Disliked Elements, Mechanics, and Tropes

and if you follow the story, I don’t think she was mean to be your ‘Gentle, Docile’ princess either. Her life was in Shamble, and since she was young…she was mean to come off like that Antsy Teenager but in young Adult phase…

I for one I’m glad they never explained where the ‘Rewind Time’ stuff came from. Because it’s clear they are using them as a ‘Tool’ in their stories. And since their games are more like Final Fantasy (Each game has a new hero and there is no connexion between them), then it works. If they explained, then they have to do it every single time and in each different world. I remind you the game before Life is Strange was ‘Remember Me’ and that was a whole different game even though it was the same maker but a completely different setting.

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When it comes to time travel, I personally don’t mind changing the past not working out, because it really is a flawed idea. Even assuming it works as most people would naively assume, that doesn’t mean history was actually changed. The original history still happened, it’s just that the people it happened to got obliterated and replaced with similar people in a new reality.

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What kills me is when people treat it like, “Oh, if I go back in time and punch out Xerxes, Sparta will win the Battle of Thermopolye!”

Like, no, no they probably still won’t, there were quite a number of reasons why they ultimately lost that battle, Xerxes was only part of it.

To clarify, I don’t mean “changing past is bad and meaningless,” I mean when people naively assume that changing one key element is all it takes, when that one key element was simply the thing that made it into the history books, and the real situation was infinitely more complicated.

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Yeah, but you gotta admit that ‘Punch’ would still make history and don’t get me started how good it would feel… :rofl:

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I do still rather like the scene in the Frank Miller 300 movie where Leonidas rips some of Xerxes’ jewelry off his face and Xerxes is all, “holy shit, bro”.

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After playing ACO, a kick is the best THING EVER!

Keep in mind, that may apply to big events that happen. But what if someone wanna change something small? It would work no?

Say like saving someone you know is going to die?

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Typically, I’ve found, small-scale stuff is left to movies like Groundhog Day, which is chiefly about a dude getting a much-needed vibe check and falling in love. They can get away with that because the small scale stuff doesn’t open up the same “what if” scenario that the major stuff does.

You know, unless that small stuff is, like, “getting Hitler accepted into art school,” THEN things might be a bit different.

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Chloe confides in Max that she was drugged by Nathan Prescott when she had gone back to his dorm room after meeting him in a “shithole bar” that didn’t ask her for ID, and that she awoke to find him crawling towards her with a camera. Chloe tells Max she tried to blackmail him after that, and so they met up in the Blackwell bathroom.

(source)

To be clear, the gun being Nathan’s isn’t the only thing you’re mistaken about. Chloe is a teenager who was assaulted, getting revenge on the person who assaulted her.

I’m just leaving this info here in the hopes that no one tries to convince me that this kid somehow ‘deserves’ to die (or anything else), which is a lot to expect of the internet but I’m being optimistic. :slight_smile:

Anyway, one of my least favorite tropes is ‘bury your gays.’ And in general, if writers give me any character who is passionate and full of life and struggling against impossible odds, then brutally kill them off while trying to frame their death as being somehow ‘better this way’ or ‘don’t worry, they were just ~too special for this world~ but they’re at peace now!!’, I want to break things. I’m perfectly happy to see characters die in tragic, unfair, or violent ways, but there’s a certain type of story that rushes to try and ‘soften’ the blow in a way that is maudlin and condescending. The weird choice between Chloe and the town is one example (here’s an inexplicable tornado to teach you about loss and letting go, or something!), but there are a lot of others.

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The only person in LoU that I’m putting on the “deserves to die” camp is the professor.

EDIT: No, wait, my bad, whoever thought it’d be a great idea for some hotspots to only show up when you shoved your nose into them and aimed milimetrically is in that camp too.

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Ah yes, purposely killing the one vibrant, possibly/probably homosexual character in the lineup as “dramatic inspiration” for the remaining, entirely straight, heroes to springboard off of and claim victory. Even when I was eight, I could smell the bullshit.

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Right up there with “fridging your women”.

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For me, it’s satisfying that the protagonist returns to the “real” world.

Sometimes going to another world is a chance for the protagonist to go through their Hero’s Journey. Usually in isekai & non-isekai stories, the main character is a NEET (or social outcast) and usually have a low self esteem. And in the new world with a fresh start, they gain the confidence to stand up for themselves and to make a difference in other people’s lives.

So when the chance comes for them to return to the old world, it makes sense. Its not like the protagonist is going back to their old ways. Now they’re able to pursue their goals in the “real” world with higher levels of self-confidence and to make something of themselves.

Admittedly, it still hurts when they leave behind their friends. So I can understand why a writer would choose to have the protagonist stay behind in this new fairy world.

But there is a rule that works against killing Hitler: and that is logic. Going back in time is logically possible but CHANGING the facts about the past is impossible because it inevitable leads to a logical contradiction and plenty of paradoxes.

If I build a time machine to kill Hitler and I successfully murder him… then I’ve created a future whereby Hitler didn’t rise to power and I no longer have a reason in the first place to go back in time to kill him. Thus a paradox is created.

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Like I said, time travel is not real. It can work in a way that addresses these things while still working. It’s made up.

I always wanted a story with a sort of compromise. Instead of just picking one world, just establish a means of travel between them. A portal or something.

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Or the whole “not like other girls” trope!!! Especiall when x caracter is framed as “OnE oF tHe GoOd oNeS” because she rejects anything that might be associated to how other girls behave, it stinks of misogyny to me :roll_eyes:

Idk what it’s called, but I’m also SO DONE with the whole “I aM a MoNsTeR bEcAuSe I cAnT gEt PrEgNaNt”. For real, when I see a female villain I’m like, please, I’m begging on my knees, DON’T SAY THAT!!!

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Are you perchance suggesting that a woman’s worth is not equal to the fertility of her womb? How dare. /s

EDIT: Insert my usual loathing to the real-life “how dare you say that about me, I am a MOTHER” deflection here.

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This might sound weird, but I have a bit of a gripe with every story having a perfectly happy ending. And by “perfectly happy,” I mean, “the villain is flawlessly defeated, nobody dies, the heroes walk away completely unscathed, roll credits.”

I mean, there’s nothing wrong with a feel-good hero story every now and again, but more and more, I’d rather the story NOT have everybody make it out in one piece.

For example:

Zyri fanboys over Flashpoint

Flashpoint. In my opinion, it’s probably one of the best police dramas ever made. If you don’t know of it, it’s a show that follows the Canadian ERT, who are, as best as I can tell, SWAT-adjacent.

Anyhow, one episode of Flashpoint has a situation develop where, while trying to disarm and deescalate a situation, one of the team unknowingly steps onto an armed anti-personnel mine.

I’m pretty sure I don’t have to explain the level of bad this is. Certainly, the guy’s team doesn’t need it explained to them, as they throw themselves into trying to figure out how to get their buddy off that mine, preferably un-exploded.

This leads into the entire rest of the episode being the team trying to strategize a way to save their buddy, while the poor guy is left to just stand, for hours, on a military-grade explosive that will kill him the instant he sneezes. And even watching this something like an hour-long long episode, you can feel how long it’s taking and how more and more desperate everybody’s getting, and how less and less likely it is that they’ll pull him out alive.

Then, one of the team gets a bright idea, which basically amounts to that old heist movie stunt where they swap the diamond with a rock to keep the alarm from triggering.

Problem is, by this point, several hours in-canon have gone by. This guy is exhausted. He’s seen the writing on the wall, and “just a few more minutes and we’ll get you out” ain’t happening. He doesn’t have a few more minutes left in him. And besides, this scheme his team have concocted depends on the mine not immediately going off the second he shifts his weight, and continuing to not go off long enough for them to slam a weight roughly as heavy as himself onto said mine too keep the plunger down, and continuing, again, to not go off long enough for him to run out of its blast range to safety. It’s not happening.

So, the guy calmly pulls out his phone, calls up his parents, tells them he loves them and is grateful for all they’ve done for him. Then he pops into comms and tells his team that it’s alright, they did everything they could, it’s not their fault, and when one teammate starts in with the reassurances that they’ll have him out in no time, “Yeah man, you’re right, it’s gonna be okay, we’ll get you out of there, I promise!”, he simply says, “That isn’t what I meant.”

And then he steps off the mine and lets the inevitable take its course.

Cue his team falling dead silent, still as the grave, and then completely falling to shambles as the weight of what just happened hits them all in the chest.

They saved the day, they got the bad guy, but the cost was losing one of their own, and nothing they did was enough to stop it.

That episode more than a little screwed me up when I first saw it. It’s a large part of why I have such high praise for Flashpoint.

And it’s why I can’t help but be annoyed these days by stories where everything works out without a hitch. Come on, damn it, put some stakes on the line!

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Noooo, you’re wrong, it’s proportional to how hot and desirable she is /s

Which is another issue I have with media (that I forgot to mention in my post lmao). And any time I see things like “she was SUPER BEAUTIFUL AND SEXY but SHE DIDN’T KNOW IT” I feel like shaking my fist and screaming into the void. Even worse if she’s barely legal or in her early 20s, and the love interest of a middle-aged Average Joe, I’M ONTO YOU AUTHOR!! :face_with_symbols_over_mouth:

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I actually have the opposite problem. Too many otherwise great stories having terrible, unsatisfying endings where too many likable characters die and the conclusion is bittersweet and unsatisfactory to make a point at the expense of being enjoyable.

Attack on Titan is the most recent example I can think of.

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Oh yeah, I feel that too. Like I said, I like the drama of a tragic death, but like… you sprinkle that on the dish like Saffron, not salt. Too much of it just kills the effect, for me.

And just in case anybody didn’t get that analogy, Saffron is one of the most expensive spices in the world. Using too much will ruin a dish, ruin your wallet, and make more than a few chefs decide that your death is a war crime the Geneva Convention will forgive them for.

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Well, of course she didn’t know it, she hadn’t had her hair done yet. I mean, haven’t you seen the Princess Diaries? That Anne Hathaway, what a hag, amirite?

Could be worse. The author could be George Lucas without Spielberg around to tell him, “George, no.” “Barely legal” would’ve been an immense upgrade. Do not unspoiler without a vomit bag nearby.

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