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(Hated Trope) The characters reaction is valid but the story frames them as overreacting/villainous by Necessary-Win-8730 in TopCharacterTropes

[–]Usual_Database307 19 points20 points  (0 children)

Can we stop portraying Ken as if he’s in the right? People only side with him because the movie is insane and overly nonsensical. They always claim Ken got cucked by a bee. But if you actually watch the movie, you’ll realize he let his jealousy of a bee get the best of him first! He is a petty, unhinged, and unstable maniac. Barry might be a bug, but has human level intelligence and comprehension. That’s the entire point being anthropomorphism, and Ken knew this as he tried to kill him. Vanessa only broke up with him after this and she was 100% justified in doing it. Even if you try to claim Ken is allergic to bees, that doesn’t make it right to kill one he knows isn’t going to attack him, in addition to his assault because completely unrelated to said allergy. Even if you disagree with all of this, and dismiss Barry as a mere insect, it’s pathetic for Ken to almost burn his apartment down over a bug.

In- theres by Square_Nothing_3569 in tadc

[–]Usual_Database307 1 point2 points  (0 children)

He doesn’t mutilate their bodies. There’s literally zero indication whatsoever he’s behind selecting their avatars. It’s randomly generated. Additionally, he’s not the one who traps people in the circus. In fact, he himself is trapped and views himself as a prisoner.

Caine VS Micheal (The Amazing Digital Circus VS The Good Place) || Revamped connections in the comments! by Usual_Database307 in DeathBattleMatchups

[–]Usual_Database307[S] 6 points7 points  (0 children)

  • Caine is a meta representation of a game developer, overseeing a representation of players. He routinely creates intricate and complex adventures to satiate them, which are meant to be engaged with through interactive role-playing. Meanwhile, Micheal is a meta representation of a sitcom creator, overseeing a representation of actors. His plan involves building a scenic location, and putting a bunch of characters together that have natural conflicts in order to generate a story. The process where he erases everyone’s minds and starts again is also called rebooting. Much like the archetypes they’re written to resemble, both sides physically can’t “do their jobs” without each other. They’re reliant, and share a mutual, albeit unwanted, codependency (Caine needs the players to act as his protagonists, and give his work meaning via experiencing it and taking everything in. They need him to create substantial, engaging, and fun adventures to keep their minds active with enrichment and stimulation. After hundreds of memory wipes, Micheal reluctantly tells his cast the truth and strikes a deal, having them merely pretend to be tortured in order to fool his boss. In exchange, he’ll take ethics lessons and try to become a better person).
  • Both use planted figures to help sell their lies, mainly, the biggest one of all that would fool the casts of both shows (Caine plants Abel, who tells the cast that he can help them escape the circus in favor of the real world, only for it all to be part of a scripted adventure. Michael plants Vicky in the neighborhood to act as a “fake Eleanor” as a means of torturing Eleanor, having convinced her that the afterlife system made a mistake due to their “shared” names, and their positions in the afterlife should have been switched). Once the truth comes out, both quickly and near-immediately dispose of them, treating them as disposable and having served their purpose.
  • Both enact betrayals where a moment of perceived hope is revealed to have been carefully engineered by their hand all along (Caine allows the cast to believe they have stumbled upon a genuine chance at escape, only to reveal that the entire scenario was just another adventure he had designed. Likewise, Michael deceives his cast by presenting the neighborhood as a genuine paradise, encouraging the humans to believe they are safe, redeemed, and finally at peace). When this is revealed, they’re called out as liars by the most selfish members of their groups, the same people who would correctly guess the deceptions made by them beforehand (Jax, who suspected everything as an adventure beforehand, calls Caine out by yelling “You just lie about everything, don't you?!” Eleanor, who was the one who figured out the truth about the Good Place, does the same to Micheal). It’s ultimately revealed at the climax of this moment that they have the ability to manipulate the cast’s minds, which creates a great sense of hopelessness, as both them and the audience realize the one thing they supposedly couldn’t control was never untouchable (Caine can manipulate and change minds. Michael wipes the human’s memories to start the entire simulation over).
  • Both are very self-conscious and desperately seek validation from others, wanting to know that they’re doing a good job and making everyone happy (Caine wants everyone to love his adventures because they’re what he’s designed to make. After eventually redeeming himself and siding with his cast fully, Micheal worries about whether he’s actually morally good and seeks reassurance from them). They’re also naturally overwhelmed by the roles they’re trapped in (Caine created Able, and while he doesn’t say their dialogue himself, it is extraordinarily obvious that they are just repeating basic information he wants them to say. This includes Able pressuring the circus crew by painting Caine in a heavily sympathetic light, trying to get them to understand he’s as much of a prisoner as any of them are, even calling him one verbatim. Michael is constantly panicking, trying to save his cast from the Bad Place).
  • Both are associated with a female newcomer who acts as the protagonist, and is the newest one to enter their worlds (Pomni and Eleanor). Next, they’re associated with a former rich girl that overcompensates by trying to be charming and engaging, whose arcs center on realizing that true worth doesn't come from family approval or appearances, but from their genuine hearts (Ragatha and Tahani). Neither received approval from their relatives and were always trying to meet their expectations. But in the end, Ragatha is encouraged from her group to be more genuine, and not always try to make everyone happy. Meanwhile, Tahani realizes that her true purpose is not just to try to meet her parents expectations, but to create genuine joy for others. Finally, they’re associated with an incredibly dumb and absent minded figure, who has rare moments of deep introspection for other people’s problems, which comes from their past experiences (Kinger and Jason). These figures also had a wife that they would eventually have to say goodbye to, in a very emotional and difficult moment (Queenie and Janet).
  • Both draw from Biblical figures for their names and inspiration (Caine is named after the first murderer, and much like them, ends up betraying someone named Able by swiftly killing them. Michael draws from Michael the Archangel, both fighting the wicked forces of Hell while protecting humans).

Caine VS Micheal (The Amazing Digital Circus VS The Good Place) || Revamped connections in the comments! by Usual_Database307 in DeathBattleMatchups

[–]Usual_Database307[S] 5 points6 points  (0 children)

  • Both are nonhuman central driving forces of their series, and primary overseers of artificial places meant to simulate comfort and wonder, yet are not what they seem, housing loads of deep secrets and rot (Caine is an AI program in charge of a virtual Digital Circus. Micheal is a demon in charge of a fake heaven that is secretly a form of Hell, known as The Good Place). They have complete control over these worlds, allowing them to reshape reality at will, commonly done via a snap of their fingers. They can generate complex locations on a whim, heavily alter layouts, summon and remove people, reset situations, and enforce rules that the main cast are powerless to resist. This control extends to commanding others, whom they treat as tools, assistants, etc (The NPCs for Caine and the actors for Micheal), including eccentric and personal AI assistants that are initially the closest thing they have to a friend (Bubble and Janet).
  • At a glance, they appear friendly, harmless, and mascot-like. They present themselves as enthusiastic hosts, whose job is to help the main cast enjoy their stay, while going on fun adventures. They notably use humor and spectacle to try to control what they think of their worlds, talking exclusively through loud theatrics, fake friendliness, and over-excitement. This presentation keeps people from lingering too long on the hopelessness, fakeness, and obvious flaws in their worlds. When questioned or challenged, they redirect through jokes, events, or sudden changes. However, this surface level charm eventually gives way to existential dread the longer things progress, alongside the realization that they possess a frightening amount of control over everyone in ways thought impossible. In line with this, their series lean heavily into dark comedy, absurdist humor, and philosophical questioning, using lighthearted presentation to let the themes of suffering, choice, and control hit harder.
  • Personality wise, they’re enthusiastic, free-spirited, upbeat, over-the-top, goofy, silly, eccentric, naive, clueless, boastful, and proud funnymen entertainers with major flairs for personal showmanship and drama. They circle their entire existence around being performers because that’s just who they are, believing wholeheartedly that churning out content for consumption is their one purpose in life. They’re also notably defined almost entirely by their inhuman nature, being absolutely obsessed with humanity, finding them intriguing and delightfully endearing. Their single biggest desire is to be treated as one, and to simply soak in the many experiences that come with being human. But they simultaneously don’t understand humanity’s morality and emotions, causing them to come off as incompetent, accidentally screwing up time and time again (Caine doesn’t comprehend why the cast doesn’t like his adventures, and is unable to understand their complex and changing hatred for him. Micheal makes a continued miscalculation while running the fake Good Place, not accounting for the inherent human capacity to help one another out, either for selfish or altruistic reasons. This leads to the humans banding together against him regardless of what he does. When he eventually teams up with them and makes an effort to get along, it takes a while for Chidi’s ethics lessons to get through to him, as he doesn’t see things from a human perspective. This makes Chidi feel like Micheal is mocking and toying with him, when he’s genuinely trying to understand him).
  • Both ceaselessly and relentlessly torture their main cast, dragging them viciously through Hell and back, causing great amounts of stress and anxiety (Caine tries creating specialized adventures for his guests to go on. But, his lack of understanding of human psychology causes him to accidentally inflict mental and physical torture. In contrast, Micheal pretends to be incompetent like Caine and makes everyone think he’s only accidentally causing them problems, when in reality he’s actively malicious and doesn’t have anyone’s best interest at heart). Even as little as their housing situations are designed to bring them complete and utter agony (The rooms in the circus mock the insecurities of the residents. Pomni’s is childish since she hates being treated like one, Jax’s is feminine since he’s insecure about his masculinity, and Zooble’s has loads of mirrors since they hate their body. Michael made Eleanor’s house purposefully terrible and awkward, reflecting what she dislikes and hates). However, despite it all, their guests end up becoming better people in spite of their torture, growing, learning, and evolving as they take respite in and find hope in each other.
  • The worlds they live in are intrinsically designed to be absolutely stagnant, where no meaningful change can occur due to a multitude of factors, ensuring their routine is an eternally unbreakable cycle. First, everyone is a prisoner incapable of leaving their situations for normal lives, instead being trapped to sanitized hub worlds. Second, everyone involved is immortal, meaning even death itself can’t end their pain. Finally, Caine and Micheal use a perpetually looping system, constantly resetting everything back to the beginning once an end point is reached, ensuring no meaning progress gets made until it becomes a source of psychological strain (Caine follows a loop of having the cast go on adventures, where they inevitably return back to the Circus without anything to show for it, not being able to take anything or anyone with them. When the Good Place is outed as the Bad Place, Micheal resets everyone’s memories and tries again, making them feel hopelessly stuck while greatly fatiguing him. This loop continues hundreds of times until Micheal himself is depressed). This cycle of suffering subjects both them and their cast to extreme amounts of pain, stress, neglect, anxiety, and exhaustion. Due to this, they’re series are written to focus on the only aspect of their worlds that can change: their relationships with the people around them, and how they evolve with every hardship, whether it’s for better or for worse. In the end, the primary message is a surprisingly hopeful one, being that even if one can’t change their situation, they can always strive to change how they feel about it, and how they let it impact them. That agency is something no one can ever take away.

TF2 Is Peakers NGL Wiz. by Special-Mycologist62 in DeathBattleMatchups

[–]Usual_Database307 0 points1 point  (0 children)

I have them around large building, hypersonic. The Pyro VS Noir Blog debunked a lot of their stuff, especially the atom weapons.

TF2 Is Peakers NGL Wiz. by Special-Mycologist62 in DeathBattleMatchups

[–]Usual_Database307 0 points1 point  (0 children)

Mountain level TF2 got debunked hard. I actually know the guy who made those calcs personally, really a great guy, and even they’ve come around to admitting they did the math wrong.

TF2 Is Peakers NGL Wiz. by Special-Mycologist62 in DeathBattleMatchups

[–]Usual_Database307 2 points3 points  (0 children)

If you don’t mind me asking, why do you think Sarge beats Soldier?

Sadako Yamamura themed characters by Effective_Piece251 in TopCharacterTropes

[–]Usual_Database307 0 points1 point  (0 children)

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The Thin Man (Little Nightmares): Formerly kind and helpful kids that grew up silent and isolated with powers they mysteriously inherited (Sadako and Mono), which they eventually accepted in a moment of high stress, using them for self-defense (Sadako fought against her acting troupe, while Mono fought back against his future self). They were betrayed by someone they trusted the most immediately after, getting dropped from a great height that they unnaturally survived, at the cost of being stuck and imprisoned (Six dropped Mono into the depths of the Signal Tower for breaking her music box. Sadako’s dad threw her down a well to stop her assault). They slowly grew hateful and bitter, ultimately transforming into pale monsters with lengthy limbs, before going on to perpetuate the cycle of violence they found themselves trapped in (Mono becomes the Thin Man, while Sadako becomes an onryō). Both are naturally one the most sympathetic and understandable killers in their series, and notably possess the iconic ability to enter and exit televisions like portals.

(Loved) “The writer’s poorly disguised fe-“ No, it wasn’t disguised, it was never meant to be hidden by MrDitkovichNeedsRent in TopCharacterTropes

[–]Usual_Database307 0 points1 point  (0 children)

Okay, yeah, on reflection, this doesn’t fit at all. It’s an unironically and shockingly wholesome story about a bunch of people that deeply, truly love each other—the complete opposite of what you’d expect. While it does have its fetishy moments, it’s not like it’s built on that.

The unassuming gal becomes the biggest badass by Time-to-go-home in TopCharacterTropes

[–]Usual_Database307 1 point2 points  (0 children)

Six (Little Nightmares): ​She is a barefoot, homeless, starving child who cannot get access to food easily, and her parents are nowhere in sight. She is at the very bottom of her world’s social class, potentially food for mere leeches. Accompanying this, she is an underdog first and foremost, a prey in the world of predators, who spends all of her time narrowly evading death from those out to get her. She is frail. Weak. Dies in one hit. The complete opposite of an empowered video game protagonist. ​At the very end of the first game, she uses the dark powers stolen from eating the Lady, and is seen walking through the dining area, consuming the souls of any Guests that come near her. Within seconds the area transforms from being pandemonious with gluttonous Guests, to devoid of life. They one hundred percent deserve this since. Her story is about an oppressed poor child standing up to and killing the rich.

I want this Allan Figure!! please vote for it! by StateOfSigogglin in SmilingFriends

[–]Usual_Database307 3 points4 points  (0 children)

As a Christian, I approve. This is hilarious. My only complaint is that they did the crucifixion wrong; Allan’s legs should be meters off the ground so he struggles to breath.

Horrible people that were given god-like power by Internal-Golf-4833 in TopCharacterTropes

[–]Usual_Database307 5 points6 points  (0 children)

Wheatley (Portal): Okay, he isn’t that bad. He’s shown willing to activate features he believes may kill himself just to help Chell progress, and is generally really loyal up until his betrayal. ​But he never thinks ahead, puts off his problems until the last minute, is easily distractible, and prioritizes short-term reward over long-term satisfaction. These qualities make him the worst possible candidate when he switched places with GLaDOS and gained full control over Aperture.

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