With a Flair for the Dramatic

I have loved villains in media since I was a very small hellspawn. Whether it was my attraction to Lord Sesshomaru in InuYasha or my undying allegiance to Prince Vegeta in DragonBall Z, villains have always done it for me. Narratively, they usually get the coolest powers, best lines, and most interesting motives even if they make zero sense. Like really, what was Master Naraku’s problem? He didn’t get to sleep with one priestess and that was enough to want to mess with literally everyone else he came in contact with? But why? Doesn’t matter, he was hot and had a cool design.  

But in the spirit of LGBTQIA+ Pride Month, I want to talk about something that others have covered but I wanted to put my own spin on as well. I want to talk about queer coding and villains. In fact, there’s a great Princess and the Scrivener video that I’ll link here that talks about this mostly with Disney villains and I’ll use a lot of similar points but really, there’s only so much queer theory to go around.

Here’s the basics: villains in Western media (I exclude Eastern for now but put a pin in this) are often times coded (portrayed using mostly visual and linguistic shorthand) as queer or effeminate to prove a point, that point being mostly how virile and masculine the protagonist is. Think about Scar in The Lion King or Governor Ratcliffe in Pocahontas. They’re both pretty aggressively queer-coded with all the glitter and flamboyance to highlight how masculine and strong the protagonists are. Ursula looks and sounds like an angry drag queen because she’s based off an angry drag queen and Frollo, despite very clearly lusting after a woman, is given very showy clothes and his attraction to Esmerelda can even be read as somewhat closeted.

And though the video I linked talks about this mostly in the negative…I know I’m just one queer out in the world but I’ve never had an issue with that. I love Disney villains as you can tell by my very enthusiastic Dr. Facilier cosplay. This is one of those places I don’t think queer coding is terrible as if the internet is to gauge, a lot of queer people found themselves in Disney villains.

Now, my realization that I maybe wasn’t quite cis or het may have come from anime but I can also super see the appeal and reason why someone who may be a little different, a little sparkly, a little more fashionable and way more sassy may attach more readily to villains and thus celebrate that.

So that pin I asked you to put in about Eastern media, let’s come back to that because here’s where we tie in East and West. The question is why code a villain or antagonist as queer. Is it just to show off how masc and strong your hero is? Well, yes and no. The root of the reason is the same as the root of many evils: misogyny. It’s easy to take down a villain that is by most writer’s standards a perversion of masculinity which is femininity. Think of Szayel Aporro Granz in Bleach. What is the point of making him such a queen? What does that do for us? Well, when we see him in comparison to the mostly morally strict and pure Uryu, he comes an easy villain to wish ill upon. Except for me, I love him and can’t wait to cosplay him. Many cultures view masculinity as the most strong and most capable, so making your villain queer, feminine or even downright trans in the case of some anime (looking at you again, Bleach) is a great way to create parallel and difference between the force you’re meant to be rooting for. So when Szayel has a sword thrust deep into him, a strange phallic sort of metaphor at the hands of another queer-coded character, you’re meant to be reminded of his perversion, deviance and girly nature and think that those things are bad.

Again, it’s about optics. I love his character and him being aggressively queer-coded doesn’t bother me as much as other characters in the same show do. Even one of my favorite series of all time does this with a villain most ignore and that’s Barry the Chopper in Fullmetal Alchemist, really, what’s the point of making him a crossdresser? Does it add anything? No. But I can tell you that I can still recite his lines in the same lyrical sing-song fashion that Jerry Jewell brought the character in the dub and it scared one of my friends very much to know I can do so.

I’ve spent a lot of words talking about the fact that I don’t think queer coding in villains is that bad but if you follow me over on Twitter then you must know what is to come.

Y’all, I don’t like BBC’s Sherlock. I don’t like Benedict Cumberbatch playing Sherlock, Martin Freeman is fine but the plot, the lack of plot and the aggressive queer coding of most of the characters rubbed me the wrong way to start. Episode one features many jabs at how gay Watson and Sherlock must be for each other and that was a bitter enough pill to swallow but then we meet Jim Moriarty. Oh Moriarty. What even is he? Why is he? What is he doing? Andrew, no. Please. Don’t do this. Not like this. Moriarty isn’t even queer coded because coding is meant to be at least a little subtle. He’s just the most. There’s an amazing Hbomberguy video that makes all of these points much better than I ever could but here is my problem with Moriarty’s queer coding while I’m willing to give it a soft pass in other places. What is gained by Moriarty being queer coded? Why do we need to know that he’s apparently slept with one of his bodyguards? Why does it matter that he’s dressed up in the crown jewels? Why do we care that he apparently has the biggest of possible hard-ons for Sherlock? Why? What does this add to the story? You can just have him be a villain. It feels like it’s pandering and that’s why Moriarty doesn’t get a pass from me. Nearly every other queer coded villain has a reason for it. Even if the reason is a crappy one like internalized misogyny but really if you made Moriarty less queer coded, does anything change? Does this make him interesting? Steve Moffat, do you think this is helping? I tend not to throw around the word queerbaiting a lot because I think it’s overused by fans who are just unhappy their ship didn’t sail but in this case queerbaiting Moriarty and coding so aggressively as a flashy queer man doesn’t do a damn thing for the narrative. It’s good for slash fic and even then to what end? Does Sherlock show any interest in Moriarty? No. He shows no interest in anyone, that’s the damn problem. What’s the point? Why are we doing anything? Is bear still driving?

Queer coded villains are frustrating. So much of it is rooted in old and toxic aspects of culture that prize traditional masculinity over flamboyance, style, fashion, good puns and excellent villain songs. And there are other examples where this fails. Think about all the fuss with LeFou being the first out gay for Disney in Beauty and the Beast(2017). What does making Gaston’s literal idiot sidekick gay do for the plot? A whole lotta nothing.  

I can see why some in the LGBTQIA+ family are more up in arms about queer coding and villains because at the end of the day, a lot of these characters die or face some horrible evil and that just isn’t fun. It isn’t fun watching a character you relate to face a horrible death and it does continue to perpetuate a lot of things about being queer that many do not like. Not all of us are sassy, mean, flashy and out to steal your girl/boy.

But for those of us who are all of those things and oh so much more…well, let’s just say that I do love my queer coded villains… most of the time.

The Problem With Charm

“Charm was a scheme for making strangers like and trust a person immediately, no matter what the charmer had in mind.” ― Kurt Vonnegut, Breakfast of Champions.png

We’ve dedicated a lot of words to discussing how framing, writing and other magic tricks can manipulate readers into liking characters they shouldn’t. And we’ve done so because I am clearly a villain and it’s important to understand my people. In all of these discussions, we’ve almost ignored one key aspect that can truly sell you on a bad guy: charm.

It’s what makes Negan from The Walking Dead  so damn good. He’s a sly bastard. You may have dated a guy (or several) like him. He’s positively exuding in a certain sort of energy that almost makes it okay that he’s for sure a murderer.  

And while I could have an entire blog just dedicated to charming villains (perhaps an anime tie-in or two, as well) I wanted to use this time to talk about one of my favorite directors: Quentin Tarantino and how he effectively mastered our brains into liking two of the worst possible people and I get to discuss two of my favorite movies of all time: Inglorious Basterds and Django Unchained. Is this self-indulgent? Yes. Will you continue to join me for this ride? I certainly hope so.

We’ll start with what may be my favorite movie right under another Tarantino classic (the answer to number 1 is Kill Bill), Inglorious Basterds. This movie. This powerhouse of a movie centers around a group of Jewish-American soldiers during WWII who heroically (and in a blood-filled fever dream) fight against actual Nazis and aim to take out Hitler. It’s Tarantino at his best, having fun with an all-star cast and plenty of fake blood and glamour shots of feet. But this movie features one of the most charismatic bad guys in film in Hans Landa (expertly played by Christoph Waltz). Now, here’s the problem with Hans Landa: he’s just so fun to watch on screen. Each of his lines is fun and dripping with danger and Waltz chews up every scene he’s in. I’m leaving out a key detail which is that Colonel Hans Landa is a Nazi and this isn’t a euphemism, he’s an actual German soldier and a very proud one at that. He will tell you that he’s only doing his job when he has to perform violence. He will explain the “reasons” he is a racist and he will do so quite well. He will tout the experience of his fellow German soldiers and how proud he is of Germany and the leader he serves. And if you keep listening, you start to like him.  He’s fun when on screen, a damn near delight. He’s well-spoken, seems to know everything (which is scary) and when he’s excited about something; it’s damn near infectious: one of his last scenes where he marvels at his own use of the word “bingo” is a delight even though he is essentially holding our actual protagonists hostage. It’s a scene that I use a lot as a GIF set because it’s fun. Nazis shouldn’t be fun. Really, the entire movie has a tone problem with that but it’s Tarantino so most give him a past. Many of the German soldiers are more fleshed out characters than our actual protagonists and we spend a great deal of time with many German soldiers. We build a rapport with them so even though the movie is great about not rewarding them for being actual Nazis, we spend entirely too much time with them for there not to be a bond formed. It’s sad when Frederick Zoller dies at the end, we’ve spent so much time watching him woo a married woman. It’s sad when Wilhelm dies, he was a new father and a soldier who was doing his best. In this instance, it isn’t framing that wrongs us, it’s just the charisma of a great actor playing a terrible human being.

The best example of this is in our second example taken from a Tarantino movie: Calvin J. Candie. Oh, Mr. Candie. It’s really a shame that Jamie Foxx is so good in this film and he is still completely overshadowed by DiCaprio who really only appears in the last half of the entire film but the spotlight is on him as soon as he is on screen. That’s the power of DiCaprio. But in addition to a very charming man, Mr. Candie is also given some of the best lines in the damn film. He dresses well, is funny, is smarter than most of the antagonists of the film. He has a lovely plantation: CandieLand (yes, actually the name of the place) and almost all of those he “employs” (they are slaves) seem happier and better taken care of than the other slaves we’ve seen in Django Unchained. But we’re getting ahead of ourselves. The long and short of Django Unchained is a revenge fantasy centered around a slave named Django and his desire to get revenge on those who have wronged him. He teams up with a white dentist named King Schultz (not joking, this is a Tarantino movie so subtly be damned) who is played by Waltz (because he can only play German characters) and they go on doing what they can to disrupt the accepted reality that is slavery and to get back Django’s wife, Broomhilda (again, be damned subtly). Broomhilda had been sold off to Mr. Candie’s plantation which brings us back to our favorite Southern racist. Yes, I’m getting to that part. Calvin Candie is a slave-owner. He’s a racist. He’s every Southern stereotype wrapped up in a silk bow. And Tarantino does all he can to frame Candie as a bad guy. We first meet him running an illegal Fight Club with African slaves as bartering chips. He’s a monster who does not see the humanity in enslaved Africans. This is even more damaging because he uses rhetoric and “logic” (with the biggest possible quotes I can possibly generate). During Mr. Candie’s most powerful scene he explains quite plainly that he has every right to enslave Africans. To him and his “science” (again with giant quotes) of phrenology, they are lesser than he is. And he’s very quick to discuss just how strongly he feels about the whole slavery situation. And even though framing and his eventual death do highlight how awful Calvin Candie and the rest of his family is, DiCaprio is electric in this role. Hell, I miss him as a character as I watch the rest of the film: upon other watches I’ll tend to stop shortly after his character dies and then resume the film just to get to one more scene. And I should not miss a racist. I should not miss a slave owner. I should not miss Calvin Candie. But because of writing and a masterful performance: I do.

And this isn’t a problem Tarantino seems to have in other films. We don’t go through Kill Bill thinking Bill is in the right despite an excellent performance from David Carradine (rest in peace). We spend so much time with The Bride and we learn so much about her revenge mission that no matter how good the performances are in the movie, we hate every single obstacle in her way. The same can be said for Hateful Eight which is a very appropriate title because this movie is devoid of anyone you can empathize with.

Charm is a part of the wider framing of baddies discussion because of the way it hijacks the brain’s logic center and creates a false connection to objectively terrible characters. And we could do an entire post on this just talking about anime (because, really, that’s my wheelhouse and you do not want to get me on that soap box…[Unless, you want me to. Leave a comment if you’d like for there to be a follow up to this just talking about anime.]) Charm is used to make you like a bad character and even though the frame around that character may still tell you this character is bad, it’s hard to hate someone who is so confidently evil.

It’s summed up by a line Negan gives us in The Walking Dead:

“I just slid my dick down your throat. And you thanked me for it.”

That’s it. The blog post could just be that line but I would like ad revenue one of these days and the current algorithm doesn’t like the profanity. But it’s exactly that swagger that made me want to cosplay Negan. It was that exact confidence and bravado that made me want to build a bat and made me walk with a little more power in my step. The moment I put on that jacket and zipped up my boots, I felt strong despite knowing that fact that Negan is a monster and wanting to be like him means becoming a monster.

Charm makes Ozymandias seem like a normal business man in Watchmen. Charm makes a racist lovable. And charm makes a literal Nazi a rooted for hero.

Charm is a skill good actors should have and really does separate the good from the great. The performances mentioned in this post are masterful and some of my favorites of all time and that is what makes them so damn insidious.

 

Framing Is Everything

“The tyrant dies and his rule is over, the martyr dies and his rule begins.” ― Søren Kierkegaard.png

There was one aspect of Black Panther that settled in my stomach, rough and raw for weeks after I saw the film. It left a bitter taste in my mouth and left a haze of a film that I had mostly praised.  It was around the issue of Erik Killmonger. I mentioned it in my review of the movie so I’ll get straight to the point. The issue I have with Killmonger is a framing problem. His actions, his motives, his motivations, his everything is framed as “perfectly fine” and that is to be very frank, troubling as hell. Killmonger is compelling, heartbreaking, tragic, real and very valid. His anger is rational and he is very much a sympathetic character. So when Erik says radical things like “Hey, maybe we should make our own militant colonizing force.” and similar statements, he sounds like a rational, logical young man. How else would one expect for someone in his position to feel and act?

And in his final moments, there was the line that burrowed deep into my gut and remained there. “Death over bondage.” (Yes, I’m paraphrasing but in my horror, that was all I heard.). And that brings up to framing.

Framing in film language is how a thing is set up. We code (another film and sociology term) lots of things about characters and setting based on framing. A hero is a hero because of swelling music, bright colors, bright clothes and handsome looks. A villain is a villain because of dark music and tones and velvet and other things that make a villain a villain.

And framing done wrong is just as bad as framing done not strongly enough. Poor framing gives up the Victorian mustache twirling villain and the overly Jesus-like hero. Now, weak framing does a similar thing were a bad guy doesn’t seem so bad. Let’s take a scene from Rent that Folding Ideas and Lindsay Ellis both took umbrage with and that I mentioned in my post about Rent. There’s a scene in both the musical and movie during the whole No Day But Today thing where Mimi stands out in the cold with her posse that doesn’t know here while Roger remains in his ivory tower refusing to come down and play. But the framing makes it look like Roger is a stuck up mean guy for not wanting to leave his lonely life but really, his concerns are valid. Mimi is a known stripper and drug-user and Roger is a recovering drug addict with HIV. He has every reason to not want to be with her but the framing makes Mimi’s lack of care, concern or logic seem good and warm while Roger’s very valid logic and hesitation is framed negatively and that’s just not fair.

But plenty of films recently have had framing problems. A big example that comes to mind is actually both Kingsman films. We’ll use the first one mostly because it’s my favorite. Valentine is compelling, charming, charismatic and in parts of the movies just plain right. He has lots of ideas about how the Earth is going to hell and how to stop global warming. The problem is that his plan involves a violent mass genocide. But by the time he gets to the “I want a lot of people to die.” part, he just sounds like a pretty okay guy with a good plan to save the world. And that is a framing problem. The film around him has done a piss poor job of saying “Hey, watcher of this film, this man’s ideas are not good.”

Anime has had this problem for easily 20 years with antagonists and villains who are far more relatable than their hero mains. I’ve been paneling about this topic for literally almost 5 years. Many times, this is done to create more empathetic villains while also giving the hero/main something to do but again, it’s weak storytelling when your villain is more compelling than your protagonist.

Which brings up back to Black Panther. Erik’s sympathetic backstory makes it easy to ignore some of the venom that drips from his mouth. And in today’s current socio-political climate, I am sure that many see his vision as logical, sure a little radical, but surely sound. We’ve seen militancy fail over and over again for African-Americans. And while Black Panther does kill off Killmonger, his actions and words leave a heavy shadow over the film.

How do we correct such framing issues? Well, by simply not rewarding them. We’ve talked about characters getting what they deserve in a previous post and that is one of the best ways to combat poor framing. At least in Black Panther, Erik does not make it to the end of the movie but his message lives on and forces T’Challa and the people of Wakanda to think more closely about their isolationism. Not glorifying clearly horrible things is easy to do in real life but difficult to impose upon fictional characters. Consequences are vital. Erik’s rage rightfully makes him too unstable for this world and his exit is a pained sigh of relief. And those consequences don’t always mean death. Think of Loki in the rest of the Marvel movies: he is denied empathy at every turn despite his actions being mostly reprehensible. And movies are particularly fertile ground for framing issues. When you’re a handsome and well-known actor, you want screen time and being a mustache-twirling villain can be fun but often means that you are not on screen very long. Additionally, movies are a complex and visual media, creating sympathetic and likable characters is vital to keeping your audience’s interest. And I’m happy to see more complex characters, it has come at the cost of clearer storytelling. And I love morally ambiguous stories but those still have the stakes and consequences vital to keeping such narratives afloat. Valentine still dies at the end of Kingsman. Poppy for sure dies at the end of Kingsman 2. And if we’re talking anime then most of the time, the villain goes down with his or her overly complicated plan in a blaze of flames and glory.

Framing is a vital part of writing but an even more vital part of film and other visual media. How a character, scene and act are framed tells you a lot about how to feel about this character, the scenario and about the work. And when you frame a bad guy as a pious saint, you not only risk betraying your work but you risk muddying the waters of your own narrative.

Aspirational vs. Actual

“When you see a good person, think of becoming like her%2Fhim. When you see someone not so good, reflect on your own weak points.” ― Confucius.png

It’s a bit of a joke in my friend group that if there is a troublesome character in a series that I probably will love them. Characters like Klaus von Wolfstat and Jean Baptiste Hevens are not great guys; they’re awful characters but they hold a special terrible place in my heart. I will shun main characters to join the tea party of evil and remain blissfully in the darkness until a better, more compelling character saunters in. So today I wanted to talk about what makes a character compelling, why the good side isn’t always the fun side and the two main ways I can like a character and when that fails spectacularly.

While I have your attention, I mentioned “troublesome” characters earlier. Here’s what I mean by that. There are characters that are just garbage human beings and you cannot and should not like them but dammit, they can be fun. Let’s take a mainstream example: Light Yamagi of Death Note. He’s an egotistical sociopath who wants to take over the world and remake it in his image. He may speak of justice but to use a literal murder book, you’re probably already at least a little bit of a sociopath. Lelouch of Code Geass is another great example. This charismatic manipulator has used and abused everyone around him all for some goal. He’s not a good person but it certainly is fun to watch. It’s easy to recognize a character as terrible, denounce their actions in real life and in the series while also thinking they’re quite fun.And it’s even better when characters get what they deserve…(another blog post, perhaps?).

There are two major ways that I like characters in popular media: we’re gonna use a lot of anime examples today and also some comic book ones because this is my blog and ergo my rules. The main was is a character I actually like because they are like me (and I say like me based on tons of factors: we’ve talked representation before, haven’t we?). These characters like Sasuke Uchiha, Uryu Ishida and Yuki Eiri (notice a trend? We did talk representation, right?) have traits more like me. They bring with them family drama, a desire to be their own person, charm that masks pain and a grounded realism that just nearly borders as nihilistic pessimism. Then there are aspirational characters. These characters are special: they are who I want to be. And this hasn’t changed much even though I’m now an on paper adult. These are characters that have something in them that I want to be like selflessly charming or cool under pressure or unyielding optimism and while easy answers include Sebastian Michaelis, Tohma Seguchi and strangely enough Orihime Inoe. Now, before the bulk of you complain about my noted anime misogyny…let’s talk about why Orihime is on this list.

When I started watching Bleach I was 17 years old. I had lost my dad 5 years before that, I was a high school upperclassman and was running a successful but stressful anime club. I was a charming and affable host-type with a winning personality but that hid the fact that my home life was less than ideal and that I was exhausted by what it meant to be a student and even just to be a functioning human person. While Bleach mostly centers around Ichigo Kurosaki, a 15 year old who lost his mother and his magical adventures hunting Hollows and navigating the Soul Society and the world of Soul Reapers, his counterpart for most of the series is a girl named Orihime. She’s not the brightest crayon in the box but she has a lot of heart. She similarly faced loss but instead of being bitter and cynical like Ichigo (cough and me) she was kind, loving and generous. I envied her ability to still see light in a world made so dark by personal loss. Which may explain why I was (still am) so disappointed with how she was treated by the series. The series took her light and humor and caring and turned her into a Arthurian quest object and not in a way that I like. The same could be said Naruto Uzumaki in so many and slightly more tolerable ways. He also faced isolation, loneliness and dealt with being misunderstood for years (Yeah, I was angsty kid…am still an angsty adult. Don’t judge me.). But instead of becoming a monster like Gaara did or a non-committal forest dweller like Sasuke, Naruto decided to be as kind as possible: he wanted to treat everyone in a way that he never was treated and dammit that was inspirational as a teenager.

But it may be all of the reasons listed above that I tend to love villains and antagonists so much. I’ve mentioned before that most of the development and tension goes to the antagonist, leaving some rather bland female characters in its wake. It’s Vegeta in Dragon Ball Z who gets the character arc and has to change his views the most. It’s Sasuke in Naruto who gets the arc of redemption and then the very quick ignoring of that redemption to continue to be a forest jerk. It’s the antagonist that has to learn a lesson and there’s something that set up that is very appealing to me. What lesson does Luffy learn in One Piece? No lesson. Not a damn one. But you bet your ass that the rest of the cast learned plenty of lessons like not trusting Luffy to do anything. I find a story of learning, accepting and/or rebellion far more compelling than a Jerry Stu main character learning no lessons and getting to continue through a series with little to no meaning consequences or tension.

But you’re not here to listen to me talk about compelling characters and storylines. You’re here to listen to me rant about villains and why I chose the dark side. I’ve had a predilection for villains and villainy since I was a little. My dad famously learned Jesse’s side of the Team Rocket motto for me so I could be James. I fawned over Prince Vegeta when he was first show in Dragon Ball Z as a villain (a sign my family should have probably taken note of) and really if you think about it the roots of modern fangirl me as linked to my obsession of Lord Sesshomaru and Master Naraku from InuYasha. Why do I love villains so much? Am I just an edgelord? Well, maybe. But rude of you to assume that. Yes, it doesn’t help that I’m a bit of an angsty human creature but the real reason I love villains goes back to a point I made earlier. The villain also gets to learn a lesson. For some reason, villains are just better written. Let’s go to a series I could probably talk about forever Cowboy Bebop for an example. Vicious (literally his name) is one of the most compelling villains in anime ever and his motivations while shoestring thin are enough for you to understand his goal, reasoning and methodology. He is the perfect foil to the main protagonist, Spike, and his design, voice acting and overall manner in the show make him one of the most interesting characters in the entire series. Vicious also gets to live such a full life in the series but one of so many questions and mysteries. Why did he sleep with Julia? What is his relationship if at all to Gren? Why does he have a mythical dragon raven? Those questions are never resolved and never will be thus creating one of the best anime villains in my opinion ever.

The villains get the long-con plans. The villains get the cool dramatic music but the villains most importantly get to let their emotions show. Naraku’s plan is literally to ruin one relationship because Kikyo wouldn’t date him that one time. Aizen’s plan is to become a god because reasons. The villains get to be irrational, angry, melodramatic and sad. Villains get to throw over tables, lash out when angry and break things when plans go awry. Who else gets to be that emotional? And sure, some villains are stoic. Aizen almost never lets that same smug smile leave his face. Vicious is a great marble statue of angst and anger. But so many other fantastic anime and even movie and comic book villains get to have so much fun. When I first started my jaunt as an in character cosplayer I had so much more fun playing antagonists and villains because of how emotional and outrageous they could be. Oh the photo-shoots.

Only Yuki Kitazawa could make 10 U.S. dollars a terrifying object. Only Frieza could demand so much physically from Goku and his group of mostly useless friends. Only Envy and the rest of the Homunculi could make Edward question his morals in such a way. And while we’re talking about Fullmetal Alchemist, let’s think of Shou Tucker. Dr. Tucker is a madman but what’s terrifying is when he starts to make sense. He makes obvious comparisons to himself and Edward despite still being an objectively awful human being was a perfect counterpoint for the main characters and the main plot. And even though he really only appears for like…2 episodes, think of how much of an impact he leaves on the series. He is then a constant reminder or what not to be as an alchemist, as a creator or as a man. And that may be the best thing about villains: they show you what not to be. Ever want to learn a strong lesson? Look at a villain and say “Probably shouldn’t do that.” Don’t try and be an Aizen, be an Urahara. Don’t be a Naraku, be Miroku (Scratch that, just go for Koga. Aspire for that.).

That was a lot, wasn’t it? Next time, we’ll talk about cinnamon rolls, earned romance and when a character gets exactly what they deserve.