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Totally Not Mark is an Irish anime reviewer, who specializes in Dragon Ball.

Mark Flitzpatrick always fell drag for English Class, and in order to not fail at it, focused his shift from King Lear to the Dragon Ball Z anime. Despite his teacher's disappointment, Mark ended up succeeding in the class, learning about story structure.

Mark then decided to open up a channel in YouTube, reviewing Dragon Ball Super. From that point, he would end up reviewing the entire series, and almost everything that was done in the franchise, alongside other series like One Piece, My Hero Academia, One-Punch Man or the Marvel Cinematic Universe.

Mark has a section titled Anatomy of Anime, where he discusses elements of a series and why it worked or failed.

You can find his videos here. The editor of his Jojos Bizarre Adventure videos is AnimeAJay, whose channel you can find here.

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Totally Not Mark provides these Totally Not Tropes:

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     General Tropes 
  • Character Development: Discussed Trope in The Anatomy of Anime, while quoting K.M. Weiland's Creating Character Arcs. Mark discusses the character development of characters in fiction with "Flat Character Arc", a character devoid of change but that help others to change, this character can be both positive or negative; Positive Character Arc, when a character changes for the better through letting go of the lie they believe; and Negative Character arc, when a character changes for the worst because they refuse to let go of the lie they believe.
  • Crossover: Fixing Dragon Ball Super terrible artwork episodes 1 and 2 has him alongside AnimeAjay and artist IamTheTrev redrawing off-model keyframes from Dragon Ball Super.
  • Pet-Peeve Tropeinvoked: Mark is not a fan of Fanservice, as he thinks very few shows used it well.
  • Running Gag:
    • Any mention of AnimeAjay will have Mark remark Ajay is insane due to using a mouse for drawing instead of the tablet he already owns.
    • Memes from Dragon Ball Super, like Goku Black's "subarashii", Frieza's "hohoho" laugh, Zamasu's disdain of "ningen" or Jiren's supposed brother "EL HERMANO" (that’s his name, we think) will find their way when Mark speaks about those characters due to the editor.
    • Any mention of Dragon Ball GT would be labeled with a bleep sound effect at the GT part of the title due to Mark's own dislike of the series. The gag stopped once he reviewed the series.
    • Any mention of the Buu saga will include an extreme close up of Majin Buu's face.
  • Scapegoat Creatorinvoked: While Mark recognizes Akira Toriyama's flaws, most of his complaints regarding Dragon Ball Super are with both Toei Animation and Toyotarō.
  • Series Continuity Error: One pointed out by the editor. In Fixing Dragon Ball Super terrible artwork episode 2, Mark remarks that his redrawing of Beerus would be the first time he draws the character. Except he already drew a thumbnail of him for Beerus: The Problem Character.
  • Shown Their Work: While discussing what makes a story and character work and what doesn't, Mark will cite multiple authors experienced in formulas of storytelling. Mark cites K.M. Weiland's Creating Character Arcs, Robert McKee's Story and John Truby's Anatomy of Story.
  • Take That!:
    • Broly: The Missing Ingredient has Mark quickly state that the original Broly is everything he hated about Dragon Ball.
    • In BOOTLEG Dragon Ball Movies, he dedicates a sizable chunk of the video to mocking Mastar Media's videos and their various problems.
  • Title Drop: Some of Mark’s videos of Anatomy of Anime will cite the title of the topic at the end of the video. Subverted with Jiren: The Terrible Antagonist, where instead Marks calls him "the passive antagonist".

     Anatomy of Anime tropes 

  • Anti-Hero: Vegeta: Perfecting Anti-Heroes has Mark discuss how Vegeta went from irredeemable villain to a somewhat sympathetic anti-hero thanks to the character of Frieza being eviler than him, and the empire soldiers above Vegeta making constant fun of him, in turn, turning him from two-dimensional bad guy to relatable.
  • Arc Fatigueinvoked: Mark argues in Jiren: The Terrible Antagonist that the reason why the Tournament of Power felt so void of suspense despite having a time limit is due to how Universe 7 never had its team in the fevers members, and Jiren not having an active role or character until the very last episodes.
  • The Artifact: Mark describes Piccolo and Gohan as falling into obscurity in modern Dragon Ball, as in, they became background characters. Mark compares Piccolo to Yamcha because of this, not due to Yamcha's reputation as a Butt-Monkey or Memetic Loser, but because of how irrelevant he is in the story, but unlike Yamcha, both him and Gohan are still pushed in the narrative because of their popularity.
  • Audience Surrogate: Bulma: The Female Character is about how Bulma as a character is very relatable to the female audience of Dragon Ball, with Mark having asked multiple women to give their thoughts on Bulma. Mark especially praises the Cell saga for showing Bulma as a single mother, something that is rarely seen in Japanese media; Mark also praises Dragon Ball Z: Battle of Gods and Dragon Ball Super: Broly making her worried about growing older, something very relatable hardly touched upon in Japanese media even if it was Played for Laughs.
    Mark: "And honesty there are very few characters as real and fully realized as Bulma. In asking around opinions about her character, one aspect that many ladies mentioned was how real she felt. In a show full of people who literally couldn't be real, here she is a real human being as flawed and emotional as any of us. Almost everyone else in the main story has something about them that can’t actually ever occur: three eyes, their strength, tails, sneezing related mental disorders, there's flying. I suppose one could say that inventing capsule technology is not real, and yeah I guess I see that but the idea behind that advantage is knowledge and technology, those are real things. If I wanted to I could try to become as efficient in technology as she is supposed to be, but no matter how hard anyone tries they won’t ever manage to archive what Goku has. Heck, even Vegeta can’t and he is as believable as he is."
  • Central Theme: Discussed. Mark argues the reason Gohan didn't work as a protagonist is because he didn't follow the theme of Progression Through Struggle, instead receiving his power on a silver platter in every story after the Cell saga.
  • Character Development: Mark argues that the reason Dragon Ball Super is less impactful than Z is due to none of the main characters receiving any development, instead staying in the same place they were at the end of the previous series. He does remark characters like Hit, Zamasu and Jiren do change, but they are an equivalent of One-Shot Character; he does state that Cabba changes through the arcs he appears in, but he is a very minor reactive character in the grand scheme of things.
  • Deus ex Machina: Played With. As the theme of Dragon Ball is progression through struggle, Mark heavily criticizes Gohan for receiving the powers he obtains instead of working to get them, the same way his father did. The fact that Gohan obtains the Ultimate form by the Old Supreme Kai giving him to him, despite being the supposed protagonist of the Majin Buu saga, is why Mark speculates Akira Toriyama "gave up" on the character.
  • Establishing Character Moment: How to Introduce Your Villain analyzes how Dragon Ball introduces its antagonists, from good examples (Raditz, Frieza, Cell, Goku Black) and bad examples (King Piccolo, Jiren), and how both handle its exposition.
    Mark, quoting Robert McKee: "Never force words into a character's mouth to tell the audience about world, history or person. Rather, show us natural scenes in which human beings talk and behave in honest, natural ways yet at the same time indirectly pass along the necessary facts."
    • Mark criticizes that Raditz, despite having a good introduction showing how he and Goku are related, later becomes an exposition machine telling his backstory, the Saiyans and Goku's origin. Mark then states this is a recurring problem in the medium of anime.
    • Mark calls Cell's introduction one of the best ones in the franchise, due to the excellent use of camera angles and the desolated look of Ginger Town and the corpses saying enough about Cell before he even says a word.
    • In the case of King Piccolo having a bad introduction is due to him info-dumping information he already knows for the benefit of the viewers.
    • Mark regards Frieza's and Goku Black's introduction as perfect, introducing and showing everything you need to know about them and the plot they take part in.
    • In the case of Jiren, is due to him appearing just meditating and not interacting with anyone in particular, and characters constantly info-dumping information or talking wonders of the character. He quickly mentions that Hit’s introduction is him just sitting there and nothing else.
  • Franchise Original Sininvoked: Mark argues in Piccolo: The Humillated Character that Piccolo’s downfall as an interesting character took route in the first chapter of the Saiyan saga, where many years had passed since his defeat and he didn’t do or plan anything during that time.
  • Hero Antagonist: An argument Mark analyzes about Goku in Jiren: The Terrible Antagonist. Since an antagonist in its original meaning is "the one who initiates changes," the argument can be made that Goku is Jiren's antagonist as he is the one who starts any interaction with Jiren, he forces him to change and forces him to tough situations. Mark disagrees, as the Universal Survival Arc was not set up for Jiren to be the protagonist or focus.
  • Info Dump: Mark criticizes Akira Toriyama for info-dumping everything in the first act they can for the benefit of the viewers. He does comment Toriyama got better at it in the Namek saga.
    Mark, quoting Robert Mc Kee:"Dealing with the knotty problems of exposition so intimidates some writers that they try to get it all out of the way as soon as possible."
  • Informed Attribute: Mark finds Goku being overconfident in himself by Whis to be an informed attribute in Dragon Ball Z: Resurrection ‘F’. He instead finds that Goku, while naive, just lowered his guard when there was no need for him to be on guard.
    Mark: In Resurrection 'F', Whis tries to demonstrate to Goku that he lowers his guard too often by punching him in his ribs, as he's walking through the garden in Beerus planet after the sparring session was come to a close. This doesn’t demonstrate anything. In order for Goku to have his guard up in this non-combat scenario, he would need to consciously be on-guard 24/7 which is impractical and exactly the flaw Vegeta has, or he would need to have Ultra Instinct, which is the goal Whis is training them towards. So I don’t see how this is any indication that he is anything other than a weaker fighter than Whis; it doesn't demonstrate anything to further Whis's point that he is overconfident.
  • Fix Fic: In Zamasu: Turning Characters Evil, Mark rewrites Zamasu as a powerful mortal who doesn't believe in his or any other mortal abilities to prosper, leading him to a path of destruction like in the source material, to make a better contrast with Trunks than in the source material.
  • The Lancer: Discussed in Piccolo: The Humillated Character. In order to be a very effective sideman to Goku, the character needs to have a rivalry in which both characters can keep up with one another and being an active character. Since Krillin couldn’t keep up with Goku, he was replaced with Piccolo; since Piccolo could no longer keep up with Goku, he was replaced with Vegeta; Vegeta was lucky the manga ended when he accepted he couldn't keep up with Goku, but when Super premiered, this got retconned and he kept up still being Goku's rival, with Mark saying that idealistically, Majin Buu or Hit would have replaced him as the sideman role.
  • Paddinginvoked: Discussed in both Gohan: The Forgotten Character and Rewriting the Buu Saga.
    • Mark considers the Majin Buu saga to have irrelevant elements in the grand overall story, which includes Gohan's school life, as while it may have introduced Videl, she doesn't really have a purpose after being taken out by Spopovich and nothing of these chapters play a factor in the climax.
    • In turn, Mark asks the viewers which element can they take from Videl, Gohan, Vegito, Super Saiyan 3 and Gotenks which ends up affecting nothing in its ending? In his words, all of them.
  • Supporting Protagonist: Mark speculates that the reason why Son Gohan didn't work as a protagonist for author Akira Toriyama during the last arc of Dragon Ball is that compared with Goku, an active protagonist, Gohan is too much of a reactive character to handle a story. Due to this reason, Mark considers Gohan at his best in the Namek saga, when he actively went to Namek to bring Piccolo back to life.
    Mark, quoting Robert Mckee: "The truly passive protagonist is a regrettably common mistake. A story cannot be told about a protagonist who doesn't want anything, who cannot make decisions, whose actions affect no change at any level."
  • Plot Device: Mark argues that despite how it sounds like, Bulma being a plot device character is a good thing, as thanks to her being a tech-savvy character she has managed to remain an active character through the series. By comparison, Chichi and Videl who started out as fighters lost relevancy and edge as they became simple housewives.
  • Recycled Scriptinvoked: Mark notices in Piccolo: The Humillated Character that despite the Saiyan Saga's iconic status, two of its scenes (the beam struggle and the villain growing giant) were already done in the fight between Goku and Piccolo.
  • Static Character:
    • Mark describes Goku as a character that doesn’t change significantly, using the "Flat Character Arc" term. In it, Goku as a character already knows "the truth" and in turn guides others to find what the truth is, allowing the Character Development the Dragon Ball cast (Piccolo and Vegeta mostly) received.
      Mark: "The reason why Goku remains the focus of Dragon Ball is due to one simple fact: Goku is Dragon Ball. Everything that happens in Dragon Ball is due to his character, and it can't be any other way, so let me explain why. Goku's character is ideal for a long-running show because unlike Vegeta and Piccolo, his arc doesn't have an expiring date. Vegeta's character was praised in his climax, but because the show wanted to continue, his development had to be altered and slightly retconned at the beginning of Dragon Ball Super, during which they had to repeat certain key scenes to invoke a similar reaction to the fanbase; the same can be said for Piccolo, jumping in front of Gohan blocking a blast in the Resurrection F arc, is just not the same because as the show reflects, his time in the sun is over; On a much more real level, Gohan's story is absolutely over, it ended at Cell. That was the Coming of Age moment and nothing he will do will top that unless they drastically revamp, reinvent or retcon his character. But unlike them, Goku is not restricted to such conventions due to the nature of his story arc. Because Goku doesn't need to change or grow from experience, the intrigue when he interacts with a character or situation comes from how the world or that character reacts to Goku, so technically, Goku and characters like him that implement the Flat Arc have as much intrigue as the world around them does."
    • In Freeza: The Unsympathetic Villain, Mark regards Frieza as an excellent Negative Flat Character, as in, a character devoid of anything sympathetic to his character, not having much in the way of Character Development as his psychopathic nature alongside his childish traits make him an excellent foil to Son Goku; Likewise, both Frieza and Goku in a way fighting for the same thing (obtaining the Dragon Balls and prove who is stronger than the other), the two being unable to change the other but Frieza exploiting Goku weaknesses multiple times are excellent traits that made them such a compelling rivalry.
    • In turn, Mark considers Vegeta a negative example of a dynamic character in Vegeta: Super Boring Sequel. Since a major contribution to Vegeta's effectiveness as a character was his Character Development in Dragon Ball Z and his gradual change, he feels that since in Super he doesn’t change anything about him to make any spectacle or cool scene with him to be meaningless and dull.
      Mark: I ask you, what has changed about Vegeta or his current situation since the end of Battle of Gods? The answer is very little. And the troubles with that can be seen very easily. All of Vegeta's monumental moments in the series are rooted in this archetype of archetype of change, oftentimes positive changes and sometimes a negative one, but a change none the less. He isn't forced to change any meaningful emotional way in Dragon Ball Super, but the writers place him in circumstances that are reminiscent of his highlights in Dragon Ball Z in the hopes that they will achieve what it did for him in the past. But they won't. They can't. Structurally speaking, narratively speaking, and logically speaking they can't work the same way because they are, in the most fundamental way, different.
  • They Wasted a Perfectly Good Characterinvoked:
    • In Jiren: The Terrible Antagonist, Mark describes Jiren as a passive antagonist, who the story abuses the side characters speaking of how powerful and great he is instead of showing it, while he himself barely has any goal withing the story and fails at being a great antagonist as he doesn't attack Goku's weakness nor is he working with the other antagonists, the Omni-Kings. Jiren only becomes somewhat effective at the very end of the arc in episode 130 by becoming a villain, but is too little too late for him personally to care, and that personality should have been the focus on the arc from the beginning. Mark expanded on this in a tweet, stating that Toyotarō handled Jiren's introduction better in the manga, but that's his only comment on manga!Jiren.
      Mark: "Wanting power and strength isn't an interesting trait alone, but isn't necessarily a bad thing. But when is made clear Jiren values strength and power over justice and life, he becomes a villain. At the very end of the arc. For five minutes. [Note] In-universe, less than one minute [/note] Before Goku ultimately defeats him. And he oddly gets a redemption of sorts after hearing a pep talk from Toppo in the following episode. You see, that there is a story that's worth telling, but it should be told over the course of the entire arc, and not a single's episode runtime."
    • In Zamasu: Turning Characters Evil and Goku Black: The Narrative Mess, Mark argues Future Trunks is a defective hero protagonist, as while Zamasu has a great introduction rich with themes and characterization, Trunks, who is the main foil to Zamasu, doesn't have any struggle, Character Development nor contrast with the mad god despite having many things in common inside the story. Mark, for a hypothetical example, rewrites Zamasu as a powerful mortal who didn't believe in his or any other mortal's ability to prosper, leading him to a path of destruction like in the source material, to make a contrast with Trunks.
      Mark: ''I want to point out that there are a lot of things that work with Zamasu and Trunks dynamic: they both care for the development and prosperity of their respective spheres of influence. However, Zamasu does not trust mortal ability to handle conflict; Trunks, at the same time, doesn't believe in his own abilities to archive what he knows is good. But what this dynamic lacked was that Trunks can't fall down the same path Zamasu did. So, what's the lesson? Don’t be crazy like Zamasu? I understand that Trunks comes to believe in himself and humanity is the conclusion of his arc, but is in no way linked to Zamasu's experience and I can't help but feel that was a missed opportunity."
    • In Bulma: The Female Character, Mark argues that Future Bulma is the most interesting character of the Future Trunks saga, and even in the Artificial Humans saga, on an emotional level; having her own goal to save the future as she is the only scientist in the world that can make the Time Machine work, and her desire to see the person she loves one more time, and being a compelling character the audience is familiar with, yet the story never gives her any protagonism.
  • They Wasted a Perfectly Good Plotinvoked: In Goku Isn't Overconfident, he argues that, although he doesn't agree with Goku being overconfident as stated in Resurrection F (he argues his naivety is more of his Fatal Flaw), he does state that Dragon Ball Super wasted the opportunity to take this supposed flaw in order to make it Goku's character arc during the series. Goku's overconfidence only appears in F, and is never brought up again, which Mark argues would have made Goku a more compelling character as he obtains Ultra Instinct in the Universal Survival Arc of Super.
  • The Worf Effect: Discussed in Piccolo: The Humillated Character. The sideman's role is to be defeated by the next big opponent, so Goku can take the lead. This happened to Krillin, Piccolo, and Vegeta.
  • You Keep Using That Word: Mark has a problem with Whis statement that Goku is "overconfident" in Goku isn't overconfident. He argues that overconfidence is a confidence that is unwarranted, something that better fits Vegeta who has underestimated his opponents multiple times. Goku by comparison, due to the lessons learned with Master Roshi that there is always someone stronger in the next corner, wants to keep challenging himself, which is quite the opposite of being overconfident. His Fatal Flaw would instead be his naivety and honorable way of fighting, thinking that everyone would try the same way of thinking as he does.
    • Before the creation of the video, Mark asked his followers on Twitter instances in which Goku has been overconfident. During the video, he has argued that none of the instances fans remember aren't examples of overconfidence.
      • Goku's decision to fight the androids is not him being overconfident. Goku was the most capable of to fight them, and they were after him; he was under the impression Vegeta would show up sooner than later and was right about it; and he was unaware of the heart disease happening to his body, which isn't overconfidence but ignorance from his part.
      • Goku's decision to put Gohan to fight Perfect Cell and give a Senzu Bean to the villain to even the odds isn't overconfidence. Goku was correct in trusting Gohan's power, his flaw was not understanding how Gohan would react out of his naivety and way of thinking, something Piccolo calls him out.
      • Goku telling Vegeta he is stronger than him is cocky, but correct due to the way Goku and Gohan trained in the Room of Spirit and Time surpassing Vegeta and Trunks's own training.

     Blind One Piece Review tropes 
  • Entertainingly Wrong: Mark praising Kin'emon's "galaxy-brain play" in Wano Act 3, which was actually a case of Achievements in Ignorance. Highlighted in the video itself by Kin'emon sweating bullets while looking side to side.
  • Rule of Symbolism: When Kanjuro is outed as a traitor, the entire sequence after that has his manga art colored blood-red.
  • Running Gag: He has a whole bunch, really.
    • "I think <Insert arc here> is the best arc in One Piece so far." Yes, he keeps saying it ever since Arlong Park, since a lot of arcs end up usurping his last favorite.
    • The eye-catch sequences between the promotional stuff, usually highlighting dumb stuff from the 4Kids dub.
    • A specific sound effect is used whenever a silly or embarrassing scene is highlighted.
    • Mark making theories that often turn out to be hilariously wrong.
    • The Reverie Arc has THE BIG CHAIR. (Cue Inception horn)
  • Three-Act Structure: Discussed in the Wano Arc videos, where he compares it to the structure of Jo-ha-kyū, and also brings up his own personal issues with the classical Three-Act Structure, mainly how Act 2 is significantly vaguer and harder to properly define than the other two acts and thus can become bogged down and more muddied in the hands of a less skilled writer, whereas Jo-ha-kyū provides a proper acceleration in its structure.
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     Semi-Blind Jojo's Bizzare Adventure Reviews 
  • Entertainingly Wrong: He calls Narancia the youngest member of the Golden Wind heroes. Except Giorno is younger.
  • Running Gag: And there's more specific to this particular series.
    • Ajay contributes his own jokes, and on occasions makes fun of Mark when he gets something wrong.
    • For some reason, Mark often calls Joseph "Joe", much to his editor's bewilderment.
    • Mark pronouncing names wrong, now with Italian mistakes. This comes to a head in the Golden Wind review where he gets Narancia's name wrong, and Ajay proceeds to interuppt Mark with his own voice twice to make fun of him, first by mocking Mark for getting Narancia's pronouciation wrong, and Ajay realizes later that Mark's been calling Leone Abbacchio by his first name (and still pronouncing it wrong) because he was too scared to even try to pronounce his surname.
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