vanguard333

I think it is more thematically appropriate, but not for that theme: having Duma get finished off by Celica using Nosferatu helps somewhat alleviate her being overshadowed (if only in gameplay), helping with the theme of duality and working together that was all over the marketing and the intro but was negated by how the plot treated Alm and Celica.

Richard II got deposed by Henry Bolingbroke (Henry IV) after a violent revolt that met little resistance, and that deposing and the subsequent crowning of Henry eventually led to the bloodiest civil war in English History (The War of the Roses).

There's Patry from Black Clover. He's older than the protagonist (the protagonist is 15/16 while he's chronologically over 500 years old, but his soul was dormant for 500 years so he's really only somewhere around 24), but he is younger than most of his opponents and he represents a chaotic future (he wants to kill an entire kingdom as revenge for a crime the royal family's ancestors committed upon his people). EDIT: There's also Syndrome from The Incredibles, as he's younger than Mr. Incredible. By the way, what do you think of the villain tropes I mentioned?

I don't know; the person I was replying to blamed Miyamoto, and the point of my reply was simply that he's completely changed his philosophy from, "no story" to, "I'm going to trust the next generation and make sure they're able to keep these games going long after I'm gone." I'll edit what I said.

If it helps, Miyamoto has actually walked back on his no-story policy; not only expressing regret for some of his past decisions, but also switching focus to trusting in the next generation and wanting to make sure that these game series he created survive after him. His position now at Nintendo basically just amounts to people coming to him for advice every now and then, and that's all he wants it to be right now. He now wants developers for these games to do things that he wouldn't have done back in his day. If you don't believe me, watch this video from 36:54 to 42:14: Why Paper Mario Refuses to Change - YouTube

Some of my Favourite Villain Tropes (note that I'll be using the names that TV Tropes uses for these tropes): 1. Knight of Cerebus: This is a villain whose very presence darkens the atmosphere and tone of the scenes they're in; a villain whose first appearance acts as a catalyst for the show drastically changing in mood from relatively lighthearted and comedic towards the dark and dramatic. These villains usually do so through an action that leaves an impact on audiences: being the first villain the hero loses against on their first attempt, being the first villain to kill off a major character, etc. Examples include the following (note that these are not necessarily my favourite villains; I just think they're good examples): The Black Knight from Fire Emblem: Path of Radiance. His first major action in the story (beside ensuring Petrine's retreat) is killing Greil in a duel. From there, the Black Knight continues to haunt the heroes like a nightmare: his every appearance having him do something terrifying and effective up until the final confrontation between him and Ike. General Grievous (I kid you not) from the 2003 Star Wars Clone Wars 2D micro-series created by Tartakovsky. Because of Revenge of the Sith and especially the 2008 Clone Wars cartoon, Grievous is often remembered as a cowardly Saturday-Morning Cartoon villain. His debut in the Star Wars franchise was very different: his introduction had him decimating a Clone Army off-screen and maneuvering the seven surviving Jedi into a corner before deciding to fight them himself to grant them "a warrior's death." Using pragmatism and behaving almost more like a hunter than a fighter, he proceeds to defeat all seven Jedi; killing four of them. He would prove to be a terrifying figure to the Jedi; his last appearance having him capture the Chancellor almost single-handedly; defeating three terrified Jedi and killing two in the process; leaving the last one alive only to tell the others what happened. His loss in badassery going into ROTS ultimately got explained by Mace Windu arriving too late, but succeeding in crushing Grievous' lungs with the Force. Thanos in Avengers: Infinity War. I'm just going to say that you probably know why he's on this list. Oh, and these are far from the only examples; this is a very popular trope, and for good reason. I think it should be obvious why I like these sorts of villains as villains: they're scary and effective. Knight of Cerebus - TV Tropes 2. From Nobody to Nightmare: Villains can have all kinds of origin stories, and some villains don't necessarily even need a backstory to be effective. This is the type of villain whose backstory has them start out as a societal nobody; someone most people in the setting never looked twice at, only for them to become someone that would haunt most people's nightmares. These villains are usually also a Knight of Cerebus, but with the added bonus of being the villainous counterpart of a peasant-turned-hero story. Examples include the following: Darth Vader from Star Wars. Born a slave kid on the remote desert planet of Tatooine, grew up to become the 2nd most feared man in the galaxy and a truly threatening villain to the heroes of the story. Nagato from Naruto. Born just some kid in the Hidden Rain Village: a tiny, struggling nation that was suffering from being used as the battlefield in a proxy war between the shinobi villages of the five great nations. His parents were killed by leaf shinobi who had mistaken them for enemies, and he was left on the streets until he found his best friend Yahiko: an idealistic kid who eventually formed a group known as the Akatsuki to bring peace to the Hidden Rain. Because his efforts were an obstacle to the proxy war, Yahiko was killed. Outraged, Nagato took on the name Pain, took over the Hidden Rain village, and founded the new Akatsuki: this time consisting of the most dangerous rogue ninja in the Naruto universe. He still sought to bring peace to the world as Yahiko did, but now he sought to do so through mutually-assured destruction: ending the cycles of hate and revenge by making everyone share the same pain (hence his name). Interestingly, he's not the only From-Nobody-to-Nightmare villain in the Naruto universe; there's also Tobi (but I want to limit this to one example per series to keep this from getting too long, which it arguably already is). Syndrome from The Incredibles. Originally just a superhero fanboy, he became disillusioned after a misunderstanding and became a weapons-developer who systematically killed almost all the old superheroes to make a weapon only he would be able to defeat. I like these kinds of villains because I find them a lot more compelling; they don't inherit an evil empire or anything like that; they became what they are through the very things that now make them a serious threat. It also helps that they usually have a point to make about the society they live in; a point that can sometimes raise questions about our own societies, but is still narratively interesting even if it doesn't. For example, when Pain attacks the Hidden Leaf Village (Naruto's hometown), both Naruto and the leader of the village ask Pain what gives him any right to talk of peace when he's outright attacking the village, has killed people that they care about, and is destroying the peace that the village has worked to establish. Pain responds by asking what right any of the five great nations have to talk of peace when their peace is maintained through proxy wars that leave smaller nations to suffer, and what gives the hidden leaf village in particular the right to talk of peace when they killed almost everyone he ever cared about. EDIT: Another interesting note is that, while it is normally a villain trope, there are heroic examples of From Nobody to Nightmare, but they're rare. Ike would be an example: starting out a common mercenary in the rural parts of Crimea, but by Radiant Dawn becoming a legendary hero that is (rightly) very feared on the battlefield. From Nobody to Nightmare - TV Tropes

That is a good point. Perhaps then, Quick Change should be the down special, and Kirby's copying simply copies the partner and N Special that Paper Mario has in use at the time without the ability to switch between them.

1. Nintendo and Koei Tecmo (so this counts as Koei Tecmo) do a public announcement saying, "Sorry if our marketing for Age of Calamity gave a lot of people the wrong impression. This new free expansion for the game, however, will in fact be a direct prequel to Breath of the Wild and show how things played out in the original timeline". So, a free Age of Calamity expansion that actually is a direct prequel to BOTW. 2. This. 3. Nintendo Kart: a Mario Kart game with characters from many different Nintendo series.

I suspect that it all depends. If a remake, then probably end-2021 with announcements first appearing in January/February. If a brand new game, they have the Three Houses assets which would cut down on time, but I still think probably 2022 at the earliest.

On maddening difficulty, I'd give Master Post a 7/10. Master post has great stats and some very useful boons, especially in authority, but they arrive near the end; limiting their usefulness in the game overall. 🥁

Sounds good. Yeah; it is great. I might try some of your recommendations, but I don't really have much time for shows right now; I have room for two in my schedule, and I'm currently watching two (Black Clover and TONIKAWA). I love rewatching FMAB; I honestly consider that show the epitome of rewatch value because there's so much attention to detail and so many little things that are easy to miss on a first viewing.

Interesting. After seeing FMAB, I was looking for more good anime to watch (I was limited by only having Netflix at the time) and I ended up watching Violet Evergarden as my third anime. I remember all this very well because I only saw these shows for the first time two years ago. Violet Evergarden is absolutely fantastic, by the way; an amazing story and emotional journey about grief, the importance of communication and bearing the scars of the past while finding happiness after bearing terrible tragedy. I highly recommend it; it's the only show that ever managed to be emotionally hard-hitting enough to bring me to tears every single episode. So, yeah; fair warning: have a box of tissue beside you if you decide to watch it. Incidentally, after that was three anime in a row that I really didn't enjoy: I saw the first half of the first episode of Death Note before deciding that it wasn't my cup of tea, then I tried Code Geass and enjoyed it despite its writing issues up until a certain moment late in season 1 proved so bad that it completely killed all my interest in the show, and then I ended up trying this shonen anime called Fairy Tail that again was neat concepts but lackluster writing; I gave up on it after season 1 (mainly because Netflix only had season 1, but I don't feel like returning to that show any time soon; Black Clover handled being a shonen anime with a world full of magic infinitely better by bothering to have a good story, cohesive world and well-written characters).

Okay, so ten and ten was a typo. Got it. You might want to change what you had typed then to fix the typo.

Funny; FMAB was the very second anime that I've seen (the first being One-Punch Man unless you count Spider Riders: an animated show made jointly by a Japanese animation studio and a Canadian animation studio).

I see. Then if they do make the DLC/Expansion-Pass, I'll either wait for a sale or buy the game second-hand. I am already starting to enter the moving on stage; I'll probably be fully in the moving on stage once the release week's over and I can be safe in the knowledge that the vast majority of fans who, like me, were tricked into thinking this game would be a prequel have either already bought the game or found out that it isn't really a prequel (and either bought the game anyway or didn't). Well, an expansion pass with a second, original-timeline story would help fill in that shortage of content.

Hey, guys; what do you think are the odds of a DLC/Expansion-Pass campaign being made that actually does adhere to the BOTW timeline and follows the events leading up to the original Calamity (i.e. no egg and no time travel)? I think it would be a good way to apologize to fans who were misled by the marketing into thinking they were getting an actual prequel, though I do think that if such DLC/Expansion-Pass content were made, it should be free: Nintendo and Koei Tecmo shouldn't get to profit from fixing their own mess when they already profited from the mess.

Hey, Jotari. I don't know the context (though I agree with your main point about how established and discussed Alm's issues are). I just want to make sure your numbers are correct and there isn't a typo: the way your sentence is written is as if Alm has more pages of results than Celica "Alm has --, while Celica has --", but the actual numbers are both ten. Just wondering if there was a typo or if it really is ten for both.

No, and no; I don't really use Inkling, and I don't have any DLC yet (and when I do get DLC, I probably won't get Steve as I'll only get fighters that I find interesting). I see. I'm not sure about that though; since switching partners (especially with at least three to choose from if we go with your suggestions) needs to be very deliberate, I think that it would probably be better if switching partners operated sort-of like Shulk's monado arts or Pokémon Trainer's switching Pokémon, in which case, it would probably be better to have a dedicated special attack. What it loses in having a standard (or possibly down) special is compensated in ease of use and simplicity. Does that make sense? I do like those three suggestions, by the way: the Goomba scholar, Koopa, and nautical Bomb-Omb make a lot of sense as partners. Now just to figure out their specials... …I just remembered: Didn't Thousand-Year Door also give Paper Mario various overworld abilities where he transformed into different objects like a paper airplane? Those could probably be used for some of his attacks. Paper Airplane, for example, would make a lot of sense for aerial attacks. Just not sure how he'd be able to transform and revert back to normal quickly enough... What kinds of attacks and such did Mario have in TTYD outside of his partners?

I can't really compare FMAA to FMAB as I've only watched the latter, but I do think that Father is rather underrated. I don't think he was particularly amazing as a villain, but he had a clear goal, there was a fair bit of depth to him, he was a proper antithesis to the main lesson of the series that Edward needs to learn, and he was a serious threat to the characters: it took two armies, several alchemists, and one of his own homunculi to bring him down to a level where Ed could defeat him (and he was brought down through intelligence in addition to teamwork). Again, I haven't seen FMAA, but from what I've heard about the main villain in that show, she really doesn't sound very interesting. Unsettling, definitely (I always find intentional body-swapping very creepy). But not interesting. Father had a massive inferiority-superiority complex: ultimately he wanted what humans had: freedom and friendship, but his ego led him to cast it all aside and try to fill that hole by becoming "perfect" in his eyes: seeking ultimate knowledge and power in an attempt to elevate himself. He seemed like a blank slate because he threw away parts of his personality and put them into the homunculi in attempt to make himself perfect; an effort which just left him blank and still carrying the seven deadly sins he tried to cast out because he didn't truly overcome them. As a result, the homunculi and the depth that they have help convey his hidden depths as a character: Greed just wanting friends, Wrath being bitter and disillusioned with the world, Envy being envious of humans and their companionship, etc. When you think about it, it's actually very compelling. From what I've heard about Dante, however, she just sounds like a vain and petty character that just wants to live forever, which is fine, but not nearly as compelling, especially for a main villain in a show that explores a lot about humanity. Anyone who's seen FMAA can feel free to correct me if I'm wrong on this. The reason that stuff is dropped is because he only has that aspect of his personality because he had reabsorbed Greed; it never appears again because he put Greed in Ling. Each of the Homunculi are components of his original personality: their depths are his as well in a sense, minus the depth they have that came from them as individuals. He chats about Hohenheim because, in a way, Hohenheim was the closest thing he ever had to a friend, and what was Greed's true desire: friends. Another thing I find interesting is that his assessment of Truth and the reason body parts are taken away from those who enter the Gate is in fact wrong (or at least incomplete). He understands that one component of it is to punish them for getting arrogant with their alchemy and trying to play God, but he thinks, due to his contempt, that it's to give them "proper despair" i.e. simply to put them down. As Ed points out, that can't be it because Roy's eyes got taken and Roy was forced through the Gate. What Truth actually wanted was for them to recognize that they're still human, and value those that they still have: Ed loses the leg he stands on (his support) and needs to be supported by Winry Al depends on his brother for nutrition, rest and maintenance Izumi, who lost her child, depends on her husband to keep moving forward Roy, who had been blinded by revenge for the death of Hughes until being snapped out of it by Riza, loses his eyes and now literally needs her to see (rather than just metaphorically) When Ed offers his Gate to get Al back, Truth is shocked, first asks him if he's really willing to lower himself, and then asks if he's really willing to give up his alchemy (to which Ed hears everyone waiting for him and Al to return and says, "I don't need alchemy; I have them") and it's only after that that Truth says, "Yes! That's the correct answer!" The fact that Father not only fails to see the lesson component but also completely fails to realize the value-of-companionship component is really interesting. He failed to the answer that was right in front of him indeed.

Thanks for answering. Yikes; considering everything I've heard about Other M, that sounds really bad.

I just that the jumps would be jumps. Sorry if that was confusing. Thanks for the suggestions. What's a shield special?

The screaming complaints are greatly exaggerated. The voice actor the studio hired for Asta had never done anything like this before, and since Asta, like a lot of shonen protagonists, is rather... energetic, he yelled a lot of his lines in the first couple of episodes, and it can be a bit grating in those couple of episodes. But the voice actor greatly improved very quickly. Honestly, most of the "Asta screaming" complaints nowadays are from people who either haven't watched the show at all or stopped after only the first two episodes. It's a good show that sadly got unfairly bashed when it began. EDIT: there's one clip in particular that I like to use to point out how Asta's voice acting improved (Asta is the short character with grey hair):

Then you'd probably like Asta in Black Clover: he's tiny, but because he's the only person without magic in a world where magic is used for everything, he's the only person who bothers with muscle training.

Thanks for the reply. I can't tell if this is serious or not. The "repetitive arc structure" thing was one tiny thing used as an example to explain a different point in a video about analyzing the superpowered evil sides trope; saying that that one thing is grounds for not taking the video seriously as a whole is just absurd. I'm going to respond to the whole thing; I'm just cutting it for length. To clarify, I wasn't saying that plot points need to have buildup necessarily; I was just saying that I think the Yato, since it's supposed to be this legendary ancient sword, could've afforded to have some small amount of buildup to it rather than just (and forgive me if this is about to sound dismissive, because I'm not being dismissive): "What's that thing that's sticking out of the statue that just got destroyed in the explosion?" "Oh; that must be the Yato; the legendariest of all the legendary weapons in out unnamed continent!" "What's it doing there in the statue?" "Who knows?" "But you just said said that this is a very famous sword?" "Yeah, but- Oh look! It seems the sword has chosen you!" "Really? Why? And that's rather convenient since my previous unique sword just got used to blow up this area in the first place." I'm not sure what Corrin's dragon form would represent for him emotionally either; I agree that I suppose it would be best used for mistrusting themselves and possibly also their rage as they fail to avoid losing people they care about in the war (as it first triggers from losing Gunther and then fully activates at Mikoto's death), which would still mirror Anankos. I'd say that Ike's abilities are well-implemented into his character arc: his journey is one of growing into the role/taking up the torch. He has to take over his father's mercenary company and learn to step up to the plate. His abilities as a swordsman and a leader and how they grow reflect and parallel his growth into the role. I do agree with what you said about the Yato upgrades. Okay; I'll give it a look. I agree about how coincidence-driven the Birthright route is and how much of it reads like filler. I also agree about how the abundance of coincidence does take away agency from the characters.

I can honestly say that I know almost nothing about Metroid, but I thought Other M's problems were from it being made by Team Ninja? I honestly don't know. Anyway, that is somewhat true; when a series loses sight of things that made it successful in the first place, it is important to look at its development and at the higher-ups. It's just that one shouldn't go straight to assume it's the guy at the top's fault. Look at Tetsuya Nomura for example: he's been blamed for everything fans dislike about every game directed by him for the last several years, even though an actual look reveals that it's a result of him and his development team repeatedly getting screwed over. Perhaps, but I honestly think Garon's characterization was more a result of confused priorities and/or needing to meet deadlines. (I'm going to reply to everything you said; I'm just cutting it for length) Thanks for the reply. 1. I see. Yeah; I could see that perhaps they handed the story in and genuinely thought it was good. 2. Yeah, though whenever I see "over-expectation" brought up, it's usually someone defending something by telling the criticizers, "You were just expecting too much." I can tell that you're not saying that; I'm just saying that's why I try to avoid talking about expectations. 3. I agree; I don't think those things were conceived of for how they could impact the plot or explore Corrin as a character but were simply there for, "Oh, this would make Corrin cool!" I was just pointing out that it was seriously wasted potential. Azura being to turn into a dragon would've been neat, as Azura and Corrin do have a lot of symmetry as you pointed out and it would explain her having a dragonstone to give Corrin. 4. Thanks. 5. Yeah; I agree about the second-gen units and s-supporting the royals; those definitely shouldn't have been in Fates and were only there for fanservice/throwing in everything.