Villain is shown trying to be a nice father and/or person in a comedic fashion.
>large all powerful being cares for the well being of a child
i always fall for this without fail
doom and valeria
golan and dylan
sesshomaru and rin
mr pickles and his kid
>Hero about to be beaten and killed by a villain
>Suddenly, the major villain just comes in, bashes their fucking brains in, and kills the villain
>The hero asks why
>"Because there is only one man allowed to kill you, and that's me, but I'd rather watch you suffer"
That shit always gets me pumped.
>When a villain is shown to be honorable and isn't just evil for its own sake
Is Damage Control canon? Because Doctor Doom paying his bill will always be his defining character moment for me.
>>large all powerful being cares for the well being of a child
This is pretty much the only reason I bother to keep reading cucumber quest
I'll do you better.
>The two know their secret identities
>They disagree on how things should be done
>They're still good friends
>hero's little sister befriends one of his rogues
>Character is impaled on something
>Still keeps trying to go through it and reach their enemy
>shriveld old sensei character unleashes his full power and wrecks everyone
This doesn't happen enough anymore.
>Hero knows he's supposed to be the villain by programmation/fate/nature/blood but he tells his programming/destiny/nature/family to go fuck themselves and keeps doing what's right
Coco is such a cinnamon roll.
rare, favorite trope:
female prone to slapstick, they're usually animals, or ugly/old evil humans, like Yzma.
Come on Blizzard give me father figure soldier just a single panel in a comic of him training Hanna or Lucio.
It's honestly a shame that the comics are lore for Overwatch are so bad, but just good enough that they make you think about all the stuff they're just not exploring.
>hero is actually a huge conceited asshole that only saves people for the glory and fame
>abandons his duty once he gets bored of saving people
>Two spiritual entities which gives powers.
>Heroic, Morally based spirit is set alongside a lazy and selfish character, so both can fight against crime.
>Cruel and Sadistic based spirit is set alongside a kindhearted and shy character to make chaos.
I always loved the Mystery Men version of it where the guy actually lets one of his old villains out because he's starting to lose sponsorships since everyone is in jail or dead.
He was an asshole to megamind throughout his childhood and the direct cause of him becoming a super villain.
Instead of trying to reform Megamind he just gives up and fakes his death because he got bored of it all.
Are you asking what happened? I don't remember exactly, but...
Some of Doom's henchmen had some fun and damaged one of Doom's buildings or toys. They knew Doom would get pissed if he found out, so they hired Damage Control to repair fix it before he did. They fix it, but the henchmen stiff them on the bill because they don't have the money and figure the Doom name will scare off any bill collectors. The debt collector for Damage Control visits Latveria and asks Doom to pay. He does.That says quite a bit about Doom as a character.
>Hero tries to reason with long time enemy and tells him that he'll destroy everything if he doesn't stop
>Villain hates the hero so much that he's willing to end everything because fuck you
Based BW Megatron
I usually hate this type of trope. Feels too tired out to me.
That said, Megamind's version was good. I liked that he wasn't a dick, but he just didn't feel like he was happy, combined with actually seeing Megamind as someone who could be a legit good hero.
>Hero calls the villain boring
bonus points if it stings
Kim is lucky the change wasn't permanent. She would have been fucked.
>Hero and main villain are fighting
>New, crazier villain shows up
>Hero and main villain team up to beat new villain
>Have some bro moments and realize they'd make good friends
>New villain is beaten
>Go back to fighting
>Bonus: they have newfound respect for each other that gets referenced in later episodes
>Villain is trying to be a nice father in a non-comedic fashion
A good friend of mine is a buff, tall, incredibly southern, and all around grizzly looking dude and has a 3 year old daughter and I kid you not I have seen that very pic in real life.
>Com'awn now baby gurl' time to git'cher bow on~!
I blame Zed for
>Villian keeps trying to defeat heroes but fails over and over.
>Even bigger villian shows up and takes over.
>New villian kicks the shit out of heroes so they have to get an upgrade.
>guy realize something bad about to happen
>as hard as he tries no one believes him
>he doesn't have the making to be the hero to stop the bad thing from happening
>so he'll make a hero who will
>he becomes a villain
>bonus points if villain gets away with making the hero stronger without actually doing anything evil
I like the inverse, over-the-top tomboys having moments of femininity is always fun.
>Villain does their own version of something the hero routinely does
>the most experience member of the protagonist's group makes a last stand he knows he can't win just to buy enough time to turn the tides
Bonus points if he succeeds by some miracle.
>normally nice character has an unconscious berserker mode
I wish this was more common outside of anime
Not /co/ related, but the prime ideal example of this for me is always
Character tells the others to go on ahead and stays behind to buy them some time by making a last stand against enemies or some other threat.
Bonus points if said character actually dies rather than the writers chickening out and showing him alive later.
EXTRA bonus points if the character sees this as redemption for being evil earlier in the story, or to atone for some other bad thing they did.
>villain gets its shit wrecked by another big bad and teams up with the hero to stop him
>he retires after big bad is stopped
>appears as an occasional support character in the next season
Eh, Metroman kind of side steped it.
It's more like he got pressured into being the hero then realised as he got older that it wasn't actually what he wanted.
He, Hal and Megamind switched roles in a triangle.
Metroman went from Hero to Ordinary, Hal from Ordinary to Villain, and Megamind from Villain to Hero.
>I am a warrior. Let the battle be joined.
There's a general implication that both of them where pushed into their respective roles by society, Metroman just realised it first.
I like that the narrative stuck to the idea that Metroman had no obligation to be a superhero. He had a right to choose his own path and so did Megamind.
I watched Kabuto and that's it. I loved the SHIT out of Kabuto and downloaded several other entries, but I haven't gotten around to watching any. I think I'll try W since I think that's coming back.
I want this in a Batman musical. Have Joker kicking his ass in a grotesquely brutal fashion, maybe even with a crowbar like he did Jason. And just as he's about to land the finishing blow *CATCH.
>A superstitious cowardly lot...
>characters who are equal parts girly and tomboyish.
>characters with girly appearances but tomboyish personalities.
Stella Glow kinda did this, but instead of being a member of your group it was the oldest soldier of the former villain group buying time for the escape.
It was a video game but I became a sucker for that trope afterwards.
>One of the heroes oldest and closest friends and allies does a last stand to hold off a huge army to let the heroes get away, knowing full well he's going to die
>evil character forced into a situation where they have to work with the hero
>continualy clash over methods and intentions, knowing that one day there'll be a showdown
>veeery slowly start getting along better
>the day comes where the evil character is free to turn on the hero
>they find that they just can't and have a near breakdown over it
>hero embraces them and the two become true bros forever after that
unless the evil one sacrifices themselves to save the hero
it's probably more like they have all this lore, but don't do anything with it. you can count all of the stories they've done so far that are in the game's present on one hand. They're playing the story as safe as they possibly can for as long as they possibly can. With TF2, this was used as a good thing; the main draw to tf2 lore (aside from the humor) was the mystery of why you were fighting constantly over these worthless plots of gravel, and so the bits and pieces of lore that focused on the past added more to the mystery.
>main cast doesn't have a designated straight man
>instead, the group dynamic works in such a way that any of the characters could potentially play straight man to any other character depending on the situation
>Hero has a family
>family sit-com hijinks in between (and sometimes alongside) the asskicking
I will always love Mumen Rider for this.
>it's not about winning or losing!
>I just have to stand here and face you!
>There's a villain that behaves all villainous
>Has however standards that make him sympathetic
>While nobody watches he does nice things like pouring milk for cats or anonymously donating to an orphanage
>villain's plans never work
>villain never makes progress in defeating the heroes
>later on, it turns out he can easily mop the floor of the heroes at any time, he just doesn't do it because it's not as fun
>villain is apologetically evil
>not because of circumstances or birthright, he just loves being evil
I want more tropes like these, damn it.
I cannot see that scene without thinking of this image.
neither can I.
I feel this from my very soul. I've always wanted to become a cartoon villain who doesn't actually hurt the heroes or have to assume the responsibility of ruling the world or whatever, because the lifestyle of a villain who never quite crosses a line is very enjoyable and has plenty of benefits. See: Robbie Rotten
Heroes with iconic costumes doing hero work in their casual clothes.
Metroman was sort of funny because he clearly thought of Megamind as a friend.
So when he left the city, he legitimately thought he left it in good hands before finding out that Tighten was unleashed.
I can think of a lot more occurrences of this trope in Japanese media than I can western
>Hero tries to teach a younger or less-inexperienced character how to be a hero
>they take exactly the wrong lesson from it and turn into a murderous vigilante or outright villain
It can be done poorly, or well, but when it's done well it's amazing.
Heh. A "Busman's Holiday" one shot with these three would be fun. Imagine Alfred explicitly forbidding Bruce from bringing his batsuit and gadgets along. Which, of course, he has backups in his car/private jet/whatever, but it's the thought that counts.
It looks like Diana is wearing a Captain America shirt here.
>character I dislike cries/gets emotionally hurt
Feels almost too good.
When heroes and their villains have an amiable relationship.
>Starter Villain get's outdone by later villains and powered up heroes, to the point where they become a joke
>They realise this and undergo their own character development, quietly becoming more competent and start holding their own a lot more
>Either ends up fighting the FinalBoss with the hero (but not necessarily becoming a goodguy), or takes back their place as the true villain themselves
>Badguys react to their team mates switching sides, either through their own volition or memory/mind shenanigans, the same way a hero would
>"Snap out of it! This isn't you!" "I know your in there somewhere, fight it!" "Come home!"
Doesn't happen enough but it's a nice humanising moment that transcends morality.
This photo really makes you think of a cool plot for it. Like, Diana and Bruce are the buddy cops investigating a moving company for drug smuggling and Clark is the happy-go-lucky fellow who inadvertently discovers they're undercover cops and helps them out when their cover gets blown.
>Heroes have to fight evil copies of themselves
>Said copies bully the shit out of them as they hit every emotional issue buttons the heroes have
>Villain knows the hero so well that he knows when it is or isn't him
The one time Slott did something right.
Daily reminder that angry Peter is the best
>hero defeats the villain and subsequently saves the villains life
A relationship occurs between two main characters
and it actually develops
>everything the villain does is either for a good cause, or will prevent something terrible in the long run
>the villain and the hero(es) calmly discuss this
>in the end, the heroes decide that even if the future is more dark due to them stopping the villain, lives still need to be saved
>heroes that are unapologetic slobs/snobs
Trope I want to be more of a thing
>Endgame couple is genuinely non-predictable, maybe not even on the map at the start of the series
>Occurs after MC has gone through one or two more "dramatic" romantic relationships
>Endgame relationship is more mature and reflective of those characters development and changing situations
it may be /a/ but Chairman Netero was a boss and he succeeded at buying enough time.
>female villain has a crush on the protagonist
>Two characters have kids
>Their kids are just younger r63 versions of themselves
I know there are more examples, but this is the most recent one I can find.
One of my favorite tropes are some combination of:
>Good guy gets their power from an evil/not-entirely-benevolent entity or source
>Good guy has a "super mode" that involves going apeshit through the influence of the source of their power
>Good guy has an evil/animalistic appearance.
Honestly the closest example I can think of would be Naruto, I watched the show solely to see him grow claws and red eyes and go nuts on whoever he was fighting.
For /co/ I suppose something like the symbiote would be a good example.
I like this trope when it's justified.
Like come on, even a retired badass still succumbs to the effects of old age and physical fatigue. There are reasons why they don't unleash that shit every episode.
>Supervillain turns face, but still uses the same tactics and methods to achieve his ends.
Fucking loved Superior Spider-Man for this. Otto becomes Spider-Man, so what does he do? Hires an army of goons, builds some big robots and goes about his business.
>True Lawful antagonists.
I love me some true-lawful antagonists, the guys who are only antagonists, because the hero is on the opposite side of the battlefield from them. Are more than happy to let the protags go when there is something worse happening. I know it's /tg/, but if anyone has read the MTG Aether Revolt story, then you will know why I developed a man-crush on Dovin.
I've got a Mutants and Masterminds campaign that works a lot like this. Most of the villains aren't demonically evil and will actually team up with heroes to fight world ending threats. The player's main villain ends up becoming the mayor of the city the game takes place in.
>The villain has a sense of honor, isn't stupidly evil and genuinely respects the protagonist
>the quiet, mild mannered character gets pushed past their limit and becomes a force of nature
>family members or friends who bicker at one another constantly have moments where they show they really do love one another
>there's a party member who isn't really all that scared or impressed with the super evil eldritch horror
>sympathetic character who has had a shitty life has a breakdown, becomes powerful, competent, if not final antagonist
>actual effects of character's abilities being shown and used in a fight (ex; a fire using character using smoke to their advantage, not just trying to burn everything down)
>Villain having a valid point, if not a slight moral high ground
>Sequence where nothing but the soundtrack plays
>characters remembering and using all their abilities in a fight, and creating cool combinations with them
>Noble, yet fatalistic main villain, not being evil out of malice, but rather sense of duty
>The face of the hero or villain is always obscured
>In revenge stories, an object that was used to cause the incident is used again in the revenge
>Long time stoic character shows a cascade of emotion after something that held sentiment with them is lost
>The villain kills the hero. After initial joy, they come to realize that they actually didn't want such a thing. Other villains pop up, and the villain takes up the mantle of the hero, complete with a new perspective on the world.
>a tale or legend is shown using a drastically different art style than usual
Speaking of Stain, I like it when the hero and or villain had a drastically different appearance in the past.
I actually like Tenno Stain.
I feel like I'm showing my age again. She's Mihoshi's partner in Tenchi Universe (also appeared in the Mihoshi Special of the original series). Rising star of the space police who sees her career circle the drain as she gets the worst possible partner. From that point on her life is a steady stream of misfortune, often because of her partner.
>hero calls out villain for being autistic
>They're just getting started
>Main villain's daughter falls in love with MC or one of the MCs
I fucking love this shit, especially in Power Rangers Time Force.
I don't recall any other instances but I'm sure there are a bunch of this in other /co/ material
>The dark and edgy personality the main character has is simply a facade to deal with his horrible life and the horrible world he inhabits and he breaks down and cries after a while because being such an edgelord wears him down.
>Ineffectual villain or low level henchman is mistreated/hurt constantly and generally miserable
>Villain realizes bad things only happen to them because commit crimes/fight the main character
>Changes sides and is genuinely happy
Ever since I read that doujin of a female villain marrying the hero of a power rangers like super team after he saved her, I have had a massive love for 'redeemed female villain becoming protags love interest'. Sadly lacking in a lot of media.
>hero has a villain like appearance
Bonus points if he is aware of it. Loved one of the Justice League comics where Batman changes his costume and adopts a sidekick because 'I set out to frighten criminals, not children'.
> villain and hero run into each other at the supermarket or doing some other mundane shit
> they try to awkwardly make small talk
>Character is civilized, polite, and calm most of the time
>This changes in the battlefield, the character's fighting style is described and depicted as brutal, savage, or even barbarous
I how the contrast of a character's personality conflicting with his combat style. It can be seen as an indication what the character wants to conceal or restrain about themselves, or what that type of person the character really is.
He very much did. It was a really early hero-for-hire comic where
Doom stiffs Power Man on hunting down his rogue doom-bots. Power Man then goes to the FF, convinces Reed to let him borrow a jet, joins an alien-led robot revolution in Laterveria, and then saves Doom's life just to get Doom to finally pay him the $200.
>hero's most recurring enemy isn't their most powerful
>real most powerful enemy only shows up sparingly but shit is real whenever he does, hero might even act different
>hero's most recurring enemy is either scared of the more powerful one or jealous since he thinks only he should be worthy of the hero's attention/killing the hero
>hero and most recurring enemy might even team up whenever the most powerful enemy shows up
I like Stain as he is a rare character who has a powerful ability but has the draw back of how it needs to activate forcing him to become skilled with blades.
I suppose that is a trope I enjoy but increasingly rare; powers that require the hero/villain to become proficient in other areas to use their powers well or at all.
aren't the Rogues similar, where they have no actual animosity towards the Flash and vice versa, and they'll send each other christmas cards and shit?
>characters have TRUE EBIL versions of themselves
>all the evil copies have, as you would expect, eviler versions of their designs and personalities
>except for that one character, whose copy looks and behaves exactly like him
Why didn't he just pay the man, thats chump change to Doom. Even if he doesn't have it in USD he could have given it too him in Latverian currency.
I mean what the hell?
>Character is mildly villainous
>Causes some extremely dangerous, life-threatening situation
>Works to fix it because he's not THAT bad
Okay, the only example I can think of is Freeze in his second episode of BTAS. Any others?
My brother. The first episode I saw is when he beat the shit out of Haku.
>A flashback is shown in an older art style
Carl from Phineas and Ferb was a pretty cool iteration of this.
And had a pretty cool song to go along with it.
>Villains right hand man has a power level equal or higher to the hero's and becomes their personal rival
>Hero knows he's supposed to be the villain by programmation/fate/nature/blood but he keeps trying to do what is right until he finally succumbs to the evil, but leaves behind a way for his weaker, less competent friends to defeat him
>new villain/anti-hero arrives on the scene
>we see a shot of them standing on a cliff overlooking the town/city where the hero is
>Character is a walking arsenal
>Explains exactly what weapon to use for which situation
>Demonstrates it to both the audience and other characters
>Character has giant weapon
>Actually uses it effectively and doesn't job
Which issue is this I'm interested I love it when heroes genuinely stop giving a fuck but don't outright become villains
I love this trope but I'm also guilty of loving the anime-tier version
>2 Characters facing "seemingly" insurmountable odds
>1 tells the other to go on ahead, better if one makes it out than none
>other accepts the offer and leaves
>the one to stay behind makes peace with the situation and accepts their fate
>2nd suddenly comes back without any warning and BTFO's the enemy
Even succeeding in both escaping gives me a rush. There's just something about using up all your charity to save your friend, only for it to be handed back to you, delivered in the form of a metaphorical cannon ball
>the scene where Ralph rehearses the heart-felt chant from the anger management class, as he finally learns who he is, as falls into the volcano
>camera immediately snaps to Vanellope glitching up through the inside and saving him at the last second
That part was way more impacting than the car destruction for me.
>Character stays behind and ultimately dies because they think they're saving their friends
>Their friends ultimately suffer fates even worse than death
>All brightness and comedy comes full stop whenever the villain shows up
>Villain isn't a job and is brutally efficient
Another example is The Lich. Anyone think of any others?
>villain reflects on all their evil deeds near the end of their life
>thinks, in hindsight, it was never really worth it and didn't even make them happy
Pic related and that guy from Fallout: New Vegas who killed people for sarsaparilla are my favorite examples.
>main characters hook up while in the story and not by the end of it.
>they stay together for the rest of the show and the show explores more how the relationship develops.
I wish more shows did this.
>While an episode is going you see hints of a story happening in the background.
>Turns out a later episode tells said story of what was happening while the first ep was playing.
>Villian is dying in the hero's arms
>Tells the hero he regrets nothing, no matter what the hero has accomplished
>dies smiling proud of what he did
>giant heavy pileup on something
>it manges to hold together
>a leaf/feather/piece of paper/insignificant weightless thing lands on it
>all comes falling down
it's the oldest gag in the book and it still makes me laugh
>Secondary protagonist takes on main antagonist before the main character.
>Is able to hold his own instead of it being one-sided against him.
Bonus if the villain doesn't expect such a challenge.
Speaking of old gags can anyone explain this one to me?
> character decides to lift weights
> struggles a lot but finally manages to lift the Barbell over his head
> floor breaks
It's somehow supposed to indicate the character is weak, but why the floor break?
>Character enjoys being genuinely evil/good and smiles and laughs while doing such acts
As great as Dr Doom may be, I love that he always ends up jobbing to Squirrel Girl when they go face to face.
>Which, of course, he has backups in his car/private jet/whatever, but it's the thought that counts.
Nah, Bruce thinks that he has the backups but Alfred has replaced them with normal outfits and snarky notes.
this this this this
>Character is shown taking immense damage
>Through sheer willpower alone, stays standing
>If they're using some form of shield, it's shown to be breaking and starting to shatter
>bonus points if they're smiling or laughing, knowing that although they'll surely perish they're doing the best they can and they know they're doing the right thing
And if the sacrificial hero is the weak/young character, this will always get bonus points:
>Character A returns to help
>Finds situation over, either villain is defeated or the time Character B bought was enough so that the team could do the task
>Character B is lying, covered in wounds, bruising, cuts and blood
>B looks up to A
>"Did... Did I do a good job?"
>Character A agrees, they did a great job or that they're proud of them
>Character B may or may not die shortly after
Ending of Saving Private Ryan got me hard with that shit.
>character is created or altered artificially
>is evil but also aware their existence is a nightmare
Rampage was actually an interesting case. He was cruel evil and sadistic to everyone and cared for no one but himself, but he actuly risked himself to try and spare transmutate from megatron and was enuinly sad when she died.
I Can't help but be left with the feeling that had she survived, we might have actually gotten a redemption arc for rampage. Would have been real interesting when depthcharge showed up.
>Hero and Villain bump into one another while out of costume and don't realize it
It bugs me when they're the only one who get's redeamed.
Like because they're the love interest they're worthy but random JoeHenchman whose done even less wrong has nothing to offer for the protag, so he dies.
Yep. I want incredible powers that I could use to overthrow the entire world.
I'd use these powers for the sole purpose of petty theft, and occasionally fucking with the heroes, sneaking into their secret sanctums to take a shit on their desks and write crude limericks in sharpie on their walls, as well some underworld information about serious villainy at play because I don't want some chump to annihilate the city, I live in the city.
But is the villain still actually evil and the hero actually good?
Half the time this is the Hero wearing dark clothing and having a goatee, and the Villain wearing white and gold , having a manly jaw and blond flowing locks.
>hero's evil opposite clone appears
>they square off and the scene shifts
>they're walking toward the other main characters laughing and talking
>clone leaves as hero says goodbye
>hero turns to the other characters, who have no idea what's happening
>"He's just a really nice guy."
I fucking love that moment in the Scott Pilgrim movie. They know exactly how much of an asshole Scott is.
I'd want Superman's powers and then use it to draw a crude looking dick on the moon with my heat vision just to ruin every romantic date ever, and just the sheer fact that whenever someone looks at the moon they'd see a stupidly drawn cock.
Pic very related
>They never think it's just someone being a dick for fun
>"Why would someone with such awesome power do all this just to write "fart" on my walls"
>They think it's their arch nemesis trying to mess with them
>You never get caught
>There are times when you secretly help them win so you can keep fucking with them and still be able to go get groceries
>Protag gets into a fight against someone new
>Enemy is tough looking and stoic
>The fight is brutal, Protag get's really into the battle, throwing all their might and hurling insults
>The enemy starts cracking which just encourages the Protag further till the enemy stops and just bursts into tears
>Protag get's flustered and confused and unsuccessfully tries to calm them down. Any onlookers start judging.
>Turns out the enemy was either a scared kid or a massive softey
TF2 never had good writing though. It's mostly meandering randomness with memes and meh jokes.
>Hero and Villain have been at it for so long that they came to understand and care for one another
>Villain has standards, a code of honor, class etc.
>Other villain is an evil, psychotic, murdering piece of shit asshole.
>Classy villain beats the shit out of the asshole
I can't think of too many examples of this aside from the Rogues and Black Adam, maybe Sinestro at times, but damn do I love seeing "Time to teach you some manners" moment among villains.
>something bad happens to the hero unrelated to the villain
>the villain is enraged and tripping over themselves to see if the hero is ok and who is responsible
Make it stop.
Why is this my personality?
Not /co/ obviously, but One Punch Man basically has this, with a whole organization of superheroes constantly competing to stop the biggest monsters and stealing kills from each other so they can rise in the rankings and get paid. Not many of them actually care about helping people.
Maybe something more like Bruce did the logical thing with his money and runs a vigilante organization. Diana is his bodyguard or lieutenant or whatever and Clark is a random guy who they recruit for one reason or another (maybe a top athlete or something I don't know).
>new character arrives in town
>new character is sad
>character is an introvert and distances himself from main cast
>after much pondering and speculation main cast finds out that new character carries a heavy guilt
>cast tries to get through to him to make him feel better, sometimes doesn't work
>one of the ensemble succeeds
>new character is happy again
>new character becomes supporting character
>character has his own theme music
>does something cool
>same theme but with heavier instruments
>villain is REALLY FUCKING EVIL
Extra points if he's undefeatable.
>Big bad has treacherous minions
>They plot against him
>Big bad uses said plots and treachery as part of his own agenda
>It's because of mind control or drugs or the villain fucking with their head.
>"I KNOW YOU'RE STILL IN THERE!"
>villain controls someone, probably a hero
>Hero slaughters his sidekicks or superfriends
>Hero looks like he does it by himself and is not being brainwashed, but he is
>while killing his friends with a smile, tears rolling down his/her cheecks
>"I know you are still in there"
>>Head Villian has a breakdown in front of his henchman and is a sobbing mess
>>Henchman go out of their way to show villian how much he means to them
Or better yet
>>Villians throw an awesome party
>>They invite the heros
>>Everyone has fun but go back to usual the day after
Mumen Rider actually took on the Sea King knowing full well he won't win, but didn't give two shits because it was the right thing to do. I wasn't a fan of him till then but afterward he's in my top 5 without a doubt.
>The big bad just relaxing and doing casual stuff
>hero dodges bullet and wants to show how awesome and superiour he is
>dodged bullet hits a bystander, probably a kid
>hero has a mental breakdown because being a show-off literally killed a kid
comedic sidekick trains hard and manages to become a proper hero in his own right.
bonus points if the character keeps being clumsy/slapstick/comedic so that villains and street thugs dont know until its too late that he can kick their asses
usually that happens in a setting where being hero/villain is a job and once they clock out they leave the personas at work too.
sorta like the old looney toons where the sheepdog and the coyote are friends but once they clock into work they fight
Considering that other people have tried to keep money Doom leaves behind to pay his bills under the assumption that everyone would be too scared to complain to Doom about him not paying them? It's entirely possible that the doorman was lying and Doom was too confused as to why this damn idiot flew all the way to Latvertia while he was in the middle of a civil war for the money instead of picking it up at the embassy to explain.
This is obviously just bullshit headcanon at best.
Kinda like Master Roshi during the Demon King Piccolo arc, where he reveals that he knows a move that can indefinitely seal away even the most powerful beings but will kill him in the process.
What with Master Roshi suddenly revealing that he's as strong as fucking Super Saiyans now in DBS, there's rumours going around that Roshi never actually taught any of his students the whole of Turtle Style or ANY aspects of the style he was taught by his teacher, just so he could take any of them out if he needed to.
Kid Goku Dragon Ball was such a fun adventure saga. I miss those elements a lot. The world had a unique feel to it and was a pretty serviceable modern fantasy setting, in spite of the fact that it was really just a gag comic. I've also never really seen anything quite like being able to follow the protagonist as he gradually becomes the strongest individual on the planet Earth, including its God and Satan analogs. It's no wonder the focus shifted to aliens after he grew up.
I'd argue the Freeza Saga was Toriyama's best narrative arc in all of Dragon Ball, but the early stuff was special.
I love it when the villains don't just side with random ultimate evils. Why would they ever want to cooperate with something that's going to destroy/enslave the things/people they like too?
>Caring about Super at all
That's your first mistake.
Also the King Piccolo Saga was the height of the franchise to me. It felt like a complete accumulation of everything before it. Toriyama kept trying the recreate the "fate of the world" tension, but King Piccolo's return seriously felt like the last stand for everyone. Every player was in place, and it ended with one of the best fights the franchise will ever have. Super Saiyan is great and all, but nothing can ever beat Goku jettisoning himself in the air with a broken arm at King Piccolo. That was too hype beyond comprehension.
>I'm coming at you with everything I've got!
There's no denying that. I know that some die-hard DBZ fans deny it, but Toriyama was forced into continuing the series. I'm sure he would have gladly ended the series after Goku got his first win at the World Tournament.
Felt somewhat sorry for Rampage. Used to be a simple Maximal protoform until some Maximal scientists wanted to recreate Starscream's immortality granting mutant spark.
It went horribly right.