Ask Lemmy

Yep!

The main character is given so much buff.

I still looking fiction where main character is ordinary person.

• No godly fast learning/growthing speed.
• No extraordinary willpower that train day and night with bare minimum on food and housing
• No hack-like device/weapon/...

Just finished watching The 100 on Netflix. The writing was pretty terrible.

• Literally every bad action performed by a character (up to and including genocide) was justified as "I had no choice". They should have called it, "The no choice show". I would have loved to have seen a counter in the corner of the screen that ticked up every time that was said, which was at least once per episode.

• Seconds before any kind of solution that would have solved major problems was enacted, a character (different each time)- previously rational, but now for some reason completely chaotic- would jump in and destroy the McGuffin and fuck everyone over because it was in their personal interest. Every single fucking time, even in the final episode. It's no longer a plot twist, it's just lazy AF writing. It also meant that the characters had no consistency or predictability of motive, which meant their believability went down the toilet.

I'm going to stop there but believe me, that's the tip of the iceberg.

That show was proof that Netflix will greenlight just about anything.

The way GOT ended with making the storyteller (the writer) become an important part of the story. The writers self insert is a problem in a lot of media but particular in fantasy.

Elves and Dwarves done like every other Elf and Dwarf. Especially when they go out of their way to give the Dwarf that overdone Irish/Scottish accent written out in damn near unreadable text.

Also when the worldbuilding and plot basically is "here's some not so thinly veiled racism between groups who will set that aside to fight a common enemy." Series ends on a high note, but you know this world will fall into disarray again cause people suck, so like, what was the point.

All things Deus Ex Machina. I get it, endings are hard. Climaxes are hard to write. But the payoff feels cheap as hell when your protagonist just "digs a little deeper" and suddenly finds just enough power to save the day. When it comes out of nowhere, it feels unearned by the hero and is not only unsatisfying, it's also a good way to give you hero power creep until there's nothing on earth that can believably challenge them. See: Superman.

Multiple simultaneous plot threads. So weak.

The plot is discovery and progressive revealment of big weird thing. The climax is flashback-heavy explanation of big weird thing.