#ryo-maybe

[redwhitebreeze]

Bro... you walk the path of the rightheous on your own and so you have my respect even more than before

[verseno]

Not at all but the angle of “it’s to support small artists” is getting blown up by the community itself constantly and it’s just 

:/

“lets make a mosaic of anti funny images people’s profiles and sell it, haha that is on the same level as them simply mocking my images”

[cerastes]

BUT WAIT, THERE’S MORE

There’s a direct spin-off of this game, Battle Dodgeball,

Which is a Gundam-Kamen Rider-Ultraman (and Mazinger) dodgeball crossover.

With everything that implies.

[darkarchercatalyst]

All right, rant time, and the theme... is themes. (The other theme is Mirai Nikki. We’ll get there.) Quick disclaimer that I’m far from having any sort of expert opinion on literature, so there are likely people who will disagree with me or say things in a much more precise manner. That aside, here we go.

One of the core elements in whether or not I find a piece of fiction satisfying is whether or not it can maintain a consistent theme throughout. Thematic elements exist across a wide range of moods, goals, genres, and so on, and generally reflect on the driving philosophy of the narrative work. They are the parameters that create the framework in which a fictional world exists, much like the laws of physics in reality. When characters and plot move along with respect to the laws that govern them, it provides a cohesive experience. This doesn’t necessarily mean the story is good, but it is coherent. If characters and plot actively subvert the themes of their setting, then it creates a jarring or dissonant experience in the viewer (I’m looking at you, Gurren Lagann).

Sometimes this can be used to great effect. A “twist” ending or sudden change often relies on a thematic shift to move the story from one paradigm to another, with the jarring nature of that transition intended to create emotion of some sort in the viewer. However, to do so effectively requires for the secondary theme to be present throughout the first theme, but simply hidden or not acknowledged. Whether a second theme that enables the twist was properly set up is often seen in whether an audience feels like the twist “came out of nowhere.” Well-executed thematic shifts reward their more perceptive and invested viewers.

The other important part of themes is that they provide a vector along which the story and characters develop. This doesn’t mean that all characters and story beats evolve in the same way, nor should they, but the theme of the work provides the boundaries for the trajectories each element takes. We ultimately want the end state of the characters we like to be somewhere along the thematic route from where they started. Whether the net movement is positive or negative doesn’t necessarily matter as long as we felt that the character’s path had meaning. This is the predominant reason that most people find the endings of shounen manga disappointing, since often the trajectory of the characters’ stories get narrowed down into some sort of textbook feel-good ending that doesn’t reflect any complexity of the plot that came before.

Now then, for the core of the rant. The reason that I hate Mirai Nikki’s ending is that it completely breaks with the thematic elements of the series in order to provide not even a feel-good ending but a self-serving ending on the part of the author. The core element of Yukiteru’s character from the beginning is that he is a passive observer of the world around him. He is highly perceptive and precise in his observations, but it is entirely outwardly facing without regard for himself. This is stressed multiple times throughout the series, as is Yukiteru’s passivity in the face of ongoing events. It is only when he is thrown into a life-or-death situation where his own survival is paramount that this self-neglect becomes a critical flaw, which is then supplemented by Yuno’s character of being entirely centered on Yukiteru. In a messed-up way, their views of the world are necessarily complementary for both of them to survive. This is a good thematic hook to start off on, and intersects with the other diary holders and the ways they each in turn view the world around them.

Mirai Nikki also deals strongly with the ideas of justice and personal codes of honor. The moral perceptions of the contributing characters and the way that each action is justified against those morals is as important to the themes of the story as their preferred method for recording the events of the world. These morals are often intentionally skewed in the sense that it takes an outside morality, often in the form of characters uninvolved in the battle royale like Nishijima or Yukiteru’s friends, to provide a baseline against which the dynamic personalities involved are measured. So far, so good. Throughout the series this served as a decent dynamic and reference point for just how far afield the characters go.

A two-fold problem arises with the way these thematic elements, and we’ll work backwards through them. First, the baseline that the series relied upon for grounding its moral code is broken in response to the event where Yuno kidnaps Yukiteru and holds him hostage. Eventually Yukiteru is saved and released, only to turn around and decide to stay with Yuno anyway because she loves him and the only way he can “save” her is to stick with her. This alone isn’t a breach of Yukiteru’s passive nature despite being frustrating to the viewer, but the problem is the more meta context in which it is portrayed. The characters serving as the moral basis for the series rightfully are disturbed by Yukiteru’s decision, but contextually they are depicted as being wrong for attempting to convince him otherwise. This initial point of fracturing in the theme of the story carries forward in the sense that the series reorients around Yukiteru’s actions becoming deterministic. He simply does what he has to do without regard for exactly where on the moral spectrum that falls. That could have been handled effectively if the moral backbone was maintained. However, it is cast into doubt by the author’s decision to portray a bad decision (with respect to the story so far) as unilaterally good rather than simply reasonable within the context of the story.

This draws a direct line to the second big fracturing point of the thematic elements of the story, which is the ending. Even after the aforementioned breach in the moral core of the story, there is some attempt to regain it by coming back to Yukiteru’s friends and bringing in Akise as an off-kilter moral foil for Yukteru and Yuno’s actions in the last arc or so. This never quite lands aside from having a plot device by which to force Yukiteru’s “character development” at the very end, but more on that in a moment. The core issues it that by the time the series ends, both Yukiteru and Yuno are “bad” characters not just from a reader perspective but from the baseline morality that pervaded the first half of the series. Yukiteru sacrificed his personal morals and Yuno was revealed to have almost none for the sake of winning the war, and the only reason they are still the protagonists by the end is that Yukiteru at least is still “better” than the other bad guys. However, due to the themes of justice pervading the series there is at least some need for consequence for all of the “bad” characters. Except... this doesn’t happen. Yukiteru ends up winning the war and Yuno dies, at which point the thematic conclusion would be that Yukiteru must suffer some consequence of note or at the very least come to a realization that his behavior should change to atone for the actions he took even if they were out of necessity. Instead, he mopes around until Yuno from the next universe was brought to him and they live happily ever after.

This also creates a problem in that it breaks Yukiteru’s character arc and catapults him back to how he was at the beginning of the series. Yukiteru starts from a passive observer to a more active element, but all of this continues to be outward-facing. He behaves within the story as a response to the stimulus around him, but most personal senses of motivation or responsibility are only cursory at best. Only in the final arc, in order to escape being Reality Marble’d and stop Yuno, does he realize his own responsibility for the state of the world around him and acknowledges that he must be the one to take action out of his own motivation. He gains resolve to do not just what must be done in response to the current state, but the “right” thing. Until... he doesn’t. He certainly does the first step in resolving things by winning the war, but then it stops there. Any personal sense of responsibility is immediately torpedoed because he lost his love interest despite being realizing that it was necessary to correct things. Only when she comes back does he regain motivation. This becomes a direct contradiction to the development that Yukiteru took into becoming an active character. He devolves immediately into his dependence on Yuno for motivation.

You could compare this to NGE, which seems to be what the author wanted anyway since they both have a depressed protagonist who “grows up” in the course of messy relationships with girls and authority figures set against a background of apocalypse. They both even have the silver-haired homoerotic male friend with divine knowledge who shows up late in the series as a character motivator for the protagonist. Anyway, whether or not you like Shinji Ikari as a character (I do not), his story follows a linear progression toward the end. He starts as someone with little sense of purpose or belonging and dependency on the affirmation of others, but ends up with the ultimate position of “I want to live in this world.” That final state is a powerful statement of just how far the character has come. Mirai Nikki doesn’t have this. Instead it moves past the character’s resolution and completion of the thematic progression in favor of doubling on the codependency that necessitated the early character state. The protagonist’s development was taken back so that he could still need the yandere girlfriend and they could be together in the end.

So what would have been the proper conclusion to Yukiteru’s thematic progression? It would be the role of an active observer. Throughout the story he becomes privy to the trauma of his friends (especially Yuno) and the many evils of the world that led people to act horribly. Then he was given the power of god by winning the battle royale. The natural progression then would be that he recedes into the background as before but now with the knowledge and influence to fix the problems that burdened the world around him. Instead of shutting down and shutting out things, he would return to his original position of being unseen and only seeing others, yet now with the maturity and capabilities to do something in that role. This carries his resolution from the final arc forward into the epilogue with satisfying consistency. Maybe then after he does all that you could justify bringing Yuno back, but honestly it would be better if she wasn’t even aware of what he does behind the scenes at that point.

That’s a long-winded way to fully articulate why I felt that Mirai Nikki just completely fell flat in the end. This wasn’t even failure to execute, but it was an active deconstruction of what the story seemed to be trying to achieve. All in favor of maintaining the OTP or whatever.

[pancakeke]

I'll give you a birthday, but it is up to you to make it a happy one, grandma, so chop chop, get to work!

Don’t tell me what to do!! But I will anyway, thank you!!

[mariakono]

ryo-maybe a réagi à votre billet “what is THE peakest, bestest, excellentest character design to you”

Dorohedoro without question

god i haven’t started picking up dorohedoro because the scans i initially found were of really poor quality but god damn

GOD FUCKING DAMN IT I ADORE THOSE TWO’S DESIGNS!!!!!!!!!!!!!!!!!!!!!!

[asuccessfulbusinessman]

“Deeper,” the pizza calls out. You’re in Chicago now Little Caesar, and as they say, when in Rome.

[carnival-phantasm]

Can you imagine if they tried to style the artwork in Katawa Shoujo after the original concept art drawn by Raita

Ah, those scrolls from the 18th century? They weren’t able to restore them enough for that sort of adaptation back in 1925 when Katawa Shoujo was originally released