Jul 8, 2013 12:40 AM
JATH 03: Proactive Villains, Reactionary Heroes
Japanese Authors Take Heed- Entry 03: Proactive Villains, Reactionary Heroes
This entry builds on some of the concepts discussed in entry 02.
As always, this series is not built from the perspective or arrogance of anyone assuming to tell an 'expert/professional' how to do their job (though societies need to demand expertise when inappropriate is another discussion), rather, this comes from the perspective of an explicit non-expert, trying to say 'if I can figure this out, maybe your magic trick could use a bit of polish...'
Anyway, moving forward...
Your anime has a hero in it. He's likely a guy- at least a bit unsure of himself (or with enough bluster to cover that insecurity), and far from the master of his power- but before we get there (and stay there forever), we must start somewhere else...
The story begins as always, with our protagonist doing his everyday 'whatever'- normally in one of 3 forms:
* enjoying/lamenting his dull, everyday life- often as a some sort of social outcast
* dreaming out loud about some 'unattainable' dream he longs to accomplish, or
* otherwise minding his own goddamn business while coincidentally holding some secret, fate, power, connection, (or whatever) that he is completely unaware of...
Often all three.
Anyway...
Our MC (main character) has some sudden event happen to change all that, which somehow inextricably embroils him in something bigger than he expected, and (willfully or otherwise) he becomes important/key in 'some really big thing', usually in one of 3 forms:
* become tied to a powerful individual- usually through some strong affinity- often some premise to force 'romantic potential' (or even better pretend to allow it to grow). This is often a need to maintain the mundane lives of the whole community/country/world (no pressure- but often death/destruction is involved), but sometimes the counterweight swings to the other radical end where he's just trying to maintain his own mundane life (similar in function, but clearly not scope (usually no death/destruction involved, though at least one tsundere character should challenge that notion)
* become tied to a powerful group- usually through some strong affinity- often 'seeking justice', 'doing good' (or some similar). (again- the death avoidance- world vs personal)
* become tied to some powerful society which influences in the world- often beseiged good or (more often) some secret underground/shadow society that is normally thought of as evil, but is in fact apathetic or misunderstood (very common with Japanese reboots of horror elements- oh, and sometimes death has happened/no longer a real risk, but the character will still act in a life-affirming manner with the same motives/morals/principles, etc.- otherwise same as the other two)
anyway, one or more of these puts our MC quickly into the frying pan, then eventually into the fire. Action, drama and/or hijinks ensue.
So far I think this formula covers 90+% of shounen and seinen anime (I watch very little shoujo, so forgive my ignorance there- I'm making an effort)- in any case, you're probably saying at this point 'so?'- and though it is by itself somewhat sad that storytelling is so easily broken down, that in itself isn't of course my point.
The point is all these dynamics provide for a potentially large development of interaction, development and conflict. At the same time, there are usually two sides protagonist (good guys) and antagonists (bad guys). The main theme of most stories written is that the good guys are reacting to the bad guys- which is of course not in itself a problem on it's surface-- it has to work that way, right?
It's not like the good guys can NOT react to the bad guys, is it?
It's not like they can react BEFORE the bad guys have done bad, right?
Well, actually these are the problems.
In the first case, the easy one, we have the concept of 'appropriate action' to the antagonists. It's a given that if protagonists don't react to the antagonists, they're not really doing their job- but at the same time (and here's a big point) only 'partially' reacting to bad guys is sometimes worse than not reacting at all!
How many anime have you seen where:
* the bad guy is basically allowed to escape for superfluous reasons?
* the bad guy assists/repents, and is immediately forgiven all past misdeeds
* the bad guy is part of a known 'bad guy organization' which is allowed to exist (for convenient reasons)
* the bad guy is an evil extremist (ie- wants to destroy the world), but is treated with compassion (and escapes to try again)
* the bad guy is an amoral pawn (ie- works for someone who wants to destroy the world), but is treated with compassion (and is let go to possibly try again)?
(actually, Fairy Tail covers all these I think)
These allow:
- Favorite bad guy repeat encounters (Nemesis/Rival)
- 'Cool character' Migration/Good guy 'compassion'
- Political adversity/Good guy 'goodwill'/'tolerance'
- Nemesis repeat/Good guy 'compassion'
- 'Cool character' Migration/Good guy 'compassion/understanding'
What these actions 'think' they're showing, and what they actually accomplish are two different things. So, back to our point. ("It's not like the good guys can NOT react to the bad guys, is it?")- other than being lucky enough to stumble into and fight against the bad guys in their current plan, the reactions to what the bad guys attempted is often completely unrelated to the crime attempted (and often committed). Other than sparring with the bad guys, and possibly even putting them in jail to be busted out later, the decisions the heroes often make are inappropriate, and equivalent to 'no response' in the long run.
In the second case (the more complicated one), we first have the concept of 'pre-emptive action'. This can manifest as proactive actions, an active intelligence network, or even magic.
Again, how many anime have you seen where:
* The heroes have crap security- or one so flawed as to be purposeless.
* The heroes have no intelligence network- or one so flawed as to be purposeless.
* The heroes have no communication network- or one so flawed as to be purposeless.
* The heroes have no effective transportation/outposts- (etc)
* The heroes have inadequate equipment for situations which repeatedly show up (etc)
Again- I think Fairy Tail screws all these pooches.
These allow:
- Ambush/Infiltration plots
- Surprise attacks
- Effective warnings/problem solving/targeted backups
- Rapid response
- Dramatic suspense
As a particularly ridiculous point, it took 130+(?) episodes before someone thought to provide Natsu with fire production (in the form of an otherwise weak, under-aged character). Oh- this is Fairy Tail- the character Natsu gets stronger when he eats fire- any fire. The series doesn't seem to realize how easy it is to make the stuff...
Not many anime have much to speak about in the way of an intelligence network. Some may include an underworld connected character to use one cliche, or some wide eyed escapee that learned too much as another- but most learn about events after they happen.
Now the villains on the other hand- they have very challenging security (numbers + a few highly skilled defenders), learn everything about the heroes and develop counters to them (even if it never works in the long run), have a site wide alarm system, sometimes have site wide teleportation (or at least flying guards), and of course frequent escape teleportation or other plan.
As far as magic goes...
A lot of anime have magic with a strong sense of predestination, predetermination/fate, and prophecy, etc. These will often be very accurate and completely ignored as an ongoing plot determiner. Some do make an effort to keep predictions intentionally hazy to discourage 'abuse'- but that aside, simple use of clairvoyance/scrying is for some reason limited to villains.
Then there's the other part of the coin. When considering the concept of "It's not like they can react BEFORE the bad guys have done bad, right?", one overlooks (especially with return villains) how the chain of events is a series of links- each link connected to the former. In other words, in some cases 'prevention' is entirely a matter of proper capture, incarceration, or (for some anime) death. When a major villain gets away because you chose to save one hostage instead, that 'seems fine'- but if he didn't, then that next village he destroyed because he got away (with lots of victims you don't see) is entirely on the heroes who know exactly what the villain is & what the stakes really are. Not taking it 'seriously' costs others their lives, even if there is a different 'high moral ground' they wish to tread. Now I'm not explicitely suggesting heroes ignore saving hostages to tackle a villain at all costs- well, actually I am, but bear with me- I'm more saying at least debate the dialog, or have characters in conflict (both good), or some other dynamic to 'un-sugar-coat' the logical reality.
Now- all that said, the real discussion is again (from JATH 02) author laziness.
Jump starting an anime based on a thumbnail concept and a group of popular dynamics and actiony events is easy. Filling in the infrastructure for a proper support group (hero guild, super-police force, military faction, etc) is not. Besides the obviously overlooked issues of 'chain of command', paperwork, uniform & equipment, behavior protocols, and diplomatic or other procedures, there are issues with rules of engagement, civilian interaction/hostage protocols, limits on arms use- or at the very least expectations as regards 'representation of the group' you are a part of. Now I'm not going to say all this is necessary- but at least considering and implementing _some_ of it would make a more 'realistic' and believable story, no matter the genre.
On villainy:
I find it actually sad that villainous organizations can by and large be better organized, far more advanced technologically, far more informed, and altogether far more cohesive than their corresponding 'heroic' forces. I'm not debating whether or not this 'can come to be' in any particular fiction, but it is an unintentional reflection of the sad state of 'heroism' in just about every one. The greater tragedy is that in order to defeat these superior enemies, often so much luck or illogic is required that effectively renders the heroes as 'victors by bullshit', demonstrating that except for the writer's desire, the world would have really been 'lost'.
In other words, unintentionally writers repeatedly demonstrate that except by 'cheating', evil is best. Too many heroes are too simple to realize complex plans or have actually useful skills- too many are so pig-headed (read 'strong willed') to realize their actual limitations so as to run into battles they can't reasonably know they can win (and should therefore occasionally lose). Almost all are predictable and controllable with hostages no matter the stakes (a point that supposedly 'evil' villains overlook, or only use marginally well). I could go on, but I think of the many points here we could address (Authors don't understand villainy, authors don't understand expenses/logistics on henchmen/weapons, etc) the one I think is most important is authors need to make less cliched and less omniscient villains. If you want your villains to get intel on someone, fine- but at least have the 'perceptive' teammates notice being shadowed or find out their friends have been asked strange questions/whatever.
Finally, on Heroism
Girls can be lead heroes too- not tethered to a guy, dolled up like a rainbow princess, or some Rambo-like knock-off with a barbie doll figure. Read a history book, pick someone cool- try to not moe up her character.
Stop ignoring character development/growth. Intelligence is underrated, and walking the line between giving your character skills and maintaining challenge is tough, but necessary. If your character really cares about doing his best, he can't stop learning/growing. Well, he can, but that's bullshit.
Good guys do raids/strikes/offensives now and then. It shows they aren't pathetic, ass-sitting, reactionary idiots.
Politics doesn't always go the way the bad guys want- and the people don't always sit idly by when it happens.
I think one of the best examples of many points on this done 'right' (to a degree) is Naruto. There are lots of issues- don't get me wrong, but Naruto makes a lot of effort to really integrate a lot of development and back-story well, along with plot. politics, intelligence, communication network, military ranks protocols, unit composition- etc. It's far from perfect- It's major failing to me is having 'equal' female members, but 'fewer' in number, presence & influence.
Sakura is just sad in comparison to everyone else's growth. Stupid, stupid tsundere.
Anyway, Naruto isn't just a 'setting'- it's a society- almost a 'world'. There is an incredible amount of thought planned into it, though it clearly does some of 'whatever it wants' now & then (especially in filler episodes).
In any case, nothing long running that I know of comes close.
I do have obvious critiques of the villains. Orochimaru became less a cipher as his plans- or rather 'obsession' became revealed- but Kabuto makes no sense, and the Akatsuki were marginally logical in their motivation.
Of the heroes, Susuke is quite unfounded in his actions considering his supposed influences, and Sakura is basically an unapologetic traitor in their midst. There are other issues (which, like these may in the future be revealed/refined)- but those major points aside, most of the construction is pretty solid.
Well- except for the gross oversight of not properly guarding their dead- but that again, is another debate...
Until next time...
This entry builds on some of the concepts discussed in entry 02.
As always, this series is not built from the perspective or arrogance of anyone assuming to tell an 'expert/professional' how to do their job (though societies need to demand expertise when inappropriate is another discussion), rather, this comes from the perspective of an explicit non-expert, trying to say 'if I can figure this out, maybe your magic trick could use a bit of polish...'
Anyway, moving forward...
Your anime has a hero in it. He's likely a guy- at least a bit unsure of himself (or with enough bluster to cover that insecurity), and far from the master of his power- but before we get there (and stay there forever), we must start somewhere else...
The story begins as always, with our protagonist doing his everyday 'whatever'- normally in one of 3 forms:
* enjoying/lamenting his dull, everyday life- often as a some sort of social outcast
* dreaming out loud about some 'unattainable' dream he longs to accomplish, or
* otherwise minding his own goddamn business while coincidentally holding some secret, fate, power, connection, (or whatever) that he is completely unaware of...
Often all three.
Anyway...
Our MC (main character) has some sudden event happen to change all that, which somehow inextricably embroils him in something bigger than he expected, and (willfully or otherwise) he becomes important/key in 'some really big thing', usually in one of 3 forms:
* become tied to a powerful individual- usually through some strong affinity- often some premise to force 'romantic potential' (or even better pretend to allow it to grow). This is often a need to maintain the mundane lives of the whole community/country/world (no pressure- but often death/destruction is involved), but sometimes the counterweight swings to the other radical end where he's just trying to maintain his own mundane life (similar in function, but clearly not scope (usually no death/destruction involved, though at least one tsundere character should challenge that notion)
* become tied to a powerful group- usually through some strong affinity- often 'seeking justice', 'doing good' (or some similar). (again- the death avoidance- world vs personal)
* become tied to some powerful society which influences in the world- often beseiged good or (more often) some secret underground/shadow society that is normally thought of as evil, but is in fact apathetic or misunderstood (very common with Japanese reboots of horror elements- oh, and sometimes death has happened/no longer a real risk, but the character will still act in a life-affirming manner with the same motives/morals/principles, etc.- otherwise same as the other two)
anyway, one or more of these puts our MC quickly into the frying pan, then eventually into the fire. Action, drama and/or hijinks ensue.
So far I think this formula covers 90+% of shounen and seinen anime (I watch very little shoujo, so forgive my ignorance there- I'm making an effort)- in any case, you're probably saying at this point 'so?'- and though it is by itself somewhat sad that storytelling is so easily broken down, that in itself isn't of course my point.
The point is all these dynamics provide for a potentially large development of interaction, development and conflict. At the same time, there are usually two sides protagonist (good guys) and antagonists (bad guys). The main theme of most stories written is that the good guys are reacting to the bad guys- which is of course not in itself a problem on it's surface-- it has to work that way, right?
It's not like the good guys can NOT react to the bad guys, is it?
It's not like they can react BEFORE the bad guys have done bad, right?
Well, actually these are the problems.
In the first case, the easy one, we have the concept of 'appropriate action' to the antagonists. It's a given that if protagonists don't react to the antagonists, they're not really doing their job- but at the same time (and here's a big point) only 'partially' reacting to bad guys is sometimes worse than not reacting at all!
How many anime have you seen where:
* the bad guy is basically allowed to escape for superfluous reasons?
* the bad guy assists/repents, and is immediately forgiven all past misdeeds
* the bad guy is part of a known 'bad guy organization' which is allowed to exist (for convenient reasons)
* the bad guy is an evil extremist (ie- wants to destroy the world), but is treated with compassion (and escapes to try again)
* the bad guy is an amoral pawn (ie- works for someone who wants to destroy the world), but is treated with compassion (and is let go to possibly try again)?
(actually, Fairy Tail covers all these I think)
These allow:
- Favorite bad guy repeat encounters (Nemesis/Rival)
- 'Cool character' Migration/Good guy 'compassion'
- Political adversity/Good guy 'goodwill'/'tolerance'
- Nemesis repeat/Good guy 'compassion'
- 'Cool character' Migration/Good guy 'compassion/understanding'
What these actions 'think' they're showing, and what they actually accomplish are two different things. So, back to our point. ("It's not like the good guys can NOT react to the bad guys, is it?")- other than being lucky enough to stumble into and fight against the bad guys in their current plan, the reactions to what the bad guys attempted is often completely unrelated to the crime attempted (and often committed). Other than sparring with the bad guys, and possibly even putting them in jail to be busted out later, the decisions the heroes often make are inappropriate, and equivalent to 'no response' in the long run.
In the second case (the more complicated one), we first have the concept of 'pre-emptive action'. This can manifest as proactive actions, an active intelligence network, or even magic.
Again, how many anime have you seen where:
* The heroes have crap security- or one so flawed as to be purposeless.
* The heroes have no intelligence network- or one so flawed as to be purposeless.
* The heroes have no communication network- or one so flawed as to be purposeless.
* The heroes have no effective transportation/outposts- (etc)
* The heroes have inadequate equipment for situations which repeatedly show up (etc)
Again- I think Fairy Tail screws all these pooches.
These allow:
- Ambush/Infiltration plots
- Surprise attacks
- Effective warnings/problem solving/targeted backups
- Rapid response
- Dramatic suspense
As a particularly ridiculous point, it took 130+(?) episodes before someone thought to provide Natsu with fire production (in the form of an otherwise weak, under-aged character). Oh- this is Fairy Tail- the character Natsu gets stronger when he eats fire- any fire. The series doesn't seem to realize how easy it is to make the stuff...
Not many anime have much to speak about in the way of an intelligence network. Some may include an underworld connected character to use one cliche, or some wide eyed escapee that learned too much as another- but most learn about events after they happen.
Now the villains on the other hand- they have very challenging security (numbers + a few highly skilled defenders), learn everything about the heroes and develop counters to them (even if it never works in the long run), have a site wide alarm system, sometimes have site wide teleportation (or at least flying guards), and of course frequent escape teleportation or other plan.
As far as magic goes...
A lot of anime have magic with a strong sense of predestination, predetermination/fate, and prophecy, etc. These will often be very accurate and completely ignored as an ongoing plot determiner. Some do make an effort to keep predictions intentionally hazy to discourage 'abuse'- but that aside, simple use of clairvoyance/scrying is for some reason limited to villains.
Then there's the other part of the coin. When considering the concept of "It's not like they can react BEFORE the bad guys have done bad, right?", one overlooks (especially with return villains) how the chain of events is a series of links- each link connected to the former. In other words, in some cases 'prevention' is entirely a matter of proper capture, incarceration, or (for some anime) death. When a major villain gets away because you chose to save one hostage instead, that 'seems fine'- but if he didn't, then that next village he destroyed because he got away (with lots of victims you don't see) is entirely on the heroes who know exactly what the villain is & what the stakes really are. Not taking it 'seriously' costs others their lives, even if there is a different 'high moral ground' they wish to tread. Now I'm not explicitely suggesting heroes ignore saving hostages to tackle a villain at all costs- well, actually I am, but bear with me- I'm more saying at least debate the dialog, or have characters in conflict (both good), or some other dynamic to 'un-sugar-coat' the logical reality.
Now- all that said, the real discussion is again (from JATH 02) author laziness.
Jump starting an anime based on a thumbnail concept and a group of popular dynamics and actiony events is easy. Filling in the infrastructure for a proper support group (hero guild, super-police force, military faction, etc) is not. Besides the obviously overlooked issues of 'chain of command', paperwork, uniform & equipment, behavior protocols, and diplomatic or other procedures, there are issues with rules of engagement, civilian interaction/hostage protocols, limits on arms use- or at the very least expectations as regards 'representation of the group' you are a part of. Now I'm not going to say all this is necessary- but at least considering and implementing _some_ of it would make a more 'realistic' and believable story, no matter the genre.
On villainy:
I find it actually sad that villainous organizations can by and large be better organized, far more advanced technologically, far more informed, and altogether far more cohesive than their corresponding 'heroic' forces. I'm not debating whether or not this 'can come to be' in any particular fiction, but it is an unintentional reflection of the sad state of 'heroism' in just about every one. The greater tragedy is that in order to defeat these superior enemies, often so much luck or illogic is required that effectively renders the heroes as 'victors by bullshit', demonstrating that except for the writer's desire, the world would have really been 'lost'.
In other words, unintentionally writers repeatedly demonstrate that except by 'cheating', evil is best. Too many heroes are too simple to realize complex plans or have actually useful skills- too many are so pig-headed (read 'strong willed') to realize their actual limitations so as to run into battles they can't reasonably know they can win (and should therefore occasionally lose). Almost all are predictable and controllable with hostages no matter the stakes (a point that supposedly 'evil' villains overlook, or only use marginally well). I could go on, but I think of the many points here we could address (Authors don't understand villainy, authors don't understand expenses/logistics on henchmen/weapons, etc) the one I think is most important is authors need to make less cliched and less omniscient villains. If you want your villains to get intel on someone, fine- but at least have the 'perceptive' teammates notice being shadowed or find out their friends have been asked strange questions/whatever.
Finally, on Heroism
Girls can be lead heroes too- not tethered to a guy, dolled up like a rainbow princess, or some Rambo-like knock-off with a barbie doll figure. Read a history book, pick someone cool- try to not moe up her character.
Stop ignoring character development/growth. Intelligence is underrated, and walking the line between giving your character skills and maintaining challenge is tough, but necessary. If your character really cares about doing his best, he can't stop learning/growing. Well, he can, but that's bullshit.
Good guys do raids/strikes/offensives now and then. It shows they aren't pathetic, ass-sitting, reactionary idiots.
Politics doesn't always go the way the bad guys want- and the people don't always sit idly by when it happens.
I think one of the best examples of many points on this done 'right' (to a degree) is Naruto. There are lots of issues- don't get me wrong, but Naruto makes a lot of effort to really integrate a lot of development and back-story well, along with plot. politics, intelligence, communication network, military ranks protocols, unit composition- etc. It's far from perfect- It's major failing to me is having 'equal' female members, but 'fewer' in number, presence & influence.
Sakura is just sad in comparison to everyone else's growth. Stupid, stupid tsundere.
Anyway, Naruto isn't just a 'setting'- it's a society- almost a 'world'. There is an incredible amount of thought planned into it, though it clearly does some of 'whatever it wants' now & then (especially in filler episodes).
In any case, nothing long running that I know of comes close.
I do have obvious critiques of the villains. Orochimaru became less a cipher as his plans- or rather 'obsession' became revealed- but Kabuto makes no sense, and the Akatsuki were marginally logical in their motivation.
Of the heroes, Susuke is quite unfounded in his actions considering his supposed influences, and Sakura is basically an unapologetic traitor in their midst. There are other issues (which, like these may in the future be revealed/refined)- but those major points aside, most of the construction is pretty solid.
Well- except for the gross oversight of not properly guarding their dead- but that again, is another debate...
Until next time...
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| Jul 8, 2013 12:40 AM |
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