UlasanAnime.com – Sometimes a great story can be frustrating due to a minor flaw, a small imperfection that detracts from the overall experience.
In visual media like movies or TV shows, there are numerous elements that can lead to annoyance, such as poor music choices, subpar voice acting, or unusual character designs. However, there’s a more fundamental issue that can be far more irritating.
Nothing is more infuriating than a poorly constructed strawman argument, especially when it’s not even subtly presented. When a narrative overtly highlights a character’s flawed premise with neon signs, promising a cathartic moment much later in the series, it’s often characteristic of mainstream action and drama genres. It feels as though the show assaults the viewer early on, only to promise solace at its conclusion, which is rarely convincing.
To elaborate, consider characters like Edward Elric from Fullmetal Alchemist (FMA) or Light Yagami from the popular series Death Note. These characters, while driving their respective narratives, often present motivations that become tiresome. Light’s passion for justice, for instance, is a central theme, but his pronouncements on crime and punishment, driven by what seems like boredom, can be incredibly frustrating and simplistic.
The term “strawman” here refers to a narrative device where a character or concept is introduced to represent a specific viewpoint on a complex moral issue. In a well-developed character, this position would be explored, leading to internal conflict and eventual growth. However, in a strawman setup, the character’s initial stance is often deliberately flawed, overly idealistic, or emotionally charged, serving merely as a target for the story to dismantle and abandon later.
Similarly, in FMA, as the story progresses, Ed learns more about his world and uncovers truths that reshape his understanding. The narrative often presents a simplistic dichotomy, such as “science is superior to something else,” which can feel reductive.
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In contrast, Yoko Nakajima from The Twelve Kingdoms initially shares some superficial similarities with Light, both being sheltered individuals facing difficult circumstances. While their circumstances and abilities differ, leading to distinct reactions to common societal critiques, both characters are initially annoying. Light transforms from a seemingly perfect do-gooder into a remorseless criminal, while Yoko evolves from a whiny, irresponsible girl into a more well-rounded individual who understands her place and experiences personal growth.
While Death Note builds towards Light’s inevitable downfall, a narrative arc that feels predictable, it often focuses on his struggle against fate rather than his descent into corruption. This approach can leave the audience feeling detached, as there’s little to foster sympathy for Light. Yoko, on the other hand, is a vulnerable girl thrust into an unfamiliar and dangerous world, forced to fight for survival, and her subsequent maturation is earned and relatable.
In summary, two key principles emerge:
1. Hubris should be revealed through gradual development, not stated upfront.
2. Sympathy is crucial for audience engagement and emotional investment.
The immense popularity of both Death Note and Fullmetal Alchemist suggests that my perspective might be a minority view. However, this popularity can also be attributed to significant marketing, high production values, compelling plots, and well-crafted secondary characters. Despite these strengths, the artificiality and predictability of the character arcs, particularly the “kick in the groin” moments, feel derivative and akin to low-quality Hollywood blockbusters.
