heroes tropes

Me when a character gets hurt and their SO gets overprotective:

favorite dcu cover trope: heroes reverently having their heads lowered in front of a fellow superhero’s grave while batman is the only one with his arms crossed and a scowl on his face as if he’s mad someone just HAD to go die

Person: “Sure I like Captain Kirk!”

Me:

Person: “He’s like Han Solo! That devil-may-care hero trope is my favorite!”

Me:

Person: “Plus, talk about a ladies’ man!”

Me:

Hero trope?

So, my friend and I were joking the other night about Mashima’s love for western superhero comics and how that shows in Fairy Tail. Then I thought what is the one superhero trope Mashima loves to use? Get to the superhero by going after the girl. The hero then goes into “complete badass mode” to get the girl back/avenge her…well this has happened to all the big ships. ( ͡° ͜ʖ ͡°)

NaLu

Gajevy

Gruvia

Jerza 

I wouldn’t be surprised if he uses this scenario again. And to be honest, I don’t care, who doesn’t want to see these guys opening a can of whoop-ass (of course, he does it with the girls too and that’s also cool). ᕦ(ò_óˇ)ᕤ 

Trope-tastic!

Hey all, I’m so pleased to announce my newest (follower controlled) series! 

Originally posted by gameraboy

Fanfiction tropes. You all know them. You all love them, no matter how overused they are. 

With that in mind, here’s how we get this party started: Pick a character. Then pick a number corresponding to the trope you want me to write a fic with that character and send it to me through my ask box! (ONE TROPE PER ASK PLEASE)

Characters: 

  • Dean Winchester 
  • Sam Winchester
  • Steve Rogers
  • Bucky Barnes
  • Alex Summers
  • Sherlock Holmes
  • Boaz Priestly
  • Newt Scamander
  • Tadashi Hamada 

Tropes: 

  1. There’s only one bed
  2. Fake dating/married…turns into real dating
  3. Person A thinks Person B has feelings for someone else but Person B has actually been in love with Person A for years
  4. Mutual unrequited pining until a third person(s) intervenes and gets them together
  5. Person A and Person B have to huddle together to keep warm in the cold
  6. “I hate them…but they’re so hot”/“I hate them…but I’d die for them”
  7. Person A and Person B have been friends for a long time and one day Person A realizes that they’ve fallen in love with Person B
  8. “If we’re just friends, then why are you jealous?”
  9. Emotional or physical hurt/comfort
  10. Always arguing but one day while arguing there’s a kiss 

Alright, go forth and send me some requests! 

Zelda is a series where it seems so weird to have full on fandom shipping or discourse about ships because most (almost all) of the relationships don’t have sexual or romantic attachments to them. Most of the relationships uphold the value of platonic love and how important it is to each character. idk maybe I’m just not really into shipping in general that I prefer looking at most moments as great demonstrations of friendship esp the twilight princess ones [unless it’s anju and kafei bc they deserve to be happy !!!]

3

The New Kid getting used to Alolan Endearments 

idk man I was amused by Hau saying “Auntie” that my brain immediately jumped to this and i had to make a quick n dirty comic

Plus I have an intense need for Guzma and Plumeria to fall into that “Antagonist Becomes Awkward Family to Hero” Trope. Like. I NEED THAT AS A DLC SIDE STORY!!! PLEASE GAME FREAK?!

person: I have a theory about this villain

me: oh cool im down for some depth of character stuff

person: see the good character is the real bad one and the villain is just a poor misunderstood–

me:

Fuckboy to Romanceable Hero Trope and How "Supergirl” is Doing it All Wrong

Okay, so obviously in “Supergirl” the writers are intentionally trying to have Man-Ew’s storyline follow the sexist selfish sleazeball to kind hero trope. Obviously, it isn’t working. And a lot of people on this site have talked about how the writers are doing this all wrong, about how Man-Ew’s behavior is actually ridiculously abusive, and about some of the other reasons his character really should never have even been written onto the show. 

But what I was thinking about today was actually where I had seen some of these tropes done well. And I came up with three off the top of my head: Beauty and the Beast, The Emperor’s New Groove, and Tangled. All Disney, yes, I know, sue me. 

Anyway, I was trying to think about what each of these movies did that managed to handle the trope so well in about an hour and a half when this TV show has boggled it up so badly even though they’ve had fifteen episodes (over 11 hours, over twice as much time as all of those films combined) to figure this out. 

So, I’ll start with Beauty and the Beast, since it’s coming out soon and I know everyone’s gonna scream Stockholm Syndrome. Yes, the Beast has some serious anger management issues and does definitely lock Belle up before trying (and failing) to woo her which ends in him denying her food for the foreseeable future. But after she runs off and he saves her from the wolves, the very next scene we see is Belle cleaning out the Beast’s wounds, which has some important growth.

During this scene, they have an argument. Both of them are yelling at each other, trying to figure out who to blame for the entire kerfuffle and it ends with Belle telling the Beast that this all started because he can’t control his temper. Beast is unable to come up with a counterargument, visibly accepts his wrongdoing (though begrudgingly), calms down, and responds kindly to Belle when she thanks him for saving her. We never see him get angry with her again after that. He has taken her valid complaint and proceeds to obviously work on his behavior after that.

After that moment, Belle is basically his prisoner in name only. She is perfectly allowed to leave the castle, as evidenced by his acceptance of it the next time she brings it up, and both of them are aware that she still has the horse and could presumably ride off again if he fucks up. Belle is choosing to stay every day, not because she thinks the Beast will come after her and kill her or something if she doesn’t, but because this is the adventure she’s always craved and doesn’t WANT to leave it and go back home. This is a choice she is making for herself, not for her father or the Beast.

Anyway, back to the trope. The Beast is a guy with some severe baggage that comes out in violent bursts of anger, something that is stemmed the moment someone finally really stands up to him, something the households servants turned furniture are clearly unable to provide. No one’s ever gotten angry back and just told him straightforward that he’s being an asshole. And they certainly haven’t continued to take care of him and thanked him immediately afterward. The last time someone called him an asshole, he got turned into a Beast as punishment. Belle is teaching him that while it isn’t okay to be an asshole and she’s not just going to let him treat her badly, she also isn’t going to overlook the good things he does, too, or give up on him. That’s what makes the Beast change. Reward over punishment. Kindness over revenge. Beast decides he wants to be more like her, and so changes his behavior accordingly.

Again, a choice I believe he makes for himself, not for her. Yes, obviously he has a curse to break and a lot to lose if he doesn’t get her to fall for him. But he also is very lonely. And being more like Belle will gain him friends, his humanity, and happiness, even if for only a short while. He wants to be like Belle because he wants to be someone worthy of her, whether she falls for him or not. THAT’S what makes Beauty and the Beast a) not Stockholm Syndrome and b) a wonderful depiction of the fuckboy to hero trope because the fuckboy becomes a hero for himself, not to get the girl.

The same is basically true for Flynn and Kuzco. Most especially for Kuzco, since there is no love interest there. Both of them stand to lose a lot (Flynn his freedom, Kuzco his kingdom, and both of them could lose their lives), but their gradual change from selfish narcissist to selfless hero tends to stem from a desire to change for themselves, because they were lonely and now don’t want to be anymore because someone came along that believed in them and inspired them to be better.

I think that’s a key word there. Inspired. Belle doesn’t tell the Beast, “Well if you clean your act up, I could definitely see myself falling for you.” Pacha doesn’t tell Kuzco, “If you become less of a jerk I’ll help you turn back into a human.” Rapunzel doesn’t tell Flynn, “If you stop thinking about yourself for two seconds, you could have the girl AND a castle.” The reward isn’t that they get a material gain at the end of it. The reward is that they get to feel proud of themselves again, that they get to stop being so lonely because they’re putting themselves out there enough to make friends. And they all have to choose it for themselves. Kuzco realizes he wants to be a good Emperor for his people, he doesn’t want to be Yzma. Flynn decides that being a charismatic swashbuckler isn’t really his dream, that there is more out there for him as Eugene than there ever was as Flynn. It’s something that Pacha, Belle, and Rapunzel SHOW their partners through example, something to live up to.

Unfortunately, “Supergirl” hasn’t done this. In over eleven hours, Man-Ew hasn’t grown or changed once. And it’s basically implied that his only “changes” or “acts of heroism” are only for Kara’s benefit, so she can see that he’s changed and act more favorably towards him now that he likes her. And he’s actually steadily gotten WORSE as he’s pursued Kara and actively abusive once he obtains her. I use the word “obtains” here intentionally because Kara is basically being treated as an object, a trophy for Man-Ew. 

He went from a guy who was basically just pointless and bland in the beginning to a guy who was very seriously annoying after the whole kiss fiasco to grossly abusive after 2x13. He lies to Kara. He makes promises to her that he then immediately, intentionally breaks. He humiliates and belittles her in public, where he co-workers can both see and hear him. He gets murderously jealous in a situation that absolutely didn’t even CALL for jealousy and was certainly not cute. 

In short, instead of being inspired by Kara’s example, he actually calls her “full of herself,” a “bad judge of character,” an “attention whore,” and selfish. He DOESN’T LIKE her version of heroism, he refuses to follow in her footsteps, and actually does completely the opposite basically just to prove a point. If she gets him an internship at CatCo, he foists the job off onto another woman at the building and then, when Kara catches him at that and puts a stop to it, convinces the same woman to have public sex with him in a closet at CatCo. If Kara tries to get him to be a superhero, he goes out and becomes a thug for hire who beats up other aliens. I mean, these are very intentional choices meant to be cruel to Kara. He is actively, canonically, REPULSED by Kara’s example and DOES NOT want to rise to it. He sees no need to better himself because he already sees himself as better than Kara, so why change?

“BUT HE HAS CHANGED, THAT WAS JUST HOW DAXAMITES WERE, HE’S BEEN SO NICE TO KARA, WHY CAN’T YOU SEE THAT YOU CRAZY BITCH” I hear the karahell shippers yell. Man-Ew was the FIRST to call Kara out for presuming he was awful just because he was a Daxamite. Which means the narrative DOES NOT want us to assume all Daxamites were just… spoiled arrogant sexist violent assholes. It actually punishes Kara for that assumption. Which is fine, prejudice is bad, and you can’t condemn an entire planet of people to one stereotype. But if they’re going to give us that message, then the excuse “He was raised on Daxam, what can you expect” actually doesn’t work. That’s exactly what I - what we all - have been explicitly told NOT to believe. He could absolutely be a wonderful person, even if he WERE from Daxam. Which means it’s just him. He is just awful.

And he continues to not be inspired by Kara, even after he gets together with her. Kara does not murder people, she defeats them and then has justice done. Man-Ew spends the majority of 2x13 trying to convince everyone that murder is the only option and then goes against express orders, not just from Kara but from everyone at the DEO who are his superiors, to go try to murder the bad guy anyway. And then when she asks him to give her adopted father the benefit of the doubt until proven guilty, he confronts Jeremiah at what is supposed to be a celebratory family dinner. When Kara loses her job, he just tells her that there are other jobs, with zero sensitivity, especially given his own role in her getting fired. 

I mean, those three guys in the Disney films are SHOWN changing and getting better. They stop doing the thing that makes them “bad.” Beast stops getting angry. Kuzco and Flynn stop being selfish. Man-Ew has not stopped his bad behavior and has, in fact, only gotten worse. He still doesn’t think much of Kara, he still doesn’t respect her or listen to her, he still thinks he’s better than she is, he still actively does the opposite of whatever she asks of him no matter how menial or important, and he still does whatever is in his own self-interest instead of what is actually the right thing. He is not a hero. This is not a hero’s journey. This is a villain origin story.

I mean, it’s classic. Guy falls in love with girl, girl isn’t in love with him so guy does whatever necessary to get the girl to fall in love with him and then keep her for eternity, when this goes wrong the aggression then moves on to the rest of the world in retaliation because it’s the world that’s wrong, not him. If Kara were to figure out that he was treating her like shit and come to the conclusion that she should dump him and then actually follow through, I think we would see the full manifestation of a new villain, Mr. Meninist. 

And honestly? That would probably actually be a way better ending than whatever they’ve got planned for this character. 

  • TV Tropes on Tooru Hakagure:
  • "Toru is invisible, all the time, and said Quirk does not apply to her clothes. This has a couple of unsettling implications if you think about what could happen:
  • Since she has to be naked for her quirk to be useful at all, this means she cannot be wearing any sort of armor or protective gear when she fights, and she's never implied to be physically stronger or tougher than a normal person. This puts her at a very high risk for injury due to any villain who's capable of perceiving her via their quirk or who has a wide area of attack. She's also at high risk for collateral damage since her allies can't see her any better than villains.
  • There's also no indication that her Quirk turns off if she's injured or unconscious, which means that if she is injured in battle, her allies aren't going to be able to protect her or give her treatment unless they're lucky enough to stumble onto her without hurting her further.
  • And even if they do find her, unless they have someone like Recovery Girl on hand, treating her injuries is going to be almost impossible, since nobody would be able to see exactly what they're doing.”
  • Me: holy shit

I’m white, so I may be talking complete shit, but I felt like Dirk Gently subverted the white hero/black sidekick trope in a really interesting way. (Major spoilers follow).

Firstly there’s Farah, who seems to be there to further Dirk and Todd’s story - and she does, except that their story turns out to be her story, because in the end the only thing any of them can do is the one thing she’s been trying to do all along: rescue Lydia Spring. And when it’s done, yeah Dirk and Todd have a bonding moment that’s very sweet, but the real emotional pay-off is the scene between Farah and Lydia, when Lydia tells her to fly her freak flag.

(And there’s also the fact that Farah really is a freak, just as much as any of the white characters - she’s not relegated to being the straight woman. She’s as quirky as anyone.)

Then there are Estevez and Zimmerfield, who start the show very much as the white cop and the latino sidekick. So imagine my surprise when, just over halfway through, it’s *Zimmerfield* who dies to motivate the rest of Estevez’s story.

But most of all there’s my favourite pair, Bart and Ken (played by the wonderful Mpho Koaho who I’ve never seen in anything else but who definitely needs to be in ALL THE THINGS). Bart the holistic assassin is great enough on her own - a female character I’ve really never seen before, grubby and homicidal and childlike and terrifying and not in the slightest bit sexualised.

So it seems that the universe has brought Ken into her life to support and ultimately believe in her. But no. Because at the very end we learn that *he* was the one with a destiny that needed fulfilling, and that her role was merely to guard him along the way and bring him to the right place at the right time.

The plotting of this show was very very tight and enjoyably tricksy, but these were the elements of it that most impressed me.