🤯

We’re going to have to start making excuses for the lack of terror.

It’s a crime there aren’t any Newgrounds emojis

You’re right, but this is a palatable and easy to remember/articulate thing for libs to say. It’s useful and opens the conversation up to concepts like social contracts.

There’s that one scene at the end of the first Captain America movie and he runs out into Times Square after being in a coma for 80 years. I couldn’t imagine how much psychic damage that would do

I hate how Amon is given a sympathetic backstory that gets no exploration at all. He’s supposedly orphaned by benders who his parents couldn’t fight.

That’s legit what happens to Katara before the start of TLA. But instead of exploring that trauma, the story focuses on what it feels like to bend and how losing that is a profound loss.

It could’ve been a cool exploration on the themes of powerlessness and coping with that, but instead it’s just that benders are just better and if you don’t bend then you need to get out of the way.

In stories, it’s easy to assume you’d be a character with powers or knowledge, but the reality is more likely to be you’re the one on the outside of power in these fictional settings

Castlevania, despite some of the creators being creeps, has a good one with Sypha and Belmont. It’s established off-screen and you simply see them interact as a couple that works closely together.

You don’t see the courtship at all and there’s little eroticism. I don’t know if lacking that excludes it from being considered romantic.

But I like the relationship where they clearly care about each other and I’m certain the romance would be believable if they showed it in-scene. It is odd however how Belmont has a foul mouth but won’t say something explicit to Sypha when they’re alone.

The other romantic relationships in the series are also established off-screen for the most part. You see couples talking to each other in bed and stuff, but there aren’t too many declarations of love or discussion on their relationship, but I think the lack of dialogue around that could be excused by it being 1474.

Theseus’s Beater

I can feel that a little. It kinda makes me mad how freely people these days could put anime decals on their cars when I was bullied for liking it as a kid

Thank you

:Abe-out-time:

A flow chart that just leads to :vote:

Just like Finn!

I hate that the possibility of a complicated story/moral question died on the vine in the first ten minutes of TFA when a smiling Finn gunned down his former child soldier friends.

In my book’s setting, anyone can learn magic, but the time, teaching, and practice required isn’t allotted equally. Different learning styles and material conditions mean that people who would be talented sorcerers end up doing mundane work augmented by magic.

One part of the history though is that there’s been a history of laborers who used magic derived from servitude to cause a class-based revolution. The nobles who practiced fancy complex magic were few in number and lacked the experience to fight a long war with farmers who water crops by hauling thousands of gallons at once or cleaners who can sweep a castle with a single wind spell.

The tools of their oppression (being railroaded into service-based magic) became their liberation. Centuries later, that informs policy on magic and how it’s accessed.

Totally unsurprised. And fitting because I hate Reed Richard’s uselessness in the comics.

A wealthy educated white dude who would rather build nanomachines or some shit than do the work to make the world a better place.

Comics exist in a universe where the world actively refuses to get better.