even better if the character is funny

Okay something that’s been on my mind about Moana. 

I can’t name another film that romanticizes and older woman like this one. Grandma Tala was not just a wise old lady, she was a rounded character. She was lively and wasn’t confined in her actions to stay graceful. Her face was expressive, she was allowed to make funny faces and be a comic relief. She was just as much of the “rebellious princess” as Moana herself.

And better yet, she was wearing clothes that didn’t entirely cover her up. They exposed her back and limbs, and even animated her under-arm flab. She, and her age, were celebrated rather than diminished. I mean really, when’s the last time you saw an old lady with exposed skin, large/unapologetic tattoos, who had a bechdel-passing relationship with her granddaughter that glorified the unique bond between two women?

The Good Place is even better than the praise that it gets, and I’m still worried that so many people are sleeping on it and not recognizing one of the most absolutely game-changing comedies on television today.

It’s hugely risky to make a show that’s so reliant on philosophy and morality and to not only go in hard on that, but to still be funny, and to take risks with its world and characters and change things up in such huge ways so often…

Everyone involved in the making of this show should be showered in Emmys and enshrined in the television hall of fame - they should make a television hall of fame specifically for this show, okay.

types of fans
  1. memorises specific details because they reread or rewatch regularly, can quote entire passages or scenes, slays during trivia
  2. analyses for deeper meaning, engages in online discussion, writes meta essays for fun
  3. completely loyal to the original source material, probably close their eyes and cover their ears because any spin-off or adaption is a travesty that they ignore the existence of
  4. loves anything, new or old, to do with the fandom, even when things border on the absurd and retcon the original material because THE MORE, THE BETTER
  5. likes to play with the world and the characters, loves creating and sharing headcanon, fanfiction, fanart or graphics; maybe even roleplays
  6. creates funny text posts, liveblogs reactions, probably likes to stir the fandom up for fun
  7. klasjdkasjd I JUST LOVE THIS THING OKAy
What I Learned From Nicktoons...

Doug: Don’t freak out over trivial things. People don’t give as big of a shit as you think they do.


The Ren & Stimpy Show: Just because it’s a cartoon, doesn’t mean it belongs on a kids’ network.

Rocko’s Modern Life: Everyone is weird to some degree.

Aaahh!!! Real Monsters: Sometimes your teacher is full of shit, and sometimes they’re completely right. It’s up to you as a student to decide which lessons work best for you.

KaBlam!: Art has many different forms.

Hey Arnold!: It is possible to be mature and immature at the same time.

The Angry Beavers: Sometimes you and your sibling are gonna fight, and sometimes you’re each other’s best friend. It will never be one consistent mood, but that’s not a bad thing.

CatDog: Love yourself; because the world is gonna hate you for being different anyway.

Oh Yeah! Cartoons: It doesn’t matter how good your idea is. It may still be rejected for budget reasons.

The Wild Thornberrys: Being weird might save your ass one day.

SpongeBob SquarePants: Life is a wacky adventure that goes on, and on, and on, and on, and on, and on, and on, and oh my god why is it still going!? Let me die!! Can’t you see that I crave death!?

Rocket Power: When in doubt, make up your own slang and pretend to be cool.

Pelswick: Some ideas won’t be appreciated when they first come out. At that point, hope and pray for a cult following.

As Told by Ginger: Teenagers are annoying. Especially you.

The Fairly OddParents: Life sucks. But if you make the right kind of friends, it sucks a bit less.

Invader Zim: A hero is only as incompetent as his villain.

ChalkZone: Artist’s block always happens at the worst possible time, but can be overcome with enough thought and patience. If that fails, use the adrenaline of a looming deadline to your advantage.

The Adventures of Jimmy Neutron: Boy Genius: Smart people can be just as annoying as dumb people.

All Grown Up!: If it looks like a pilot in disguise, it probably is.

My Life as a Teenage Robot: Even if you’re a total badass, some people will still shit on you for stupid reasons. But you’re still a badass, so whatever, right?

Danny Phantom: You’re never too young to discuss the subject of death.

Avatar: The Last Airbender: Kids can follow deep storytelling better than you think.

Catscratch: Most problems are caused by rich idiots with too much free time.

Mr. Meaty: Part of growing up is accepting that the world is gonna give you things you didn’t ask for. (Thankfully, some of these things will go away on their own.)

Rugrats Pre-School Daze: See above.

Fanboy & Chum Chum: A bad show will never be cancelled fast enough.

Planet Sheen: Some characters are only funny based on how other characters react to them, and therefore work better as a side character and should never be given a fucking spin-off.

T.U.F.F. Puppy: Two out of three ain’t bad.

The Legend of Korra: The best way to resolve a love triangle is with a bisexual twist ending.

Breadwinners: Even the worst ideas will be greenlit, because some people think effort is just an option. Keep that in mind and see how well you sleep tonight as you look over all the awesome ideas that never got a chance to shine because of bullshit like this.



Boku No Hero Academia

     ⇉ for @magerain

Ahhh, Bibs, where do I even begin? You’re smart, talented, beautiful, kind, funny and a wonderful friend and person. You’ve always supported me and I’m sure I’ve said this a million times, but you never fail to put a smile on my face. Your writing keeps getting better and your stories are always so immersive. You’re truly an inspiration. ^_^

If anyone doubts online friendships exist, I’ll just tell them all about ours. ^_^

And I know it’s hard to choose a fave from BNHA, because the characters are all lovable, but I did my best to include the ones we’ve discussed the most in our chats. ^_^

Things I want kuroshitsuji characters to know
  • Ciel: love can melt the coldest hearts and revenge is worthless
  • Sebastian: the bad ones aren't always the worse
  • Alois: it's not easy to be alone, but it's better for setting your mind
  • Undertaker: we are all weird in our own way
  • Elizabeth: Even the ones who resemble to be the weakest can be the strongest
  • Claude: you know how to go to hell, no? Then go. And never come back. Piece of shit.
They made him kill his horse.

long story. TL;DR at the end

This is a story that my grandfather liked to tell. It’s kind of long, and I can’t say if it’s true, but it seems to fit the very old and cantankerous guy I knew, who never, ever let a grudge go. I mean, in the 1980s and 90s, he would sometimes go and yell at Democratic candidates for office, because Woodrow Wilson had made him fight in WW1.

The story actually starts with that, kind of. You see, Grampa immigrated to the US early enough that the first election he could vote in, he voted for Teddy Roosevelt. Wilson won, though, and then he ran for reelection under the slogan “He Kept Us Out of the War.” Which seemed like a good platform, so my grandfather voted for Wilson. Few months after that, he got us into the war, and a few months after that, my grandfather was in the trenches somewhere in France.

Keep reading


“You don’t know who I am?”

i’m gonna start explaining intertextuality to my kids using memes

the thing is, intertextuality assumes that you know the source material and will get some sort of meaning from the borrowed text. this is the same way memes work. a meme can be altered, abstracted, or even combined with other memes, but if you don’t know the source meme, most of it probably doesn’t make any sense. some memes are funny on their own and you can still understand them, but if you don’t know the origin of others, you probably won’t have any idea what’s going on at all. take, for example, this one:

this is a great example because it combines both of these concepts. all of these individual images (aside from the actual connect four screenshot) are hilarious in some way or another; you can appreciate how absurd they are on their own. if you’re not familiar with the source, you can still laugh at it, even if you don’t get why all four of them are together. however, it becomes infinitely funnier once you realize that this image is a parody of this:

and you can tell this by people’s reactions as well. once someone looks at the connect four image and their brain slowly connects (heh) the dots, doubtlessly their reaction is somewhere along the lines of oh my god it’s a fucking loss joke. you can appreciate each connect four parody on its own, but none of that compares to the incredulity and delight of recognizing what the reference is. you can even take this a step further by saying that loss on its own is not particularly funny- in fact, it’s sad, even though it’s not a very good portrayal of a heartbreaking event in a character’s life. what makes loss funny is the context in which it’s written- i.e., that it’s written by an utter asshat for his shitty joke-a-day video game comic and he wrote in his description of it that women who miscarry need to move on. thus, to get the full meaning out of the connect four joke, you not only need to understand that it’s a parody of loss, you also need to understand why loss is funny in the first place

the same principles work for intertextuality. take, for example, this quote from vergil’s aeneid, in which the titular character aeneas finds his ex-lover dido in the underworld and realizes that she’s dead because he abandoned her:

which is a fine quote on its own. but it becomes even better when you realize that the latin of this line is almost an exact quote of a poem from catullus in which a lock of hair laments that it was cut off from queen berenice’s head in the hopes that doing so would keep her husband safe:

which becomes even better when you realize that this catullus poem is actually based off an earlier poem by a guy named callimachus, which is effectively how some memes work; sometimes you not only need to know the original source, you need to know another specific meme based on that source in order to get the full meaning from things even if you could theoretically get away with not knowing the sources at all. you could just read the line from vergil and understand what he’s talking about. but when you realize that vergil is borrowing from an older poet, you give more meaning to what vergil is saying, because a reader who knows the source material will apply the context of the source material to the poem referencing it, which can color and even change entirely how they interpret the poem- much like how knowing loss.jpg completely changes the meaning of those four connect four images

tl;dr: memes and intertextuality are pretty similar in how they work and that’s not only a great teaching tool but it’s also hilarious to just refer to intertexuality as literary memes

How to Keep Your Readers EMOTIONALLY Involved

Why is it that sometimes a book or movie can make you THIS emotionally invested  … 

And sometimes it’s more like this? 

My stories used to inspire a reaction similar to Hermione’s in my readers. And in me.  At some points I’d be reading my work, and a little honest voice buried somewhere in my head would say “I wouldn’t care if this character was hit by a bus right now.” Then I’d heap some denial atop the voice, silence her unwanted mutterings, and go back to trying to enjoy my story. Problem was, my readers appeared to have this little honest voice as well. And if she told them “Cartoon bus. Hitting this character. Wouldn’t that be funny?” they had a tendency to listen to her.

What was the problem? My scenes didn’t connect to my reader’s emotions. They didn’t change those emotions throughout the scene. They started out sad and they ended just as sad or even more so. And what came after that? Well, another scene that began with the main character feeling horrible, which ended with him just as downtrodden as before. Or worse: The scene began positive and just got better. The next one would start out absolutely giddy and ended effervescent. And this kept going until the characters were almost singing with joy. (Okay, maybe I’m being slightly snarky about my past self.) But after that, I’d follow it up with a long sequence of sadsadsad scenes. 

So what happened? My readers had only two emotions while enduring this: frustration and impatience. 

The scenes weren’t keeping my readers emotionally engaged. The scenes weren’t changing emotionally. And that is what needs to happen: The emotional charge of the scene has to change. Switch between negative and positive. The flow of the reader’s emotions has to be taken into account, and consciously adjusted. It’s that simple. 

How can this be accomplished? 

1) Determine what’s at stake in the scene. To the characters, something important is being threatened, something emotional or primal. Love? Safety? Friendship? Justice? Make sure the scene means something for the characters. (If it’s not emotionally significant to them, connected to the A Story, B Story, or Character Arc, it’s not a scene and the reader won’t care.) And since the readers are emotionally connected to the characters, the readers care about what’s at stake, and are conscious of what it means. 

2) Beats. The exchanges of action and reaction between characters and forces of opposition in pursuit of the goal … these carry that emotion, these are how emotions shift within the scene, gradually taking it from one to another. 

3) Emotional Charge. If the scene starts with what’s at stake in positive way, then it’ll switch to negative by the end. If if starts negative, the scene will change to positive. 

Anyway! How does this work?  

To illustrate it, because I’m having a lot of fun reading the screenplay, here are five scenes from Zootopia. 

Let’s start with the scene right after this happens: Manchas has gone savage, and Judy and Nick are running for it.

Scene 1 

What’s at stake? Life

Opening Charge: Negative (They’re being chased by a jaguar who is about ten times bigger than either of them, and who seems quite keen to tear them apart. To the characters, this scene opens with a 95% likelihood of imminent brutal death. To the audience, this scene opens with two characters we’ve come to care about in this dangerous situation.)

Closing Charge: Positive (They manage to call backup. Judy manages to handcuff Manchas. Nick stays to help Judy, rather than hop on the gondola to safety. They fall but manage to survive. They fall again, but are caught by a vine just before impact. Bogo and the rest arrive, and Judy is full of confidence about her discovery in the Otterton case, and eager to show them. Everything in this scene ended in Judy and Nick’s favor.)

How has what’s at stake changed? They lived.

Scene 2

What’s at stake? Judy’s lifelong dream, the goal she’s worked towards since she was a child. 

Opening Charge: Negative (Judy tells Bogo that this is way bigger than a missing mammal case – Otterton and Manchas went savage. He scoffs at her. In response, Judy confidently sweeps back the leaves to reveal the wild jaguar … and he’s gone. With her proof nowhere in sight, what she’s told Bogo sounds insane and ridiculous. Which provokes him into demanding her badge.) 

Closing Charge: Positive (Nick stops Bogo from taking Judy’s badge. Nick also bluntly tells him that he’s been an unfair little jerk to Judy, they have time to solve the case, and they have much more important things to be doing than standing around dealing with these idiots. He even calls her “Officer Hopps” instead of Carrots. They’re back on the case.) 

How has what’s at stake changed? She still has a chance to achieve that lifelong goal. And Nick was the one to buy her more time. 

Scene 3
What’s at stake? Truth

Opening Charge: Positive (Judy, and the audience, are feeling thankful and closer to Nick.)

Closing Charge: Negative (But even though we are in a good place, Nick looks far away … he starts thinking back … and we can sense that this memory lane doesn’t end anywhere pleasant.)

How has what’s at stake changed? He’s about to share something significant.

Scene 4
What’s at stake? Innocence

Opening Charge: Positive (We see little Nick! Looking happy and excited. All he wanted to do was join the Junior Ranger Scouts, and his mother scraped together money to buy him a uniform. She’s even adjusting his tie for him, lovingly.)

Closing Charge: Negative (Nick, who had been so happy at the beginning of this scene, is now hiding from the evil kids,  struggling to pull the muzzle off, panicked, crying like his heart’s broken.) 

How has what’s at stake changed? Traumatized

Scene 5
What’s at stake? Closeness

Opening Charge: Negative (Well that was a horrifying story. And now Nick is avoiding eye contact, while revealing the takeaways he got from that childhood episode, which have shaped his decisions from then on. Suddenly Judy, and the audience, understand Nick a lot more. We empathize and sympathize with him.)

Closing Charge: Positive (The traffic cameras would have caught whatever happened to Manchas! And Judy has a friend that can help them access those cameras. They’re back on the case.) 

How has what’s at stake changed? Nick dodges out of further vulnerability BUT they’re back on the case – this time, together. 


As you can see, the emotional charges of these scenes fluctuate smoothly, from a scene’s opening to its closing, from one scene to the next. In every moment, in every beat, we’re feeling something. And when the scene turns, we (and the characters) are feeling the opposite of what we were at the beginning of the scene. Our curiosity and minds are linked to the story by the question “What’s going to happen next?”; our emotions are connected to the story by the conduits Judy and Nick, these two characters we care about, as every emotional change pushes us closer towards the answer to the question “What’s going to happen to these two? Is everything going to end up alright for them?" 

Now, let’s see what happens when you stop paying attention to the emotional changes of your scenes. 

Scene 1: Manchas is gone. Bogo is berating Judy. Nick stands there and watches. Judy ends up handing over her badge. The real cops leave, and Judy stays behind, figuring she might as well try and complete the case anyway. All Nick wants is that carrot pen, so he tags along.

Scene 2: Judy has nothing to feel thankful about, and certainly doesn’t feel closer to Nick. He’s thinking back on his childhood, but doesn’t share anything with Judy… 

Scene 3: Instead of the flashback opening on a happy Nick, it opens on him getting beaten up by the evil children, and ends on him weeping with the muzzle strapped to his face. 

Scene 4: We snap back to the present. Judy staring, beyond tears at this point. Nick looking traumatized and bitter. He remembers he needs the pen. He thinks about the reward money if they had found all those missing mammals. He has the traffic camera revelation! He drags a dejected Judy into his scheme, which she doesn’t care about, but why the heck not? 

In this horrible alternate universe version of Zootopia, this sequence of scenes is negative from beginning to end. And what would have happened to the audience if the scenes had played out in this depressing way? 

They would have emotionally checked out.

The connection between emotions and story would have snapped.

We would have forced our emotions to abandon the story, and watched the rest of the movie feeling betrayed and cheated. 

Because in the end, all we care about are these characters. All we care about is story, and character is story. It’s no coincidence that removing the emotional changes of the scenes equated to removing Judy and Nick’s relationship in the scenes; that relationship, that B Story, or Love Story, function (oddly enough) as the heart of the movie: it keeps the story alive, it keeps us connected and invested in the narrative, it keeps the scenes emotionally turning. Before Nick showed up, and we had two characters to care about, what kept us emotionally involved in the story was our relationship with Judy, this plucky bunny that we really wanted to see succeed. Establishing that connection is a subject for another post, but in regards to scenes, this manipulation of the audience’s emotions is how you keep that connection going strong.

I just said to manipulate someone’s emotions. How villainous.

I’ve not been at my best these days so and been watching Thomas’ @thatsthat24 videos on repeat for many times now.

But I’ve been feeling a little better every once in a while, especially cause I relate to Virgil and Patton the most. It’s funny and awesome cause I have characters that describe the two perfectly.

Thank you for inspiring me and making me die laughing, even though my brain feels so scrambled atm. 

I had never liked any Kismessitude before. The Gamrezi seemed horrible to me -shocking and perfect for the story- but I would never ship it more than for a sadstuck or something like that. I used to ship TaVris as Matesprition so it didn’t count either. And SlickxSnowman … they weren’t even trolls :/ 

Tagora: Friend? No, I hate that guy.

I started to be interested in this ship in this moment but I wanted to make sure  the “blue guy” was Galekh and if this ship had some canon level. That’s why I didn’t start shipping Galora until the confirmation of Volume 12.

This Kismessitude is not only interesting but really FUNNY. Which makes it even better. Besides here is one of my favorite characters <3


The Six Types Of Musical Theatre Songs

1. Songs that only really make sense in context. Maybe the lyrics are unusual, maybe it’s just to get through a plot point, or maybe it’s just a bit weird. Either way, you have to explain before you play it for a friend. (Examples: “March of the Falsettos” from Falsettos, “Gay Or European?” from Legally Blonde, or “Freak Flag” from Shrek. Actually, pretty much every song from any musical.) 

2. Songs that are happier without context. There could be an underlying meaning to the lyrics, maybe it’s a facade or a fantasy scene, or it could be just taken the wrong way and it sounds happy. Don’t tell the person you’re playing it for what it’s REALLY about. (Examples: “Sincerely Me” from Dear Evan Hansen, “Dancing Through Life” from Wicked, or “Take Me Or Leave Me” from Rent.)

3. Songs that are happier WITH context. This one’s definitely fucked up. Maybe the lyrics are off-putting. Maybe the actual subject matter is weird. Maybe it’s just really easy to take the wrong way. Either way, you can’t play this for anyone without a LOT of explanation as to why you’re laughing. Tell your friend “it’s really funny, I swear.” (Examples: “Everyone’s A Little Bit Racist” from Avenue Q, “Look At Me, I’m Sandra Dee” from Grease, or “Agony” from Into The Woods.)

4. Songs that work with or without context. You could probably play this without someone going, “what IS this?!” It’s fun, it’s probably got pretty standard lyrics, and it’s definitely good. It makes sense in the show, but you can play it in public without wanting to actively perform it. Think of this as your friend’s gateway drug to the show. (Examples: “Teacher’s Pet” from School Of Rock, “Seasons Of Love” from Rent, or “Don’t Rain On My Parade” from Funny Girl.)

5. Songs that are better with context, but don’t need it. The lyrics of this one DEFINITELY have some underlying meaning or double entendre. It’s probably even better once you really get to know the character. But again, you could probably play it for someone who’s not into musicals and they might like it. This one sort of falls under #4. (Examples: “Popular” from Wicked, “Corner Of The Sky” from Pippin, or “Waving Through A Window” from Dear Evan Hansen.)

6. Songs that don’t make sense, with or without context. Don’t even try to explain this one. Just turn it up loud, sing at top volume, and just accept that it makes absolutely no sense at all. (Examples: “Time Warp” from Rocky Horror, “Hold Me, Bat Boy” from Bat Boy, and “Four Jews In A Room Bitching” from Falsettos.

(@everydayatleast​, this is kinda based on your posts. also, hey! it’s me! milla from newsies!)


Reason #17: Jon’s “Sansa” Tantrums: Jealousy/Rivalry vs.  Gratefulness/Forgiveness

Guys, I’m still not over the way Jon flipped in both scenes above. And about how differently they played out, even though they both ALL about Sansa. The question remains what the writers intended with this parallel. So I’m trying to dig a bit more into the Jon/Littlefinger dynamic and why the crypt scene really really matters a lot (and the Theon scene was supposed to make us aware of how much the “Littlefinger choke” mattered)

So we know that Sansa has become the center of Jon’s universe ever since he came back from the dead and found her. It is all still in the subtext whether this is a “romantic” attachment or not, but the point is that Jon is extremely attached to Sansa. To the point that she is the “button” that can either switch on Jon’s “killer” mode or - as in the case of Theon and Ramsay - switch it off, for “her” sake. 

Sansa is at the same time the one thing that can make Jon lose control and at another time, regain it. We’ve written before about how Sansa is Jon’s weakness, his “pressure point” and purpose in (his new) life. 

Regardless of whether Jon sees Littlefinger as a rival (he subconsciously does imo) the outcome of the choking scene is that Littlefinger sees Jon as a rival for Sansa’s heart. The scene in which he emerges from the crypts, still shaken because that was the closest he came to being murdered in a long time, it’s clear that the cogs are working overtime. I wonder: What do other viewer think he is thinking? Did he seriously expect Jon to give him a hug and welcome him into the family? 


Littlefinger must have known he would be refused. What he did NOT expect was the violence of Jon’s reaction to his proposal. He expected Jon to be rude, gruff, perhaps a little rough (as a protetive brother would be), but he did not expect to get nearly killed. He also fully picks up on the Ned/Cat references - the last time he was choked for loving a Tully redhead it was by her *husband* - not her brother. 

People also try to ”normalize” and explain away Jon’s violent attack on LF by citing all the bad things that LF did and that Jon supposedly knew about. 

Keep reading

Dare I say season 4 of Voltron was FANTASTIC. For me it was the most enjoyable and satisfying season yet.

Fall Anime 2018 Part 2: Slain

Today we have a number of positive surprises but also two tragically atrocious disasters that you couldn’t pay me to watch*.


What: Edo era dudes get up to some time travel shenanigans, create an alternative timeline where the Shinsengumi are even more of a boygroup and Sengoku favorites hang out too.

❌ Very obviously an excuse to get some themed hotbois together, because this is based on a Touken Ranbu clone that didn’t manage to come up with a real gimmick.

❌ Excessively large cast of characters that are hard to keep apart unless you’re a Shinsengumi fangirl already. Relatively restrained character designs do have their downsides.

✅ There’s dedicated main characters and they even have a bit of chemistry going between them.

✅ The alternate reality is moderately cool looking.

♎ Pretty cheap production, though that’s hardly the point here.

❌ If I wanted something like this, I’d watch (ufotable) Touken Ranbu first, but at least it’s no Senjuushi.

Dakaretai Otoko 1-i ni Odosarete Imasu. / DAKAICHI!

What: Arrogant actor-model gets molested by a younger horny upstart. I assure you this is very romantic.

❌❌ There’s not a lot of BL TV anime, and I suspect a big reason for that is that wholesome rape doesn’t play well to a general audience. This is no exception.

❌ Since this merely features a sort of semi-consensual rape attempt and nobody is underage, it probably counts as classy yaoi?

♎ Starring: Seme and Uke. There’s not a lot to these guys, but for the target audience that’s probably enough.

✅ Dubious consent aside, I have to give a romance props when there’s actual sex, and in the first episode no less.

❌ Throwing shade on BL character designs is a cheap shot (those necks, man), but this gets a bonus minus for the chin shadow shading that makes everyone look like they sport a luxurious neckbeard.

Gakuen Basara

What: Sengoku Basara, only it’s set in a school now. Expect people calling each other “dono” a lot.

✅ Amusingly over the top at some points.

❌ BUT IN A SCHOOL is something I’ve seen before, and better. Otojuku comes to mind.

❌ Does not actually ever reach the level of “funny” because its comedic skills are lacking. It’s cheap too.

❌ Assumes that you know these characters (and there’s a lot of them), either from Sengoku Basara or at least grade school Japanese history classes. I’m not intimately familiar with either, so I don’t care.

❌ I understand that Sengoku Basara is already wacky and over the top, so I don’t really know what this adds, even to people who love Sengoku Basara.

Goblin Slayer

What: Talking armor gatecrashes R-18 fantasy doujins.

❌ Yet another “subversion” of fantasy LNs. How about you fucks start subverting expectations by writing something, anything else? The most interesting facet of this show is that it models the defining aspect of Dark Souls (which is unfair sword collision with the environment).

❌❌ So yeah, the big deal here is that your wide-eyed naive questers get murdered and/or raped violently, and then some dude comes in and murders all the goblins back because they obviously deserve it. I fail to see the point.

❌❌ I mean, it’s just fantasy LN Death Wish, but the point of Death Wish is a middle-class revenge fantasy in the crime-ridden 70s. I can only assume that idiots are so invested in their creatively bankrupt LN universes now that they actually harbor an existential fear of goblin rape.

❌❌ Faceless goblin hordes are particularly boring antagonists, Murderman has no characteristics apart from grim murder determination either, and the methods of either are very matter of fact. Makes me miss the rumpled “charms” of Charles Bronson.

❌ There’s nowhere for this to go; It does tangentially raise the obvious point of “what if there’s goblins that don’t have to be killed”, but if there are, it will be massively hypocritical. And if there isn’t, we’re right back to the question of what the fucking point is.

❌❌ It’s utterly unpleasant to watch, and without any apparent point I don’t get why anyone would sit through it. It wants to be gritty instead of cool, but grittiness is not its own reward and that’s all it has.

Hinomaru Sumo

What: Shounen anime classification II-A (sports, competitive solo). The topic is in the title in case you’re wondering.

❌ Saying that this doesn’t reinvent the wheel is putting it mildly; this is a completely by the numbers sports shounen, including the good-natured oaf protagonist who isn’t built like a sumo wrestler but doesn’t let that get in the way of his dreams and so on.

✅ That said, it executes all of that reasonably well. These kinds of protagonists are not trivial to get right, but he comes across as pretty likeable here.

✅ The direction and general look is just as “classic” and not half bad either.

❌ If you’re in the mood for an old school sports shounen, this is one of those for sure. I’m not an afficionado of the genre so I’m going to say thanks, but no. Megalobox this is not.

Irozuku Sekai no Ashita kara / IRODUKU: The World in Colors

What: Depressed girl from 2078 gets sent back 60 years by her grandma, so she can have the vintage seishun experience and see colors again.

❌ It’s another one of those feelsy P.A. Works magical realism dramas. The problem here is that everything looks like a metaphor, but I am unable to see what for.

❌ In short, this has a lot of work to do to make its various gimmicks not seem tacky and pretentious. If you just want to make an uplifting story about learning to love again, you don’t need time travel.

❌ There’s really no hook to any of the characters so far, they’re either generically depressed or generically not depressed.

✅ The production is on point and real pretty, especially when the magic of colors comes back. This makes the atmosphere work in spite of my narrative misgivings.

♎ However, great production on pointless gimmicks only makes things worse. See also: every KyoAni show. So the jury’s still out on that aspect

♎ With no hook to the characters and every narrative hook potentially worthless, the only reason to give this more chances are the production values. That has historically been proven to be a terrible idea. There’s barely enough there to at least watch an episode or two more, but my confidence is very low.

Kishuku Gakkou no Juliet / Boarding School Juliet

What: Romeo and Juliet, only it’s set in a school now. Expect people calling each other “baka” a lot.

❌ Wanna lend your actiony highschool romcom some legitimacy? Just grab names from Shakespeare, because nobody had that idea before. Extra fuck you for giving it the subtitle “to love or not to love” as well.

❌ I somehow doubt that a show with this tone ends with a double suicide, which means missing the point on your alleged source material.

✅ However, stupid title aside, there is a little something to the main character’s feisty relationship. It’s cute, even if “Romio” here is extraordinarily foolish.

❌ Based on an ongoing manga, so don’t expect an ending. That’s a bad prospect for a romance.

♎ Overall, it’s acceptable once you ignore the hackishness of the setting. It only has one strong point, but that happens to be the point of the show so it’s alright if that’s all you care about.


What: Extremely enthusiastic but questionably competent kid wants to be the best punchmagician there ever was.

♎ This is to adventure type shounen what Sumo is to sports shounen: Absolutely nothing new whatsoever, but rather competent at what it does.

✅ “Competent” means: colorful characters, a setting that manages to hide what an excuse it is, snappy direction, decent action, and no obvious pain points…

❌ …besides the Naruto-lite protagonist who’s just a constant. A sad, universal constant. It’s hard to ignore that this is for a young audience.

♎ Apparently this is based on a French comic, and for better or worse, you wouldn’t be able to tell at all.

♎ Probably the best one of these I’ve seen in a while; definitely a lot better than Weekly Jump’s own Black Clover. It seems like it could become better once it adds more characters besides the obligatory one. Reminds me of 7 Deadly Sins (no, not the softcore porn one), which was similarly whatever with benefits.

Release the Spyce

What: The cast of Yuru Yuri does ninja shit by night, recruits a newcomer for a 1½ entendre ability of hers.

✅ Opens with an action scene set to an obvious ripoff of Propellerheads’ “Spybreak!”, aka the music from the lobby fight in The Matrix. Before you can process this, a guy that looks like Reloaded-Neo does some guns akimbo kung fu flips and is promptly Man in Black’d by a ninja schoolgirl. So we’re 3 minutes in and I’m cackling manically.

✅ Pretty much everything that follows is this level of nonsense, from defeating roided up grannies that wield mechas to determining the taste of a tsundere.

✅ In practice, all of this is carried by strong direction with snappy timing and good visuals.

❌ It almost feels churlish to criticize this, but obviously this show is more occupied with being crazy than strong character writing. The main character is thoroughly established as “the nice and normal one”, the rest don’t exceed their character design.

♎ Due to the Yuru Yuri looks and general irreverence this never can quite shake the feeling that it’s Yuru Yuri doing a zany action movie parody. Which isn’t the worst thing, I suppose.

✅ I am not sure I can call this “good”, but it sure is entertaining. It’s rather reminiscent of the beginning of Vividred Operation, just with fewer closeups of butts.


What: Schoolboy loses memory, gains ability to become huge, fights plastic models which are also huge.

♎ I wasn’t really looking forward to this because I’m done with Trigger’s style of nostalgic genre reverence. As it turns out, this isn’t that and an Eva/FLCL moody take instead. That’s not necessarily a plus (see: Franxx) but certainly more interesting.

✅ So it’s not written much like a Trigger show, and it doesn’t really look much like one either. Reminder: Trigger != Imaishi. 

✅ It’s directed by the Inferno Cop guy instead, who’s showing that he knows what to do with money better than his boss. There’s a bunch of curious directing decisions, like peppering a flat wide conversation scene with jump cuts or holding on an awkward moment way past the point of neccessity, and that lends the whole thing a weird atmosphere that’s quite welcome.

✅ Additional bonus points for great imagery like an invisible-to-most kaijuu looming over the city ominously. The action also delivers. In short, this show’s a looker.

❌ Speaking of FLCL, there’s a character that looks like Haruko in this show, complete with Mayumi Shintani doing her Haruko voice. Since Haruko is currently in the process of ruining FLCL Alternative with her antics, I don’t like that at all.

♎ This episode is long on atmosphere and style and short on narrative. I don’t care right now but writing is consistently the Achilles heel of all Trigger endeavors. At least this one isn’t written by their own dudes but by an Ultraman veteran, so fingers crossed.

✅ I can’t say that I’m convinced Trigger managed to get the writing right this time, but Gridman is good enough on its own merits to warrant following up on. I guess they got me again.

Tonari no Kyuuketsuki-san / Ms. vampire who lives in
my neighborhood

What: Cutesy slice of life about a cryptolesbian and her vampire friend.

❌ Terminally 4-koma. The joke is that Sophie does all the vampire things, but get this, in a cute (and possibly otaku, because she’s that as well) way. It gets old. There is technically a plot but it’s so thin as to not merit mention.

♎ This season’s Kiraralike (it looks a lot like Kiniro Mosaic), but not actually from Kirara! It’s from Comic Cune instead, which we last heard of when we got Hinako Note animated. I’m not going to start calling these Kiraracunes, though Kiraravania might be a good title for this particular one.

❌ Like most basic Kiraralikes, it’s baseline cute and inoffensive but hardly captivating, supremely safe and extremely forgettable. The “unique” selling point here does not amount to much.

♎ I’ve seen this show before and so have you. It will do nothing to change your mind on the genre one way or another, although it might just be the last straw.

Uchi no Maid ga Uzasugiru! / Uzamaid!

What: Insane ex-soldier stalks a preschooler, becomes maid in a bid to stalk more effectively.

❌❌ Home invasion thriller or heartwarming slice of life? If you bet on the latter, you’re correct. This is meant to be cute and funny and holy shit, it’s so not either of those things. It manages to be significantly more creepy than Happy Sugar Life, where the creepiness was the point.

❌❌ I continue to get punished for talking shit about Maidragon by shows that lean into the worst aspects of Maidragon harder than it ever dared.

❌❌ Of course features the wretched notion of “actually, it’s about wholesome family values” that totally contradicts everything else on screen.

❌❌ So it’s the most total horrorshow of a misguided idea since Umaru-chan.

❌ Continuing the theme of “KyoAni but inexplicably worse”, this could only be by Dogakobo, which means that it looks very, very good. That’s a negative in this case because it’s a criminal waste. It is a mystery how a studio’s main wheelhouse could become “high end adaptations of cutesy manga with the most hateable characters imaginable in them”, but somehow it happened.

❌❌ Would sooner watch Goblin Slayer because that makes no bones about being miserable.

Yagate Kimi ni Naru / Bloom Into You

What: Romantically challenged schoolgirl comes out of the closet.

♎ We’ve had a lot of “thing, but competent” in this post. This is that for yuri.

✅ I wasn’t into most of these other genres, but I do like a good yuri romance.

✅ This doesn’t have the fluffiness of Kase-san or the drama carpetbombs of Citrus. It’s more in line with the very restrained and slow character interactions of Maria-sama ga Miteru, only actually, you know, being the thing that everyone thinks Marimite is.

♎ The mood works well, but I’m not feeling the character designs. They’re a bit too hard-edged and minimalistic for a show like this. Whatever, I can deal.

✅ We’ve got a good main pair, which is all that matters for an episode 1. It’s not enough for a whole show, but I’m willing to find out.

✅ This is the first anime of the season that has a localized title AND manages to make it not suck. I shouldn’t have to give out bonus points for that, but I feel like it.

* That’s a lie, I would for sure shit on Goblin Slayer every week if properly compensated.

hey you wanna know how low the bar is for a fat character to be inspiring to a fat kid

one of my faves who made me feel better when i was young was coop from megas xlr and like

dude literally owned the title “lord of the large pants” because he could just dump enormous volumes of hotdogs into his body, dude literally spent an entire episode in search of a particularly sugary flavor of gas station slushie

but he was cool and funny and saved the world on the daily and his friends only judged him *a little* for his wacky food-related behaviors and

the bar is so FUCKING low for what will make you feel better when youre a fat kid that

something like that, a character like him

was good enough

was even exciting, because for once the fat character was not only the lead character, but the fat character was shown to be not contemptible just by virtue of being fat and liking to eat

so believe me when i tell you that fat characters are like, always important to fat kids, and even a little splash of positivity means everything in a world where every other fat character they see is just someone whose habits and/or body shape is just something the other characters begrudgingly tolerate

cooper cooplowski was not a revolutionary fat character who was designed to uplift fat kids specifically

he was fat and kind of a mess and he dressed like guy fieri in a nirvana cover band

but just by virtue of making him pilot an 80 foot tall robot, by having him BY DEFAULT make heroic decisions, even if he didn’t phrase them heroically

they did portray a fat character as having relatable moral convictions, as being someone who inspired awe, as someone whose accomplishments were not tarnished by being fat

and i think more than that, in a really tacky way, they put a lot of effort into making a fat character cool

and thats really special honestly, even if the bar is that low

what i wanna know is when is it gonna happen again

So, can movies and shows stop doing the “it’s a whole new movie/season so there is a whole new love interest” thing? Where the lady love interest is written off without an explanation.

I get it, it’s a wink to the audience, it’s a James Bond or Indiana Jones spirit you’re trying to inject in and I GET that you’re doing it on purpose to capture that trope.

But you’re not subverting it, you’re just faithfully playing it out and I personally don’t like getting attached to a female character only to find out that she’s completely disposable and won’t be appearing in the sequel or will her absence even be mentioned.

Treating women as disposable isn’t a joke to me, so can movies please stop doing this and then giving me the ole wink nudge.

Yeah, I get what you’re doing, its just not funny and it’s not better than doing it unironically.