Wall of Text cleanup

A few moments ago, Violet's Logical Weakness entry on Characters.The Incredibles was expanded to:

• Logical Weakness: Violet (despite having the strongest powers) has by far the most weaknesses of the entire family. Since she still takes up space, her invisibility can be nullified by smoke or gas from a fire extinguisher that will reveal her location (Voyd used one in her fight with Violet that stunned her for a brief second), or simply by any clothing that isn't her super-suit. Her Force Fields can keep external attacks away (such as stray bullets and He-Lectric's electricity), but they have a limit on how much damage they can actually take before getting shattered and rendering Violet helpless ^note Omnidroid V10 was nearly able to kill Violet this way with three direct blows to destroy her Force Fields and was about a split-second away from actually killing her. Violet also cannot move at all while using her Force Fields defensively without Dash's help ^note (the Omnidroid V10, Reflux and Krushauer all took advantage of this), and other superpowers can also weaken her barriers further as shown with the lava from Reflux which was capable of outright disrupting if not melting the barriers completely ^note (which would have burnt Violet to death had it hit her unprotected head as her supersuit was immune to temperatures above 1,000° fahrenheit), and Krushauer's powers of telekinetic crushing are highly effective to the point he nearly crushed Violet and Jack-Jack to death within her own Force Fields, and since she usually leaves a portion of the ground she's standing on unprotected, it leaves her open to attack from a hypnotized Voyd who can make a portal on that patch of ground inside the barrier. It is also implied in other Incredibles media that both of her powers are physically draining. In the Incredibles 2 comics made by Dark Horse Comics, her Force Fields gained another notable weakness which are tied to Violet's mental health, meaning that any attack that hits her barriers makes Violet feel those effects herself, to the point she gets a massive headache and possibly blacks out ^note (this was done first by training with Mr. Incredible in order to train his kids by delivering a barrage of blows to Violet's Force Fields (which he was holding back), only to quickly stop once he saw they were giving her migraines and indirectly discovered a new weakness, and the second was when she was being attacked by Rose, a girl Violet's age with Sonic based powers who was being used by her supervillain father to rob the school dance Violet was attending, and manages to take advantage of Violet's Force Field weakness by attacking them with her sonic powers).

Do you guys think we should re-trim it?

Is it just me, or this entry very wordy?

From Characters.Trails Series Erebonia Ironblood

• Character Development: Considering how much he changes over the course of the Erebonia arc and Reverie, he is up there as one of the characters with this trope in full effect. In Cold Steel I, he is introduced as Jusis' older brother and someone that is kind and behaves himself as a noble should, with elegance and knowledge. In Cold Steel II, this image is still there up until the end, when he reveals himself as an Ironblood who hates his father. In both Cold Steel III and Cold Steel IV he slowly lets his own goals change his noble ways, with him laughing at Juna and Crossbell's situation, helping Osborne with the Twilight, not giving much thought at Millium, his fellow Ironblood, dying, and backstabbing Arianrhod after she was already weak and defeated by Rean and Crow. After he was defeated by Class VII and learning the hard way how he lost because he always thought he would be better without the help of anyone, he lets himself be arrested so Lechter and Claire can be free and clean the post-war mess in the empire. By the start of Reverie, someone came to kill him while he was in jail, making him flee for his life and investigate what's happening. In this game, we learn that Rufus has been going through an identity issue caused by his abusive father and his empty role in the noble families, which made him try to surpass Osborne, the man he considered his real father, as a way to know why he was born and what's his purpose in life. In this small journey, he made new friends in the form of Lapis, Swin and Nadia, and together with them he learned to be himself and not seek to surpass his "father" as a way to feel his identity validated. The result is someone that is willing to atone for his past crimes and being much more kind than he was in the previous games, as he travels around the continent together with Lapis, Swin and Nadia. His character in Cold Steel I and Reverie can be seen as two completely different people.

Found these on Not Badass Enough for Fans:

• Merlin: On the surface, Guinevere is essentially portrayed as a Shrinking Violet, a stark contrast to Morgana's spunky lady. Morgana gets to do lots of cool things: sword-fight, telekinetically throw people through the air, and stand up to King Uther. However, this is a huge simplification of each woman's characterization and Character Arc: namely that Morgana's fall into evil was marked by her It's All About Me attitude in which she ranks her own grievances and pain against the needs of others and begins a Roaring Rampage of Revenge against not just Uther, but everyone, including innocent people. In contrast, Guinevere (who is also deeply wronged by Uther when he has her innocent father executed) rises above her inner turmoil and explicitly refuses to wallow in hate. Many fans seem to have completely missed the juxtapositioning of Guinevere's declaration that she would never seek vengeance against Uther because: "that would make me just like him" with the observations by several characters that Morgana is now no different from Uther. It also fails to take into account the fact that Guinevere's attempts at proactivity have a far higher success rate ^note  (retrieving the morteus flower from the dungeon, arguing on behalf of the women in Ealdor for their right to defend their homes, discovering a vital clue that allows her and Merlin to outwit the Witchfinder, convincing the council to open the gates of Camelot and allow the refugees to seek shelter in the city, escaping Helios's men by submerging herself in the river). Though Guinevere has played the Damsel in Distress a few times, Morgana has been in similar situations just as often (as have all the male characters) and is extremely Weak-Willed given the consistency with which she is placed under enchantments. Guinevere, on the other hand, has the unprecedented move of removing an object of enchantment from her body of her own free will (and thus breaking the spell she was under).
  
  The reactions to "Lancelot and Guinevere" are a perfect example of this trope. Most of the complaints about the episode state it as Guinevere's biggest Damsel in Distress moment, and that she needed three attempts by Morgana, Lancelot, and then Arthur and Merlin to rescue her due to her extreme incompetence. 1) It was Guinevere's You Shall Not Pass! moment that saved Morgana, not the other way around, 2) In Lancelot's rescue, we never see her get captured, so we don't know if she tripped or ran into a group of bandits, and 3) All of that would have been for nothing had Gwen not kept up a Morgana impression throughout the duration of her imprisonment, which kept her alive until help could come. Uther even mentions that it would take a small army to beat the number of bandits in the fortress she was held in, so unless you're expecting her to spontaneously turn into River Tam, there was no way she could have escaped without help.
• Mega Man X: The title character of the series gets this a lot. His viewpoint (except for in the seventh game, where he tries a completely pacifist route until late in the game) is that he'd rather not fight, but does because he feels he has to. Because he wishes he didn't have to go to war, he's usually portrayed as a pansy and/or gay (though the latter has more to do with the Ho Yay between him and Zero). Zero, by contrast, is a badass killbot with a laser sword, who never hesitates in fighting his opponents, and is thus much more popular. Fans also like to completely ignore the fact that once X has all his upgrades and armors, he's an unstoppable One-Man Army who is much more powerful than Zero. Not only that but both he and Zero have climatically fought each other to a tie, Zero outright says X is the better Hunter, and a bad guy killed millions so X would fight him all-out (and had no interest in fighting Zero). But no, still a pansy because he realizes that after 8 wars, more fighting doesn't solve anything. It's truly amazing how many people can dismiss him technically beating Zero in X5, while surrounded by a virus that weakens him and renders Zero Nigh-Invulnerable, and only succumbs to its effects after beating the death machine into the ground. In regards to the Mega Man franchise as a whole, X is often viewed as the most "adult" Mega Man of them all and thus derides the other incarnations (like the original Mega Man or Mega Man Volnutt) as being not as badass. Despite them potentially being just as powerful, if not more, than X is.
• World of Warcraft. When "war" is in the name of the game, you expect every character to fight: except for maybe children. This is further reinforced by Azeroth being a Death World: not only is the native fauna absurdly dangerous but it's also the only world not yet consumed by the Burning Legion, who are constantly looking for a way to get in. So not fighting seems like a bad idea. Now, not every character chooses to fight all the time of course: and there are definitely heroic moments when characters choose peace. However, even most of the characters who preach pacifistic philosophies end up having body counts in the high hundreds out of sheer necessity. As of the Battle For Azeroth expansion, there was only one character who had never killed: Anduin Wrynn. This led most characters in the game, and most fans of the game, to assume that he was a wimp and a coward. Actually however, you don't need to fight when you can talk your way out of most battles, mind control your way out of others, survive having several tons fall on you, and heal an entire battlefield all at once. In fact, it's Anduin's ruthless commitment to pacifism that makes him so powerful: both what he is willing to sacrifice and what he's willing to do to achieve peace. He isn't a goody-two-shoes though: he's willing to overlook genocide in the interest of making peace.

• "Fabian strategy" is a term for a military strategy in which battle is avoided in favor of wearing down the enemy by misdirection, denying them resupply, and other generally non-violent tactics. It was named for the Roman commander Fabius Maximus, who knew that fighting Hannibal head-on was a losing proposition. He also knew that Hannibal was operating in enemy territory, making resupply difficult, and had virtually no ability to besiege Rome itself. Fabius therefore simply did not march out to fight. As time went on this seemed more and more cowardly to the Romans, who eventually removed Fabius and installed someone more aggressive as commander. Hannibal then crushed the Roman army at the Battle of Cannae, one of the worst defeats in military history. The Romans wised up and went back to denying Hannibal battle, and he achieved few other significant victories over them. The Fabian strategy has been utilized at other periods in history, such as The American Revolution and the Russian defense against Napoleon. Despite the proven success of the strategy in certain situations, commanders who implement it are often seen as weak and cowardly. To add to the irony Fabius still had to be incredibly violent, just not towards Hannibal's standing army. Hannibal was actually able to recruit large numbers of allies among the tribes and city-states of Italy, who, after all, were hardly thrilled about Roman domination. Fabius' strategy was to deny Hannibal supplies and reinforcements from these allies by directing his troops to a place after Hannibal had left and massacred the town or towns that had helped him.

Found in InterspeciesRomance.Visual Novels:

• "The Demon Lord in Another World" h-game VN is an inverse of the normal "isekai" trope in that its the female Demon Lord that gets transported to the modern world, where she ends up having to live with the nameable MC due to being unable to return back to her world, not that she's in a hurry to go back to it due to the fact that the so-called "hero" faction is more "antagonistic" than "heroic" in her original world, she only unwilling gained the title "Demon Lord" due to simply surviving her harsh, unforgiving childhood and so forth. As she's relaxing at the MC's home, she notices a closet door slightly open, takes a look inside, only to discover her magic rod was responsible for her transit to the MC's world when she realizes that she was simply transported to his world after the "heroes" messed up the original setting of where the rod was headed and as she has it back, she could easily transit back to her world, even imagining taking the "heroes" by surprise, but if she does so, she depressingly realizes this would mean leaving the MC for good. She gives it some thought and realizes that it's not worth it and instead decides to permanently stay with the MC instead of her original, cruel world. After she spends some time with the MC, she soon realizes that, despite things being different in this modern world, it's much less stressful and, eventually, happily marries him and eventually becomes pregnant with his child (with her looking forward to having more after the first is born), and as this occurs she no longer wishes to return to her former world as she's become perfectly happy acclimating to the new modern world she gets transported to, finally able to live in peace as she merely wanted to do from the beginning.

The spoiled section is mostly irrelevant to the trope. I'd just replace everything under spoiler tags with, "she eventually falls in love with the human main character, marries him, and has at least one kid."

Found this on EndingFatigue.Video Games

• The developers clearly never learned from this as The Legend of Heroes: Trails into Reverie has, just for the final boss fight of the main game, taking up to at least 2 hours to finish the game (more if the RNG hates you thanks to a certain Soldat fight). First, after entering the control room at Retributive Tower, players are treated with a long cutscene just introducing who was really behind all the events of the main story. Then the first phase of the Final Boss fight happens that requires both Rean and Lloyd to be in the party. Then the next phase starts where players now have to use the soldats to fight off against the boss who summoned the completed version of the Seven Divine Knights which consists of four phases with the first three phases having the boss delivering a Curb-Stomp Battle after reaching certain damage thresholds. After finally defeating it, the players are then treated to a very long cutscene and when that scene is over, players still have to fight one more fight where Lloyd is a required party member but players aren't allowed to use Rean, Crow, and Rufus for this fight. And once players think this is over, the player has to traverse through the final dungeon again and reach the boss room before the game is over. Thankfully for the last portion, no enemy will spawn in allowing players to just head straight over. Only after the player finally reaches the room is the main story finally over. Also, there is post-game content which adds even more floors to the True Reverie Corridor and a new Daydream stone that serves as the Sequel Hook for the future Calvard arc.

Idk if it’s long enough to count as a text wall but it definitely needs a trim. Plus it feels complainy to me.

Also bumping my post x5

Edited by Ayumi-chan on Aug 1st 2023 at 6:19:28 PM

Changed, thanks

I have no idea why this entry (Rain Code spoilers) has to go all the way to disprove Epileptic Trees about characters in another work sharing a plot point when, for starters, they don't even take place in the same continuity.

Edited by Amonimus on Aug 6th 2023 at 1:54:07 PM

This is on A Whisker Away:

• Unintentionally Unsympathetic: The movie depicts Muge as a troubled but lovestruck schoolgirl who desperately wants someone to love her. Though this is sympathetic, and her troubled home life does explain why she is the way she is, her behavior towards Hinode reads less like a happy-go-lucky Cloudcuckoolander and more like a borderline stalker with a lot of disturbing behavioral issues. She relentlessly goes after a single guy, invading his personal space and boundaries, makes sexual comments about him loud enough for everyone to hear, refuses to take no for an answer even after it's implied that he told her countless times to stop, and even after she's called out on it, she never even considers that she might actually be in the wrong and that maybe she should leave him alone. Instead, she continues to go after Hinode, and the movie makes this worse by rewarding her for her behavior by having Hinode return her feelings. Not once does she ever consider how he feels about her relentless pursuit of him, nor does she ever feel any guilt or remorse over what she's done to Hinode and is more focused on her own pain. It can also be hard to appreciate how "troubled" her home life really is when it's clear that her parents and stepmother all love her dearly and try to be there for her, only for her to shut them out and throw their love back in their faces. Yes, it's very believable for a middle school girl to feel that way, and her mother walking out on her when she was a kid would scar her greatly. However, even if the viewer doesn't accept her mom trying to be in her life again, her father and stepmother were clearly always there for her and try their hardest to make her happy.

Is this sentiment shared by a sizeable portion of the fandom?

I think it is. I meant this movie is NOT very popular so there isnt much of a fandom to begin with but most people who've seen the movie agree on this.

Edited by AegisP on Aug 9th 2023 at 7:43:30 AM

From YMMV.Lilo And Stitch 2 Stitch Has A Glitch:

• Contested Sequel: While this film is still not considered as good as the original, it is often considered better than the rest of the franchise because it aesthetically looks more like the first film, keeps the focus on both Lilo and Stitch (instead of just giving Lilo or Stitch—especially the latter—the spotlight), and feels more like a direct continuation of the original film and its intimate comedic-dramatic themes instead of a heavily comedic kid-friendly spin-off with a Gotta Catch 'Em All theme to it, which has led to some purist fans calling it the only Lilo & Stitch sequel that "matters". Tellingly, Stitch Has a Glitch stands as the only Lilo & Stitch continuation that Disney has released on Blu-ray, bundling it together with the original movie, although all four movies are available for digital HD download and, along with Lilo & Stitch: The Series, Disney+ streaming, and the back of the DVD casing and some digital download listings for Stitch Has a Glitch clearly has Disney declaring its interquel status by stating, "Before the other 625 experiments land in Hawaii," in its synopsis. There's also the bundled The Origin of Stitch short, and the DVD bonus feature game directly relating to The Series that foreshadows Leroy & Stitch upon completing it. However, it does catch flack from fans who do like the direction The Series took, being unhappy (if not a bit insulted) that Disneytoon disregarded much of the mythology established in a show that was already two years old by this film's release. Several viewers also have issues with certain aspects of the plot, primarily that the duo's main conflict (the deterioration of their friendship) was mainly because Jumba and Pleakley decide not to tell anyone else about what's actually happening with Stitch, leading the duo to make some awful assumptions that nearly results in Stitch's death. There's also the completely pointless side plot of Pleakley unnecessarily "helping" David hook up with Nani again that serves as no more than padding for what is a rather short feature film, and Stitch's Disney Death being such a Writer Cop Out that does in Jumba and his machine that it unintentionally takes Lilo's message of "love is more powerful than death" much too literally, which leads to some saying that if that's the case, then this implies Lilo and Nani's parents died because the sisters did not love their parents enough. Some also say that the cast's characterizations were too simplified compared to how they were in the original film (an accusation also thrown at The Series) and the film's pacing is all over the place.

Anyone else think this example from The King and I is too long?

• Banned in China: Not surprisingly, the films are rather disliked in Thailand. What's worse is that no matter how the filmmakers rework the story, it always ends up getting banned in that country. A key part of the problem is that there are very strict laws about lese-majeste (basically, insulting the monarch) in Thailand; it wasn't so long ago that the king was literally revered as a god, and he still has a very special status. King Mongkut is viewed by today's Thai people with the respect that Americans would have for, say, Abraham Lincoln — Mongkut's great-grandson King Bhumibol, who reigned for over 70 years until his death October 13, 2016, is greatly beloved in Thailand — but unlike the many satirical portrayals of Lincoln, you do that in Thailand to any member of the royal family — even affectionate parody — and you'll go to jail. (There certainly are accepted cartoons, often showing shutterbug Bhumibol with his camera◊ and/or with the stray mutt he adopted◊ and wrote a book about. There was a royal kitty cat, too.) Anna Leonowens' story and all its adaptations portray him as an intelligent but unsophisticated barbarian who is trying to become civilized. To the Thai people, The King and I is the equivalent of King Louie in The Jungle Book (1967). The fundamental problem that modern directors seem to miss is that no matter how respectfully the King is portrayed, the basic story still requires that Thailand be a backwards country in dire need of being civilized by Westerners — Mongkut had already put the country on the fast track to modernization long before Anna got there — and ultimately that their King is wrong, which is not only disrespectful but illegal.
  "Brynner's portrayal of a progressive monarch was felt to be scandalously disrespectful, not only trampling on national history but trashing deep-seated practices of deference and cultivated restraint. To see the fourth king of the Chakri dynasty turned into a tragic buffoon, with his legacy awarded to a superior Englishwoman, was intolerable, and the movie was denied a license: it could not be screened. The artistic team behind The King and I had liberal sympathies, yet if one tries to watch the musical with Thai eyes it becomes an act of colonization — an invasion that seizes not land or material products but a people's sense of their past. - Alfred Habegger, Masked: The Life of Anna Leonowens.
  • Bhumibol hated the law making the king infallible — because it implies the King isn't human. However Thailand today is run by a military dictatorship and the King is a mostly powerless role-model figurehead, like Princess Diana. Like her, Bhumibol liked to be Royals Who Actually Do Something, setting a legacy of personal connection and involvement. But his speech asking his subjects to please criticize him was smoothed over as a Big-Lipped Alligator Moment. The junta reinforced existing lese-majeste laws so they can put more people in jail.

Can someone help me trim this example from Clubhouse Games?

• "Blind Idiot" Translation: In Riichi Mahjong, pinfu is translated as "All Sequences", which is misleading because while getting all sequences is one way to earn this yaku, the translated name doesn't also mention that this is a closed-hand yaku (i.e. you can't call someone else's discard to complete your hand; all tiles must be self-drawn), and you have to get to tenpai (one tile from winning) in such a way that you can get one of two different tiles to complete a sequence (called "open wait")^{For example} An open wait would be something like 2-3 of the same suit; you can get either a 1 or a 4 of that suit to complete it. 4-6 would be called a "closed wait", after the fact that you need the number between the two (in this case, a 5) to complete it. 1-2 and 8-9 are "side wait", meaning that you need the number to the side to complete it (3 and 7 respectively), but it's not an open wait because 1 and 9 are "terminal" numbers (numbers do not wrap around, so 9-1-2 isn't a valid sequence).. Meaning that a player can form sequences with discards (chii)...and then wonder why they're unable to win in tenpai. Furthermore, "All Sequences" misses the very definition of pinfu: A hand with 0 fu. The details are a bit tricky, and roughly involves difficulty of completing your hand, but basically no triples or quads (hence why you need sequences), no winds that qualify for yakuhai for the current round (meaning no seat wind and no round wind ^note {if it's East round and your seat is West, for example, the only winds you can make triplets of are North or South}), and an open wait (as mentioned above) on tenpai. Granted, "pinfu" is tricky to translate into English because of the many conditions it requires, but it could've been left in the original Japanese like many other terms (such as "yaku", "mangan", and "riichi" itself).

I while back I trimmed down a point on FranchiseOriginalSin.Super Mario Bros as follows:

the edit reason

Per the The Character Specific page thread, I found some text walls in Sandbox.Trails Series Rufus Alberea. I actually bought up the Character Development one multiple times here but they often got ignored. So how I trim these badboys?

• Character Development: Considering how much he changes over the course of the Erebonia arc and Reverie, he is up there as one of the characters with this trope in full effect. In Cold Steel I, he is introduced as Jusis' older brother and someone that is kind and behaves himself as a noble should, with elegance and knowledge. In Cold Steel II, this image is still there up until the end, when he reveals himself as an Ironblood who hates his father. In both Cold Steel III and Cold Steel IV he slowly lets his own goals change his noble ways, with him laughing at Juna and Crossbell's situation, helping Osborne with the Twilight, not giving much thought at Millium, his fellow Ironblood, dying, and backstabbing Arianrhod after she was already weak and defeated by Rean and Crow. After he was defeated by Class VII and learning the hard way how he lost because he always thought he would be better without the help of anyone, he lets himself be arrested so Lechter and Claire can be free and clean the post-war mess in the empire. By the start of Reverie, someone came to kill him while he was in jail, making him flee for his life and investigate what's happening. In this game, we learn that Rufus has been going through an identity issue caused by his abusive father and his empty role in the noble families, which made him try to surpass Osborne, the man he considered his real father, as a way to know why he was born and what's his purpose in life. In this small journey, he made new friends in the form of Lapis, Swin, and Nadia, and together with them he learned to be himself and not seek to surpass his "father" as a way to feel his identity validated. The result is someone that is willing to atone for his past crimes and being much more kind than he was in the previous games, as he travels around the continent together with Lapis, Swin and Nadia. His character in Cold Steel I and Reverie can be seen as two completely different people. Wall of Text

Under Foil

• By Cold Steel IV, Rean ends up being a foil to Rufus where they have almost the same circumstances but ended up very differently. Both are the adopted older brothers to their younger siblings, both are Awakeners, both are raised by a noble family, both use swords as their weapons, and both have a relationship with Osborne. The differences however are that while Rean ends up loving his adopted parents despite being of commoner birth, Rufus thinks of his relationship with Duke Albarea as a sham despite being of noble birth from his mother's side; while Rean took the trials to become a Divine Knight with his friends inadvertently, Rufus took the trial by himself and intentionally seek out the Divine Knight by his lonesome; Rean is a practitioner of the eastern style of swordsmanship while Rufus practices the western court fencing; Elise is very loyal to Rean and falls in love with him, while Jusis ends up seeing Rufus as a Broken Pedestal; finally Rean is the biological son of Osborne but at the same time is very estranged with his father while Rufus seeks approval from Osborne to be his son while knowing that in the end, Osborne still loves his real son. Wall of text

From Live-Action Films, there is a paragraph that seems a bit too rambly

Captain Picard. While his crew was playing Idiot Ball Hot Potato, his plan to prevent a genocidal maniac from blowing up a star... was to beam down to the villain's base alone and try to talk him out of it. He didn't even go down with a weapon. To be fair, he didn't know that Soren was packing a force field. When that fails, Picard changes strategies by sitting on a rock and waiting until he conveniently spots a hole in the force field. After he gets sucked into the Nexus, he learns from Guinan's ghost that he can leave the Nexus and go anywhere, anytime. Given this supreme tactical advantage, he plans to go right back to the planet's surface where Soren was kicking his ass and was moments away from winning, rather than, say, back on the Enterprise before Soren blew up the first star and he could get his hands on a phaser to make a public arrest. Even better, he asks Guinan, who has no fighting skills at all, to come back and help him (since she's only a ghost, she instead refers him to Kirk, who is actually alive and kicks more ass in the film than Picard does). And this ignores the fact that Picard can go back and save his relatives from dying in a fire. He could literally save his brother's life and family AND take out Soren, but he does neither. Hell, bring Kirk alone. He's strong and smart and could HELP! It is implied that he could only go back into the past once; meaning, if he saved his brother and nephew, he would be stranded on Earth hundreds of light-years from the Enterprise, which had (maybe) another Picard in command, resulting in a lot of wasted time trying to contact them, get to them, explain what exactly was going on and how he (or they) got there, that he was the 'same' Picard, etcetera. In essence, Picard performed a Heroic Sacrifice of his own by NOT doing that—he gave up the chance to help his family to save an entire planet full of strangers. Admittedly, they didn't mention this at all, despite how much of a great character moment it would have been, and true to Picard's nature. See Voodoo Shark for why your saving throw leads to a worse plot hole. OK, so Picard can only go back once? And going back on Earth would lead to the possibility that the proper information won't get where it needs to go? Go back two weeks before on the Enterprise, inform the Picard who is already there of a series of improbable events that he knows will happen, tell him that he should send a priority 1 message to whoever is listening to go check the wiring in his brother's house, buy him a smoke alarm, and be watching him on XYZ date. Then both Picards can go leisurely take care of Soren and have a week to spare. So long as the information gets to Picard in the past, it doesn't really matter how far back he goes. He can pull a Marty McFly, and give Picard a letter to be opened on the date of "Encounter at Farpoint": so long as the information makes it back to the past, it doesn't matter when in the past it gets to (at least in Star Trek physics).

We're going to need a Mini Mushroom for this text wall in Decon-Recon Switch.

• The Super Mario Bros. Movie shows this for Mario's most defining trait: he never backs down on his choices or goals. He has a mostly optimistic and cheerful personality, but the fact that he doesn't know when to quit causes issues because he's stubborn and doesn't hesitate when taking risks, unlike his brother Luigi, who is more cautious, resulting in risky choices that cause negative consequences for him: he and Luigi leave their job under Foreman Spike because they are fed up with his nasty attitude and start their plumbing company, only to have a disastrous first day, and this results in most of their family being critical of this decision, especially Papa Mario, who is unhappy with this choice and accuses Mario of dragging Luigi in his messes. This is also shown again in a negative light that same night when Brooklyn gets flooded due to a broken valve in the sewers, and Mario leads Luigi here to fix said valve so that they can prove themselves to the world and repair their reputation, but as they do so, they are sucked in a strange pipe and are forcibly separated, with Luigi having the bad luck of ending up in Bowser's kingdom. As a result, Luigi gets captured, gets subjected to torture by Bowser for information about his brother, gets imprisoned and nearly dies in a lava pool, only surviving because Mario manages to save him just in time with his Tanooki Suit. Starting by the point he trains under Peach, Mario's tenacious nature and his perseverance are shown positively, as he impresses Peach because of this despite the fact that he spent an entire day in the training stage and never completed it, even failing his final and best attempt at the last obstacle because he was distracted. As his adventure goes on, he faces all his challenges, including his match with Donkey Kong, ending up in several misadventures and constantly getting himself hurt but still never admitting defeat until he and Luigi defeat Bowser together, becoming heroes in the process, and this also allows him to get his father's approval.

Does this entry on The DCU need to be this long?

• The Flash has Barry Allen, the second Flash. Barry pulled a Heroic Sacrifice in Crisis on Infinite Earths (a crossover from the 1980s) and this led to his sidekick, Wally West, taking up the mantle of the Flash. Fast forward to the late 2000s, and people who grew up with Barry are Running the Asylum, including Geoff Johns, who has actually said that Barry is his favorite character. So, Barry returns and succeeds Wally in being the protagonist of the Flash ongoing. Then Flashpoint happens, and Wally is rebooted out of existence, along with his wife and children, and Barry is established as being the only Flash.

• Even in Justice League: Doom, an animated adaption of a JLA storyline wherein the Flash was Wally, the Flash is Barry. The plot would be no different if the Flash was classic Wally (in contrast to switching Kyle out for Hal, which at least made sense with the villainous counterpart they used).
• Between 2011 and 2016, the other Flashes were completely different characters with only a few similarities with their pre-New 52 counterparts, while Barry's character remains mostly intact. That alone speaks volumes about the favoritism to Barry.
• To show how deep this attitude goes, Michael Cray is a story about the eponymous Cray hunting down the evil Wild Storm versions of the Justice League. In an universe where even Wonder Woman is a murderous cultist, Barry Allen (a full-fledged Serial Killer in this continuity) is depicted as a mentally ill Tragic Villain who gets an Alas, Poor Villain death scene, leaving Cray rattled and questioning his place in the world.
• Unfortunately, this favoritism towards Barry Allen also bled into other Flash-related Media during the 2010s. Whenever the Flash appeared, it was always Barry, whereas the other members of the Flash Family either did not exist or were little more than extras at best. This was especially prevalent in movies & tv shows. The CW Flash was entirely focused on Barry Allen, with the accomplishments and storylines of Wally West adapted for Barry; the DCEU Flash was also only Barry Allen without any of his supporting cast; and the same applies to the DC Universe Animated Original Movies.
  • One particular example that serves as a microcosm to this excessive favoritism has to be with how the DC Animated adaptation of Teen Titans: The Judas Contract handled the character of Kid Flash. In the Original Titans, Wally West's Kid Flash was a key member of the team, And it appeared that the DC Animated movies were finally going to have Wally make his first appearance. However, this turned out to not be the case, as the producers stated that the Kid Flash in the animated movie was in fact a young Barry Allen. ^note  The problem with this is that it makes no sense on several levels. 1) Barry Allen was never Kid Flash at any point in his career in the comics or in any other adaptation, so it comes rather out of nowhere; 2) Prior DC Animated movies established that Barry's Flash never knew Batman even existed until Justice League: War... yet he was friends with and on the same team as Robin during his younger days; and 3) it just serves as another example of DC making unnecesarry continuity errors for the sake of erasing Wally West from existence. Fans unsurprisingly were not happy.
• The backlash for this has gotten so bad that even the creators themselves have reacted. Geoff Johns, who as said considers Barry his favorite, became The Atoner for how this favoritism affected Wally (a character he was also a big fan of and never intended for him to be shafted as he was) and pushed to have him restored, which would ultimately happen in DC Rebirth, while Josh Williamson ended up dedicating much of his Flash run to calling Barry out on how much of a self-concerned jackass he comes off as thanks to the favouritism.

I think it counts but couldn't this be trimmed a bit.

Thomas & Friends has humongous walls of text in the leading paragraphs, such as:

"The show debuted on British TV screens in 1984, a co-production between TV producer Britt Allcroft and Clearwater Productions, which (staffed by numerous veterans of Gerry Anderson's stop-motion series) specialized in live-action modelwork and stop motion and which was later absorbed by Allcroft. In the US, the stories were originally encapsulated into the live-action PBS show Shining Time Station beginning in 1989; later series were aired as a Three Shorts format program with short interstitials or songs in between each story. The first four series largely followed the books (save for a number of exceptions in seasons 3 and 4), partially on Awdry's insistence; following his death in 1997, the show, beginning in its fifth series, shifted to entirely-original material and thus increasingly deviated from the source material. In 2000, Thomas and the Magic Railroad, a theatrical feature film directed and produced by Allcroft, was released to capitalize on the show's popularity; the film's convoluted narrative and overt emphasis on the live-action setting and cast of Shining Time Station (relegating Thomas himself to a relatively minor role with only twelve minutes of screentime), however, bewildered international audiences and rendered the film a critical and financial disappointment, forcing Allcroft, in turn, to step down as her company's CEO and thus assume a gradually-diminishing role in the TV show. As of the sixth series in 2002, the show thus began to evolve into a more moralistic ensemble series, utilizing a conventional writing staff that tonally gravitated the series further away from its source material. That same year, Hit Entertainment absorbed Allcroft's former company and effectively revamped the show into a Lighter and Softer and more simplistic format (featuring the involvement of neither Allcroft nor veteran director David Mitton) for its eighth series in 2004, a move substantially reducing the age of its target audience. Following many seasons of progressively-decreasing writing quality and a shift from modelwork to CGI visuals as of series 13 in 2009, Hit was in turn absorbed by toy giant Mattel, which replaced the majority of the show's creative staff and installed Andrew Brenner as head writer. Under Brenner's supervision, the show experienced an arguable creative resurgence during series 17-21, gaining more cohesive and detailed narratives and dialogue and reintroducing numerous fan-favourite characters absent during the Hit era. This was not to last, however, as declining toy sales led Mattel to threaten cancellation, yielding the Denser and Wackier retool Big World, Big Adventures! (which divided the show between episodes set on Sodor and episodes featuring Thomas travelling to various countries across the globe in a ploy to expand the show's international popularity) during the show's final years. This ultimately doomed the show both creatively and financially, leading to its final cancellation in 2021 after 24 series and multiple films and specials."

The show is a Long Runner, but does there need to be THIS much text? Side note, I think Thomas needs its own cleanup thread, since there are numerous problems with the show's pages (ie: bashing specific seasons and episodes).

I'd break up the Hit era, PBS era and Brenner era info into different folders while getting rid of everything else, since it seems like it's covered in lesser strokes/brief mentions on the other subpages.

on this page

Trimmed down the Banned in China entry for The King and I:

• Banned in China: No matter how the filmmakers rework the story, it always ends up getting banned in Thailand, where there are very strict laws about lese-majeste (basically, insulting the monarch). It wasn't so long ago that the Thai King was revered as a god, and he still has a very special status. Even an affectionate parody of any member of the Thai Royal Family can land you in jail. Anna Leonowens' story and all its adaptations portray King Mongkut as an intelligent but unsophisticated barbarian who is trying to become civilized. The fundamental problem that modern directors seem to miss is that however respectfully the King is portrayed, the basic story still requires that Thailand be a backwards country in dire need of being civilized by Westerners — Mongkut had already put the country on the fast track to modernization long before Anna got there — and ultimately that their King is wrong, which is not only disrespectful but illegal.

Edited by Clare on Oct 5th 2023 at 12:04:55 PM

Found these at YMMV.Slow Damage

• Base-Breaking Character: With the exception of Rei, where it's more of the aspects of his route than anything about him per se that become a point of contention among the players, Towa's three other love interests are more divisive, especially in the English-speaking fandom.
  • Overall, Taku has a lot fans who like him for being complex, interestingly flawed and a neat subversion of what most fans would expect from the mature-aged love interest in a Nitro+CHiRAL game. But at the same time, there's also a good number of fans who are turned off by him either due to his very flaws, or due to the simple opinion that he's a bit too old for Towa (as not all are fond of the Age-Gap Romance trope nor are they comfortable with the fact that Taku has known Towa since he was a child), or perhaps even both. And all that isn't even without mentioning the questionable actions that he takes or is willing to take to protect Towa from either outside threats or his own past. One may not mind it much, believing that while it's a surprising revelation, it also makes sense given his personality and it emphasizes how he makes mistakes driven by sympathetic motives, which then adds to his depth as a character. But one may also see it as reason to decry him as utterly selfish and inconsiderate and Beyond Redemption, being just as bad as the villains or even worse than them.
  • The fandom is split nearly 50-50 on Madarame, and it all ties to the violent nature of his route. That, and the fact that it's partly his actions that eventually drive Towa into distancing himself from Taku and Rei before eventually cutting ties with them entirely. Both reasons are why many of his detractors aren't that fond of him (at best) or utterly loathe him (at worst). Even then, there are also others who love him because, his looks and manly appeal aside, he's obviously written to serve the narrative role of the brutal and problematic love interest who expresses his love through violence and as such, encourages the worst in Towa — all of which ties in well with both his own characterization and the underlying source of Towa's masochism. Then there's a third party that stands in between: they appreciate both Madarame's character and his dysfunctional and unorthodox relationship dynamic with Towa, but can also understand why he has his fair share of haters and aren't necessarily going to defend Madarame when questioned of their opinion of him.
  • No one is arguing that Fujieda's route is extremely well-written as it fully explores Towa's backstory and Hidden Depths, and ties almost every possible plot thread together in a satisfying and meaningful way. Fujieda himself, however, isn't regarded as favorably by a sizable fraction of the fanbase. The main reason has something to do with the scene where he rapes Towa in a fit of misplaced rage and grief and makes it clear he won't apologize for that anytime soon ^note  Fujieda rationalizes that it's because there's no excuses for what he had done, but the remark also ends up giving the impression that he doesn't feel any remorse either, which doesn't sit well with some of the players. His detractors have also pointed out other reasons, such as his tendency to be awfully insensitive towards Towa with regards to their investigation of the latter's past for a good two-thirds of the route (e.g. when he presses both Towa and Taku about the former's true name, then immediately interrogates Towa as soon as he wakes up after passing out from having a panic attack). Likewise, they also feel that Fujieda doesn't have as much chemistry with Towa due to the complete lack of a shared personal history unlike with the other three love interests, with them finding the pair's Commonality Connection of having a terrible history of Parental Abuse to be somewhat middling as a basis for their burgeoning romance. On the other hand, Fujieda's fans like the way that both he and Towa slowly move from not being able to stand each other to warming up towards each other after realizing that they have similar upbringings and share a common loss, and that both Fujieda's personality faults and his more thoughtless actions are vital to the themes of the route and are also meant to prove that he is no more flawed and susceptible to making horrible mistakes than Towa's other love interests are. And then, there's another smaller but definitely existent camp that — besides also having almost nothing but praise for the plot of the route — holds this opinion: while they don't hate Fujieda or his romance, nor do they think that some of his actions (even if they're morally questionable) are the epitome of the Moral Event Horizon, they just find him too bland to get invested in him as a character.

Found this on Carmilla:

• Our Vampires Are Different: Le Fanu's vampire facts: Can walk around in daylight, but are "languid" and quickly exhausted physically (not mentally), and appear to be much more powerful during the night. They are able to shapeshift, pass through closed doors, and move too quickly for the human eye to follow. They possibly can even turn invisible or dematerialize. The grip of their hands is unnaturally strong and can cause human limbs to grow stiff. Moonlight, especially, enhances their powers. They have to return to their grave at least for some hours every day and are unable to relocate their own gravesite on their own account, making their activities somewhat territorially restricted. Other than some special long, thin, pointy teeth that are hard to notice, they appear indistinguishable from living human beings, and have a faint pulse and respiration even in their dormant state. They suck blood only from sleeping victims. They may kill a victim in a single night, but usually return to the same person for a few days up to (rarely) several weeks. If not hindered, they always continue their visits until the victim dies, causing the victim to become a vampire themselves. Vampires are not peculiarly pale — on the contrary Carmilla is admired for her beautiful, brilliant, rosy complexion ... especially when she has fed on blood the previous night.

Does anyone else think this entry from Trivia.Mighty Morphin Power Rangers The Movie is too long?

• Troubled Production: It's a wonder the film came together at all, as it was shot at breakneck pace in Sydney, Australia, with a script that was rewritten constantly on-set, weeks worth of shooting eventually being scrapped, and production of the main TV series having to move itself to Australia just to give the filmmakers more time to complete principal photography. Interestingly, this had little to do with the FOX executives (noted FOX "troubleshooter" Jon Landau, then an up-and-coming executive, supported the filmmakers' plans to move filming to Sydney and try for a mix of CGI and live-action footage, far beyond what was normally seen at the time), and everything to do with the scattershot approach of the filmmakers and crew. Some of these problems were detailed in a document by art department electrician Paul Matthews:
  • Pre-production took place at a breakneck pace — the film was fast-tracked due to the massive popularity of the series at the time, but production got underway without a director or much thought put into the plot. (A "special shoot" trailer was created that showed nothing but images of the Rangers standing in formation, and promising the film would come out the following summer). Director Steve Wong (Guyver: Dark Hero) was initially hired and planned to shoot the film in Canada, but he was replaced soon after by director Bryan Spicer, who (not having seen the actual series) essentially did a quick "fast-forwarding" run of the series, cobbling a script together in the process.
  • The rise of Sydney's film and television industry can be traced to the fact that the location was picked after it became clear that no studio in either the U.S. or Canada was willing (or even capable) of producing and filming the project at such short notice. (That, and the main cast only had a three-month window to shoot between seasons, i.e. October - December 1994). It was Landau that broke the stalemate, setting up the necessary clearances to get filming locations set up in Sydney and hire a crew of more than 80 staffers within four weeks. The production also had to deal with negative publicity in the form of Australian ministers squabbling over the use of a potential filming location.
  • When the Ranger suits were developed, the helmets were designed without visors or mouth pieces, intending on the heroes showing fear or worry. In practice, however, it became clear that the lack of visors looked ridiculous (it clashed with the idea that the team was meant to be a fearless force to be reckoned with), but the footage that was coming in from early dailies made it clear that despite the cast's best efforts, the fight scenes didn't look nearly convincing enough. The helmets were changed to the "classic" designs, leading to footage being thrown out, and stunt actors were hired to portray the helmeted rangers.
  • Production was fraught with numerous technical problems, befitting the rushed nature of filming. Matthews was hired after production was stuck with consoles in the Command Center that had to be completely rewired.
  • Originally, Ivan Ooze was meant to mutate a bunch of rats for the Rangers to fight. However, the rat costumes proved to be too low budget even for the actual series, leading to the creation of the Ooze Men. The suits were fortunately spared and used in "The Return of the Green Ranger" three-parter.
  • Gabrielle Fitzpatrick, the original and final choice for Dulcea, was replaced partway through by Mariska Hargitay after she had to leave for emergency surgery. Hargitay filmed several weeks of scenes, but (depending on which source is believed) Hargitay left for a Christmas break to see her family and never returned (necessitating a quick recast) or the production felt that she wasn't the right fit for the role and replaced her. Regardless, several weeks of shooting with Hargitay were scrapped after Fitzpatrick recovered enough to take on the role again.
  • By mid-November 1994, it became clear that reshoots were inevitable, as a large chunk of footage (more than 70%, by Matthews' estimates) were thrown out. Delays in production forced the cast to remain in Australia for filming, forcing Saban to make the aforementioned "The Return of the Green Ranger" episode. This meant that six planned episodes, one of which would've feature the return of Scorpina, had to be jettisoned. On the film side, a planned "Phaedos Jungle" set was scrapped entirely, the script was partially rewritten and a much more manageable shooting schedule was developed.
  • The filming for the final scene at Darling Harbour (where the team is thanked) turned into a disaster zone, allegedly after an unidentified party (either some of the producers or an enterprising businessman) invited members of the public to attend the final night of shooting, not helped by local radio stations signal-boosting the invitation. More than 8,000 attendees turned up to Darling Harbour, turning filming into a zoo and leading to production difficulties (the planned fireworks sign thanking the Power Rangers didn't properly show up on the camera, leading to it being fixed by CGI after the fact, while the crew that did show up had to deal with a sea of people trying to meet the actors).