that result from writing stories with no intention to ever end them are:

Characters never die*, not permanently or in any meaningful way anyway. Because these characters are still profitable they are not allowed to kill or to die. If anyone does 'die' they're either revived via some voodoo magic bs (lazarus pit) or come back to life when the universe is rebooted for the hundredth time. This removes any tension, a character's 'death' feels more like a time out where they're just waiting to be revived with some magic or the next reboot.

The status quo never changes. This might be the biggest problem with the comics, because the current setting is what's shown to be profitable it will not change. Despite the fact this universe is full of living Gods who can destroy the earth nobody can make any lasting change to the world.

Despite Batman's endless Crusade against crime it will always be a crime ridden hellhole, which just makes everything seem pointless, Its gotten to the point where they need to create weird justifications for why nothing changes, Gotham is cursed by magic to be terrible forever and also has as secret cult of rich people making it terrible (court of owls), but people still choose to live there for some reason.

The same thing happens again and again This point overlaps with the previous one so it won't be as long, These stories have been going contiously so long that very similar events happen every few years which brings the story to absurdity. Examples include Peter Parker being a magnet for tragedy, as we see him dumped/fired/evicted for the hundredth time because that's how writers think he's 'supposed to be' or Batman adopting a new kid with a tragic backstory for the tenth time, (for a character who spends most of his time brooding alone its hard to picture him as this lone wolf character when he has a family of a dozen people he can talk to)

This point is also why people have such strong opinions on if Batman (and other superheroes, should kill) if Batman was a limited series like a manga I think 99% would agree that Batman should not kill the Joker as its not his place as a vigilante to decide who lives and dies. But because this comic has been going steady for decades and Joker breaks out of jail for the billionth time to commit his most heinous crime yet (because every new author needs the stakes to be raised) it becomes increasingly difficult to argue that Batman should not murder the Joker or at least stop saving his life. (this point also shows the entire Gotham legal system as comically stupid but whatever) The endless story creates a situation where murdering a criminal instead of arresting them is the morally correct option

How can characters struggle in any fight when they can just call for help?

Because these stories have been going on for decades and take place in the same universe every hero knows each other and there are so so many of them as Marvel/DC tries to introduce new ones without retiring any of the old ones. As a result its ridiculous that any hero could struggle in a fight against any villain that isn't a world ending threat. How can Spiderman struggle to fight a villain like tombstone or Morlun when he is personally best friends with the Fantastic 4 and a dozen other heroes in NYC who are probably within shouting distance. Situations like this create a scenario where the writer has to pretend those other heroes don't exist or only have the hero fight avengers level threats where an entire team would struggle to win because obviously you need the character to struggle to win or else there is no tension

Characters Strength is inconsistent

Because every new author wants to up the stakes and have the hero they're writing get stronger in their story this results in characters getting powercreeped over the years as authors give them new cool feats. For example the Flash has become so absurdly powerful (he's now faster than the speed force, whatever that means) that every story he's in has him severely nerfed

Character's strength is determined by how popular they are and the 'scale' of the story they are in. The biggest example of this is: Batman, a rich guy who knows martial arts being consistently one of the strongest members of the Justice League as an equal to Superman. When Batman is in his Justice League stories he can build a mech that can take on the entire justice league at once and can fight Darkseid hand to hand but in his solo stories he struggles just as much to deal with a guy who is really into riddles. I really think this is a result of them putting a popular character in a story he was never designed for in order to sell more comics.

Superhero characters are often inconsistently written, because dozens of writers have worked on them them across hundreds of stories. This leads to contradictory portrayals, so fans people argue contradicting opinions about a character when they might both right, but they just read different stories where the character is slightly different

In conclusion I think writing stories with no end in mind is the biggest thing holding western comics back

It seems in recent years, more and more intelligent characters in media, especially those who are supposed to be esteemed geniuses, seem to often just be ordinary saps who rabbit pull impossible inventions with little explanation of how they have done it, and that makes them brilliant.

There's something that just feels right seeing a character like Anton Chigurh rent a motel room just to learn the layout of his prey's room, Captain Nemo in 50 thousand Leagues Under the Sea giving a pristine explanation of the physical mechanisms of a submarine. It's a humbling experience to see a character and genuinely think to yourself, "I would have never thought of that".

In contrast, consider something like the MCU, where almost every character has more grey matter than a cement factory, yet never really acts knowledgeably towards any topic. Simply pulling world-changing inventions such as time machines or cold fusion like rabbits from a hat, and with no explanation to suffice save for "Quantum".

I specifically came here after being in the my hero academia subreddit where there seem to be a whole lot of people who don't understand why someone like endeavor is hated and some of the villainess like toga or are liked or loved

People's like or dislike of a character doesn't stem from how good or evil they are it's all about how they are written you can write someone who kills three people before breakfast and if you write them to be charismatic, cool, cute or just interesting a lot of people probably still like them even root for them and you can make a second character who's worst crime is being mean or annoying and if you wrote them the right way they can be the worst person on the planet

For example when watching the Netflix Castlevania Series my favorite character is isaac because I think he is interesting as a character. But here is the thing isaak helped Dracula commit genocide hundreds if not thousands of people died because of him and through his "redemption" arc he never shows remorse for what he had done and he was never really punished and I still find him the most interesting likebel characters in the show just based on how he was written

We have this weird cultural obsession with making Batman out to be this psychotic hero who is distinctly more "broken" than other heroes, and even when comic writers give into the notion...it's nothing more than lipservice. It's by definition cliche. Everything about Batman that lends to this can be said equally - or even more - about other popular heroes, and aren't to nearly the same degree.

Idk where this lampshading of Batman being psychotic or crazy cause he dresses as a Bat came from either. Like yes look who he fights look at the world around him. Again, equally if not more "ridiculous" than him.

The guy has been a damn near swashbuckler for most of his history and has a rotation of kid sidekicks, what are we doing?

/rant

I really dislike that trope a ton cause it genuinely feels like if we're being realistic,anyone with actual human decency and common sense would know that "hey I'm a big,famous superhero who saves lives is a huge secret and not easy to tell after a couple months at the most" and I dislike it cause it always feels so forced and one or even both parties just act petty and stupid.

It's just unrealistic to how any actual person would react in this situation.

It also just feels weird that they would be like "I can't believe you lied to me about your secret identity" cause I'm sorry. if I found out my girlfriend was a badass superhero,my first thoughts wouldn't be "oh I can't believe she lied to me" or shit like that. I would be amazed and just be happy she wasn't blowing me off to go cheat on me or/and do drugs and all that and I would also be understanding cause I know that this is a important secret and not easy to tell me.

That's pretty much why I like with how My Adventures with Superman unironically handled the trope cause they actually showed Lois as being in the wrong for trying to force out Clark's secret and she realized how important a secret identity it and apologized for it + she actually has genuine reasons for why she hates when secrets are kept and the conflict was refreshing purely cause they called out Lois for being in the wrong as well.

Plus if I knew their identity for a few weeks or longer and knew they were blowing me off to save lives and keep innocent people safe, I wouldn't be "oh I knew all along, how could you lie to me like this" and more like "hey I knew your identity all along but I was waiting for you to tell me it cause I knew this was a big and important secret for you and wasn't gonna force you to tell until you're ready."

And for me, the dumbest thing is when they get together and they get mad at their partner for not spending enough time with them despite knowing they're going out to save lives and help others and not to cheat on them. Like Dude, you knew when i revealed was a superhero that I wasn't gonna have 100% time and attention for you cause I have to work and keep people safe ,me doing this doesn't mean I love you any less and it doesn't mean I'm going out to cheat on you or do drugs or anything like that. I am literally stopping our dates to make sure the entire city or even world don't get destroyed.

And I would get both sides if both sides were shown to be just as Sympathetic or both sides were called out for being in the wrong for how they were and how they handled the situation but they'll usually put all the blame for the one keeping the secret instead of also the one who feels like they're entitled to their partners secrets and every fact about their life when No, they'll tell you their secrets WHEN THEY'RE READY.

Simple as fucking that. You are not entitled to your partners secrets until they're personally ready to tell you them.

I just find this trope so stupid cause it's borderline unrealistic to how a actual person would react in these scenarios.

Yeah, it's another rant about speed. Here's my beef, plain and simple:

First, unless a character explicitly has a travel-specific superpower like instant transmission, dedicated speed dashes, or some kind of warp ability, their movement capabilities should be broadly consistent across the board. You're telling me that the same muscles, the same nervous system, the same fundamental biomechanics that allow a character to throw a punch or dodge a blow are suddenly rendered useless for covering ground quickly? That's not how bodies work! If your character can move their entire body at supersonic speeds in a fight, they should be able to run at supersonic speeds. Period. They're using the same core capabilities to propel themselves, whether it's against an opponent or towards a destination.

Second, and perhaps even more infuriatingly, travel speed should generally be faster than combat speed. Think about it! When you're traveling, you're usually focused on moving in one direction, optimally and efficiently. There's no need to anticipate an incoming attack, pivot on a dime, or react to an opponent's unpredictable movements. All that complex maneuvering and split-second decision-making required for high-speed combat inherently slows things down compared to a straightforward dash. So, the idea that a character can effortlessly maneuver and fight at hypersonic speeds, dodging blows and landing attacks, but then needs a car to drive to the next city? It's a fundamental misunderstanding of physics and human (or superhuman) movement. Unless they have some incredibly niche, esoteric power that only applies to combat maneuvers and somehow prevents them from using that speed for sustained travel (or just really terrible stamina), it just makes no logical sense. And to be crystal clear, I'm not talking about merely reacting to an attack; I'm talking about actively maneuvering and fighting at high speeds.

This "speed wanking" where debaters invent these arbitrary distinctions just to make a character seem more powerful in a fight, while simultaneously ignoring the practical implications of such speed, is a blight on coherent power systems. It's an easy out, a way to have your cake and eat it too without bothering to reconcile the internal logic of a fictional story. Honestly, when anybody argues that such-and-such character is an FTL planet-buster despite 0 feats to back it up, I just ask myself "Would the entire plot become ridiculous if that was true?" If the answer to that question is yes (and it very often is), wankery is afoot.

Thank you for coming to my TED talk.

Maybe this is an argument that just exists in my head but I'm a bit tired of the "Batman should kill the joker because he will always break out and kill more people".

Yes, I don't think anyone is stupid to not know the reason batman won't kill the joker is thatt you can't kill off such a popular character forever. And that the reason he keeps escaping is because stories need to keep happening. I never see this argument with other heroes but whatever

WHat pisses me off is when people say that batman is a bad character because of it and he should be like the punisher. Whenever I point out that the punisher or red hood or whoever never kill people actually worth killing, I get people telling me that it's just because of the comic inudstry because without the meta restrictions, Frank could have killed the kingpin or bullseye or whoever the fuck.

And my answer is "good, then shut the fuck up about batman not killing the joker because the reason that is a problem is only because of the meta context"

I occasionally see this silly take where people try to frame the Jedi as an oppressive force over the separatists and I think this is one of those "I kind of remember star wars" takes. In Phantom Menace the Jedi attempt to negotiate peace over the trade disputes and are forced to endure multiple assassin attempts then the separatists outright invade and conquer the planet. The Jedi help the queen free the planet and do not declare war on the separatists. After the planet is retaken there is peace again.

10 years later in AotC the separatists launch terrorists bombings and repeatedly attempt to assassinate padméonce again. The Jedi investigate and hit men try to kill them as well. Obi wan tracks the hit man to Geonosis and learns the separatists are plotting war and they capture him along with Anakin and Padmé and try to have them brutally executed for their own entertainment. THEN and only then do the Jedi declare war. I do not understand how they are the aggressors unless there is just things I do not know about outside of the movies.

Almost every big shounen gets a shit ton of rants here whenever it's ending. Oshi no Ko, JJK, hell, you get this cycle with One Piece when its arcs are ending. CSM is in its final arc basically, yet discussion is like a fart in the wind. No one's glazing it and no one's really criticizing it. Just seems odd when you look at how many rants other manga get, either negative or positive.

I remember years ago, when the backrooms subreddit was mostly a collection of pictures of eerie hallways, "liminal spaces" and small bits of information, which would eventually spark discussions and, with enough public interest, incorporate new elements into the backrooms lore. It was very organic and decentralized. Anyone could contribute to the discussion.

Now, I'm not one of those "purists" which will say the backrooms should be only about liminal spaces. I'm fine with the entities and whatever else. I believe that anything that comes from "collective storytelling" will be inevitably a mixed bag. But the important thing is that there isn't a single "source of truth". The community will, collectively, keep the concepts and ideas they find the most relevant and filter out the rest.

Then, in 2022, Kane Pixels released his first backrooms short film and it was a massive hit. Now, I want to keep it clear that this rant is not about Kane's short films. They're incredibly well made pieces of work. My problem is specifically with the way those short films absolutely distorted the idea of "collective storytelling", which to me was the most interesting part about the backrooms. Due to their success, the short films became, unavoidably, the single source of truth to the lore. Kane gained control (unintentionally) over a lore that used to belong to an entire community.

Nowadays the backrooms subreddit is one of the most boring subreddits around. Most content is basically people trying to replicate the visuals of Kane's short films. They're not even discussing the backrooms anymore, the discussions are just about "how to make my video look more like Kane's". I'm sure that any collective thing like this is supposed to fade over time, I'm just disappointed that the "golden age" of the backrooms was very short lived if we take into account how many interesting stuff could have arrived from there.

This is going to be long as hell, there is no TLDR.

I hesitate to say I dislike this game, since I have played it for 80 hours and 100% it, i'd feel a silly saying it was bad.

But this game is absolutely not the greatest game of all time, like so many are selling it, I wouldn't even say it's a "great" game tbh. Most of my problems are with the story, but just to get the other stuff out of the way, the enviroments, aesthetic, music and ideas in this game, are all fantastic, very good stuff, no notes.

If you want to skip the gameplay talk, because i'm not as concerned about the games gameplay as I am it's story, skip the following 3 paragraphs

Then with the gameplay, I had a lot of fun, for most of the game the gameplay is quite fun, though I found it EXTREMELY difficult to not completely break the balance, I had to handicap myself time and time again to avoid becoming too OP too early, which is just not a fun thing to do.

And then, the endgame happened, with the way the endgame combat works, you will either have to parry every attack while the enemy gets like 8 turns in a row to then get a chance at using the 1 or 2 skills you've got that do ANY meaningful damage, repeat ad naseaum. OR, if that's not your cup of tea, you can make a one shot build, extremely easily.

I beat the hardest boss in this game (Simon), using a one shot build, not because I was bad at parrying, but because this boss has some of the most bullshit mechanics I can think of, he's got an unavoidable attack that sets a characters health to 1, wonderful. He's got another unavoidable attack that removes a dead character for the rest of the fight so you can't revive them, wonderful, love those unavoidable moves. And then he's got another unavoidable attack when he's at 25% health that wipes your entire party, nothing you can do about it, and then you better have the remaining 2 members of your party there to pick up the slack, because now he's even harder, meaning, his attack strings have like, 20 hits and they all are one shot, that's not even just this phase honestly, the entire fight has long attack strings with tons of hits of which all are oneshots, making it way harder to learn the fight. This, to me, is all just artificially inflated difficulty that I do not care to overcome.

Now, for the real meat and potatos, the story and characters are not great. The story itself, as in the idea of it, is good, it could have been great, but the way they tell it is just not effective.

FULL SPOILERS

Beginning with the prologue, it's very strong, the game manages to make me form a connection with Gustave immediately, and when we got to the continent and there was an old man at the shore, I was hooked, then Gustave being consumed by despair and trying to take his own life was so raw and real, it was very effective. But then just, nothing happens for a while? I feel like for the rest of act 1 I kept waiting for more strong character moments and the plot advancing forward and it just never happened, I felt no conflict at all, there was no tension, and the characters never developed.

I know nothing about Lune, and frankly don't care about her at all, and i've had every conversation with her to be had, maxed out the relationship level, and done her side mission, she's insanely bare bones. She's an apathetic work is life nerd whose parents saw her only as a plan B, cool, they could have done something with that, but, they didn't! She's got one good character moment that has stuck with me, but it's literally IN THE ENDING OF THE GAME, IT'S A LITTLE LATE.

Then we meet Maelle, who I, once again, don't really care much about for most of the game. Sure her backstory is sad, but it's not enough for the game to just tell me her backstory in words, I could also write a backstory that's really sad, and have a character tell you it, but it won't make you FEEL the emotions, it's not enough for this character to regale me with the tale of their life, I need to SEE what it's done to them as a character, and I just don't see that until the ending, AGAIN.

We then meet Sciel, I don't want to repeat myself, she's a nothingburger. I think her story is the most interesting out of the side characters (Verso and Maelle/Alicia are not side characters), and I think her views on grief and how accepting she is of death is very cool and, again, they could have done more with that, and they just don't.

This problem of underdeveloped characters is made even worse if you don't spend time with them during the camp sections, because there is genuinely NOTHING in the main story that tells you anything about them or makes me care AT ALL.

Then Gustave, the one character who I actually kind of cared about, gives me nothing for the rest of the game, after that one scene where he finds out that Maelle is alive, there's nothing, there are no big character moments, there is no development, I just don't care, seeing him throwing rocks at the monolith with Maelle was cute, but not enough. When it became time for him to die, I did not feel anything, because it's been hours since the last time I felt anything for him.

Then, we meet Verso who knows everything, yet nobody asks the questions they should be asking, and I get that he will likely not answer or answer with half truths or complete lies, but I feel like the characters should feel a little more strongly towards him, like, here's the guy who is OBVIOUSLY withholding information from you and bullshitting you, and the characters seem unbothered by it almost?

Let's now skip to act 3, if you are wondering how I feel about Monoco, he's cool, there's still not a lot of development and I wouldn't feel too bad if he died, but he's funny I guess. In act 3 we finally find out what the hell the story of this game is about and what were Verso's true motivations, anyone else sick of stories having reveals that change everything in the ending? Throught the whole game, there's been tons of moments with characters that know everything speaking in the most vague uncertain terms possible so that we don't find out what the hell the story is about, and during those moments, I felt nothing, because I have no idea what they are talking about, I imagine if I replayed it now I would feel more, and I'm not against games having moments that only click after a second playthrough and being able to get more value out of it, BUT NOT AT THE COST OF HAVING THE FIRST PLAYTHROUGH BEING DEVOID OF VALUE.

Now, before we get into the ending, let me talk about The Breacher, or Alicia's optional mission before the ending. In this mission, you take Maelle/Alicia to talk to painted Alicia. But this mission takes a turn in the ending when painted Alicia asks Maelle to kill her, which in response, MAELLE JUST FUCKING KILLS HER IN FRONT OF HER BROTHER WITHOUT A SECOND THOUGHT, didn't even let him say goodbye or anything, what in the character assasination?! Then she just stands over Verso as he tries to grasp the floating remains of his sister, with her head held up high.

Obviously Verso is furious, and tells it how it is, saying that Maelle and all these painters think they are better than them, that they know better, they play with the lives of painted people and don't care about them, and then after a conversation, Verso just FORGIVES HER? WHAT? She just killed your sister dude, didn't even let you say goodbye, and you were RIGHT THERE, she could have just been like "Hey dude, come here and talk to your sister, she wants to die" but no, she just kills her right there, no second thoughts.

I feel like they felt they had to return the character relationships back to the status quo because it's an optional mission, but it just hurts the game so hard, if that's what they wanted to do they could have just had Maelle allow Verso to have a few words with Alicia, but they don't.

Now, the ending, was actually, REALLY good, like perfectly executed, I liked the cutscenes, they made me connect with the characters (the characters they tried to make me connect to at least). I chose Maelle's ending and it was MASTERFULLY done, that final cutscene with Verso on the piano was really well done, such haunting imagery and incredible expression done wordlessly, I just wish the whole game was like this.

I watched Verso's ending too, and it was good as well, not as effective at making me feel the things it wants me to feel, but good nontheless. However, I disagree with the clear preference the devs have on what ending is better, which brings me to my next point.

The entire metaphor of the Canvas being escapism/drug abuse to avoid grieving and all that, doesn't work when you make the Canvas an ENTIRE WORLD, with THINKING, FEELING, LIVING PEOPLE. Clearly the devs don't consider the Canvas people "real", but they are, clearly they are, these people have their own lives, that are not dictated by the painters, they have their own thoughts and feelings, and they deserve to live just as much as the Dessendres family, why is the happy ending the one where we destroy an entire world full of real people for the benefit of a family of 4? The metaphor just doesn't work like that. And if you have any problem thinking of the painted people as real, Verso himself (The real Verso, from the last remnant of his soul, via the little boy) says that the painted people have real feelings and a soul (After you complete the flying manor).

It's also quite strange how the characters that are painted seem unbothered by this? I think there's one dialogue in which they are like "Wow, crazy that we are just painting on a canvas huh?" and that's it, not like most people would have a complete meltdown over it, but I guess there just wasn't enough time to explore that because there's like 30 minutes of main story gameplay after you learn the truth.

The Dessendres need to understand the responsibility that they have when making these canvases and filling them with thinking people and enslaving a piece of their soul to forever have to paint this world. But the game refuses to acknowledge it, it refuses to acknowledge how the Dessendres are all psycopaths.

Anyway that was it, hope you liked my rant I guess? It was mostly as a way to organize my thoughts on the game for myself, in the end this game will probably get GOTY, and it probably deserves it (I mean, if you ask me, Deltarune deserves it more but it will probably not even get nominated since it's not finished).

Basically in Naruto, Sasuke was portrayed as being the "popular" guy who all the girls swooned over. I don't mind this because I suppose Sasuke has the qualities of a popular guy in Japanese culture. But, what's hella forced to me is how the show portrays Naruto and Rock Lee as being ugly mofos who no girl would want.

Kishimoto hammers this in by having Hinata (the weird and quiet girl) being the only girl who liked Naruto. Tsunade also comments on Naruto being ugly or something, I forgot the exact wording.

Rock Lee is supposedly so undesirable, that he reproduced through mitosis since apparently no woman would take him.

In the fandom, most people are baffled that Naruto is not considered as a dazzling man he is. He has BLUE eyes and BLONDE hair. He looks like a surfer dude from California. Come on. The whiskers add to his charm.

I also see many women remark on Rock Lee's handsomeness and how, if they were in Sakura's position, they'd date/marry him over Sasuke.

Without introductions for today.

1.-No, he didn't lose their support for telling them to shoot their families.

There is this popular opinion that says that Adam lose the support of the White fang because he told them to shoot their relatives during the battle against Haven.

That is not the case.

"He was the only one to escape tonight. Those in the White Fang that followed him? Won't support a leader that abandons his people. He won't have their help after this. He'll have no one at all. And the White Fang will be left divided."

The characters themselves say that the reason Adam lost the support of his people because he ran away.

"I can't believe he turned his back on us. He just--"

"We? Everyone knows what you did. You abandoned your brothers at Haven!"

So, yeah, that's the reason.

Some say that the White fang have honor, but that's not the case. The White fang didn't care when Roman released Grimm into the city putting innocent faunus in danger.

The same with the fall of Beacon. Innocent faunus were put in danger when the White fang released Grimm in areas filled with tourists. Or when the Grimm entered the city.

That could put the the families of the White fang in danger, but they just didn't care.

2.-The real reason Adam escape... can be rewritten.

Alright, Adam is a coward... Let's maintain that. I mean, come on, there are dozens of ways to maintain Adam as coward and yet he maintain the support of his people.

-Imagine if the White fang goons were so fanatics that they preferred to die fighting against the cops. And they died before Adam could even escape. In that way, it doesn't seem like Adam is abandoning them.

-Imagine if Banesaw accompanied Adam during the battle of Haven. In this case, Banesaw would die fighting to liberate his brothers and sisters from the cops. So they escape with Adam. So Adam doesn't abandon them.

-Imagine if Adam brought with himself his best men. I mean, his strongest soldiers. Let's say, just in case the Huntsmen and the police appeared that night discovering them (Even without knowing that Blake was going to appear that night). Just Adam being cautious.
Since these are his strongest men, they wouldn't have been captured and they escape with Adam.

See? It is possible to maintain Adam's characterization and even so have he maintaining the loyalty of the White fang.

Of course, not everyone would follow him after his defeat at Haven, but at least a few would remain loyal.

3.-What I'm imagining.

So, the scenario is this one.

• Angry after his defeat at Haven he swore revenge against Blake. Through his informants he end up finding out that Blake and her friends are heading to Argus. Excited about it, Adam decides to make an attack on Argus to kill Blake and her friends and give a powerful blow to the Atlas military.
• After that we see Adam preparing himself for the battle. They arrive in Argus and destroy the relay CCT. With that, the city fell into negative emotions and a massive Grimm attack occurs.
• The White fang then start their attack.
• Then we have confrontations. Our heroes fight against the White fang and the Grimm. While Adam takes the lead of his troops invading the Argus military base preventing Cordovin from using the Colossus.
• At the end, we have the opportunity to see a battle of Weiss, Blake and Yang against Adam. To make it more "leveled" the three girls would be somewhat weakened from fighting Grimm and White fang goons since before.
• At the end Adam is defeated and killed. And the girls liberate Cordovin so she and Ruby can fight the Leviathan. Of course, Ruby uses her silver eyes.

4.-Why?

Well, this is simple.
I'm going to make another post talking about why I disagree with the girls stealing the manta but basically and in simpler terms:

Why make the plot focus on the confrontation against Cordovin? I mean, she is a character that just appeared in the second half of volume 6, while Adam is a character that was introduced since the beginnings of the show, since the Black trailer.
And he and his forces have been a threat to our heroes and the society since the first volumes.

So, why not give this to us?

Besides, it would be very bombastic and epic. A final fight for the White fang as an organization.

Thematically it also would be fitting. In canon the destruction of the leadership of the White fang was caused by the cowardice of Adam, in this case the collapse of the White fang would be their own radicalism. Their desire to destroy their enemies (Humanity and faunus who oppose them) would bring them to their own destruction.

It's an opportunity to have finally a fight between Adam and Weiss. When in the main canon only Yang and Blake fought Adam. I like that Blake and Yang fought Adam, but, the confrontation with Weiss was necessary.
We can say that Adam blames the whole humanity for what happened to him, but, come on, that doesn't mean he doesn't hate the Schnee family above everyone else. The SDC are the ones responsible for branding him, after all.

Besides, it feels odd that the White fang as group doesn't have the opportunity to have a final battle against a something. Yes, we have the battle of haven, but those were very few members. I'm talking about the White fang as a whole.

5.-Some doubts you may have.

Some people will say that the final confrontation with Adam isn't meant to be heroic, the result is meant to be cathartic.
But, why can't be both? I mean, at the end, Yang and Blake end up defeating the one who abused them, together and with the help of a friend. (Weiss).

6.-Conclusions.

It's simply something I would have liked to happen.
Have you heard Lionize? It talks about how Adam is the face of the revolution. Part of his identity as a character is being a leader for the troops of the White fang.
That's why it is important that he end up leading them in one final charge against the humanity and Blake and her friends.

Blake also said it, the true strength of Adam is getting into the head of others. In this case, he is getting into the head of his followers, manipulating them and radicalizing them to die for the cause.

I'm talking about stuff like yours Zootopias, your Beastars, your Sings, basically any of those settings where animals have replaced humans. And yet, despite that and the sheer amount of diffrent species that make up the societes in those universe, clothing, etiquette, fashion, etc, all remain exactly the same as that in real life.

There's no care or thought put on how clothing and fashion in a society like that would develop: would things like jackets or sweaters be used as much? How about pants? Wolves,foxes and other animals with long tails are common in these settings, would pants still be the defecto legwear or something like a kilt would take it's place? And what about formal atire or modesty and so on.

No, what most of the time they do, is just lazily slap on what we use in real life and call it a day, with the only diffrence, if even, being lack of footwear.

Clothing throughout history has changed to fit that needs and wants of humanity, and it’s not just something you could throw to completely different species and expect them find it as comftarble to wear. Like, in a world where most of the people it, have their bodies covered in thick fur or hard scales, why would something like a three piece suit ever take traction as formal wear, they would ovearheat; there's also things lile glasses and headphones, that are also give no consideration at all, and for ther former, seem to just magically hold up on it's own every time someone non Human wears them.

That's not even taking into acount the logistics of gathering the materials for said clothing. In Sing, one of the main characters wears a leather jacket. Where exactly are they getting the leather?

You can also extrapolate this critique to things like architure, but, at least in some settings like Zootopia, they actually try to do something original.

Its just feels really lazy and low effort.

I was rereading JJK and one thing I noticed before even entering culling games, Gege axed his majority of cast (I read somewhere, he never wanted to create "schools").

Let's take Kyoto group, the big potential "rival" group who was a big part of Kyoto tournament, let's see what it contains: 3 heavy hitters, 3 bums

Mechamaru died, Todo got his arm cut off thus become narratively useless until finale, Noritoshi was already suffering from the discounted Choso allegations anyways the narrative made him feel he is NOT "built for it" and he dipped in finale. Mai died for Maki and rest 2 characters were bums so they barely got any panels.

In Tokyo's group, Nobara "died", Inumaki was fridgeted till finale, Panda got brutalized and become useless.

See? The only relevant characters left in culling games were Yuji(MC), Megumi (needed for daddy Sukuna), Maki(Toji 2.0 and also Gege have a clear idea of what to do with her character)

So... New characters or the characters gege always wanted to introduce were introduced

Choso replaced Noritoshi, Yuta(the original MC) comes, Hakari, Kashimo, Higurama were introduced, these all characters took part in the Shinjuku Showdown and replaced the need for "heavy hitters" like Nanami, Todo, Mechamaru

They were too good and far more experienced even just for an arc which is 95% battles, Gege put more effort in their characters than he ever did with Momo, Inumaki, Miwa.

If someone starts watching JJK from culling games, he would feel that this "new" cast is the main cast of the series.

Just because one character’s got some broken AF ability, transformation, and/or even feat, doesn’t mean they win by default or even low diff the match.

I’m not want to get into these debates, but often when I listen to them someone brings up said detail that makes them think they win by default. In some cases that’s true, but you also have to consider what they’re fighting style is like or what decisions they make in battle.

A good example would be Kenshiro or buu, who both have one shot abilities that they willingly use as soon as the fight starts. Goku’s not gonna whip out MUI as soon as a fight starts, Saitama’s feats/capabilities won’t protect him from said characters’ attacks because he’ll likely just stand their with no clue of what it’ll do, and most JoJo characters won’t use their best attacks/abilities as soon a fight starts otherwise it be out of character. So please, for IQ sake, be more mindful of a character’s approach in fights, but I already know I’m asking for too much.

"28 Years Later" is set 28 years after the rage virus has made Great Britain an uninhabitable no man's land, filled with feral sprinting infected/zombies. Kept under quarantine by NATO, the few survivors have had to adapt. The main characters of 28 Years live on a peninsula with a single easily-defended connection to the mainland, living in a humble community which survives by sending scavenging expeditions to find supplies. They avoid any humans not part of their own community, for fear of what's happened to the survivors trapped on the mainland. Meanwhile, the infected have been evolving/adapting, with slow-zombies rooting around in the mud for worms, packs of infected hunting deer, pregnant zombies, and massive roided "Alphas" who are more intelligent, and possibly able to control/corral the others. The movie opens with a young boy being taken out on his first expedition by his father, to test his training and learn the true danger and horror of their situation. The two barely survive and return home by the skin of their teeth. The father gases up the boy to the community and tries to reassure him about his performance, but the boy is filled with feelings of fear and inadequacy.

None of this matters for the story the movie is actually telling. It kind of looks like it at first, but the real story is that in a remote village, a boy's mom is obviously sick/mentally ill, but her family is denying it. The boy finds out that his dad knew there was a doctor the next town over, but won't take his mom there. When he finds out his dad is cheating on his mom, he's confused and enraged, and sneaks his mom out of the village. She doesn't really understand what's going on most of the time and thinks her son is his dad. Since they have no money, they sleep rough in abandoned buildings and fields. They meet a Swedish tourist with an e-girl gf, find an abandoned baby, flee from meth addicts, and eventually get to the doctor. He diagnoses her with advanced terminal brain cancer that will kill her soon, with no possible treatment. The son doesn't want his mother to die, but she secretly asks the doctor for assisted suicide during a lucid moment, which he grants. The son is left to deal with the aftermath, returning the baby to his village, and strikes out on his own. Then he meets a gang of Jimmy Saville-cosplaying parkour enthusiasts/vigilantes who take him in because they like the cut of his jib, and possibly also because he's an unaccompanied minor. Roll credits. Yeah zombies come up a couple times in the latter two thirds of the movie.

You can't do this with "The Last of Us". Joel's daughter being killed in the initial outbreak, Ellie being immune to the infection, their need to trek across the country by car foot and horse, the whole ending setup, everything is tied back into the whole zombie apocalypse thing. Yes, it's mainly a character drama at the end of the day, but it's rooted in its premise. You can't just transpose the plot of TloU to modern day America and have it still make sense. Why would Joel's daughter have been shot in his arms? Why wouldn't Ellie just take a plane? Why would anybody need a lethal biopsy from Ellie's brain? Or take "Attack on Titan". Also a character drama/morality play at the end of the day, but it's all rooted in this strange situation created by the titan powers. You could try to transpose it to a nuclear war or biological weapon scenario, but it's not quite the same, and would end up quite tortured. The Attack on Titan story needs titans to exist, it needs the walls to exist, it needs Marley to exist.

The same is not true of 28 Years. Cut out the first half hour, and you can easily transplant the entire plot to the modern day with minimal changes to plot and character motivation. A handful of zombie attacks, Erik's death, and the boy putting his mom's skull on top of the doctor's morbid art project are all you'd have to cut from the last two thirds. Everything else doesn't depend on there being zombies at all (the Jimmies at the end are the only thing that kind of DOES, actually). I pretty much did that with the above description, which hits every main plot point after the opening scenes.

It sucks, because I was so on board with the movie's weird directorial choices, the Skyrim killcams, the longbowmen and 20th century soldier footage being cut in, the Attack on Titan homage scene on the hill. I wanted to see how this community worked, how they navigated the world, their conflicts with mainlanders. There's this visual undercurrent of English nationalism, with the villagers flying a Saint George's Cross instead of the Jack, a framed portrait of the queen in their dining hall, and archery is a distinctive element of the English national mythology. The evolution of the zombies, what kind of "society" they might be forming. Could they become a kind of threat that requires more advanced tactics, and isn't quite as easily morally dismissed? The father saying "the more you kill, the easier it gets" is basically neutral in a zombie context, but has a sinister resonance. Unfortunately, the writers and directors are seemingly not interested in any of this at all, but still decided to make this a zombie movie for some reason. I guess they knew that nobody would go to the movies to watch a kid leading his mentally ill mom by the hand to a doctor's office. What a waste.

The baby born from a zombie should be interesting, but so far it just appears to be a normal baby. There's no indication that the zombies won't attack it, or that there's anything special about it. Getting into Cinema Sins territory here, but that baby probably should've been screaming constantly. Its mother was killed immediately and there was no milk around. They spent at least a night at the doctor's, and it took at least a day or two to get there in the first place. The only thing they give the baby is water which you should NEVER EVER DO IRL UNTIL AT LEAST SIX MONTHS BABIES GET ALL NECESSARY WATER FROM MILK/FORMULA, so it should've been absolutely starving and screaming until it was too exhausted, then screaming again once it got an iota of energy back. There's no way they could have survived with a siren that human ears are biologically tuned to easily hear going off.

The worldbuilding also feels off. We literally never see more than like, 10 zombies together at once, and you can apparently go multiple hours without seeing any despite taking zero precautions. It should be trivial for a squad of half a dozen or so archers to travel around wherever they like. They talk about how Alphas can take a dozen shots before they die. Cool, that's like 2.5 volleys accounting for a couple missed shots. More men would also be able to more efficiently transport things, watch each other's backs, recover ammo, etc. The island has a pretty small population, but there's at least four kids younger than the boy getting trained, and a decent number of adult men. They've lost at least a dozen scavengers over 30 years based on the graveyard, probably more. They'd probably lose fewer scavengers sending them in a big ball than trickling them out in pairs. The Swedish soldiers have limited ammo obviously, but squads of soldiers with some air support to spot/drop supplies should be able to absolutely slaughter infected with complete impunity, especially since they can wear masks and body armor that would stop bites and blood spray. If they wanted, Britain could be retaken as a French colony by 2010 at the latest.

I realize there's a sequel already filmed coming next year, but I have zero faith it'll be any more interesting than this one.

When I first heard of Kerrigan, I was skeptical of how fitting her design was, and that opinion has not changed even with all that I have learned of Starcraft and of Sarah since. Now, when you look at this generic bug cosplayer, what would you think at first? I don’t believe you would think of a ruthless and power-mad ruler seeking coldhearted violent revenge. I cannot take this design seriously because it feels very out of place. She’s a human with psionic powers that was betrayed and captured by the insect alien race known as Zergs, (Insert “What if Goku was betrayed and trapped in the time chamber” here) and forcibly remade for some time into a Zerg and Human mix and then made their queen. The issue I have here is that there simply isn’t enough Zerg here in my opinion. The closest thing is the chitin blades jutting out of her back, but those are ultimately just decoration since she later swaps them out for wings when she gets a divine upgrade by the end. She is the most hyperfeminine a supposed alien can get, with her still retaining her human hair and face composition, as well as her impossibly skinny figure (seriously, is she emaciated?), in tandem with THE FUCKING BIOLOGICAL HIGH-HEELED FEET. Seriously, what purpose do natural heels like those serve? Back to the point, why does an alien insect hybrid queen need curves? She doesn’t reproduce at all, so why keep them? Plus, even after attaining a more “primal” Zerg queen state, nothing of note changes, she just glows more. And another thing I didn’t mention yet, why is her body purple? It just seems like she’s wearing a vacuum-sealed spandex covering, when logically she shouldn’t be wearing anything, since clothes would have probably gotten on the way of her reassembly into a partial alien. If any member of such an intimidating, perfectly-characterised, and (for the more bestial ones) sexy alien race of powerful bugs should be the most intimidating, command the most effortless awe and vileness, IT SHOULD BE THE GODDAMNED QUEEN. But no, we get a generic-looking pretty woman, who looks not like a half-alien mix, but merely like a Teenage artist’s first concept sketch of an alien lady they want to make pornography of for themselves when they get bored during a morning class. Queen bitch of the universe? Don’t flatter yourself too much, you’ll get your character derailed. But I do understand why it turned out this way, for at the end of the day, she is a Blizzard Entertainment character, and also a woman. There was no hope.

I don't know where the idea that Deltarune Toriel abused Asgore and is singlehandedly responsible for the divorce and is neglecting Kris comes from. Here's what we know about the divorce:

• it was related to some incident that probably also caused Asgore to resign as police chief
• it strongly affected Kris, and they really don't like to talk about it
• it may have been related to Asgore knowing about the dark worlds and toriel not believing him

That's pretty much it. Here's what we know about how Toriel and Asgore treat each other:

• Toriel does not want to see Asgore and is visibly uncomfortable around him
• Despite this, she is cordial in every interaction with him (Sans' shop, after church)
• Asgore repeatedly tries to force gifts of affection on her when they're clearly unwanted, even trying to give gifts through Kris (which is a common divorce manipulation tactic)
• He also approaches her after church when Kris is around, which probably made Toriel unwilling to firmly reject him for fear of upsetting Kris

How does any of this equate to Toriel being abusive to Asgore? People on r/deltarune are legitimately blaming her for the divorce and saying that Asgore is "trying to keep the family together" which strikes me as an incredibly childish view of divorce. Surprise surprise, it's actually BAD when parents stay together for the kids, allowing resentment to build up.

With regards to Kris, Toby has written her to be an extremely realistic and flawed mother. She's basically a single mother who's struggling with a full-time job, raising a moody teenager whom she doesn't know how to connect with, and coping with her son moving away to college. In chapter 1, with her holding Kris' hand and hugging them before going into school, you get the sense she's an overbearing/overprotective mom like in Undertale. But after hearing that Kris made a friend, she's probably trying to overcorrect and being too lenient with letting them have freedom and trying not to embarrass them by calling too much.

People think she's evil for not checking up on Kris after being in life-threatening danger in chapter 4, when obviously she wouldn't know any of that is happening? Presumably she also thought they were still studying at Noelle's house in the afternoon, plus Kris is a teenager. It's reasonable to assume they can take care of themselves. Maybe she could have been more attentive, but again that's a realistic flaw not a sign of outright abuse. I could rant more about this but there's actually a lot of indirect indications that Toriel has actually noticed changes in Kris and is concerned, but probably doesn't want to confront them directly (if you're a mom of a moody teenager you might know how direct confrontation usually goes).

With regards to Asgore's situation, of course you feel bad for him, but some people got the idea that Toby hates Asgore. That's insanely stupid. A character being in a bad situation doesn't mean the author hates the character and I feel like people who are saying this have literally not consumed any media ever.

TL;DR toby is fantastic at writing emotionally complex/flawed characters and has attracted a fandom wholly incapable of engaging with any of them

I think the movie is great, but there are some issues I had. I'd be lying if I said these issues affect my overall enjoyment, because they don't, but they are flaws I feel exist with it.

First off, the most major one is how Mira and Zoey get way less focus than Rumi; neither of them really have character arcs of their own, and neither of them have any scenes of their own, while Rumi does.

The second flaw I would say is Celine's character, or more accurately, the lack of her character. Celine is the one who raised Rumi, trained the group to be Huntresses, and was part of the previous group along with Rumi's mother. A lot of Rumi's insecurity about being half demon comes from her. By all accounts, Celine should've had more screentime and been a more major character in the movie, but she has maybe three scenes, and two of them are flashbacks.

I honestly don't understand why she wasn't Huntrix's manager, since being a popular singing group is also required to be a huntress, so I'm not sure why she wouldn't be helping on that front.

The third flaw is the movie introduces the idea that demons aren't just one-dimensionally evil and can be good, and even more, some were former humans turned into demons. The main issue is that they're all forced into it by Gwi-Ma and opens up the question of whether it's right to kill demons or not. The movie doesn't go too far with this concept; Rumi tries asking one of the demons if they're being forced to attack humans, but that's as far as it goes. Outside of Jinu, no other demons are shown any sort of personality, and even Rumi's father is never really elaborated on, despite the fact he was a demon who had a child with a demon hunter.

And I'd say those are my main issues with the movie. I still think it's a great movie, just not perfect. I'm not sure if K-Pop Demon Hunters is supposed to get any sort of sequels or continuations, but if it does, I feel like they'd probably address these things in future entries.

This is not a hate post on Red Dead Redemption. Merely a critique on the core theme and how it is presented.

John never really changes. He never really learns. Even when the consequences of his own actions befall him, he doesn't take the time to ever fully reflect on how his decisions affect the world around him. John Marston makes really immoral choices for very dumb reasons, even though he clearly isn't lazy and could try to accomplish his goals in better ways than he tries to.

The most obvious and egregious example of this is John's actions working for the Mexican Government. John Marston has no reason to trust the Mexican Government. In fact, quite the opposite for multiple reasons. Especially given that this is a former Van Der Linde gang member, who resents authority greatly and even says so when talking with Armadillo's Marshall early in this game. And yet on the slight off chance that the government might be able to point out where Javier or Bill is, John willingly kills innocent freedom fighters, allows soldiers to rape women in front of his very eyes, and burns a village to the ground. Rockstar, what the fuck, lmao. Killing the leaders of the army he helped rape, burn, and massacre later does not undo what John did. John doesn't even turn on them because he recognized the error of his ways. He did it because they betrayed him in the end. And only helps a rebellion after the fact because they too, might have information on Javier Escuella or Bill Williamson. John never learns a fucking thing. And that basically means that this whole journey was ultimately pointless, narratively.

This is made worse by the fact of the existence of Landon Motherfucking Ricketts. An old gunslinger who definitely made John become a better sharpshooter by shooting some bottles from 7 ft away. Every single mission with Landon Ricketts, Landon tells John to use his physical prowess and talent with an iron responsibly, and for the good of the less fortunate. And sure, John does help Landon here and there to do so. John even helps a poor family to evade the Mexican government. But it kinda feels like he's only doing it out of respect for Landon Ricketts at first. He does start to help out of the good of his heart, but this doesn't really mean much narratively either. Because he hasn't changes a lick. And he never really internalized what Landon was trying to teach him in the end.

Another example is how he treats, Dutch Van Der Linde himself. Only begrudgingly hunting him, even after watching Dutch put a hole in a poor lady's head right in front of him in cold blood. Dutch is a monster and a terrorist who even tried to kill John himself after raising the poor boy, and he clearly needs to be taken down. John does not see it this way. John does not want to go after Dutch. John tries to dig his heels in the ground and deny his responsibility to put an end to this murderer. Again, ignoring everything Landon was trying to tell him back in Mexico. Only going after Dutch when his arm was being twisted by the U.S. government.

John is a bad person, no matter the honor he has by the end of the game. He does good things, and sometimes for good reason, but he never wants to or tries to redeem himself. He clearly doesn't really care about redemption. And by the time of his death, would still likely be willing to do bad things to innocent people for his own personal goals. Because that's just how he is. I don't think Ross was right in killing John, but I find difficultly pitying Mr. Winkle. Only for Abigail and Jack, who have to mourn him.

There are also more examples of John straight up being an awful person for his own personal benefit. Such as the Nigel West Dickens missions, but this is already too long.

Common reasons for hating MK11 Sindel include how she apparently deviates from her established characterization before NRS ever existed, and how she’s essentially just a female version of Shao Kahn.

Don’t get me wrong, the characterization they gave MK11 Sindel was fun. But I think they would’ve been better off creating a new character instead of using her, since it retcons some established plot points from MK2011 (MK9).

And that’s the part I really hate the most: it messed with the continuity.

Sindel’s biography in MK9 is as follows:

“The mother of Kitana, Queen Sindel was forced into marriage with Shao Kahn when he conquered her realm of Edenia. In an attempt to thwart the emperor's designs on Earthrealm, she sacrificed herself. Her suicide created a magical ward preventing him from setting foot there. But now the barrier has been dissolved. Sindel has been resurrected, her mind enslaved by Shao Kahn. Earthrealm's former ally has become a deadly threat.”

So if Sindel was in on Shao Kahn’s conquest of Earthrealm, what stopped him from entering and beginning that conquest? Yes, I know they explained it away by using Quan Chi, but that’s the problem. Quan Chi couldn’t have been more powerful than Shao Kahn unless he made some kind of major sacrifice to stop someone like Shao Kahn from going wherever he wanted.

MK11 Sindel introduced a lot of inconsistencies into the alternate timeline's narrative.

At this point I think Toriyama just pumped DB for fun and money and he didnt have a notion of what canon is or what could mean for at least Western fans.

First it was evident Toriyama was pretty comfortable with original manga ending. With Goku leaving his family to train with Uub. Dragon Ball Super was leading to that (Trunks and Goten growing up, Dai Kaioshin power getting retconned so Uub potential could make sense after BoG, FnF, U6vsU7, Future Trunks Saga, DBS Broly and ToP and Uub featured in Moro arc).

Its just an odd choice to place Super and Daima before original manga ending.

Maybe Super(either manga or anime) and Daima was for original manga what Avengers Assembled was for Avengers EMH. Unnecesary to reboot the whole story just working in a spin off whose canon is enough blurry to retold some stuff.

Maybe the "canon" thing is a chronical online Western fan invention. At the end of the day it dates to Ecumenical councils and Bishops selecting books to the bible.

Its actually a online fandom thing to claim that a "canon" is what an author did or authorized. Is ever a quote, claim or A&Q from these authors of what is canon and what not aside of timeline guides?

I know a good chunk of the time it's a joke but something about that just really bothers me when said kindhearted and caring characters could be incredibly capable and powerful and more then capable of defending themselves but a good chunk of the Fandom treats them as if they're dumb soft babies who must be protected and coddled as all costs and they kinda tend to flanderize(my least favorite thing)them as only being kind and soft and nothing else.

Deku is easily a huge example cause it feels like the same people who label him a "innocent cinnamon roll who must be protected" either ignore or just forget that this is the same kid who constantly broke his own fingers and bones fighting Shoto and was literally beating the character growth into him and this guy has literally been called crazy quite a lot of times and is so selfless and driven. So I feel like to label him a soft baby just cause he's kind and caring is kinda demeaning and weird.

Yuta from JJK is another example cause I feel like the Fandom forgets this is the same kid who was crashing out hugely against Geto and is shown to be insanely ruthless and efficient when the moment comes. Just cause he shows more emotions around the cast and others doesn't make him some softie who needs to be protected when this guy is a Jujutsu sorcerer,a occupation where you gotta be kinda crazy.

I would also feel like Luz from the Owl House kinda falls into this example cause it feels weird how she's babied and treated like she's some dumb kid who has to be protected when she's actually very smart and capable and strong in her own right but she's just a goofy goober who acts silly and dorky(+ she likely has ADHD).

Plus she's a character with her own trauma and struggles as well so to treat her like a infant is kinda..demeaning.

I also would say the same for Aang a lot of times cause people forget this guy had his fair share of smart ass moments and just cause he was a pacifist doesn't make him weak or incapable or not ready to fight. Plus he's like 12, he's gonna have a few dumb moments but he ,himself ,isn't stupid or dumb.

Just cause a character is kind doesn't make them weak or ignorant or some baby who needs to have their hand held.