United Earth
Someone please write a Wonder Woman and Black Adder Goes Fourth crossover.
Somehow I expect her interactions with Baldrick to be surprisingly heartwarming.
![[up]](https://static.tvtropes.org/pmwiki/pub/smiles/arrow_up.png "[up]"){kind=icon}
That would be excellent. Also, she could politely rebuke Flashheart at times. 
edited 22nd Jan '18 1:59:30 PM by TheWildWestPyro
United Earth
She's really good at polite-but-firm rebuking.
And Flash-heart is in desperate need of someone turning him down.
I say, how come British media have so many shows about upper-class twits, with the two main types being "sly and sarcastic" and "EXTREMELY BOISTEROUS AND ENTHUSIASTIC ABOUT EVERYTHING ALL THE TIME"?
edited 22nd Jan '18 2:03:11 PM by TheHandle
Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.
The Senate
So according to Justice League Wonder Woman was involved in WW 2. If the DCEU continues do you think they'll use the same Spear of Destiny excuse as the comic (what I don't understand about that is why didn't they just steamroll the enemy in the pacific theater wouldn't that be out of range?).
Did you ever hear the tragedy of Darth Plagueis the Wise?
Well, it's Imperial Japan they're dealing with. Even after using the Spear in say, 1943, the military government and Hirohito still won't surrender, giving reasons such as "Bushido" and "We can still beat up China even though China is actually a Curb Stomp Cushion for us."
Also, Flashheart will never ask girls to look at his machinery if Diana is in sight/earshot/has him in striking range.
edited 22nd Jan '18 4:27:49 PM by TheWildWestPyro
Queen of Good Things, Honest
The film literally shows all the soldiers laying down their arms and embracing love and peace immediately after Ares is killed. The second he's gone, the Germans and British suddenly decide they don't want to fight each other anymore.
It might take place after the war's officially ended but that's not what the film shows onscreen. If you aren't a history buff and don't know what November 11 means, the idea that the battle was after the end of the war will be completely lost on you because that's not what you see happen. What it shows onscreen is that Ares's death instantly brings about peace, as seen by peace breaking out in Wonder Woman's immediate vicinity the second he's gone.
End of the day, it had a really good message but just couldn't resist the temptation for a colossal super-powered blowout that undermines its themes by solving everything.
edited 22nd Jan '18 4:26:11 PM by TobiasDrake
My Tumblr. Currently liveblogging Haruhi Suzumiya and revisiting Danganronpa V3.
United Earth
Alternate explanation: the soldiers, like Baldrick, Edmund, and George showed earlier, were already poised to do that, and wanted nothing more than for the fighting to stop, and Ares' influence was the only thing that kept them below that critical giving-up point.
Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.
Or they weren't willing to stop because they didn't want to piss off the angry super-powered guy in (IIRC) black armor. If I were in their position I would keep fighting until I was able to get away with just stopping.
"Sandwiches are probably easier to fix than the actual problems" -Hylarn
Queen of Good Things, Honest
That still pins the blame on Ares. If Ares's influence was the only thing keeping the war going, then the war was still happening because of Ares.
edited 22nd Jan '18 4:28:18 PM by TobiasDrake
My Tumblr. Currently liveblogging Haruhi Suzumiya and revisiting Danganronpa V3.
What British soldiers? The only person present who has British citizenship is Charlie. There's no scene of the Brits and the Germans coming out of the trenchlines and embracing; I'm not sure where this is coming from. We see Ludendorff's little gang of holdouts abandon the fight, and we see one of them and one of Steve's team (Chief I think) share a "thank god we're still alive" hug.
That's literally it. I don't know why you're remembering the British and German armies suddenly becoming friends after Ares is gone because that doesn't happen.
I ask again—what war? The British high command and the German high commands are negotiating an end to the war. The only people still trying to fight the war are Ludendorff, Poison, and the soldiers immediately under them—soldiers who, in the final assault on Ludendorff's base, don't number more than a couple hundred men, if that.
I don't know why you're assuming the war ended when Ares died. Because the war is already over. The film makes that explicit. Ludendorff is trying to start it up again. Ares' death doesn't cause a historical event, it prevents an ahistorical event.
edited 22nd Jan '18 4:32:35 PM by AmbarSonofDeshar
As others have explained (and if IIRC) the war wasn't ongoing, peace was being negotiated and his splinter forces were trying to continue it. So his forces standing down after his defeat does not take away from the movie's intended message.
edited 22nd Jan '18 4:30:48 PM by Fourthspartan56
"Sandwiches are probably easier to fix than the actual problems" -Hylarn
Shin Megami Tensei IV
I was thinking about the Multi Token Minority, I realized that I used it as a way to have enought representation without realizing the implications (I have a Homosexual Black Men as The Mentor for the main characters, he is a Manly Gay with a militar background and one of the few adults of the main cast).
And I still realize that I dont have any native American (or better said, someone from native american descendence, our current cultural divisions dont exist After the End), I have Black People, White people, Asians, Latinos, etc. I know that is Off topic, but is kinda worrying, I dont need to have all minoritities, but my intention is portray a world where racial divisions dont exist.
Watch me destroying my country
I'm not a writer so take it with a grain of salt but it's been my impression that to avoid such racial related issues it's best to build a character first then decide a race for them, thus you could make sure to maintain diversity without risking any racial shoehorning.
"Sandwiches are probably easier to fix than the actual problems" -Hylarn
Shin Megami Tensei IV
I do that, the issue is that I still lack representation, I did a lot of Race Lift, especially when I realized that I was such a weaboo and more than the 60% of my main cast was of Japanese descendence and The Hero was a White Straight Male (he is still a white straight male, Canadian descendence, Jewish grandmother, atheists parents, eventually becomes religious from a Abrahamic Syncretic religion himself)
So I changed the characters that would be the same without being asian or white. Like, I turned the second The Good Captain that appears in the story to be black (just like her father, that was also The Good Captain)
Watch me destroying my country
Oh, bother.
In the WW movie, one of the main points was that Ares didn't really have to do anything to get the ball rolling. He's trying to screw up the peace process, yes, but he didn't start the war.
WWI was fought by humans, for humans, just as it was in real life.
Disgusted, but not surprised
United Earth
So I'm reading New Super Man.
Dear Lord, it's so much better than I expected it to be. I can't stop reading. It's amazing. I'm getting really invested!
Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.
I'm loving that series too 
edited 23rd Jan '18 1:48:26 PM by TheWildWestPyro
United Earth
It's like seeing my Qi-Gong classes applied to awesome. Like, the main character's arc of self-growth is amazingly thorough. He started an arrogant bully (with Midoriya-grade Hero instincts) and ended up a brave, kind young man. That is what I call 'restoring balance to the force'.
Also, features a lot of Superman being Superman. You know, the Symbol of Hope.
Does Cavill's Superman have a comics representation, and does he ever get put side-to-side with his main version? The closest thing I saw was a recent issue of Superfriends where Lois, Clark, Bruce and Selina go on a double date at an amusement park and Bruce and Clark trade costumes. Perpetually-grumpy scowling sour-puss hurt-child Bruce Wayne strongly reminded me of Snyderman.
Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.
Shin Megami Tensei IV
I am not gonna lie, it sounds awesome. I am gonna find a way to read it ASAP.
Watch me destroying my country
Something that really gets me is Ching Lung's villainous motivation to goad Kenan into becoming emperor is basically going "China was brutally abused by foreigners, our country was great under the monarchy".
That's certainly true - the examples he gives are definitely correct, especially the actions of the German task force during the Boxer Rebellion, who became infamous for their brutality.
But he forgets that it's not like the monarchy were any better in treating the Chinese. Although some Qing monarchs really were fond of their subjects, the entire dynasty as a whole was a trainwreck. Let's see - corruption that makes Chiang's Kuomintang look like angels, openly apathetic officials, good officials sidelined or killed on trumped-up charges, daily court backstabbing, massive famines throughout the dynasty, crap famine 'relief', poverty going through the roof, one of the Shaolin temples being burned to the ground with only 5 survivors, and widespread misery overall. Chinese were literally fleeing to other countries (even if they faced prejudice and bad work abroad), coming back wanting to overthrow the hated dynasty. Is it any wonder that the 1911 revolution received so much support, and an attempted monarchist uprising later on failed?
Oh yeah, and let's not forget the pre-1911 attempt
to overthrow the Qing dynasty, which culminated in the second bloodiest war ever.
edited 23rd Jan '18 2:58:42 PM by TheWildWestPyro
United Earth
He's a villain and a liar.
But it's true that readers could stand to hear more about how terrible Qing china was.
Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.
I'd certainly like to see that being brought up as a counterpoint. Even with the brutality of Chiang Kai-shek and Mao's dictatorships, absolutely nobody wanted the monarchy back in any form after the 1910s.
I mean, wanting to restore the monarchy is one of the most villainous tropes in Chinese media. Whoever has that motive is instantly marked as a villain and crazy.
Case in point: aside from the Han and Ming dynasties (and a few others, I think), most of 'em aren't looked on fondly. When I visited Xian, all the tour guides said that Qin Shi Huangdi was a cruel tyrant, not to be looked up to. His achievements were impressive, they said, but his reign was not a nice one, and they made reference to scholars getting buried alive.
Again, certainly that case was partially influenced by the CCP's ideology, but socially most Chinese dislike the idea of the monarchy returning.
edited 23rd Jan '18 4:05:08 PM by TheWildWestPyro
My Hair Provides Affordable Healthcare
So I've been meaning to share this for a while amidst all the discussions here about Orientalism.
I've read an article featured in Military History Monthly that analyses the colonial attitudes present in Arthur Conan Doyle's Sherlock Holmes stories, namely The Sign Of The Four which depicts the 1857 Indian Mutiny and has a British survivor of it named Small as the villain.
Here are the most relevant excerpts:
There is of course, no mention in the story why the rebellion actually happened. Of how the British occupied the Indian Subcontinent and undermined the culture of its people; of how the East India Company, which had first come to India in 1600 as a private trading company, had, by the mid 19th century, turned itself into a political and military operation involved in land seizures, heavy taxation, and the wrecking of native businesses.
The 1857 rebellion was actually initiated not by "fanatics" and "savages" but by socially respectable, high-caste members of the Bengal Army. These Muslim and Hindu soldiers - known as "sepoys" - were men of rank and status in their own communities, and they had served the British loyally for decades. The Mutineers were reacting to British policies that threatened to undermine their status in society. They feared that the Company's ultimate aim was to convert them to Christianity.
The Company had been pursuing an aggressive policy of taking over states where the rulers died without leaving a direct heir. This 'Doctrine of Lapse' infuriated the local nobility, whose rights of inheritance under native rule lapsed. The peasantry, taxed heavily by the Company, were also ready for revolt.
"This was an uprising caused by social, economic, and political factors," says Dr. Kim Wagner, Senior Lecturer in British Imperial History at Queen Mary, University of London. The factors behind the rebellion had built up gradually over many months and years. It did not explode out of nowhere, like a sudden riot, as Conan Doyle implies through the words of Jonathan Small.
"In Britain, people saw the rebels as irrational" Wagner says. "Indians who rejected the 'blessings of civilization' were seen as slaves to superstition and as being manipulated by their religious leaders". Conan Doyle has Small's Sikh conspirators call the rebels "dogs" even though later, the two soldiers threaten to join the rebellion if Small decides to stand in the way of their scheme. The Sikh men are portrayed as fiercely loyal to each other and coldly detached from the lives of others. "There was no love lost between the Sikhs and the Muslim and Hindu sepoys", Wagner says. "The sepoys had helped the British take the Sikh Punjab, only a few years earlier, in 1849.
The Sign Of The Four was written by a well-to-do British gentleman and reflects the views of empire held by much of British society in the late 1880s and early 1890s. Many saw India as an exotic land where, with enterprise and pluck, a man might win a reputation and make his fortune. But this was in the contrast of a dominant imperial ideology that saw the European mission as one of bringing civilization to the benighted and backward.
Before the Indian Mutiny, in the minds of the British elite, there had been a sense of certainty, security, and permanence about the country's colonial possessions. The Mutiny - or as the Indians know it, "The First War of Indian Independence" - was the first major uprising against British rule by the so-called "uncivilized" (that is, dark skinned) peoples. The effect was traumatic. From then on, fear of anti-colonial revolt among the subject peoples of the empire was a visceral reality for Britain's military and political elite.
"After the massacre at Cawnpore (where 120 British women and children were shot by rebels) there was a popular demand for vengeance in Britain" says Lancaster University's Professor Jeffrey Richards, author of Sherlock Holmes, Conan Doyle, and the British Empire. Wagner calls the response "an outpouring of jingoistic hatred towards the Indians".
"Conan Doyle was a firm defender of empire. He once stood for Parliament on an empire and military defence platform, and saw it as a force for good, justice, and British moral standards. He believed that the British were there to protect the natives from the abuses of local rulers and to civilize native peoples."
It took the British Army just over a year to defeat the rebels. The British Government subsequently took over the running of the country from the East India Company. By the 1880s, when Conan Doyle wrote The Sign Of The Four, people looked to the government to keep them safe, both in the colonies against popular revolt, and at home where unsavory migrants from the colonies might be plying their nefarious trades. Small's companion, Tonga, is portrayed by Conan Doyle as murderous and feral to the point of being animalistic.
"To them [the Late Victorians], Small . . . was a low type of Englishman who succumbed to the temptations of the Orient" he says, "He represents those earlier phases of imperialism that could no longer be condoned by the time Conan Doyle wrote the story".
Richards adds: "Conan Doyle is saying that if you steal a native treasure you end up cursed. It's a bit like what happens in Wilkie Collins' book The Moonstone."
Through his character Small, Conan Doyle manages to insinuate, of course, that it was India and the influence of the avaricious Sikhs that turned Small, otherwise a good Englishman, into a self-seeking cutthroat with no regard for the lives of others. This is an example of what Edward Said would later analyse as "Orientalism" - an alien, exotic, mysterious Other World whose decadence was dangerously corrupting.
In a later Holmes story, The Adventure of The Crooked Man, another soldier returns home from India many years after the rebellion, crippled and looking for revenge - this time to against a fellow soldier who had betrayed to the rebels in order to steal the hand of the beautiful woman they both loved. Dr. Grimesby Roylott, the protagonist in The Adventure of The Speckled Band, also spent many years in India. Roylott ended up in jail after killing an Indian servant he suspected of stealing from his home, and returned to England, in Conan Doyle's words, "a morose and disappointed man" with murder on his mind.
Just as the British Army restored order in India after the rebellion, so did Sherlock Holmes dealt with the unwarranted colonial incursion in The Sign Of The Four. Jonathan Small, the misguided Englishman, ended up back in prison awaiting trial. Tonga, his colonial companion, was shot dead during the boat chase and ended up at the bottom of the Thames - with the treasure. Small claims that he threw the treasure into the river once he realised that he would be caught. If he could not have it, no one would.
The villains' fate is perhaps a warning from Conan Doyle to any colonial who might be thinking of taking on the British Empire. And to any Englishman whose judgement might be compromised by the influence of such devils. Britain is protected by great men. Take her on at your peril.
Right at the end of the story, Holmes mentions to Watson that the police have found the man who helped Small and Tonga get into Bartholomew Sholto's house to murder him. It is the Butler, Lal Rao. An Indian, of course. In the years to come, there would be more sinister threats for Conan Doyle and Holmes to deal with, as the European worsened and the Great Powers moved towards war.
United Earth
Hint for all those tyrants wishing for a good posterity: don't treat scholars poorly. Those hunchbacked bookworms have a long memory and a resentful streak a mile long! In fact, treat scholars well, shower them with honors and tenures and grants and funny robes, and chances are history will remember you kindly, and will even look past your having the occasional baby for dinner. Abuse bankers instead. Like lawyers, they are hated, but unlike lawyers, bankers can be relied upon to have the eloquence of a turnip and the wit of a rock. Actually, I need to apologize: I'm being unfair to rocks. Mimes are also a fair bet, as are accordion players.
edited 23rd Jan '18 4:33:55 PM by TheHandle
Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.
People who spout the "WW goes on its head and overturns its own message" seem to forget that the movie is set in the final week of the war.
All the Germans know the war is lost, we see Hindenburg in the middle of planning the peace talks (which will never occur due to Ludendorff's little intervention). By then the Allies had broken through the Hindenburg Line and there was not much left for the Germans to do. It's the final week of the war - Diana just happened to do her part by stopping a madman, a sociopath and a god.
Plus, it's easy to interpret that the Germans at the end (frightened, malnourished teens) are just relieved that they're not dead. At 11:00 later in the day, the war actually ends as it does.
edited 22nd Jan '18 1:50:29 PM by TheWildWestPyro