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I seen a lot of Japanese media have that kind of "Normal person points out what the wacky characcter just did" aspect to their comedy. Like the reaction is supposed to be the punchline.
With the right bit, it can be. The Straight Man and Wise Guy is a classic comedy duo. It's just that when you have a crowd of 15 Wise Guys surrounding a Straight Man, it doesn't work as well.
The Straight Man is supposed to set the tone for how the audience perceives the Wise Guy. He's supposed to be the normal baseline. But when he's outnumbered like that, the Wise Guys become the normal baseline. It's the Straight Man who ends up standing out as weird and abnormal for being such a boring killjoy.
If there is one wacky person in the room, having a normal guy go "Uhhhhh what," reinforces how weird and wacky the one wacky person is. But in a room full of wacky people, the one normal guy rolling his eyes at everything that everybody says or does just ends up being irritating.
This has long been a beef I've had with Kodaka because it's just. Like. Danganronpa and its successors do not have the right tone for "Hey audience, did you hear what THIS WEIRDO just said?" It's a game about weirdos. Everybody's weird here. What's your problem, protagonist boy?
A lot of action manga has this problem. They have a normal Everyman mc surrounded by an ever expanding cast of weirdos that makes the becomes increasingly bizarre and makes the mc clash with everything around them. Raildex really suffers from this.
I've noticed that too, yeah.
Something I wish I could drill into the heads of every writer is this: Because your protagonist is a character we are going to spend 95% of the story with, they should be the kind of character we would want to spend 95% of the story with.
The protagonist should be the most interesting and the most entertaining character in the cast. They should have the richest inner life, because their inner life is the one we're meant to explore. They should be fun to see onscreen, because we are always going to see them onscreen. They should wake up every morning and go "What am I going to do today that makes my audience scream FUCK YEAH I LOVE THIS CHARACTER".
Basically, we need more Edward Elrics, Maomaos, and Frierens, and fewer Kyons, Tenchi Masakis, and Makoto Naegis.
-sets Oshi no Ko here-
I seen a lot of Japanese media have that kind of "Normal person points out what the wacky characcter just did" aspect to their comedy. Like the reaction is supposed to be the punchline.
With the right bit, it can be. The Straight Man and Wise Guy is a classic comedy duo. It's just that when you have a crowd of 15 Wise Guys surrounding a Straight Man, it doesn't work as well.
The Straight Man is supposed to set the tone for how the audience perceives the Wise Guy. He's supposed to be the normal baseline. But when he's outnumbered like that, the Wise Guys become the normal baseline. It's the Straight Man who ends up standing out as weird and abnormal for being such a boring killjoy.
If there is one wacky person in the room, having a normal guy go "Uhhhhh what," reinforces how weird and wacky the one wacky person is. But in a room full of wacky people, the one normal guy rolling his eyes at everything that everybody says or does just ends up being irritating.
This has long been a beef I've had with Kodaka because it's just. Like. Danganronpa and its successors do not have the right tone for "Hey audience, did you hear what THIS WEIRDO just said?" It's a game about weirdos. Everybody's weird here. What's your problem, protagonist boy?
A lot of action manga has this problem. They have a normal Everyman mc surrounded by an ever expanding cast of weirdos that makes the becomes increasingly bizarre and makes the mc clash with everything around them. Raildex really suffers from this.
I've noticed that too, yeah.
Something I wish I could drill into the heads of every writer is this: Because your protagonist is a character we are going to spend 95% of the story with, they should be the kind of character we would want to spend 95% of the story with.
The protagonist should be the most interesting and the most entertaining character in the cast. They should have the richest inner life, because their inner life is the one we're meant to explore. They should be fun to see onscreen, because we are always going to see them onscreen. They should wake up every morning and go "What am I going to do today that makes my audience scream FUCK YEAH I LOVE THIS CHARACTER".
Basically, we need more Edward Elrics, Maomaos, and Frierens, and fewer Kyons, Tenchi Masakis, and Makoto Naegis.
I seen a lot of Japanese media have that kind of "Normal person points out what the wacky characcter just did" aspect to their comedy. Like the reaction is supposed to be the punchline.
With the right bit, it can be. The Straight Man and Wise Guy is a classic comedy duo. It's just that when you have a crowd of 15 Wise Guys surrounding a Straight Man, it doesn't work as well.
The Straight Man is supposed to set the tone for how the audience perceives the Wise Guy. He's supposed to be the normal baseline. But when he's outnumbered like that, the Wise Guys become the normal baseline. It's the Straight Man who ends up standing out as weird and abnormal for being such a boring killjoy.
If there is one wacky person in the room, having a normal guy go "Uhhhhh what," reinforces how weird and wacky the one wacky person is. But in a room full of wacky people, the one normal guy rolling his eyes at everything that everybody says or does just ends up being irritating.
This has long been a beef I've had with Kodaka because it's just. Like. Danganronpa and its successors do not have the right tone for "Hey audience, did you hear what THIS WEIRDO just said?" It's a game about weirdos. Everybody's weird here. What's your problem, protagonist boy?
A lot of action manga has this problem. They have a normal Everyman mc surrounded by an ever expanding cast of weirdos that makes the becomes increasingly bizarre and makes the mc clash with everything around them. Raildex really suffers from this.
I've noticed that too, yeah.
Something I wish I could drill into the heads of every writer is this: Because your protagonist is a character we are going to spend 95% of the story with, they should be the kind of character we would want to spend 95% of the story with.
The protagonist should be the most interesting and the most entertaining character in the cast. They should have the richest inner life, because their inner life is the one we're meant to explore. They should be fun to see onscreen, because we are always going to see them onscreen. They should wake up every morning and go "What am I going to do today that makes my audience scream FUCK YEAH I LOVE THIS CHARACTER".
Superman is quite possibly my favorite fictional character of all time, so I'm really glad that you're enjoying My Adventures With Superman so far.
Is MAWS Clark supposed to be a himbo? Because I'm really feeling like Clark's a himbo. And I'm kinda here for it.
They definitely lean into that sort of characterization
Other Superman also get that sort of thing too, but they don't lean into it as much.
Though I know some Himbo Connosseurs who deny him the title because a Himbo has to be dumb, beefy, and kind, and Clark only hits the last two categories
It sometimes feels like he hits the first one too. It's really more a product of him being characterized as an innocent, naive farm boy who constantly has to occupy space with Lois, a fast-talking schemer who steals every spotlight and sucks all the oxygen out of every room.
It often feels like Clark is still three sentences behind whatever Lois is saying at a given moment, which creates the illusion of being slow-witted when really Lois is just going a mile a minute. She could give Tony Stark a run for his money.
Did Gohan ever learn the Multiform technique? It shocks me he never tried to use it to throw Videl off of the trail of the Great Saiyaman, especially since it's a technique that wouldn't see much use, even in a more serious fight.
He's never been shown to know it, no.
In the manga, the only person who ever used the Shishin no Ken/Multiform is Tenshinhan, and only in the 23rd Tenkaichi Budokai. After Goku dismantled the technique and revealed its significant flaws, it was never used by anyone again.
The anime liked to bring it back for fight padding due to how visually spectacular it looks in animation, but it only gave the technique to three more characters:
-> Piccolo -> Krillin -> Cell
Anime Piccolo has his own version of the technique that makes three copies instead of four, which he uses multiple times throughout the show. Anime Cell uses the original four-bodied technique that Tenshinhan debuted.
For some reason, Anime Krillin uses Piccolo's three-bodied technique instead of Tenshinhan's four-bodied technique, raising very serious questions about when and why Piccolo taught it to him instead of Gohan. He does this both during the fight with Nappa and then again during a sparring session on the way to Namek against Gohan.
The anime also padded out the Gohan Secret Identity stuff a lot more. In the Manga there wasn't really time for Secret Identity Shenanigans because the second time Videl met saiyaman it was like
Videl: Good going Gohan
Saiyaman: no problem vid- wait, fuck
Yeah. Like a lot of things, I liked the manga version more despite how much shorter it is because it makes Videl look so smart and capable when she cracks Gohan's secret identity in half in one day.
In the anime, this is padded out to three or four episodes that follow the same formula.
-> Videl tries to do the one thing we're specifically told she's good at: Be an emergency responder for Satan City. -> Videl sucks at her one job because we wouldn't be able to have Gohan swoop in and save her from her own incompetence if she was any good at doing it. So day after day, she gets her own dumb ass nearly killed. -> Gohan saves the day, rescues Videl. -> Videl gasps and goes "BUT WHO COULD HE BE?????" The mystery is just so thick! It's only when she finally gets lucky that she's him get cut that she's able to put it together.
The extra filler episodes get to have a lot of fun fleshing out Gohan at the expense of completely and utterly gutting Videl.
Mind you, Gohan does rescue her in the manga too.
But it hits different when it only happens one time versus every single day, and when it's immediately followed by:
Filler Videl is a cheap Lois Lane knock-off. This is the treatment Videl deserves.
Some Orcspiration for you.
*clears throat*
YOU CANNOT GRIND YOUR ENEMY'S BONES INTO DUST UNLESS YOU HAVE SOMETHING TO EAT.
Is that not what the meat from those bones is for?
Accordin to Shrek you make the bone dust into Bread
I'm not sure if bread works like that. Does bread work like that? Are you using it for the yeast or the grain?
I assumed the grain, but I dunno. I'm also pretty sure that doesn't work that way, but I'm not gonna back talk an 7 foot tall ogre
I am thoroughly unsurprised that the new Mario movie sucks. Illumination, aka the reason the Minions exist, has always prioritized characters doing dumb things to make kids laugh than they have telling an actual story.
I really liked the first Despicable Me. The first Super Mario Bros. movie was pretty good too.
I feel like once they get a success under their belt, they learn the wrong lessons, though.
Their takeaway from Despicable Me was "People really connected with Gru and his battles against supervillains, and with the Minions being wacky. We need more Gru battles with supervillains and more Minion wackiness! That's what everyone wants to see!"
And their takeaway from the Mario movie was "People really connected with all the clever references. We should just overload the next movie with references! We don't even really need a plot; We just need more references!"
the back stage interviews paints a picture of it being more a case of a bunch of people going "Ooh, I have an idea!" and then just running with it without much concern for cohesion
Some Orcspiration for you.
*clears throat*
YOU CANNOT GRIND YOUR ENEMY'S BONES INTO DUST UNLESS YOU HAVE SOMETHING TO EAT.
Is that not what the meat from those bones is for?
Accordin to Shrek you make the bone dust into Bread
I'm not sure if bread works like that. Does bread work like that? Are you using it for the yeast or the grain?
1/2. Re: "I don't think that losing in a way that touches the audience's hearts", there actually are cases where Wrestlers get incredibly over despite not winning the championship. That kind of never give up but come up short at the finish line character is a natural underdog. Tommy Dreamer famously didn't want to win the ECW title out of Kayfabe, because he thought his character should stay that kind of underdog.
I could see that. It's harder to write a sympathetic champion than a sympathetic challenger. Not impossible, mind. But a lot harder.
A lot of people are naturally inclined to root for Luigi over Mario.
There's a reason the most common bad guy tactic in wrestling is "Insult the Local Sports Team"
Much easier to make someone like the champion when they're beating up an asshole.
Though this sometimes leads to weird situations when a characters signature assholery becomes so iconic to the character that they have to keep doing it even when they pivot to being a good guy. The best example I can think of is Chistian Cage from AEW, whose heel persona would build beef with his foes by insulting their dead dads and insinuating that he's fucing their moms. And then after he reunited with his old tag partner and became a face again, the audience still wanted that, leading to his good guy team mate telling the crowd "Okay fine, you sickos" and then handing the mic to Cage so he could do the bit
The monster is about to fall on his face. Should we let it happen?
"When fighting angry, blind men, best to just stay out of the way." ~Mr. Han, The Karate Kid (2010)
Did Gohan ever learn the Multiform technique? It shocks me he never tried to use it to throw Videl off of the trail of the Great Saiyaman, especially since it's a technique that wouldn't see much use, even in a more serious fight.
He's never been shown to know it, no.
In the manga, the only person who ever used the Shishin no Ken/Multiform is Tenshinhan, and only in the 23rd Tenkaichi Budokai. After Goku dismantled the technique and revealed its significant flaws, it was never used by anyone again.
The anime liked to bring it back for fight padding due to how visually spectacular it looks in animation, but it only gave the technique to three more characters:
-> Piccolo -> Krillin -> Cell
Anime Piccolo has his own version of the technique that makes three copies instead of four, which he uses multiple times throughout the show. Anime Cell uses the original four-bodied technique that Tenshinhan debuted.
For some reason, Anime Krillin uses Piccolo's three-bodied technique instead of Tenshinhan's four-bodied technique, raising very serious questions about when and why Piccolo taught it to him instead of Gohan. He does this both during the fight with Nappa and then again during a sparring session on the way to Namek against Gohan.
Superman is quite possibly my favorite fictional character of all time, so I'm really glad that you're enjoying My Adventures With Superman so far.
Is MAWS Clark supposed to be a himbo? Because I'm really feeling like Clark's a himbo. And I'm kinda here for it.
The Phantom Basketball Player is a reference to "Kuroko no Basket". I think Momotaro is a reference to "Sakigake!! Otokojuku", Maeda Keiji was a historical figure who was a subject of a Manga called "The Magnificent Bastard: The Legend of Keiji" which seems to be the deepest cut I could Identify
Kyoshika's shōnen fu is so much better than mine. So, so much better. It's unfair that she can kick my ass at both violence and nerddom.
Fighting Game Fun Fact: There's is a character in Tekken named Marshall Law, whose storyline for the past several entries in the franchise has been "I am in severe debt and need money to pay my son's medical bills". Because the meta plot in Tekken is "A rich family feud fucks up everything for everyone else", in the latest game in the series his battle cry in his intros has become "I HATE RICH PEOPLE!"
That's valid. I hope he wins.
1/2. Re: "I don't think that losing in a way that touches the audience's hearts", there actually are cases where Wrestlers get incredibly over despite not winning the championship. That kind of never give up but come up short at the finish line character is a natural underdog. Tommy Dreamer famously didn't want to win the ECW title out of Kayfabe, because he thought his character should stay that kind of underdog.
I could see that. It's harder to write a sympathetic champion than a sympathetic challenger. Not impossible, mind. But a lot harder.
A lot of people are naturally inclined to root for Luigi over Mario.
*gives you a hatchet*
You will need to use this against me 3 years from now. When you do...show no mercy.
Uh oh. I'm ADHD. I'm terrible at comprehending the passage of time.
You might have to remind me in 3 years.
