"Are the Robins child soldiers" It depends. If the story is super serious and into exploring complex morality and grounded from reality's standards, then yes. If the story is lighthearted, made for children, fluff, etc., then no. If it's somewhere in the middle, it might depend.
If an author wants to write a story seriously delving into the fucked up-ness of children fighting criminals, they can, and if you don't like it, you can read something else.
If an author wants to write a fun story about villains and heroes featuring Robin in a world where that's not an issue, they can, and if you don't like it, you can read something else.
If an author wants to write a serious story but not apply IRL-logic to Robin, they can, and if you don't like it, you can read something else.
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Idk how the tinking song before Steve goes to the tinking couch in blue's clues goes in english but i got this idea in a dream:
Danny bored out of his mind in the batcabe sudenly starts singin the blues clues song: now is time to sit and tink and thi ink~
*put on a thinking pose and read again this extrangle ridles that found laying arround* mmm.... we have a yellow thing that can scrible... an a man of color mm...
Batfam: what the hell...
Danny: yellow... banana... scribe... A bananapensil! And yellow persons are chineases! So a chinian is gona make a banana spy thing!
Damian: that is ridiculus! How did yo-
Danny: is more sensate that what dick said back then
Dick: HOW THE HELL DID YOU KNOW ABOUT THAT TIME‽
Tim:... now i wana know what did you said.
Batman: why are you in my char
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How would you make mario a villain?
Huh! Tricky one. I mean, there's tons of Newgrounds parodies about how fucked up it is that Mario goes around crushing turts all day, and there's the obvious "silent scary henchman of the image-conscious dictator" angle. Tricky to cast him as the villain rather than the muscle, though...
There's only one thing that notably motivates Mario, and that's Princess Peach. Extreme devotion, there. For him to have agency, she needs to be removed from the picture- and I think that neatly answers the motive thing, too. Peach hasn't been kidnapped, this time- there's something more permanent. But what? "She's been killed and he's out for revenge" is a little 3edgy5me, and also if Mario sets out to get revenge I think he just gets it. His antagonists have rarely put up the kind of fight that would require him to concoct a villainous scheme.
Who's the protagonist, if not Mario? What is Mario doing that requires someone else to go on an adventure opposing him? How do we make this something that Nintendo would actually consider releasing?
...Okay, what's Mario's usual M.O.? How do we make that villainous? He... goes to dangerous places, nimbly circumvents all obstacles in his way, and claims powerful, usually star-shaped magical objects, in order to rescue the princess. This time... he isn't really concerning himself with who the rightful owners of said magical objects are.
It's a Where in the World is Carmen Sandiego situation. There's been a rash of heists committed by a strange masked phantom thief, and the protagonist's job is to find out how the relics were stolen and where the culprit hid them, and get them back before their clients suffer dire consequences as a result of missing-magic-item-itis. You investigate crime scenes, pick up the phantom thief's trail, chase him down, and bop him one but good to recover the relic and save the day.
This is complicated somewhat because this phantom thief is in league with Bowser, who keeps causing trouble in ways that the phantom thief takes advantage of to get past security. The Koopa Troop often assists the phantom thief in his getaways. Why are they working together???
Flash back. Mario standard plot- Bowser has kidnapped the princess. This time, he's done it using some magic item or invention doohickey whose provenance he doesn't quite understand, which has turned Princess Peach to stone. True to form, Mario goes through several another castles and thrashes Bowser and breaks his evil doohickey, and... uh. This fails to rescue the princess. She is still a statue.
Bowser doesn't know why she's still a statue, and both of them panic. How do they fix this?! They need to try something- find some new magic thing that'll bring her back! They've heard of the Sacred Star of Healing in one of the neighboring Kingdoms (which exist in infinite supply in the Mario universe to be adventured through precisely once and then forgotten about forever), and agree to work together to steal it and use it to restore Peach.
It doesn't work. They ditch it somewhere. They follow up on another rumor- the Golden Coin Spirit in the Treasure Kingdom or whatever, and that's a bust too. And after a couple of these, the international community is forced to call in an expert to catch this thief and bring him to justice.
So who's our protagonist? Who in the Mario universe is a famous detective who specializes in guarding star-shaped magical relics from would-be burglars? WHAT IMPROBABLY LARGE-BRAINED PENGUIN COULD POSSIBLY THWART THIS MASTER CRIMINAL?!?
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(idk if anyone wants to keep hearing my opinions on totk book stuff but-)
apparently it says that rauru DID have kids, multiple even, which yeah... is kinda necessary for zelda to even be connected to them so much so that sonia can SENSE a blood connection (which, even with all the excuses with magic, is just a little too far for me to suspend my disbelief bc its over, OVER, ten thousand years worth of generations that seperate her from them that one lil touch of the hand can sense that (feels more like an attempt to make you care about them or .. see them as zeldas "better" parents just bc they exchange a few nice words, i never got the feeling they were 'better' parents and its also kinda disrespectful to her actual parents, like sure rhoam wasnt the best but i wouldnt call rauru better just bc he was polite)- i could see maybe the light power of hylia or sth but since its the coolest dude that ever lived rauru now that had it which still doesnt make sense and makes me unreasonably annoyed and she can sense BOTH of their powers in her? nah)
the fact theres NOTHING about them in the game itself is just so ... no way they planned any of this
i dont think theres anything they can do or say that wont make be believe they either
are making it up alla 'fix it in post' mentality trying to hastily explain stuff the game never bothers to do to try and appease fans or let it appear as if they thought about it at all
something went really REALLY wrong during development, which kinda seems likely given how the game turned out (im sorry i cannot let go, its not just the writing, the game design too and how little was changed in the map while being so damn expensive, i dont know how people dont feel scammed q_q)
given that they (allegedly) spent the last entire year of development on polish (where??? where????? huh??? like it would make it more understandable (EXCEPT for the price) if there was alot of trouble, which was also bc it got delayed and ... turned out like this, but they dont want to say it, especially given their reputation, with that quote i have heard way too many times 'a delayed game blah blah') i just??
are they just gonna go and do it like they did with kashiwa (kass)? "they uuuh where flying around the whole time ony cool sonau tech maschines, you just dont see or hear from them ooooorrr they were uuuuh out of the country at the time" (sending invitations to other continents to join their glorious kingdom ;) )
(bet they are also gonna say they did all the stuff like ... moving the shrines around (lol?) and lifting the islands up into the sky- which is still weird bc ... didnt they also say they were living in the sky before coming to the surface?? so where?? did they park all their islands on the surface and the mystery kids had the keys so they had to repark them back into the sky after they returned off camera?? xD also why are the islands so different as an environment if they where from the surface? like even the STONE up there is different- and if they were first in the sky then on the surface and the nback in the sky .. why is there not a single yellow tree or grass in the past- you cant really argue that it changed bc they were up there so long bc .. nothing else changed, the suddendly and totally always there sonau buildings are largely in prime condition, only some slightly moldy, and what we see of the glorious past looks barely any different from the present, aside from like ... some standard trees shuffled, no castle yet and that glowy uwu filter DESPITE that stupidly long time frame between it)
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au where asta never treats harry like a kid & instead recognizes that he’s a whole adult alien trying to live as a human with a mate from his home planet that he’s realized he’s grieving & hundreds of kids that he’s learning he misses
AND harry never becomes a man-baby who only becomes capable when it’s useful to the plot & instead continues to honor his love for asta & her history by being kind to her
also they solve crimes
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When people say MHA is realistic, I think they’re right to a certain extent.
(As in, they’re right it presents social issues we deal with in real life, but that’s about it).
I feel like if that’s the type of narrative Horikoshi was going for, the tone and direction of the scenes in which heroes and society at large are conforming to the (deeply flawed) status quo should be darker or sadder. He instead frames it as inspirational. Or he urges the audience to follow said status quo despite the negative consequences being shown.
“Oh, but that’s to show how their society is blind.”
This would work if the society was portrayed as delusional by a character that isn’t a villain—since the villains’ well-founded grievances with the complacency and hypocrisy of the hero culture is portrayed as the worst line of thinking imaginable.
Point being, MHA isn’t playing a psychological game with the audience, because it presents its grey issues as black-and-white. There’s no indication the author intended for us to read between the lines. What you see is what you get.
If the intention was to truly consider their society and their protagonists as characters who are too comfortable with conforming and actively maintaining the status quo through either state or private sponsored forces, the tone of the end and throughout the story wouldn’t be highlighting these traits as something uplifting and altruistic.
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For HCY, I’d like to think Queen!Reader starts an educational program of sorts where Charlie learns her ABCs and such with other little Hellborn children, specifically Imps and Hellhounds. The Queen sees the caste system in Hell and of course disapproves, so decides that shifting things into a more balanced, less discriminatory state by having the future leader of Hell in league with so called “lower class” kids is a huge benefit to society in Hell, on top of allowing Charlie to grow up with and make friends with children her own age.
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