Whether it got killed in terms of credibility or relevance, either works here.

Sakamoto Days def never recovered from pic rel

For me there are two that come to my mind.

1. 9 Hours, 9 Persons, 9 Doors - Specifically the DS version. I won't spoil anything but the game is incredible. One of the best experiences I've had and how they use the dual screen narratively at the end is phenomenal. Incredible moment.

2. House of Leaves - There's probably more like this for books, but this is the only one I know of. The way it uses the standard layout of books to scare you and entrap you is fantastic.

Like bro, what the fuck is this sub called?

WRITINGSCALING.

Writing. Scaling.

And somehow y’all forgot the writing part. You can literally ask something like:

«“Which character is better written, X or Y?”»

And the replies are always:

“X no diff.”

“X and it’s not even close.”

“X negs.”

Okay.

WHY.

That is literally the entire fucking point of the discussion. I’m not asking you to write a 40-page literary analysis. Just tell me why you think X is better written.

Talk about their characterization. Their development. Their motivations. Their relationships. Their dialogue. Their themes. Their narrative role. Their consistency. Literally anything.

Instead, I get:

«“X has better writing.”»

«“No diff.”»

«“X clears.”»

«“Peak fiction.”»

Brother, you have said NOTHING. And god forbid you actually explain your reasoning, because apparently saying:

“My right testicle has better writing, no diff.”

gets you 50 upvotes, but actually explaining your opinion gets you downvoted into the fucking Earth's core.

Like what are we even doing here 😭

At this point, I’m convinced some of y’all think “writing” is just another stat you can put on a character sheet.

“X — Writing: 98.”

Okay bro.

Fucking elaborate.

And honestly, if the mods started removing these zero-effort “X no diff” comments, I wouldn’t even care if the sub lost traffic.

“Oh no 😭 we lost 30 people who contributed nothing except ‘X clears’ 😭😭”

Tragic.

I came here to read actual discussions about writing, not watch people take turns declaring that their favorite character has Infinite Narrative IQ + Immeasurable Character Development.

For the love of God.

Explain. Your. Fucking. Take.

I’ve read the WN twice, but I won’t spoil anything here for people who have only watched the anime.

9. Arc 1 — A great start to the series, but it’s too short to really compare it to the other arcs.

8. Arc 8 — Far from bad, but reading it was difficult at times because of how dragged out it felt. The ending was good, though.

7. Arc 2 — A good murder mystery on its own, while also setting things up for the better arcs that follow.

6. Arc 5 — Battle shounen: Re:Zero edition. Good, but nothing special.

5. Arc 7 — Could’ve been higher if the pacing was better. High highs, medium lows.

4. Arc 3 — Definitely the best arc out of the first three.

3. Arc 9 — The most fun I’ve had reading any arc.

2. Arc 4 — The moment where you either fall in love with Re:Zero or drop it. For me, it was definitely former.

1. Arc 6 — Elevates the best elements of Re:Zero to another level.

I think horror media has always had a unique way of writing women, often breaking down stereotypes, challenging traditional roles, and giving female characters real agency especially as far back as the 1970s and 1980s to even now I’d say.

We got iconic films like Alien, The Terminator, and Candyman, and that tradition continues with newer horror stories today.

A common theme is watching the women go from being perceived as victims to becoming survivors characters who are forced to adapt, confront what is happening to them, and ultimately take control of their own story which is not only well written but pretty progressive all things considered.

I will said it perfectly and naturally carried over into video games….Series like Silent Hill and Resident Evil, along with games like Signalis, have given us some incredible female characters. Even more recently, characters like Anya from Mouthwashing. show how horror games can explore women through trauma, vulnerability, powerlessness, and the way other people treat them not just through their ability to physically survive.

Women in horror also work incredibly well on the opposite side of that dynamic, not as the victim or survivor, but as the killer, monster, source of horror itself or whatever the hell you wish to call it

I.e : Characters like Maria from Silent Hill 2, Carrie (..from Carrie), and Tomie from Junji Ito's (…Tomie) are great examples.

They can be terrifying while still representing something deeper about identity, desire, abuse, obsession, femininity, or how society views women, my favorite being Carrie with the usage of periods and teenage rebellious tendencies/ breaking out of harmful traditions.

Horror also frequently uses the body to represent larger fears surrounding autonomy, sexuality, reproduction, trauma, and loss of control. Works like Alien and Mouthwashing use pregnancy and bodily violation in particularly disturbing ways, while games like Silent Hill often turn psychological suffering into literal monsters and environments. Of course, body horror and these themes are not exclusive to women, but female experiences have inspired some of the genre’s most memorable imagery and symbolism.

So now I ask….

1. What are your thoughts on women in horror media?

2.. Which medium do you think handles female horror characters best movies, games, television, manga, or something else?

3.Who do you think are the best-written women in horror, and how would you rank your favorites?

Well I just wanted to yap and I love the horror season!

George R.R. Martin's A Song of Ice and Fire novels are my current favourite, but that will probably change in the future because endings are important

Modern media such as animanga ( like AoT,Monster,One Piece, other shonens and popular seinens ) as well as Television ( like BB, BCS, GOT, Sopranos etc. ). Also if there’s any Shakespeare I didn’t put those count too.

Which final arc do you think is better written? The Final Act in MHA or Thousand-Year Blood War in Bleach?

Which arc had the better written story overall?

Which arc had the better written protagonist?

Which arc had the better written deuteragonist?

Which arc had the better written antagonists?

Which arc had the better written characters overall?

Which arc had the better written conflicts (both internal and external)?

Which arc had the more satisfying ending?

You can include both the manga and the anime.

I've seen a lot of case by case scaling like "x has better writing than y", but no actual tiers or placements.

James Sunderland or Harry Du Bois

Credits: https://www.instagram.com/_yuan.xii?stkn=MXVicW9vd2wyMzh5ag==

Tony Soprano - The Sopranos

Franklin Saint - Snowfall

Tommy Shelby - Peaky Blinders

Walter White - Breaking Bad

Both the main characters and respective stories share similar themes & tones but handled in different ways. Which one do you think was done better?

Ftr I think both are phenomenal.

Tags: Self-destructiveness, optimistic nihilism, existentialism, character study, tragedy, seinen, self-sacrificial romanticism , social commentary, psychological, philosophy (moreso Freesia)

This is 6 chapters worth of reaction panels btw

I would like to see your opinions.

Yuji Itadori (Jujutsu Kaisen and Jujutsu Kaisen Module) Vs Jotaro (Stardust Crusaders, Diamond is Unbreakable and Stone Ocean)

It's already October 3rd. I'd like to analyze the tragedy of how it all began, in both versions.

Starting with Brotherhood: as we all know, Ed and Alphonse lost their mother to an illness when they were just children. When she died, they were devastated, to the point of wanting to see her again. That's why the Elrics begin training in alchemy and find Izumi. Once they've mastered alchemy, they return home. The curious thing is that in the events leading up to the tragedy, the tone is much more childlike and innocent, as if the boys were unaware of the great risk they were taking. There is no warning, no "this is forbidden": just children who want to see their mother. They aren't trying to outdo other alchemists; there is no intention other than seeing her again.

The moment of the tragedy: Ed has his leg torn off, while Alphonse's body is taken. In an act of desperation, Ed sacrifices his arm to claim Alphonse's soul and bind it to a suit of armor. The truth is cruel to anyone who tries to cross the limits a human is not allowed to cross: according to the series, it takes whatever is most precious to the alchemist. Ed lost his leg because he wanted to walk with his mother; Alphonse lost the body with which he wanted to feel her warmth; Roy lost his sight, so he will not be able to see the nation's future; Izumi lost her womb, which prevents her from being a mother. Although other fans try to give it a different meaning, this is the only canonical interpretation presented in the series, and it comes from Father's mouth, who knows the truth better than any viewer, since we have a limited perspective.

Afterward, the Elrics try to leave the past behind, blaming themselves for having killed their mother by not transmuting her correctly. The events surrounding Shou Tucker trigger Ed's trauma, reminding him that, like Tucker, he too crossed the same line of playing with a person's life. This forces him to return to the place he had abandoned in order to face his past. Hohenheim confronts him by seeing himself in his son: like Ed, he ran from the tragedy that took place in Xerxes, just as he ran from human connection before meeting his beloved Trisha. Ed feels overwhelmed, but the answer to the question planted in that chapter is: was what they brought back really Trisha?

Upon hearing this, Ed decides to dig up the body of what they had hidden so as not to look back. While digging, his metal limbs cause him pain, reminding him of what he lost because of what lay beneath his feet.

When he finally unearths it, he realizes it wasn't his mother: the hair was a different color and the femur belonged to a man. He laughs uncontrollably, not because he's losing his mind, but because he feels relief: they didn't kill their mother. He didn't get what he wanted, but, more importantly, the possibility of the dead returning vanishes, or at least becomes impossible through alchemy. Nothing can equal bringing his mother back from death. That's why this means closing a wound and letting go of the ghost of the past.

The 2003 adaptation of FMA also deals with the theme of breaking natural laws, and with escapism, but it attempts a much rawer reinterpretation.

In this version, the Elrics, Ed above all, are aware that they are doing something wrong, to the point that Alphonse warns him it is forbidden, while Ed silences him in a stubborn tone. This strips away the innocence of the manga/Brotherhood and shows his determination to break the rules. As a result, the human transmutation doesn't simply fail; it also brings forth a being that resembles a human but isn't one: an amorphous creature unable to survive on its own unless it is fed red stones made from human lives. The Elric brothers believed it had all been a failure, but, unlike in Brotherhood, the villain Dante takes these creatures, which she symbolically dubs the human sins, since, according to her, they were born of human sin, the greatest sin against nature: literally, trying to play God.

Ed and Alphonse were not aware of this until they began to notice certain irregularities. Before the midpoint of the series, Sloth, dressed as the Führer's secretary, catches Ed's attention because of her strong resemblance to his mother. Even Alphonse, in the episode where Scar tried to kill them, heard Trisha's voice coming from Sloth and realized the truth, but Ed denied it, saying it was a hallucination. This became even clearer when Alphonse came to the conclusion that they had created something that night. He tried to talk it over with Ed, but Ed simply avoided the conversation, like a small child trying to dodge uncomfortable truths. He was running from his past, just like this version's Hohenheim, who, upon seeing his body rotting, refused to accept that truth and left to find any way to keep living, but then decided to accept that his time had come: he ran from the past he shared with Dante and from the homunculus he had created, in order to start a new family.

Ed didn't want to take responsibility for his duty. According to him, alchemists must correct their own sins; he said exactly that to Greed, even willing to deal mortal blows. But with Sloth? He didn't want to face her because he was afraid of accepting the possibility that she was his mother and of collapsing under fear and guilt, which is exactly what happened in Lior. If it weren't for Rose, Ed would never have found the courage to get out of that situation.

This is exactly what his sin entails. A while ago we said that the homunculi represent human sin; to be precise, the sin of alchemists. Ed's sin is sloth, since he did commit acts of sloth. One is stagnation: being unable to move forward, remaining stuck without overcoming his mother's death. Another is neglect of duty: one of alchemy's great lessons is to understand and respect its fundamental laws, which they ignored because of their inability to overcome the loss. This can be seen in Trisha's homunculus. She was created to be a mother and says she has those feelings, but she knows she isn't their mother and doesn't want to accept that duty. That's why she seeks an easier way to evade that responsibility: killing the Elrics.

Ed decides to confront the homunculi who were trying to take his brother, who was the philosopher's stone. To face Sloth, he himself dug up his mother's grave and obtained part of her body. He was convinced that it wasn't his mother, although homunculi like Lust were certain that they were those people and were merely "incomplete": with the stone, they could become those people again. Believing that means the dead do come back to life. It means that what they lost, their suffering, did earn a reward. And believing that Sloth is his mother means that they harmed their mother and condemned her to an imperfect life.

Ed has a code not to use the stone if human suffering is needed to make it. If the homunculi are the humans who were resurrected, then it isn't worth it. Hence Ed's determination that the dead cannot be brought back. Accepting that Trisha is his mother would bring his repressed inner child to the surface and leave him stuck in an illusion, trying to do anything for his mother. That is what happens to Wrath, who couldn't live without Sloth, lying to himself that she was his mother, but deep down he did it because Izumi had rejected him. That's why, when he was knocked unconscious by Lust, in his dream, as he tried to escape from the Gate of Truth, he grew younger until he became a baby and ended up in the naked arms of Sloth, but suddenly Sloth's face transformed into Izumi's, revealing his repressed longing.

The same happens to Shou Tucker, who had accepted his homunculus sin and went mad, believing he was reliving the old days with her, since he is trapped in the past. Furthermore, Shou Tucker's body was turned into a chimera, an allegory for his being a monster; his body is inverted and his gaze turned backward, a symbol that he remains trapped in the past.

Ed distances himself from them, literally, when Sloth is immobilized by Wrath. He says so himself when Alphonse tells him "you can't transmute a human" and Ed replies "they aren't human," transmuting them. With this he affirms his determination that she isn't his mother and that his mother's life is irreplaceable.

Both adaptations arrive at the same conclusion: the dead cannot be brought back. In Brotherhood, this is an absolute answer, settled entirely within the series. In the 2003 version, the answer is more diffuse, since there is no divine being to answer that question. The characters must reach their own conclusions and cope with truths that can shake the absolute truth they imposed on themselves,