Yeah its hard to do well. Seeing as I get bored immediately when they cut back to normalcy. Like, oh, back to the generic school academy setting. After a bombastic space battle intro like that, its hard to get excited again.
Eh, i’d say this one can work if the author shows -juuuust- enough and raises enough question to make one curious how one ended there AND leaves the possibility that not everything is as it seems.
I agree it can draw someone in to find out how they get there and like you said if it raises enough questions.
But most of the time it does the reverse and removes any intrigue since you know who the bad guy is/who dies/who is going to survive to that point.
Maybe some cases can do this well, but I can’t think of any.
I’ve never personally thought “Wow. I already know how this movie is going to turn out and now I just need to watch their whole daily monotony until it gets to that point! Goodie!”
Sometimes it’s just a short scene with, perhaps, some burning buildings and people dying but that does not give any of the plot away besides that there will be hardships for the protagonist.
In this I am the opposite, but I am also the kind of person who reads the end of the book first
Just once I’d like to see a show start out by showing a really sweet heartfelt mundane moment and then cut back to a warzone. Now we know what the main characters are fighting to achieve. There could be some interesting moments that stem from that.
Great minds obviously think alike.
It can depend how it’s done, and what’s shown. Generally, the successful example I can think of show something that’s actually not the climax, even though you might think it is when seeing it for the first time, and leaving enough question marks that you can only draw a partial picture of what you’re shown.
Or show part of the climax, but leave it enough context that the audience makes wrong assumptions about what’s actually happening.
Being forced into the “good guy” role. Some men just wanna watch the world burn. Some just want to be douchebags. I want to be both occasionally.
This will explain everything: (Reverse) Harem Protagonists
Only few shows could produce a good protagonist in this kind of genre.Wait is this even a trope?
As someone who is is British I hate the ‘I’m British (and likely have the refined accent version) so I MUST be the bad guy/girl’ trope.
Also the ‘action movie set in Britain where no one British is actually competent to deal with a crisis on their door and the lone rugged American guy has to save the day’ trope.
And one in all modern comics… ‘…AND NOTHING WILL EVER BE THE SAME AGAIN!’
I’m starting to get sick of Gruff Dad Apocalypse Stories.
- The Road
- The Last of Us
- God of War
- Children of Men
- The Walking Dead
- A Quiet Place (sort of)
Dropped a Bridge On Him! I hate that trope! I hate when person has to be killed for shock value or even if the death is well done, the character is never, ever mentioned again! Like all the value, desires and relationships they ever had didn’t even exist! I wanna rip my face off when something like that occurs…ugh
I hate when redemption is tossed willy nilly around . For pete sake !! Redemption shouldn’t just be used like that . Its like ‘Oh evil dude did bad thing…but…cose reasons…TADAM! REDEMPTION’
what happen to killing evil dude ? Its a mortal Sin nowdays apparently…
How about James Bond?
He’s a good exception. And Sherlock Holmes. And Harry Potter. And Lara Croft. And Robin Hood. And King Arthur. And the Doctor (honorary British). And-
…ok there might be more of them than I thought…
I hate the black or lgbt character dying troupe. Like can we live and be happy for once.