General & Others Oda’s Editor needs to tell Oda how bad his fight choreography is
- Thread starter Lion of Olympus
- Start date
Literally every argument can be distilled into a fallacy, it is not the sole determiner whether the argument actually has merit.
One Piece is beloved by many people for a variety of factors: due to it's emotional weight, humor, great world building, it's presence in the most popular magazine and many other things. Now whether the fight scenes and choreography themselves are one of those things are what we are debating, so it may or may not be appropriate to use popularity as a metric.
I would say lots of the lots of people who are One Piece fans do find the fights hype and enjoyable overall, especially outside of the weekly format, or when animated.
One Piece is beloved by many people for a variety of factors: due to it's emotional weight, humor, great world building, it's presence in the most popular magazine and many other things. Now whether the fight scenes and choreography themselves are one of those things are what we are debating, so it may or may not be appropriate to use popularity as a metric.
I would say lots of the lots of people who are One Piece fans do find the fights hype and enjoyable overall, especially outside of the weekly format, or when animated.
You do know argument of common sense is a "fallacy" too right... an offshoot of Argumentum ad populum...
You subjectively dislike the fight choreography because you think it is bad.
OP mentioned 1 "argument" about "flow" and posted 1 panel, I could if I had the time post 100s of panels with what I view to be good sequences or moments.
I could then argue that the purpose of this panel and the various clash panels etc. is to keep the ongoing battle alive, not to function as a distilled stand alone fight scene, and that the conclusion chapters of all the Tobi Roppo fights were enjoyable and satisfying to me, but then again we fall into subjective opinion.
You subjectively dislike the fight choreography because you think it is bad.
OP mentioned 1 "argument" about "flow" and posted 1 panel, I could if I had the time post 100s of panels with what I view to be good sequences or moments.
I could then argue that the purpose of this panel and the various clash panels etc. is to keep the ongoing battle alive, not to function as a distilled stand alone fight scene, and that the conclusion chapters of all the Tobi Roppo fights were enjoyable and satisfying to me, but then again we fall into subjective opinion.
If you are going to call argument of popularity a fallacy, don't rely on "common sense", because common sense itself is an appeal to popular opinion and common sense differs on a variety of topics throughout the world, by no means a universal truth.
If you call something "bad" then you need to qualify what it is "bad" at.
Is it "bad":
at telling the story of a war on multiple fronts
letting us know how the fights are progressing
what inventive methods and powers the characters use to fight
and what road blocks characters are facing?
selling manga volumes (argument to popularity, but also a metric)
No.
Is it "bad" at:
looking like a One Punch Man double page spread, drawn by one of the most skillful artists at that style
(with no dialogue or background)
(or inventive powers)
(that take an age to draw and are not appropriate for a weekly series)
(that are based on a pre-existing storyboard in the form of the original webcomic.)
If you call something "bad" then you need to qualify what it is "bad" at.
Is it "bad":
at telling the story of a war on multiple fronts
letting us know how the fights are progressing
what inventive methods and powers the characters use to fight
and what road blocks characters are facing?
selling manga volumes (argument to popularity, but also a metric)
No.
Is it "bad" at:
looking like a One Punch Man double page spread, drawn by one of the most skillful artists at that style
(with no dialogue or background)
(or inventive powers)
(that take an age to draw and are not appropriate for a weekly series)
(that are based on a pre-existing storyboard in the form of the original webcomic.)
Like wtf is this shit? There’s no flow to these panels at all. Oda’s editor needs to stop being a pussy and needs to tell Oda how garbage his fights and choreography are.
Rest of them keep telling Oda he is doing well and tell him to not give Robin too much screen time.
I think they don't care even more than Oda xD.
The whole discussion on popularity versus quality is almost always summarized by the majority of people being tasteless ignorants who will be fed crap and will accept it happily because they don't know better; which can be applied to almost any domain, in fact. We aren't born cultured in anything, after all.
While it's true that after certain level of quality you can argue on subjective levels, assuring that storytelling, or design, or coreography... or virtually anything of artistic nature can't be analyzed from objective lents is blatantly false.
(And more usually than not, defended by those I mentioned on my first line).
While it's true that after certain level of quality you can argue on subjective levels, assuring that storytelling, or design, or coreography... or virtually anything of artistic nature can't be analyzed from objective lents is blatantly false.
(And more usually than not, defended by those I mentioned on my first line).
Because I didn't say it's entirely objective but that it can be objectified to certain degrees; because I'm not thinking of vague groups like "New York Critics" but individual analysts with solid approaches (New York nor Cali nor Paris nor Tokyo nor Barcelona nor whatever city you may think of defines homogeneous groups of critics); because there's a vast difference between cultural standards and personal authorship and style (especially in modern days, where artistic individuality is way more developed) and we can still establish objective differences by adapting to different idiosincrasies as reference (so you can tell what Mozarabic arabesque is better than which in what sense even though we aren't living that Era anymore); and more importantly, because we aren't comparing romanesque art to the Bauhaus school but analyzing a contemporary author with a not-so-distinctive style on an area that isn't necessarily one of his more idiosincratic ones (unlike, for example, anatomical disproportion on his designs).
And, once again, because we aren't born cultured and the criteria of the majority is as basic as it can get since they don't know better unless they've actually grown into an area of knowledge so they develop expertise and critic eye.
And, once again, because we aren't born cultured and the criteria of the majority is as basic as it can get since they don't know better unless they've actually grown into an area of knowledge so they develop expertise and critic eye.
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