i think evil dead 2 is the best for various reasons

anonymous asked:

Who do you think is the most overrated character in the Sonic franchise?

Was there any doubt?

To this day, this fellow is hyped up by plenty of fans - even those who hate the game he hails from - as this super intelligent mastermind who deserves kudos for killing Sonic, among other things. He is frequently considered one of if not THE best villain in the franchise, again due to his reputation as a master manipulator.

But let’s actually go over his Jenga tower of a plan, shall we?

  • His manipulations are only successful because the characters have been turned into idiots, regardless of their previously established intelligence. Meaning that the plot had to rely on everyone acting completely stupid in order for his plot to go anywhere other than nowhere.

  • He has the ability to warp all of the Chaos Emeralds to where he is as indicated by the Last Story. You would think someone who had such a ridiculously convenient ability would make immediate use of it, yet he never does use it until near the end.

  • There is nothing within the game itself that suggests that Mephiles couldn’t rejoin with Iblis whenever he wanted, meaning he’s only wasting his own time even further than he already would be.

  • Mephiles had no reason whatsoever to waste time convincing Silver to go and kill Sonic when he could - and later on, did - do the deed himself. This is doubly annoying because up until the Last Story, there does seem to be an established concept of Mephiles being physically weak despite his powers (which would make sense since he’s the consciousness of Solaris, whereas Iblis is the raw power)… but then the Last Story comes along and ruins that idea entirely by having him whip out a giant laser that he never used at any point beforehand.

  • His side hobby of goading Shadow to his side is equally pointless and results in nothing other than reinforcing Shadow’s own beliefs (and also becoming a victim of slapstick comedy courtesy of Omega). And given his nonchalant attitude about the whole thing, indicating he wasn’t too bothered about his failure to sway Shadow, why did he bother spending so much time with Shadow in the first place then? Because… evil? Even Black Doom had more of a legitimate reason to focus hard on Shadow.

  • Mephiles’ grand, widely praised action of killing Sonic only succeeded because Sonic was randomly distracted by a light that Mephiles… just summoned I guess. It’s an insulting death for Sonic, and it’s an unimpressive way to kill a hero for Mephiles. If you had to kill Sonic, surely you would have him:

    1. Know anything about his murderer other than “I noticed he looked like Shadow. Except I didn’t, because that was Knuckles who noticed that.”

    2. Do the classic heroic routine of Mephiles aiming at Elise, only for Sonic to take the hit, as that would highlight not only Sonic’s noble side, but also Mephiles’ penchant for cunning.

  • Mephiles didn’t even need to get Sonic out of the way in the first place because if the reports of Elise’s death in Crisis City are anything to go by, her OWN death is enough to make Iblis get out of bed. So Mephiles could have went straight for her, and he would have gotten what he wanted a lot sooner.

  • When he finally does rejoin with Iblis and becomes Solaris, he makes the sound decision to toss the Chaos Emeralds over the time-space abyss like javelins when he could have kept them in his possession. This is one of the exact reasons for why Sonic’s friends were eventually able to revive Sonic and turn him super, which directly contributed to them rendering Mr. Hylian Shield a dead man.

  • His ultimate objective is to cause the end of all existence. Typical objective for mindless monsters, but why is Mephiles hoping for this? What is he expecting? Does he plan on sticking his thumb up his ass in a void of nothingness for all eternity? Or would he also cease to exist? Either way, it’s a pretty stupid end goal for someone who is set up to be a master schemer.

Not only are his planning skills akin to a frat boy jumping into a pool of piranhas with a cheeky thumbs up, but he didn’t even need to utilise a large amount of planning to begin with, due to the aforementioned, various ways he could have rejoined with Iblis immediately. Remember: Your villain’s evil plan is not automatically more intelligent and impressive by how complex it is. That’s something a lot of people forget, including many of Mephiles’ own fans.

Take all of that into account - along with his poor design, his one-dimensional personality, and his tendency to bark more than bite - and you have the perfect recipe for a character that is nowhere near deserving of the popularity that he receives.

Fixing the (not actual) flaws of Kamen Rider Gaim

Recently, a blogger named queerspeculativefiction wrote a post addressing what they feel are Gaim’s biggest flaws are and how to fix them.

While Gaim is nowhere near a perfect show, I do earnestly believe that it’s the best Kamen Rider story in ages, and that most of the flaws pointed out here are pretty baseless.

Gaim however… has bigger issues, and a lot of them technical because it is hard to judge the plot until it is done;

1: Focus the structure. A TV show, being so long, needs to be written like a comic book, every episode having a start, a middle and an end. Gaim, however, is written like a movie or a book. There are no focus to the episodes, and you can’t really go back and say ‘oh, this is the episode when…’ and have favourite ones or ones you hate like with the other shows. Orobuchi can start fight at the beginning of one episode, do a lot of unrelated things, then finish it in the next and it’s not climactic or exciting, you just forgot there was a fight in the first place.

I don’t think this is necessarily true, nor do I think that this presentation style is to the show’s detriment. The world of Gaim is not a world where small problems are introduced and then quickly resolved; it’s a world where every actions have consequences, and those consequences follow through; where the smallest obstacles can unravel into disasters.

Everything feels more meaningful because of it. When a foe is introduced, I know that it probably won’t be dead two episodes later (after conveniently escaping during the episode he is introduced); everything beyond the canon-fodder Elementary Inves are a real threat that could cause serious problems. And even then, consequences are revealed after the fact – what begins as the prototypical monsters are attacking in the city square with all the plastic furniture! ends up turning into a brutal epidemic.

The abandonment of the two-parter formula was explicitly requested of Urobuchi by series producer Naomi Takebe. The show is appreciably more dynamic and more fluid because of it.

Also, episodes are still built around key moments. I can recall my favourite ones, like, “The one where Gaim punches through a digital barrier and beats the shit out of Baron,” or “the one where Kouta falls from the sky and blows away a bunch of fools with a machine gun with a turntable stuck to the side.” Just because the episodes largely flow together into a continuous story doesn’t mean they don’t center around key events. They do.

2: Focus characters. In a show with many Riders, you need early on give each one an episode that is mostly about them. Why should we care otherwise? Take all the tiny character developments that are spread out and forgotten and make them into a single story. Take the last episode for example, that one would have been much better if it had really focused on Yoko. Then the snippet about her having an interest in Kaito might have meant character development, we could have learned why she is doing this, what her deal with Ryoma is, and might actually have cared about the fact that she is an awesome Rider. Where is the Micchy episode? Kaito almost had one early on when we learned about his background, but that was it.

I’ll be the first to admit that I don’t think Urobuchi’s strength is as a character writer. He seems much more interested in plot, which is OK with me, but I can understand how it irks fandom members that are typically more interested in individual personalities.

That said, this solution sounds to me incredibly ham-fisted. An entire episode about Yoko, really? What do we need to know about her? There are probably reasons for the way she is, and how she ended up at Yggdrasil, but if they don’t serve the overall story then what is the point of revealing them?

Also, “where is the Micchy episode?” It’s the entire show! We’ve seen Micchy transform from a weakling with no control over his life nor ability to affect the lives of those around him into someone who has seemingly limitless influence, and has become obsessed with his newfound strength. He is compensating for his past impotence. I don’t see how it would’ve been better to compress his development into a single episode – which would have felt incredibly rushed – rather than appropriately pacing it throughout the show.

While I did say that I don’t think Urobuchi’s strength is as a character writer, he’s done a solid job with both Kouta and Micchy, though I think the former might largely be attributable to Gaku Sano’s stellar performance. Also, Kaito is a deliciously hilarious anime archetype.

Mai’s lack of development thus far is a wasted opportunity.

3:  Focus themes. This story has so many themes it doesn’t know what to do with them. Is it an allegory on global warming, with big companies trying to supress information that could threaten the planet because it would hurt their bottom line? Is it a story about growing up and how to become an adult and take responsibility? Is it a story about rebellious youth against the stale system and stealing fire/eating the apple/ setting information free? Is it a mythological story about repeated themes in mankind’s history? Is it a story about how some men do evil for good causes? There’s nothing wrong with having many themes for a show (it makes it interesting), but you need to pick a main one, and then build the others around it.

You need to drive home the point! If this is a coming of age tale, which it seems to be right now, why aren’t they using Kouta’s sister Akira, who also works for Yggdrasil? Contrasting Micchy, Kouta and Kaito and their various ways of growing up would only work if they all had strong parental figures. They don’t. As a consequence, Micchy is the only character on the show I love and get. I can see where he gets his twisted ideas of what it means to be a responsible adult from looking at Takatora, and what happens when you filter those through Micchy’s brilliant but sad little mind. You need to have Akira there, because at the start she seemed to be the reason why Kouta wanted to grow up in the first place, and now she’s just… gone. A giant, theme-sized, hole. You also need to push Kaito’s relationship with Yoko/Ryoma stronger. They have become his twisted adoptive parents of a sort, and for that to work they need to be fleshed out. Hell, even Jonouchi has had more of a story about growing up than the main characters, with Oren being his involuntary father figure!

I don’t think it’s fair to project your own themes onto a show, and then criticize the show for failing to push those themes. It's never been an allegory about global warming, nor about constricted flow of information, etc. In fact, the theme of the show has been pretty clear from the start and is still reenforced in each episode:

The optimism of youth versus the destructive cynicism of adulthood. The characters blatantly say as much, often. The dance scene in Yggdrasil was totally corrupted once adults got involved and introduced Lockseeds. It is adults who are willing to accept that to save the world, 6 billion must die.

Kouta is indeed growing into an adult, but it is an adulthood uniquely informed by his youthful perspective and his friends. His optimism and his desire to protect his friends and the city he loves. There’s nothing unique about “fiery protagonist standing optimistically against the odds,” but it’s there and it fits the themes of the show clearly. (That said, there is something unique about the portrayal of Kouta as such a tragic figure. Unlike most fiery protagonists, he succumbs to despair in a fairly realistic manner.)

It’s interesting to me that you stress the importance of parental figures. I can understand it, but I also think it’s interesting to see how these kids evolve themselves in what is essentially a vacuum. These kids are leading their own lives, free of parental influence. I think that makes the message of youth versus adulthood more potent. (As an aside, it’s interesting that Madoka Magica also had largely absent parents.)

I also think that you’ve totally misread both Micchy and Kaito. Micchy isn’t learning twisted ideas of adulthood from his brother, who very obviously is much more stable than he is. Micchy’s ideals are totally his own, born from a hunger for control that he has finally tasted.

As for Kaito, Yoko and Ryouma aren’t his adoptive parents at all; while I think it’s too early to ascertain what exactly Yoko thinks of Kaito, Ryouma simply sees him as a guinea pig. Kaito is aware of that as well. He is doing his work independently, not really interacting with Yggdrasil.

Akira’s absence is notable, but I can’t say I ever found her character very interesting – her speech about what a job is was totally absurd – so I can’t say I’m sad to see less of her. That said, she doesn’t work for Yggdrasil – she works for a Yggdrasil subsidiary, which is probably half of the companies in Zawame. Garbage workers also work for Yggdrasil, but I doubt they have much of an insider insight.

The story of Gaim is not all that concerned about the past. It’s about the present, and how each character deals with the circumstances that are flung at them, one after another.

4: Let the actors do their job and interact! You have some wonderful actors there, and when they are let loose and allowed to interact with each other, the results are usually fun. HOWEVER, most of the time they do not. They are each cut and chopped into frustratedly short scenes and we just get to see the climax ones. No build up. The story tells us that there are friendships and rivalries, they do not SHOW them. This is a HUGE weakness of the show, and a similar one to the middle of Blade. You have characters off to the side, each doing their own story and plotline, not really interacting and as a consequence you find it hard to care because there’s no time for anything but the broadest beats for any of them.

This criticism is interesting to me, because it connects with something you said in the previous point:

Contrasting Micchy, Kouta and Kaito and their various ways of growing up would only work if they all had strong parental figures.

At the beginning of the show, all of the characters spent a lot of time interacting with each other. Now they are branching off onto their own paths, growing separately. There’s almost no doubt that they will all become closely bound once again, be they friends or enemies.

I’m shocked that you think that the show doesn’t show us friendships and rivalries, though. The entire first thirteen episodes of the show were about literal rivalries. Each episode is basically people with contrasting ideologies butting heads over how to handle the huge crisis that is looming over the planet.

The only character I find it hard to be emotionally invested in Kaito, because he’s basically an anime rival parody. I love him for that, though.

5: USE THE BLOODY FIGHTS! Yes, I use the caps lock here, because this is a Kamen Rider show with some of the most boring fights ever. Compare with Ryuki, which also had nearly mindless mirror monster cannon fodder, but which had people do their character building while fighting! It as important to them as people! You need to fit in a certain amount of battle minutes per show, so then use them. Don’t make me go and put on a pot of tea because nothing will happen because it is just another boring inves fight to show off the toys they are selling. Wizard, for example, also had HUGE structure problems, but the fights were always super fun, and one of the best parts of the show for me!

This one blows me away. I can barely recall any fights in the show that weren’t important to the plot, particularly ones with Inves. There’s a few scenes where we see them fighting large amounts of Inves around Zawame recently, but these scenes are key in establishing the changing climate of the city; Inves are now everywhere, and the Beat Riders are doing their best to prevent it. But the situation is spinning out of control.

Most of the fights in this show are Rider versus Rider, and they happen because they have to happen. I’m amazed that you could recall fights like the climax of episode 5 or episodes 21 - 23 and think that these characters aren’t developing through their conflicts.

6: Where’s the women? That goes for many Kamen Rider shows though, but I will keep asking it all the same. This is worse than most even, because it keeps teasing us with Yoko, ignores Akira and gives Mai the most bland and horrible role ever of prized possession to be protected and useless plot point.

I have no issues to pick with this one, though as I said previously, I don’t lament Akira’s absence.

I don’t want to seem like I think Gaim is a perfect show. A few of the fights have indeed fallen flat, and Urobuchi often has a habit of pouring exposition into dialogue all at once rather than pacing it out (he talked about how hard it was to adjust to writing shorter lines for live-action), and character changes sometimes happen too rapidly, or worse, not at all.

But I think a lot of people criticize Gaim for not being more like Fourze, or Den-O, or W. It’s a huge departure from the past few seasons of the show. Thank goodness.