When a author is too lazy to even bother trying to come up with names/techniques/abilties for his OC's and other characters and just generally copy/pastes from another character onto the other. Seeing this in a story is more than likely going to cause me to X out of it. If you don't have the creativity or the sense to atleast try and find a name generator if you can't come up with your own you have no place even writing a story.
Story killers
- Thread starter Master of Squirrel-Fu
- Start date
"If you really want to send the CC to a universe in which he/she will dominate, handicap the character. Make them start all over on relearning skills and abilities. Maybe have everyone out to get the CC, native heroes and villains alike. Just have something that's going to make the CC using his/her power difficult/impossible.
"
Sorry, I read this and my brain went on a tangent about C^2/CC from Code Geass snarking her way across the multi-verse handing out crazy super powers.
"
Sorry, I read this and my brain went on a tangent about C^2/CC from Code Geass snarking her way across the multi-verse handing out crazy super powers.
'Honorable Suicide'? If I assume that you're referring to Ranma committing suicide that just...ouch. He kinda goes out of his way to avoid that, even limiting his encounters with his mother.
Edit.
On that idea of C.C from Code Geass going into crossovers and giving away powers, that could work. Why? Because C.C isn't using those powers herself, nor is she inclined to give people advice on how to improve their lives. The character who got the power might dominate the fic, but not C.C. She's an advisor type.
Advisor type characters generally don't dominate crossovers. It's frontline type characters that do. Think about all of the Ranma crossover fics. Most of the time the focus is on Ranma or a character from another series reacting to Ranma. An example of how even a good writer can do this is BlackDragon6's Ranma/Urusei crossover. Ataru does have a prominent role, but more and more the UY characters are doing something to or because of Ranma. Lum's the only exception, and even then she spends a lot of time fighting with Ranma. As for Shinobu, she looks to be downgraded to a minor character by now.
My basic take on characters:
Advisor- Washuu, Setsuna, C.C (see a pattern?)
Frontline- Ranma, Tenchi, Lelouch
Edit.
On that idea of C.C from Code Geass going into crossovers and giving away powers, that could work. Why? Because C.C isn't using those powers herself, nor is she inclined to give people advice on how to improve their lives. The character who got the power might dominate the fic, but not C.C. She's an advisor type.
Advisor type characters generally don't dominate crossovers. It's frontline type characters that do. Think about all of the Ranma crossover fics. Most of the time the focus is on Ranma or a character from another series reacting to Ranma. An example of how even a good writer can do this is BlackDragon6's Ranma/Urusei crossover. Ataru does have a prominent role, but more and more the UY characters are doing something to or because of Ranma. Lum's the only exception, and even then she spends a lot of time fighting with Ranma. As for Shinobu, she looks to be downgraded to a minor character by now.
My basic take on characters:
Advisor- Washuu, Setsuna, C.C (see a pattern?)
Frontline- Ranma, Tenchi, Lelouch
For example, If i'm reading an Index or Railgun fic, I don't need you to explain what Espers are, or what judgement is, etc. If I like a series to the point where i'm reading fics, I already know all the fucking basics. Why do you need to reexplain those?
To an extent. You see, this one depends on the characterization in the fic. suddenly having two people who normally hate each other suddenly announce thier love makes no sense. Suddenly making them Gay is even worse. Suddenly having two enemies annouce their gay love for each other makes me murderous.
On the flip side, if you spend the time to lay the groundwork and build up, it's fine. Take Frozen for example. Sure, its a Quistis/Fujin lesbian love story, despite neither character showing such a orientation in canon. why is it acceptable? Because the author spent the first few dozen chapters laying a foundation.
To an extent. You see, this one depends on the characterization in the fic. suddenly having two people who normally hate each other suddenly announce thier love makes no sense. Suddenly making them Gay is even worse. Suddenly having two enemies annouce their gay love for each other makes me murderous.
On the flip side, if you spend the time to lay the groundwork and build up, it's fine. Take Frozen for example. Sure, its a Quistis/Fujin lesbian love story, despite neither character showing such a orientation in canon. why is it acceptable? Because the author spent the first few dozen chapters laying a foundation.
What about those of us who never even heard of the crossover? I've quit reading some crossover stories because I had no idea who these new characters were, and all their background that gets a brief mention, but never explained.
I've gotten interested in some series' BECAUSE some fics explained who those people were and what was going on with them. Ones i'd never heard of, or just knew the name of. I don't want to have to read/watch some entire other series just to enjoy a fic. Though I'll read/watch it if I enjoy a crossover that has them in it.
Not that I enjoy rereading, say, Ranma being introduced to the Tendos for the umpteenth time, but I've learned to skim through those parts.
I've gotten interested in some series' BECAUSE some fics explained who those people were and what was going on with them. Ones i'd never heard of, or just knew the name of. I don't want to have to read/watch some entire other series just to enjoy a fic. Though I'll read/watch it if I enjoy a crossover that has them in it.
Not that I enjoy rereading, say, Ranma being introduced to the Tendos for the umpteenth time, but I've learned to skim through those parts.
Perhaps it can be worked into the story's flow.
A good way would be to have one character explain it to another character, although one has to break up the conversation with action and hints of progress. For example, in an Index/Railgun crossover (does it count as one?), if Touma was trying to explain to a curious Saten why Mikoto's sisters were trying to follow him, the author should keep the context of the conversation as well as be aware of the environment.
Say, the questions are mostly of a typical romantic nature. In which case, Touma can leave out the scientific/magical lecture and focus mostly on the nature of the personal relationship. While this might leave out a lot of details, neither Saten nor the reading audience expects a Wikipedia-style delivery; Touma does not have to mention every single detail about the sisters' origins or branch off into tangents about Level 6s and Accelerator. The trick here is to strike a balance between including just enough information to tantalize the audience and advance the plot but not so much information that Touma ends up retelling the entire Sisters' arc. Should Saten try to delve too deep, Touma has several options to deny her; he can say that it's not his secret to keep, that it's too personal, or that he simply doesn't know or understand the details.
Assuming that it's a fairly serious story, any information that is not strictly necessary for plot or characterization should be handled with care, and less is often more. Treat it like a mystery: the fans who know will chuckle at the subtle inside joke, the ones who don't will be driven to dig up the original material. That's a good thing because you, the author, presumably want more people to know the original material.
You might even treat the subject as a Noodle Incident: have Saten and the unknowing readers meet with the mention of an event that is definitely hinted as epic, secretive and supernatural, but is never given a clear exposition. Hilarity results as she tries to find out.
Come to think of it, that would probably make a good story.
Speaking of the environment, pay attention to such things as the place, time and other people. If Touma and Saten are just having the conversation while they're walking with other people, the conversation should be relaxed but cautious; Touma doesn't want Mikoto overhearing of how he manages to differentiate between her and her sisters nor does he want to give away secrets to a girl he just met. If it's an abbreviated explanation because Saten got pulled into the life of intrigue that Touma and Mikoto live and they're running away from danger, then the conversation should be fast, somewhat vague, and preferably punctuated by explosions. If they're alone in a room having an extended conversation to stave off boredom, then they're freer to meander around the subject. Also, Touma and Saten being alone in a room would be a good source of comedy or drama once someone else finds out. Feel free to expand on that.
A good way would be to have one character explain it to another character, although one has to break up the conversation with action and hints of progress. For example, in an Index/Railgun crossover (does it count as one?), if Touma was trying to explain to a curious Saten why Mikoto's sisters were trying to follow him, the author should keep the context of the conversation as well as be aware of the environment.
Say, the questions are mostly of a typical romantic nature. In which case, Touma can leave out the scientific/magical lecture and focus mostly on the nature of the personal relationship. While this might leave out a lot of details, neither Saten nor the reading audience expects a Wikipedia-style delivery; Touma does not have to mention every single detail about the sisters' origins or branch off into tangents about Level 6s and Accelerator. The trick here is to strike a balance between including just enough information to tantalize the audience and advance the plot but not so much information that Touma ends up retelling the entire Sisters' arc. Should Saten try to delve too deep, Touma has several options to deny her; he can say that it's not his secret to keep, that it's too personal, or that he simply doesn't know or understand the details.
Assuming that it's a fairly serious story, any information that is not strictly necessary for plot or characterization should be handled with care, and less is often more. Treat it like a mystery: the fans who know will chuckle at the subtle inside joke, the ones who don't will be driven to dig up the original material. That's a good thing because you, the author, presumably want more people to know the original material.
You might even treat the subject as a Noodle Incident: have Saten and the unknowing readers meet with the mention of an event that is definitely hinted as epic, secretive and supernatural, but is never given a clear exposition. Hilarity results as she tries to find out.
Come to think of it, that would probably make a good story.
Speaking of the environment, pay attention to such things as the place, time and other people. If Touma and Saten are just having the conversation while they're walking with other people, the conversation should be relaxed but cautious; Touma doesn't want Mikoto overhearing of how he manages to differentiate between her and her sisters nor does he want to give away secrets to a girl he just met. If it's an abbreviated explanation because Saten got pulled into the life of intrigue that Touma and Mikoto live and they're running away from danger, then the conversation should be fast, somewhat vague, and preferably punctuated by explosions. If they're alone in a room having an extended conversation to stave off boredom, then they're freer to meander around the subject. Also, Touma and Saten being alone in a room would be a good source of comedy or drama once someone else finds out. Feel free to expand on that.
1) Manip!Dumbledore
I find Dumbledore to be an incredibly human character. Someone who was truly great and good, but who still made mistakes and who still had flaws. I sympathize greatly with him. Thus, seeing him turned into a villainous control freak annoys me.
2) Soapboxing
All authors put there opinions in their work to some extent. It's inevitable. What I don't like is when the author and everyone who disagrees with him wrong. Writing philosophy by way of narrative can work, but using an Antagonist/Protagonist model for the narrative inevitably comes of as arrogant.
3) Psycho!Akane who should be grateful!
This one takes a bit of explaining.
Akane is borderline paranoid , awfully violent, and can be a damn unpleasant person if you end up on her bad side. However, I can completely understand how she got to be like that, and why she acts that way. More importantly Akane gets shoved into the Princess archetype kicking and screaming the entire way. Akane takes pride in being a martial artist. Despite this, anybody who isn't outright hostile to Akane either completely dismisses her, treats her like a sex object (Kuno), or treats her as someone to protect and keep out of fights (Ranma). I don't like the Helpless Princess archetype, but I can tolerate it. However, to see Akane placed in that role just because everybody around her is telling her so (directly or indirectly) really, really honks me off- at that point, I don't care why the characters kept Akane out of the fighting, or even if they were right to do so. I just feel outraged for her being forced into that role.
So when others write Akane as a total jerk who should be grateful toward Ranma for protecting her and putting up with her crap...yeah. Again, even if they're right, I don't care. Yes, it's not that logical.
I find Dumbledore to be an incredibly human character. Someone who was truly great and good, but who still made mistakes and who still had flaws. I sympathize greatly with him. Thus, seeing him turned into a villainous control freak annoys me.
2) Soapboxing
All authors put there opinions in their work to some extent. It's inevitable. What I don't like is when the author and everyone who disagrees with him wrong. Writing philosophy by way of narrative can work, but using an Antagonist/Protagonist model for the narrative inevitably comes of as arrogant.
3) Psycho!Akane who should be grateful!
This one takes a bit of explaining.
Akane is borderline paranoid , awfully violent, and can be a damn unpleasant person if you end up on her bad side. However, I can completely understand how she got to be like that, and why she acts that way. More importantly Akane gets shoved into the Princess archetype kicking and screaming the entire way. Akane takes pride in being a martial artist. Despite this, anybody who isn't outright hostile to Akane either completely dismisses her, treats her like a sex object (Kuno), or treats her as someone to protect and keep out of fights (Ranma). I don't like the Helpless Princess archetype, but I can tolerate it. However, to see Akane placed in that role just because everybody around her is telling her so (directly or indirectly) really, really honks me off- at that point, I don't care why the characters kept Akane out of the fighting, or even if they were right to do so. I just feel outraged for her being forced into that role.
So when others write Akane as a total jerk who should be grateful toward Ranma for protecting her and putting up with her crap...yeah. Again, even if they're right, I don't care. Yes, it's not that logical.
- Over-emotionnal characters or over-descripted emotions, Ex: Hope bubbled at the base of his neck, he could feel his stomac flutters from the joy...
Often seen in Star Wars fanfic', where Obi-Wan act like a pregnant woman, or Naruto... I just can't, it breaks the flow, it's useless and take too much place.
- A/N who takes 33% or more of the chapter. It's cool to answer the readers, but not one by one, or at least not in the story but by pm.
- Accents and Japanese/Foreign languages. The Japanese has to go. Accents are useless. FL are unreadable.
- "Training camp", boring and old.
- Total AU who does'nt affect the plot. Or different upbringing that change nothing of the character of the hero...
Nothing else that I can think of.
Often seen in Star Wars fanfic', where Obi-Wan act like a pregnant woman, or Naruto... I just can't, it breaks the flow, it's useless and take too much place.
- A/N who takes 33% or more of the chapter. It's cool to answer the readers, but not one by one, or at least not in the story but by pm.
- Accents and Japanese/Foreign languages. The Japanese has to go. Accents are useless. FL are unreadable.
- "Training camp", boring and old.
- Total AU who does'nt affect the plot. Or different upbringing that change nothing of the character of the hero...
Nothing else that I can think of.
Agreed on all points with a modification for Foreign Languages. Gratuitous Foreign Language is where it irks the hell out of me. Im sorry but if after every 3 spoken words is a spiel in another langauge, FUCK OFF AND WRITE IT IN THAT LANGUAGE.
Course this isnt limited to fanfiction...
IM LOOKING AT YOU ASSASSINS CREED 2.
Course this isnt limited to fanfiction...
IM LOOKING AT YOU ASSASSINS CREED 2.
My primary story-killers:
1.) Bad formatting. Misusing, or not using, the common comma. Using Greengrocer's S's i's s'omething I can't s'tand at all. Bighuge blocks of text without so much as a line break to them.
2.) Repeatedly getting character names wrong. Typos in the story, well, they happen. But when you talk about the exploits of Saint Banana, Hero of Fruit Trees, I expect you to name him Banana, and not Bannana, Bnana, Banan, Banaa or any other combination (such as Panana, Bhanana, Banhanhar etc).
3.) More than three lines of AN, and/or ANs that are placed at the start of the chapter (one of the most egregious offenders is Hill of Swords).
There's more, of course, but I'm too tired.
1.) Bad formatting. Misusing, or not using, the common comma. Using Greengrocer's S's i's s'omething I can't s'tand at all. Bighuge blocks of text without so much as a line break to them.
2.) Repeatedly getting character names wrong. Typos in the story, well, they happen. But when you talk about the exploits of Saint Banana, Hero of Fruit Trees, I expect you to name him Banana, and not Bannana, Bnana, Banan, Banaa or any other combination (such as Panana, Bhanana, Banhanhar etc).
3.) More than three lines of AN, and/or ANs that are placed at the start of the chapter (one of the most egregious offenders is Hill of Swords).
There's more, of course, but I'm too tired.
To comment on something said much earlier about bisexual characters. Reread a lot of fics here. In fact, it is something, that and yuri to be honest, that will get me to absolutely lose interest in a fic unless it is done incredibly well.
Almost everything I hate has already been said, but here's a new one: not properly developing a romance. I can't really criticize one shots too much about this, because of the fact that they are one shots, but whenever I see a fic that has an alt pairing and they are going "ooooh, true love" off the bat is absolutely infuriating.
You see it fairly often with ship fics; fics that have a specific pairing, work off of it, but don't explain the how and the why. Examples would be most alt pairing fics in AtLA (hell most fics there in general), Donut fics in XxxHolic, and even the Watauuko or however that pairing is supposed to be named. Yes, I know about the subtext for Donut, I've seen it, I read the series, but that doesn't mean you can get away with not developing what is subtext into something more. I also don't mean "Hey, I suddenly realized I'm gay/in love with you," I'm talking about full on romance, m'kay. You need to build up on it, add some sexual tension, doubts depending on relationship statuses or other things. It is possible to use a bit of bullshit to get the ball rolling, but to keep it up, you need good, solid writing.
More fun with romance: rehashed plot lines. We've all read this or that plot line, and yeah, I know how hard it is to come up with something new sometimes. However, try to think about tweaking ideas. Instead of the same events and then the change, what about changing events leading up to the big moment that was already used? Or what if this character came to terms with things before that. This is mostly aimed at Love Hina's fandom, but I am extending it to Eva as well.
Don't add bullshit interpretations. I could go on and on about this, but quite frankly, it could easily be solved if people actually bothered to write the actual characters rather than give another character the same skin and name and call it good. Now, it is one thing to have a character change for the sake of an AU (sometimes, there are certain bounds I have on that), but claim it's a specific character and then have them do completely the opposite of what the character would do for no reason that makes sense.
EDIT: actually, there are a lot more, but that's because I am a twig like mass of hate and mild rage.
Almost everything I hate has already been said, but here's a new one: not properly developing a romance. I can't really criticize one shots too much about this, because of the fact that they are one shots, but whenever I see a fic that has an alt pairing and they are going "ooooh, true love" off the bat is absolutely infuriating.
You see it fairly often with ship fics; fics that have a specific pairing, work off of it, but don't explain the how and the why. Examples would be most alt pairing fics in AtLA (hell most fics there in general), Donut fics in XxxHolic, and even the Watauuko or however that pairing is supposed to be named. Yes, I know about the subtext for Donut, I've seen it, I read the series, but that doesn't mean you can get away with not developing what is subtext into something more. I also don't mean "Hey, I suddenly realized I'm gay/in love with you," I'm talking about full on romance, m'kay. You need to build up on it, add some sexual tension, doubts depending on relationship statuses or other things. It is possible to use a bit of bullshit to get the ball rolling, but to keep it up, you need good, solid writing.
More fun with romance: rehashed plot lines. We've all read this or that plot line, and yeah, I know how hard it is to come up with something new sometimes. However, try to think about tweaking ideas. Instead of the same events and then the change, what about changing events leading up to the big moment that was already used? Or what if this character came to terms with things before that. This is mostly aimed at Love Hina's fandom, but I am extending it to Eva as well.
Don't add bullshit interpretations. I could go on and on about this, but quite frankly, it could easily be solved if people actually bothered to write the actual characters rather than give another character the same skin and name and call it good. Now, it is one thing to have a character change for the sake of an AU (sometimes, there are certain bounds I have on that), but claim it's a specific character and then have them do completely the opposite of what the character would do for no reason that makes sense.
EDIT: actually, there are a lot more, but that's because I am a twig like mass of hate and mild rage.
To expand on my forst post here:
Description and Sentimentality Overkill, called DSO, same as Douchebag Sobing Orgy.
It's when an author take his common sense and throw it out of the window. When you are inexperimented, or don't have much experience with something, the logical thing to do would be to present it briefly, then move on. It avoids to annoy the reader and let him imagine the rest of the setting.
Example 1: Over-abundance of convulted comparison to describ a character.
"Her dark silkly raven locks cascaded upon her cupid-shaped face, where full ruby lips accompagned twins azured orbs."
Once or twice in the story, to highlight a special something, that's good. Systematic use? Heavy and boring.
"She was a dark-haired beauty, you were immediately drawn to her azure eyes."
It gives the general outlook of the char without getting in a full art-critic style description.
Example 2: When the author just want to look good and go on and on about what ressents the char, while it's pretty simple.
Tipically it center around the sentiments of fear, wrath (during a battle or just because the char was angered) and lust/love.
Fear: It doesn't make you forget to breath, it doesn't make you have flashbacks or whatever, you don't get images of you imminent death and your life don't flash before your eyes.
No, your breath can quicken, you can accord a special focus to the cause of the fear and you can even be momentarily paralized, that's all.
Anger: It just make you want to pound the head of the other guy in a wall, and make you focus on it. It doesn't bubble, it doesn't blind you and it certainely don't lead you to the fucking dark side.
Lust/Love: You want to touch the other person before shag her. You can even have little butterfly in you stomach. That's all. Oh, and you might get a boner.
And Death, during an instant you get super-clarity, you see what is coming to you, you know what will happen, then it speed-up to normal speed and you wake up a the hospital, if you got lucky.
It's maybe me who ressents differently, but this type of writing execrate me. One guy wanted to play it cool and write a emo-fic one day and since everybody copy it and nobody even try to transcript emotions his own way. :/
Description and Sentimentality Overkill, called DSO, same as Douchebag Sobing Orgy.
It's when an author take his common sense and throw it out of the window. When you are inexperimented, or don't have much experience with something, the logical thing to do would be to present it briefly, then move on. It avoids to annoy the reader and let him imagine the rest of the setting.
Example 1: Over-abundance of convulted comparison to describ a character.
"Her dark silkly raven locks cascaded upon her cupid-shaped face, where full ruby lips accompagned twins azured orbs."
Once or twice in the story, to highlight a special something, that's good. Systematic use? Heavy and boring.
"She was a dark-haired beauty, you were immediately drawn to her azure eyes."
It gives the general outlook of the char without getting in a full art-critic style description.
Example 2: When the author just want to look good and go on and on about what ressents the char, while it's pretty simple.
Tipically it center around the sentiments of fear, wrath (during a battle or just because the char was angered) and lust/love.
Fear: It doesn't make you forget to breath, it doesn't make you have flashbacks or whatever, you don't get images of you imminent death and your life don't flash before your eyes.
No, your breath can quicken, you can accord a special focus to the cause of the fear and you can even be momentarily paralized, that's all.
Anger: It just make you want to pound the head of the other guy in a wall, and make you focus on it. It doesn't bubble, it doesn't blind you and it certainely don't lead you to the fucking dark side.
Lust/Love: You want to touch the other person before shag her. You can even have little butterfly in you stomach. That's all. Oh, and you might get a boner.
And Death, during an instant you get super-clarity, you see what is coming to you, you know what will happen, then it speed-up to normal speed and you wake up a the hospital, if you got lucky.
It's maybe me who ressents differently, but this type of writing execrate me. One guy wanted to play it cool and write a emo-fic one day and since everybody copy it and nobody even try to transcript emotions his own way. :/
Actually, as someone who HAS lost their temper completely, I can tell you that rage DOES, in fact, make you temporarily blind. I mean, seriously, I thought I didn't hurt anyone when I went into that rage, but I damn near crippled a guy who wasn't even the target of my anger. By complete accident, and I NEVER saw it.
Everything just went black for a moment.
Everything just went black for a moment.
Then I was wrong.
The point still stand, some authors tend to go overkill with the anger.
EDIT: New pet peeves: Over-abundance of "softly" (like in "said softly") and/or "..." in a phrase. Repetition, rythm breaking and all that.
EDIT 2: New: Softly/Quietly combination, what is the point? (Honest question, as english is not my first language, it is possible that I didn't pick up the slight difference between "said softly" and "said softly, quietly.")
The point still stand, some authors tend to go overkill with the anger.
EDIT: New pet peeves: Over-abundance of "softly" (like in "said softly") and/or "..." in a phrase. Repetition, rythm breaking and all that.
EDIT 2: New: Softly/Quietly combination, what is the point? (Honest question, as english is not my first language, it is possible that I didn't pick up the slight difference between "said softly" and "said softly, quietly.")
I've always preferred a compact, lean style of writing (like Ernest Hemingway), so one thing that really turns me off is Excessive Description (or "adjective salad," you could say). For example:
"-------- strode down the stone corridor on her way to her room, her steps clicking briskly upon the well scrubbed flagstones of the stone corridor. From the right sunlight poured through wide arched windows set in the outer walls, the glass meshed with imprisoning square black lines. The sky outside was bright blue, laced with frills of white cloud; sunlight bringing out the bright green of the grassland, the red brick of the coastal buildings and setting the sea a-sparkle as though strewn with star dust."
And then the story continues on with none of that descriptive text having any real importance. I much prefer writing that'd condense that all into some quick and compact, like:
"It was the sort of morning who's beauty you actually take a few seconds to notice."
"-------- strode down the stone corridor on her way to her room, her steps clicking briskly upon the well scrubbed flagstones of the stone corridor. From the right sunlight poured through wide arched windows set in the outer walls, the glass meshed with imprisoning square black lines. The sky outside was bright blue, laced with frills of white cloud; sunlight bringing out the bright green of the grassland, the red brick of the coastal buildings and setting the sea a-sparkle as though strewn with star dust."
And then the story continues on with none of that descriptive text having any real importance. I much prefer writing that'd condense that all into some quick and compact, like:
"It was the sort of morning who's beauty you actually take a few seconds to notice."
Stories that stick very closely to canon, despite having no reason to do so. In some things it makes sense because you don't have to create a new storyline because one is already hashed out for you, and you just have to change it a bit.
What I hate is when stories go EXACTLY like canon. Take, for example, the (relatively) new Negima/FoZ cross <a href='http://www.fanfiction.net/s/6849708/1/Magister_of_Zero' target='_blank' rel='nofollow'>Magister of Zero</a>. Despite having summoned NEGI (albiet before he's godmodded), along with several other members of 3A, Louise still treats him worse than she did Saito in the beginning. And Negi's just a 10 year old kid!
Furthermore, even after he does the Stripping Sneeze, she blows it off as him just having "powerful lungs" or some such nonsense. And when he tries to explain it's Wind Magic, she says that it "doesn't confirm to the four elements"! Since when wasn't wind an element in FoZ? Plus, with her causing explosions with every. single. spell she does, I would expect her to be understanding of out-of-control magic.
Sorry, this turned into a rant without me meaning to do it. Still, yes, my pet peeve is following canon TO THE LETTER. Why not just reread the original work, then?
What I hate is when stories go EXACTLY like canon. Take, for example, the (relatively) new Negima/FoZ cross <a href='http://www.fanfiction.net/s/6849708/1/Magister_of_Zero' target='_blank' rel='nofollow'>Magister of Zero</a>. Despite having summoned NEGI (albiet before he's godmodded), along with several other members of 3A, Louise still treats him worse than she did Saito in the beginning. And Negi's just a 10 year old kid!
Furthermore, even after he does the Stripping Sneeze, she blows it off as him just having "powerful lungs" or some such nonsense. And when he tries to explain it's Wind Magic, she says that it "doesn't confirm to the four elements"! Since when wasn't wind an element in FoZ? Plus, with her causing explosions with every. single. spell she does, I would expect her to be understanding of out-of-control magic.
Sorry, this turned into a rant without me meaning to do it. Still, yes, my pet peeve is following canon TO THE LETTER. Why not just reread the original work, then?
I saw that.
It physically hurt to read it halfway through the second chapter, and I had laid down a review because of it.
Holy God, it does absolutely nothing with the Negimaverse, and there's literally no reason why it shouldn't have already.
Geebus, I can't even remember what point I was going to lay down here. Thank God it's only two chapters; there's a chance it can be fixed, there is a chance!
It physically hurt to read it halfway through the second chapter, and I had laid down a review because of it.
Holy God, it does absolutely nothing with the Negimaverse, and there's literally no reason why it shouldn't have already.
Geebus, I can't even remember what point I was going to lay down here. Thank God it's only two chapters; there's a chance it can be fixed, there is a chance!