619 Visitor Messages

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    My only big issue with Bakuman, aside from most of the toxic romance writing is (reminds me of how awful Peter-MJ's romance was in the Raimi trilogy that only seems good because of nostalgia, the music, and cinematography), is how it acknowledges and criticize Shonen Jump's editorial and business practices, but then backpedals and defends those practices for no real reason other than pride and the creator's bias.

    There's even a great antagonist character who shows up midway through the manga critiques Jump's editorial process and basically acknowledges how awfully stubborn and shallow they are. He even comes up with a clever manga creation process that's styled a lot more like independent western comic book making and getting feedback from people on forums and chatrooms like this one instead of having to appeal to Shonen Jump editors. But then the story promptly exaggerates him to the point of being a straight-up villain straw man to bash on western and indie comics.
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    Also, Bakuman surprisingly has a great negative character arc for one of its recurring characters that seems like the typical anime trope of an endearing loser who has a crush on a girl and is desperate to win her affection, which is absolutely shocking considering how awfully written the protagonist's romance writing is. Basically, imagine if My Hero Academia eventually has an arc that's the opposite of Endeavor's where we see how Mineta's perviness and complacency gradually make him become a selfish corrupt arrogant student hero who eventually gets suspended or held back a year as a result, so he decides to leave U.A. and quit being a hero.
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    And Bakuman is a good series. But it's a story that you need to stick with in the long-run like with One Piece to really appreciate how far it goes and how self-aware it is. The beginning of the story is bogged down by how its simultaneously trying to be a manga creating story and a romance story, but the romance is unapologetically sexist and cringe-y cliche unrealistic love at first sight writing that I detest. It reminds me of how awful Peter and MJ's romance was in the Raimi trilogy, which only seems good because of nostalgia, the music, and cinematography. But if you stick with it the romance becomes more of a background focus/endgame goal and the manga creation stuff is actually really interesting and insightful. Although still pops up now and again. But it cultivates a neat supporting cast of mangakas and editors that have cool personalities and creative methods/perspectives.
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    I've still only seen clips from Austin Powers and neither of the actual full films. I didn't know they had good soundtracks. I should fix that one day since it seems clever and funny for the most part. Same with Spaceballs.

    To be honest, I think the Death Note creators hinted in Bakuman that Death Note got extended by editor interference. The last manga the main characters create is obviously based on Death Note and their conflict when writing that was convincing Shonen Jump to let them end the story before its anime started airing because it had come to a satisfying conclusion and they didn't want to drag it out. They even consider how they can extend it by introducing a new antagonist or power-up and things like that, which reminds me of both Dragon Ball and Death Note's second half.
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    I agree about how you shouldn't prioritize improv over actual scriptwriting. I think this especially becomes a problem when a movie gets a big name actor and they only bank on the actor's name and improving. Although Robert Downey Jr. has gone on-record to say that he will improv or refuse to say lines he thinks are dumb because he was raised by a family of writers and has a knowledge on what works or not. Which I understand and respect to a degree, but he actually didn't want to say "And I am... Iron Man" at the end of Endgame", an editor pushed for that. Which goes to show how actor improv can be appreciated but you shouldn't rely on it as a crutch or else you inhibit the movie's potential.
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    I can get into heist movies when they don't do that thing where you get a montage of the protagonist hiring a bunch of people he already has a relationship with off-screen and then the rest of the movie is watching characters you have no attachment to at all spouting lame one-liners and forced humor while kicking nameless people's asses. And I especially appreciate when they don't have a bland greedy rich antagonist.
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    I tend to not be into war movies, but then again I have never given them much of a chance. So I might consider seeing 1917. I have always been interested in that one veteran PTSD movie with Tobey Maguire and Jake Gyllenhaal. I think it's called Stepbrothers? Maguire has some good acting chops in the clips I saw.

    But I will never like spy movies though. They're way too trope-y, generic, macho, and have forgettable characters/romances. Kingsman is the exception but that was more of a spy comedy with drama elements commenting here and there on the genre.

    Yet I really like Sly Cooper games and the Kids Next Door cartoon, which combines spy/heist movie tropes with superhero aesthetic and have fun fleshed out characters.
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    I would say that is probably a coincidence, but L having a butler too is a big coincidence.

    Are we sure there wasn't any editor interference at all? Bakuman was made by the same creators and while I think it ignored a few recurring characters in its last third or so, it still mostly wrapped everything up in a satisfying way.
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    I only read the Doomsday Clock synopsis. That sounds better than the usual "yeah, I'm so cool and wise because I spared the guy who murdered my parents snd erased old friends from existence."

    The only thing that made me tempted to try Episode 9 is Palpatine, but I heard he's boring. Which is unfathomable to me with the spoilers sounding stupid but funny. How can you make Palpatine boring?

    Yeah, the 90s time travelling Square Enix RPG in Toriyama's art-style. It's cool. And goofier than I expected.

    The Spider-Man DLC is okay. I liked the Wraith build-up but Hammerhead is forgettable and I don't like Black Cat. She only plays with Peter's emotions for her own gain snd gets forgiven because she does a nice thing once in a while. I don't like femme fatales in superhero stories unless they're about anti-heroes, because the make heroes forget justice because they can't keep it in their pants.
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    That's what I assumed from the Doomsday Clock synopses I read. That's good, I like how it explores Manhattan altering Clark's life to deconstruct the New 52 history of Superman why he matters as a character. Although I think Superman saving Manhattan instead of killing is... okay, but predictable. I've been getting sick of stories portraying the hero saving awful malicious people who deserve to die in a positive inspiring light. It's easy and I feel like emphasizing it is a platitude that's lost its weight over the years (not that I want Supes and Bats to kill though).

    I considered watching Rise of Skywalker, but decided not too because of the spoilers. And I am about to play Chrono Trigger for the first time. Nothing much else.
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